Tools for Productive Partnerships Among Creatives, Changemakers, and Funders
What Happens When Things Change?
Most storytelling is fluid and dynamic. Social-change organizations are focused on change — which means that their programs are designed to respond to external shifts. Can straight talk about mission, methodology, money, and more help prepare for changes that inevitably occur in the course of a creative collaboration? Can opportunities emerge from left field, new people, and the unpredictable swings of real life?
Feel free to use the headers as guides, customize the sub-questions, or address as much of this inquiry as you like. Whatever works for you.
Characters and Plot
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What possible changes in the subjects’ lives might the storyteller anticipate? (For example, if the “protagonist” drops out or takes a radical turn?)How might those changes affect the characters, story, schedule and budget?What if a protagonist’s status changes in the eyes of their community?What are your obligations to your subjects if you find an alternative storyline?What are your responsibilities if your protagonist’s situation gets dangerous?What if the change-maker or funder doesn’t like the final outcome of the story or the story isn’t fully resolved or doesn’t result in a “happy ending?”What if the change-maker’s leadership feels that the story doesn’t meet their standards or expectations?
The Production Process
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What contingencies can you anticipate and what is each party’s alternate timeline?What possible changes in the timeline can be projected far in advance, such as a premiere or broadcast date?What happens if the storyteller can’t finish the project? (For example, because funding doesn’t come in or there are legal or other issues.)What if an organization’s priorities and capacities shift in the course of storytelling?Will there be a designated point person or project manager on the change-maker’s team? If so, who will that be, and are they on board with the project?
The Budget
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What are each party’s roles in managing production funds?What will happen if you don’t raise all the money you’d expected?What if circumstances require a shift in the budget (say, a new location, a significant delay)?What if a new funder comes in with different expectations or conditions?
Opportunities
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What if expanded creative options emerge — for example, a producer wants to option the story, Netflix offers a deal, or a corporation wants to brand the work?What if new or alternative platforms become available that alter the shape of the story?What if a change of editorial direction could vastly increase the crossover appeal of the story? How will the merits be assessed, and who decides?Who will measure the project’s impact on the change-maker’s issue area?
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