The Start to Finish Playbook on How to Fund and Produce an Event (Member with Book) by Washington Festivals & Events Association

The Start to Finish Playbook on How to Fund and Produce an Event

A Publication Written for Washington State Festival and Event Organizers by Premier Washington State Festival & Event Organizers • David Doxtater, The Workshop • Riley Stockton, Spokane Hoopfest • Wendy Tyner, Tyner and Associates • Carol Riley, formerly of Olympia Harbor Days • Peggy Doering, Spokane Valleyfest • Chuck Denney, Tumwater Parks and Recreation • John Thorburn, Bold Hat Productions • Eric Corning, formerly of Seafair • Jon Stone, Jon Stone Consulting • Amy Maxwell, Ticket Tomato • Ashley Young, Tacoma Venues and Events • Amy McGuffin, Kittitas Chamber of Commerce • Frank Sebastian, Emergency Management Group • Eddie Redman, Grand Event Rentals

Staff: Editor, Bruce Skinner Production Manager, Jeremy Gilchrist Copy Editor, Leah Leach Associate Copy Editor, Andrea Bianchi Design, Izzy Felton

Cover Photo: Jesse Roper at Juan de Fuca Festival in Port Angeles Photo by: Jay Cline Back Cover: The Bucoda Casket Races Photo by Shanna Paxton

Table of Contents

pg. 07

pg. 29

pg. 19

pg. 39

pg. 15

pg. 35

pg. 43

# 1 : Event Production And Managing Your Project pg. 07 By David Doxtater, The Workshop

# 2: Sponsorship: Selling to the Right People

pg. 15

# 3: Key Components of Successful Grant Writing

pg. 19

#4. Food and Beverage

pg. 29

#5. Successfully Working With Your Suppliers

pg. 35

#6. Volunteers: The Backbone of Many Events

pg. 39

#7. Exceptional Marketing for Events

pg. 43

By Riley Stockton, Spokane Hoopfest

By Wendy Tyner, Tyner & Associates

By Carol Riley, Former Director of Olympia Harbor Days

By Peggy Doering, Spokane Valleyfest

By Chuck Denney, Tumwater Parks and Rec

By John Thorburn, Bold Hat Productions

pg. 57

pg. 61

pg. 95

pg. 99

pg. 51

pg. 109

#8. Creating a Budget for your Event

pg. 49

#9. Successfully Managing Entertainment

pg. 51

#10. Ticketing

pg. 57

#11. DEIA: Developing a Toolkit

pg. 61

#12. The Impacts of Event Tourism

pg. 95

#13. Event Security

pg. 99

#14. How Events Can Be More Sustainable

pg. 109

By Eric Corning, Formerly of Seattle Seafair

By Jon Stone, Jon Stone Consulting

By Amy Maxwell, Ticket Tomato

By Ashley Young , Tacoma Venues & Events *Includes Fully Developed Example DEIA Toolkit

By Amy McGuffin, Kittitas County Chamber of Commerce

By Frank Sebastian, Emergency Management Group *Includes Special Event Safety Plan Form

By Eddie Redman, Grand Event Rentals

Table of Contents

pg. 49

Photo credit: Kai Yamamoto

Pictured: Seattle Seafair

Chapter 1

Pictured: Seattle Aquarium’s Ocean Pavilion Grand Opening

Event Production And Managing Your Project By David Doxtater, The Workshop

In this chapter you will learn: Contracting Strategy Brief Startup Workflow Site Plan Event map/service order The Workshop is a client-serving production company, working with over 30 different clients and 40 events annually. This chapter outlines The Workshop’s approach to contracting and managing live events. The following reflects the order and operations of The Workshop’s production process throughout our many years designing and producing events in the Pacific Northwest. We hope that sharing our methods may help others in the event planning community and contribute to the positive impact of our industry. Take what serves and leave the rest. Contracting To serve the needs of a wide range of clients, we carefully contract each project to capture an accurate scope and fee schedule.

Our contracts outline the scale and costs associated with producing each event which includes our estimated hours working on an event. Our goal is to deliver a document that communicates clear expectations and delineates the scope of all parties involved. The following are the elements we include when contracting: Written Scope of Work: Clearly define the tasks, responsibilities, and deliverables for the event. The scope should outline what is expected from all parties involved, including specific services, timelines, and outcomes expected of both the producing company and the client. Contract: Develop a legally binding agreement that includes the scope of work, terms and conditions, payment schedules, insurance and cancellation policies, and any other pertinent details. We work with a lawyer who specializes in events to write a contract boilerplate, then review and refine for unique and complex projects. Budget: Create a detailed budget that accounts for all costs including: The Workshop fee, labor, materials, equipment, and contingencies. Ensure that the budget is aligned with the project scope and client expectations, and that costs and cashflow expectations are clearly defined .

The Start to Finish Playbook on How to Fund and Produce an Event #1. Event Production And Managing Your Project

The following is an example of a strategic brief questionnaire that The Workshop provides clients when initiating a project.

Pictured: Sunset Supper for Pike Place Market Foundation

Strategy Brief Once we agree to work on a project, our next step is to define the event strategy. We help the client clarify their vision and objectives and answer the question “why this event?” Taking time to define the strategy in advance of the production phase results in fewer mid-stream production changes and higher efficiencies in planning. Dox’s how: Develop a strategic brief that outlines the overall approach, including key objectives, target audience, and messaging. This document guides the project from concept to execution and is essentially a creative agreement with your client about the direction of the project. This document helps you to stay on-track through the design and planning process, so your client doesn’t change direction or objectives unexpectedly and helps keep the whole project moving smoothly towards production. The strategic brief, also referred to as a creative brief, starts as a high-level question-and-answer narrative that helps translate an idea into a plan. The key elements of the strategic brief are: Objective & Vision Target Audience Key Messaging Components & Elements Metrics of Success Timeline Startup Direction

Kristen’s reflection: The following steps outline the fundamental processes we apply for initiating an event and the associated paperwork used to track the details. Once the baseline procedures are understood, staff are encouraged to tailor their paperwork to suit their individual style and the way they like to work. This is different for everyone. Startup Workflow: The objective of the workflow document is to define a project’s initial steps and establish a schedule that guides the project from concept through execution. The workflow details the steps required to complete each phase of the project and includes team briefing and client meeting schedules, deadlines for each phase of the project, and responsibilities of each team member. The workflow outlines the method of fulfilling the event strategy and is the primary project management tool.

The Start to Finish Playbook on How to Fund and Produce an Event #1. Event Production And Managing Your Project

We use Smartsheet to create and manage our workflows, but there are many ways to build and manage a workflow and the accompanying planning materials. The format and method should reflect your organization’s style and constraints. Build the tool to suit your needs. The following is an example of a typical workflow format The Workshop uses for a festival-type event:

Here is a list of reputable programs that our team’s site designers recommend: Vectorworks: This is our go-to drawing program that is both PC and Mac supported. There are several packages depending on your industry; we use “Spotlight.” SketchUp: Dox likes to use this program because of its visual interface, and it has easy 3d and flythrough capabilities. Adobe Illustrator: Dox uses Illustrator for quick drawings that receive graphics and illustrative imagery. This program is also great for integrating with other Adobe products and presentations. Apple Keynote: Our lead designer uses Keynote as a fast way to prepare presentations and create renderings and communications with our clients. He uses this program as a drawing and rendering program. Auto CAD: We don’t use AutoCAD because we are a Mac team, but this is the PC-world’s go to program. There are tons of other programs that you can discover for yourself. A useful site plan will represent the space use of your event, showing how booths and structures relate to each other and the relative position of each. A good site plan includes any stages, booths, perimeters and entries, parking, security, fencing, signage, fire lanes and emergency exits, seating, traffic control, guest and staff pathways, and other physical elements. Here is an example of a site plan from an event at the Pike Place Market:

At The Workshop, each event is assigned to a Project Manager. The Project Manager then establishes the workflow, and determines a set of “critical documents” needed. The following are a set of typical critical documents that we rely on for every project. Site Plan: The site plan is a visual layout of the event space that shows the location of key physical elements of the event site, such as stages, booths, concessions, and emergency exits. We use a CAD-type program called Vectorworks to create our site plans. Vectorworks is a scaled drawing program that requires training and practice. The advanced functions suit the detailed needs required of The Workshop’s site plans. However, there are many other drawing programs that would be sufficient for smaller scale and less complex events.

The Start to Finish Playbook on How to Fund and Produce an Event #1. Event Production And Managing Your Project

Alexandra’s reflection: It may seem daunting at first when learning a new program but staring at a blank document is not going to get you anywhere. Focus on one element at a time and start adding things in. You can adjust for flow later, just get all the necessary pieces on the page first.

Production/Onsite Schedule: The production schedule, also referred to as an onsite schedule, is a detailed breakdown of all production activities, covering everything from initial setup to final teardown. This should include the full scope of arrivals, vehicle movements, load-in and load-out procedures, permitting timelines, surrounding impacts (such as sunset or events happening nearby), and other relevant details.

The Workshop’s Theology: A key essential to include, as it offers valuable insight into the physical elements of a layout. It serves as a crucial tool for providing all the detailed information of the drawing in one place. Event Map: At The Workshop, we call the staffing chart an “Event Map.” The event map is a visual representation of the people working on the event. It is designed to show the scale, scope, and complexity of the human resources we plan for during an event. The event map shows who reports to whom and their field relationship to one another.

Katie’s reflection: Among The Workshop staff, we commonly refer to this document as the “Onsite Schedule,” since it outlines all the actions and details related to being at the event location.

The event map also helps clarify the scale/size of your hiring and training plan. It gives your team a visual reference for their roles and how each event role relates to others. The following is an example of an event map from a previous event:

The Start to Finish Playbook on How to Fund and Produce an Event #1. Event Production And Managing Your Project

Below is an example of a production schedule from one of our grand opening events:

Event Service Order: The event service order, or ESO, is a document that organizes the schedules used in planning the production of an event. For each event, we create a series of detailed documents that define each production element specific to the event. The ESO typically includes information and schedules with regard to security, crew, supplies, service rentals, load-in and out, parking, stage technology, signage, decorator/tent needs, and trash /cleaning.

Janae’s Reflection: Feel free to customize this document to meet your specific goals and to aid in communicating with your team and partners.

We typically create our production documentation in Excel spreadsheets. The ESO is designed to be shared with partners and service providers as needed.

The Start to Finish Playbook on How to Fund and Produce an Event #1. Event Production And Managing Your Project

Run of Show: The run of show is a detailed schedule the production team and stage manager use that outlines the timed elements during an event. The run of show includes programing that starts and ends at specific times. It can also include timing of activities, gates openings and closures, stage and site programs, and any other timed elements at an event. This document is also commonly referred to as an event timeline, show flow, or event production schedule. The purpose is to communicate the event schedule and inform crew of their timing to ensure that the event flows smoothly. Following is an example from one of our events:

Contact List: Maintain an up-to-date list of everyone working on the event (service providers, client team, Workshop team). Be sure to include contact names, phone numbers, and backup contacts in case of emergencies. Signage: Create a detailed schedule to ensure all necessary signage is designed, produced, and installed correctly. This includes directional, brand, program, traffic, entry, and health and safety signs. Supplies: Keep an inventory of all supplies required for the event, from pens and paper to specialized equipment. Ensure there are backups of essential items.

The Start to Finish Playbook on How to Fund and Produce an Event #1. Event Production And Managing Your Project

Pictured: New Year’s Eve at the Needle

Points-of-Failure: We often build a plan that lists the most likely failures that might occur with an event plan. In addition to the safety and emergency plan, the points-of-failure plan typically includes elements such as weather, traffic and road access problems, overcrowding and crowd flow issues, neighborhood complaints, and utility failure.

Hospitality: Creating a hospitality plan during the production planning process is crucial for ensuring that the event team, crew, and entertainment receive the necessary support and accommodations, which helps to maintain their productivity and satisfaction throughout the event.

Plan for potential issues that could arise during the event.

Mr. Hospitality, Al Parisi, is always looking out for our teams and our vendor relationships Organizing Staff: Events usually require a large and diverse team of crew and volunteers, and sometimes organizing these teams is the hardest part of operating a successful event.

Pictured: New Year’s Eve at the Needle

Once the pre-production plan has been developed and approved, we then prepare for load-in and the show run. Working onsite is a very different experience than planning, and it takes a different level of attention, patience, discipline and teamwork.

The Start to Finish Playbook on How to Fund and Produce an Event #1. Event Production And Managing Your Project

Event Day For our large outdoor events, we usually employ the following list of staff and crew onsite to manage an event: Producer: Oversees the entire event, from concept to execution. Responsible for ensuring the event meets its objectives and policies. Project Manager: Manages the project timeline, oversees the budget, and ensures all tasks are completed on schedule. In your case, Project Managers often double as Event Managers, focusing on both the logistical and experiential aspects. Event Manager: Typically responsible for the guest experience, ensuring the event runs smoothly from the attendee's perspective. This role can overlap with the Project Manager but focuses more on the operational execution. Area Manager: Supervises specific sections of the event, such as the kids' zone or bar area, ensuring these areas are well-managed and meet event standards.

Production Manager: Manages the technical and production aspects, including setup, equipment, and on-site logistics. Site Manager: Oversees the physical setup of the event, ensuring everything is built and positioned according to the site plan and run the crew and labor. Communications Manager: This person handles communication needs, from announcements during the event to coordination with staff and service providers. And equally important, oversee emergency and safety procedures once they occur. Run Crew: The team responsible for executing tasks during the event, from stage changes to managing crowd flow. LI/LO Crew: The load-in/load-out crew, responsible for the setup before the event and teardown afterward. Concessions & Booth Manager: Manages the food, drink, and merchandise booths, ensuring they operate smoothly and meet the guests' needs. Administration: Handles paperwork, contracts, and any administrative needs throughout the event.

Alice sez: Each role on the production team is critical to the safety and success of an event. From a Producer’s ability to politic and problem solve, to a site manager’s attention to detail and familiarity with the event map, to the crew’s willingness and positive attitude, each impacts the guest experience during an event. The Workshop espouses teamwork and mutual respect across the roles outlined in the event map, before and during each event.

ABOUT THE AUTHOR David Doxtater, The Workshop David founded The Workshop in 1997 with a vision for inspiring people to connect with new ideas, celebrate achievement, and participate in making our world a better place. Following this vision, The Workshop has produced hundreds of events, concerts, galas, festivals and community celebrations that strive to build stronger engaged community.

The Start to Finish Playbook on How to Fund and Produce an Event #1. Event Production And Managing Your Project

Chapter 2

Pictured: Spokane Hoopfest

Sponsorship: Selling to the Right People By Riley Stockton, Spokane Hoopfest

In this chapter, you will learn: Finding organization and research Sponsor Proposals Event Sponsorships in action Introduction It is necessary to start with the fact that like many of you, I have never been in a real sales position. I have been around sales people and I understand the concept but actually picking up the phone or visiting locations to sell products or services I have never done. This is part of why so many people in the event industry struggle with the idea of selling sponsorship. It feels like you are asking for money to put in your own pocket but that is 100% not the case. Whether you are asking for money or in-kind donations, it is vital to realize that a company’s contributions to your event is beneficial to all parties involved. Every single event I have ever been to has unique items that any business would love!

Maybe it’s the passionate participants, the event location, or the staff with big ideas but every event has at least one sellable item that a business would want to be a part of. The million-dollar question though is how do you know who is right for your event and how do you get them to be involved in your event? In this chapter, we will be walking through how an organization finds potential sponsors, how we pitch them on the idea of partnering and what are easy sellable items for any event! Finding Organization/ Research The first and possibly the hardest part of selling sponsorship comes from finding the companies/businesses you are going to target. But before you can figure out the companies to target, it is smart to do a self-evaluation of your event. Here are the basic questions each company should ask itself before starting to look for sponsors: What is our event and what makes us different? What are the sellable items at our event? What size event do we have and are we local, regional or national?

The Start to Finish Playbook on How to Fund and Produce an Event #2. Sponsorship: Selling to the Right People

For my own event Spokane Hoopfest, I would answer this way:

All that information is pertinent when determining how to approach the company and what to ask for.

We are the largest 3 on 3 basketball tournament in the world that brings in 5,000 teams and 250,000 people to Downtown Spokane. Our tournament in 2024 brought in people from 41 states and 8 countries to participate in the event. A variety of different activation opportunities that span the entire event, a large market of people from all around the country, a passionate group of participants, etc. National but we want a nice split between all three sections (local, regional, national)

Lastly, getting in the door, especially with some of the bigger companies you are targeting, can always be a tough battle. At Hoopfest, we are confident that if we can get in the door with a company then we can show the value of being a part of the event.

However, every event is going to have different answers and I think there are many pros and cons to how ever you answer the questions above. But it’s how you answer them that should dictate who you go after. Once you have those questions figured out the next step is figuring out who to target. That comes with these questions: What are our biggest needs? (money, equipment, volunteer support, etc.) What companies or industries are supporting similar events? With our event size, should we target local, national or both types of companies? This is going to be a great starting point for anyone looking to find sponsors! Once you have your answers, that will dictate the companies to search for in your area. These questions may sound oversimplified but it is truly the way we start when looking for potential sponsors. The other extremely important step would be the research into the company and people you will be working with on the sponsorship. Before we approach sponsors, we try to do a deep dive in a couple sections of the business including but not limited to: mission/values of the company, what they have sponsored in the past, sponsorship/marketing personnel, and if we have any “in” within their organization.

However, the hardest part of our sponsorship usually comes from just getting into the office with the right people. We use every network possible to get in to these offices and see the right people. In the past three years at Hoopfest, we have used staff, board of directors, operating committee members, volunteers and other sponsors to get in to see a potential sponsor. Keeping your network strong and positive towards your event will only continue to open up opportunities for your event to take advantage of. And although it might be awkward to ask for favors the worst thing your network or a company can say is no. But I can guarantee that if you don’t ever ask or get in to see the sponsors then the answer is going to be no as well. Sponsor Proposal The next part of sponsorship is what I would say is the second-best part of selling any sponsorship or partnership (obviously the first is closing the sale). This fateful step is developing the sponsorship activation or opportunity for this particular sponsor. The majority of these opportunities are going to be fairly simple. These will be the lower-level sponsors that get their names/logos on some programs or tshirts and are usually one of many. However, for the bigger sponsors this is where your event can set you apart or make it special for the people you are partnering with. Most event companies have a tiered approach to sponsorship which is smart to do and makes them manageable during the busy seasons.

Pictured: Spokane Hoopfest 2024 Tip-Off Party

The Start to Finish Playbook on How to Fund and Produce an Event #2. Sponsorship: Selling to the Right People

Most people have seen the tiered approaches before but the majority of people use a Gold Level, Silver Level, Bronze Level approach. As a side note, personally I wouldn’t want to use those because I’d never want a sponsor to feel like they are 2nd or 3rd place based on what they can spend budget-wise especially if they are a small, local company. We use Major, Official, and Supporting Level and I don’t think it really alienates anyone but that’s just us. However, this is a chance for you and your team to be creative and make up tiered approaches that make sense for your company. When developing what goes in each of the packages you will need a combination of specifics based on the level (i.e what is the cost of the sponsorship level) and activation they get. In the tiered approach, you need to make sure the difference in the packages and costs are significant enough that they will want to have the higher tiered approach. If it’s not a substantial difference then why spend the extra money for not an equal amount of the benefit.

At the Event The last part of the sponsorship is execution of the actual event and sponsorship! The execution and planning should be taking place in the lead-up to the event and you should have meetings and plans in place for months before the actual event! At Hoopfest, we believe we start selling for next year’s event at the current year’s tournament so we put in a lot of time and effort to make sure sponsors have a good time and that whatever they are trying to get out of the event is done! Not only are we over-preparing for the event but we are making sure key people are touching base with the partners over the weekend as well. We have staff, board members and volunteers assigned to these key sponsors to make sure everyone is taken care of and that we are doing as much as possible to ensure they have a good experience with us.

If the middle level sponsorship gets you 5 tickets to a random VIP area and the highest level gets you the same then you should reevaluate your benefits. For our event, we have a VIP area with free food and drinks and our highest sponsorship gets 40 tickets, middle gets 20, and lowest gets 8. The hard issue we run into is some people REALLY care about those smaller incentives and some wouldn’t even notice if they were gone. Which leads me into the most important part of the sponsorship proposal, what are they getting for their sponsorship? Developing fun, engaging custom activations takes time and creativity. At Hoopfest, we have roughly 10-15 custom activations that are specifically tied to a partnership. A lot of them are event areas already with a sponsor attached to it. For example in 2024, we had the Hoopfest Store presented by Dick’s Sporting Goods. We had Dick’s signage and bags but the majority of it was Hoopfest-run operations from the merchandise to the staffing. However, there are some that are completely sponsor-led. We have a showcase and clinic run by one of the local universities that targets kids to play with the men’s and women’s college basketball players on one of our courts. Both activations we put time and effort into but we do much less with one during the days of Hoopfest than the other and that’s okay.

The Start to Finish Playbook on How to Fund and Produce an Event #2. Sponsorship: Selling to the Right People

Our sponsorship staff member can only be at one place at a time and so if we have multiple custom activations going on at once it’s imperative to involve people than just one or two. This is also a chance for taking good partnerships to great sponsorships. If you can give any extra smaller sponsorship items to the people connecting with sponsors (i.e. more tickets to the VIP area) at the day of event, it always looks like you are thinking of them and making their experience great. The other part of the event that is crucial to sponsors is capturing photos and statistics to show how many people were affected by their sponsorship. For example, we had a sponsor that wanted to have a chance to talk with city officials and so we made sure we had people there from the city, having them take pictures with those companies as well!

After the event we capture the entire sponsorship into a packet with information. We have everything the sponsor is looking for from participants: economic impact, photos, attendee numbers, etc. We are trying to show them why it was great to sponsor this event this year and why they should do it again next year. Conclusion Truly, sponsorship is one of the hardest things to do for events. This could be a whole book instead of just one chapter. However, if you can create those special relationships with companies and make their sponsorship worth it that will make your event better and getting them back will continue to be easier. There are companies of all sizes, in every location that want to be a part of your event. All you have to do is find them, get in the door, sell how great your event is and let the money start to roll in. And remember, if you don’t ask, we know the answer already.

ABOUT THE AUTHOR Riley Stockton, Spokane Hoopfest Riley Stockton is the Executive Director of Spokane Hoopfest, the largest 3on3 basketball tournament in the world with traditionally over 6,000 teams and 24,000 players. Riley grew up in Spokane and started playing Hoopfest when he was 6 years old and has spent many years playing, volunteering and participating within the Spokane Hoopfest/AAU Organization.

The Start to Finish Playbook on How to Fund and Produce an Event #2. Sponsorship: Selling to the Right People

Photo by: Eric Frommer Photography

Chapter 3

Pictured: Wintergrass Music Festival

Key Components

of Successful Grant Writing By Wendy Tyner Tyner & Associates

In this chapter you will learn: Diverse funding Values of Grant Manager Funding Cultivation Grant retention Securing Funding Through Grant Proposals This chapter addresses how to successfully raise money for your for-profit business or non-profit organization through grants from government agencies, trust, corporations, and foundations as opposed to raising money from direct solicitation or through fund-raising events and galas. Before you decide to enter into the competitive world of grantseeking, work with your team to be certain that submitting grant applications is a priority, and a good fit for your organization’s strategic/financial plan and budget.

Diverse Funding Models Businesses and organizations that are able to sustain themselves and thrive over time develop budgets that include diversified sources of revenue. A good budget typically includes income from Earned Income as well as Contributed Income. For example, the budget for an organization that puts on a festival will show Earned Income from ticket sales, livestream and merchandise sales, raffles, student registration, hotel rebates, and/or exhibitor/vendor fees. Contributed Income for such an organization would include donations from individuals, foundations, trusts, businesses, corporations, and government agencies, sponsorships, in-kind support, endowment payouts, or other investments. Organizations or businesses that can produce income in multiple categories create a safety net when an economic downturn reduces or eliminates revenue from one or more traditional funding sources. We had economic downturns in 2001, 2008, and 2011. The pandemic in 2020 had a particularly negative impact on the music and

The Start to Finish Playbook on How to Fund and Produce an Event #3. Key Components of Successful Grant Writing

festival business when it brought live performing arts to a screeching halt, thereby causing dramatic drops in Earned Income. Festivals and events that relied heavily on Earned Income had a difficult time sustaining themselves past 2023. However, those who had created a diverse funding model did better during those tumultuous economic times than those who did not. During a recent marketing conference, the Bellevue Downtown Business Association reported that it will take six years for hotels to recoup the losses they suffered during the pandemic. Those festivals who had steady revenue of Contributed Income suffered less of a financial burden during those challenging times, and will have a better chance to more quickly recoup their losses. Those businesses and organizations who sought and received third party Covid grants from National, State and local grantmakers during the pandemic were able to keep afloat during those uncertain times, while many organizations without such alternative sources of revenue had to close their doors. Regardless of the state of the economy, for-profit entities and non-profit organizations have opportunities to seek grant funding for their festivals, events or other activities year-round. Creating a business model that includes diverse sources of funding revenue, including grant awards, insures a steadier stream of income, and a greater likelihood of weathering an economic storm while ensuring greater finance success in the future. Understanding the Difference between Grant Awards and Individual Giving Government agencies, trusts, corporations, and foundations generally have different incentives for their giving than individual donors, who often give to organizations they have personal and emotional connections with. Grant-making entities have a clear set of criteria for the types of grants they offer, and usually set very specific guidelines for the public benefit or social impact they want to see delivered from their grants. Many use a giving formula based on your organization’s annual budget. Before submitting a written proposal for a grant, the grant writer must know in advance if the grantmaking entity will support the purpose and mission of the organization submitting the proposal for it even to be considered for a grant. Solicitations to individual donors can be more flexible, and offer opportunities to establish closer relationships with individual donors regardless of the purpose of the requested donation.

Grant-making entities rely almost entirely on the specific details of the grant proposal and its alignment with the grant-makers purpose and eligibility criteria whereas individual donors consider the organization’s past accomplishments as a prediction of a successful future before a donation is made. Qualities, Attributes and Values of a Grants Manager Before your organization embarks on an ambitious grant-writing campaign, it’s essential to have a person in your organization or available to your organization who can deal with both the acceptance and rejection of grant proposals. Guidestar, Forbes and other respected sources in the grant community describe such a person as someone who is thick-skinned, persistent, flexible, gives others credit for successes, puts the needs of the organization ahead of their own, is passionate, has unrealistic expectations and can accept “no” for an answer. They should also be altruistic, empathetic, have a heightened sense of social awareness, be politically engaged, issue-driven and financially savvy. If your organization doesn’t have a person that fits these characteristics, consider finding someone who does. This will increase the likelihood of your organization or business being successful in the grant-seeking business. Sources of Grant Funding Grant awards are available through national, state and local governments, corporations, foundations and trusts. Most government grants have firm deadlines for submission of applications or proposals, whereas trusts, corporations and foundations and may or may not have hard deadlines, or may have year-round opportunities to submit grant proposals. Government Funding Government funding is often available through your OWN city, county and state. A grant award from your city may come from Lodging Tax Advisory Committee (LTAC) funds, or the Arts or Economic Development Departments of your city. LTAC funds may be distributed from a city (i.e. Bainbridge Island, Walla Walla, Puyallup, Prosser, Port Angeles, Lacy, Snohomish) or from a city’s tourism office (Bellevue). Check with your local chamber of commerce to find out about grant-makers in your city.

The Start to Finish Playbook on How to Fund and Produce an Event #3. Key Components of Successful Grant Writing

Some state and local grants can be obtained as a line item in the local government’s budget, either as a recurring support for your organization or for a specific ongoing event or activity. Grants obtained from your county government may include Seattle Office of Arts and Culture, Ports of (Seattle, Port Angeles, Tacoma, Bellingham, Centralia, Bremerton, Allyn) and 4Culture. The state and national sources of funding opportunities are nearly endless including ArtsWA, HumanitiesWA, ArtsFund, the Department of Commerce, the National Endowment of the Arts (NEA) National Endowment for the Humanities (NEH), USDA and WSDA (for agri-tourism), Amtrak and the Washington Lottery. In many cases, if you are awarded a grant, you may be required to provide or identify matched dollars for all or a portion of the grant award. It may also provide for reimbursement of expenses incurred rather than advance payment of the grant proceeds. In reimbursement cases, be sure your organization has the necessary match, znd can front the costs of the event pending reimbursement. Most grant applications, awards and required reports to the grant maker are online and easy to track. Government grants can take as little as two hours or up to twenty hours to complete depending on the requirements of the grant. Governments grants often ask for your leadership demographics or a Letter of Inquiry (LOI) in advance. The grant application or proposal itself will typically require narrative information about your organization’s history and activities along with various attachments such as a recent 990, a list of board of directors and perhaps senior leadership, latest strategic plan, audited financial statements, auto-deposit information for awards, annual budget and related finance reports, annual reports, project timelines, and samples of program and marketing materials.

If you are fortunate to receive a government grant, the grant reporting requirements may range from not having to submit a formal report at all to producing regular and lengthy reports documenting the metrics and impact of programs, a discussion of successes and challenges encountered in the project or activity, marketing material, invoices, receipts and other supporting materials. A failure to submit timely reports may disqualify your organization from applying for that same grant in the next grant cycle. Corporate Funding There are corporate grant funds available for fiscal sponsorships, general operations or for innovative programs. We live in a state that has one of the highest percentages of corporate giving through grants. Major corporations like Alaska and Delta Airlines, Bank of America, Boeing, Starbucks and Lululemon all have grant programs offering clear eligibility guideline to consider when applying for a grant. Not to be confused with community foundations, many business corporations also have their own foundations which make charitable and business grants. Their grant application can be similar to government grants. However, they often want greater associative engagement within your organization, such as becoming a board member or offering volunteers. Don’t overlook the gaming business, as they offer some opportunities for grants (GameStop, Xbox and BigFish). Startups and newer businesses led by Gen X, Y and Z-ers should not be overlooked as younger business leaders represent one of the fastest growing demographic in charitable giving. When applying for a grant from a corporation, research the business for other funding opportunities. The Puget Sound Business Journal’s Book of Lists is worth its weight in philanthropic gold as a resource guide providing an annual report of major corporations and community giving opportunities.

The Start to Finish Playbook on How to Fund and Produce an Event #3. Key Components of Successful Grant Writing

Seeking corporate grant funding at the national level may garner a significant grant award for your programs, but don’t overlook the possibility of approaching your local branch or company of a national organization. Their business model may include a community giving program run at the state or local level. Local offices of National businesses may also have discretionary funding available from their local store or branch. Smaller businesses or start-ups may not have a formal grant process, but it’s worth researching. Local giving may be based on marketing strategies rather than supporting a cause in your community. Community Foundation, Individual Trusts Community foundations award grants to help improve the lives of individuals in a particular geographic area. Such foundations hold assets of local individuals, families and businesses and may have substantial financial resources available to support non-profits in their communities. Grants can be secured from community foundations located throughout the state, including The Seattle Foundation, Greater Tacoma Community Foundation, The Norcliffe Foundation, Innovia Foundation in Eastern Washington, Community Foundation of Snohomish County, M.J. Murdock Charitable Trust, The Paul G. Allen Family Foundation Similar grants may also be available from the from the 29 recognized Washington tribes. Such foundations will offer guidelines on how to apply for a grant. Many foundations and charitable trusts are designed to support non-profits, but they accept proposals on an invitation-only basis. The more the community knows about your existence, mission and your social impact on your community the greater the likelihood of being invited to submit a grant proposal. THE FUNDAMENTALS OF GRANT WRITING Organizational Needs Before you begin to research, write and submit grant proposals, it benefits your organization or business to generate a list of initiatives that include current programs, any expansion or new programs that need funding, and a ranking from first and last in terms of most in need of receiving grant support.

This exercise provides a roadmap for your organization to follow in submitting a grant proposal and in discussing your organizational needs with a grant maker. Conducting a needs assessment through the SOAR Analysis (Strengths, Weaknesses, Aspirations and Result), a newer version of SWAT, or the 501 Commons Online Organizational SelfAssessment tool, will help your organization prioritize your need and narrow your grant research. Using your organization’s strategic plan is also a tool to guide your grant writing. The information in the strategic plan already underwent editing scrutiny and can be cut and pasted into a grant application. This will save time and energy when attempting to write the history of your organization, program descriptions, goals and objectives. This exercise will help you identify the needs of the organization. The organization’s needs may prioritize funding for: General Operations Capital Improvements Heritage Projects Volunteer Program IT Services Capacity Building Equipment Artists-in-Residence Intern Development Legacy/Endowment Marketing Military Engagement Art Installations Agri-tourism Diversity, Equity, Inclusion and Justice Finally, does your organization have a gift acceptance policy? A gift acceptance policy will help guide your research and acceptance of a grant award. A few examples of a policy may include: Is the prospective business aligned with your mission? Who reviews a grant agreement once received? Is the business in good standing? Will your organization accept both unrestricted and restricted funds? The greater clarity the grant writer has in advance about the organization’s needs and processes, the easier it will be to submit a proposal.

The Start to Finish Playbook on How to Fund and Produce an Event #3. Key Components of Successful Grant Writing

It is disrespectful and demeaning to characterize philanthropy otherwise. It also reveals a poor understanding of the critical role philanthropy and humanitarian causes play in our world. Securing Funding That Will Sustain Your Organization Over Time Time and effort are of the essence. Using your time efficiently will enable your organization to achieve greater success in fundraising. Always carefully assess the time it is likely to take for your organization. On the other hand, a $2,000 grant award will help diversify your income, so the undertaking may be worthwhile. To research available grants, submit a quality grant proposal, file all necessary grant reports before deciding if the payoff is worth the time and cost in seeking, spending and reporting on the grant. Current Giving Analysis There are a number of organizations that offer annual philanthropy reports. The Benefactor Group offers GivingUSA which tracks the latest in national trends of corporate, foundation and individual giving. According to GivingUSA’s 2024 report, charitable giving is at an all-time high. However, adjusted for inflation, giving was down. Giving from individuals remained the highest level of giving in the US, representing 67% of contributions. Foundation and Corporate giving followed closely. Giving for education, public and society benefit and Arts/Culture/Humanities led the way in overall dollars given. There was an overall 9% increase in giving since 2022 including individuals, corporations and foundations. This is not to dissuade your organization from submitting grant applications in all eligible categories, but rather gives you perspective of recent giving trends.

It can take three to 20 collective staff hours to complete a typical grant application or proposal. This includes time spent on research, reviewing the grant criteria and eligibility requirements, gathering all documents required, actually writing the proposal, having it reviewed, edited and approved by the organization and submitted. Is it worth ten hours of your time to submit a $2,000 grant proposal on which you just break even?

Conveying a Positive Attitude The way in which we talk about our organization’s funders should demonstrate a positive, collaborative effort to achieve mutual humanitarian results. Do you “schmooze”, “work the room”, “go after” a funder, ask them to “pony up?” Do you “hit people up” for money? These kinds of terms reflect a negative approach to philanthropy. Other ways to describe the process of seeking philanthropic support for a good cause is to embrace opportunities for meeting like-minded people, inviting interested people to learn more about your organization’s exciting and impactful programs, or to create a partnership to accomplish good in the world.

The Start to Finish Playbook on How to Fund and Produce an Event #3. Key Components of Successful Grant Writing

All of the advanced preparation will ease you into the next phases of Cultivation, Solicitation, and Stewardship. The three components of securing grants is Cultivation, Solicitation and Stewardship. Each component plays an integral role in your future fundraising success.

However, there are times a $2,000 grant award can be leveraged. A grant award can help your organization diversify its funding and make you eligible to apply for other grants. Receiving any grant provides an opportunity for sharing positive results with high-net donors or may be used for marketing opportunities. Securing modest grants from the same grantor over the course of 10 years is less costly to the organization than finding new individual donors each year. Other ways to make grant seeking efficient are to: Generate a list of potential grantors using the concentric circle model- start with your board, local community and volunteers. They may already be aware of your mission and community impact. Create a spreadsheet of potential funders categorically using a tier 1, 2 or 3 model based on their current giving and other giving patterns such as gifts for education, the environment and religious giving. (Those who give to faith groups tend to give to other non-profit organizations.) Include a column of the amount the grantor will give, another column for your request and final column that includes your projection. Once the projection is totaled, take 25% off. The final total offers a realistic projection of future grant awards. Use this as an internal worksheet. Develop a strategy that includes the primary grants manager, Executive Director, and/or board members and their roles. That provides guidelines to communicate to funders. Submit the number of grant proposals you and your team can provide quality management throughout the year that includes three acknowledgments, reports and invitations to related events. This will help ensure future funding. It’s essential to write a proposal that is aligned with the grant criteria rather than design a program around their grant criteria. Seek funding for general operations and areas of advancement.

Cultivation is a team sport. The primary person who is responsible for securing grant awards will find greater success if others are engaged during the process. The Executive Director is the most familiar with all programs, finances, Board of Directors’ priorities and vision. Include the Executive Director early into the process. Others to include are board members, program directors and even key volunteers. Who can tell the story well? Who can tell the story in a compelling way? The Grants Manager will be the primary person who interacts with the funder, however. Find ways to develop a relationship with others on the funder’s team. Any person you can inform or involve from the grant maker’s organization will help encourage the funder to consider a greater financial investment in your organization. But wait…. there’s more! Consider the following cultivation steps: Thoroughly review the funders’ website and annual reports. What are their philosophies, values and grant guidelines? Invite representatives for coffee, events, shows, plays, performances, backstage, receptions or VIP tours. Introduce the potential funder to key people such as a notable donor, staff or board member. Invite the finders’ colleagues to become volunteers of your organization.

The Start to Finish Playbook on How to Fund and Produce an Event #3. Key Components of Successful Grant Writing

Solicitation Whenever possible, set up a meeting with the grantmaker prior to writing a proposal. This could be the best possible use of your time. By doing so, you’ll know in advance if it’s the right fit for your organization and the funder. Be sensitive to their busy schedules when initiating a correspondence. When setting up a meeting, identify the form of communication that best suits them. It could be face to face, a virtual meeting, or even a telephone call. Send a short but informative email requesting a meeting to talk about potential funding. The subject line should offer clarity to the recipient. “Business/foundation name grant funding inquiry,” or “name of the grant inquiry.” This allows the potential funder to know the email content. Keeping the subject line under seven words will encourage a higher open rate. The next steps include: Be well-prepared. Anticipate questions that relate to basic facts about your organization. Share information that helps the person understand who you are. Allow time for brief socializing, but get right to the point. If the meeting is in person, meet at their preferred location. Arrive early! I had an existing donor who gave to the organization. I arrived 10 minutes in advance and he applauded my arrival. He said there was no reason to meet now, because he was giving $25,000 to the organization! Don’t be extravagant in the location. Funders do not want to see your hard-earned money spent on a 5-star restaurant. Instead, meet in a local coffee shop. Better yet, meet in a location run by an existing sponsor, funder or donor, or a location that is aligned with your mission. The prospective funder may hear incidental comments about your organization. Articulate your mission but know their mission and goals. Let them know you have reviewed their grant guidelines thoroughly. Know and share the following: the year your organization was founded, where its offices are located, the idea, the need, budget, volunteerism, programs, public benefit. Share three-five initiatives. Create a one-sheet of priorities that include your top priority or need, and two-four more that existing programs. Unless the grant guidelines are asking for new projects, refrain from suggesting new programs unless it’s to evaluate, review or revise and existing programs. By the end of the meeting, be sure to have clarity of what they will fund. Listen to their ideas. There may be opportunities to incorporate their recommendations into your proposal.

Do they want sponsorship benefits? What are they? Ask questions that lead them towards their interest and appreciation for your mission. Refrain from doing all of the talking. Ask openended questions to create dialog. They will recall only 30% what you say in three days. Conversely, they will recall 70% what they said in three days. For example, ask what was the last event they attended? What did they like about it? Follow up with words of gratitude. It can be an email or written thank you note, depending on the meeting. Include a copy of the initiatives. Apply for the Grant Proposal Your organization may be mission-driven, innovative, creative and award-winning, but if your proposal doesn’t have precise language that answers their questions, it could be turned down. Once it’s turned down, it’s difficult to apply again without added effort to convince them otherwise. As simplistic as it sounds, create a Word document of the questions to use as a draft. Write key thoughts or phrases in each question. Once you have a better understanding of the entire proposal, write the draft proposal in the Word document, not in the cybergrant. There is always a chance you might accidentally submit the proposal before editing. The following strategies will enable the grant reader to have a better understanding of your request: Read the eligibility criteria and the grantors’ values before answering the questions. Are they focusing on Diversity, Equity, Inclusion and Justice. Do they prioritize marginalized communities? Is well-being a value to the funder? Ask only for the amount stated within the guidelines. If it’s open ended, ask for what you need or state the campaign goal. Follow the Instructions Read all of the questions before answering the questions. Include information you want them to know, but wasn’t asked in the application. Provide information of existing funders or pending funding. This illustrates your ability to work with others to help sustain your program. Invite two people to edit. They may offer not only grammatic recommendations but content as well. Submit early in their fiscal year if there are no deadlines, as corporations may exhaust their annual funding. Include additional documents, i.e. audit, strategic plan, advisory committee member names, awards. Follow instructions! As a grant reviewer for a 501 (c) (3) non-profit organization, this is routinely a common problem.

The Start to Finish Playbook on How to Fund and Produce an Event #3. Key Components of Successful Grant Writing

Use Compelling Language Consider the grant readers as diverse thinkers who fit into a category of “head, heart or soul”. Use language that relates to different kinds of thinkers. Some are more financially savvy, while others believe in the humanitarian cause or how the organization has an emotional impact on people. Use strong and compelling language, i.e. “advance”, “increase”, “engage”, “expand”, “foster”, “build”, “promote”, ”improve”, “benefit”, “transform”. Offer all information requested. A question may have three or four questions embedded into one question. Be sure to address all of them. Many funders use a point system to evaluate the applications. Each question earns a certain amount of points. Don’t overlook any question. Mention that the organization is in one of the ArtsWA 18 “Washington Creative Districts” if applicable. https://www.arts.wa.gov/creative-districtcommunities/ Use quotes from influential community members, recipients or donors. Keep it Sequential Include all of categories below even if they are not part of their questions. Your answers will provide greater clarity in all that you do. Each answer to a question should flow into the next. 1. Current Organization/Program Description 2. Needs assessment 3. Proposal- what’s the primary idea? 4. Quotes/Testimonies- Use quotes from recipients of your program, donors or other funders. 5. Timeline 6. Public Benefit- (Social, Emotional, Economic, Environmental Impact) 7. Measurable Outcomes- Metric or Affective Based, examples:

STEWARDSHIP Thank you! Thank you! Thank you! The entire process of stewardship is funder-centric. Think of the process of stewardship as circular rather than linear. You cultivate a donor, solicit an award and thank a funder, and then you start all over on the next grant from this same donor. Each process gracefully weaves itself into the next, more like a circle i.e., cultivate, solicit, steward, cultivate, solicit, steward, and so on. Although a grant award came from a corporation, foundation or trust you may not know, it is still a priority to develop long-lasting relationships with your grantors. The long-term goal is to provide greater breadth and depth to your partnership. In order to thank and to steward grantors, consider the following strategies to maintain a strong partnership: Create a certificate, or artwork they can display illustrating their support and involvement. Write Letters to Editors, FB posts. Include their names in feature stories in the media. Honor people or the organization at your event. Ask them to speak at your event Use a slideshow at your event to acknowledge a funder. Use more than a logo. Find pictures of the funders’ associates engaged in your mission. People love looking at dogs and children. Ask for their quotes/testimonies to use for your communications. Nominate a grantor through a business organization, service group (Rotary), or a trade organization. Send postcards and other greeting cards that reflect your programs. Send a birthday or sympathy card, as appropriate. Remember, there is no appeal. You are sharing information about your organization. Send get-well cards, as appropriate.

1. Increase attendance by 4% 2. Increase unique click-throughs by 3% 3. Review written reports from students, parents 4. Produce four festivals within the year 5. Provide scholarships to 100 registrants

The Start to Finish Playbook on How to Fund and Produce an Event #3. Key Components of Successful Grant Writing

Be aware of confidentiality in internal donormanagement records. Refrain from recording personal information that was meant just for you. Personally deliver or mail items that are either mission-driven or personally related, and not your typical swag. Attend meetings, accept offers to be on committees. Offer to present a PowerPoint at a meeting. Government stewardship is in a league of their own. Review A Guide to Effective Civic Leader Partnerships. (Appendix A) Expressing Gratitude Thank a grantor at least three times. It could be from the Executive Director, philanthropy team or board members. Thank different levels of people including the lead person, the CEO, commissioners or elected officials. Post a short video on social media, call, or send a card/letter. Cybergrants, and other electronic grant applications, have a built-in model for submitting a grant proposal, being accepted, terms of agreements and how to report. It’s essential to report to a funder as requested on time. If time is lapsed beyond the deadline, a subsequent proposal won’t be accepted. What are You Thanking Them For? What did you promise? Use metrics- number of attendee, number of social media posts, unique/gross click-throughs, etc. in your letter of gratitude. Report on what you proposed. A grant is intended to deliver what you said. If not, explain in full why you weren’t able to fulfill your promise. There are times an organization has to return the grant award. What impact did they have on your festival or event?, i.e., enhanced attendee experience, improved and/or expanded programs, free tickets to underserved communities, educational scholarships. The Key to Grant Retention Over Ten Years Provide ongoing communications- Written, video, hand-crafted, website, social media posts, postcards, videos. Invite for coffee, lunch, or to an event. Invite a funder to a private home for lunch or dinner. Meet without making a proposal to share your accomplishments and to thank them for support providing evidence how their support had social impact.

Patronize their business. Purchase items, as appropriate. Develop a relationship with three to five individuals from the grantor, and three to five people from your organization to help sustain the partnership in case anyone leaves the business or organization. Harnessing the Future It’s more cost-effective to receive a grant award for 10 years than it is to cultivate new grantors each year. Consider all grantors as people, and not just a financial supporter. They may want to become more involved in your organization or business. Ask for their feedback - a survey (direct or online, joint zoom meeting). This is your feasibility for potential support for the following year. Follow the ratio of 1:2. For every one correspondence of making an ask, create two occasions of not asking for support. After post-event communications and reports, inquire if they have an interest in supporting your event next year. Be sure to follow up to begin the process at an appropriate time. A Summary- The Top Nine Essentials to Effective Grants Management Identify the strengths of your organization. SOAR, 501 Commons Assessment Tool. Determine who will have the greatest success in grants management on your team. Meet funders in advance prior to submitting a proposal. Read the grant criteria and instructions. Read each question carefully without missing any additional questions incorporated into the inquiry. Express the organization’s gratitude three times. REPORT REPORT REPORT- The best report becomes your easiest ask. Enjoy what you do. Do what’s easy, well. It could be the research, meeting with grantors, writing the narrative in the grant application or thanking a funder. Do what’s easy, well!

The Start to Finish Playbook on How to Fund and Produce an Event #3. Key Components of Successful Grant Writing

APPENDIX A A Guide to Effective Civic Leader Partnerships and Sustainability: Communication Strategies for Prospective and Existing Funders ADMINISTRATION Approve a Government Affairs Charge/Policy by your Board of Directors. Identify a point person(s) whose primary role and responsibility it is to perform advocacy and communication tasks, and reports to their internal leadership team and/or board . Identify local, regional and state civic leaders, and stakeholders. Identify local advocacy and lobbying organizations and agencies. COMMUNICATIONS AND ADVOCACY Sign up for automatic reminders of upcoming city council meetings. Research background of civic leaders’ background and values . Meet with individuals or small groups of city council members at least annually. Describe your programs, highlight your economic and cultural impact, current needs, and offer your help to support the city’s Comprehensive Plan. Other topics to consider- the lack of increase in funding, your organizations’ vision to support Diversity, Inclusion, Equity and Justice. Offer to participate in collaborative efforts. Keep members informed as you expand and develop new programs. Attend city council meetings during Public Comment to inform council members about your organization and to thank them for their financial support. Acknowledge the city and key staff for their support. Invite staff, board and corporate partners to speak at city council meetings. Attend at least once a year. Attend city council study sessions when there are related agenda items. (Public comment is not allowed at study sessions.) Develop a relationship and work closely with city staff who support city council and the city manager. Request an annual Proclamation to be read at city council meetings every other year. Inform digital and print media when you will speak at City Council meetings.

Resources 501 Commons Assessment Tool- What are You Thanking Them For? What did you promise? Use metrics- # of attendee, # of social media posts, unique/gross click-throughs in your letter of gratitude. Report on what you proposed. A grant is intended to deliver what you said. If not, explain in full why you weren’t able to fulfill your promise. There are times an organization has to return the grant award. What impact did they have on your festival or event?, i.e., enhanced attendee experience, improved and/or expanded programs, free tickets to underserved communities, educational scholarships.

Send routine emails, invites, thanks and enews to all city council members. Send correspondences individually, not in a group email. Personalize the email. Send photos. Acknowledge government agencies and civic leaders in your enews. Ask for quotes to be used in your communications. Schedule FB posts to appear on future dates. “Like” civic leaders on their Facebook pages. Share relevant information on your organization’s FB page. Ask FB audience for feedback and comments. Include stakeholders using “@”, Tag and Share. Send written/email thank you letters to i.e., county and state civic leaders when as applicable to city funding 1-3 times each year. Use their official email and public business address. Participate in advocacy organizations’ efforts to meet with Representatives and Senators. Ask your corporate partners to advocate on your behalf. Acquire an Economic Impact Report from your “Visit_(city)_.com” COMMUNITY ENGAGEMENT Attend events hosted by Visitlocalcity.com, Rotary, Downtown Association, other agencies and non-profit organizations’ events. Be seen and show your support. Become members. Consider leadership roles within their organizations. Invite civic leaders to attend your event. Ask civic leaders to speak at your event. Introduce all of them at your gatherings. Always use their official email address and cell number. Invite civic leaders to participate in ad hoc/advisory committees. Offer to participate in city planning meetings that directly impact your mission, culture and economy. Offer to host city-sponsored meetings in your space. Create marketing tools that showcase a partnership between your city and your organization. Become a financial supporter of existing advocacy organizations. Created by Wendy Tyner Copyright 2021 Tyner & Associates Consulting Tynerassociates@aol.com 206.669.3931

ABOUT THE AUTHOR Wendy Tyner Tyner & Associates Wendy is the former Director of Philanthropy/Publicity of Wintergrass Music Festival, which she did for 18 years. Since 2017, she’s been the Board Treasurer for IBMA Foundation in Nashville. With a Master’s Degree in Education, Wendy values the importance of inviting all people of all ages and abilities to be exposed to music.

The Start to Finish Playbook on How to Fund and Produce an Event #3. Key Components of Successful Grant Writing

Chapter 4

Pictured: Ice Cream Served at Olympia Harbor Days Festival

Food And Beverage

By Carol Riley, Former Director of Olympia Harbor Days In this chapter, you will learn: Who to contact and why What are the food site’s needs, offerings and what will your vendors need to function efficiently? Why good attendance estimates are important to evaluate food needs, offerings and vendors On site logistics Fee structure Beer Gardens Note: this chapter does not differentiate between indoor and outdoor events. While acknowledging that every event venue may have its own set of unique rules and regulations, the basics for a successful food area within an event are much the same. Health, Food and Public Safety Agencies Organizing a memorable food and beverages department can be critical to the success of the event as it is a part of the whole life experience. Knowing where to start, and following guidelines can save the event organizer hours of stress, aggravation, delays disappointment, as well as money.

When organizing a new event, it is imperative to find the right venue with adequate space for food vendors and customers. Plan venue site visits, meet with the sales rep or governing agency, understand the rules and regulations, and read the contract. If a similar event or festival is using the same venue, it is recommended to attend with the eye of an organizer. Some indoor facilities may provide access for food trucks and others may not. Some outdoor facilities may provide power hook ups, and others may not. It is also fair and frequent practice to contact the event organizer to learn more about their experiences (both pros and cons) with the venue. While you may have guidelines for food vendors, the local city, county, or state health departments will have stringent guidelines for food and beverage prepared and sold to the public in a temporary setting, such as a festival or event. Following the guidelines is the organizer’s, not the venue’s responsibility.

The Start to Finish Playbook on How to Fund and Produce an Event #4. Food and Beverage

The first step is to visit the agency’s website, and become familiar with all regulations, requirements, lingo and applications needed to have food at an event. Next, it is best practice to contact the agency and try to have an in-person meeting with the director, supervisor or other appropriate food health safety officer. At this meeting the organizer has the opportunity to set the foundation for a strong partnership, with the ability to learn and understand the inner workings of the agency, including staff limitations, and be assigned an inspector should one be necessary for the event. If the inspector is familiar with the site, he/she/they can help with the pros and cons other event organizers have experienced. If they are unfamiliar with the site, a site visit could be in order to help evaluate site needs and limitations. Identifying potential problems, offering solutions well in advance of the event, can save the organizer time and money or help the organizer prepare a proper budget of the food area. Problems could include accessible power, potable water access, disposal, hot water access, and other sanitary needs. Depending on the location, ice, refrigeration and a portable wash wagon, as well as power and water, may be needed. The inspector will also want to know how waste, including composting, recycling, and garbage, will be safely managed, and disposed of. The inspector should provide an early review of the food vendor list and be able to spot new food vendors who will need more of the inspector’s time or point out vendors with repeated violations. Event organizers will need to understand and budget for required permits. Some agencies do not require the organizer to have a permit, but will require some type of application to inform the agency of the event details and contact person. The appointed inspector will review the timeline for the following:

Lead time for presentation of a complete food vendor list with contact information Dates when food vendors need to apply and pay for their temporary food permits, fee structures and types of temporary food permits offered Last-minute vendor cancellations and possible replacements Setting a time for on-site inspections on the opening day of the event Treat inspectors with respect and work with them as an ally and let them be the bad guy in the case of any major violations. With proper organizing, the food area should function well with minimal surprises or issues during the event. If and when issues do arise, stay calm and focused, discussing problems or issues away from event attendees and customers. What the site has vs what it needs and will it get traffic: Be thoughtful of both the customer and vendor experience when choosing where to place the food area within an event. Include food locations and offerings in your event, publicity in posters, flyers and on social media. This applies to all indoor and outdoor events. Always think of the customer experience first. Can the food area be easily found? Is the base level and clear of hazards? Is spacing large enough to allow for customer lines for each vendor? Stanchions needed? Are there easy exit points after purchase? Or places to sit down and eat close by? Are waste receptacles clearly marked for compost, recycling, garbage? Are restrooms, wash stations or hand sanitizer stations easily accessible? Next, think of the vendor and moving in, out and restocking restrictions. Vendor needs may vary, but every vendor should have easy access for set up and restocking. Do vendors need power and if so, what amps are needed and what type and length of cords are needed to plug in. Will there be enough outlets for all vendors? Are vendors able to plug in without having lines crossing public areas? Will wi-fi be offered or do vendors need to have cell service to run transactions? Do they need to bring their own water hoses, sanitation supplies and/or garbage, receptacles? Does the vendor have liability insurance, and the proper permits? Have vendors been provided with the link and contact information of the health and safety agency and inspector assigned to your event. Are they aware of compliance dates and fees that may be imposed?

The Start to Finish Playbook on How to Fund and Produce an Event #4. Food and Beverage

Some event sites have power and water connections, and others do not. Know what services are available at the chosen site and if there is a cost for the same that needs to be budgeted for. If power and water are not accessible, research ways to resolve that issue and bring information on who can supply generated power and water refill services and letting vendors know what they will need to access these services. Festival and event permits will require a solid waste plan. The permit agency will walk the organizer through the cost options available or required for waste collection from the site. The organizer must define rules for waste movement to specified locations and/or self- removal of all garbage, compost, and recycled items. Event organizers may impose greater regulations for food vendors, which may include: Placement of grease absorbing and collecting products under cooking equipment and proper removal of all used grease Type and number of fire extinguishers required Use of individual generators and placement of them Clean up standards. It is advised to make sure all food vendors understand they must clean their areas after the event is over and not leave the task to the organizer and volunteers Waste collection and removal, power usage, and water consumption all cost money. Fees for such can be sponsored, offered as add-ons, or covered in the total cost of space to a vendor. Attendance estimates and organizing the proper levels and assortment. Having a true estimate of attendance will help dictate and place the right number of food vendors needed to give customers assortments to choose from and to give each food vendor, the best shot at making money.

Questions that need to be addressed: 1. What are the hours of the event and how many meal times will the event cover and does the assortment reflect that? 2. Is the organizer offering a good mix of food items, balancing proteins, sweet, vegetarian, vegan and other dietary restrictions? 3. Asking food vendors how many meals they can serve in a given time period. 4. Based on the physical size of the event, will more than one food area be needed, and should food areas be of equal size and assortment? 5. How close and accessible are popular preestablished local restaurants, cafés and bars to the event that may lure festival attendees away from festival food vendors? 6. What are food vendors’ estimates of waste and disposal needs? If the event is small, offering a large menu/product selection by just a few vendors may be best versus offering many vendors with limited menus. Be wary of food trucks. While food trucks can offer a wide and unique assortment of culinary experiences, service often slow with limited capacity to serve large crowds in a timely manner. Most food trucks run on generators which can produce an unpleasant sound and an unappetizing odor in the food area. Also, food trucks often collect their own gray water, grease and other contaminants and need to leave the event site for overnight servicing. If this is the case, be sure to evaluate the ability for trucks and trailers to pull in and out multiple times over the course of the event. “ I love my food areas as much as I enjoy sampling what the vendors have to offer. I purchased food from each vendor or have a staff volunteer pick something up for me. And yes, we wait in line just like our event attendees so we do not appear above common courtesy. “

“ I went to the festival in 2022 that had three kettle corn vendors in the block of their food areas. Needless to say, none of these vendors were happy.” One goal of the organizer is to offer a choice of appropriate food products while avoiding product duplication and long lines. Does the event have a theme, and can food assortment offerings fit into that theme? Is there a local flavor that needs to be included in the offerings?

The Start to Finish Playbook on How to Fund and Produce an Event #4. Food and Beverage

Logistics to be considered: Food Manager: Some event organizers assign a volunteer or paid staff member the task of managing the food area. This could involve everything from working with the health and safety agency, vendor registration and selection, mapping out the food area, (including power, outlets, water, locations, and other services provided), overseeing load in, timely set up, preparedness for inspections, placement of signage, waste, and safety cones as needed. The food manager will also monitor vendors regarding managing their waste according to preestablished and communicated procedures. They should also be on hand during the event should a situation arise and be monitoring load out and vendor cleanup of spaces. Load in: Because no two events are alike, exact times scheduled for arrival and set up for both tent, vendors and truck or trailer vendors is crucial to the success of opening the food area on time. Food vendors with tents tend to take more time to set up, stock up, and be ready for food inspections. Typically, vendors are preassigned marked spaces in the food area. Tent vendors will need time to drop off supplies needed, and need time to set up to open for business. However, vendors with service trucks and trailers will need to load in the order of assigned spaces since they are not easily maneuverable once in place or able to park with other vendors already in place. Trucks and trailers very in terms of space needs and do not fit the standard 10 x 10 space. Be sure to have these vendors provide actual footage needed, including hitches and laying out spaces and give some wiggle room, as a 12 foot foot trailer with a 3 foot hitch is going to need more than 15 feet to allow for clearance. Also, it is important to know how to place food service trucks/trailers based on where their serving windows and doors are located. Cleanliness: There is nothing worse than a dirty table or serving area when it comes to food. Make sure your vendors know your standards and are following them.

Power Cables: For food vendors that need power, it is important for them to understand the length of power cords and type of cable connections they will need. To provide enough power options, most event organizers secure spider boxes, or temporary, portable electrical power distribution equipment designed to be durable and OK for outdoor use. A typical spider box looks like this and should have many receptacles. Styles may vary.

Single Receptacles (6)

20A, 125V GFCI Protected

Locking Receptacle (1)

30A, 125/240V 4 wire

Locking Receptacle (1)

50A, 125/250V 3 pole/4 wire

5 adapters

Adapts 50A twist to 20A standard

The Start to Finish Playbook on How to Fund and Produce an Event #4. Food and Beverage

Weather: Not all events happen on beautiful sunny days. Depending on the time of year, be prepared for heat, cold, wind, rain. Organizers should keep their eye on weather forecasts starting about 10 days in advance and then checking daily. The more severe the weather predictions, the more time will be required to mitigate issues. Ice: Some organizers will provide ice for vendors free of charge or for a fee. Having ice on hand can help your vendors stay in business if the weather gets exceptionally hot. Rent a large moveable ice chest to have on site in or near the food area.

The event organizer makes the choice of the fee structure and there is no right or wrong way. With a flat fee, the organizer knows exactly what amount the vendor will pay and can budget accordingly. With a fee plus commission, the organizer cannot accurately predict what the commission will be as the commission can be affected by weather, attendance, a competing event, and the assortment or offerings to the event attendee. If collecting commission, make sure you have a structure in place to monitor cash and credit sales as not all vendors will be honest.

Wash Wagons: If the event is out of doors and not accessible to an indoor kitchen with commercial washing amenities, it is good practice to rent a portable wash wagon with large commercial sinks and hot water capabilities. Make sure all vendors know the rules for usage and cleanup after use. Grey water holding collection tanks: If the event site does not have a grey water disposal system, the organizer should rent holding tanks which many portable sanitation companies offer. The wash wagon, if provided, will need to be hooked up with a hose for waste water to the holding tank. Vendors who generate a lot of waste water should also provide a hose long enough to reach the tank. The rented tanks should be emptied nightly. Load out: Once the event is over, most vendors are anxious to load out quickly. Make sure steps are taken to ensure a timely but safe exit of the area and that all food vendor spaces are inspected for cleanliness and any unwanted spills are addressed. Be sure to collect any outstanding fees or commissions prior to their exit. “Every year I review all my food vendor needs and instructions even though many are returning vendors and the spaces I use the same every year. However, things change from staffing to a new regulation, to vegetation that grew or was replanted and the space is no longer viable.” Fees – Flat rates vs fee plus commission. When deciding what to charge vendors, be sure to do your homework. Look at food vendor space prices and the length of other festivals and events in your city or town and price accordingly. Food vendor spaces may be set by a fee for a typical 10’ x 10’ space or by a running foot fee for trucks and trailers. Fees can be set as a flat fee regardless of sales volume or a lower fee plus commission of sales.

Beer and Wine Garden While beer and wine gardens can generate great revenue for your event, the organizer needs to know the rules and regulations for selling alcohol and must work closely with the State Liquor Control Board to understand the permitting process if they want to set up and run it themselves with volunteers. There are heavy fines if any alcohol products are not sold according to state laws and not set up and run properly. Some things to consider include permits, cost of fees, pricing structure, insurance, ice/refrigeration, spacing and fencing. Some organizers engage with other local nonprofit organizations who offer to set up and manage beer and wine gardens for a share of the profits. There are also licensed alcohol caterers that will do all the work and then make a donation to your event organization.

The Start to Finish Playbook on How to Fund and Produce an Event #4. Food and Beverage

Always, like every aspect of an event, be ready for the unexpected: Even the best event organizers know that the unexpected is always a possibility – a food vendor did not show, there are not enough power outlets or a vendor has the wrong cord, the power was overloaded and blew out the power for the whole event, the weather forecast changed, a vendor changed the menu, the vendor did not pass the food inspection, something caught on fire, the event was so successful that the vendor ran out of food, or the vendor was not doing well the first day and pulled out of the event leaving a hole. And of course, the organizer needs to be prepared to manage any customer complaints that may arise. How to Set Up a Food Booth Setting up a food booth at a festival can be exciting and rewarding. Here's a step-by-step guide to help you plan and execute it successfully. 1. Choose Your Concept: Decide what type of food you want to offer at the festival. Consider the theme of the event, the target audience, and any dietary preferences or restrictions. It could be anything from traditional festival fare like funnel cakes and hot dogs to gourmet options like sushi, burritos, or vegan tacos. 2. Secure Permits and Licenses: Before you start setting up, make sure you have all the necessary permits and licenses required by the local authorities. This may include health permits, food handling certificates, and vendor permits. 3. Find the Right Location: Scout the festival grounds for the best location for your food area. Ideally, you want a spot with high foot traffic and visibility. Consider proximity to other attractions and amenities like restrooms and seating areas. 4. Plan Your Menu: Create a menu that is both appealing to festivalgoers and feasible for you to prepare and serve in a festival environment. Offer a variety of options to cater to different tastes and dietary needs. Keep in mind factors like portability, ease of eating while standing, and quick service.

5. Set Up Your Booth: Design an eye-catching booth that reflects your brand and attracts customers. Use colorful signage, decorations, and lighting to stand out from the crowd. Make sure your setup is functional, with enough space for food preparation, storage, and serving. 6. Equip Your Kitchen: Equip your kitchen with all the necessary tools and equipment to efficiently prepare and serve your menu items. This may include grills, fryers, refrigerators, food warmers, utensils, and serving containers. Make sure everything is in good working condition and meets health and safety standards. 7. Staffing: Hire enough staff to handle the expected volume of customers. Make sure they are well-trained in food handling, customer service, and cash handling. Consider having backup staff on standby in case of busy periods or emergencies. 8. Promotion and Marketing: Promote your food area before and during the festival to attract customers. Use social media, flyers, and festival programs to advertise your menu and special offers. Consider offering discounts or promotions to entice people to visit your booth. 9. Maintain Cleanliness and Hygiene: Keep your food area clean and hygienic at all times to ensure the safety of your customers. Follow proper food handling and sanitation practices, and regularly clean and sanitize surfaces, utensils, and equipment. 10. Monitor Inventory and Sales: Keep track of your inventory and sales throughout the festival to ensure you have enough supplies and ingredients to meet demand. Adjust your menu or production as needed to minimize waste and maximize profitability.

ABOUT THE AUTHOR Carol Riley, Former Executive Director of Olympia Harbor Days Carol worked on the Olympia Harbor Days Festival and Tugboat Races (OHD), a 3 day event that attracts over 55K to the waterfront of Olympia. She started with the festival in 2016. The well known, and well loved, Olympia festival covers 7 blocks, has 3 stages, 2 food areas, 3 docks hosting 30 to 40 tugboats and historic ships, multiple demonstration locations, and 200 arts & crafts, commercial and non-profit booth spaces.

The Start to Finish Playbook on How to Fund and Produce an Event #4. Food and Beverage

Chapter 5

Pictured: Valleyfest

Successfully Working With Your Suppliers By Peggy Doering Spokane Valleyfest

In this chapter, you will learn: Event equipment lists Working with sponsors Follow ups Turning down offers Who are these Vendors? Vendors and suppliers are persons, companies or organizations that sell or supply goods and equipment to customers. In this section, the terms are used interchangeably. Build your Event Equipment List The vendors/suppliers are notified early in the planning process on the dates of the event, move in requirements, and an estimated number needed. Our staff/volunteers keep a spreadsheet of the locations where the equipment is needed and modifications through the permitting process. If you are a small event or an event that has multiple activities/programs, the staff and volunteers begin the equipment list while planning the event. These supplies are then added to the master equipment list and are reviewed by the director before the contracts are signed.

The safety and comfort of our attendees and volunteers are the first consideration for the items on the master equipment list. For instance: Porta Potties and handwashing sinks, fencing, temporary people barricades and traffic barricades, so that the festival attendees can access our vendors and events in a safe manner. All of this equipment is added to the site maps for the event. These maps are given to the vendor prior to delivery of the equipment. Everyone is a partner in a community event. Over time, develop a relationship through meetings, emails, and phone calls. Suppliers and vendors are partners and are invested in your growth, activities and often offer suggestions for continued improvement. Some years, the vendors and suppliers have other needs in the community to supply, such as fires or road construction. Our advice is to place orders early and stay in contact so that contingency plans can be developed in case supplies are limited.

The Start to Finish Playbook on How to Fund and Produce an Event #5. Successfully Working with your Suppliers

Review your plan with volunteers, staff and permitting agencies. Document the conversations with email, letter or text. Be prepared and flexible for delays, or unavailable equipment. Assign each division of the event the equipment that they will receive and are responsible for pickup and return. Our event master list is updated with the new contact names, emails, and date of pickup/delivery. Event day supervisor has the contact information for the equipment ordered and who will be using the equipment. Examples: Radios: Assign a volunteer to charge, and sign out the radios to the other groups. Cell Phone list: If personal cell phones are used a master list of key contacts/emergency numbers. Golf carts: Assigned. Building vendor and supplier relationships Personal Visit When I first started out in the production of events, I went to people that I knew, liked or trusted. Sometimes I would walk into the business, like A to Z Rentals and start a conversation with the sales representatives. In those conversations, I learned they had lists and equipment that I could actually see. I explained my budget to them and my mission statement -then I asked for their help. As a non-profit I always ask for their non-profit rate in exchange for sponsorship.

We also went to other businesses that offered the same services and asked about their volume of equipment, delivery costs, and references from other customers. When we followed up with them, we asked for contracts for review and payment terms. Decisions were made that worked within our budget and met our needs. In some cases, our equipment needs were more than what businesses could supply for our event. In addition, we have had large suppliers come to the event to evaluate the needs, cost and value of renting equipment and realized this was not the best option for our event. After the decision is made communicate your decision to those that you chose and those that you did not. Event supply lists will change over time. Community Resource Fair I networked through the Chamber of Commerce, business to business networking, attended conferences, and asked other festival producers for referrals to their suppliers/vendors. Those referrals were helpful in making the contacts with the correct branch of the business and the decision makers.

The Start to Finish Playbook on How to Fund and Produce an Event #5. Successfully Working with your Suppliers

Volunteers As an aside, your volunteer input on equipment is invaluable. For instance, take this example from my own experience: During Valleyfest weekend, our volunteers were lifting over 200 wooden tables to set up booths. It was nearly a revolt! So, two volunteers went to all the recommended table suppliers and asked to carry and lift their rentals. As a result, the tables the following year came from the supplier with lightweight tables. Other volunteers went to check out the golf carts and gators to create a result most efficient and workable for them during the event. Budget Leasing equipment can be one of the largest expenses when you are planning events. It is important to evaluate the needs versus wants of the event site! Outdoor festivals and events are like building a temporary city outdoors, as you need power, water, stages, tents, communication and transportation. Events that are inside an established venue with equipment available have an inclusive rental fee. In our budget process, our estimated costs are usually 5 percent higher than the previous year for equipment needs. In addition, our insurance policy requirements are reviewed to match the safety needs of the event. Master Vendor List can include: Stages, sound equipment Security Tables, chairs Tents Radios Barricades Sanitation Electricity Storage Golf Carts Temporary office/ security Be prepared for last minute oops on the equipment and be prepared to find alternative solutions in your community. Contracts are made with clear payment terms and insurance liability for loss, equipment breakage or misuse by a volunteer. Volunteers have assigned equipment and expectations on the use and return of equipment. It is expensive to replace a golf cart, radio, or sound equipment.

Sponsorship Vendors/suppliers are in the business to make money and want your event to be successful. They want you to be a referring business to others and have returning clients. If your event is successful, vendors/suppliers are willing to assist you with your event. Evaluate your plan/needs Converse with your suppliers/vendors about those needs Choose sponsorship attributes that match with those needs Ask them if they would be willing to trade for marketing at your festival or event. At times, the vendor/supplier is part of a larger national business model, and their decisions are not local. Other times, a vendor/supplier is a locally owned/family business. It is important to have a conversation first to decide what can be offered as sponsorship/trade. For instance, a new RV dealer would like to brand its new business in your community. Our event has a need for an RV office for the weekend to secure paperwork and meet quietly with volunteers/staff. By doing a trade of a booth fee/rental contract, the RV can be on property with a banner/sign for 4 days or an established amount of time. Their marketing needs are being met and our office space is provided for without a lease. Golf carts are a highly prized item with our volunteers for the weekend, and we have established a priority system on use. In addition, no teens are permitted to drive them. Safety first! Our long-time donor/golf cart sponsor sold the business and the new owner rental fees were too expensive. Volunteers who owned golf carts started visiting where they received service and located a new golf cart sponsor. They furnish fewer carts but they are responsive to our volunteers who do business with them. Sponsorship banners are on the carts, and our needs are met. In businesses that employ staff to be on site to deliver, set up and service, the sponsorship/marketing is usually a non-profit rate or discount. Some of the suppliers/vendors are not able to sponsor or discount, however, their level of service is exceptional. For instance, the owner of that table rental business is at the event Sunday night at 5 to pick up and move his equipment. Volunteers are ecstatic that this service is done.

The Start to Finish Playbook on How to Fund and Produce an Event #5. Successfully Working with your Suppliers

Follow Up Vendors/Suppliers that are working with you need to be thanked and payment sent in a timely manner. All of the vendors/suppliers are invited to the Thank You to Sponsors/Volunteers events. When I have gone into some of the businesses afterwards, the Thank You plaques have been on display. It’s a simple thank- you for participating in a community event. Payment plans vary according to the business. These are some of the payment methods that are used: Electronic payments Invoiced/Checks Credit Card/ACH Again, talk with the supplier and make sure that all the vendors are paid according to their terms. The goal is for them to be renewed for next year if they met expectations.

ABOUT THE AUTHOR Peggy Doering, Spokane Valleyfest Peggy is the Executive Director of Valleyfest, the City of Spokane Valley’s premier event. Peggy started working on Valleyfest as a community volunteer 28 years ago; has led the expanding nonprofit since 1996. Valleyfest began a one day festival in 1990 and has grown into a three day fall festival.

The Start to Finish Playbook on How to Fund and Produce an Event #5. Successfully Working with your Suppliers

Chapter 6

VolunteersThe Backbone of Many Events By Chuck Denney Tumwater Parks and Rec

In this chapter, you will learn: The value of volunteers Attracting volunteers Employees vs. volunteers The right balance The Benefit of Volunteers It is difficult to imagine a successful event that doesn’t rely on the support and contributions of volunteers. Using volunteers in special events offers numerous benefits that can significantly enhance the overall experience and success of your event. Here are some key reasons why volunteers are invaluable. Cost Savings: This may be the driving reason behind using volunteers as they reduce your overall event costs by providing their time and skills for free.This allows your paid staff to focus on allocating funds to critical areas and event needs.

Increased Efficiency: The use of volunteers can greatly increase your ability to set up, manage and break down your event. With more people in dedicated roles, tasks can be completed more quickly and efficiently. With proper training, volunteers can fill a wide variety of roles to ensure your event runs smoothly. Diverse Skills and Perspectives: Volunteers bring a wide range of skills and experiences that can improve the quality and success of your event. Community Engagement: The use of local residents as volunteers can create a sense of community and belonging. Promoting local participation in your volunteer efforts can connect your event with community pride, ownership and support – which can be crucial for your event’s success. Enhanced Attendee Experience: Volunteers often serve as the face of an event as they interact directly with attendees. Their enthusiasm and dedication can improve the overall event experience.

The Start to Finish Playbook on How to Fund and Produce an Event #6. Volunteers: The Backbone of Many Events

Building Relationships: Volunteers can strengthen relationships within the community and create lasting connections among event organizers, volunteers and attendees. These relationships can provide other opportunities for your event organization by providing connections to local businesses and agencies who support your event. These relationships can be strengthened to include event sponsors and provide contacts for potential new sponsors. Support for Future Events: A well-organized volunteer program can create a pool of experienced volunteers who can be called upon for future events ensuring continuity, support and reliability. In business, the returning customer is always the easiest to obtain. In event management, the volunteer who returns is always one of your best assets. By leveraging the power of volunteers, event organizers can create more impactful, efficient, cost effective and community-driven events. It’s important to understand why people want to be a part of your event and what motivates them to volunteer their time and efforts. In some cases, it may be the free t-shirt or free entry, but people volunteer for a variety of reasons. Volunteerism is often driven by a mix of personal, social, and altruistic motivations:

Mental Well-Being: Engaging in volunteer work can enhance mental well-being by creating a sense of accomplishment. Completing a successful volunteer experience can promote a sense of belonging and pride and lead to future volunteer participation. Overall, volunteering enriches both the lives of the volunteers and the communities they serve. It is important to understand why people are volunteering for your event. You must address their needs, understand their participation, and ensure that they are as satisfied as your attendees when the event has concluded. Attracting and motivating volunteers is crucial for maintaining their engagement and ensuring they continue to contribute effectively. No one (you or your attendees) wants to see volunteers who are staring at their phones, don’t care about customer service or aren’t paying attention to the task they are assigned to. Volunteer management is the number one element in making your program work efficiently and successfully. Here are some strategies to help keep volunteers motivated: Streamline Your Registration Process: Start with a clear and welcoming recruiting process. Make it easy for volunteers to register on-line. Create an easy and accessible platform that describes the opportunities and expectations.

Being a Part of Your Event: It may be that your event is so fun, well-known or appreciated in your area that people want to be associated with it. Give Back to the Community: Many people volunteer to support causes and events they care about or associate with and want to make a positive impact on their community. Personal Growth: Volunteering can help individuals gain new skills and experiences, develop skills and build networks. Sense of Purpose: Working in a meaningful way at an event can provide a sense of purpose and fulfillment. More than just something to do; volunteering can provide a sense of importance, appreciation and meaning to people’s lives. Social Connections: Volunteering is a great way to meet new people and strengthen existing relationships. Sharing Skills: Volunteer satisfaction can come from being able to share and contribute specific skills. Accountants, electricians, construction workers, public relations and other skill sets can be highly valuable as volunteers.

The Start to Finish Playbook on How to Fund and Produce an Event #6. Volunteers: The Backbone of Many Events

Provide Quality Information and Training: This is a critical element – volunteers need comprehensive training and information to help them feel prepared and valued. There’s nothing worse than showing up not knowing what to do or what is expected. Your organization and professionalism will be reflected in the performance of your volunteers. Communicate Often and Effectively: Give your volunteers regular updates on what’s going on, changes in plans and new opportunities. Show genuine interest for their input on new ideas, operations or event improvement/efficiencies. Show Appreciation: Recognize and celebrate volunteer contributions through thank-you notes, awards or public recognition. Offer Learning Opportunities: As you recognize skills, abilities or talents, provide chances for volunteers to develop new skills, learn new roles and take on new challenges. Be Accessible and Supportive: Ensure that your volunteers have the resources and support they need to succeed. Have their work space prepared, provide the equipment or supplies they need, schedule breaks and meals and check in with them during their shifts. Create a Sense of Team: Foster a welcoming and inclusive environment where your volunteers can build relationships and feel like they are a part of your team.

Align Tasks with Interests: Match your volunteers with tasks that suit their skills and interests to keep them engaged and motivated. Your registration form should provide an opportunity for volunteers to list their preferences/skills. Provide Feedback: Give constructive feedback to help volunteers improve and ensure that they feel valued. This isn’t an evaluation, it’s an opportunity to discuss how things went, what worked well and what could have been better. Employees vs. Volunteers It’s important to understand that both employees and volunteers bring unique strengths to an organization. While there are some key differences, both serve the needs of the organization and event managers must define roles, responsibilities, accountability and management. What’s the difference? Volunteers: Motivation: Volunteers are often driven by a passion for a cause and/or a desire to contribute or give back to the community. Flexibility: They can offer flexibility in terms of hours and tasks, often working part-time or on an ‘as needed’ basis. Cost Effective: Volunteers provide event managers with an opportunity to save on labor costs. Community Connection: Volunteers often have strong ties to the community or community organizations which can enhance event outreach and impact. Employees: Consistency: Employees provide consistent, reliable work and are available during set hours. Professional Expertise: Employees bring specialized skills and professional experience that is crucial for certain tasks. Accountability: They are held to specific performance standards and can be more easily managed and held accountable. Legal Protections: Employees have legal rights and protections that ensure fair treatment and compensation. Balance Both Most event managers find that a combination of employees and volunteers works best for operations and cost efficiencies. Volunteers can supplement the work of employees and provide additional support without replacing paid staff. This balance allows organizations to leverage the strengths of both groups to create successful events.

The Start to Finish Playbook on How to Fund and Produce an Event #6. Volunteers: The Backbone of Many Events

While it is important to follow established agreements and expectations for employees, it is also important to hold volunteers to a standard of performance and completion. Just like employees, not all volunteers will perform adequately or to your satisfaction. Don’t be trapped into thinking that just because someone is a volunteer that you have to accept poor or inappropriate performance. While violation of laws or event policy is a situation for immediate dismissal, there should be a procedure for dealing with low performing volunteers. When you encounter these situations, consider the following actions: Assess the Situation Identify the issue and determine if the problem is due to a mismatch in skills, behavior or commitment. Sometimes the volunteer may just need more training, explanation or a different role. Communicate Clearly Provide feedback and give the volunteer an opportunity to improve. Make sure they understand what is expected and the consequences if improvements are not made.

Handling this process with empathy and professionalism can help maintain a positive atmosphere and ensure that the organization continues to function effectively. Recruit – Train – Support – Appreciate Volunteers commit their time and skills to help your organization do great things and provide fantastic events. Take the time to set up an organized volunteer program and evaluate its functions and performance after every event. Even if your volunteer program has been operating for a long time and volunteers appear productive, satisfied and happy, you must ensure that your program is as effective as possible. Volunteer surveys are a great tool for assessing the effectiveness of your volunteer program and the satisfaction of your volunteers. The feedback you can collect with an on-line survey can identify gaps in training, potential decline in volunteer satisfaction, new ideas for event programs, efficiencies and operations, and the future needs of the event.

Offer Support Sometimes additional training or coaching can resolve an issue. You might also want to consider if the volunteer might be better suited to a different role. Make the Decision If the issues persist despite support and clear communication, it may be time to let the volunteer go. Choose a private setting and have that conversation. Thank them for their contributions and efforts to volunteer. Your event image and success can be impacted by every interaction a volunteer has with your attendees. Visualize your worst performing volunteer interacting with a representative from your largest sponsoring agency and determine how confident you are with their performance.

ABOUT THE AUTHOR Chuck Denney Tumwater Parks and Rec

Chuck Denney is the Director of Parks and Recreation for the City of Tumwater. He has been working with volunteers for over thirty years while providing festivals, events and programs in Thurston County.

The Start to Finish Playbook on How to Fund and Produce an Event #6. Volunteers: The Backbone of Many Events

Chapter 7

Pictured: South Lake Union Block Party

Exceptional Marketing For Events By John Thorburn, Bold Hat Productions

In this chapter, you will learn: How to identify your target audience to create an effective marketing strategy What helps you stand out and attract a crowd How to select right morphing channels for your event In the world of festivals and events, successful marketing can be the difference between a holdout extravaganza and a deserted wasteland. In this chapter, we dive into the intricacies of crafting a robust marketing strategy that not only attracts attendees, but also builds excitement and anticipation around your event. My journey and event started in 2003 with the nonprofit Northwest Marine Trade Association (NMTA) and its flagship event, the Seattle Boat Show. The large consumer show had grew to be the largest boat show on the West Coast, attracting guests for more than 40 states and multiple Canadian provinces each year.

During my time at NMTA, I was mentored by a brilliant event promoter, Michael Campbell, whose own backgrounds includes organizing some of the region’s most memorable events and leading the sports and events council (today known as the Seattle Sports Commission) for six years. Under Michael’s guidance, I grew up in event marketing and communications, learning forms of audience development, focusing on the wow of events that gives people a reason to pay attention and attend and building partnerships with stakeholder and influencers to amplify messaging. Since 2014, I’ve loved the marketing for events at Bold Hat Productions, producers of legacy events such as the Fremont Fair and Fremont Oktoberfest, as well as Kirkland Uncorked, Lakeland Winterfest, South Lake Union Block Party and others. Marketing for these events are both similar and extremely different, with attendance ranging from 100 to 3,000 guests, with some events focused on ticket selling while others are free and open to anyone. Its through these past 20+ years that events that I continue to craft adapt effective marketing campaigns.

The Start to Finish Playbook on How to Fund and Produce an Event #7. Exceptional Marketing for Events

Know Your Audience Before you can effectively market your festival event, you need to understand who your target audiences. Are you catering to families, music enthusiast, foodies, or adventure seekers? What is the average age of your attendee? Average income? Are the majority of your guests attending from a few specific ZIP Codes? Conduct thorough research to identify the demographics, preferences, and interest of your potential attendees. That will allow you to tailor your marketing efforts to resonate with them at a deeper level. The most common ways to capture demographic data are: Ticket Sales Data/ Registration Forms: If you’re selling tickets online for your event, consider adding “check out” questions during the guest purchase process that collects some of the information you’re seeking. A good rule of thumb here is to not overdo it with too many questions Limit this to 3-4 questions at most so that you don’t frustrate your ticket buyers . Surveys: Distribute surveys during or after the event. These can be sent via email, SMS, or be available on site through tablets or kiosks. Incentivizing participation with rewards can increase response rates. There are a few businesses that conduct on site surveys at your event in Washington state for little to no cost.

Above is an example of a guest survey collected at the annual Fremont Fair event, a free festival with craft market shopping, food, and drink, and two music stages taking place during the summer solstice this weekend . With the single data point captured, we can extrapolate further data based on audience size that can be used to market the Fremont Fair for the purpose of attracting more businesses and sellers to participate in the event, attracting potential sponsors with specific sales goals in mind, and begin to paint the picture of potential economic impact from the event. Check in Stations: At event checkpoint, collect data through forms or digital entry systems. You can ask for additional demographic details as part of the check-in process. Social Media: Monitor social media interactions, and engagement before, during and after the event. Social media platforms can offer insights into attendee demographics based on profiles and engagement patterns. Interactive Booths: Set up booths or stations at the event where attendees can provide demographic information in exchange for a freebie or entry into a raffle. Feedback Forms: Include demographic questions in feedback forms or post event evaluations. This helps you understand who attended and their experience. Once you’ve collected demographic information, you can build a more comprehensive demographic profile of who attends your event(s).

Pictured: South Lake Union Block Party

The Start to Finish Playbook on How to Fund and Produce an Event #7. Exceptional Marketing for Events

Define Your Unique Selling Proposition (USP) With countless festivals and events vying for attention, it’s essential to differentiate yours from the competition. What sets your event apart? Is it the lineup of performers, the immersive experiences, the picturesque location, or the diverse range of activities? Your USP should be the focal point of your marketing efforts, clearly communicating why attendees should choose your event over others. Here are some examples from the Fremont Oktoberfest, a craft beer festival first launched in 1997 that has grown to become the region’s largest beer festival. The USP of this event is focused on volume and variety of offerings for craft beer lovers: the biggest/longest-running/Seattle’s original craft beer fest, all play into the marketing angles to attract our target audience. Leverage Digital Camera In today’s digital age, a robust online presence is non-negotiable for successful event marketing. Utilize social media platforms, such as Facebook, Instagram, X/Twitter, and TikTok to engage with your target audience, share exciting updates, and create buzz around your event. Leverage targeted advertising to reach specific demographics and geographic regions, maximizing the impact of your marketing budget. Influencers wield significant influence over their followers and can serve as powerful allies in promoting your event. Identify influencers with your niche or local community whose values align with those of your event.

IInfluencers do not need to be tens of thousands of followers to be effective; they just need to have influence within your target audience. Collaborate with them to create sponsored content, giveaways, or even invite them to attend your event as a VIP guest. Their endorsement can significantly amplify your reach and credibility. Harness The Power of Content Marketing through Video If content is king, then video marketing wears the crown when it comes to capturing the attention of potential attendees. Create compelling videos that provide valuable insights, behind-the-scenes glimpses, and sneak peaks into what attendees can expect at your event. This not only builds anticipation, but also establishes your event as a must attend experience. For many event producers, we’re only producing our events annually, so involving video in your marketing requires long-term planning. Typically the video you captured during an event isn’t able to be edited and optimized in time for that year’s events. This means planning ahead for the following year and capturing video a year in advance that becomes part of your marketing toolbox for the next event. Google remains the #1 Search engine in the world, but the #2 search engine is Youtube, globally. Further, Youtube is the #1 website .

The Start to Finish Playbook on How to Fund and Produce an Event #7. Exceptional Marketing for Events

among Gen Z audiences (born between 1997 and 2012). It’s time we all focus on capturing our amazing visual event content to harness the power of video marketing. Community engagement is key to building a loyal following for your festival or event. Create dedicated online forums, groups, and hashtags where attendees can connect, share their experiences, and interact with fellow enthusiasts. Encourage user generated content by hosting photo contests, challenges, and interactive polls. By fostering a sense of belonging and camaraderie, you can turn attendees into brand ambassadors who eagerly promote your event to their networks. Implement Email Marketing Don’t underestimate the power of email marketing in driving ticket sales and engagement. Build an email list of past attendees, subscribers and leads, and segment it based on demographics and interest. Personalize your email campaigns to deliver relevant content, exclusive offers, and reminders about your upcoming deadlines. By nurturing your email subscribers, you can foster a sense of loyalty and excitement around your event. For ticketed events like Fremont Oktoberfest and Kirkland Uncorked, email marketing remains the single most effective source for driving ticket sales at Bold Hat Productions. Because of this, we constantly look for ways to grow our email marketing lists at our events.

In order to grow your event, email lists can be expanded in the following ways QR Codes - These odd looking codes have enjoyed a rebirth as more of the world went touchless starting in 2020. Use QR code signage throughout your event footprint to capture emails. Incentivize guests to scan the QR codes for discounts, contest entries, perks and giveaways. SMS/Text-to-Join- Some email marketing platforms offer a text-to-join tool that allows guests to text a keyword to a short code number, prompting guests to provide their email address via text, in exchange for the same perks as outlined in the QR codes above. Optimize Your Website Place prominent and compelling email sign-up forms on your event website. Use pop-ups, exit intent forms, and landing pages designed to capture email addresses. Leverage Social Media Promote your email sign up form across your social media channels. Share engaging content and include a call to action, encouraging followers to join your mailing list needed to engage visitors and encourage them to explore more of your website.

Pictured: Fremont Oktoberfest

The Start to Finish Playbook on How to Fund and Produce an Event #7. Exceptional Marketing for Events

Partnerships and Cross-Promotions Partner with influencers, industry leaders, or complimentary brands to promote your event. They can help drive their audience to your email sign up page. Monitor, Analyze, and Adapt Once your marketing campaigns are alive, it’s crucial to monitor their performance closely and analyze key metrics to ensure they are achieving your goals. This involves a detailed assessment of various performance indicators, each providing valuable insights into different aspects of your campaign’s effectiveness. Here’s a more detailed breakdown of the key metrics to monitor and examples of how to use them. Website Traffic Track the volume and sources of traffic to your event website, and use Google analytics to monitor metrics such as the number of visitors, page views, average session, duration and bounce rates. For example, if you notice a spike in traffic after a social media post or an email blast, this indicates that those channels are driving interest. Conversely, high bounce rates might suggest that your landing page needs improvement to better capture and retain visitors. As a general guideline, a bounce rate of 40% or lower is considered good, while a bounce rate at 55% or higher is considered high and may indicate that improvements are needed to engage visitors and encourage them to explore more of your website.

Ticket Sales: Monitor ticket sales data closely, including total sales, sales by ticket type, and the timing of purchases. Most ticketing platforms offer detailed analytics on sales patterns. For example, if you notice a surge in sales following a promotional offer or a limited time discount, this indicates that such strategies are effective. Conversely, if sales are slower than expected, reassess your promotional tactics and consider implementing additional offers or extending marketing efforts. Conversion Tracking: Implement conversion tracking to measure how well your marketing efforts are driving desired actions such as completing a ticket purchase or signing up for an event newsletter. Also, use tracking pixels and UTM parameters to attribute conversions to specific marketing channels in campaigns. For instance, if you see that a particular ad campaign is driving a significant number of conversions, you may want to allocate more budget to that campaign.

Social Media Engagement Measure engagement metrics across your social media platforms, including likes, shares, comments, and click through rates Platforms like Facebook insights, Instagram analytics, and X/Twitter analytics can provide detailed data. For instance, if a particular post receives significantly higher engagement, analyze its content and timing to understand what resonated with your audience. This information can guide future content, creation and scheduling strategies. Email Open Rates: Track the open rates, click through rates and conversion rates of your email campaigns, using tools like Mailchimp or Constant Contact. High open rates generally indicate that your subject lines and center names are effective. However, if you observe low click through rates, it might suggest that your email content or calls to action are not compelling enough. Test different subject lines, content and formats to optimize your email performance.

Pictured: Fremont Fair

The Start to Finish Playbook on How to Fund and Produce an Event #7. Exceptional Marketing for Events

Customer Feeback: Collect and analyze feedback from attendees and potential attendees to gauge their perceptions and experiences. Surveys, social media, comments, and direct feedback forms can provide qualitative data that compliments quantitative metrics. Competitor Analysis: Keep an eye on similar events and their marketing strategies. There are paid tools that can help you analyze competitors’ engagement levels and promotional tactics, but you can also do some of this with existing free tools like Google Alerts or Hootsuite. Learning from competitors’ successes and mistakes can provide valuable insights and help you refine your own strategies.

By employing a data driven approach, you can continuously refine and enhance your marketing campaigns. Regularly review these metrics, identified trends and patterns, and adjust your strategies based on the insights gained. For example, if you find that social media ads targeting a specific demographic generate more interest, consider increasing your budget for those ads or developing similar campaigns. Adaptability and responsiveness to data will enable you to maximize the impact of your marketing budget and achieve better results for your event. Before you go... Crafting an effective marketing strategy for festivals and events requires a combination of creativity, strategic thinking and relentless execution. By understanding your audience, defining your unique selling proposition, leveraging, using digital channels, harnessing the power of content marketing (especially with video) , implementing email marketing, fostering community engagement, and continuously monitoring and adapting your approach, you can create a buzzworthy event that captivates attendees and leaves a lasting impression.

Pictured: Lake Chelan Winterfest

The Start to Finish Playbook on How to Fund and Produce an Event #7. Exceptional Marketing for Events

Chapter 8

Creating a Budget For Your Event By Eric Corning, Formerly of Seattle Seafair

In this chapter, you will learn: How to Plan a Budget Identifying Expenses Tracking Expenses Adjusting Creating a budget is a crucial step in planning any event. It helps you stay organized, allocate resources effectively, and avoid unexpected financial surprises. The following sections will not cover every aspect of your event budgets. Be sure you leverage your network locally and reach out to WFEA members to ask them to share their experiences. Define your event goals What is the purpose of your event? Is it a fundraiser, a celebration, or a networking opportunity? What is your target audience? This will help you estimate attendance and potential revenue.

Determine Your Overall Event Budget • Set a realistic budget: Consider your available funds or funding sources. • Allocate funds: Decide how much you can spend on each category. Identify Expenses Event Production Expense Examples Venue: Rental fees, utilities, setup, and cleanup costs. Catering: Food, beverages, and staff. Entertainment: Musicians, speakers, or other performers. Equipment: Audiovisual, lighting, tables, tents, chairs and staging. Décor and Signage – Rental décor, event site signage, Rental Equipment – Generators, forklifts, Transportation- Rental trucks, deliveries, rental vehicles.

The Start to Finish Playbook on How to Fund and Produce an Event #8. Creating a Budget for your Event

Marketing Expense Examples Advertising Promotional items Invitations Public Relations Social Media Administrative Expense Examples Staff and contractors Benefits Insurance Contingency fund Uniforms Volunteer expenses Estimate Revenue Streams Grants Ticket sales – Break down details of each ticket type– General admission, reserved seating, VIP, backstage meet and greet, etc. Sponsorships Donations – Individuals and corporations Advertisers in event printed materials and online Merchandise sales – online and on site Fundraising - Cash donations, gala auctions etc. Hospitality sales - Corporate or individual areas with specific benefits In Kind Donations- Donated or traded goods or services that offset budgeted expenses. On occasion in kind donations are offered Track expenses and income Create a spreadsheet: Use a tool like Google Sheets or Excel to track your budget. There are many styles of budgets available online you can use as a template. You will want to ensure your spreadsheet is easy for you and your leadership to read in addition to creating additional tabs for analysis. A simple easy to read budget with tabs on the same workbook to support the numbers is a good way to share your plans and the work to come up with the numbers.

Update regularly: Monitor your expenses and income throughout the planning process and be sure you can track your assumptions and updates throughout the year as you update the budget. Adjust as Needed Be flexible: If costs exceed your budget, consider cutting back on certain areas to reduce expenses. You may also consider additional revenue streams to cover the budget shortfall. Prioritize: Determine essential and which eliminated.

which expenses are can be reduced or

Additional Tips: Obtain price quotes: Obtain estimates from three vendors for various services. Negotiate: Don't be afraid to negotiate for better deals. Over the years we have negotiated deals with vendors to guarantee pricing over a three year term to manage costs. Your vendors may also have other options you may have not considered to save you money. Plan ahead: Start budgeting early to give yourself enough time to make adjustments. Plan for the Unexpected: Unexpected costs can arise even with the best planning. Set aside a contingency fund to cover unforeseen expenses, such as equipment failures, bad weather, or lastminute changes. By following these steps and carefully considering your event's specific needs, you can create a comprehensive budget that will help you plan a successful and financially sound event.

ABOUT THE AUTHOR Eric Corning, Formerly of Seattle Seafair With over 25 years experience, Eric Corning has produced highprofile, public events for Seattle and the greater Puget Sound Region. He helped produce over 20 Seafair Festivals including the Seafair Summer 4th Fireworks Show, the Seafair Torchlight Parade, and Seafair Weekend featuring the US Navy Blue Angels. He was also a leader producing the 2018 Special Olympics USA Games and the 2014 Seattle Seahawks Super Bowl Victory Parade.

The Start to Finish Playbook on How to Fund and Produce an Event #8. Creating a Budget for your Event

Chapter 9

Succesfully Managing Entertainment By Jon Stone, Jon Stone Consulting

In this chapter you will learn: Choosing Headline Talent for Ticketed Events Social Media Stories You vs Competition Production Costs Introduction: My first gig in the festivals and events industry was over thirty years ago. I knew nothing about what I was getting into, but I learned fast and still am learning to this day. In the early days most of my learning was accomplished through making mistakes, the cost of which was usually measured only by my degree of embarrassment. As my career has progressed, the cost of my mistakes has remarkably kept pace. It is with this in mind that I am delighted to share some of my experience in the hope that it may help you avoid costly errors in the future. I am a longtime member of the Washington Festivals and Events Association.

My time in the industry has taught me that from a zoomed-out perspective there are only two material differences between the smallest community events and the largest events ever conceived, and those differences only exist on the event budget: the number of line items, and the number of zeros attached to every number. The core mechanics of events are constant. WFEA creates an unparalleled learning opportunity for events of any nature. I sincerely believe that each of us has experience and information that can be important for any other event and for our industry as a whole. The topic of booking entertainment, or talent buying as I typically say, covers a lot of ground. Whether you are shopping for a clown for a child’s birthday party, a motivational speaker for an annual company retreat, a local DJ for background music at a grand opening, or a global A-list band to headline the largest festivals in the world, the fundamentals of talent buying are surprisingly common.

The Start to Finish Playbook on How to Fund and Produce an Event #9. Successfully Managing Entertainment

In this chapter I will share real-life examples, and those examples will tend to be from festivals and concerts of ambitious scope or scale. I encourage you to take these examples to heart even if your events are of a more modest profile. I only cite anecdotes from larger events because larger events tend to generate more interesting behind-the-scenes stories, and my hope is that the lessons learned in more colorful scenarios might be more likely to resonate and stick with you for the long run. In our industry, every issue that will ever impact the smallest events first impacts the largest events. Studying large events can be a strategic glimpse into the future. Choosing Top Talent for Ticketed Events In contemporary times, shopping talent for public ticketed events is akin to walking onto a casino floor. Talent buying has never been a low-risk proposition, but changes in the music industry in the digital age have increased the risk factors for talent buyers to dizzying heights. Until the early 2000s the live music business model had been relatively simple. Artists would perform live, typically as a loss leader, so that they could promote album sales. Album sales were where the vast majority of artist (and record label) profits existed. The digital era killed that model. Like any major change, it happened slowly at first, then suddenly. Today’s artists, with the exception of a fraction of the 1% of the world's most popular acts, make very little revenue from the sale of recorded music. Their livelihood is now made from live performances. The business model has flipped 180 degrees.

The digital era has caused further ripple effects beyond the massive devaluation of recorded music. Audiences now expect every performance to be a unique experience, and a selfie-ready experience at that. This makes total sense from the consumer economic point of view; as the cost of tickets has increased in order to compensate for the loss of album sales, the value proposition has changed in lockstep. If the average price of a ticket has increased 4x over time, the customer’s entertainment expectations have increased 4x as well. Over the past 20 years, live music has morphed from a commodity product to a luxury product. Understanding and accepting this fact is critical to success in talent buying. Perhaps the most confounding factor of the digital era is the speed at which trends play out. It used to be that the career arc of a successful act was measured in years or decades. Today it is entirely possible for a new act to come out of nowhere, reach the pinnacles of success, and then collapse and disappear forever in less than one year. At the same time, the time window for booking top-shelf talent is stretching further and further out. Fifteen years ago I was purchasing headline festival talent six months out. Today that window is seldom less than one year out and I’ve seen it as far as 18 months. In our digital world, a year is more than enough time for today's hot ticket to become utterly irrelevant, hence my opening comment equating talent buying to gambling.

The Start to Finish Playbook on How to Fund and Produce an Event #9. Successfully Managing Entertainment

A Social Media Story In 2011 global changes in the music industry were well underway, but most of us were still pursuing our headline talent using the same tools that had been used for generations. We looked at an artist's album sales, and we looked at the artist's recent concert ticket sales history. From these metrics a seasoned talent buyer could divine a reasonably accurate idea of what the popularity of any given artist should be in the six to nine months before our event.

But he was not joking. This was the first time such a proposition had ever been floated, but I had an open mind. I then asked what the album sales looked like. He looked at me with a poker face and said “The artist has never released an album.” An uncomfortable silence ensued. I didn’t understand what was happening.

I will never forget the day in early 2011 that my senior talent buyer came into my office to pitch a headliner for our major music festival that Labor Day weekend. We had six headline slots over three days for our mainstage that year. Five were already booked: Jane’s Addiction, AWOLNATION, Skrillex, M83, and Tony Bennett. We needed one more headliner to close out the booking.

The only other question I could ask was why on earth was he pitching me an unknown, unquantifiable, unproven artist for a mission-critical mainstage headline slot? He responded with a statement I had never heard before: The artist’s social media analytics were off the chart. Yes, disorienting as it is for us to think about it now, in 2011 social media was still in its infancy and was only beginning to be used effectively for commercial purposes.

For context, at that time my agreement with my talent buyer was that he would let me know what he was doing if he was planning to spend $25K or more on any one act, and he would not act without my advance approval if he intended to drop six-figures. This festival typically had.

I had to call in my marketing director at that point as she understood social media better than I did. We looked at the artist’s stats online. I don’t recall the exact numbers but he had many millions of followers on Facebook which was unheard of at that time, and an equally astonishing following on twitter.

About 100 acts per year so I was getting briefed about something virtually every day. We had a routine, and that routine was always based around a presentation of an act’s album sales and recent tour history.

The gist of it was that in the short time that major artists had been using social media, this particular artist was generating numbers on an order of magnitude beyond even the most popular bands on earth. The big bet was that those numbers would translate into future ticket sales once the artist’s debut album came out between that moment and the weekend of the festival. That bet was preposterous, and I said absolutely not.

One day he sat down in my office and said there was a new act that he was really excited about and he felt it would be perfect for our final mainstage slot. “Wonderful! Who is it?”, I asked. “Well that’s the thing,” he replied. “It’s a brand new act.” Now he had my full attention. I asked him what the recent tour history shows. Our mainstage held 14,000 and we needed to fill at least 70% of that. He explained that this artist had no mainstream touring experience. I stared at him in silence for a few moments, thinking he was simply joking with me.

My talent buyer came back to me a number of times over the next month asking me to reconsider. He showed me updated social media analytics. I could see that, all talent-buying logic aside, yes this artist was growing his socials in ways no one had ever seen before. I held steadfast. Absolutely not.

The Start to Finish Playbook on How to Fund and Produce an Event #9. Successfully Managing Entertainment

I don’t remember exactly what made me say yes, but at some point I did. Talent buying is gambling, and sometimes you get a hunch that it is time to roll the dice. We booked that artist at a fraction of the price we were normally paying for a headliner at that time. As the artist had no history, he had no leverage on price. I rolled the dice hard, but I didn’t have to bet the entire farm. That artist was a 19-year-old Mac Miller. Six months later he was a global phenomenon. He filled my mainstage, and for the first time in years my mainstage had a standing line waiting, hoping, begging to get in. The only problem we had was the standby line grew so long that it began to impact the rest of the festival. That is an outstanding kind of problem to have. My talent buying perspective was shifted forever. Fast forward to today and social media stats are used by talent buyers every day. They are not perfect indicators, but when you combine social with other business intelligence you can generate a reasonable forecast. Differentiating Yourself From Competition Talent buying competition in many markets is fierce. When shopping for tours, even artists represented by top agencies often do have some influence in choosing which venues they perform in. This is an area where understanding the artist's perspective is important. Despite the romanticism that the general public associates with the idea of being in a band and touring, the stark reality is that touring is an exhausting and often mundane endeavor. After the first few nights of the tour, all of the cities and all of the venues start looking and feeling exactly the same, and not in a pleasant way. There are many familiar jokes along this theme such as musicians shouting out the wrong city name when they take the stage. Every professional musician understands that the reason the movie This Is Spinal Tap is so funny is because all of the absurdity in that film is firmly rooted in reality.

A Story About The Artist’s Perspective In the early 1990’s I worked at a nightclub in Seattle called Moe. We had a 600-cap showroom with the best club sound system in town, a fantastic lounge, and a legit restaurant that was a favorite in the neighborhood for lunch and dinner. We opened for business just a few moments before Seattle exploded and became the music capital of planet Earth. The timing was exquisite, and for the first year or two we operated without material competition and at capacity year-round. Predictably, one day competition arrived. Not one but three new clubs emerged, all designed with the intention to aggressively go after our (then near 100%) market share. Most music fans are familiar with one of those clubs, the now legendary Crocodile Cafe. We knew that the Crocodile ownership group in particular had the resources to come at us hard. Our owner and fearless leader at Moe was actually gleeful about the end of our uncontested run; he welcomed competition as an opportunity for us to rekindle our creative brain trust that had made us so successful in the first place. An area that we decided to develop was the artist and crew experience while at our venue. My favorite anecdote from those days involved the production rider for The Flaming Lips. In rock and roll it is commonplace for bands to insert a ridiculous “requirement” or two in their production riders, often just for fun and to break up the aforementioned monotony of touring. One day we received an updated production rider for The Lips which included a requirement for “...a single-occupant anti-gravity device, capable of levitating 300 lbs and rated for interstellar travel, to be made available pre-performance with easy access from the dressing rooms area”. We saw this as an opportunity.

Imagine yourself on that tour bus, numb and resigned to grind it out for the next few weeks or months. Imagine that every city, every venue, every day is more or less the same. Now, imagine there is one city that is somehow different. It stands out in a pleasant way. You can imagine that compared to monotony, even a slight bit of change could make a big impact on your mood. The harsh reality of touring makes for relatively low-hanging fruit in terms of your ability to stand out among your competitors.

The Start to Finish Playbook on How to Fund and Produce an Event #9. Successfully Managing Entertainment

In the late 1990s I put the same concept to work at an outdoor summer concert series on the Seattle Waterfront called Summer Nights at the Pier. Taking place on a 74,000 square- foot marine pier, when Summer Nights began in 1991 it was a unique venue in the region in terms of aesthetic and sellable capacity. It quickly saw success, and within a few seasons competition sailed into the market. This time the competition had far more financial resources than we did, but we had a unique physical environment that nobody could replicate. Long story short, we fulfilled that rider item, proudly. Our backstage areas were in a basement, while the showroom and bar and restaurant were on the ground floor. There was an empty space underneath the stairs that led up to the stage, about 8’ by 8’ by 10’ tall. We painted the entire space flat black and installed a black curtain to completely enclose the space. We had an artist paint a beautiful glow-in-the-dark mural of the universe on all surfaces in the space, a true 360 degree surround mural, featuring galaxies and planets, ufo’s and other interstellar wonders. Next we installed 4 strong anchor bolts into the ceiling, and to those we attached 4 very large steel springs. We then fashioned a sturdy wooden seat with a back and arms and a seatbelt. The seat was attached to the springs with lengths of aircraft cable. To operate the anti-gravity device, we simply charged the paintings with bright light for a minute, then the rider would use a step ladder to get into the chair which was suspended about 5’ off the ground. Once the rider was strapped in, we’d clear the room and give the rider a good push to set the craft in motion, and then close the curtain. The rider then traveled across the universe for the next minute or so. Apparently no other venue in the country had bothered to provide this rider item. The band and entourage were delighted, to put it mildly. From that point forward until the eventual sale and demise of Moe, The Flaming Lips would not even consider any other regional offer, not even from much larger venues, or for double or triple the money. We achieved a relationship with the artist that transcended the transactional. In the big picture it really didn’t take much. We probably spent less than $500 on the project. The return on investment over the next couple of Flaming Lips tours was off the charts.

Artists who manage to find sustained success and longevity in their careers tend to retain key touring personnel over the long haul. These personnel can also have influence in determining which venue an act will select in any given market. Understanding this, at Summer Nights we leaned heavily into the touring crew experience, and it paid outsized dividends over the long haul. As a general rule of thumb, a happy crew makes for happy artists. And vice versa. We set up backstage fishing and crabbing stations, always supplied with an abundance of gear, everything you would ever need. Our stage roof was supported by massive steel scaffolding towers that backed up to the edge of the pier. We enlisted the help of our scaffold engineer and installers to build a pulley-system canoe launch off of the back of the stage, as well as a high diving platform for the truly brave. Lots of crew members took the dive, but the only artist that ever dared was Chris Isaak. In the dressing rooms area we had our carpenters fabricate a very basic 3-hole mini golf setup. We had to build a lot of temporary walls and such every year to delineate space, and we had our carpenters take artistic liberties in a marine theme. In retrospect, we were creating selfie-ops eons before there were smart phones. Some days we would have golf cart races before dinner. We didn’t have a lot of money to play with, but we had time, creativity and an endless capacity for fun. In just a few short seasons, word got out. We managed to convert the artist and crew perspective of Summer Nights from just another gig in Seattle to the place that artists insisted to their management they play. The allure of something unique, something fun, was so powerful that we routinely were able to secure artists that, in retrospect, were grossly oversized at the time for our 4200-seat venue. The Allman Brothers. Bjork.

The Start to Finish Playbook on How to Fund and Produce an Event #9. Successfully Managing Entertainment

Our shows were routinely sold out and would often sell out fast. If schedules allowed we would add on second shows, which would also sell out more often than not. When artists can do multiple shows at a single venue, there are economies of scale that put significant extra revenue in their pockets, which in turn makes the artists even happier. Many artists returned to Summer Nights every year if they were touring, such as Lyle Lovett, Chris Isaak, Earth Wind and Fire, and more. They could have chosen to go to larger venues. They chose us because we were unique and fun. Over time the working atmosphere became more like an annual family reunion than a concert, and in fact I still keep in touch with some of the touring folks from those days. A little bit of effort towards artist and crew experience can go a very long way for your venue. Private and Corporate Engagements There is no fundamental difference between public and private bookings, other than the artist fees being a lot more expensive. I’ve long had a saying for private and corporate clients who ask me if I can secure an A-list artist for their private event. “For twice their market rate, I can ask. For triple their market rate, I can guarantee.” This model has held mostly true most of the time. Production Costs When shopping for talent on any level, one must always be cognisant of the total cost, not just the artist fee. Never sign a contract before all terms have been negotiated and agreed upon, including the production and hospitality riders, transportation and hotel, and so forth. To date I have produced well north of 3,000 unique performances of all types, all scales, all scenarios imaginable. In doing so I have discovered a universal cost ratio, which I now share with you: Artist fees and production costs tend to hover around a 1:1 ratio. This rule is scalable to any size or situation.

By way of example, if you book a local solo artist for a Tuesday night set in your local bar for $200, that performance is going to cost you around $200 in production. That would look like your sound engineer’s fee for the evening, some drink tickets, maybe a meal or parking for the artist, and so forth. On the other end of the spectrum, if you book Bob Dylan for $500K for your one-off play I guarantee you by the time all is said and done it’s going to take roughly $500K in costs to make that show happen. That said, there are economies of scale that can be leveraged in multi-day festival scenarios. This rule holds so true that you can use it as a dummy check when building budgets and creating offers; if your ratio gets out of balance in either direction by 20% or more, there is probably something wrong with your numbers. If the production costs are too low, you are probably forgetting or not understanding something important, or the artist fee is too high. If the production costs are too high, you may be significantly over-paying or over-estimating for some aspect of production, or that artist may be asking for too much production relative to their true market value. Closing Thoughts Booking entertainment is never easy for anyone. An entire book could be written on the subject. In this chapter we have explored a few key areas that are worth everyone’s contemplation, and hopefully will provide fuel for ideation. We have looked at some real life examples from larger music events, but these same ideas readily translate to the smallest events as well as non-music entertainment. The entertainment market will only become more competitive over time. Using creativity and devoting some thought to the experience of the artist and their crews has been transformative for me time and time again. It can be for you too.

ABOUT THE AUTHOR Jon Stone, Jon Stone Consulting Jon has been a fixture in the event industry for over 30 years, working in myriad areas including festivals, concerts, cultural infrastructure, civic placemaking, theater and multidisciplinary arts. To date he has performed key roles in the creation and execution of over 3500 events and performances, some of which have become iconic.

The Start to Finish Playbook on How to Fund and Produce an Event #9. Successfully Managing Entertainment

Chapter 10

Ticketing

By Amy Maxwell, Ticket Tomato, Event Producer & Music Lover In This Chapter You Will Learn: • The importance of an Excellent Ticketing Platform • How to Choose the Right Platform • The Promotional Power of Discount Codes • The importance of Data and Reports Ticketing is often one of the most overlooked revenue streams for an event. It is necessary but difficult, time-consuming, and confusing, and it can require learning a new technology platform. However, it is one of the most important revenue streams an event can have, along with sponsorship, vendors, merchandise, and food and beverage sales. Typically, ticket revenue can make up 50 – 80 per cent of your overall event revenue.

You can recognize sponsors and partners. The links and pages will be used by your social media outlets, e-blasts, and websites. It begins with the first experience of an event, festival, or conference attendee purchasing their ticket. They start their journey at the time of purchase, and the box office or check-in is their first impression on-site. This can make or break an attendee’s experience at the event.

The branding on the platform is essential. It is a way to post photos, videos, and information about your event.

The Start to Finish Playbook on How to Fund and Produce an Event #10. Ticketing

This is why picking the best platform for your event is vital. Here are a few things to look for. Ease of overall software and interface — You want the purchaser’s experience to be easy and seamless. Reliability — You want to ensure that the purchaser will receive the product they purchased and be able to easily retrieve it at the time of check-in or redemption. Informative — It’s important that the ticketing page has all the necessary information for the event. You want to limit some information so as not to overwhelm the purchaser. You can do this by adding embedded or hotlinks to the page. Dashboard — You want to be able to monitor, track, and pull reports throughout your sale. This will help you determine the different types of promotions you engage in. At the end of your event, you need to be able to access all necessary data.

• Multi-ticket formats—You want to be sure you can sell tickets in various formats, such as general admission, multi-packs, reserved seating, timebased, registration, RSVP, etc. • Pricing—You will want to be clear on the ticket pricing and be sure there are no hidden or back-end fees. This currently the hot topic in the industry, with all the latest issues. If you can choose All-in Pricing, meaning the fees and taxes are all rolled into the price, this is the best way to go. • Customer service—It is important to know how much work you will be doing and whether there is any customer service support for both the ticket purchaser and the client. The last thing you want is for a frustrated purchaser to not be able to resolve their issue before attending the event. • White label pages—From a marketing and branding perspective, a white label page is the best option. This landing page has your event or business brand but is run and powered by the ticket company platform. • Box office management—A key person from your ticketing platform should be on-site to train volunteers or run your box office from top to bottom.

The Start to Finish Playbook on How to Fund and Produce an Event #10. Ticketing

You can request information from the platforms and look at testimonials and reviews. Once you set up a meeting, be sure to request a demo. You can then look at their platform and get a feel for how it will work and how easy it will be for the attendees to purchase. Be sure to have a list of questions ready to clarify pricing, services, tools and details. In addition, they typically have the ability or ideas to set up your event in the best way possible, helping to ensure success with the purchasing process. Promo codes are a great way to promote your event and ticket sales. There are various ways to use promotional codes for marketing and promotion. Here are a few ideas. Ticket sales launch Early bird pricing Membership discount Sponsor perk Social media promotion E-blast promotion Media promotion Holiday promotion

They consist of the following: A percentage off – Example – 20% A dollar price off – Example - $5.00 Other types of codes that are a little more complicated but good for use are the following: Group of 10 or more – you must have ten tickets or more in your cart for the code to apply. For up to 4 uses per purchaser – the promotional code will only work on four tickets in the cart. Limit use by email address – that email address cannot use the code on additional purchases. Total number of uses – you can limit code use. For example, use the code SALE for a discount; this code has a limit of 10 uses. Discounts are an underutilized resource for most events. It’s a great way to market your event, encourage early purchases and commitments, and give supporters or members perks. Be creative with your promotions, code names, and how to launch them. Many major music fan clubs tend to be good at using these to kick off a tour or concert ticket sales. Don’t be afraid to think out of the box and have fun!

The types of discounts you can use can vary. You may want to offer student, senior, or military. You can have a child ticket (ages 5-12) or Arts for All, a discount ticket for those unable to afford a standard ticket. These discounts are typically applied as a radio button in the cart. Other types of discounts are used as a code applied in a box in the cart.

The Start to Finish Playbook on How to Fund and Produce an Event #10. Ticketing

The importance of data is a powerful tool to use throughout the ticket-selling process for your event. You can collect several data points throughout the process. Monitoring sales daily is a good idea, and it can help you determine the health of your event and marketing needs and support your event recap. Here are a few reports that can be powerful tools: General sales data – tickets sold, revenue, quantities, etc. Demographic information – gender, age, location, etc. Email lists – contact information and emails if the purchaser opted in. Zip codes – location of where people are coming from. This information can be used for grants. Customer lists – tracking and looking up purchases. Promotional codes – tracking the use of codes and where they come from. Facebook pixel and Google G codes – the ability to track digital advertising and the purchasing sell-through.

All of this data can be used effectively for marketing campaigns, ticket pricing, grants, sponsorship, and partner programs. It will give you a visual of what is working and what may not be working. It can become a tool for communicating year-round or with your ticket holders to build community and strengthen your connection with your event attendees. In conclusion, take time to build a relationship and partner with the right ticketing platform. Remember that some are more hands-on than others, and others are more self-serve. Do your research to build the correct box office for your event and change the world one ticket at a time.

Pictured: Winthrop Rhythm & Blues Festival

ABOUT THE AUTHOR Amy Maxwell, Ticket Tomato Amy comes with more than 20 years of experience in the event and entertainment industry. She manages shows, non-profit events, festivals, corporate functions, and concerts nationwide. Amy continues to manage Ticket Tomato’s daily business in conjunction with event production and box office management nationwide.

The Start to Finish Playbook on How to Fund and Produce an Event #10. Ticketing

Chapter 11

DEIA: Developing A Toolkit By Ashley Young Tacoma Venues & Events

In this chapter you will learn: The importance of an equity and events toolkit. A sample of a fully developed toolkit Events have a profound impact on communities, bringing people together and creating a shared sense of place and purpose. However, true inclusivity in event planning requires intentionality. This chapter emphasizes the importance of embedding diversity, equity, inclusion, and access (DEIA) principles into every stage of event planning, with a focus on Universal Design practices to ensure all attendees feel they belong. The Equity in Events Toolkit is one of the capacitybuilding tools developed by Tacoma Venues & Events. SkillShops, an ongoing webinar series, supports event organizers with practical strategies and resources to build successful events, leading them through the permitting process, grant funding opportunities and more.

This toolkit emerged from a collaborative process involving Tacoma Venues & Events and the Office of Equity & Human Rights with direction from the Tacoma City Council. It also included participation from event planners and advocacy groups, ensuring it reflects diverse perspectives. It focuses on key areas like language access, accessibility, and cultural competence while leveraging resources that municipalities, like the City of Tacoma, may provide —such as equity indexes and funding opportunities. This aids event organizers in their mission to foster inclusivity. To help event planners put these principles into action, the toolkit provides a comprehensive stepby-step process. It covers everything from setting clear, inclusive goals, to conducting mindful outreach and addressing barriers like language access and physical accessibility. Each step is designed to guide organizers through thoughtful and equitable decision-making.

The Start to Finish Playbook on How to Fund and Produce an Event #11. DEIA: Developing a Toolkit

Additionally, the toolkit includes a practical checklist that consolidates the essential tasks for integrating DEIA principles into event planning. This checklist serves as an easy reference to ensure that organizers stay aligned with their equity goals throughout the planning process. Readers will also find valuable resources such as templates, and connections to municipal tools like the City of Tacoma’s equity index, which helps identify and address disparities in the community. These tools empower organizers to create events that are not only inclusive but also reflective of the unique needs and strengths of the diverse populations they serve.

By integrating these strategies, event planners not only contribute to more equitable and inclusive events but also advance a broader vision of building stronger, more connected communities. We are committed to gathering feedback from users and continually refining and adapting the toolkit, ensuring it evolves with the needs of the communities we all serve. We hope this toolkit inspires organizers to lead with equity and belonging at the forefront, making a lasting positive impact on the communities they engage.

ABOUT THE AUTHOR Ashley Young Tacoma Venues & Events Ashley now serves as the Special Events Coordinator for the City of Tacoma under the Tacoma Venues & Events Department, where she manages Special Event Permits and oversees the City Events and Recognitions Committee, who produce community events such as the Dr. Martin Luther King Jr. Day Celebration and the City of Destiny Awards.

The Start to Finish Playbook on How to Fund and Produce an Event #11. DEIA: Developing a Toolkit

Table of Contents Introduction Equity in Events Toolkit ............................................................................. 2 Office of Equity & Human Rights (City of Tacoma) ........................................................... 3 Tacoma Venues & Events (City of Tacoma) .................................................................... 4 Developing a Critical Mindset Best Practices When Designing, Planning, and Organizing Events ....... 5 Step 1: Set Event Goals and Objectives .......................................................................... 9 Step 2: Pre-Event Planning ....................................................................................... 11 Step 3: Mindful Marketing and Outreach ....................................................................... 13 Step 4: Language Access .......................................................................................... 15 Step 5: Analyzing Feedback ...................................................................................... 17 Step 6: Create Your Equity Plan ................................................................................. 19 Step 7: Explore City of Tacoma Special Events Funding ...................................................... 21 Support Contacts ................................................................................................... 23 Equity in Events Checklist ........................................................................................ 24 Organizational Planning ........................................................................................ 24 Staff, Volunteer, and Vendor Coordination .................................................................. 24 Establish speakers available for language translation. .................................................... 24 Date & Venue/Location ........................................................................................ 24 Mindful Marketing ............................................................................................... 25 Language Access ................................................................................................. 25 Catering .......................................................................................................... 25 Transportation & Parking ....................................................................................... 26 Diverse Vendors & Suppliers ................................................................................... 26 Equipment & Rentals ........................................................................................... 26 Signage & Wayfinding ........................................................................................... 26 Registration/Ticketing and Check-In ......................................................................... 27 Feedback ......................................................................................................... 27 Appendix A – Essential Definitions & Key Terms ............................. Error! Bookmark not defined. Language Access Definitions ................................................. Error! Bookmark not defined. Tacoma Venues & Events Special Events Funding Definitions and Guidelines ..... Error! Bookmark not defined. Appendix B – Data Resources for Marginalized Populations ................ Error! Bookmark not defined.

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Introduction Equity in Events Toolkit The Equity in Events Toolkit will equip organizers with tools and guidance to plan events intentionally with resources for Diversity, Equity, Inclusion, and Access (DEIA) ensuring that Tacoma’s cultural richness and diversity are celebrated, and events are accessible to all residents. These resources also prepare event organizers to apply for Special Event Funding overseen by the City’s Events and Recognitions Committee (CERC) and understand the measurement metrics used to determine funding and to encourage increased equity at events. Through these tools, we strive to build a stronger, more inclusive community where every individual feels represented valued, and welcomed at special events. This toolkit represents a critical resource in The City of Tacoma's and the Tacoma Venues & Events (TVE) efforts to foster DEIA in community events. Elements of DEIA are important factors to include when designing, planning, and organizing events. The Equity Toolkit will equip organizers with tools and guidance to plan events intentionally ensuring that our city's cultural richness and diversity are celebrated and accessible to all residents. This toolkit will also talk about Universal Design. This is an approach to making facilities, communication materials, events, and activities accessible to and usable by everyone. Universal design means that rather than designing for the average user, you design for people with a board range of characteristics such as native language, gender, racial and ethnic background, age, and disability. Racial equity tools are designed to integrate explicit consideration of racial equity in decisions, including policies, practices, programs, and budgets. Use of a racial equity toolkit can help to develop strategies and actions that reduce racial inequities and improve outcomes for all groups. Resource: The Government Alliance on Race & Equity

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Office of Equity & Human Rights (City of Tacoma) The Office of Equity and Human Rights (OEHR) aims to embed equity in our services, decision-making, and community engagement. We focus on addressing the root causes of racial inequity to provide equitable opportunities for all. Our goal is to transform organizational practices and collaborate with the community to make Tacoma welcoming, inclusive, and accessible, ensuring that all individuals have the chance to meet their needs and reach their full potential, regardless of race, gender, age, or sexual orientation.

Intersecting the pillars of Diversity, Equity, Accessibility, Inclusion, and Belonging (DEAI-B) and Universal Design principles are pivotal in creating inclusive environments that accommodate a broad spectrum of abilities and needs. These pillars and principles facilitate spaces where individuals with diverse capabilities—whether in seeing, hearing, speaking, mobility, literacy, language comprehension, cognitive processing, organization, attention, engagement, or memory—are seamlessly supported. Universal Design inherently embraces flexibility, ensuring that structures, products, and services are usable by people of varying abilities without the need for adaptation or specialized design. By integrating these principles, environments become more accessible, equitable, and conducive to the full participation and empowerment of all individuals, regardless of their unique characteristics or challenges.

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Tacoma Venues & Events (City of Tacoma) The City of Tacoma enhances quality of life for the community and drives economic vitality through its premier venues and diverse entertainment opportunities. Tacoma Venues & Events oversees these renowned venues, which include the Tacoma Dome, one of the world’s largest wood-domed structures with flexible seating configurations ranging from 5,00021,000; the Greater Tacoma Convention Center, artful and modern with its trademark glass walls and 119,000 square feet of event space; Cheney Stadium, home of the Tacoma Rainiers; and the historic Pantages and Rialto Theaters and Theater on the Square. The department permits and produces special events, including the annual Dr. Martin Luther King, Jr. Day Celebration and the City of Destiny Awards, and funds special events with oversight by the City's Events and Recognitions Committee.

Mission Better Together: enriching lives in welcoming spaces Values Safety First | Legendary Experiences| One Crew Built on Trust | Create and Innovate Inclusion Matters

Special Event Funding: TVE strongly supports inclusion, equity, and access. We celebrate Tacoma’s diversity of people, places, cultures, and expression. Diversity and heritage are points of pride, permeating Tacoma’s rich events scene and giving character to its neighborhoods. Events are uniquely positioned to touch every person and every part of Tacoma, and we are committed to supporting the entirety of our community.

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Developing a Critical Mindset Best Practices When Designing, Planning, and Organizing Events Intersecting the pillars of Diversity, Equity, Accessibility, and Inclusion (DEAI) and Universal Design principles are pivotal in creating inclusive environments that accommodate a broad spectrum of abilities and needs. These pillars and principles facilitate spaces where individuals with diverse capabilities—whether in seeing, hearing, speaking, mobility, literacy, language comprehension, cognitive processing, organization, attention, engagement, or memory—are seamlessly supported. Universal Design inherently embraces flexibility, ensuring that structures, products, and services are usable by people of varying abilities without the need for adaptation or specialized design. By integrating these principles, environments become more accessible, equitable, and conducive to the full participation and empowerment of all individuals, regardless of their unique characteristics or challenges. 1. DEIA Pillars: Apply the below DEIA pillars as theme filters while you gather data and resources to support the event. These pillars include: a. Diversity: Acknowledgement and recognition of differences in identity and identitybased needs. b. Equity: Fairness for all; bridging service gaps; providing equitable outcomes. c. Inclusion: Promoting belonging for everyone; all are welcome, supported, invited, and respected. d. Access: Universal and inclusive design in infrastructure; transparency; equitable communication for everyone; and dismantling the able-bodied framework. 2. Belonging: Your well-being is considered and your ability to design and give meaning to society’s structures and institutions is realized. More than tolerating and respecting differences, belonging requires that all people are welcome with membership and agency in the society1. Belonging is vital to have a thriving and engaged populace, which informs distributive and restorative decision-making2. 3. Bring Equity to the Forefront: When designing, planning, and organizing an event bring an equity lens to the front of your mindset, and use it to: a. Ask questions of your leadership and stakeholders. “Nothing about us, without us.” This is used to communicate the idea that no policy should be decided by any representative without the full and direct participation of members of the group affected by that policy.

“Diversity, Equity, and Inclusion – Glossary of Equity-Related Terms.” Washington State Office of Financial Management, Accessed August 13th, 2024. https://ofm.wa.gov/sites/default/files/public/shr/Diversity/SubCommit/DEI-Glossary.pdf 2 “An Evolutionary Roadmap for Belonging and Co-Liberation.” Othering and Belonging (blog), Accessed August 13, 2024. https://www.verywellmind.com/what-is-anti-racism-5071426.)

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b. Ask for feedback about equity concerns for the event to your potential attendees, staff, volunteers, and participants. c. Identify a group or individual who can help navigate the formation of the event with an intentional equity lens. 4. Use the Equity Tools Throughout Planning: Use the Equity in Events Toolkit, and Checklist throughout process and be prepared to include any equity feedback from other events. Begin by asking the following questions: a. Who are the key audience members of the event and what historically or routinely underrepresented populations will be present? b. How will the event directly impact their well-being? c. What gaps do those key audience members currently face? d. How will the event provide service to those underrepresented populations? e. What gaps or barriers does the event intend to address or close during its planning efforts? f. How will the event impact non-targeted populations and what measures will be used to mitigate those impacts? 5. Think Universal Design3: Adopt the following Universal Design principles established by the Center for Universal Design to guide your designing, planning, and organizing: a. Equitable use. The design is useful and marketable to people with diverse abilities. For example, an event footprint designed so that it is accessible to everyone, including people who are blind or with limited vision. b. Flexibility in use. The design accommodates a wide range of individual preferences and abilities. For example, an event that allows an audience member to choose to read or listen to a description of the contents. c. Simple and intuitive. Use of the design is easy to understand, regardless of the individual’s experience, knowledge, language, skills, or current concentration level. For example, equipment with control buttons with universal symbols or language. d. Perceptible information. The design communicates necessary information effectively to the individual, regardless of ambient conditions or the individual’s sensory abilities. For example, ensuring interpreter or translation services are available in addition to video captioning. e. Tolerance for error. The design minimizes hazards and the adverse consequences of accidental or unintended actions. For example, emergency management services are readily available in one easy-to-access or multiple locations. f. Low physical effort. The design can be used efficiently and comfortably, and with a minimum of fatigue. For example, doors that automatically open or accessible ramps.

Burgstahler, S. (2021). Universal Design: Process, Principles, and Applications. Accessed July 2024. https://www.washington.edu/doit/sites/default/files/atoms/files/Universal_Design_04_12_21.pdf

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g. Size and space for approach and use. The design provides size and space for approach, reach, manipulation, and use, regardless of the individual’s body size, posture, or mobility. For example, accessible seating.

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6. Trainings, Resources, and References: Refer to the City of Tacoma and TVE equityspecific resources: a. City of Tacoma Resolution 40622: cityoftacoma.org/UserFiles/Servers/Server_6/File/cms/CBCFiles/EIC/Resolutio n No 40622.pdf A resolution affirming the City of Tacoma’s commitment to Anti-Racist Systems Transformation (ARST). b. City of Tacoma Resolution 41278: cms.cityoftacoma.org/cityclerk/Files/CityCouncil/RecentLegislation/2023/RL2 0231010.pdf A resolution directing the City Manager to create an Equity Toolkit for special events for community use as a public education tool (Council Member Diaz). c. Transforming Tacoma: cityoftacoma.org/government/city_departments/City_Managers_Office/transfo rming_tacoma The City of Tacoma’s efforts to prioritizing anti-racism in the evaluation of new policies and programs as well as the sustained and comprehensive transformation of existing services, through implementation of Racial Equity Action Plans. d. Tacoma’s Equity Index: cityoftacoma.org/cms/One.aspx?portalId=169&pageId=175030 e. Equity Index Map: tacomaequitymap.caimaps.info/CAILive/?location=Tacoma&layer=Equity+Index &tab=demo&searchType=address&area=EquityCalcTacoma f. Tacoma Equity Index Case Studies: Using Data to Operationalize Equity and Transition an Antiracist City: cityoftacoma.org/UserFiles/Servers/Server_6/File/cms/OEHR/EquityIndex/Equ ity Index Collection of Case Studies July 2024.pdf g. Equity 101 by the Office of Equity and Human Rights: youtube.com/watch?v=bsRW81F_zR0 h. Equity & Anti-Racism in Tacoma Venues by the TVE: youtube.com/@TacomaVenuesEvents i. Special Events Funding - Related Information: tacomavenues.org/specialevents-funding

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Step 1: Set Event Goals and Objectives Set goals for the organization and event. Tracking specific populations by unique factors related to culture, race, disability, sexual orientation, geographic region, socioeconomic status, and/or other indicators is a key step in accounting for equity in the design of the event.

Critical Mindset • • • • • • • • •

Does the organization or planning committee represent the community for which it is planning an event? What goals is the event trying to accomplish? How will those goals impact or serve marginalized and/or underrepresented populations? Who are the identified populations? What target populations benefit from the event? What target populations may experience a burden from the event? What is your data and research telling you to consider or implement? What is the budget for the event? Will it require registration or entry admission fees? Are there populations that would be impacted by that? What other departments or work groups impact your event?

Recommended Tasks •

• • • • • • •

Establish a Diversity, Equity, Inclusion, and Access (DEIA) Committee and set goals and intentional initiatives. This group should include diverse representation, from your volunteers, board members, and staff. Collaborate with other members of the organization on how to incorporate equity into the whole of the event, including budgeting, safety, operations, and others. Develop a formal statement that highlights the importance of DEIA. Communicate it widely within your organization and to external audiences. Review demographic, economic data, and geographic data on impacted populations/areas (resource links below). Identify the intended outcomes of the event. Numbers tell powerful stories! Use data to illustrate the unique impacts of your outcome. Screen the outcomes for equity impact - where do they directly impact targeted populations that have been marginalized? Bring equity to the forefront. Use it to ask questions!

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•

Work with your organization to talk about financial goals and requirements. Bring in other departments or teams for similar conversations. Make sure you come to the conversations with an equity lens in mind and find creative solutions.

•

City of Tacoma Equity and Empowerment Framework: shorturl.at/YYx9T Tacoma’s Equity Index: cityoftacoma.org/cms/One.aspx?portalId=169&pageId=175030 Government Alliance on Race and Equity: racialequityalliance.org/home Tacoma Equity Case Studies: shorturl.at/kOsAc Washington State Institute for Public Policy: wsipp.wa.gov/Publications

Resources and Supports • • • •

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Step 2: Pre-Event Planning Pre-planning with DEIA (Diversity, Equity, Inclusion, and Accessibility) principles ensures that all aspects of a project or initiative are designed with diverse perspectives in mind from the start. By incorporating DEIA early in the planning stages, organizations can identify potential barriers, address inequities, and foster an environment where everyone’s needs are considered.

Critical Mindset • • • • • •

Does your event consider dates, days of the week, or times that will impact your target audience's availability? Do the food and beverage options make your audience feel welcomed and safe at the event? Does the venue incorporate Universal Design elements? If not, will the venue cater to accessibility needs identified by your target audience? Does the location of the event provide accessible transportation? Does the location of the event create barriers to already accessible transportation? Has your organization provided training to your staff/volunteers before the event surrounding DIEA? Do other participants understand your DEIA goals and objectives?

Recommended Tasks • • • • • •

•

Use the data from your goals and objectives to understand patterns of your audience. Avoid religious and cultural days of observance when selecting the event date. Create a list of accessible food options. Include questions about language, dietary, and accessibility needs in the registration form. Also, include options to enter gender pronouns. Allow opportunities for audience members to make unique requests. Use previous data to understand what populations will be represented at your event. If your populations are narrow, ensure there is a wide variety of food available that is appropriate. Review public transportation routes to and from your event. Work with those agencies to understand their impacts on your event on both who will be attending and not attending.

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• •

• • •

•

Consider Universal Design practices in venue selections, transportation, and design to find ways to be accommodating for all. Work with venues (or build festival sites) that cater to the accessibility needs of your target audience. Consider elevator access, ADA restrooms, accessible entrances (without stairs), ramps, wheelchair access, clear and legible signs, close parking, transit stops, adequate lighting, aisleway widths leading to accessible seating 36" minimum, and all gendered restrooms. Review transportation options to and from the event and its impact to all attendees. Consider transportation impacts to non-attendees as well. Ensure sidewalks are kept clear (no protruding cables, plants, or objects). Consider offering a sensory-friendly session or timeframe during your event where senses are considered in creating a comfortable space for people who experience sensory overload or sensitivity. Select speakers and presenters from diverse backgrounds that represent your target audience. Make sure the content reflects a variety of perspectives and experiences. Provide training opportunities and information to your organization, volunteers, and participants about your DEIA practices for this event. Include training on how to engage and interact with individuals with disabilities (including invisible disabilities and sensory needs), implicit bias training, and cultural competence training. Provide information for all individuals participating in your event about your DEIA practices in your event.

Resources and Supports • • • • • • • •

Training, Resources, and References Universal Design Pierce Transit Sound Transit Catering Ideas for Every Occasion: shorturl.at/1OPXa Making events and meetings accessible - SCIE: scie.org.uk/coproduction/supporting/making-events-accessible/ WA State Office of Minority and Women’s Business Enterprises: omwbe.wa.gov/ Kulture City - Sensory Accessibility: kulturecity.org/

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•

National Association of the Deaf – Advocacy Letters: nad.org/resources/advocacy-letters/

Step 3: Mindful Marketing and Outreach Mindful marketing and outreach are about creating and executing marketing strategies that are respectful, inclusive, and accessible to all individuals. “Nothing about us, without us!” If you have an opportunity to connect with all people groups-particularly those who may pertain to your target audience; how are you maximizing their voice and choice as it relates to the overarching goals of the event?

Critical Mindset • • • • • •

How have you marketed the opportunities available to all audiences to ensure maximum visibility and engagement? Does the outreach include marketing in multiple languages or use Universal Design Practices? Consider registration and/or admission fees, language barriers, and communication needs when creating marketing campaigns. What are the gaps illustrated by the data you’ve collected during goal setting? What do members of the affected group(s) have to say about the design of the event? Does it align with the intended impact/outcomes?

Recommended Tasks • • • • •

•

Use the data from prior research in designing your campaign. Identify potential internal and external stakeholders and partners relevant to the event. Create opportunities to solicit feedback from your audience members, including attendees, volunteers, participants, performers, partners, and stakeholders. Make sure event promotion and invitations are distributed inclusively. Target a diverse range of attendees. Provide marketing materials with language and visuals that are inclusive for target audiences. Printed materials should use Sans Serif fonts with large typeface. Color contrast should be suitable for low vision/colorblind individuals. Ensure your website meets accessibility requirements and monitor it over time. Learn how those with disabilities use the web and train staff that update content in compliance.

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• •

•

Communicate with your audience what impacts and features the event holds such as accessibility options, transportation impacts, and any unique offerings that will be provided. Use a variety of media channels to market your event. This includes social media platforms that are popular with specific groups, neighborhood districts, community bulletin boards/newspapers. Registration Fees - Consider registration fees and how much to charge. This will depend on your event goals and targets. Consider offer offering a few no-cost registrations to ensure a wide range of attendees. Does this provide an opportunity to utilize grant funding from the City of Tacoma’s Special Events Fund? More information in Step 7.

Resources and Supports • • • • • • • • • •

• •

Flaticon- Vector Images: flaticon.com Unsplash- Images: unsplash.com Photopea- Photo Editing: photopea.com Canva- Graphics: canva.com Google Fonts: fonts.google.com Microsoft Office Templates: templates.office.com Work with Advocacy Groups Create Focus Groups Create Surveys- Google Forms is free and translatable on any internet browser: docs.google.com Examples of Multi-Demographic Icons: forrec.com/wpcontent/uploads/2020/03/multi-demographic-iconscolour_UD-scaled.jpg Tacoma Arts and Cultural Vitality Creative Roster: cityoftacoma.org/cms/one.aspx?portalId=169&pageId=5964 Web Content Accessibility Guide: boia.org/wcag-2.2aachecklist?utm_adgroup=WCAG-2.1-Checklistelines

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Step 4: Language Access TITLE VI of the Civil Rights Act of 1964 protects Limited English Proficiency (LEP) persons from discrimination based on national origin in federally financed programs. Conducting a language equity needs assessment, is the first step towards identifying what needs or gaps may exist within your event.

Critical Mindset • • • • • • •

What are the approximate estimates of audience members who will likely need language access services? What are the primary languages spoken by the audience members who were identified as historically marginalized or disproportionately impacted in your earlier research? How have you conducted outreach or gathered data to identify the targeted languages? How will you communicate language access services that are currently available and provided for audience members at the event? Has your office or department procured language access services for the event? Will your event need ASL interpreter? How can individuals request one? Are assisted listening devices available?

Recommended Tasks • • • • • • • •

Designate a language access coordinator (or point-person) who will oversee the execution of language accessibility planning and procedures. Use and leverage previous survey data to identify any language access needs. Use your diverse media channels to promote language services that will be available during your event. Use “I Speak Cards” in your target and secondary audience members primary languages to identify language needs. If non or hard of hearing audience members are identified, hire an interpreter and provide reserved front row seating for access. Overhead presentations should be in large print with printed copies available for those with visual impairment. Provide video captioning. Consider using a platform that offers access to multiple languages for website, registration, surveys, and feedback forms.

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• • •

Use Mindful Marketing to promote your event in multiple languages through flyers, posters, digital, communication, etc. Set aside funds in your budget to support language access services at the event. Continue conducting outreach and gathering data to identify targeted languages for future events.

Resources and Supports • • • • • • •

Example of “I Speak” Cards: fns.usda.gov/civil-rights/ispeak Department of Justice: justice.gov/atj/department-justicelanguage-access-plan Language Access Plans: lep.gov/language-access-plans Welcome to LEP.gov- Limited English Proficiency: lep.gov Equity Index: cityoftacoma.org/cms/One.aspx?portalId=169&pageId=175030 Census: census.gov Universal Access Symbols: artsaccess.com.au/resource/universal-access-symbols/

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Step 5: Analyzing Feedback Use data and feedback from previous events and collect information through surveys and focus groups from key audience members. Consider how you plan on using this data to advance your future planning efforts. Remember to collect at your upcoming event to use for future events.

Critical Mindset • • • •

How are the findings from data and outreach addressed/incorporated in the design, planning, and organizing of the event? What gaps were identified through the data and outreach? How do the current planning processes support equity designing, planning, and organizing of the event based on data and feedback? What potential burdens/inequities does the event present based on data and feedback?

Recommended Tasks • •

• •

• • • •

Be specific and intentional about how you’ve prioritized feedback and what mechanisms you used in implementing a collaborative approach in the design of the event. Consider how you will collect data at your coming event. Use various options for feedback such as surveys, emails, clipboard canvasing, and QR codes throughout the event space to solicit responses from varying populations. Explain to respondents why you are collecting the data and how it will be aggregated. Ask questions about the data. What does the data say about your event? What did you do right? What are ways your event can improve access and equity issues for your audience in the future? Consider how the data and feedback can illustrate the benefits of the event outcomes. Prioritize transparency by clearly outlining potential risks the event may pose to target populations based on feedback. Synchronize feedback with the data that’s been collected. After the event, communicate with your audience about what the data has shown you and how you will make changes in the future.

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Resources and Supports • • • • • • • • •

Demographic information. Data reports and feedback previously collected. Detailed information on feedback collection strategies and methodologies. Feedback reports you’ve collected. Outcomes and action items designed from the data and feedback you’ve collected. Survey Monkey: surveymonkey.com Google Forms: docs.google.com Free QR Code Generator: qrfy.com CVENT- 25 Event Survey Questions to Ask Pre, During, & Post-Event: cvent.com/uk/blog/events/event-surveyquestions

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Step 6: Create Your Equity Plan Time to put it all together! Craft a powerful, but lean equity plan that directly outlines your action items to ensure a diverse, equitable, and inclusive event. Paint a picture of how the event builds, supports, and maintains equity by addressing major disparities or systemic gaps.

Critical Mindset •

• • • •

What positive changes will result from the event as it relates to closing equity gaps and promoting fairness and comprehensive support for underrepresented audience members? How does your analysis minimize harm to targeted populations? What information have you collected from data and feedback that identify systems for improvement? What strategies will you apply to address unintended consequences for impacted communities? Which target populations are not considered or included in the design of the event? How will this be addressed?

Recommended Tasks4 • •

• • • •

Create a plan with all of your DEIA objectives. Use your evidence and data to create connections. Create an event outline highlighting your DEIA strategies. Consider and explain how some target populations may be excluded, marginalized, or disproportionately impacted by the event. What action steps will you or your organization consider closing these gaps? What positive changes will result from your DEIA practices? What additional impacts will it have? Be honest and transparent in your findings. Design/outline strategies supported by the event that promote racial equity or draw attention to gaps in service for targeted populations. Identify how the event aligns with your organization's DEIA goals and articulate how the event design will address and work towards being more equitable over time. Share your equity case and any findings, prevailing themes, major topics of insight and/or interest from feedback. “Nothing about us, without us!”

Curren, R., Nelson, J., Marsh, D. S., Noor, S. & Liu, N. “GARE-Racial Equity Action Plans: A How-to Manual.” Government Alliance on Race and Equity, Accessed July 2024. https://www.racialequityalliance.org/home

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• •

State how the event will monitor, track and/or prioritize the equity case over the course of time and/or work to resolve issues. Reference your equity plan often, especially when facing challenging situations.

Resources and Supports • • • •

Data Resources Feedback Analysis Researched/Proposed strategies for implementation and remediation Equity Index: cityoftacoma.org/cms/One.aspx?portalId=169&pageId=175030

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Step 7: Explore City of Tacoma Special Events Funding The Special Events Funding program is intended to foster high-quality, equitable, inclusive, open-to-the-public events across all of Tacoma. The program is overseen by the City’s Events and Recognitions Committee.

Critical Mindset • • • • • • • • • • • • •

Is your event eligible and meet the criteria for City of Tacoma Special Events Funding? What is the program's merit in the event's diverse content, activities, and experiences? What community impact will your event have? Does your equity plan align with the Special Events Funding Criteria and Guidelines? Does your organization, staff, board members, and volunteers reflect the diverse Tacoma population? How will you include diverse perspectives in your planning team? What would the special event funding support? What community involvement will your event incorporate in terms of performers, artists, and/or speakers? What community support and partnerships will your event incorporate? How does the community you are serving support your event? Is your event free and open to the public? What public benefits does your event address? Does your event provide cultural experiences that are not otherwise available? Consider how your event will fill this gap and provide a valuable experience to attendees. Is your event accessible and available to all who wish to attend? How will you track attendance for the event?

Recommended Tasks • • • • •

Consider eligibility requirements for Special Event Funding. Identify your target community and identify the specific community or demographic group your event is intended to impact, and why. Outline a full description of your event and its activities. Identify how your event incorporates the four measurements in the Special Events Funding Guidelines: Programming Merit, Equity, Community Impact, and Capacity to Present the Event. Ensure best practices for accessibility and Universal Design are incorporated into your event.

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• • • • • • •

Discover when the timeline of the application takes place. Sign up for Question & Answer Sessions during the application window for more information and resources. Create a budget identifying expenses and revenue for the event, and how Special Event Funding will support the event. Identify partners, community support, sponsors, volunteers and other funding resources that are being pursued to support the event. Review Special Event Funding Insurance requirements in the Special Events Funding Toolkit. Review City of Tacoma Procurement and Purchasing processes. Use previous data and feedback to determine what cultural experiences would be well received at your event. Create tracking mechanisms such as people counters, registration, or non-traditional methods to know your event’s overall attendance as well as any collectible demographic information.

Resources and Supports • • •

Special Events Funding Guidelines and Criteria: tacomavenues.org/special-events-funding-program Special Events Toolkit: tacomavenues.org/special-eventsfunding-toolkit TVE Special Events Newsletter: tacomavenues.org/subscribe

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Support Contacts

Angel Pele, MPA | CDE® | Prosci CM Principal Equity Consultant City Manager’s Office | Office of Equity and Human Rights apele@cityoftacoma.org Phone: 253-344-3184

Ashley Young Special Events Coordinator Tacoma Venues & Events ayoung1@tacomavenues.org Phone: 253-573-2523

Maria Teresa Gamez, C4D Language Access Coordinator City Manager’s Office | Office of Equity and Human Rights mgamez@cityoftacoma.org Phone: 253-325-4813

DeMeSHee Pye Community Impact Coordinator Tacoma Venues & Events dpye@tacomavenues.org Phone: 253-593-7612

Lucas Smiraldo, MA Sr. Equity Programs Consultant City Manager’s Office | Office of Equity and Human Rights lsmiraldo@cityoftacoma.org Phone: 253-591-5048

Annalycia Matthews, LSSGB | Prosci CM Equity Programs Consultant City Manager’s Office | Office of Equity and Human Rights amatthews@cityoftacoma.org Phone: 253-281-8421

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Equity in Events Checklist Organizational Planning ☐ Event organizing team – including board members, staff, and volunteers - reflects the community. ☐ Team forms a workgroup/committee to establish equity goals using data. ☐ Formal statement surrounding commitment to DEIA is established and shared. ☐ Funding opportunities are explored. Budget is allocated for language access services.

Staff, Volunteer, and Vendor Coordination ☐ Staff and vendors are trained on DEIA principles. ☐ Event schedule considers diverse needs (prayer times, breaks) of staff. ☐ Multiple channels are used to communicate schedule updates (announcements, screens, printed materials). ☐ Establish speakers available for language translation.

Date & Venue/Location ☐ Time and date of event are set with attention to not impact religious or cultural days of observance. ☐ Venue has access accommodations or uses Universal Design practices. ☐ Venue staff represent diverse cultures. ☐ Location has adequate lighting and safety considerations. Decor is welcoming and nonintrusive. ☐ ADA and all gender restrooms are available or provided. ☐ Access includes clear sidewalks and aisleways. ☐ Location for quiet rooms, prayer spaces, and areas for nursing are identified.

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Mindful Marketing ☐ Event promotion and invitations target a diverse range of attendees and are distributed in multiple languages. ☐ Posters, flyers, and digital communications are made with attention to fonts and color contrast. ☐ Registration forms provide open opportunity to request accommodations for language, dietary, and accessibility needs. ☐ Access to language services is in all marketing materials. ☐ Website meets accessibility requirements.

Language Access ☐ A point person has been designated to coordinate language access. ☐ “I Speak Cards” are available to identify languages spoken of individuals with limited English proficiency. ☐ ASL interpreters are hired, and front row seating has been reserved if needed. ☐ Website, registration, surveys, and feedback forms are on platforms that offers translation for multiple languages. ☐ Visuals are in large print and printed copies have been made. Video captioning is provided.

Catering ☐ Catering includes options for your population that feel welcoming and inclusive. ☐ Clearly identified labels are created for any buffet-style meals. ☐ Diverse locally owned caterers are considered for your event.

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Transportation & Parking ☐ Accessible transportation options are available for people with disabilities. ☐ Accessible parking and clear signage is available. ☐ Additional transportation options that cater to diverse communities and languages are available. ☐ Parking and transportation plans have been created to ensure that impacted routes will not displace regular ridership, particularly those with accessibility needs.

Diverse Vendors & Suppliers ☐ Vendors, entertainment performers, and/or presenters represent diverse backgrounds. ☐ Vendor contracts include DEIA expectations. ☐ Vendors’ staff are provided training and understand the equity goals of the event and its organizers.

Equipment & Rentals ☐ Equipment such as stages and seating are accessible for all people types. ☐ Inclusive technology such as assistive listening devices, captioning services, and other technologies are available through the venue or rented.

Signage & Wayfinding ☐ Signage is in multiple languages reflective of the audience. ☐ Signs are in large print, braille, and use clear icons that are culturally appropriate and inclusive. ☐ Universally accepted symbols/imagery are used to communicate across language boundaries.

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Registration/Ticketing and Check-In ☐ Registration/check-in areas are accessible to all attendees including clear visible instructions. ☐ Staff or volunteers can assist with registration in multiple languages. ☐ Consideration has been given to providing free registrations or admissions to eliminate a barrier to participation.

Feedback ☐ Attendees can provide real-time feedback on the event experience (through information booths, canvasing, concierge stations, QR code, etc.) ☐ Post event surveys have been created in multiple formats and languages or available through an accessible online website. ☐ Demographic data is collected at event. Attendees are given background information on why the data is being collected and how it will be used for future planning. ☐ Attendance tracking methods are identified. ☐ Staff review results. Did you achieve your goals? Assess and make adjustments (if necessary) for future events.

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Translation Services Do you need this information in Spanish? ¿Necesita esta información en español? Do you need this information in Vietnamese? Quý vị có cần nhận được thông tin này bằng tiếng Việt không? Do you need this information in Korean? 이 정보자료가 한국어로 필요한가요? Do you need this information in Russian?

Вам нужна эта информация на русском? Do you need this information in Ukranian? Чи потрібна вам ця інформація українською мовою? Do you need this information in Tagalog Kailangan ba ninyo ang impormasyong ito sa Tagalog? Do you need this information in Samoan?

E te mana’omia lenei fa’amatalaga i le gagana Samoa? Do you need this information in Khemer? តរើអ្នកត្រូវការព័រ៌មានតនេះ ជាភាសាខ្មែ រ ឬតេ?

Do you need this information in simplified Chinese? 您需要这些信息以简体中文提供吗？

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Tacoma Venues & Events Special Events Funding Definitions and Guidelines The following terms are from the City of Tacoma and Tacoma Venues & Events Special Event Funding Program overseen by the City’s Events and Recognitions Committee.

“Event” is an organized gathering of people to witness and/or participate in education, celebration, or performance. For the purposes of the City’s Events and Recognitions Committee, an event occurs on a single day or consecutive days. Event funding is also available for including a free, public performance during the run of a particular show. “Programming merit” is the extent to which an event's agenda is well crafted, aligned with the mission of the organization and provides meaningful experiences through participation in education, celebration or performance. “Community impact” measures the positive changes or contributions that an event brings to the community it serves. In terms of events, this refers to the tangible and intangible effects that an event has on the local community or a specific group of people. “Equity” is fair treatment, access, opportunity, and advancement for all people, while at the same time striving to identify and eliminate barriers that have prevented the full participation of some groups. “Capacity to Present the Event” is the demonstration the organization has the infrastructure, resources, and commitment to present the proposed event. City of Tacoma permitting code defines a special event as “any organized formation or assembly consisting of 50 or more persons and which include any combination of animals, vehicles, that wishes to assemble and/or travel on streets or sidewalks, and which does not comply with normal or usual traffic regulation or controls. This also applies to a public beach, park or plaza.”

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Public Benefit: Funded events must provide a specific public benefit provided to the residents of and visitors to Tacoma in exchange for the funding. Examples of public benefit include but are not limited to: • ensure the event is accessible and available to all who wish to attend • produce components that are free to the public • provide cultural experiences that are not otherwise available to residents of Tacoma • collaborate with local community partners in which the event will be held • provide special outreach to residents outside of the event location, e.g., schools, community groups, faith-based organizations, cultural organizations

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Chapter 12

Pictured: Bite of the ‘Burg

The Impacts of Event Tourism

By Amy McGuffin, Kittitas County Chamber of Commerce “Tourism is the greatest peace industry in the world, bringing people of all nations together in shared experiences.” -anonymous In This Chapter You Will Learn: ·The economic benefits of event tourism ·Social and cultural impacts of hosting events ·Case studies highlighting successful event tourism strategies Event tourism is a powerful driver of economic development, social cohesion, and cultural exchange. In Kittitas County, Washington, events like the Ellensburg Rodeo and Ellensburg Music Festival have not only boosted local economies but also enriched the community’s cultural fabric and attracted visitors from far and wide.

Economic Benefits Event tourism can significantly contribute to the local economy through: Increased Spending: Visitors spend money on accommodation, dining, retail, and other services. Job Creation: Events create direct employment opportunities and stimulate local businesses. Infrastructure Development: Successful events often lead to improvements in local infrastructure, benefiting both residents and future visitors.

The Start to Finish Playbook on How to Fund and Produce an Event #12. The Impacts of Event Tourism

Case Study: Ellensburg Rodeo The Ellensburg Rodeo, one of the top professional rodeos in the country, brings thousands of visitors to Kittitas County annually on Labor Day Weekend. This influx of tourists results in substantial economic benefits, including increased revenue for hotels, restaurants, and retail stores. Additionally, the event has led to the development of better facilities and services in areas such as local transportation, bus stops that are then used year-round. Improvements at the fairgrounds occur annually with new chute systems, roping box and facilities within the rodeo arena are upgraded, which provides upgrades for other events that rent the facilities.

Social and Cultural impacts: Events can foster social cohesion and cultural exchange by: Community Engagement: Local residents often participate as volunteers, creating a sense of pride and community spirit. Cultural Preservation: Events showcasing local traditions, arts, and heritage help preserve and promote cultural identity. Cross-Cultural Interaction: Visitors from different backgrounds interact, leading to greater understanding and appreciation of diverse cultures.

Carl Jensvold, Ellensburg Rodeo President: "The Ellensburg Rodeo is more than just a yearly event; it's a vital part of our community’s economic and cultural fabric. Every Labor Day Weekend, we welcome thousands of visitors to Kittitas County, bringing a significant economic boost to our local businesses and driving infrastructure improvements that benefit facility use year-round. The improvements we make to our facilities each year reflect our commitment to preserving the best of our traditions while enhancing the experience for everyone. But beyond the economic impact, the Ellensburg Rodeo is a time when locals and visitors alike come together to celebrate our western traditions and way of life, creating lasting memories and strengthening the bonds that make our community unique."

The Start to Finish Playbook on How to Fund and Produce an Event #12. The Impacts of Event Tourism

Case Study: Ellensburg Music Festival Ellensburg Music Festival is a celebrated music festival in Kittitas County that highlights local and national jazz artists at the end of July. The event not only attracts jazz enthusiasts but also engages the local community through volunteer opportunities and cultural activities. This festival promotes cultural exchange and has become a cornerstone of the county’s cultural calendar.

Case Study: Jensen Farms The Jensen Farms celebrates the agricultural heritage of the region, attracting visitors from across the region to their local farm for hayrides, pumpkins, and familyfriendly activities. This event not only supports this local farmer but also creates jobs, gives other local farms a news sales channel, and educates the public about sustainable farming practices and the importance of local agriculture.

Agri-Tourism Events Agri-tourism events, which combine agriculture and tourism, have become increasingly popular since 2016 and provide unique benefits: Economic Diversification: They offer additional income streams for farmers and rural communities. Educational Opportunities: Visitors learn about farming practices, sustainability, and the origins of their food. Cultural Experience: Agri-tourism events often include farm tours, harvest festivals, and farmers' markets, offering a taste of rural life and traditions.

Hilary Jensen, Owner/Operator: “At Jensen Farms, we’re proud to be part of Kittitas County’s rich agricultural heritage. And, as agritourism operators, we recognize that we are the allimportant link between farms and the public. If it were not for agritourism operators opening their gates, people would not have a way to visit farms. Our on-farm activities, such as our corn maze and petting zoo, hayrides and u-pick bring families together and gives them a place to create memories. Our farm also supports our local economy by drawing visitors who might not otherwise experience the beauty of Kittitas County. These gatherings educate the public on the value of local agriculture, and each season, we see the positive impact it has on our community. By opening our gates to visitors, we’re not just sharing our way of life; we’re helping to ensure that the farming traditions of Kittitas County thrive for generations to come.”

The Start to Finish Playbook on How to Fund and Produce an Event #12. The Impacts of Event Tourism

Future Trends in Event Tourism: The landscape of event tourism is evolving, with trends such as: Technological Innovations: Advances like virtual reality and live streaming enhance the event experience, making it accessible to a wider audience. Sustainability Focus: Increasing emphasis on sustainable practices to minimize environmental impacts and promote eco-friendly events. Personalization: Growing demand for unique, personalized experiences that cater to individual preferences. Conclusion: Event tourism plays a crucial role in driving economic growth, fostering community spirit, and promoting cultural exchange in Kittitas County. By embracing sustainable practices and adapting to emerging trends, the county can continue to thrive as a vibrant destination for visitors and residents alike. For more information, visit the Kittitas County Chamber of Commerce’s web calendar: www.kittitascountychamber.com/events

ABOUT THE AUTHOR Amy McGuffin, Kittitas County Chamber of Commerce Since 2005, Kittitas County Chamber’s Chief Executive Officer Amy McGuffin’s has assisted nearly 150 for-profit and non-profit partners in their efforts to become better festivals and events. Amy has been a member of the City of Ellensburg Lodging Tax committee since 2005 and consults on how to creatively use their lodging tax funds to engage and increase tourist spending.

The Start to Finish Playbook on How to Fund and Produce an Event #12. The Impacts of Event Tourism

Chapter 13

Event Security

By Frank Sebastian, Emergency Management Group - Washington In This Chapter You Will Learn: • The current landscape of event safety and security. • The priorities and options for enhancing safety and security at your event. • The private-public partnership in security planning and operations. • Using integrated planning tools for effective execution of event safety and security.

The biggest current threat is the “Homegrown Violent Extremist” or HVE. Many times, the HVE is motivated by an actual or perceived hate toward a societal culture or symbolic organization and is seeking recognition for their act.

Every Monday morning, we are greeted with the news of something bad happening at a festival, fair, or special event somewhere in the United States. These incidents making the news-cycle are typically where someone has caused a major disruption to an event, or there have been injuries and death from criminal acts.

Conversely, these are violent acts at an event where the perpetrator has no known affiliation or relationship to the target, and no demonstratable motive. On October 1, 2017, a 64-year-old male opened fire on a crowd attending a music festival in Las Vegas, from a nearby hotel. He fired more than one 1,000 rounds of ammunition, killing 60 people and wounding at least 413, before he took his own life.

While an “Active Shooter” incident is immediately tragic to those injured or the families of those killed, there are many lingering consequences to these bad acts.

The ensuing panic resulted in many additional injuries to the attendees. Despite extensive investigations by multiple law enforcement agencies, the motive for the attack remains “Undetermined.”

While we see news and government briefings about organized extremist attacks on public events, these are in the minority of occurrences, and many are defeated before they gain traction toward execution.

The Start to Finish Playbook on How to Fund and Produce an Event #13. Event Security

The future of any event and the organizing body is impaired when an attack or other security or safety adverse incident occurs. The impacts can be financial or reputational and have resulted in events ceasing to exist. Safety and security costs are a significant aspect of any event organizer’s budget. The attending public wants to feel safe at any event, and if there is a perception of danger many will not attend.

A fusion center is a collaborative effort between law enforcement agencies to share resources, expertise, and information to detect criminal and terrorist activity. The goal is to integrate the information each agency has put together to prevent security gaps due to a lack of communication. A fusion center is typically organized by combining representatives from different federal, state, local, and tribal law enforcement agencies into one physical location.

Further, the event organizer is subject to media and potentially legal scrutiny for claims of inadequate or ineffective security should an incident occur. Sponsors lend their name to an event for public recognition, and frequently withhold support for an unsafe event.

Some fusion centers gather information not only from government sources, but also from their partners in the private sector. Fusion Centers will complete a Special Event Threats Assessment when requested for a specific event.

How do I make my event safe? An early step in planning a successful event is developing the Security and Safety Plan. There are many aspects to a security plan, starting with the venue and event demographics. Engaging a security or emergency management professional to assist with developing and executing a security plan is another early step in the planning process. Venue accessibility and egress, event timing, crowd demographics, event history, venue crime rate, concurrent community events, prior history of violence and political activities are just a few of the early deciding factors on establishing a secure event. Input and planning with local, state, and federal security agencies is critical to assessing the ultimate safety of your event. Many times, these public safety agencies welcome early planning and intervention from an event producer, as their own operations will need to be planned and right-sized for the community impacts. The US Department of Homeland Security, Cybersecurity and Infrastructure Security Agency (CISA) has many programs directed to the safety of mass-gatherings or persons, and assistance across the public-private sectors. CISA offers many security specific training courses of value to event organizers. Events of national or international significance deemed to be a potential target for terrorism or other criminal activity are classified by Department of Homeland Security as National Special Security Events. They require federal agencies to provide full cooperation and support to ensure the safety and security of those participating in the event, and the community which the event takes place.

Local law enforcement agencies are critical to the planning process for an event, as they can provide a threat profile, criminal activity history, traffic and crowd management assistance. Can I just have local police handle my event security? The simple answer is “no.” While local law enforcement will respond to calls for assistance and criminal activity at an event venue, most agencies do not have the staffing or legal authority to provide security services for a private event. Off-duty officers from local law enforcement may be hired to handle security for a private event, but overall costs and expenses are the responsibility of the event organizer. There are legal restrictions on what actions a law enforcement officer can take at an event, which do not apply to private security personnel. This is an important distinction when it comes to person and property inspections (screening). What should a security plan state? The most significant action in the planning or execution of a Security Plan is communication. Outlining a process for communication to occur across all agency and organizational participants is critical in both steady-state and emergency conditions. This includes communication paths for the event organizer, response agencies, and their personnel.

A source of information and planning for events with more than 1,000 participants is the Washington State Fusion Center. Fusion centers are designed to promote information sharing at the federal level between agencies such as the Federal Bureau of Investigation, the U.S. Department of Homeland Security, the U.S. Department of Justice, and state, local, and tribal law enforcement.

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The Security Plan should address a line of authority or organizational chart for all participating security organizations and describe the inter-operable method of communications. Various scenarios should be considered in the plan, both minor and complex-significant, and the response to each described. The plan should also address what constitutes a minor, significant, and catastrophic incident and how the organization will respond and describe individual personnel roles for each. Frequently, the event venue will have an Emergency Plan available for review by the event organizer. The Event Security Plan should embrace the venue plan and align lines of action accordingly. What about private security films? Private security providers have a wide range of personnel and capabilities. These range from low cost – minimally trained personnelto lawenforcement level training and equipment. The higher the level of training and capabilities, the higher the cost per working hour. The event organizer should balance cost against capabilities when selecting a security provider. Using the lower cost capability for wayfinding and crowd observation, and the higher cost resource for personal screening and asset protection is one method of cost efficiency. Private security personnel may be licensed for armed response. The armed security officer is usually trained to the same level of firearms proficiency as law enforcement and is a significantly higher work hour cost. Be sure to confirm licensure, insurance restrictions, and operational need when considering engaging armed private security. Many security firms are having increasing issues with meeting staffing needs. The event organizer should consider using multiple private security contractors to alleviate staff shortage impacts on a specific event.

Who’s responsibility is security? Another simple answer = everyone. All personnel working for an event should be part of the security footprint. The security team or provider is the primary operator, and the event manager is the security authority. Everyone working at the event should receive basic training in security awareness and crowd management. All personnel should be trained to “See something; say something.” This includes ticket-takers, parking personnel, ushers, technical staff, talent, medical staff, food and beverage workers, and custodial staff. Many jurisdictions require crowd manager at a ratio of 1:250 attendees, and certified crowd manager training. Training and utilizing “all-staff” in this role meet the jurisdictional requirements. What is Incident Command System training, and does it apply to event management? Incident Management System or ICS is commonly known and utilized in public safety organizations and private-sector safety organizations and departments. ICS is a systematic tool used for the command, control and coordination of emergency responses. ICS allows organizations to work together using common terminology and operating procedures controlling personnel, facilities, equipment, and communications at a single incident scene. It facilitates a consistent response to any emergency incident by employing a common organizational structure that can be expanded and contracted in a logical manner based on the level of required response. ICS includes procedures to select and form temporary management hierarchies to control funds, personnel, facilities, equipment, and communications. Personnel are assigned according to established standards and procedures previously sanctioned by participating authorities. ICS is a system designed to be used or applied from the time an incident occurs until the requirement for management and operations no longer exists.

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ICS is interdisciplinary and organizationally flexible to meet the following management challenges: • Meets the needs of a jurisdiction or organization to cope with incidents of any kind or complexity (i.e., it expands, or contracts as needed). • Allows personnel from a wide variety of organizations to meld rapidly into a common management structure with common terminology. • Provides logistical and administrative support to operational staff. • Is cost effective by avoiding duplication of efforts, and continuing overhead. • Provides a unified, centrally authorized emergency organization. ICS training is available on-line and can be provided by emergency management personnel in two-three hours. The application of ICS in planning and incident response at events has been established at many large-scale events and has provided for improved efficiency in managing the incident, effecting recovery and control to fiscal impacts.

What about further training? The event organizer should consider participating in various training programs for emergency management, safety, and security at events. There are many resources for relevant training available online and in-person for no or minimal cost. Training is provided by federal partners under the Federal Emergency Management Agency, Department of Homeland Security, and local emergency management agencies. Many trade associations, such as Washington Festival and Events Association, and Event Safety Alliance provide various event specific training. One aspect of event staff training is a localized TableTop Exercise (TTX). Led by an emergency management professional and following federal training guidelines, event leadership and staff are presented with various probable scenarios, and collectively address solutions and outcomes, and apply and validate the organizational safety plan in a no-fault open training process. The goal is to experience by practice and apply processes to an incident outside of a real emergency. Remember -- Success through synergy. share your experience!

ABOUT THE AUTHOR Frank Sebastian, Emergency Management Group - Washington Frank Sebastian is the President of Emergency Management Group – Washington, a non-profit organization providing emergency management training, planning and operational support throughout the pacific northwest, including Seafair, Special Olympics of Washington, 2018 Special Olympics USA Games, and other organizations.

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Office Use Only

City of Seattle SPECIAL EVENT PUBLIC SAFETY & EVENT MANAGEMENT PLAN Return To:

Seattle Special Events Office Chris Swenson, Special Events Committee Chair PO Box 94708, Seattle, WA, 98124-4708

specialeventsoffice@seattle.gov Phone: 206-733-9245 Fax: 206-684-7025

This template has been produced to aid event organizers in planning safe and exciting events with 1,000 or more attendees. This document, along with the Special Event Application, are reviewed by the Seattle Special Event Committee to ensure that all safety aspects have been met. If any section duplicates information provided in the Special Event Application submitted for your event, please refer to that information in the applicable section. Please attach supporting documents and addendums as needed for each section. Please note that not all parts of the template may be relevant for every event. Once reviewed by the Special Events Committee, conditions and requirements will be set by the Seattle Fire Marshal, Seattle Police Department, and Special Events Office and shared with you. Thank you for hosting your event in Seattle!

1. EVENT OVERVIEW EVENT NAME EVENT DATE

The event’s audience profile is essential when planning for risks and ensuring that appropriate control measures and facilities are in place for the event. Include previous history, entertainment type, and ticket sales to help in indicating the audience profile. AUDIENCE PROFILE

Give a brief overview of the chain of responsibility for the main roles within the event. Identify who is responsible for what and give further details in the ‘Roles and Responsibilities’ section below. ORGANIZATION CHART

Role Title

Brief Explanation of responsibilities

ROLES AND RESPONSIBILITIES

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Name

Mobile

Role

Landline

Email Name

Mobile

Role

Landline

CONTACTS

Name

Mobile

Role

Landline

Email Name

Mobile

Role

Landline

Email Name

Mobile

Role

Landline

2. CROWD MANAGEMENT The minimum number of crowd managers shall be established at a ratio of one crowd manager to every 250 persons. Where approved by the fire code official, the ratio of crowd managers may be reduced based upon the nature of the event. Crowd Management Staffing Provider/Company Number of Volunteers SECURITY AND CROWD MANAGEMENT STAFFING

Number of Paid Staff

Communication Methods Primary: Backup: Number of staffing to be provided,including different levels of provision at different times during the event, if appropriate.

Describe identification method of security staffing levels (e.g. yellow shirts for volunteers, red shirts for managers).

Duties (e.g. searching at entrances, badge checking, rapid response, crowd monitoring, emergency evacuation, control and direct the public as required, monitoring fire equipment etc.).

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Provide details of the training received by security and crowd management personnel.

SECURITY AND CROWD MANAGEMENT STAFF TRAINING

Detail the nature and format of pre-event briefing and training sessions (e.g. how security and crowd management personnel are made aware of emergency arrangements and the arrangements for their own health and safety).

Provide date(s) and times of pre-event briefing and training sessions.

MANAGEMENT OF ATTENDEE NUMBERS

Provide details of how the number of attendees at the event are to be monitored and controlled (e.g. ticketed event; monitored entrances and exits).

3. COMMUNICATIONS Detail any PA systems in use at the event. If the entire site is not covered, please detail which parts are not covered and how these areas can be communicated with in the event of an emergency. PA SYSTEM

Describe who will have radios for communication and which channels will be allocated for what activity. RADIO COMMUNICATION

Detail here where loud hailers can be located if in use at the event, and list those trained and confident in use. LOUD HAILERS

List details of any landlines or alternate methods of communication in the event of problems with telephone or radio communication. TELEPHONE

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Provide details and location of any signage or public information facilities being used to direct persons around the site including first aid locations, lost children, and lost and found. SIGNAGE AND PUBLIC INFORMATION

List contact information for all senior members of the event organization prepared and authorized to give statements about the event. Name

Mobile

Role

Landline

MEDIA

Name

Mobile

Role

Landline

Email Name

Mobile

Role

Landline

4. MEDICAL AND FIRST AID Enter details of the first aid and emergency medical support for your event, including certification level of providers and name of organization providing coverage.

Total Number of First Aid Stations at Event Identify where each medical facility/first aid point is located on your site and identify each on your site plan. Refer to and attach maps as needed.

5. FIRE RISK ASSESSMENT A fire risk assessment must be carried out for all locations. Details of any risks identified and the way that they are to be managed should be included in training and briefing materials and meetings. Provide details of the type, number and location of fire extinguishers to be provided at the event. FIRE EXTINGUISHERS

List any pyrotechnics or special effects used during the event. PYROTECHNICS AND SPECIAL EFFECTS

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6. POLICE List details of police involvement in the event. Refer to Special Event Permit Application where applicable. Police traffic management of the event

On site police presence during the event

7. RISK MANAGEMENT The event prmoters should maintain a record of everything that occurs throughout the event. List contact information for all members of the event responsible for these records

INCIDENT RECORDING

Name

Mobile

Role

Landline

Email Name

Mobile

Role

Landline

8. INCIDENT MANAGEMENT Describe location and functionality of the event’s emergency management command post.

EMERGENCY MANAGEMENT COMMAND POST

Describe arrangements and procedures for the hand-over of control of aspects of your event to emergency response agencies in the event of an emergency.

EMERGENCY

Identify methods of communication with emergency management organization, including police, fire, and medical teams.

COMMUNICATIONS

PLAN Identify person responsible for monitoring weather forecasts in advance and during the event, who this information will be passed to and where the information will be obtained.

EXTREME WEATHER Name

Mobile

Role

Landline

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Detail the general arrangements and notification process in event of extreme weather (e.g. cancellation criteria)

Extreme weather may cause other specific actions to be taken to prevent injury or damage. Please detail preparation and staff training performed to ensure appropriate action is taken to respond to extreme weather conditions

EMERGENCY VEHICLE ACCESS

Special Event Permits require a 20’ fire lane for emergency vehicle access along any street closures. Detail any additional dedicated emergency vehicle access routes and rendezvous points or any public routes or locations that may be used for emergency vehicles.

Detail emergency evacuation plan for event attendees, volunteers, and contractors. Include map, or refer to map used in the Special Event Application.

EVENT EVACUATION PLAN

Detail preparation and staff training performed to ensure appropriate action is taken to during evacuation.

9. LOST CHILDREN / VULNERABLE PERSONS Detail here the arrangements for safeguarding and reuniting lost children or other vulnerable persons with carepersons, parents, or guardians. Identify the location on the site map.

10. DEBRIEF AND EVENT REVIEW An post-event debrief may be required by the Special Events Office or specific departments on the Special Events Committee. Please be prepared to present the following at any debrief: • • •

Particular arrangements that worked well to ensure public safety Any identified weaknesses in the arrangements that require improvement Review of any incidents and remedial action required

Please attach or include any additional site plans, risk assessments, and associated event documents required above. Your completed Public Safety & Event Management Plan is due 45 days prior to your event. Version 032718

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Chapter 14

How Events Can Be More Sustainable

By Eddie Redmond Grand Event Rentals

In this chapter, you will learn: Causes of Pollution What is Happening Around the World What Can You Do? Venue Selection and Design The event industry is a very strong field of business, as it has unique abilities to bring people together through events. However, the event industry does bring environmental and social impacts. Sustainability has emerged as a crucial factor in reshaping how we live our lives, and how we plan events! This chapter explores how sustainability can be integrated into the event industry, what some of the root causes of pollution are, how our world is already starting to innovate, and what steps we can take to contribute to a more green future.

Causes of Pollution The primary cause of pollution include fossil fuels (coal, oil, natural gas), livestock farming (methane emissions), manufacturing goods, transportation (exhaust emissions), and deforestation (biodiversity). In addition to these major sources, everyday activities play a role in pollution, including aerosol cans, bottled water, helium balloons being released, and litter. Natural events can also have a significant role, such as wildfires, earthquakes, and volcanic eruptions. Beef and food production is considered one of the largest causes of pollution. “Globally, food systems account for approximately 25% of our green house gas emissions, 70% of our freshwater use, and 40% of our cropland” (Lurie, 2024) 25% of global land use, land-use change, and forestry emissions are due to beef production, including conversion of forests. It is not necessary for every person to change to a plant-based diet, but being more considerate of how to reduce the consumption of red meat can help curb greenhouse gas emissions.

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Looking into electric delivery trucks, range is an issue today, but we should be expanded by 2026 (We follow the Green Transportation World) Our goal is to avoid purchases that are moved by ship/container, or anything outside of the US (Ships produce some of the most toxic emissions) We explore the country of origin and encourage others to do so also.

It Starts with Small Green Steps As a rental company, our primary use of transportation is large box trucks. Trucks consume 25% of total highway fuel, creating about 30% of highway carbon emissions. There are future plans to produce electric trucks, or implement systems that create less carbon emission. “Stricter standards on smog-forming emissions on trucks will take effect in 2027, which would force companies to turn on electric versions.” (Budin, 2023). Alternative fuels, especially hydrogen, to power trucks are expected to be on the market in the very near term. Rental companies are the epitome of recycling materials to reuse time and time again. The steps we (Grand) currently take to stay green include: Our trucks have Air Dams & Skirts on the side that save 5%-7% in fuel Our trucks also have Twin 90 Gallon Fuel Tanks, which allow 20-30 days before refueling, resulting in more efficient customer routes Battery Powered Generators 7,500 Watt, US made Multi Fuel Generators, propane or gas Chairs made from post consumer plastic Chairs and tables purchased products are made domestically Carpet made from post consumer plastic, made domestically Blowers and drills are battery powered and electric Trucks are manufactured domestically We are constantly trying to innovate and be more environmentally friendly. We currently do and plan to take steps that include: Using renewable fuels and working on placing a fuel tank on site. Renewable fuels are not readily available, but will reduce standard emissions by 65% and are on the very near horizon.

What is Happening Around the World According to the European Commission, ships produce about 3% of the global air pollution. (Kazmer, 2023) The top 150 oldest ships afloat produce more pollution than all cars in the world. There are over 60,000 ships contributing to carbon emissions. They are currently working on using alternative fuels (bio fuels, green methanol, ammonia and hydrogen) and advanced sail options. As a rental company, we try our best to make North American purchases. All around the world, there are innovators who are attempting to use renewable energy in new ways. Below are a few examples : A wind turbine sets new world record for most clean energy produced in a 24-hour period: V23615.0 MW prototype produced 363 megawatthours of energy in 24 hours (a megawatt-hour can power the average home for 1.2 months, or provide 3,600 miles on an electric car). (Lewis, 2023) Two ways of capturing carbon: Post-Combustion: Primary method, taking emissions and separating out CO2. Direct Air: Uses a machine that vacuums the air and extracts the carbon with chemicals. (After these methods are used, the CO2 gets pressurized into a liquid, then is used or stored) BYD and Huaihai Holding Group announced partnering with world leaders in producing sodiumion batteries for small electric vehicles. (Raker, 2023) A solar-powered electric car cleans carbon from the air while being driven. Produced by students at Eindhoven University in the Netherlands, the vehicle gets up to 15% of its charge from solar panels. (Engelmaier, 2023) Walmart partners with Rubi laboratories to explore ways of capturing carbon emissions to use them to create prototype garments. The San Leandrobased company developed the technique of converting captured carbon into cellulose, which can turn into sheets of rayon to manufacture clothing. (Case, 2023)

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Microsoft is buying energy credits from a startup company which uses crushed limestone to remove the carbon from the atmosphere. (Ramkumar, 2023) Aldo Steinfeld and a team of scientists created the “solar tower” which pulls carbon and water from the air, using the sun’s energy to turn into “carbon-neutral” jet-fuel. (Raker, 2023) Tidal Vision (Bellingham Company) has created the process of extracting chitosan, a biomolecule from crab shells, to create sustainable products. The company uses chitosan for water treatment, agriculture, and textiles, replacing toxic and nonbiodegradable materials. Chitosan can also bind to heavy metals in stormwater. (Morgan, 2023) California reached 100 days this year with 100% carbon-free renewable electricity for at least a part of each day. “From January to mid-July of this year, zero carbon renewable energy exceeded demand in California for 945 hours during 164 days, equivalent to a month-and-a-half of 100% fossilfuel-free-electricity, according to the California Energy Commission” (Lazo, 2024). This is working due to public and private investments in renewable energy, as well as batteries storing solar power. Cement accounts for 8% of the global carbon dioxide emisssons, which was a push for San Jose bases start up ‘Fortera’ to reach a milestone of opening the first green cement production plant. “It works by taking in carbon dioxide emissions through a pipeline from the CalPortland plant and mineralizes the greenhouse gas into calcium carbonate which is used to make more cement” (Hicks, 2024) A new sail design for cargo ships is coming into production to help make a greener and more sustainable future of water vessels. WISAMO is what Michelin are calling it - it is an inflatable, retractable, and automated wing sail to lighten the load and decrease the current dependency on fuel. According to the Michelin, “the goal is to cut carbon emissions by up to 20% for existing ships and up to 50% for newly - built models” (Michelin, 2024).

Benefits include less mess, more quiet operation, no smells, and less pollution for the environment. The technology advances constantly in these products. “Many argue that battery technology is the next step in the evolution of the lawn mower.’ (Caballero, 2022) It is important to be more environmentally conscious while purchasing new home and yard equipment. Use landscape vendors who use battery-powered equipment. Being environmentally friendly conscious involves making good personal choices that will have some sort of impact on the environment. Below are some steps that one could take: Be mindful of what you are eating. Try your best to reduce the consumption of meat and dairy, and be conscious of animal-based products. Purchase a reusable water bottle to reduce the use of plastic. Rent anytime you can! If you are finished with an event, try to donate your items to be used again. If you are planning on a budget- friendly event, rent as much as possible. Figure out the cost difference of DIY! Use recycled materials rather than purchasing new ones. You may find an item inexpensive online, but what is its carbon footprint to arrive onsite? Opt in for paperless billing, and have your receipts emailed to you rather then printed Grow your own fruits/vegetables and herbs. Plant trees! Use public transportation anytime you can, or try to travel by bicycle or carpooling. The Seattle metropolitan area is well known for having one of the best public transportation systems in the U. S. Use reusable bags when shopping. Buy less, buy local, consume less, throw away less.

What Can You Do? Gas powered lawn and landscape tools produce about 3% of our air pollution. The California Air Resources Board says running a gas blower for one hour generates “roughly the same amount of smog-forming emissions as driving a 2017 Toyota Camry 1,100 miles,” (Beekman, 2022) The most used battery powered lawn care tools include hedge trimmers, leaf blowers, and string trimmers. Benefits include less mess, more quiet operation, no smells, and less pollution for the environment. The technology advances constantly in these areas.

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Educate Yourself! Washington State has been trying to implement the Climate Commitment Act. which caps and reduces greenhouse gas emissions. We are never going to find a perfect climate law, but it is important to start supporting these green acts. The laws are intended to drive down emissions of greenhouse gasses. It is known that the act they are pushing is far from perfect, but we are moving forward with each green step we can take. The Climate Commitment Act is meant to slowly cut down on emissions over time. It is important to look at the big picture and consider how the small green steps we can take today can affect our world and climate for the future. Alternative Transportation Options Washington State, particularly the Seattle area, is very well known for its public transportation options. We are so fortunate to have the Light Rail, which is continually expanding with new lines and stations under development. King County Metro Transit is one of the largest transit agencies in the region, covering Seattle and its suburbs. Community Transit serves Snohomish County, connecting to Seattle and surrounding areas. The Sounder train connects Seattle with neighboring cities including Everett, Tacoma, and Lakewood. Washington is also home to the largest ferry system in the US. The Seattle Streetcar system includes two lines, the Southlake Union, and first Hill line. There are plenty of ways that your city can start supporting more environmentallyfriendly options of transportation, including bicycle and car sharing programs.

Also, cities can utilize urban planning, local and state funding, pushing policies and planning real time tracking, smart cards and public involvement. Venue selection and design Opting for venues with sustainability certifications, such as LEED (Leadership in Energy and Environmental Design ) or Green Key, ensures that the location adheres to environmental standards. Additionally, venues that offer on-site recycling programs, energy, efficient lighting, and water saving fixtures contribute to overall sustainability. Designing the event layout involves using modular and reusable materials. For example, instead of single use to core event, planners can invest in high-quality reusable decorations or source materials from local vendors. It is important to consider the flow of the event to minimize unnecessary energy consumption and reduce the need for additional lighting or heating. Sustainable Catering Event organizers can do their best to: Source Locally: Partner with local farms and suppliers to reduce the carbon footprint associated with food transportation Offer Plant-Based Options: incorporate plantbased menu items which generally have a lower environmental impact compared to meat-based dishes. Minimize Food Waste: Work with caterers to create portion sizes that reduce leftovers and consider donating surplus food to local charities Consider the Materials Being Used recycling or biodegradable materials for printed materials, like tickets, programs and banners. For signage, consider digital displays or reusable boards instead of single use posters.

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Transparency and Communication Communicate the sustainability, goals and achievements of the event to attendees and stakeholders. Transparency, fosters trust and encourages others to adopt similar practices. Share reports or updates of the event sustainability performance through various channels, including social media and event websites.

Waste management Effective management begins with strategies to reduced waste generation. Implementing a “zero waste” policy. Digital Solutions: Embrace digital tickets, RSVPs, and event programs to minimize paper usage. Reusable Items: Encourage the use of usable items, such as water bottles, utensils and dishes. Provide clearly marked recycling and composting stations at the event. Green Partnerships: Collaborate with vendors who share a commitment to sustainability and can provide eco-friendly products and services.

In Summary Integrating sustainability into the event industry is crucial due to its significant environmental and social impact. Major pollution sources, such as fossil fuels, livestock, farming and deforestation contribute to global challenges, while every-day activities and natural events also play a role. To address these issues, rental companies will adopt green technologies as they become more available, like electric trucks and renewable fuels, and explore innovative solutions to minimize the carbon footprint. Event organizers are encouraged to select sustainable venues, and to use modular, and reusable materials, and implement effective waste management practices. Embracing renewable energy sources and fostering transparency, and sustainability efforts are vital for driving broader adoption of green practices. Additionally, personal actions such as reducing the meat consumption and opting for reusable products further contribute to a more environmentally conscious future. We should all take small green steps together.

Recycling and Composting To effectively manage waste, set up recycling and composting stations at the event. Clear label bins for recyclables, compostables and non-recyclables to make it easy for attendees to dispose of waste correctly. Work with waste management companies that specialize in sorting and processing event waste to ensure materials are properly handled and diverted from landfills. Renewable Energy Sources Incorporating renewable energy sources into events can significantly reduce their carbon footprint. Explore options, such as solar powered lighting, W\wind energy, or biofuel generators. For larger events, consider partnering with green energy providers who can supply energy from renewable sources. Energy conservation is another key aspect of sustainability. Use energy, efficient, lighting, and sound equipment, and implement strategies to reduce energy consumption, such as turning off equipment when not in use. Employing smart technology to manage energy usage can also help optimize efficiency.

ABOUT THE AUTHOR Eddie Redmond Grand Event Rentals Eddie Redman has over 30 years of experience in the event industry, including working for the 2002 Salt Lake City Olympics. He grew up in the business and even spent his teenage summers working for a local rental company. He has a keen eye for event logistics, and has become one of the industry’s best with tent layout and installations, tradeshows and festivals.

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Works Cited: Lurie, Peter G. “Protecting our Plant” Center for Science in the Public Interest. p. 2. https://www.cspinet.org/biography/peter-lurie-0 Lewis, Michelle. “The World’s Most Powerful Wind Turbine has set a World Record Electrek p.1 https://electrek.co/2023/08/15/worlds-most-powerful-wind-turbine-vestas-3/#:~:te xt=The%20world's%20most%20powerful%20wind%20turbine%20has%20broken %20a%20world,in%20a%2024%2Dhour%20period. Raker, Ben. TCD: The Cool Down November 28, 2023. pp. 1 https://www.thecooldown.com/green-business/sodium-ion-batteries-byd-huaihai-j oint-venture/ Engelmaier, Eliot. Yahoo! November 29, 2023. pp. 1 https://autos.yahoo.com/college-students-develop-solar-powered-111500785.html? guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_re ferrer_sig=AQAAALLPudERh5ESrdJDd7KDbwz431qbYRLLrIskhwCbL2BsgTS 1gg7hxlI7aNWocR4L7u6r9geXIPexJF5fntE6qB6En6tPt36jQTuGJsoiVtFK0WJB Uja_YxSm7WdDebimmueYaCm2XR4My1dmDghnUzcdxaaHQr9LwSAowj3hk KFa Case, Brendan. “Walmart to Test Carbon-Capture Apparel with California Startup” Bloomberg. July 27th, 2023. pp. 1https://www.bloomberg.com/news/articles/2023-07-27/walmart-to-test-carbon-ca pture-apparel-with-california-startup Ramkumar, Amrith. “Microsoft Will Use Carbon-Absorbing Rocks to Meet Climate Goals”. The Wall Street Journal. September 7th, 2023. pp. 1https://www.wsj.com/us-news/climate-environment/microsoft-will-use-carbon-ab sorbing-rocks-to-meet-climate-goals-57ea802a Tidal Vision. “Technologies - Discover how we’ve Unlocked New Possibilities” 2024 https://www.tidalvision.com/technology/ Lazo, Alejandro. “California hits Milestones toward 100% Clean Energy - but has a Long way to Go”. Santa Barbara Independent. August 23, 2024. pp. 1 https://www.independent.com/2024/08/23/california-hits-milestones-toward-100-p ercent-clean-energy-but-has-a-long-way-to-go/ Hicks, William. “Green Cement Hits Major Milestone”. San Francisco Business Times Focus on Construction: Green Cement. May 17-23, 2024. pp. 26. Michelin. “A New Sail Design for Cargo Ships is Propelling the Maritime Industry to a More Sustainable Future”. Business Insider - Sustainability. May 20, 2024. pp. 1 https://www.businessinsider.com/sc/a-new-sail-design-is-pushing-the-maritime-in dustry-to-sustainability Beekman, Daniel. “Seattle City Council Moves Toward Outlawing Gas-Powered Leaf Blowers”. The Seattle Times. August 20, 2022. https://www.seattletimes.com/seattle-news/politics/seattle-city-council-moves-tow ard-outlawing-gas-powered-leaf-blowers/#:~:text=The%20California%20Air%20 Resources%20Board,to%20the%20Seattle%20council's%20memo. Caballero, Gene. “Battery-Operated Lawn Tools: Is Electric Lawn Care Equipment Worth It?” Greenpal - How to Guides. August 18, 2024. https://www.yourgreenpal.com/blog/battery-operated-lawn-tools

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WFEA Member Benefits Grants and Other Funding There will be many federal and state grants that will be made available to Washington festival and event organizers going forward. Let WFEA do the work for you – as a member, we’ll keep you apprised of funding that you can apply for.

WFEA Annual & Spring Conference The leading conferences for Festival & Event Organizers in 2024. The Spring Conference will be held May 2-4 at the Historic Davenport in Spokane. The Annual Conference will be held October 29-31 at the Hyatt Regency in Bellevue. Membership includes discounted rates for this conference.

Regional Chapters When you join WFEA, you are joining two associations for the price of one, as you automatically become a member of your WFEA regional festivals and events association chapter also. Several seminars will be held in your region throughout the year on important subjects such as local funding, sponsorship, and most importantly working with leading event organizers and suppliers in your area. Chapters include: North Olympic Peninsula, South Puget Sound, Greater Tacoma, Southwest Washington, Central Puget Sound (King County), North Puget Sound, Central Washington, Southeast Washington, & Greater Spokane.

Monthly Webinars for Members Includes updates from health and government officials and presentations on many subjects, and how events have changed strategies.

Helping Hands A bi-weekly newsletter to help you with your decision-making as you develop plans for your next event.

Discounts

SPECIAL MEMBERSHIP RATE If you are not already a member, we are offering a discounted membership of $95. To redeem online please: Go to wfea.org/join Select “Individual Membership” Enter discount code JoinWFEA2024 at the bottom of the online membership form Good until November 30, 2024

Discount for members to attend WFEA conferences.

One Day Seminars Member discounts to educational events that will be held in every corner of the state in 2024. Sponsorship, security, revenue generation and all facets of event production will be featured.

WFEA Calendar & Membership Directories Free listing for members with additional discounted opportunities to promote your events throughout the state by region and by calendar. 60,000 copies are distributed to chambers, visitors bureaus and other tourism hot spots.

Networking Generate business leads and connect with potential event resources. Associate with other individuals working in your field to share ideas and build strategic partnerships.

CLEP Certification program presented by Ticket Tomato Members will have the opportunity to take courses and go behind the scenes at events to become certified.

-OR SCAN THIS QR CODE TO REGISTER-

PHOTO BY SHANNA PAXTON PHOTOGRAPHY CITY OF BOOCODA CASKET RACES