Read on for news and updates, links to examples of my work, thoughts on writing and fundraising, book reviews and other musings.
Thoughts on the Virtual London Marathon
Last Sunday, 4th October, was the 40th London Marathon. Due to the coronavirus situation, and with the exception of an élites-only event on a closed course, it was run as a virtual event.
I run a lot, and I’ve done a few marathons, but I’ve never taken part in a virtual event. I’ll admit, prior to this year, the idea never appealed to me. 99% of my runs are on my own, so what makes a virtual event - in which I would run a set distance on a route of my own choosing - any different from one of my normal morning runs? I just didn’t get it.
Now, however, I do.
The cancellations and postponements of practically every running event for most of 2020 saw a boom in virtual running challenges. When people are denied the opportunity to lace up their trainers and stand on a start line with fellow runners, they still seek that human connection and shared experience. To be able to go for a run knowing that thousands of others are doing the same thing, for the same purpose, is a powerful thing.
Yes, a virtual event is never going to have quite the same buzz as a ‘real’ event, but they can get close.
As the biggest event in the UK running calendar - and an event that transcends athletics to stand as a public cultural treasure - the virtual edition of the London Marathon highlighted this perfectly.
I wasn’t running, but cycling alongside my friend, Andy, who was running for Diabetes UK. Andy was originally due to run the 2020 London Marathon, in its conventional form, in April, but it got postponed to the autumn. Then, it was announced that it would be a virtual event.
All entrants would still get the chance to run the ‘real’ route in October 2021, but the 2020 edition would be run on a course of the runners’ choosing, using a tracker app to record their achievement.
Race numbers would be sent out in advance, with t-shirts and medals to follow after the event, but there would be no mass gathering at Blackheath and Greenwich, hundreds of thousands of spectators, and finish on the Mall. Instead, for Andy, the race would be run from Southampton to Lymington, through the New Forest, with just friends and family in support. A fairly low key affair. Not much crowd support.
Or so we thought.
We had underestimated just how significant the London Marathon is in the public psyche. The support from total strangers far exceeded our expectations, was the most wonderful surprise and was truly special to see.
Run in the New Forest on any Sunday morning and you will probably come across another runner. You might get a quick nod, smile or wave. Last Sunday, we got shouts of encouragement and support and even came across other runners who were doing the marathon. The buzz from the shared running experience was still there.
More surprising than the support of other runners, was the support of people driving cars, going about their business on a wet Sunday.
There was one point in particular, between 18 and 20 miles, when things were getting tough. That’s the distance when the effort starts to wear a marathon runner down. To make things even harder, we were heading straight into strong winds and cold rain, on a reasonably busy road in the New Forest.
We stayed on the left hand side, so I could cycle behind Andy. Ordinarily, some road users aren’t too patient with cyclists or pedestrians who are travelling slowly on ‘their’ road, but Sunday was different.
Almost every car that overtook us gave us a beep. Not the angry beep you might expect, but beeps of support were accompanied by waving, clapping, and cheering. Clearly, these strangers knew the marathon was happening and recognised that here was a person - wearing shorts and vests in freezing rain - who was digging deep and getting it done.
The London Marathon was happening - not in London, but everywhere - and people were supporting the runners wherever they were. It was very special to be a part of that.
I love the London Marathon, and I can’t wait for it to be back in London, where it belongs. But, as a one-off event to bring a bit of shared excitement to a difficult year, the 2020 Virtual London Marathon was a great help.
Hello, October
The view from the window in the room where I write is of the garden. So far, throughout my full-time freelance career, which began in the spring, this view has been mostly of the summer. I’ve enjoyed watching birds rummage around for food, bees dipping in and out of flowers, and the brighter colours. Now, it’s changing.
The arrival of autumn isn’t a surprise, but I still struggle with it each year. Shorter days, colder temperatures, continual rain. Actually, as much as I love being warm (or even slightly-too-hot), I can tolerate the colder temperatures. It’s the dark and wet that I don’t enjoy.
No wonder pagans popped a party in half-way through.
I appreciate that seasons are an essential part of nature - and the prospect of soup, blankets, and sitting in front of the fire does make it a little easier to bear - but autumn and winter will always rank behind spring and summer for me.
Does this mean I’m going to be an insufferable misery-guts for the next six months? I hope not, but feel free to let me know if I start slipping!
Words about Words - September 2020
Hello, and welcome to September’s Words about Words.
What you’re reading here is a copy of the monthly newsletter that I send out to people who have subscribed via the link at the bottom of this page. Previously I have used Mailchimp to send out the email newsletters, but have just switched to Substack.
Mailchimp is good, but I write everything on an ipad and it can be a bit fiddly to use. Substack is proving a lot easier to use, so far. It also offers the option for you to look at previous editions of Words about Words at jonathansbean.substack.com. Of course, I add each edition to this website, jonathansbean.com, anyway, but it does provide another way for you to keep updated.
With that explanation over, let’s get to the content. As usual, I start off with a selection of things that I’ve enjoyed or found interesting or useful. Then, I finish off with a few things I’ve done over the past month.
Interesting, entertaining, or useful
Wetwheels South West is launched
Congratulations, and very best wishes, to the entire Wetwheels family on the successful launch of Wetwheels South West - a specially-built, accessible powerboat that is already offering the opportunity for disabled people in Devon and Cornwall to get on the water.
You can read more about this project in my blog post at jonathansbean.com, or learn more about Wetwheels at wetwheelsfoundation.org.
‘How to format dialogue’, Dax MacGregor, firstmanuscript.com
This is one of the most useful guides on how to format dialogue when writing. If you’re struggling to work out how to quote speeches, or how to lay out conversations between characters in a story, then this is a good place to start.
The Story Gifters
This lovely, small, not-for-profit organisation aims to get books to children who don’t have them.
Penguin Series Design
This blog, by Greg Neville, is all about the art of Penguin book covers. If you’re a fan of the distinctive style of Penguin books, and want to know more about the artists behind the images, then this site, at this link, is for you.
‘A message to TikTok parents who use my face to make their kids cry’, Melissa Blake, refinery29.com
Apparently, there’s an online video trend of parents trying to scare their children by showing them pictures of disabled people, telling their children it’s their new teacher, and filming the reactions.
This is a really shit thing to do.
Melissa Blake is someone who has seen her face used in these videos and she’s written about it.
Check the article out at this link.
Mum launches new language cards
Language is important. Often, there can be a difference between what we are trying to convey, and how it is perceived. At it’s mildest, this can lead to confusion or misunderstanding. At it’s worst, this can result in language that dehumanises people. One area where it is crucial to get things right is when talking to, or referring to disabled people*.
Becca is mum to Arthur, a young boy with Down syndrome, and she has devised a set of cards to share the terminology she would like people to use when talking about her son. For example, “typical” rather than “normal”, or “has Down syndrome” rather than “suffers from Down syndrome”.
You can read more about the project at this link.
Text Radio
This is cool. Nick Asbury conducts real time interviews hosted in Google Docs. If you’re familiar with Google Docs and have experienced collaborative editing on the platform, you’ll be aware that it is possible for more than one person to write in a document at the same time.
This is how Asbury conducts his interviews: He writes the questions, and his guest writes the answers. The whole thing is streamed live online for other people to watch, with a recording made available later. Guests tend to be from the creative arts industry, including poet Tom Sharp, designer Ravi Vasavan, singer-songwriter Louise Kyme, and illustrator and writer Ben Tallon.
You can discover all the interviews at this link.
Things I’ve done
Lonely Goat
Over at lonelygoat.com, you can find three informative articles I’ve published over the past month:
Other projects
I’ve had an interesting few weeks, where I’ve had a couple of projects that have seen me combine writing with being a visual artist. I’m quite happy with this, as I love drawing, but if I carry on like this I may have to change my job title on my next batch of business cards. I’ve written about this projects over at jonathansbean.com.
‘By dawn’s early light’ - writing and illustration in Like the Wind
Like the Wind is a beautifully produced magazine all about “why we run”. I’ve had a few illustrations featured in it previously, as well as a couple of articles. In issue 25, the most recent, I’ve illustrated one of my articles for the first time. It’s a tale of running through a Moroccan surf town in the early morning, noting how you can get under the skin of a place when the streets are empty.
You can read my blog post about the project at jonathansbean.com, or buy a copy of the magazine at likethewindmagazine.com.
Painting a poem that people can sit on
I’m very excited to let you know that I will be a part of the BENCH project, being run by Solent Showcase Gallery at Solent University in Southampton.
The project will see artists painting their designs on the benches that adorn Above Bar and the High Street. I’ve written a haiku poem that encourages people to sit and reflect.
You can read more about the project, and how to keep up to date with it, in my blog post at jonathansbean.com.
Thanks for reading
I hope you enjoyed September’s edition of Words about Words.
Keep your eyes peeled for October’s edition arriving in subscribers’ inboxes (and Substack) on the last Thursday of the month, and appearing here a day later.
Cheers,
Jonathan
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[*I’m aware that the term “disabled people” can be problematic, so please let me explain my use of it. I’m a proponent of the social model of disability. Under the oft-used medical model of disability, a disability is something that someone has. Under the social model, however, a person does not have a disability, but is disabled by the social structures and environment around them.
The social model recognises that it is important to create a fairer society that makes better provision for people who’s circumstances deviate from the idealised medical ‘norm’.
As a non-disabled person, I’m writing this from a position of second or third-hand understanding, and welcome any differing viewpoints if they help me better understand the situations other people face.]
Painting a poem that people can sit on
I’m very excited to let you know that I will be a part of the BENCH project, being run by Solent Showcase Gallery at Solent University in Southampton.
The project will see artists painting their designs on the benches that adorn Above Bar and the High Street. I’ve written a haiku poem that encourages people to sit and reflect.
I can’t share a photo of the finished bench yet, as it is currently a work in progress. The six slats are in the spare bedroom where I am painting them gold, before hand painting the lettering in black and white.
You can keep track of the project, and find out more, by following Solent Showcase Gallery’s social media accounts: @solent_showcase_gallery on Instagram, and @solentshowcase on Facebook and Twitter.
I’ll also be sharing some progress pics on my social media accounts: @jonathansbean on Instagram and Twitter.
The photo below is of my colour test, checking that the materials all worked as I hoped…
‘By dawn’s early light’ - writing and illustration in Like the Wind
This morning, issue 25 of Like the Wind magazine dropped through my letterbox. I love LtW - by far and away the best, most interesting magazine about running there is (in my opinion).
I feel privileged to have had both writing and illustration work of mine featured in the magazine over the past five years.
Despite working predominantly as a writer, I’ve actually had more illustrations featured in LtW than written pieces. Usually, I try to find ways of illustrating articles about running without drawing a runner. I’ve drawn a dog, a goat, a crow, a portrait of the poet, Ivor Gurney, and now, a surfer with Tifinagh lettering.
The piece, ‘By dawn’s early light’, which I wrote, is about my experience of running through the town of Taghazout in Morocco. Heather, my wife, and I were staying there on a surfing holiday, and I was struck - as I often am - by how much you can get under the skin of a place when you go for a dawn run.
I’m really pleased with how the article turned out, and I’m grateful I had the opportunity to illustrate it too.
I won’t share the article here, but you can buy a copy of Like the Wind #25 at this link, or in a very good magazine shop. Alternatively, pop over and have a flick through the issues on my bookshelf.
Wetwheels South West has been launched
Congratulations, and very best wishes, to the entire Wetwheels family on the successful launch of Wetwheels South West - a specially-built, accessible powerboat that is already offering the opportunity for disabled people in Devon and Cornwall to get on the water.
Wetwheels South West in Falmouth is the sixth local operator in the Wetwheels network, following Solent in Portsmouth, Jersey, Hamble, South East in Dover, and Yorkshire in Whitby. This launch expands the reach of the charity further, to benefit even more people who are usually excluded from active leisure activities due to their impairments or medical conditions. Wetwheels is a great organisation that I would urge you to get to know, if you aren’t already familiar with them.
I feel very proud to have played a part in this project during my time at Wetwheels, and know just how much work goes into getting each boat from the idea stage, to being funded, built, launched, tested, and operating.
To everyone involved, ‘bravo!’
Words about Words - August 2020
Welcome to Words about Words
Hello there,
Words about Words is my monthly newsletter, sent out on the last Thursday of the month, and then reproduced here the following day for those who haven’t yet subscribed to receive it by email (there’s a box at the bottom of this page should you wish to subscribe).
As per usual, in August's edition, I'll share things I've found interesting, entertaining or useful (the next section), followed by a some of my own work (the bottom section).
Read on...
Interesting, entertaining or useful
'Every Day's A School-Day'
Steffie Haynes, a primary school teacher from the Isle of Wight, shares her thoughts on creating a peaceful world, starting with the next generation. I think it's of interest even if, like me, you don't have children.
In Steffie's own words, her "personal perspective runs as wide as geological time and as short as a ten-year-old’s attention span. It goes as global as ocean systems to as local as veg from a school garden." (Full disclosure: Steffie is a friend of mine, but I wouldn't recommend her blog if I didn't think it was any good!) LINK
'Oranges are Orange, Salmon are Salmon'
"Oranges require orange to be. They are a colour expectation. If an orange is not orange, it is no orange. [...] For centuries, oranges were orange and still, orange was not a color."
This is a fascinating read about colour, nature, food, and perception, by the spatial practitioners, Cooking Sections (aka Daniel Fernández Pascual and Alon Schwabe), featured in The Paris Review. LINK
'Adam Kay: "My writing is best when it's at its most naturalistic"'
You may be familiar with Adam Kay's work. His memoir, This is Going to Hurt, sold over a million copies in the UK. In this interview with Curtis Brown Creative, he shares some tips on finding your writing voice, and information about a scholarship for black writers to join CBC's novel writing course. LINK
'The Least Expected Day: Inside the Movistar Team 2019'
With the Tour de France just about to start, this look inside the Movistar cycling team's 2019 season - focusing on the differign fortunes of its lead riders - is worth a watch.
It probably helps if you're a cycling fan, but I think this should also be required viewing for people who have to manage the conflicting ambitions of brilliant team-members. It's on Netflix. LINK
'Newsletters could be the next (and only) hope to save the media'
Oliver Franklin-Wallis looks at the recent increased popularity of email newsletter subscriptions for Wired. Despite writing this newsletter that you're reading, I currently don't have personal ambitions to earn an income from it.
That said, it is intriguing to see how journalists are turning to an independent, direct subscription model now that the conventional publications they previously wrote for are struggling. LINK
"Sometimes you just got go sit on a log"
I'm not a huge fan of DJ Khaled, but I had to smile at his wonderful, earnest appreciation of the natural world and the benefits of getting outdoors. If you don't watch this and smile, then maybe you need to get on a bike and head out into the forest yourself. LINK
'Mieko Kawakami: "Women are no longer content to shut up"'
I'd not heard of Kawakama before I read David McNeill's interview in The Guardian. I'll confess, I clicked on the article as I wanted to read her views on one of my favourite authors, Haruki Murakami, but ended up adding her novel, Breasts and Eggs, to my 'to buy' list. LINK
Things I've been working on
There's been a couple of projects I can't share with you yet (including a massive jump out of my comfort zone), but here are some new things of mine that you can read...
Lonely Goat
Last month, I promised an in depth look at the 80/20 Training Method, which you can now read here... LINK
My website
Over on jonathansbean.com, I've shared my thoughts on why it is important not to sell yourself short: 'Don't call yourself an "Aspiring Writer"' Pop over and have a read. LINK
Until next time
Thank you for reading August's edition of Words about Words - I hope you enjoyed it. Keep an eye out for the next edition, arriving in your inbox on the last Thursday in September.
And remember, if you need any writing, or charity fundraising support, feel free to get in touch for a chat.
All the best,
Jonathan
Don’t call yourself an “Aspiring Writer”
Please allow me to share a minor bugbear of mine:
The words “Aspiring writer” (or “Aspiring author”).
Very occasionally, I’ll see this on someone’s Twitter biography and it prompts an inward pang of annoyance. Why? Because even though I understand what the individual is intending to say, they’re actually saying something different.
The intended meaning:
“I aspire to be a professional/published writer/author.”
The unintended meaning:
"I aspire to write” - with it’s implied secondary clause - “but I don’t.”
By writing this, these individuals are selling themselves short.
If you would like to write something, then sit down and write it. By doing so, and performing the act of writing, you become a writer. Not an “aspiring” writer, but an “actual” writer. Your status as a writer is not dependent on whether anyone is giving you money to do so, or even whether anyone reads your work.
Yes, you might not find it easy to refer to yourself as a writer, but the more you write, the easier that’ll be. Then, the more comfortable you are with calling yourself a writer, the more likely it is that other people will think of you as a writer too.
And yes, just getting some words on a page does not automatically lead to a publishing deal or a freelance writing gig, but it’s the first step. The more you write, the better you’ll get at it, and the more likely it is that you will achieve your professional goals.
What would I suggest instead?
For writers seeking a publishing deal:
“Author seeking agent representation.”
(Because you’ll need an agent to find you a deal)
For writers seeking freelance writing work:
“Freelance writer.”
(Because this job title doesn’t differentiate between writers with loads of freelance work and those with none)
Even though other creative industries have the same potential for ‘job-title self-determination’ I tend not to see “Aspiring actor” or “Aspiring musician” on social media, though that may be related to the people I follow. As far as I can tell, this under-selling seems to be a writing thing.
The closest equivalent I can think of is “Self-taught artist”, which always seems an odd choice of phrase. Perhaps someone can explain to me why people write that?
That’s the end of my mini-grumble. Thank you for indulging me. It may seem like I’m being critical, but it is meant constructively.
If you write, you’re a writer. Don’t sell yourself short.
Time for a social media break
Like many, I have a mixed relationship with social media.
I swing from ignoring it entirely, to finding myself mindlessly scrolling far more than I would like. As a self-employed freelancer, there is a need for me to promote myself and social media appears - on the face of it - an essential way of doing that. After all, I have gotten work through a conversation that started out on Twitter.
The problem is, I don’t derive any pleasure from it beyond that initial scratching of the itch - and there are other things I could be doing with my time.
I’m not going to completely leave social media, but I do want to spend a bit of time resetting my relationship with it, so I can work out how best to use it to my advantage, without falling prey to the bad habits.
I’m off camping this weekend, so will delete the apps from my phone. Next week, back in the office (aka, the back bedroom), I’ll aim to resist the urge to log in, and maintain that abstinence for as long as I need.
Why am I telling you this?
So that you’re hopefully not surprised or disappointed if I don’t immediately respond to any messages via Instagram, Twitter or LinkedIn. If you need me, you can still contact me by phone, email, or via the contact form on this website.
King of Shaves articles
I’ve had the pleasure of working with Will King to create a series of articles for the shaving brand, King of Shaves’, website. Nine have now been published and you can find links to them below…
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The first six articles were written to be interesting and entertaining, and offer something a little different to the content you might expect on a brand’s website.
Why do you shave?
An exploration of the different reasons different people might shave different parts of their body.
Sprezzatura
How to look effortlessly cool, by putting a little effort in.
31st Century shaving
A sci-fi, fiction short story.
Seeing clearly
Examining the human urge to understand the world around us, and the benefits of being able to see what you’re doing.
It’s difficult to shave on a rollercoaster
Indeed, there are rather a lot of scenarios in which shaving can prove tricky.
Smile
Did you know, that forcing your face into a smile can ease perceptions of pain?
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Following my initial six articles, I have interviewed three subjects as part of King of Shaves’ ‘Facing Facts’ campaign
Keir Shiels - Strictly Shaven
Keir is a paediatrician and we talked about the difficulties of using PPE with a beard, Strictly Come Dancing, and gin - amongst other things.
Paul McVeigh - Always Competing
Paul is a former Premier League footballer who is now a Keynote Speaker. We talked about the competitive drive and determination required to defeat the odds and reach the top.
Hugo Tagholm - Save Our Seas
Hugo is the CEO of Surfers Against Sewage (who I have written about before on this site) and he explained the threats facing our oceans, the work that needs to happen to save them, and how anyone can make a difference to the things they care about.
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It’s been a lot of fun writing these articles. If your brand or charity’s website content could do with a bit of variety - or you just need a hand getting the words down! - please get in touch and we can have a chat about how I might be able to help you.
Telephone 07421 812 321, email hello@jonathansbean.com, or use the Contact form.
Words about Words - July 2020
Every month I send out an email newsletter. Here is what I shared in July’s edition. You can sign up to receive Words about Words in your inbox on the last Thursday of each month, by putting your details in the box at the bottom of this page.
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Hello there,
In this month's edition, I'll share things I've found interesting, entertaining or useful (the next section), followed by a some of my own work (the bottom section).
Read on...
Interesting, entertaining or useful
Daewon Song
It came out last year, but 'Daewon', Transworld Skateboarding's documentary on the influential, ever innovative, Daewon Song is worth a watch. LINK
Irish Tree Alphabet
Artist, Katie Holten, has devised an alphabet using Irish trees to represent each letter. It's lovely to look at, and you can type your own message in trees on the website. LINK
'The Cold War Bunker That Became Home to a Dark-Web Empire'
I have a few writing ambitions. One is to produce something that is even half as good as Ed Caesar's work. The other, is to have something included in the New Yorker. Caesar's latest in depth piece for the New Yorker is fascinating. Make yourself a cup of tea and have a read. LINK
'The Status of UK Fundraising'
Blackbaud and the Institute of Fundraising's annual summary of the UK charity sector is available. LINK
'Behind the Scenes on Blue Juice'
Wavelength magazine spoke to some of the 'stunt' surfers who helped make the classic British surf movie, 'Blue Juice'. It's an entertaining read. LINK
'Royal Patronages of Charities Don't Seem to Help Much'
The title says it all, but to find out why, and look at the stats in more detail, read this research by Caroline Fiennes and Giving Evidence. LINK
Gary Larson
The creator of 'The Far Side' series, cartoonist Gary Larson, is publishing new work. If you are a fan of Larson's off-beat humour, head over to his website. LINK
Things I've been working on
It's been an interesting, varied month of work...
King of Shaves
My three interviews for King of Shaves' 'Facing Facts' series are available.
Keir Shiels, paediatrician, Strictly Come Dancing fan, and gin aficionado - LINK
Paul McVeigh, former Premier League footballer turned keynote speaker - LINK
Hugo Tagholm, CEO of Surfers Against Sewage - LINK
I enjoyed all three of these conversations and it was good fun putting these together.
Lonely Goat
As usual, I've been working on a variety of pieces for the online running community, Lonely Goat Running Club. My favourites from the past month are:
Keep an eye out for an in depth look at the 80/20 training method, coming soon.
My website
Over on jonathansbean.com, I've published three articles since the last Words about Words:
'Adapt with success by staying true to your 'why'' - LINK
'Break it down' - LINK
'Avoid automatic assumptions' - LINK
Pop over and have a read.
Until next time
Thank you for reading July's edition of Words about Words - I hope you enjoyed it. Keep an eye out for the next edition, arriving in subscribers’ inbox [put your details in the box at the bottom of this page] on the last Thursday in August.
And remember, if you need any writing, or charity fundraising support, feel free to get in touch for a chat.
All the best,
Jonathan
Avoid automatic assumptions
A few years ago, at the Association of Sail Training Organisations annual conference, I was fortunate enough to watch a presentation by Caroline Fiennes of Giving Evidence. In that presentation, Fiennes spoke of the danger of automatic assumptions about what works, what doesn’t and what represents good value for money in the charity sector. She gave examples of scenarios in which the generally accepted ‘best practice’ methods turned out to be less effective than other methods. This, Fiennes said, demonstrated the need for proper, rigorous data analysis when charities, or funders, make decisions on what to spend their money on.
Giving Evidence have been in the news this week as they have just published research into whether royal patronages offer good value for money, or any overall benefit at all, to charities. I suggest you read their results [https://giving-evidence.com/2020/07/16/royal-findings/], but the short answer is: No.
This might seem surprising, but should it?
A royal patronage might be expected to bring an increase in public profile, but the royal patronages are spread so thinly a charity may be lucky to get a royal visit (and press coverage) once every few years.
And though a royal patronage might be supposed to confer an air of legitimacy, a royal stamp of approval, I have never seen a funding application form ask whether a charity has a royal patron or not - suggesting that funders don’t consider it important.
No doubt, there are exceptions to the rule (HRH The Princess Royal’s support of Wetwheels proved most helpful when launching Wetwheels Yorkshire, for example), but Giving Evidence’s research suggests that a charity may do well to focus their limited resources on areas other than royal patronage.
Naturally, this prompts the question of which other activities carried out by charities (or businesses), because they are assumed to be beneficial, might actually be of little benefit. Likewise, which activities, previously assumed to be of low value, have the potential to be more helpful than expected?
The answers will depend on the charity, of course. Each organisation will have a different level of operational capacity and a different supporter base. What works for one, may not work for another. Unfortunately, it can be very difficult to get these decisions right, but by asking the questions, at least you stand a better chance of providing the greatest possible benefit to your beneficiaries.
Break it down
In a recent blog post I wrote about how I’d been trying to learn new skills and discover different creative outlets over the past few weeks. In part, this is because it can be tricky to enjoy personal creative projects when your job has become the thing you used to do for fun.
One of those projects was remixing the excellent ‘10,000 violins playing inside an otherwise empty head’ by one of my favourite bands, Plastic Mermaids. The band had made the ‘stems’ (which I’ve learnt refers to the files for the original component parts of the song) available to download as part of a remix competition, with the winning submission to be released officially by their label, Sunday Best. I didn’t win the competition - as I don’t have any experience as a musician or music producer, I didn’t expect to - but I enjoyed giving it a go.
The result isn’t going to set the world’s nightclub dance-floors on fire, but I’m pleased with it.
Perhaps more important than the piece of music I created, is the lesson I learned on the way. Namely, the benefits of trying to recreate something excellent. I’ll explain…
I used the free Garageband software that came as standard on my ipad. Without the means to record any real instruments, I made do with the included loops and the in-built fake ‘instruments’. Initially, I had planned to use more of the original stems, but I couldn’t work out how to edit the tempo properly, so I only used the vocal part and then chopped that down to one word, ‘violins’, which I looped on repeat throughout the piece.
When composing my remix, I had the music of Jamie XX, and Daft Punk’s ‘Giorgio by Moroder’ in mind. After all, why not try and emulate the best there is?
While I would never claim that my ‘10,000 violins’ remix is anywhere near as good as Jamie XX’s ‘Loud Places’, it was certainly inspired by it.
After playing my first attempt at ‘10,000 violins’ to Heather, my wife, she commented that it was OK, but boring - and she was right! I went back to my influences and tried to understand what it was about their music that made it work.
From ‘Giorgio by Moroder’, I took note of the changes in volume, style and instrumentation that occur throughout the piece. From Jamie XX’s work, I noted how he layers soaring synth sounds over the other parts to tie them in together and sweep the listener up.
Taking these principles into account, my second attempt at ‘10,000’ violins was a massive improvement on my first. It wasn’t boring.
Of course, this shouldn’t have been a surprise to me, as I do this all the time with my writing.
Every book I enjoy, I find myself trying to understand what it is about the author’s style that I like and why it works. The converse is also true. If I’m struggling with a book, I want to know why it isn’t working for me as I want to avoid making those mistakes myself.
As much as I like to think my writing style represents my own, unique, ‘authentic voice’, I’m in no doubt that a literary theorist or writing teacher could pinpoint my influences with a reasonable degree of accuracy. If they’re enjoying what they’re reading, I’m OK with that.
This process works in almost all areas of life, work, and creativity.
If you’re involved in a charity, which other charities’ fundraising appeals, newsletters, website, or social media accounts do you admire the most? (Top tip: Sign up to receive as many newsletters as you can so you can mine them for inspiration) What is it about their work that resonates with you and that you find so compelling?
If you’re a writer, which authors do you enjoy reading? Is there something about their technique or style that you can identify and use yourself?
If you have aspirations to be a leader in your workplace, which of your bosses has been your favourite? What is it about their management style, that won you over, that you can use yourself?
I’m not recommending that you actively copy them, but that you try to understand the principle behind why something works so well. Then, you can apply those principles to your own work and create something you are proud of, but that remains true to you.
This process - asking these questions of the sector leaders’ work and applying the answers to your own - isn’t especially difficult or a new, mind-blowing technique. The tricky part is remembering to take the time to do it. This isn’t always easy when you’re wrestling with an ever-growing to-do list.
Seeing as this is a blog post on the website I use to promote my services as a writer and charity fundraiser, it would be remiss of me not to mention that I can help you do this. If you don’t have the capacity to carry out this analysis of your business’ writing or your charity’s fundraising materials, please get in touch and we can have a chat about what you need.
You can email hello@jonathansbean.com, phone 07421 812 321, or use the contact page on this website.
PS: If you want to listen to my remix of ‘10,000 violins playing inside an otherwise empty head’, you can do so on Soundcloud. However, you’re probably better off listening to the original, which you can find on Spotify or on Plastic Mermaids’ debut album, ‘Suddenly everyone explodes’.
Adapt with success by staying true to your ‘why’
There’s a shop on my local high street that caught my eye the other day. Unable to carry out their usual business, they’ve started selling PPE to the public instead. This is completely different to what they usually do, and it got me thinking about whether this was a good thing or not.
On the one had, I appreciate the difficult decisions they’ve had to make to keep their business viable during the restrictions placed on their industry due to coronavirus, and applaud their attempts to adapt and survive. That’s why I’m not going to name them, as I don’t want to publicly criticise people who are no doubt dealing with a difficult situation in whatever way they can.
On the other hand, I can’t help but think they’re causing problems for themselves in the long term by diluting their core business and weakening their brand. Of course, this might not be a problem, as I could well be the only person who has walked past their shop and is even thinking (or overthinking, as the case may be) about this.
My feeling is that this temporary business change, this inconsistency, could be a problem, but only if it is poorly managed and communicated.
If the public understand the change, the reasons for it, and how it fits within the business model, then it can work. A failure to communicate this change well might result in a perception that they have changed business completely, or shut down, and so customers will go elsewhere - even once the current situation returns to normal.
It’s difficult to do, but clear, consistent messaging will help.
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I’ve just had a conversation with someone (who I’m not sure if I can name yet) who talked about the challenges of being true to yourself and your mission, even when your projects have evolved over time.
He works for a charity whose current campaigns are now quite different from their original projects. In part, this is because they were successful and the original problem is mostly resolved. They have been able to make this change (or ‘pivot’ to use the current jargon), without losing support or credibility. This is because their current focus is still linked to the fundamental, overall mission, or passion that has always driven them.
My interpretation of his advice was that being consistent in the fundamental reason for your work (the why) will carry you through any changes you have to make to survive, stay profitable, remain relevant, or keep making a positive impact.
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To illustrate this, here’s a handful of hypothetical examples…
A chef might close their restaurant and offer online cookery classes - maintaining their passion for creating fantastic meals that excite people.
A recruitment agency might switch to become a careers coaching agency - continuing to help people find jobs they’ll love.
An environmental charity that has achieved important legislative change in one country, might then launch campaigns to change the law in other countries - staying true to their mission of protecting the environment.
A company making combustion engines might switch to developing renewable energy equipment - continuing to develop cutting edge technology and upholding precision engineering standards.
A professional sportsperson might switch to becoming a successful businessperson - still inspiring children from their community to be the best they can be.
Essentially, if the why remains fixed, the who, what, when, where and how can be adapted to suit your current circumstances.
Not only will you be able to preserve your credibility, supporters or clients, and brand image, but you can keep doing the thing you love - even if you change how you do it.
To my mind, this seems a good recipe for success.
Words about Words - June 2020
For the benefit of those who aren’t subscribers to my monthly newsletter, Words about Words, here is a copy of this month’s edition, which I’ve just sent out. To receive Words about Words in your email inbox every month, sign up using the box at the bottom of this page. Thank you…
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Welcome to Words about Words
Hello there,
In this month's edition, I'll share things I've found interesting, entertaining or useful (the next section), followed by some of my own work (the bottom section).
Read on...
Interesting, entertaining or useful
Geoff Holt
Geoff, my old boss at Wetwheels - and all-round great guy - shared a video on YouTube to mark 100 days of 'shielding' and not leaving the house. He talks about what he is looking forward to doing once he can get outdoors and has words of support to other people who may be in a similar situation. LINK
IOF Convention
This year's Institute of Fundraising Convention is, understandably, a virtual event, but is as jam-packed as ever with useful talks, discussions and events for anyone who raises money for charity. LINK
Like the Wind
Issue #24 of the ever-excellent running, magazine, Like the Wind, came through my letterbox this morning. If you're in any way interested in running and fancy reading something different to the standard running magazines, I would heartily recommend getting your hands on a copy. If you get one of the previous issues, you may even stumble across some of my writing or illustrations. LINK
Thereabouts
Disenchanted pro-cyclist, Lachlan Morton, and his brother, Gus - himself a retired pro - decide to rekindle their love of cycling by cycling to the centre of Australia. The resulting video isn't just about cycling, but about two brothers reframing their own relationship with each other and the country of their birth. LINK
Anderson .Paak
I was lucky enough to see Anderson .Paak at his first gig in the UK (lucky, as he was a last-minute replacement for the injured Kamasi Washington). If you get the chance to see him live, do so, as he's a fantastic entertainer. He has just released 'Lockdown', which is his take on a couple of the big challenges facing us right now. LINK
Isochrone Maps
If you're a map geek, you might enjoy this isochrone map generator, which visually displays how far you can get in a given time from any location. LINK
Curtis Brown Creative
'Ten authors share their best writing advice' is an article that does exactly what it says on the tin. It's advice that most readily applies to people writing fiction, but much of the advice is sound regardless of what you're writing. LINK
Things I've been working on
In the past month, I've mostly been interviewing people, which has been fascinating.
King of Shaves
I can't share these with you yet, as the first one isn't published until this weekend, but I'm putting together a series of interviews for King of Shaves. The first is with paediatrician, Keir Shiels, which will be followed by Paul McVeigh, a former footballer and key-note speaker. Until they're published, you may like to look back over my previous pieces for King of Shaves. LINK
Lonely Goat
I have been putting together a series of interviews with inspiring runners, called 'In the Pen with...'. There's a handful of interviews in the schedule, that haven't been published yet, but you can read ultra-endurance adventurer, Pete Thompson's interview. LINK
My website
Over on jonathansbean.com, I've published three articles since the last Words about Words:
'I've had Akala's Natives on my bookshelf for a year - but never opened it'
'Don't spam funders'
'Being creative for fun, when being creative is your job'
Pop over and have a read. LINK
Until next time
Thank you for reading June's edition of Words about Words - I hope you enjoyed it. Keep an eye out for the next edition, arriving in your inbox on the last Thursday in July.
And remember, if you need any writing, or charity fundraising support, feel free to get in touch for a chat.
All the best,
Jonathan
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PS: Ordinarily I publish blog posts on a Friday, rather than Thursday. I’m not going to have a chance to post this tomorrow, so you get it today. Normal service should resume next week.
Being creative for fun, when being creative is your job
Yesterday, Thursday 18 June, was National Freelancers Day.
I only learnt that this morning courtesy of my Lonely Goat colleague and fellow freelancer, Emma Ratcliffe’s Instagram post looking back on her twelve months as her own boss.
[Should you require any social media management or brand photography, you may wish to have a look at Emma’s work]
Emma’s post got me thinking about my experiences and what I’ve learnt since becoming a full-time freelancer earlier this year. For me, one of the trickiest things has been finding the time for personal creative projects, now that my job is being creative.
As a full-time charity fundraising employee I had an hour’s train commute to work and back each day. I used that time, and my lunch-break, to read, write, draw, try to learn Spanish, listen to podcasts, or even just sleep. Yes, commuting is a pain, especially if there’s problems with the trains, but I was able to use that ‘dead time’ for some of the things I enjoyed.
Now, my day looks different. I don’t have to commute and the work I’m doing is much closer to what I would previously have done just for fun. I’m not complaining about this, as they are the biggest perks of the job and my main motivation for becoming a freelancer. But, this situation has led to two ‘things’ (they’re not serious enough to be classed as ‘issues’ or ‘problems’) I’ve had to become aware of:
Keeping defined boundaries between ‘work’ and ‘play’;
Finding other ways to be creative for fun.
The first ‘thing’ is relatively easy to keep in check, but I’ve had to be strict with myself. Beforehand, my working day was defined by the moment I entered or left the office. I don’t have that, working from home, so I’ve had to find other methods to keep work and home separate - otherwise it is very easy to find the working day creeps into evenings or weekends off.
I’ve moved my desk from the dining table to the back bedroom, so I can close the door on it at the end of the working day. My ipad is used for work only, wherever possible. I’ve set my phone to switch into night-mode outside of working hours, as a visual prompt. And I avoid sending emails outside working hours. None of this will be news for experienced freelancers, but it was something I had to learn early on.
The second ‘thing’ is a little trickier to resolve, and it was a while before I even noticed it as something to deal with. With no commute, I’d lost the clearly-defined time I’d used to be creative for fun. Plus, because I was writing a lot more for work, I struggled to find the motivation to write for myself. It was a couple of months before I realised that this lack of personal creative time was having a negative effect on my mood.
Resolving this is still a work in progress, but a couple of things have helped:
I try to keep the first hour of the day for fun or personal projects; and
I’ve been trying new things or developing skills I’m rusty on.
For the last three weeks I’ve been doing an online course in graphic design. I’ve enjoyed it and my graphic design skills have improved from following the structured approach.
Last month I learnt how to use Garageband on my ipad and remixed a song by my friends, Plastic Mermaids, for a competition they were running. I doubt it’s going to win - as I’ve butchered their lovely song and turned it into a dodgy nightclub banger - but I had a lot of fun working on it.
What’s next? I love drawing with a pen on paper, but digital illustration is something I’ve not done much of. Perhaps it’s time I gave it a proper go? Then, I want to get back on the Duolingo Spanish lessons, or restart some creative writing projects that have been paused for too long.
To an extent, it doesn’t matter what I do, just as long as I do something creative that is just for me, not for work. Even an hour a day has made a positive difference.
Please accept my apologies for what has become a rather self-indulgent blog post, but I’ve written it in the hope that it might help other creative freelancers who are wrestling with the work:life boundaries - or prompt some suggestions from you, dear reader, on any tricks I’m missing.
Thank you for reading.
PS: to receive a monthly digest of these blog posts, plus links to other people’s work I’ve enjoyed, sign up to my newsletter, Words about Words, in the box at the bottom of the page.
Don’t spam funders
As a charity fundraiser who specialises in raising money from charitable trusts, it frustrates me so much when I hear stories of fellow fundraisers being asked to mass-mail as many potential funders as possible.
Why?
Because it doesn’t work and no-one comes out of it feeling happy.
The fundraiser’s job satisfaction plummets; the executives and trustees don’t see the financial results they want; the funders have to reject inappropriate applications; and the beneficiaries don’t get the support they need because the money isn’t there.
So why does it happen?
I am fully sympathetic to the needs of a charity’s organisation. When you need to raise funds to perform the work your beneficiaries require, that bottom line can become an all-consuming focal point - especially if the numbers are moving in the wrong direction.
When you are under financial pressure - or even if things are going great and you want to scale up - the temptation is to view the problem as a mathematical one.
If we’ve made 100 applications, of which 50 were successful, and raised £100,000; then 200 applications, of which 100 will be successful, will raise £200,000. Just imagine how much we would raise from 1,000 applications!
This looks reasonable and logical, which is why it is appealing, but the reality is rarely as straightforward.
What’s wrong with this approach?
It lacks the nuance and finesse successful fundraising requires. It doesn’t take into account any of the following:
How many funders want to support your area of work?
Yes, there’s thousands of funders out there, but they all have different areas of interest. Your 50 current funders might represent most of (or all) of the funders who are ever likely to fund you.
Plus, if you send out 1,000 identical applications, you can’t take into account the criteria or individual requirements of each funder. You could be writing to the right people, but in the wrong way.
And if you’re writing to the wrong people, you’re not just wasting your time, but theirs. Some funders do talk to each other. Do you want to get a reputation as the charity that spams people, or the one that writes intelligent, well-researched, tailored approaches?
What is the capacity of your fundraising team?
If you have one fundraiser completing 100 applications a year, and you ask them to double their output, then something has got to give. It will either be the motivation of your fundraiser, the quality of their work, or both. Whichever it is, you run the risk of raising less money than before if the applications being sent out are not good enough, or you neglect to spend time thanking and building relationships with your donors.
Are you neglecting other potential funding sources?
If your trusts fundraising is proving successful, that can lead to an assumption it is the income stream with the most potential for growth. This assumption ignores the possibility that your trusts income is at, or close to, its maximum yield.
What should we do instead?
The first step is to make sure you understand where you’re currently at. What’s working? What isn’t? What sources are maxed out? Where is there the potential for growth?
If your trusts income stream is not performing at it’s best, or you suspect you can get more out of it, then consider the following:
How many other funders are likely to be interested in supporting you? Can you identify them? What are their criteria?
Which of your current funders might be able to give more, or more often? Research suggests funders tend to keep their giving consistent, rather than increase or decrease it, but there’s always a possibility you could be missing something.
Can any of your current funders introduce you to any potential new funders? Personal introductions are far better value than cold approaches.
Are your projects as good as they can be? Even the best fundraiser would struggle to find support for an ineffective project.
Are your applications as good as they can be? The quantity might be just right, but can the quality be improved?
Is your post-donation donor care as good as it can be? It is almost always better to secure lots of small, regular donations over a number of years, than a spectacular one-off that you fail to capitalise on by neglecting to provide the required reports or say thank.
If your trusts income is working well (If it ain’t broke…), then consider whether there might be more potential for growth from the income streams you have neglected, or might not be getting quite right. If the budget allows, experiment:
Events;
Community fundraising;
Individual giving;
Setting up an influential development board;
Corporate relationships; or
Legacies.
If the experiment doesn’t work, you won’t have lost much (provided your budget was kept in check). If it does work, you could have tapped into a game-changing income stream.
Can you help me do this?
Of course!
The correct approach will differ from charity to charity, so the first step is to have a conversation.
Whether you don’t know where to start, or just need an extra pair of hands, please feel free to get in touch.
I can provide additional fundraising capacity; research prospects; deliver training; work with you to devise a fundraising plan; or even just sense-check and proof-read your work before you send it out.
I’m flexible and happy to help.
Get in touch using the Contact page, by phoning 07421 812 321, or emailing hello@jonathansbean.com.
I’ve had Akala’s Natives on my bookshelf for a year - but never opened it.
Yes, you’re right.
This is another blog post by a white, straight, middle-class, lefty, English male talking about how they’re going to ‘read more, listen more, and do better’ in the wake of the death of George Floyd and the subsequent protests. I’m not going to apologise for that.
It has been very easy for me to look at myself and think “I’m OK. I’m not racist. I’m one of the good guys”.
But this isn’t really enough, is it?
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I have had the benefit of a university education, have visited a few countries, and will freely tell people that I consider ignorance and a lack of education and interaction is what leads to racism. That if everyone broadened their understanding of others, then the world would be a fairer place for everyone.
And yet, I contradict myself by (consciously or sub-consciously) only engaging with culture from a narrow demographic range.
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As I sit here at the table, typing this post, I can see my record collection from the corner of my eye. As a fan of hip-hop and jazz, there’s a lot of black musicians in it. They may even make up the majority.
But, with very few exceptions, those artists are male, young, and only come from a handful of urban centres in the UK and USA.
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Looking at the bookshelf, the authors are overwhelmingly white, mostly male, from the UK and USA (again), writing in the last 100 years.
We have hundreds of books in the house, but after a quick glance, I can only identify four black authors:
Chimamanda Ngozi Adichie (two books: read one and loved it; not started the other);
Lemn Sisay (who I’ve seen talk, but not actually read the two books of his I own);
Anthony Joseph (I have one book, that I started reading in 2011, but stopped halfway through);
Akala (one book, Natives, that hasn’t been looked at since it was bought a year ago).
That’s it.
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Don’t get me wrong - there is nothing inherently wrong with only listening to one kind of music or reading one kind of book.
If that’s what you love, then by all means, stick to it.
What I’m calling out is my own hypocrisy: Looking at the black musicians in my record collection, or the handful of well-known black authors on my bookshelf and thinking they speak for everyone who doesn’t look like me.
I can’t champion knowledge and understanding of different people if I only choose to look at the world through a small cultural window. I have, however, been guilty of doing so.
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Why have I written all this? What does it matter what I think, let alone write about this?
Because I now recognise that even though I would never consciously think ill of someone on the basis of the colour of their skin, I haven’t done as much as I could to address my preconceptions or the systemic racism that will have influenced my behaviour.
By sharing my thoughts, I may be helping you come to the same realisation. This is just one small positive contribution I can make.
More importantly though, by sharing my thoughts, I’m also opening them up for criticism. This is uncomfortable for me, but part of the process of expanding my understanding.
If I’ve got any of this wrong, or I’m missing something I could be doing better, please tell me via the Contact page on this website.
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Finally, there are a lot of posts like mine doing the rounds on the internet at the moment. Almost all of them finish with a promise to take action, which can be immediately countered with “Go on then. What action are you taking?”
For me, step one is to finally read Natives: Race & Class in the Ruins of Empire by Akala. Then, I might be in a better position to decide on step two.
I’ll keep you updated.
Words about Words - May 2020
Hello there!
Welcome to the blog version of Words about Words, my monthly newsletter. If you would like to receive this in your email inbox on the last Thursday of each month, please sign up using the box at the bottom of the page.
In this month's edition I'll share some of the things I've been working on (the next section), some links I found interesting (scroll down to about halfway), and what I've been enjoying culturally (scroll down to near the bottom).
Words I've written
In addition to writing for Lonely Goat Running Club, I've produced another four short pieces for King of Shaves, purveyors of great shaving stuff.
In April's Words about Words, I mentioned that Will, the founder of King of Shaves, tasked me with writing 'interesting, engaging content' and that I had produced two pieces: "Why do you shave?" and "Sprezzatura".
These have been followed by:
"31st Century Shaving" - a sci-fi fiction short story;
"Seeing Clearly" - about sight and our desire to understand the world;
"It's Difficult to Shave on a Rollercoaster" - about all the many things it is difficult to combine with shaving;
"Smile" - about the positive effect of smiling on how we feel.
Over at Lonely Goat, feel free to check out "Finding New Routes" - a helpful guide for anyone who is looking for new places to run. I'm also pleased with how my product photography worked out for the header image.
On this site, I've published "Which would you rather use? A weapon or a tool" - a discussion of the importance of word choice.
Useful and interesting links
Words about Words is not all about me. Here are some links to pieces I enjoyed reading and that may interest you too.
"The art of not owning stuff" (by Mikael Colville-Anderson);
"Zero Waste Warriors" (by Nicola Cutchert for The Guardian);
"Extraordinary Worlds: The Silk Road Mountain Race 2019" (by Stefan Amato & David Sear for Pannier).
Cultural highlights
Obviously, we still can't get out to enjoy real life, live culture, but here's a selection of things I've enjoyed from the comfort of my own home.
"GBDuro 2019" featuring Lachlan Morton racing from Land's End to John O'Groats.
Jon Ronson does excellent podcasts (produced by Lina Misitzis), and "The Last Days of August" was captivating.
I occasionally post about the music I've been listening to on Twitter, and frequently find that my father in law disagrees with my choices. This was especially true of "Boot and Spleen" by Melt Yourself Down.
I've not shared this on Twitter yet, so I don't know what my father in law thinks of it, but I reckon this one might just get his seal of approval: "Tear Drop" (a cover of the Massive Attack classic) by Avishai Cohen and Big Vicious
Finally, I'm not in a position to share this yet, but I've had a lot of fun attempting to remix Plastic Mermaids' "10,000 Violins Playing Inside an Otherwise Empty Head" using Garageband for Ipad.
Until next time!
That's all for now - thanks for reading. Keep an eye on this blog, or sign up to receive June’s edition in your inbox.
All the best,
Jonathan
Which would you rather use? A weapon or a tool
I’ve been thinking a lot about language choice recently.
One of the last pre-lockdown events I attended was a talk by Caroline Criado Perez about her book, Invisible Women. She spoke about how language has an inherent gender bias. In English, we have the word ‘man’, and then it’s variant, ‘woman’. The collective term is ‘mankind’.
In other languages, such as Spanish, there are gendered nouns - ‘hermano’ for brother, ‘hermana’ for sister' - but the plural for a brother and sister uses the male form - ‘hermanos’.
Does this matter? After all, everyone knows what is meant, right? Perhaps, but when language implicitly puts one gender ahead of another, does that filter into the way we think? I think it does.
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The Covid-19 coronavirus crisis has led to discussion about the rhetoric used. Some leaders seem to have adopted warlike, militaristic language - ‘We will win this battle against our unseen enemy’, etc. People affected by the virus are described as ‘fighters’.
I understand the reasons for this. We need cooperation right now, and rhetoric that encourages people to work together in times of war can encourage us to work together at other times, too. Talking of overcoming the disease through strength and fortitude helps us believe that we have some sort of control over what happens to us, which makes us feel better.
The danger, however, is that the opposite is implied. Did people die because they were weak, or didn’t try hard enough? Of course not.
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Heather, my wife, recently told me how she dislikes descriptions of things as ‘weapons’. We wondered whether ‘tool’ would be a better word.
A weapon is destructive, confrontational, negative. A tool is constructive, cooperative, positive.
A rugby player who breaks through tackles is described as a wrecking ball. The alternative is to view them as the key who unlocks the defensive line. This kind of dramatic, war-like language is prevalent in sport.
The bicycle manufacturer, Specialized, have a bike called the ‘Shiv’. Presumably they think it is beneficial to draw parallels between their aerodynamic bicycle slicing through the air, and an improvised knife designed to cause harm to another person.
Many team names evoke confrontation and aggression: Bombers, Buccaneers, Knights, Pirates, Raiders, Saracens, Sharks, Vikings, Warriors. Even teams with neutral names often have logos or mascots that look angry. Team photos have players standing arms-crossed and unsmiling.
I think it would be so refreshing to have a team identity that celebrates skill, creativity, teamwork and the joy of sport - rather than attempting to intimidate the opposition. At the very least, it would stand out.
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Consider charity writing. Which do you prefer?
Defeat the disease vs Create a cure;
Fight inequality vs Champion equality;
Reduce pollution vs Preserve nature.
The answer isn’t necessarily clear cut, I’ve not A/B tested this to see which is more successful, and both approaches are going to have moments when they’re the most appropriate. It isn’t as simple as only being positive. After all, you can’t have a solution without a problem.
Instead, I’d urge you to look back through your recent writing, whether it’s a sales pitch, website copy, annual report, or fundraising appeal. Consider whether your writing implicitly confirms harmful stereotypes or accidentally alienates elements of your audience.
If there is a ‘call to action’, what are you asking your audience to do?
Defeat or build?
Fight or collaborate?
Wield a weapon or take up a tool?
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I’d be interested to know your thoughts on this, so feel free to let me know on Twitter or by email.
I’m available for sense-checking and copy-editing, if you ever need a second pair of eyes to check that you’re saying what you really want to say.
If you would like to receive Words about Words, my monthly newsletter, just pop your details in the box at the bottom of this page.