“Because of charities, we can fight stigma.” - Shawnee Shepherd

“Because of charities, I can give back to communities that have given me so much.” - Kyle Rogers

“Because of charities, people have a home away from home, and are always surrounded by friends.” - Stefani MacNeil

“Because of charities, my dad was given a second chance at life.” - Laura Kennedy

“Because of charities, I can have a better life.” - Fadumo Ahmed

“Because of charities, I can help someone I never met.” - Sarah Robicheau

TABLE OFCONTENTS

TO CANADA, WITH LOVE: A CHARITY TALE IS A PUBLIC AWARENESS CAMPAIGN DEDICATED TO TELLING THE STORIES OF THOSE INVOLVED

WITH CANADIAN CHARITIES. EACH STORY, EACH CHARITY, AND EACH INDIVIDUAL PLAY A ROLE IN PIECING TOGETHER THE DIFFERENCE THAT CHARITIES MAKE IN OUR LIVES EVERY DAY. SO

THESE ARE THEIR STORIES. THIS IS HOW WE ARE MAKING A DIFFERENCE, CANADA.

4 INTRODUCTION6 ADDRESSING YOUR CONCERNS8 ASSUMPTIONS10 MAKING THE CASE: WHY STORYTELLING?12 MAKING THE CASE: FORMATIVE RESEARCH ON THE SECTOR15 DESIGNCONCEPTUALIZATION-THEWEBDOCUMENTARY19 ESTIMATED BUDGET FOR THE WEB DOCUMENTARY22 IMPLEMENTING THE CAMPAIGN PLAN24 CAMPAIGN TACTICS 27 ESTIMATED TIMELINE FOR THE WEB DOCUMENTARY & PLAN29 EVALUATING THE PLAN31 PERSONNEL RESPONSIBILTIES34 OVERALL RECOMMENDATIONS FOR THE WEB DOCUMENTARY & PLAN35 CONCLUSION37 REFERENCES39 APPENDIX A: LAUNCH EVENT SUPPORTING MATERIALS40 APPENDIX B: MEDIA RELATIONS SUPPORT MATERIALS41 APPENDIX C: SOCIAL MEDIA SUPPORT MATERIALS47 APPENDIX D: ADVERTISING SUPPORT MATERIALS48 APPENDIX E: COMMUNITY RELATIONS SUPPORT MATERIALS49 APPENDIX F: INTERVIEW QUESTIONS FOR VIDEOS 50 APPENDIX G: QUOTES FOR FURTHER WEB DEVELOPENT & MUSIC PRODUCTION

“Because of charities, I am pursuing my education.” - Abshiro Abdille

INTRODUCTIONTo Canada, with love: a charity tale is a public awareness campaign constructed for the Canadian charitable sector. Focusing on individuals and their charity stories, the web documentary acts as a navigational interface where viewers can pick and select stories to watch from across Canada. This public awareness campaign directly speaks to the given needs of the digital age; allowing viewers to share stories and interact with others in a positive way that supports the charitable sector.

Since Phase 1 of the Student (verb) Charities contest, the author has most notably worked with a web developer to create the web documentary URL to host To Canada, with love: a charity tale. Since its inception, the author has also filmed two additional stories showcasing individuals behind charities (Canadian

Pulmonary Fibrosis Foundation and Undercurrent Youth Centre). These videos can be found through accessing the web documentary via the URL posted on the website document submission, along with the introductory video prefacing the web documentary. To further the conceptualization of this campaign idea, a public awareness campaign plan has been created specifically for To Canada, with love: a charity tale. The plan begins with addressing the evidence on storytelling and why it is an effective form of communication. Following this, the author attempts to highlight the specific needs of the charitable sector through formative research conducted with the aid of Imagine Canada documentation. Such sector priorities have further helped to direct the campaign plan and overall design conceptualization of the campaign to meet the needs of the sector.

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LThe plan then unfolds to provide explicit details on the web documentary itself, including Q&As of how the author completed her work, an estimated budget to complete the web documentary, an estimated timeline to complete activities, etc. Such details will provide useful information in helping to determine the feasibility of the web documentary. Implementation of the campaign plan follows, with the campaign’s goal, objectives, publics, messages, and tactics addressed. Recommendations for personnel are provided, along with overall recommendations on how to implement the plan and the unravelling of the web documentary. Useful resources have been provided in the appendices to support action items included in the plan.

Overall, this plan provides a comprehensive and detailed approach to the original web documentary concept provided in Phase 1 of the Student (verb) Charities competition. With recommendations stemming from both the web documentary and the plan, the author hopes that both Imagine Canada and the Muttart Foundation can find value in this public awareness campaign, and overall, in storytelling as a way to connect with others.

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ADDRESSING YOUR CONCERNS.

RE:QUESTIONSPOSEDBYSTUDENT(VERB)CHARITIES JUDGE PANEL

Is this a fully developed original concept for a public awareness campaign?

Yes. The original concept idea was storytelling through a web documentary interface. This plan, along with the development of the web documentary website itself, has allowed for the idea to be fully developed, bringing it from concept to realization. Along with these two tangible deliverables, additional ‘stories’ have been created of people behind charities to provide a fuller idea of what this concept looks like in the implementation phase.

Can your campaign lead to increased public awareness of the role that Canada’s charities play in ensuring and improving quality of life?

Absolutely! Not only does it focus on telling individual stories of people behind charities, it also focuses on the positive benefits of charities locally, provincially, and nationally. Collecting the stories on one platform allows for each story to speak to the grand narrative, which is simply: ‘charities matter’.

Is your campaign broad enough to represent the wide variety of Canadian charities? Definitely! In fact, its breadth is limited solely to the resources available to Imagine Canada and the Muttart Foundation. The campaign can allow for stories to be added sequentially, so that the platform can continue to evolve over time. This allows for the opportunity to share diverse stories of charities all across Canada.

Have you done a search to see if your concept or motto is already being used? (If it is, it could create a conflict.)

Originally, the motto of this campaign was ‘Canada’s Real Heroes’. Since Phase 1, this concept has been changed based on reviewing these questions and looking at the ‘bigger picture’ of what this public awareness campaign actually hopes to achieve. With these considerations, a new tagline was developed: ‘To Canada, With Love: a charity tale’ (see following question for explanation).

If you have a tagline, does it convey the essence of the campaign’s overall message? The tagline: To Canada, With Love: a charity tale speaks to the fact that charities together create caring, compassionate communities. Further, these are the stories of real people, real individuals that are making a difference in communities. In working with charities, this is their contribution to Canada. Due to the fact that the campaign ‘verb’ is based on storytelling, ‘a charity tale’ appears as a fun, catchy word play.

Does your campaign ask for donations? Entries seeking donations will be disqualified. (See contest rules.) Not applicable.

Does your campaign reflect gender and cultural diversity? It does, and it has the opportunity to become even more diverse with the production of further stories from people behind charities. By focusing on specific people in each story, the campaign allows for targeted messaging to specific publics. If Imagine Canada decides that it wants to reach out to youth as one public through this campaign (based on formative research, this appears to be the case) younger individuals can be featured in stories (much like how they are featured in the campaign thus far). Similarly, people of different ethnicities can be featured as well. Opportunities are endless as long as people are willing to tell their story! It is important to note that this developed campaign idea currently falls short of adequately representing the French population of Canada. It should be recognized that the plan was developed based on resources provided, and that such an existing limitation can easily be fixed once stories are told from all across Canada.

Is your call to action in line with your campaign message?

The overall call to action for this campaign is to simply motivate people to care about the charitable sector; to create a grand narrative and understanding that Canadian charities, collectively, positively affect the lives of many. The campaign message is strongly linked with this call to action by focusing on individuals telling their personal involvement with charities and why they matter. Additionally, as mentioned in ‘key messages’ (see Implementing the Campaign Plan), it speaks to the overarching messages that charities collectively contribute to social progress and fostering community change, along with working to make a difference to benefit Canadians in different ways. By motivating people to care about the charitable sector, they will in turn be more likely to get involved and participate.

Is your campaign dynamic and engaging to a person who does not know the charitable sector?

Absolutely! Not only are the story videos inspiring, motivating, and emotional, they also are authentic and speak to every-day Canadian citizens. Such videos in the digital age can engage audiences to share these stories with friends and family members - those who may not be involved in the charitable sector but share an interest in the individuals themselves. Additionally, there is significant evidence that shows that storytelling is an effective way to communicate with most publics (see Making the Case: Why Storytelling?).

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ASSUMPTIONS.

IN EFFORTS TO PROVIDE A STRUCTURED AND DETAILED PUBLIC AWARENESS CAMPAIGN PLAN, A FEW ASSUMPTIONS WERE CREATED TO FORM A FRAMEWORK. THIS PUBLIC AWARENESS CAMPAIGN PLAN IS BASED ON THE FOLLOWING ASSUMPTIONS.

ASSUMPTION 1: A moderate budget has been allocated for the implementation of this campaign plan.Completing the web documentary interface will require adequate funds. Options are provided in the budget section of ‘Design Conceptualization’ pending on how much funding is available. Additionally, the ‘Implementing the Campaign Plan’ section highlights the use of advertising as a tactic. No specific budget details were provided here, as advertising can range vastly depending on the medium used, prominence of advertisement, etc. Further, it is assumed that Imagine Canada and the Muttart Foundation will implement the tactic with remaining funds allocated for the campaign.

ASSUMPTION 2: At least one individual has been made responsible for rolling out the campaign plan.Under ‘Implementing the Campaign Plan’, there are a variety of tactics that require personnel. Although it is recommended at the end of this plan that six individuals work on the campaign to execute the highlighted tactics (3 full-time, 1 part-time, and 2 contacted personnel), it is assumed that there will be at least one individual working on the campaign, that of the Campaign Project Manager.

ASSUMPTION 3: Imagine Canada has translating resources to provide campaign information in French and English.

This public awareness campaign was developed based on resources made available. The content creator recognizes that current campaign materials are only available in English, serving as a limitation. It is further assumed that Imagine Canada and the Muttart Foundation have existing materials available to translate content to serve both English and French languages.

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MAKING THE CASE.WHY STORYTELLING?

To Canada, with love: a charity tale uses storytelling as a way to connect with audiences in a meaningful way. Recent evidence has demonstrated that storytelling is not only powerful, but also is an effective new way organizations can market their brand. Condensed findings are presented below which support the use of storytelling in attempts to communicate messages with audiences.

STORYTELLING: DOES IT WORK?

“There is a compelling rationale for creating a story, which places the emphasis on brands communicating with their audiences, using a vivid format that evokes emotion and creates impact” (Grant, 2013). The same scholar quoted above states that 2013 is the year of storytelling; that if we want to connect with our publics, we should do so through stories.

We reminisce on fairy tales, Hans Christian Anderson, and childhood when thinking about storytelling. The communications industry, however, has begun to recognize the important part that storytelling plays in communicating with audiences. From an organizational perspective, storytelling can be used “to learn, to direct action, to plan for the future, and to develop organizational reputation and image” (Baruch, 2009, p. 17).

When exploring the importance of storytelling, we are reminded that “human memories are based on stories” (Schank, 1999, p.12). Using narratives as a way to communicate allows the individual to not only makes sense of the world around them, but also to make sense of themselves and their role in society (McAdams, 1993). For the organization, collective storytelling is “a key part of members’ sense-making and a means to allow to supplement individual memories with institutional memory” (Boje, 1995, p.1000). Effective storytelling creates a fuller meaning for those involved in the organization, and as well, for those who participate in the organization externally (partners, stakeholders, etc.).

When it comes to persuasion, scholars advocate that the best way to persuade someone is by telling a compelling story (McKee, 2003). It is certainly true that the storytelling narrative “offers a route to the heart” (Denjhjning, 2004). Such effective storytelling leaves the reader/viewer with significant feelings that can result

in a call to action (Dugan, 2008). An effective storytelling campaign can help to influence the behaviour of target audiences and their overarching view on the organization or sector.

Although a story can take many different forms, it often has three components: a beginning, middle, and an end (Dugan, 2008). Organizations can tell their stories through multiple platforms, and through a variety of different ways, including the use of: social media, public relations, marketing, and traditional media (Pulizzi, 2012).

In efforts to create an effective story, Kanzler (2007) reminds us that the basis of good storytelling is akin to newsworthiness; that good stories can often constitute having good news value. This includes impact, timeliness, revelation, proximity, oddity, entertainments, and celebrity.

From an organizational perspective, storytelling can be used to illustrate a grand narrative, acting as a subordinate goal (Baruch, 2009). In speaking to the grand narrative, organizations can effectively create ‘microstories’ to communicate key messages in a simplistic and persuasive fashion (Boje et al., 1999). Such microstories can stand alone but, together, they speak to the overarching narrative.

CREATING A COMPELLING NARRATIVE FOR THE CHARITABLE SECTOR

When it comes to storytelling and the charitable sector, we can ask the following questions a public relations professional and scholar recommends that we ask: “What kinds of stories can we tell that will make them pay attention and help us gain mindshare?” (Kanzler, 2007, p.24) This scholar responds in stating that most stories that are interesting display the positive effects that the products/services are having on the lives of those affected. By highlighting real people involved with charities every day, whether they work, volunteer, or are personally affected by a charity, we can construct a narrative that displays the positive effects of individual charities, and the sector as a whole.

The grand narrative will speak to charities, donors, potential donors, and other stakeholders to create and shape a fuller meaning as to what the charitable sector means in creating a better Canada, and ultimately, a better world.

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MAKING THE CASE.FORMATIVERESEARCH– ADDRESSING THE NEEDS OF THE CHARITABLE SECTOR

THE CREATION OF A GRAND NARRATIVE

An effective public awareness campaign that creates a ‘grand narrative’ will allow for the charitable sector to be represented holistically. If such a grand narrative were to be implemented effectively, it would help to address other existing problems within the sector, including but not exclusive to: funding (Imagine Canada, 2012a); volunteer engagement (Imagine Canada, 2012b); retention of paid staff (Imagine Canada, 2012b); and, youth engagement in the sector (Imagine Canada, 2012b).

Recent survey results from the 2010 Canada Survey of Giving, Volunteering and Participating, issued by Statistics Canada, have noted that little change in terms of volunteerism and charitable giving has occurred over the past 10 years (Imagine Canada, 2012c). Although involvement from Canadians is not staggering, such unwavering statistics recommends that there exists a possibility for growth. Indeed, such progress could be ameliorated with the help of an effective public awareness campaign. Once target audiences become more aware of the positive effects of the charitable sector, behaviour will likely follow in terms of donations and volunteering requests.

IDENTIFYING EXISTING PROBLEMS

Imagine Canada’s latest and final Sector Monitor noted that charities “are less confident about the future than they were in the recent past” (2012a, p.8). The report notes that demands of charities are climbing, along with stagnating revenues, however; the authors note that such variables don’t directly speak to the lack of confidence among those working in the charitable sector.

The National Summary for the Charitable and Nonprofit Sector 2012 Report highlights four priorities that the charitable sector should address. Such priorities do parallel with the Sector Monitor, demonstrating a need for enthusiasm from a variety of publics. The priorities listed in the Summit report include the following:

Priority 1: Improved conditions for the attraction and retention of paid staff

Priority 2: More diversified and sustainable financing of the sector

Priority 3: Better understanding of the sector and its impact

Priority 4: Enhanced support for organizations to engage volunteers / external talent

In review of the report, a common theme of togetherness arose (i.e., “We are a sector and need to act as one!”; “We can and must work together for greater impact!”)(2012b, p.3-4). More specific to public awareness, the National Summit identified ‘Better Understanding of the Sector and its Impact’ as one of the leading priorities resulting from discussions at the summit. This priority describes the need to create a “foundational narrative”, to create a fuller understanding of the impact of the sector as a whole. The creation of this narrative is discussed as “the cornerstone of everything we need to do and will directly inform and influence our success on the other priorities for action” (p.16). This priority speaks directly to the need of constructing a grand narrative for the charitable sector.

ADDRESSING EXISTING PROBLEMS

Although one of the above priorities is explicitly addressed through the present campaign idea in this public awareness campaign plan, it is important to note the positive effects that can stem from the campaign idea towards addressing the other highlighted priorities indirectly.

PRIORITY 1: Improved conditions for the attraction and retention of paid staff

The construction of a planned, cohesive grand narrative with stories of individuals involved with and affected by charities has been proven to be effective (see Making the Case: Why Storytelling?). A public awareness campaign centered on discussing both the positive aspects of individual charities whilst linking it to an overall national objective of charities fostering caring communities is emotional, attractive, and resonating. If executed effectively, the public awareness campaign could help to motivate existing staff and inspire future staff to work in the charitable sector.

PRIORITY 2: More diversified and sustainable financing of the sector

By having the opportunity for Canadians to participate in viewing the documentary while co-creating the narrative through social media will help to garner overall awareness amongst others of the positive effects of charities, and the charitable sector. Increased awareness of charities and the charitable sector will reify the need to continue investing in such causes. Such awareness can have an effect on behaviour, particularly if such messages are communicated in a way that is meaningful to the viewer.

PRIORITY 3: Better understanding of the sector and its impact

This is an obvious priority in which this public awareness plan directly speaks to. Not only does the plan create a better understanding of the sector and its impact, it also directly meets the need of what is discussed in the Summit report about the forming of a “foundational narrative” (p.18). Although the web documentary exists as the main storytelling platform, it really serves as a foundational platform where other public relations and advertising tasks can be created by extension. For example, this plan will address how to engage in storytelling through social media, traditional media, media relations, advertising, and community relations.

It is also important to note that the overarching verb of ‘storytelling’ is something that Imagine Canada is already in the process of working towards. Hints of storytelling are already happening within the organization, through the use of CharityFocus and in highlighting Member Profiles via Imagine Canada’s blog, Imagine Matters newsletter, through the website, and social media platforms. Such existing storytelling practices allow for the possibility for this campaign idea to integrate with Imagine Canada’s existing work, but at the same time allowing for the creation of a dynamic and improved storytelling experience for audiences.

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PRIORITY 4: Enhanced support for organizations to engage volunteers / external talent.

Again, such increased awareness established through the public awareness campaign will present an attractive outlook of the charitable sector. Such increased awareness can help to garner new dedicated volunteers for charities. More specific to what the Summit report discusses though, is that the labour force (including volunteers) truly reflect the diversity of Canadian society. Increased diversity will allow for a broadened support amongst Canadians, and a truer representation of Canadian society.

In the creation of individual stories of charities, the representation of different demographics should be targeted. Further, not solely highlighting different charities in the national public awareness storytelling campaign, but also different types of people based on age, sex, and race.

Overall, it is important to note that this public awareness campaign does not act as a panacea; it does not directly answer and address all of the sector’s priorities perfectly. However, the described public awareness campaign does in fact speak to these priorities in some way and will help to alleviate existing problems when conincided with other activities. Investing in this public awareness campaign will not only create awareness on the charitable sector - it will help to make the sector stronger as a whole.

“Because of charities, I can give back to communities that have given me so much.” - Kyle Rogers

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DESIGN CONCEPTUALIZATION.TO CANADA, WITH LOVE: A CHARITY TALE A WEB DOCUMENTARY PUBLIC AWARENESS CAMPAIGN FOR THE CHARITABLE SECTOR.

OVERARCHING THEME: STORYTELLING

This public awareness campaign is centered on telling the stories of individuals affected by or involved in charities across Canada. Such individual stories will be collected and told through the same platform: on a video format displayed on the web documentary interface. Each video will speak to a ‘grand narrative’ or rather, the subordinate goal: the charitable sector positively affects the lives of many, in different ways.

Indeed, there is compelling evidence that supports that storytelling is an effective way to communicate messages to key audiences. Although storytelling has been around for centuries, its use in branding and marketing has only recently become prominent. Storytelling offers an authentic and compelling way to speak to Canadians about the meaningful work of the charitable sector.

THE WEB DOCUMENTARY

The web documentary serves as an interface where Canadian charities can tell their stories. The web documentary brings together stories of those involved with charities across the nation. 14

Beginning with an introductory video, viewers will be able to understand that they too are in some way affected by a charity. The voices of many portrayed in the introductory video highlight a sense of diversity; that everyone has been positively affected by a charity in some way. The objective of this video is to evoke a sense of togetherness and meaning directed towards charities. Additionally, statistics have been used to contextually provide evidence on the impact of charities. Upon entering the website, viewers can participate in choosing and selecting stories by provinces and territories. Stories should effectively represent population size, so more stories are expected from Ontario than Nunavut. Nevertheless, it is important to touch on charities all across Canada to present the idea of diversity and geographic scope.

Viewers have the opportunity to share these stories through social media outlets. By providing this option, viewers can help to garner further interest through the use of digital word-of-mouth. Additionally, the use of social media can help viewers to also participate in the storytelling process where they can co-create the stories and distribute them to their audiences. ROLLING OUT THE WEB DOCUMENTARY:

WHERE ARE WE NOW?

Since Phase 1 of the Student (verb) Charities contest, the author has worked to create an actual website URL within the $1000 budget limitations to further the campaign idea. The total amount of this $1000 was spent directly on the development of the website. In working with website developer Sarah Semark from Triggers and Sparks, the campaign website has been created. As of now, the website includes produced stories by the author in Nova Scotia, the introductory video before reaching the website, a ‘Blog’ page, an ‘About’ page, a ‘Contact Us’ page, and a navigation system for viewers to select stories from different regions in Canada. Currently, the design presents more of a ‘pilot’ version of what the web documentary would look like, by only showcasing Nova Scotian stories. Nevertheless, the conceived design of the website serves to illustrate how stories can be displayed nation-wide through the region navigation at the top of the webpage. Additionally, since Phase 1 of the contest, the author has produced two more stories and an introductory video to serve as a ‘preface’ or ‘beginning piece’ of the web documentary. These videos were produced by the author using the materials available at her respective university. The new stories created include one from the Halifax Regional Municipality, and one from Glace Bay, Nova Scotia to provide a bit of geographical diversity and to highlight that these stories can come from any community in Canada. It may be noted that both video and music quality have been enhanced in the more recent videos due to using university equipment as opposed to personal equipment, and with time donated from a music production artist.

WHAT NEEDS TO BE DONE, IF IMPLEMENTED? COLLECTING STORIES

If this plan were to be implemented, it is paramount that further stories are collected from all across Canada. Collecting charity stories to display on the web documentary website can be displayed sequentially, or in different phases. Further, stories can be displayed to audiences’ right after a story is produced, or in collections. It is recommended that more stories are created before the campaign is officially launched, particularly in Western and Central Canada, if the existing stories from Nova Scotia are to be used. Using the existing stories and Nova Scotia as a ‘pilot’, the author has attempted to address certain questions that may arise when launching the campaign.

How should we go about collecting stories? Collecting stories requires an individual to actively seek a charity, generate conversation with a potential good spokesperson for the charity, and interview the selected individual to represent the charity. Thus, an individual is required to collect and coordinate the production of interviews. Additionally, if the campaign budget is constricting, it is ideal that this individual also has experience with video editing in so to capitalize on existing resources.

Imagine Canada can collect stories from charities by using existing platforms that the organization already has in use. Ideas for charity stories may stem from charity profiles on CharityFocus or through charities submitting ‘Member Profile Submission Forms’ that are used to profile charities in the Imagine Matters newsletter, and on the Imagine Canada blog and website. Such platforms additionally provide ease between the web documentary and Imagine Canada’s existing platforms such as Charity Focus and the Imagine Canada blog. How long does it take to create a story? The whole story capturing process can take as little as two weeks to complete. This includes contacting the charity, finding the right individual, conducting the interview, edit the interview with the individual, adding video transitions elements and music to video, and finally approving the video with the individual before releasing. A two week turn-around would require the individual to work on the project full-time throughout those two weeks. Depending on the level of support from other employees, and the expertise of the videographer, this timeframe could be restricted even more, averaging one video per week if ideal resources are provided.

How did you structure messaging to ensure consistency? For each video, most of the same questions were asked. Some questions were tweaked based on the organization’s mission, recent events, etc. It is important that a majority of the same questions are asked for each charity interviewed so that the stories can cohesively speak to one another and the grand narrative. Additionally, this speaks to the fact that one person should be responsible for conducting a majority of the interviews in so to ensure consistency with messaging. Questions asked for the videos created for the pilot are included in Appendix F.

What equipment did you use? For the last two videos created, the following material was used:

• Canon Video Camera

• Lapel microphone

• Hand-held microphone

• Tri-pod

• SLR Digital Camera

• Connector cable

• Adobe Premiere Pro CS5

How much did the ‘pilot’ in Nova Scotia cost? All video equipment was free of cost due to using accessible university equipment. Music services were donated for the purpose of the cause. The only cost accrued through producing these videos was travel. Transportation travel across the province amounted to $120. The author did not account for any hotel costs or food costs. 17

Overall, this public awareness campaign plan helps to provide a framework of how the campaign can be implemented in real time. Using the web documentary alone is not enough; other tactics are needed to garner interest among publics. This is why the author has created a public awareness campaign plan to support the web documentary platform. The campaign plan highlight tactics that Imagine Canada and the Muttart Foundation can engage in to further the awareness of the web documentary, along with specific details such as a timeline, personnel responsibilities, and overarching recommendations for implementing the plan itself.

RECOMMENDATIONS FOR IMPLEMENTING THE WEB DOCUMENTARY:

Few story creators

As previously mentioned, it is important to keep messaging and stories consistent. Thus, it is recommended that stories are constructed by a small group of individuals, if more than one person is needed. Depending on the campaign budget, a videographer could be hired to film and produce the stories. If the budget does not allow for professional production, students can be hired to work on the project, using services that are available to them.

Use the same web developer

To maintain consistency with website design, concept, and theme, it is recommended that the same web developer is used for the continued development on the campaign. A contracted quote has been provided by the web developler in Apprendix G for the services required to manage up to 30-40 addtional videos.

Use the musica production artist

To maintain consistency with website design, concept, and theme, it is recommended that the same music production artist is used for continued development on the campaign. A contracted quote has been provided by the music production artist in Apprendix G for the services required to produce up to 30-40 additional videos.

Ask similar questions to charities

If existing videos are to be used for the progression of the campaign, it is recommended that similar questions are asked when conducting interviews for the web documentary. A list of questions used for the already produced videos can be found in Appendix F. By asking similar questions, messaging can be controlled but nevertheless remain authentic through individual voices.

Use similar video structure

For each story previously created, an opening statement was made by the interviewee and then the individual and charity was introduced. Whether the existing stories are used in the official campaign or not, it is recommended that the production of individual stories are consistent in their structure so that they can collectively speak to the grand narrative. Creating similarities in video structure help make consistent themes obvious to the viewers.

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ESTIMATED BUDGETNOTE: THIS BUDGET DOES NOT INCLUDE PERSONNEL OR CAMPAIGN TACTICS COSTS. THIS BUDGET SOLELY ESTIMATES THE COSTS OF COMPLETING THE DESIGN CONCEPTUALIZATION OF THE WEB DOCUMENTARY INTERFACE.

TRAVEL & ACCOMMODATIONS FOR VIDEOGRAPHER = $30,000 (BASEDONTHEPRODUCTIONOF40ADDITIONALSTORIES)

Travel: Average cost per trip (by plane) = $500 Total number of locations = 40 (500) x (40) = 20,000 Accommodations: Average cost in hotel per night = $150 Total number of locations = 40

(150) x (49) = 6,000 Food: Average cost per day = $50 Total number of locations = 40

(50) x (40) = 2,000

Cab drives, etc. = $2000

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PERSONNEL = RANGE BETWEEN $54,600 (STUDENTS/BUDDINGPROFESSIONAL)– $100,000+(PROFESSIONALVIDEOGRAPHER) Students / Budding Professional 15$/h 2 students (17.5 hrs/week)

(52 weeks) x (35 hours in total from 2 students) x (15) = $54, 600 Professional videographer (charge between $40-$150/h; average ~$90) 90$/h (30 weeks)* x (35 hours) x(90) = 94,500 WEBSITEDEVELOPMENT-$4025 If this campaign were to be successful, based on the recommendations provided in this plan, roughly 30-40 more videos would be produced for the web documentary. In discussing the potential success of the campaign idea, and the web developer’s potential succession in continuing to work on the web documentary upon implementation, it was de-termined that the best way for the website to develop would be through furthering the development of each province and territory page. Additionally, a content management function would be established that would allow for the public awareness campaign creators to upload the new videos themselves to the web decoumentary interface. For a more detailed explanation on the further production of the website interface for the web documentary, see the quote provided by the existing web developer in Appendix G.

MUSICPRODUCTION-$5000

As previously mentioned, the existing music production artist donated his time and services for the production of the three most recent videos (Introductory Video; Canadian Pulmonary Fibrosis Foundation; Undercurrent Youth Centre). In dicussion with the music production artist, a quote has been provided for the further production of music for 40 more videos. For a more detailed explanation of the further production of music for the additional 40 videos projected for the web documentary, see the quote provided by the existing music production artist in Appendix G.

PROJECTED TOTAL (WITH VIDEOGRAPHER): $133, 525 PROJECTED TOTAL (WITH STUDENTS): $93, 625

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ADDITIONAL CONSIDERATIONS: In the event that Imagine Canada and the Muttart Foundation would wish to purchase the video-related equipments used to create the pilot videos, a list of materials and costs are provided below:

• Canon C410 Video Camera: $2500

• Lapel mic: $1000

• Microphone: $300

• Tri-pod: $500

• SLR Digital Camera: $1300

• Connector cable: $50

• Adobe Premiere Pro CS5: $1000

Total: $6650

BUDGET SUMMARY: Travel accomodations are based on overall estimates accumulated from basic research on flight and hotel prices. The total for all travel costs includes the visiting of 40 different locaations across Canada, which is the ideal amount of videos to be produced for the web documentary.

The main expense for the further production of the web documentary is that of the videographer. Depending upon how much Imagine Canada and the Muttart Foundation wish to invest into the public awareness campaign, hiring a professional videographer may not be the most cost effective route. Because of this, students and budding professionals in the communications field should be considered as a potential option. Quotes for further website development and music production are provided in Appendix G. These quotes are presented based on the idea that 40 additional videos would be produced for the web documentary. Due to an inability to predict the public awareness campaign’s budget, the author has attempted to provide options in so that Imagine Canada and the Muttart Foundation can implement the campaign idea to meet their budget. If the budget proves to be more limiting than anticipated, fewer videos can be produced.

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IMPLEMENTING THE PLAN.THE FOLLOWING PAGES ADDRESS THE CAMPAIGN’S GOAL, OBJECTIVES, PUBLICS, AND KEY MESSAGES. CAMPAIGN TACTICS FOLLOW, WITH STRATEGIES, BUDGET PROJECTIONS FOR EACH STRATEGY, AND AN EVALUATION METHOD PER TACTIC.

CAMPAIGN GOAL:To effectively communicate that Canadian charities, together, positively affect the lives of many.

OBJECTIVES:• To increase public awareness on the positive effects of the charitable sector through highlighting

personal stories of those involved with charities; specifically to generate interest among the social media community (10,000 ‘shares’ of stories within 4 months of the launch date) and through published media coverage (100 articles, including nationally and provincially within 6 months of the launch date).

• To successfully launch the proposed campaign; specifically to have at least 200 people in attendance at the launch event, including charities, government officials, and community leaders.

• To engage communities across Canada through campaign events hosted at local venues; specifically, to host shows that display the web documentary stories in at least 20 communities across Canada by the end of December, 2013.

PRIMARY PUBLICS

Charities: including staff, volunteers, and board members

Those affected by charities: including members and supporters

Partners: including governmental departments, service clubs, schools and colleges

Donors: those who have donated to a charity in the past

Potential Donors: those who have not donated to a charity before, but are capable

Media: local, provincial, national; radio, television, newspapers

SECONDARY PUBLICS

Government: municipal, provincial, and federal representatives

Future partners: those who may want to work with individual charities or the sector

KEY MESSAGES

Canadian charities, together, share a common purpose towards contributing to social progress and fostering positive community change.

The charitable sector is making a difference in Canada by working in different ways to benefit Canadians.

“Because of charities, we can keep hunger at bay.” - Jill Edwards

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CAMPAIGNTACTICS.CAMPAIGN TACTICS CAN HELP TO CREATE FURTHER AWARENESS ON THE CAMPAIGN AND THE CHARITABLE SECTOR. IT IS IMPORTANT TO NOTE THAT THESE TACTICS ARE BEING RECOMMENDED UNDER THE IDEAL SITUATION THAT THE SECTOR HAS ENOUGH LABOUR POWER AND MONEY TO IMPLEMENT, AS DISCUSSED UNDER ASSUMPTIONS. BECAUSE THESE TACTICS SERVE AS RECOMMENDATIONS, THEY DO NOT ALL HAVE TO BE IMPLEMENTED IN ORDER FOR THE CAMPAIGN TO BE SUCCESSFUL.

TACTIC A: LAUNCH EVENTSTRATEGY: Create a ‘launch celebration’ based on the public awareness campaign launch. The launch party would include employees of Imagine Canada and the Muttart Foundation. Additionally, charities from the local area can be invited too. The launch celebration can allow for the unveiling of the web documentary, where those in attendance can view the video stories, along with the introductory video. The event also serves as an opportunity for the media to cover the event.

Limitations exist in that the campaign is nation-wide but charities outside of the local area would not be able to attend. A problem such as this could be addressed through the use of a live-stream video.

BUDGET FACTORS: The overall costs to host the event itself. This would include the venue, food for guests, celebratory decorations, etc. Such details are contingent on what both Imagine Canada and the Muttart Foundation desire for a successful launch event.

EVALUATION METHOD: Number of individuals present; amount of media coverage post campaign launch.

TACTIC B: MEDIA RELATIONSSTRATEGY: Stories produced for the web documentary are already pre-packaged for media distribution. Such narratives could serve as good ‘feature stories’ in television, radio, and newspapers. Campaign personnel will ideally assist in packaging the stories to effectively meet the needs of news services (i.e., writing up a more detailed profile piece, providing photos where necessary, etc.) (for an example of what this would look like, see Appendix B). Such stories will be of interest to both local and national news outlets. National news sources, such as the Globe and Mail, are already effectively engaging in the use of storytelling and would likely see such stories as newsworthy. A national source like the Globe and Mail would also serve as a platform for the presentation of a ‘grand narrative’ where a variety of charities and individuals could be highlighted.

BUDGET FACTORS: Included in Project Manager duties, and in the Media and Community Relations Coordinator duties (see Personnel Responsibilities).

EVALUATION METHOD: Amount of media coverage post-campaign launch through the distribution of stories, as recorded based on the Media Coverage Diary (displayed in Appendix B)

TACTIC C: SOCIAL MEDIASTRATEGY: Engage publics by encouraging them to share the stories from the web documentary on social media outlets. Activities include promoting the web documentary through social media outlets, including involved charities in the conversation, responding to audiences when needed, and listening to the publics’ suggestions for future stories.

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TACTIC D: ADVERTISINGSTRATEGY: Purchasing traditional advertising would help to promote the web documentary and further messaging surrounding the grand narrative and the charitable sector as a whole. Such advertising methods could include: using stories from the web documentary in print advertisements, transit advertisements, and billboards (for an example of what this would look like, see Appendix D). Additionally, videos created can be used as commercials to promote the web documentary and the campaign. Tailored videos for commercials may be something to consider if commercials prove to be a desirable tactic. For appropriate evaluation of this method, it is recommended that advertising is grouped together as opposed to being dispersed over several time allotments.

BUDGET FACTORS: Dependent on organizational budget. Advertising prices range vastly based on medium, duration of the advertisement being displayed, etc.

EVALUATION METHOD: Monitor whether page hits increased after advertisements have been purchased.

BUDGET FACTORS: Included in Project Manager duties, and in the Media and Community Relations Coordinator duties (see Personnel Responsibilities).

EVALUATION METHOD: Monitor activity of social media accounts. This can be done through using such platforms as twentyfeet.com and through the Social Media Diary records (see Appendix C).

TACTIC E: COMMUNITY RELATIONS*STRATEGY: Such a collection of individual stories can collectively be interpreted as a compilation of art work. Individual stories of charities can be communicated in local communities at art shows, libraries, movie theatres, and community centres. Additionally, the potential to host AV presentations across Canada about the grand narrative through individual stories is a possibility. To Canada, with love: a charity tale could work with the local venues to display its stories in communities (see Appendix E for potential venues). Such an organic approach allows for the opportunity for publics to gain a different experience on the campaign, while increasing their awareness on the charitable sector.

BUDGET FACTORS: Meeting the needs of community venues to display the web documentary stories may require investment in promotional material, such as stand up banners, portable televisions or tablets to display stories, etc. Additionally, a budget factor here would likely include funding for the Media and Community Relations Coordinator to travel to certain locations to ensure proper set-up of shows, introduce To Canada, with love: a charity tale at an opening event, etc.

EVALUATION METHOD: Attendance at art and AV shows.

.

* This is a grassroots initiative that would require coordination with stakeholders. Nevertheless, this tactic could be adjusted to serve as many or as little communities as desired. It could be planned to be implemented in city centres, and if proven to be effective, in rural communities as well.

ESTIMATEDTIMELINEBELOW HIGHLIGHTS A TASK TIMELINE FOR THE REMAINING MONTHS OF 2013. TASKS HAVE BEEN CONSTRUCTED BOTH FOR THE CONTINUATION OF THE WEB DOCUMENTARY AND FOR THE IMPLEMENTATION OF THE CAMPAIGN PLAN. IT IS RECOMMENDED THAT A NEW TIMELINE IS CREATED IN DECEMBER FOR 2014.

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Month Web Documentary Tasks Campaign Plan TasksJune • Hire videographer/students to begin

the continuation of filming stories

• Begin filming stories and producing videos (recommended: complete continued focus on Atlantic Canada for this month)

• Work with web developer to pro-duce pages for New Brunswick, Newfoundland & Labrador, and Prince Edward Island

• Work with music production artist to produce music for recent videos

• Edit, compile, and upload videos on website interface

• Hire/secure the appropriate personnel to execute the addressed tactics high-lighted in the plan

• Determine overall budget for the campaign; allot the necessary funds for advertising, launch event, etc.

• Begin working with existing Imagine Canada employees on integrating the campaign plan with existing platforms that could benefit from the plan (i.e., integrating CharityFocus and Member Profiles with the campaign)

• Begin coordinating with potential ven-ues to address the community relations tactic

• Begin planning for the campaign launch with the estimated start date in Septem-ber (i.e., send invites, plan date & venue, etc.)

• Work with videographer/students/web developer/music production artist to ensure all videos are meeting deadlines

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July • Begin filming stories and producing videos in Western Canada

• Work with web developer to pro-duce the appropriate pages

• Work with music production artist to produce music for recent videos

• Edit, compile, and upload videos on website interface

• Continue planning for campaign launch event

• Continue coordination with venues to address the community relations tactic

• Continue work with videographer/stu-dents/web developer/music production artist

• Begin working on advertising materials to be distributed in September

• Create a focused strategy for engaging in media relation locally, provincially, and nationally

August • Begin filming stories and producing videos in Central Canada (including at least 2 stories from Quebec)

• Film at least one story from North-ern Canada before campaign launch

• Work with web developer to pro-duce the appropriate pages

• Work with music production artist to produce music for recent videos

• Edit, compile, and upload videos on website interface

• Begin working with Imagine Canada’s existing social media personnel to dis-cuss plans and tactics for integrating the campaign into social media activities

• Work on creating media relations pack-ages for the media prior to launch event

• Continue and finalize planning for cam-paign launch event

• Continue coordination with venues to address the community relations tactic for October

• Continue work with videographer/stu-dents/web developer/music production artist

• Finalize advertising materials to be dis-tributed in September

September • Campaign is launched

• Videos will continue to be produced where necessary in working with the web developer and music production artist

• Campaign launch event

• Focus on media relations and beginning the conversation on the campaign

• Social media on the campaign has be-gun; engaging audiences

• Advertising has begunOctober • Videos will continue to be produced

where necessary in working with the web developer and music production artist

• Community venues are beginning to share the stories through venues previ-ously planned in the summer months

• Social media engagement continues

• Targeted media relations stories are be-ing finessed; working with reporters to capture feature stories/articles

November • Videos will continue to be produced where necessary in working with the web developer and music production artist

• Continued engagement with audience on social media

• Continued media relations work to gain news coverage

• Continued work with finding appro-priate community venues to host the storytelling campaign

December • Videos will continue to be produced where necessary in working with the web developer and music production artist

• Begin to access the campaign’s success based on the past few months (i.e., what has proven to be successful; what needs improvement, etc.)

• Continued engagement with audience on social media

• Continued media relations work to gain news coverage

• Continued work with finding appro-priate community venues to host the storytelling campaign

EVALUATING THE PLAN.

WEBSITE HITS

The website interface for the web documentary allows for the tracking of page hits and popular pages. Such website statistics will help to monitor the success of the campaign. Additionally, increased hits and popularity of pages can help to indicate whether such tactics as advertising prove to be effective in promoting the campaign. Calculated advertising within a 2 weeks period in city centres may directly lead to increased website traffic. Such statistics can easily be monitored to evaluate its success.

STORIES SHARED

The narratives themselves can be evaluated based on how many ‘shares’ the story has generated. If some stories prove to be more popular than others, this should be taken into consideration. Questions such as these should be asked: ‘How did this narrative differ from others?’ and ‘What made this story more compelling than others?’ Answers to these questions will help to guide the production of further stories in and for the charitable sector.

MEDIA COVERAGE

The success of media relations can be evaluated based on the number of stories covered on the campaign. If it is recognized that coverage is sparse, new approaches should be considered including differentiating the packaging of stories, or by doing more field research on reports and journalists who cover feature stories that carry an inherent storytelling theme.

FUTURESECTORSTATISTICS(DONATIONS;VOLUNTEERS)

Although Imagine Canada completed its final Sector Monitor in October 2012, it is likely that sector re-search will be in the least completed by Statistics Canada within the years to come. Such data will allow for the compare and contrast of previous data (Imagine Canada’s Sector Monitors; Statistics Canada’s 2010 Canada Survey of Giving, Volunteering and Participating) with existing data in the years 2014 and 2015. This sector data will speak to the positive effects of the campaign, and its overall return on investment for the sector. Areas of particular interest that would speak to the effectiveness of the campaign would include: increased number of donors, increased confidence in the charitable sector, and increased number of volunteers in the charitable sector.

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PERSONNEL RESPONSIBILITIES.The following is a list of responsibilities for personnel involved with the implemented public awareness campaign. In the ideal situation, there would be four team members working on the campaign, along with two contracted workers: a project manager; a media and community relations coordinator; a videographer; a graphic designer; a website developer, and a music production artist. It is predicted that the graphic designer would be needed on a part-time basis, and that the website developer and music production artist would be contracted.

If resources are restricted, some of the following responsibilities could be re-worked. For example, if funds do not allow for a graphic designer, it could further become a responsibility for the project manager or media and community relations coordinator. Such adjustments cannot be predicted at this time, but will need to be assessed by the project manager prior to campaign implementation. As mentioned in the ‘Assumptions’ section of this plan, it is assumed that there would be at least one person working on the campaign, that of the campaign project manager.

Campaign Project Manager Responsibilities:

• Oversee the launch and succession of the public awareness campaign

• Integrate campaign plan with current organizational activities and tactics (i.e. aligning campaign with organizational goals; integrating the web documentary interface with CharityFocus; etc.

• Coordinate and manage the production of new charity stories for the web documentary

• Create and regulate the campaign budget

• Work with videographer/students/web developer to ensure the development of the stories and the web documentary

• Delegate tasks and work with the Media and Community Relations Campaign Coordinator

• Delegate tasks and work with the Campaign Graphic Designer

• Manage and plan meetings with the campaign team

• Coordinate advertising materials to be used (i.e., working with graphic designer; securing advertising spots, etc.)

• Engage in campaign-related social media activities along with the Media and Community Relations Campaign Coordinator

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Media and Community Relations Campaign Coordinator

• Create campaign media packages for the media

• Write articles and work with reporters to secure media coverage on the campaign

• Engage in media monitoring daily to determine reporting on trends, charities, and the campaign

• Complete the social media diary and media coverage diary weekly (both diaries are displayed in Appendix B & C)

• Coordinate and manage tasks related to community venues hosting the storytelling campaign

• Attend campaign meetings as managed by the Campaign Project Manager

• Engage in campaign-related social media activities along with the Campaign Project Manager

Videographer/ Student Videographer(s)

• Film stories of charities across Canada, as instructed by the Campaign Project Manager

• Edit and produce stories to be displayed on the web documentary interface

• Work with web developer and music production artist when necessary for video production

• Attend campaign meetings as managed by the Campaign Project Manager

Campaign Graphic Designer (part-time)

• Create appropriate campaign material to be featured in advertisements, campaign documents, etc.

• Work with web developer to create necessary graphics for the web documentary interface

• Attend campaign meetings as managed by the Campaign Project Manager

Website Developer (contracted)

• Develop web pages, as requested by the Campaign Project Manager

• Work with Videographer/Student Videographer(s) to add the most recent stories to the web documentary interface

• Update web documentary interface as needed

Music Production Artist (contracted)

• Create original music scores for videos produced for the web documentary

• Work with Videographer/Student Videographer(s) to ensure emotions and messages are appropriately reflected in the music

OVERALLRECOMMEDATIONS.Personnel

• Recommendations for the ideal public awareness campaign personnel can be found in the ‘Personnel Responsibilities’ of this plan.

• In the hiring process, consider creative and innovative individuals that meet the personnel responsibilities.

Web Documentary

• Allow for the web documentary to evolve with time and success. Launch the campaign once a good collection of stories have been gathered but continue to create stories sequentially to further interest and engage different audiences.

• Integrate the web documentary with existing platforms and resources such as CharityFocus and Members Profiles. Together, the resources will be more powerful and will speak to a fuller, and more complete grand narrative.

• In producing and editing videos, be consistent. Individual stories are authentic and individualistic, but they need to speak to the grand narrative. Ensure that similar messages and themes appear throughout all videos.

• Note trends and popularity, and capitalize on these observations. If certain videos are shared more than others, ask ‘why is this?’ while attempting to re-create its success.

“Because of charities, my dad was given a second chance at life.” - Laura Kennedy

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Tactic A: Launch Event

• Invite as many interested audiences as possible to attend the event, including multiple media outlets in advance.

• Showcase a variety of stories while the event takes place.

• Speakers at the event should include Imagine Canada President and CEO Marcel Lauzière and the Muttart Foundation’s Executive Director, Bob Wyatt.

Tactic B: Media Relations

• Create and write op-ed pieces and feature articles to be published in newspapers (make them geographically specific).

• Compile video pieces to be used as b-roll and feature pieces for TV reporters to gain easy coverage.

• Attempt to form relationships with reporters in attempts to gain further media coverage.

Tactic C: Social Media

• Create separate Twitter and Facebook accounts for the campaign but be sure to link them frequently with Imagine Canada and the Muttart Foundation.

• Use Imagine Canada’s Pinterest page and have a ‘board’ dedicated to the campaign.

• Write compelling content; quality over quantity.

• Use specific hashtags that can be linked with the campaign (see Appendix C for examples).

• Always respond to audience feedback.

Tactic D: Community Relations

• Capitalize on community venues that would be interested in showcasing the stories used in the campaign, such as universities, art galleries, community halls, etc.

• Start in city centers and based on their success, move to rural areas.

Evaluation

• Spend time in December (4 months after predicted campaign launch) evaluating all aspects of the campaign. Evaluate what is working, what needs work, etc. Assess and make the appropriate adjustments for the new year.

• Regularly evaluate the popularity of the web documentary itself through website statistics.

• Consistently keep track of media coverage on the campaign through a media coverage diary (see Appendix B).

• Observe on a frequent basis how audiences are engaging in social media through a social media diary (see Appendix C).

CONCLUSIONTO CANADA, WITH LOVE: A CHARITY TALE HAS THE POTENTIAL TO RAISE AWARENESS ACROSS CANADA ABOUT THE MANY POSITIVE WAYS CHARITIES AFFECT THE LIVES OF CANADIANS. SO, LET’S TELL THEIR STORIES AND CREATE A GRAND NARRATIVE THAT SAYS: “CANADIAN CHARITIES MATTER.” BECAUSE WE ALL KNOW THAT THEIR STORIES ARE TOO IMPORTANT NOT TO BE TOLD.

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WORKS CITED:Av-Ron, U. (2013, April 10). Social Media: A Channel/Tactic, Not A Strategy.Marketing Daily Commentary. Retrieved April 13, 2013, from http://www.mediapost.com/publications/article/197230/social-media-is-a-channel-tactic not-a-strategy.html#axzz2QM9U05PC

Baruch, Y. (2009). Once Upon a Time There Was an Organization. Journal Of Management Inquiry, 18(1), 15-25.

Boje, D. (1995) Stories of the storytelling organization: A post-modern analysis of Disney as Tamara-land. Academy of Management Journal, 38, 997-1035.

Boje, D. M., Luhman, J. T., & Baack, D. E. (1999). Stories and encounters between storytelling organizations. Journal of Management Inquiry, 8(4), 340-360.

Denning, S. (2004). Telling tales. Harvard Business Review, 82(5), 122-129.

Dugan, K. (2008). Lasting impact: Storytelling makes messages memorable. Public Relations Tactics, 15(2), 26-26.

Grant, R. (2013). The year for sharing stories. Marketing Week (01419285), 45

Imagine Canada. (2012)a. Imagine Canada’s Sector Monitor (Vol 3, No. 1) Ottawa, ON: Lasby, D. & Barr, C.

Imagine Canada. (2012)b. National Summit Report for the Charitable and Nonprofit Sector Ottawa, ON.

Imagine Canada. (2012)c. Research Note – Caring Canadians, Involved Canadians: 2010 Ottawa, ON: Lasby, D.

Kanzler, F. (2007). It’s all about the story: Differentiating your organization from the rest. Public Relations Tactics, 14(2), 24.

Li, Y. (2008). Towards a Conceptual Framework for Participation and Empowerment in Digital Storytelling and Participatory Video. Conference Papers -- International Communication Association, 1-29.

Schank, R.C. (1999). Dynamic memory revisited. Cambridge, UK: Cambridge University Press.

McAdams, D.P. (1993) The stories we live by: Personal myths and the making of the self. New York: Guildford.

McKee, R. (2003). Storytelling that moves people: A conversation with screenwriting coach, Robert McKee. Harvard Business Review, 80, 51-55.

WORKS CITED:Pulizzi, J. (2012). The Rise of Storytelling as the New Marketing. Publishing Research Quarterly, 28(2), 116-123. doi:10.1007/s12109-012-9264-5

Roach, T. J. (2012). Telling It Like It Is. Rock Products, 115(12), 33.

Timms, H. (2013, March 25). Creating Social Change with Social Media. HBR Blog Network Harvard Business Review. Retrieved April 18, 2013, from http://blogs.hbr.org/cs/2013/03/creating_social_change_with_so.html?utm_source=Social flow&utm_medium=Tweet&utm_campaign=Socialflow

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APPENDIX A:TACTIC A: LAUNCH CELEBRATION MEDIA ADVISORY FOR LAUNCH EVENT

-insert date-

‘TO CANADA, WITH LOVE’ CHARITABLE SECTOR CAMPAIGN LAUNCH

OTTAWA: Imagine Canada and the Muttart Foundation are collaborating to launch its first public awareness campaign for the charitable sector: To Canada, with love: a charity tale. Focused on storytelling, the campaign centers around telling the stories of real people involved in charities across Canada through a web documentary interface. Join us in celebrating the stories of individuals, charities, and the difference they are making across the nation!

WHAT: To Canada, with love: a charity tale public awareness campaign launch

WHO: Marcel Lauzière, President and CEO of Imagine Canada Bob Wyatt, Executive Director of the Muttart Foundation WHEN: -insert date of launch-

WHERE: -insert location-

Imagine Canada is a national charitable organization whose cause is Canada’s charities and nonprofits. We support and strengthen charities and nonprofits so they can, in turn, support the Canadians and communities they serve. For more information on Imagine Canada and the Muttart Foundation, visit www.imaginecanada.ca and www.muttart.org.

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For more information contact: Lainie Towell Campaign Project Manager Phone: 613-238-7555 ext 303 Email: ltowell@imaginecanada.ca

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APPENDIX B:TACTIC B: MEDIA RELATIONSNEWS RELEASE FOR CAMPAIGN LAUNCH

-insert date-

‘TO CANADA, WITH LOVE’ CHARITABLE SECTOR CAMPAIGN LAUNCH

OTTAWA: Imagine Canada and the Muttart Foundation are proud to announce the launch of the first public awareness campaign of its kind for the charitable sector: To Canada, with love: a charity tale. Focused on storytelling, the campaign centers around telling the stories of real people involved with charities across Canada through a creative web documentary interface.

“We are so excited to finally launch a public awareness campaign dedicated to the charitable sector,” says Marcel Lauzière, President and C.E.O. of Imagine Canada. “Telling the stories of individuals behind charities provides Canadians with the opportunity to see first-hand the wonderful yet diverse work of individual charities, while also showcasing the charitable sector as a whole.”

Stories of charities are displayed online through the website URL: www.tocanadawithlove.ca. Viewers can watch charity stories from all across Canada by browsing through the different region pages. The campaign also includes a social media component, where viewers can share the charity stories that resonate with them, and also engage in the conversation on why Canadian charities matter.

“The stories featured on the web documentary are powerful, emotional, and impactful,” says Bob Wyatt, Executive Director of the Muttart Foundation. “We hope that these stories can speak to Canadians about the wonderful work charities are engaging in every day to benefit our communities.”

Charity stories will continue to be added to the web documentary throughout the year to highlight the diverse work of charities. Additionally, the campaign stories will be showcased in community venues across Canada to continue the narrative on why Canadian charities matter. For more information on community shows featuring To Canada, with love: a charity tale, visit the campaign website.

Imagine Canada is a national charitable organization whose cause is Canada’s charities and non-profits. We support and strengthen charities and non-profits so they can, in turn, support the Canadians and communities they serve. For more infor-mation on Imagine Canada and the Muttart Foundation, visit: www.imaginecanada.ca and www.muttart.org.

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For more information contact: Lainie Towell Campaign Project Manager Phone: 613-238-7555 ext 303 Email: ltowell@imaginecanada.ca

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APPENDIX B:TACTIC B: MEDIA RELATIONSPOTENTIAL FEATURE ARTICLEUNDERCURRENT YOUTH CENTRE’S STORY

“When we started, there was no proof that we could pull it off. All it was – let’s try.”

David Sawler - Founder of the Undercurrent Youth

Written and prepared by: Melanie Brister

If you walk downtown on any given day, you would be here for one minute and know that Glace Bay has addictions problems. Especially amongst our older youth, I would say a huge amount of them have addictions issues, and that’s the reality of our town today.

The Undercurrent Youth Centre addresses an actual need in the community. We are doing what the majority of people in town think should happen. Everywhere I go I hear people say: “We are so glad that Undercurrent is here.” We are the only place like this for youth. We are the only place that is providing activities for those who can’t afford a sport like hockey.

Glace Bay is very unique in that it’s a town of almost 20,000 people but we don’t have a lot of things that most communities have – we don’t have public pools, malls, recreation centres and movie theatres. The Undercurrent Youth Centre is probably the only place where youth can come.

Although Glace Bay is one of the biggest communities in Nova Scotia, it is definitely one of the most economically challenged. At one point it was a business centre – we had the coal mines and the Sydney Steel Mill, but these businesses no longer exist. So we have a whole generation that are growing up in Glace Bay where their only option is to go work somewhere else or stay and try and find work here. Though, amongst those who do stay, there seems to be a sense of hopelessness and addiction because of the little opportunity for young adults that live in Glace Bay.

The Undercurrent Youth Centre, in working with community partners, offers a variety of programs to youth in the community. For example, we have a music program in partnership with Addiction Services that runs about 30 youth, and it helps them form bands. We have multiple hockey programs in partnership with the Police Boys and Girls program. We also have skateboarding programs, which are always full, and after-school programs where youth can play sports, make crafts – whatever they want to do. They can come and take part in something.

We started to talk and dream about Undercurrent 6 ½ years ago. As the centre’s founder, it’s been 6 years of fundraising and persistence to get to where we are today. We had a couple of volunteers spend 10-20 hours a week doing physical work on the centre for 2-3 years in a row – just so we could get the place open. When I look back I think how on earth did we go on in those days? But I think being able to see the place filled with people and seeing some of those things actually happening here made it real. It wasn’t like one of those dreams that never came true, it was a dream but you actually get to see it happen too.

We have had weeks where 400 kids have been in the centre, and that’s without the building being fully completed. Eventu-ally, the Undercurrent Youth Centre will be able to provide programs for up to 700 youth per week. My long-term dream for Undercurrent is that it would be open after school every day, in the evening, and on the weekends.

In the next 10 years if there are 1000 kids who grow up in Glace Bay who know that drugs and alcohol are not their only option in life, then we know we have made a difference. If we get them around some good people, what would that mean to a community in long-term change? Instead of 1000 kids who are addicted, we have 1000 kids who can actually do things in our community, and think totally different. That’s going to bring a long-term change to the community.

APPENDIX B:TACTIC B: MEDIA RELATIONSMEDIA COVERAGE DIARYIt is suggested that the media coverage diary is completed weekly by the Media and Community Relations Coordinator.

Date:

NewspaperTotal number of local storiesTotal number of provincial storiesTotalnumberofnationalstoriesComments (i.e., popularity, trends):

TelevisionTotal number of local storiesTotal number of provincial storiesTotalnumberofnationalstoriesComments (i.e., popularity, trends):

OnlineTotal number of blog postsTotal number of shares through other interfaces, such as Tumblr, etc.Totalnumberofarticlesononlinenews-basedwebsitesComments (i.e., popularity, trends):

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APPENDIX C:TACTIC C: SOCIAL MEDIAHOW SHOULD THE CAMPAIGN ENGAGE AUDIENCES DIGITALLY?

SOCIAL MEDIA AND THE PUBLIC AWARENESS CAMPAIGN

A recent published article by Media Post Communications noted that engaging in social media should not be approached as a strategy, but moreover as a tactic. The author of the article discusses that social media is a “set of channels/distribution paths that enable real-time dissemination of -- and engagement with -- the content we create to market our brands” (Av-Ron, 2013, p.1). Akin to marketing, social media strives to engage with its audiences in meaningful ways to create resiliency with the brand of the organization. We then pose the question: how do we do this? Specifically, how can this public awareness campaign effectively engage with the target audiences?

The author of the article mentioned above states that before launching a social media campaign, an ‘Engagement Analysis’ should be determined based on overall risks and opportunities that could spark from the campaign. Because this public awareness campaign includes social media as a key component to its success, an engagement analysis has been conducted and is discussed below.

ENGAGEMENT ANALYSIS

Below highlights the main potential opportunities and risks when it comes to implementing a social media campaign linked to the respective public awareness campaign. Opportunities

• To create a look of consensus that charities matter

• Spread compelling stories and messages

• Connecting people with charities all across Canada; beginning the conversation

• Engage with audiences to create co-narratives

Risks

• Lack of engagement

• Audiences may respond with flak about charities and the story told

OPPORTUNITIES

To create a look of consensus that charities matter;

Existing literature supports the idea that social media “creates the appearance of consensus” with dominant themes (in this case, stories) being shared on multiple platforms and at a relatively high frequency (Roach, 2012, p. 33). Further, by sharing the campaign’s stories through Imagine Canada’s Facebook, Twitter, and Pinterest page, and on the campaign’s social media platforms, followers of these pages will begin to comprehend the grand narrative that ‘charities matter’ based on the repetition and frequency of individual stories shared that together speak to the grand narrative.

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Spread compelling stories and messages

To reference the above Media Post article again, the author states that when starting a social media campaign, the following question should be posed: “Is your content compelling, engaging and relevant to your prospects?” (Av-Ron, 2013, p. 1) What is great about this awareness campaign is that it focuses on real people behind charities - telling their stories. This provides authenticity to the viewer and is certainly persuasive (see ‘Making the Case: On Storytelling’). Additionally, it is understood that positive and emotional stories are compelling, and that through the use of using multi-media platforms such as video, audiences and the storytellers themselves become empowered through the process (Li, 2008).

Connecting people with charities all across Canada; beginning the conversation

Spreading the stories through social media will allow for followers to understand individual charities better too. This provides further opportunity for both followers and the charity; the follower could find a charity that they really believe in and may decide that they want to become involved with its work, and the charity could benefit through increased social or financial capital. These are indirect consequences that will spur from such a successful public awareness campaign.

Engage with audiences to create co-narratives

One of the wonderful aspects of social media is the fact that organizations can engage in conversations with their audiences directly. This allows for the opportunity for audiences to share stories through personal social media sites, make suggestions for future charity stories on individuals, etc. These conversations are important, and allow for future stories to be told through a more organic process by meeting the demands of the audiences.

RISKS

Lack of engagement

An obvious fear that stems in the campaign creation phase: What if it doesn’t work? Will we receive a significant return on investment? Such a risk must be considered in so to appropriately mitigate it. There is a possibility that audiences may not share stories via social media platforms as anticipated, however; by recognizing this as a potential risk, those implementing the campaign can appropriately reassess the recommendations below and attempt to decipher what adjustments need to be made in so to effectively engage with audiences. With that, it is important to note that this plan serves as a guide, but obviously cannot speak to how things will roll out in practice. Though this is the aim, some strategies and tactics may need to be adjusted to meet the appropriate environment in the implementation phase.

Audiences may respond with flak about a particular charity, etc.

Although negative flak is somewhat unlikely due to the positive-focus of the campaign, it is a possibility and a potential risk that should be considered. It should be recognized that such negative comments nevertheless still serve as feedback. With that, it allows for the opportunity for Imagine Canada, or the featured charity, to address any rumours or untrue facts. It is important that a response is given to the negative comment. If the negative comment is mitigated appropriately, such a risk could turn into an opportunity, where rumors and untrue facts can be dispelled.

ENVIRONMENTAL DIGITAL SCAN ON SOCIAL MEDIA AND AWARENESS Is there a benchmark?

A recent article published by the Harvard Business Review discussed the positive effects of a US fundraising social me-dia campaign known as #GivingTuesday. The campaign featured over 2600 partners with endorsement from The White House and Bill Gates. Additionally, it received over 800 media stories, and trended No.1 on Twitter. The campaign re-sulted in increased online donations by 50%. Such a successful campaign centred on the charitable sector in the United States serves as somewhat of a benchmark for the given public awareness campaign, particularly when it comes to the use of social media. Overall, the article discusses the importance of crafting “the right unifying theme that motivates people to tell stories” (Timms, 2013, p.1). In doing so, the author recommends four approaches to a successful social media campaign:

1. “Think movement, not initiative”: This is certainly applicable to the respective public awareness campaign, as the focus is to tell the grand narrative of the charitable sector. By stepping aside from the semantics, Imagine Canada and the Muttart Foundation can get to the core of telling the charitable sector’s story, thereby creating a movement with an overarching theme of the importance of Canadian charities.

2. “Think upload, not download”: An approach that directly speaks to one of the opportunities listed in the engagement analysis: ‘Engage with audiences to create co-narratives’. As previously mentioned, working and connecting with audiences will allow for the organic creation of new stories that empower both the storyteller and the audience.

3. “Think current, not currency”: In the article, Timms (2013) discusses that the #GivingTuesday campaign was not something that one could ‘own’ but rather it was a flow of events generated by many. Indeed, such would be the case for the respective public awareness campaign and its approach to social media. Though, it is noted that Imagine Canada can have control over how that content is generated. Further, Imagine Canada could ask charities to promote the campaign with their audiences.

4. “Think tools, not rules”: Providing others with the necessary tools to share the stories helps the campaign to spread beyond the efforts of Imagine Canada and the Muttart Foundation, allowing for member and audience generated content to be stimulated. Providing audiences with such tools as shareable stories, photos, etc., gives audiences the possibility to use these tools to spread the grand narrative. Such tools also cohesively align with the existing Imagine Canada interface, Charity Focus, which also acts as a tool for audiences.

RECOMMENDATIONS FOR SOCIAL MEDIA USE:

• Create a Twitter and Facebook account dedicated to the campaign.

• Ensure that Imagine Canada creates a ‘board’ on its Pinterest page focused on To Canada, with love: a charity tale

• Allocate no more than two individuals to focus on social media activity for the campaign

• Create useable hashtags for the campaign: #charitiesmatter #tocanadawithlove #acharitytale

• Share stories as compelling content to audiences via social media outlets

• Engage in conversations with those who provide feedback, whether negative or positive

• Include charities in tweets (For example, if tweeting a video featuring an employee at the Canadian National Institute for the Blind, tag them in the tweet along with any like-charities)

• Respond to questions and suggestions from audiences

• Capitalize on successful trends within the campaign (i.e., did one story prove to be ‘retweeted’ more than others? Ask why this is, and attempt to replicate its success)

• Capitalize on cultural trends (Ask: what is trending now in Canada, North America, worldwide? Can we link our narrative with this trend? It takes a clever social media guru to accomplish this, but if done properly, it could lead to wide-spread awareness on the campaign)

APPENDIX C:TACTIC C: SOCIAL MEDIA SOCIAL MEDIA DIARY

It is suggested that the media diary is completed every week by the Media and Community Relations Coordinator.

Date:

FacebookTotal number of page ‘likes’TotalnumberofcampaignpoststhisweekTotalnumberofinteractionsComments (i.e., popularity, trends):

TwitterTotalnumberofnewfollowersTotalnumberoffollowingTotalnumberofcampaigntweetsTotalnumberofinteractions(conversations)TotalnumberofretweetsComments (i.e., popularity, trends):

PinterestTotalnumberofboardfollowersTotal number of likesTotal number of repinsComments (i.e., popularity, trends):

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APPENDIX D:TACTIC D: ADVERTISING POTENTIAL AD EXAMPLE

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APPENDIX E:TACTIC E: COMMUNITY RELATIONS POTENTIALCOMMUNITYVENUES(NOVASCOTIA) Using Nova Scotia as a pilot province, below are some potential community venues that may consider featuring To Canada, With Love: a charity tale. Art Gallery of Nova Scotia (Halifax location) 1723 Hollis Street Halifax, NS B3J 1V9 Phone:902 424 5280 Fax 902 424 7359 Email: infodesk@gov.ns.ca Website: http://www.artgalleryofnovascotia.ca/en/landing.aspx Art Gallery of Nova Scotia (Yarmouth location) 341 Main Street Yarmouth, NS B5A 1E7 Phone: 902 749 2248 Fax: 902 749 2255 Email: agnsyarmouth@gov.ns.ca Website: http://www.artgalleryofnovascotia.ca/en/AGNS_Yarmouth/default.aspx

Mount Saint Vincent University Art Gallery 166 Bedford Highway Halifax, NS B2M 2J6 Phone: 902.457.6160 or 902.457.6291 Fax: 902.457.2447 E-mail: info@msvuart.ca Website: www.msvuart.ca Dalhousie University Art Gallery 6101 University Avenue Halifax, Nova Scotia B3H 1W8 Phone: 902.494.2403 Fax: 902.423.0591 Email: art.gallery@dal.ca Website: http://artgallery.dal.ca/ Cape Breton University Art Gallery P.O.Box 5300, 1250 Grand Lake Road, Sydney, Nova Scotia, Canada B1P 6L2 Phone: (902) 539-5300 Fax: (902) 562-0119 Email: registrar@cbu.ca Website: http://www.cbu.ca/art-gallery/about-the-gallery 48

APPENDIX F:INTERVIEW QUESTIONS FOR VIDEO STORES

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QUESTIONS FOR INDIVIDUALS BEHIND CHARITIES:1. Introduce self.

2. Tell me about your organization.

3. How did you get involved with this organization?

4. Have you been touched by a charity in some way that has made you want to become involved with this organization and/or other charity work?

5. Describe the work that you do.

6. What is the most rewarding part of your job?

7. Describe how your work improves the quality of life of others.

8. If possible, could you provide me with a personal story of how your work (or more broadly the organiza-tion’s work) has impacted the life of a member(s) of your organization?

9. What are your views on the charitable non-profit sector?

10. Do you think that people behind charities are making a difference in the lives of Canadians?

APPENDIX G:ESTIMATED QUOTE FOR FURTHER WEBSITE DEVELOPMENT

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1/1

Melanie Brister,HalifaxNS

Melanie Brister,HalifaxNS

Estimate 232

• ISSUED 25 APRIL 2013 •

TOTAL $4,025.00

Triggers & Sparks,32 Nestor CrescentDartmouth, NSB2W 4V1HST: 829050921sarah@triggersandsparks.com+1 (514) 549 9202www.triggersandsparks.com

Quantity Details Unit Price ($) HST Net Subtotal ($)

Service Installation of a Wordpress website. Customizationand installation of plugins as required. Creation of afull theme based on established template. Importingexisting content and expansion to include new content.Revisions and launch.

2,000.00 15% 2,000.00

Service Bugfixing basic responsive scheme and fine-tuning forspecific breakpoints (notably standard tabloid andphone sizes).

600.00 15% 600.00

Service Fine-tuning CSS and jQuery animations on existingsite. Creation of page transitions for more immersiveexperience.

900.00 15% 900.00

Net Total 3,500.00

HST #829050921 525.00

CAD TOTAL $4,025.00

Expansion of animation functions, behaviour, and loading of developed website. Additional performance tweaksfor mobile devices and smaller screens. Implementation of customized Wordpress content management system.

APPENDIX G:ESTIMATED QUOTE FOR FURTHER MUSIC PRODUCTION

FOR THE PRODUCTION OF 40 VIDEOS (average 5 mintues per video) Based on similar musical design production from the original story videos for To Canada, with love: a charity tale, the following estimate is provided:

TOTAL: $5000 (quote includes the use of software, rental equipment and other costs that may be accrued through musical production)

NICHOLAS JONES

Phone: 902.237.7212

Email: nicholasjones.wd@gmail.com

Presented to: Melanie Brister

(for the public awareness campaign To Canada, with love: a charity tale)

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“Because of charities, we can keep hunger at bay.” - Jill Edwards

“Because of charities, my family has multiple four-pawed members.” - Eden Boutilier

“Because of charities, I can help someone I never met” - Sarah Robicheau

“Because of charities, my mom is still with me today.” - Daniel MacNeil

“Because of charities, kids can be kids.” - Daniele Pilon

“Because of charities, communities are stronger.” - Kristina Bland