What's In it for a NPO or Charity?

How the In Business For Good Model Helps a
NPO or Good Cause
V 1.0 December 23, 2005, 9:02 AM


During the investigation phase of the development of the In Business 4 Good Campaign, during the early part of 2005, our research indicated that an unusual amount of the resources for a charity or Non-profit, are consumed in the incessant need to identify, and nurture, the sources of supply necessary to continue operations. In the business environment, these would be in the form of marketing research, channel development, and sales development. The key personnel of most good causes, with rare exception, are drawn from the ‘feeling’ industries, or are not as well suited to the intentional work that’s needed to continuously develop revenue streams to support their good work. Conversely, their activities and intentions would serve the larger community, when a consistent source of supply is identified, and focused towards the good cause work, alleviating the need to continuously search and seek for resources.

Hence, we endeavored to create a model for consistent revenue enhancement, which would draw on existing market behaviors, and supplement those grants, foundation trust, stock and dividend holdings, and provide an upside potential that would add value to the mix of resources for a good cause. The IB4G model, is thereby, evolving along one of the strongest sources of convertible revenue, namely, the household consumption retail purchasing sector. This area, which according to most estimates, supplies nearly 2/3 of the economic activity of the #1 economy in the world (the USA), has the potential, when diverted through a stream of development campaigns, to supply an additional 5 to 25% higher contributions globally. In estimated numbers, that would mean that the estimated 250 Billion USD that goes to good, would be enhanced by from 12 to 50 Billion, and worldwide, could approximate 200 to 400 Billion. To cast this in practical terms, the household retail consumption globally, though difficult to characterize, is estimated to be in the neighborhood of 20 to 30 Trillion dollars US. Now, that’s a nice neighborhood. Conversely, the estimated global giving pool is in the area of 1 to 2 Trillion. So, with that in mind, we begin our process of systematically, through advanced digital marketing research, community focused campaigning, and selection of Artists for Good, aligned by purposeful expression, to support those good efforts in a practical campaign business model.

Your Humble Servant,

Patrick Michaels
Chief Encouragement Officer
HarmonyNet Media Group
Oneohanapublishing@hotmail.com

The Process of Engagement

The process for engaging with a good cause is as follows:

The Good Cause will be engaged from one of these following activities:
Nominated through our network of IB4G associated entities
Identified as a supporter of a “Current Events” focused News Item
Self Nominated to be included in one of our Artists 4 Good Campaigns

The process is identical, regardless of how our campaign project is introduced to the Good Cause. Steps that will be processed:

A. The Good Cause will be introduced, via email to the board/exec director, to one of the existing, in development, or planned campaign sites. This will include a review session at the blogs, where the journal activities of the teams will be evident.
B. The Good Cause will then be encouraged to provide a vision of what aspect of their work would benefit most from our efforts.
C. A mock up of the campaign plan, will be prepared by the IB4G campaign associated teams, and then presented, for review, to the Good Cause decision matrix.
D. Once the alignment is complete, the Artists 4 Good Community will be engaged, and the appropriate, supportive mix of artistic expressionists, will be identified. This will be in the form of a ‘casting call’ for good, sent out to a myriad of artists we’ve identified in this process. Local artists, familiar to the good cause, will also be encouraged to participate.
E. The Good Cause will then be presented with a listing of the candidate artists who have expressed their interests. Selections will be encouraged along the lines of the artists alignment with the Good Cause values.
F. The IB4G campaign will then be tailored to include the accepted artists, and the campaign schedule will be solidified.
G. Accessory digital modalities, such as a media campaign center (in association with GoodNewsBroadcast.com) will be started and maintained.
H. The pattern of roll out will be as follows:
1. Merchandising support center in association with Cafepress.com will be established.
2. The media/music mix will be implemented in a music catalog/film/video festival approach.
3. The Giving Works schedule will be implemented, and planned for the online auction of Artists for Good.






I. The campaign facilitator, chosen from among the team, will then be responsible for communication with the development team, the cause du jour, and the media, and handle the campaign success. Each CF will have the license to extend the campaign, beyond the 100 day agreement, based on market response factors, additional Artists 4 Good contributions, or media/current events stimulus which might extend and enhance the contributions of the campaign.
J. Typical goals for the campaigns will run in the 88,000 USD support level, as a standard goal, and will involve three sources of support.
1. Direct Donations through Paypal.com
2. % of conversion sales of Merchandise
3. % of proceeds from Online Giving Works Auction
K. In all cases, the merchandising support center, will be accessible and supporting the good cause, in perpetuity, based on mutual agreement of the good cause, the artists, and IB4G.
L. Upon completion of the campaign calendar, summaries of activities, assessment of campaign aspects for improvement, auditing of campaign proceeds, and distribution of activated resources, will be completed by the CF.
M. We encourage a continuing resource mode, especially in the merchandising support center, which carries a dual responsibility to supply revenues for distribution, yet also is the secondary promotional focus. Each merchandising expression, carries ‘look back’ information, in the form of an electronic link identifier, so that the merchandise carries the message continuously.