Corralling The Wild Volunteer

The Wall Street Journal had a story entitled Docents Gone Wild sharing some stories about museum docents going off script, treating visitors rudely or diverting people away from works of art they didn’t approve of.

The take away for me wasn’t so much that you have to keep an eye on those crotchety senior citizens as much as the retirement of the Baby Boomer generation provides an opportunity to mobilize a large cohort of people on behalf of the arts. Only it will require some effort to effectively engage and train them.

In some respects this idea is a complement to the series on arts and aging/healing that Barry Hessenius hosted last month. That series dealt with the idea that there is an unmet need that the arts can respond to that is only going to grow as the Baby Boomer generation ages. However, currently most arts organizations lack the capacity to do so.

In terms of enlisting retirees as volunteer or in a type of semi-retired/second career role, arts organizations’ ability is a little more developed, but can still be improved. These retirees are people who are transitioning out of careers as highly skilled professionals and will likely enjoy a longer, healthier post-retirement lifestyle than their parents had.

They may want to contribute more than just ushering, envelop stuffing and phone answering during their retirement. If they can’t find an activity to hold their interest, they may choose another activity that they feel is better suited to the energy and ambition they feel they have.

Arts organizations may be wary about involving additional older folks on their boards of directors when they are desperately seeking younger voices, but it wouldn’t surprise me if some organizations managed to create special task groups that mobilized to advocate and lobby for them with government entities.

For all the foibles their docents may exhibit, I am pretty impressed by the rigor of the training program these museums have instituted for their docents. Not that I would increase the training we give our volunteers for its own sake, but it makes me wonder if we are investing enough attention to our training as well as care and feeding of our current volunteers even before addressing the issue of being prepared for new arrivals.

As I was I writing this post, I had a vague recollection of some futurist like John Nasbitt (Megatrends 2000), Faith Popcorn (Popcorn Report) or Alvin Toffler (Future Shock) coming out with a book in the last 10-15 years that said retirees would gather into fairly insular communities termed something like Yogurt Communities because they would value “active cultures” or cultural activity. I wonder if anyone can remember it because I can’t find it. I was curious to do a check back to see if predictions were coming to pass.

Info You Can Use: Playing With Your Volunteers

About a month ago I wrote about how our accreditation team used games to get the leadership ready for the accreditation process coming up this year. I had noted that while accreditation is a pretty oppressive and mind numbing subject, the games made learning about it easier. I had suggested that this was a good approach for tackling administrative and governance processes.

This weekend, we actually used a similar approach during the much more pleasant process of volunteer training so I thought I would share what we did.

We held a brunch in our lobby. My assistant theatre manager and I made Belgian waffles and pancakes to order for our volunteers (we also had eggs, breakfast meats and a pretty good toppings bar.) After eating our fill, we talked about the upcoming season of shows and why each was so interesting.

Then we had a scavenger hunt which actually proved to be a good tool for making people more aware of many aspects of their jobs and the theatre building. Some of the questions were just fun and silly like getting a picture of a prop backstage and some information from a set model. Others were more directly related to things we wanted our volunteers to know.

For example we asked how many theatre seats were in a row that had empty spots for wheelchairs so they were aware that the number on the right most seat wasn’t actually the seat count for the row.

Because there is construction next to the theatre we had them take a picture of one of the large signs directing people along the detour from the disabilities parking to the lobby which forced the volunteers to walk the path a wheelchair would have to follow.

We asked for the name of the person who sponsored the Green Room so that the volunteers knew where the green room was and were familiar with the name of one of our important donors.

And of course, we made sure they knew that most crucial of all information–where the bathrooms are–by making them count all the stalls available for use by audience members. (Which also helped them know which restrooms had the most capacity.)

I think this was a much more effective technique to simply giving a tour and pointing things out because it forced the volunteers to pay closer attention to the surroundings as they sought out our grand piano and the 2005-2006 season brochures hidden around the building. It also promoted team work and helped the volunteers bond over activities other than ripping tickets and stuffing program books.

Though to be clear, this doesn’t replace our orientation tours. Every volunteer is given a tour of the facility which points out the location of emergency exits and life safety equipment along with instruction about the procedures.

Nearly all of the volunteers are interested in going around the building again if provided the opportunity. Opening all the doors and turning on all the lights to let them scurry around looking for things changes their relationship with the facility and infuses the experience with a bit of the playfulness and fun that characterize the arts.

Can Arts Orgs Play Moneyball With Their Staffs?

Ever since the movie Moneyball came out, I have been thinking about whether similar system can be applied to the arts. I mean a system by which baseball teams with small budgets were able to compete on par with the most well-funded teams by assembling a team of under utilized misfits? Heck, I am describing the place you work, right? It seems ready made for the arts!

I was happy to see a recent post by Shawn Harris on the TCG website raising the same general question. I agree with most of what Shawn suggests, including taking an objective look at different aspect of our operations and audiences to determine whether we are truly serving the interests of the community or just perpetuating assumptions.

One assumption I feel pretty safe in making is that what motivates people to attend a baseball game is different from what motivates people to attend an arts event. While celebrity is certainly a factor, people attend baseball games looking for an engaging contest. If they don’t know a lot about each of the players, that is okay if the game was well played. Can the same be said about an arts event? If someone is unfamiliar with a performance, will the fact that statistically speaking, the actors, while unknown, are the most effective performers in a period play?

Probably not. But then again, you shouldn’t be selling the show based on statistics anyway. Even though stats are a huge part of sports, that isn’t what primarily sells tickets. While a well-known artist would make it easier to sell a show, in the long run it is going to be better to take the “brains in the seats” view and work on engaging audiences in the organization, one aspect of which is going to be based on the quality of your personnel choices.

That is what I first started thinking about when I was considering whether Moneyball could be applied to the arts–are we hiring the best people? More over, are we actively seeking the best people or just casting a net and taking whatever swims our way?

I recall going to an Arts Presenters conference where Andrew Taylor talked about how a lot of arts organizations didn’t know how to effectively evaluate the skills of job candidates. He said there was a tendency to hire to the specifics of a job description rather than to the general needs of the position. Though he did mention an associate who hired a person who managed a Sears call center to run their ticket office after some unsatisfying interviews with people from the arts field, it seemed the exception rather than the rule. Taylor said he teaches his students to take control of the interview in order to illuminate their skills and illustrate how it applies to the criteria laid out in the job description.

While I am reluctant to put arts people out of work by suggesting that you look to hire those without any industry experience, I think it can help to always be mindful of the basic abilities you seek in employees. I once had lunch with some representatives from Enterprise Car Rentals and they were so impressed by the affability and service provided by one of the wait staff, they tried to recruit her at the end of our meal.

When was the last time you even thought about adding a person you met outside the context of the arts to your team? In fact, other than pursuing people who would increase the prestige of your company, when is the last time you tried to recruit someone way from another arts organization based on abilities and effectiveness alone?

When I think about the Moneyball model of finding success putting together a seemingly mismatched set of players few other teams desired, I wonder about our collective ability in the arts to effectively identify and cultivate the talent of people who aren’t necessarily shining in their current position. I know this can be tough in the arts where everyone wants to be the star actor/dancer/artist/director. Even if you are perceptive enough to see their talent lay elsewhere, people may be resistant to taking a different role.

The thing is, non profits should be pros at identifying and leveraging undiscovered skills. With all the volunteers we use to assist us with our programs and to serve on our boards, we should be championing seemingly unorthodox hiring decisions. But if Andrew Taylor is correct, the hiring practices in the arts are actually more orthodox than in the for profit sector.

If that is the case, perhaps we aren’t using our volunteers’ skills as effectively as we could, as well. That question starts to bring me back to my post last week featuring Aaron Hurst’s suggestion that certain volunteer programs may be a waste of time.

The research he cited found little difference in effectiveness between well- and poorly- managed programs involving less than 50 people. I wonder though if well managed programs might have beneficial side-effects for organizations in the form of improved hiring skills. In other words, the capacity to identify and employ highly capable people may be developed in the process of effectively doing the same thing with volunteers.

Info You Can Use: Efforts You Can Skip…Maybe

From time to time I advocate for carefully evaluating the technology tools ones organization uses rather than jumping on what appears to be the hottest new thing everyone is apparently using. Not every tool is appropriate for every organization.

It was with great interest that I started to read Taproot Foundation president Aaron Hurst’s piece, Five Investments You Can Skip. In it, Hurst follows a similar theme in suggesting that non-profit organizations of a certain size and scope consider giving certain “must haves” a pass. Upon reading them, however, I was a little skeptical about some. The five he suggested were:

1) Volunteers. Recruiting and managing volunteers generally isn’t worthwhile unless you use at least 50 per year, they do at least 50 hours of service each (or fewer volunteers and more hours each), and you invest in volunteer management systems. Short of that, it’s almost certainly a waste of time.

2) Websites. Most nonprofits (the small neighborhood ones) would likely be fine with just a Facebook page. A template site would do the trick for slightly larger group. Only 25 percent of nonprofits need customized web design.

3) Board. There is a tremendously high fixed cost to training your board to facilitate donations (in kind or cash). If your board can’t generate a large part of your budget (say, 20 percent), you are likely to find them getting in the way of fundraising success and eating up senior staff time (and increasing burn out). If that’s the case, your organization would likely see more success with a smaller board focused solely on audits and the legal requirements of governance.

4) Social Media. Does it drive your advocacy, fundraising, or program success? It does for likely less than 2 percent of nonprofits. Everyone else is wasting a ton of time and energy on it. Much like my local car wash that urges me to “like” it on Facebook.

5) Strategic planning. You need a strategic plan, but for most organizations it can be a lot lighter than most MBAs want to admit. It doesn’t need to be perfect and frequently should be more of a living document.

Numbers 3 and 5 I can agree with pretty readily. The suggestion to eschew websites in favor of a Facebook page in number 2 seems to be contradicted by the implication in number 4 that social media, including Facebook may be a waste of time and energy.

I did consider that what he says might be true for non-profits in general. I don’t think it is applicable to arts organizations where providing up to date information about events and activities pretty much necessitate a web presence that is adaptable to your specific needs. I have a difficult time imagining that Facebook is a good option for most non-profits given that they need a site that distinguishes them and their mission from everything else one might come across on the web.

His suggestion that only about 2% of non profits are seeing any benefit from social media made me wonder 1) what he based that on and 2) if true, it may just as likely be due to lack of understanding about how to use social media effectively.

Number 1- Not investing in volunteers, held a number of reversals of opinion for me. At first I assumed he opposed investing in Volunteer management software, then I realized he meant not having volunteers at all. This seemed the most controversial of his points as reflected by the long and impassioned comments that followed. Hurst answered those objections with some research that supported his assertion that volunteer programs weren’t effective below about 50 people.

“When an organization reaches 50 volunteers AND achieves an effective volunteer management model, not only do they lead and manage their organizations better, but they are also significantly more adaptable (i.e., reflect the capacity to be a learning organization), sustainable and better resourced (i.e., have skills, knowledge, experience, tools, and other resources to do their work).”

On the other hand, the way I read it, a small number of volunteers, even poorly managed, help to leverage organizational effectiveness at lower budgets.

“Organizations with 10 to 50 volunteers, regardless of whether they are managed well, are statistically equally as “effective” as their counterparts without volunteers on all measures of organizational effectiveness (capacity), yet their average (median) annual budgets are almost half…This implies that organizations that break the barrier of 10 volunteers, regardless of whether they have figured out all of the best practices necessary to manage those volunteers, are equally as capacitated as their non-volunteer-based organizational peers, at perhaps just shy of half the cost…it is important to challenge the assumption that an organization cannot aspire to a more fully “volunteer-engaged” organizational model. Lastly, it is important to acknowledge the need to conduct further rigorous research to test the cause-and-effect assumption of this important finding.”

The other thing about the study Hurst cites is that it seems to be focused entirely on whether volunteers contribute to organizational effectiveness in executing their programs. It doesn’t seem to examine the role of volunteers in furthering organizational goals in terms of advocacy, awareness building and generally representing the organization to the community. If these factors are measured as part of some criteria, it is not clear.

Despite the doubts that one may harbor about whether all his points are well supported, there is some validity to Hurst’s essential idea that it may be worthwhile to assess whether the implementation of all those best practices everyone knows you need to be employing really provides the best return on investment. It is understandably difficult to be a confident skeptic in the face of widely recognized best practices, but these days it could contribute to long term survival.

Thank You, Volunteers

Tech Soup had a tweet linking to a post on HandsOn blog post containing tips for writing thank you notes to volunteers. One of my initial reactions to some of the suggestions like writing the notes out by hand and writing drafts first, made me think that if we had time to do that, we wouldn’t need the volunteers in the first place. We actually do hand write our Christmas cards to volunteers and follow HandsOn’s tips about personalizing the message by acknowledging things they have done or contribute to our efforts. But that is a really long undertaking.

While thinking about adding writing a first draft to the process for every person makes me groan, they are correct that the more you write, the better you get and the easier it is. Also, thanking everyone by hand once a year like we do at Christmas does make the process onerous. Acknowledging people throughout the year as they provide great service breaks the effort up a bit more. It is probably more impressive to the volunteer when they receive a note out of the blue in the middle of April than at a traditional time like Thanksgiving or Christmas.

I have read many of the tips they offer before, though it is always helpful to be reminded. A tip they give that I have never really considered is the first one.

1) Focus on the volunteer.
Before you write the thank you note, try writing the volunteer’s address on the envelope and write it out by hand. As you’re writing their address, think about your relationship to the volunteer; think about where they’re living and how they’re serving. It will help you to write an individual message for that volunteer.

I think that addressing the envelop first and thinking about the volunteer is a good exercise for focusing your mind on what you want to say in the message. Often I will come to a person’s name on our list and my pen will sit poised over the paper as I try to recall all the contributions they have made. Addressing the envelop fills that time and can help you generate some thoughtful remarks as you think about them. The suggestion of thinking about where people are living intrigued me a little. I never really focused too much on that, but just thinking about the process of thinking of where my volunteers live reminded me that those who volunteered for the various organizations for which I have worked have been retirees living on fixed incomes and have invested a fair portion of their limited resources in travel and preparation for volunteering. Some of the best volunteers I have had were families in the lower income range where the parents were trying to instill the values one derives from volunteering.

As something of a corollary to this subject, the blog has a link in the right column to an Acrobat document, “The Nine Basic Rules for Volunteer Recognition.” It reiterates some of the same things about timing and degree of recognition.

1. Recognize . . . or else — The need for recognition is very important to most people. If volunteers do not get recognition for productive participation, it is likely that they will feel unappreciated and may stop volunteering with your program.

2. Give it frequently — Recognition has a short shelf life. Its effects start to wear off after a few days, and after several weeks of not hearing anything positive, volunteers start to wonder if they are appreciated. Giving recognition once a year at a recognition banquet is not enough.

3. Give it via a variety of methods — One of the implications of the previous rule is that you need a variety of methods of showing appreciation to volunteers.

4. Give it honestly — Don’t give praise unless you mean it. If you praise substandard performance, the praise you give to others for good work will not be valued. If a volunteer is performing poorly, you might be able to give him honest recognition for his effort or for some personality trait.

5. Recognize the person, not just the work — This is a subtle but important distinction. If volunteers organize a fund-raising event, for example, and you praise the event without mentioning who organized it, the volunteers may feel some resentment. Make sure you connect the volunteer’s name to it.

You will have to follow the link if you want the other 4 tips. The last tip reminded me of an embarrassing incident over 15 years ago when I was misquoted in a story about volunteers that made it sound like we used volunteers as cheap labor rather than that volunteers often provide a service which will often command a respectable wage. Thinking back on the incident and groaning a few years later, I realized it might have been better to focus more on what volunteers bring as individuals– mothering artists in the hospitality room, being as organized and motivational as a drill sergeant with a pleasant demeanor that made people forget how tired they were–rather than discussing them as a labor force. In many cases they are bringing the same passion for our cause as our employees are.

Stuff To Ponder: Volunteer Bill of Rights

One of the many items I bookmarked to write on when I returned from my holiday break was an entry Robert Eggers did on the Volunteer Bill of Rights he helped institute at DC Central Kitchen. He said he took his inspiration from a concept championed by restaurant reviewers in the 1960s and 70s that diners had rights and didn’t have to take what was set before them if it was sub-par. (Hard to imagine there was a time when you didn’t send cold food back to the kitchen.) Eggers says this is what drove restaurants to offer better service and improved and expanded diners’ culinary knowledge to the point where we are now focused on the provenience of our food. One result he says is that every city now has great dining establishments rather than just a few cities.

In the same way the Internet provides a channel for customer driven feedback, Eggers feels that encouraging volunteer feedback and involvement will drive innovation faster than hiring expensive consultants. (DC Central Kitchen has 14,000 people volunteer every year which certainly does represent a lot of brain power.)

DC Central Kitchen’s bill of volunteer rights is:

ALL volunteers have the right to:
* Work in a safe environment.
* Be treated with respect by all staff members.
* Be engaged in meaningful work and be actively included regardless of any physical limitations.
* Be told what impact your work made in the community.
* Ask any staff member questions about our work.
* Provide feedback about your experience.
* Receive a copy of our financial information or annual report upon request.

They want their volunteers to ask the tough questions that will help them operate better, but Eggers says the middle right is the most important.

“….but the most purposeful of these is the one right in the middle—the right to “be told what impact your work made in the community”. THAT’S the kicker. We want, and think it’s critical, that every nonprofit in America be prepared to answer that question, in detail. No more fuzzy, feel good platitudes. No more bromides, brothers and sisters—it’s about facts and figures. Verifiable, Hard Core, Detailed Deeds.”

And following his philosophy of using the feedback of volunteers to make DC Central Kitchen run better, he solicits the assistance of the reader and offers some himself.

“We are an open source organization, so feel free to use this Bill of Rights in your shop. Add more rights if you see fit. If they rock, let us know so we can adapt our version. Call if you want and we’ll talk about how we trained our staff to translate talking to volunteers about these rights into opportunities to elevate the idea of what we are doing, together, so that folks can’t wait to come back—with friends, time and wallets in tow.”

Info You Can Use: Cost of Volunteering

Hopefully if I have planned well, the next post you see will be written by me upon my return from vacation. I have sort of saved the best for last. In this 2005 entry, I covered a study about the costs and benefits of volunteering. I think the topic is still very relevant because people probably don’t examine whether they are using volunteers to their best effect and if the time, energy and materials invested in training a volunteer is at least balanced by the volunteer’s productivity. There is also the shifting expectations of volunteers about their experience.

An excerpt from the entry-

One very interesting observation that the study makes is that half of the participants in the survey were unwilling or unable to accept more volunteers at the time. “This finding fundamentally challenges the assumption that the only requirement to engage more citizens in volunteer service is an effective call to serve.”

Volunteering Your Way to #1

I was listening to Andrew Taylor’s interview with Artsjournal.com founder/editor Doug McLennan today. During the interview McLennan mentioned all the ways in which organizations were creating online communities to help them achieve things. One of the ways he mentioned people’s contributions were rewarded was via a ranking system to show who had been most productive.

I started thinking about whether this might be a useful way for arts organizations to motivate volunteers. At one time, I had heard that creating contests and achievement awards for volunteers could be counterproductive in terms of motivating and retaining volunteers. I wondered if the new online rewards environment may have changed this. After some reading and thinking on the matter, I decided a ranking system is probably still not useful in many of the traditional functions of an arts organization.

One of the things I read which confirmed my recollection advising against rankings is that many volunteers are motivated by other factors than rankings. Also, different people have different ranges of ability. If someone is providing assistance because they believe in the organization but is in a situation where recognition is accorded to those who are hustling for first place, they may become disheartened. One suggestion I read was to have people compete against their own old milestones. Online communities have a certain anonymity that can insulate one from emotional investments. This may not be the case when a volunteer is working to benefit people and causes with which they can personally interact and experience.

There is also the issue that online contributions can be made on ones own schedule. Involvement and duration are self selected. Whereas many arts organizations engage volunteers during certain hours and events. There is also often a person acting as a gatekeeper determining who gets to contribute and when. A person striving to be number one may find time constraints and scheduling favoritism shown others inhibits their ambitions.

Scoring people for activities that aren’t constrained too much by time deadlines may be still possible. You can open up archives and newspaper/props storage and just let people go at it cataloging and organizing things on their own schedule. Though physically getting in each other’s way in cramped storage areas is also a problem that online activities don’t face now that most people have fairly speedy bandwidth.

If anyone has any feedback in terms of reward systems that were meaningful and didn’t alienate volunteers, ideas for ways to motivate volunteers given the expectations of the internet age or even tasks you can turn to the internet group mind to accomplish (like designing Drew McManus’ Twitter page) I would love to hear them.

Neither Carrot Nor Stick Does Creativity Make

A couple links as complement to my entry yesterday on motivation, customer service and volunteers.

First, Americans for the Arts, hearing President Obama’s call for Americans to volunteer more has created a website at which people can share their stories, pictures and videos – United We Serve.

A newly posted video on TED.com has Dan Pink talking about motivation. He provides some interesting findings about motivation, namely that when it comes to performing creative tasks conditional rewards (if you complete X by Y, you will receive Z bonus) are not as effective as intrinsic rewards in obtaining results. The conditional rewards actually get in the way of creative thinking. This may explain why arts people are able to create in the absence of monetary reward.

I wouldn’t let this get around lest people insist that paying you more may rob you of your creativity.

He makes a link to our current financial difficulties saying that there is a disconnects between what science has known for over 40 years and what businesses does, which is essentially the carrot and stick approach.

Pink says the new operating model should be based on:
“Autonomy- Urge to Direct Our Own Lives
Mastery- Desire to get better and better at something that matters, and
Purpose- The Yearning to do what we do in the service of something larger than ourselves.”

Sounds a lot like the way arts organization and non-profits have been running things for awhile. If the next wave of economy is indeed going to be Creative, then perhaps non-profits and those who work for them will have something of increasing value to offer. We just need to understand what we do, how to do it well and how to teach/model it for others.

A Folding Table, A Jug of Water and Thou Sweating In The Parking Lot

I am reading a book about customer service right now. My intention is to report some observations on the text as a whole at some point. However, I saw an illustration of one of the points made in an early chapter today. The book had noted the veracity of “time flies when you are having fun” pointing out that a well designed wait that is 30 minutes long can actually seem shorter than a poorly designed wait that is only a third as long. Because human perception is involved, you can ruin a relationship with a customer in the latter situation even though you significantly reduced their wait time.

Our campus is in a situation with many strikes against it. Budgets have been cut so staffing is down but enrollment is up adding an additional 1500 student to our commuter campus. Alas, the heretofore un(der) used overflow parking is now inaccessible due to long delayed construction projects.

There wasn’t much to be done about the parking unfortunately, but someone got organized this year and had information tables distributed about the campus with all sorts of hand outs and big coolers of water. There were also large color campus maps that someone slapped up on the sides of buildings so people didn’t have to seek out kiosks to figure out where they were.

I looked around wondering why no one had thought to do this before. People had always volunteered to serve an hour or so on the welcome committee but it was never this organized or welcoming. People stood around smiling, answering questions and engaging people who looked lost. Now there is a table identifiable as a source of information from a distance that is stocked with information—and most importantly after trekking in from that parking space in the hinterlands you stalked for 30 minutes–water to drink.

While I walked around comparing what I was seeing to previous years, I realized that tweaking your customer service up a level or two doesn’t just help your relationship with those you serve. It also sends a message to other employees about the commitment of the organization. Memos about improving service are useful and identify areas for improvement. In this case, there were no memos that went out about how things were going to be done better—it was just done.

I am obviously someone whose business it is to think about improving customer interactions so I notice such things. But I have to believe that others noticed the improvement, how it fit in the context of other recent changes and what it all says about the direction of the organization.

I also had some insight into the issue of providing volunteers with opportunities to feel they are doing important work. I have never really had much desire to volunteer for welcoming slots before. Today when I witnessed the increased effort at hospitality, I had a desire to participate next time around. (Just have to remember not to schedule sending the brochure to the printer, interviewing a ticket office clerk and starting internet sales on this day next time.) In previous years, my impression of the job was that it provided a pleasant first impression of the institution and directions to buildings. With the addition of tables, maps and water jugs, suddenly it seems like an important contribution to relieving anxious new arrivals.

We are planning a volunteer luncheon/training in a few weeks so perhaps I am in a receptive mindset on the subject. We have been thinking about how to design the volunteering experience so people have a greater feeling of doing something of value. We have been discussing increasing volunteers’ scope of responsibility and authority. I believe we also have to consider if these duties will allow them to feel they are providing a service patrons find valuable. Though certainly, people volunteer for different reasons and more authority may be a bigger motivator than being useful.

Interesting Thoughts From Other Places

Read some good stuff today on two blogs that really can’t be improved upon by any commentary I can offer so read on—

The Nonprofiteer had some sage advice in a recent entry regarding recruiting people to fill volunteer roles be it a board member or ticket taker — recruit in pairs.

The two-by-two recommendation is most often made about Board members, and specifically about minority Board members: don’t ask someone to be the only African-American or the only woman in the room. But it’s equally true of any Board recruit, or in fact of any volunteer: bring in 1 person, and you’ve got a 50% shot at keeping him/her. Bring in 2, and you’ve got an 80% shot at keeping them both.

Why? Because misery loves company, and being a newcomer/outsider is always misery. And because unless your Board or volunteer program is truly astonishing, anyone observing it from the outside will think it could use a lot of improvement. The prospect of trying to improve something unaided is usually daunting to the point of not bothering.

Seems easier to do with board members who tend to be actively recruited as opposed to volunteers for other areas which are often self-selected. You don’t want to turn someone away simply because no one else offered their services this week. It is possible though to orient people in pairs or small groups to facilitate bonding among them. If the 80% retention stat is correct, it seems prudent to arrange the situation so people’s initial volunteer encounters are in multiples.

Over at Producer’s Perspective, Ken Davenport relates an answer Sandy Block of Sernio Coyne gave to the question about why producers attempt to mount Broadway productions given the enormous challenges. Block stops the class in which the question was asked and queries those attending how many remember the first movie they saw and then how many can name the first Broadway show they saw. Few people raised their hands at the first question but everyone raised their hands at the second.

Says Davenport:

There’s a highly emotional experience connected with Broadway; a passion that can be turned into profit . . . Now the real question is, how can we capitalize on that?

Davenport then asks his readers to take Sandy Block’s survey and record the first movie and first Broadway show they saw in the comments section of the entry. If you remember, go on over and write it in.