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And — as a picture editor for 30 years — I believe that sequencing is an art form. When judging the ViewFind Grants [for stories about Race] , it was really important to see applicants who were engaged in the reporting so they knew exactly what they were trying to articulate and could offer a glimpse or a perspective of works in progress — so we, as a juror body, could consider how might this story might go forward and what are the opportunities that are available for the visual journalist to continue to execute their vision.

So diversity was not only in terms of the subject matter and content.


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Diversity is a rich category in terms of the approach. My specific area is to help coach and have applicants consider what are things that are immediate attention grabbers beyond the photographs? Because as Mike already said, the images tell their own story. The images offer a perspective.

The other thing we were really particular about [when judging the ViewFind Grant] was the level of detail. So if you look at the winners, those folks had really investigated what it would take in terms of time, logistics, further research and reporting, and so forth. Doing the research that substantiates the visual idea is an imperative.

We needed to see the images and the ideas that journalists were suggesting could be substantiated in terms of the practical realities of what it would take to execute the idea and bring that idea to fruition. The individuals who actually offered detailed budget proposals and analysis were also very favorably added to the next layer of evaluation. Sometimes they want something that is snappy and quick and very focused and sometimes they really want you to dig in and pull all of your research and all of the context you already have in your reporting into an application.

I think increasingly as we see people inserting themselves more and more into their reporting so it becomes incredibly important and meaningful for the judges to understand who you are and who you are as a journalist in the landscape of that story. I will second what Mike said about inserting yourself — not just as a perspective but yourself as an individual — into your application far too much. What have I learned in the process of applying for grants?

The most important thing is to make sure your project fits in the grant because not all of them focus on the same things.

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So you need to read the specifications, see what the judges are looking for, what kind of work. In the case of ViewFind, the theme was race and my project fortunately fit perfectly. In my case, the story, The Koreans of Kazahkstan is a very personal story because I am an ethnic Korean and my parents are migrants who traveled all across the world due to economic reasons and I found out about this story while doing research for my linguistics dissertation while I was in University. So I traveled to Kazakhstan for two months, completely unrelated to photography, and it was just about language and history, and then I took pictures, and I hope you can tell in my application that I did my research.

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Sometimes it can be really daunting and intimidating to write an application but you just have to go for it. In my application, I wanted let Tavaris tell his story in his own words, and let my photographs be the arc for the story. His voice was basically the narrator throughout the whole piece. I felt like that was the best way to allow him to tell his story, because he does such a great job at it. I did also include a detailed budget proposal. So, I could specifically lay out what the money will be going to and how that will translate into story content.

You have to get down to the essence of the story, what is it really about? Not just the subject but the theme of the story. And I think if you do that, you can slowly start seeing what your project is about and it starts shaping itself, at least in my experience. Jonah: No. The proposal was about his story, but in the proposal the entire grant application , that section was based on interviews I had done with Tavaris that had been transcribed. Jonah: I had spent the better part of a year photographing him at college.

He asked me to go up there and try to be a bridge between these two worlds. I had spent some time with him establishing that relationship before I asked him if I could photograph and be a conduit for his story. He talked about the massacre at Wounded Knee and was able to explain its consequences in the present day.

It just depends on the project. Sara: Most grants are production grants, and you would not submit a completed body of work to get a production grant. Show us what you have left to do. Kenny: We want to see the work as a barometer of how well you handle similar kinds of situations so we know how developed you are with you photographic reportage.

Kenny: The simple answer is lead with your best work. In some instances that was the case and in other instances it is not. Sara: If you start out quiet and try to ramp up to your best image, you will have lost people.

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Lead with your best shot, literally. That may break up your essay a bit, you may be editing differently from a magazine story, but every magazine story will open with the most powerful picture. During our grant writing webinar, a number of participants asked to see examples of grant proposals that have won in the past. In the s, the Canadian government created the Indian Residential School system.

Attendance was mandatory, and Indian Agents would regularly visit reserves to take children as young as two or three from their communities. These students were punished for speaking their native languages or observing any indigenous traditions, routinely physically and sexually assaulted, and in some extreme instances subjected to medical experimentation and sterilization. The Canadian government issued its first formal apology in At least 4, children died while in the system — so many that it was common for residential schools to have their own cemeteries.

And those who did survive, deprived of their families and their own cultural identities, became part of a series of lost generations. Languages died out, sacred ceremonies were criminalized and suppressed. The Canadian government has officially termed the residential school system a cultural genocide. A disproportionate number of residential school survivors and their immediate family struggle with PTSD, depression, and substance abuse — and this persistent legacy of social and public health consequences needs to be documented and shared.

These multiple exposure portraits are an attempt to photograph survivors who are still fighting to overcome the memories of their residential school experiences. These individuals are reflected in the sites where those schools once stood, in the government documents that enforced strategic assimilation, in the places where today, First Nations people now struggle to access services that should be available to all Canadians. These are the echoes of trauma that remain even as the healing process begins. With the help of the Viewfind grant, I plan on returning to Saskatchewan the province that is home to the last residential school to close in Canada, and some of the most notorious sites of abuse and neglect to interview and photograph another 30 survivors, bringing the total number of subjects to 80 — one for every thousand still living.

I also hope to travel to sites in the U. Thank you very much for your time and consideration. Safely tucked away on a sprawling green campus, the struggle is over.

A better life awaits. That is the narrative we are accustomed to hearing. Tavaris Sanders believed wholeheartedly in that narrative, unfortunately he quickly realized it was a fantasy. Tavaris was born and raised on the South Side of Chicago bouncing around a network of group homes and foster families. At age 14, he was sentenced to 6 months in juvenile detention. By age 18, he had earned a 4.

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By his own account, Tavaris showed up at Connecticut College, gregarious and brimming with confidence, in late August of His worst grade since middle school was an A minus. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Page. Sander Grant is a giant. He comes from a long line of giant men—cattle ranchers in Dixon, Texas.

These men have a tendency to marry small women who can bear only one child, always a son. And as Sander is soon to learn, he is one of the few remaining descendants of the angels mentioned in the Book of Genesis who procreated with women, thus souring their relationship with God Sander Grant is a giant. And as Sander is soon to learn, he is one of the few remaining descendants of the angels mentioned in the Book of Genesis who procreated with women, thus souring their relationship with God.

She wrapped herself in a bathrobe and scarf, put her fluffy house slippers on, and walked out the front door. Snow began to fall.

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Shattery flakes lit in her red hair, covered freckles on her face and perched on her eyelashes. You will step up and do Your job. Help my man.

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Showing Rating details. More filters. Sort order. Oct 17, Beverly rated it it was amazing. I am a huge fan of Marc Phillips and used to publish any short story he submitted to me. So it was with great glee I read his first novel.