Trauma-Informed Storytelling on the Fundraising Stage with Jenna Watanabe

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In This Episode

Fundraising events are often where nonprofit storytelling faces its highest stakes. The room is full, the energy is high, and there is real pressure to move people toward giving. In this episode, Maria sits down with Jenna Watanabe, Creative Director at The Fundraising Event Company, to talk about what it takes to build events that are moving without becoming extractive.

Jenna shares the personal experience that shaped her approach to this work, and the two dig into what happens when consent gets lost in the momentum of a live event, why emotion does not have to mean sadness, and how joy and hope can carry as much weight as hardship. They also talk through practical protections for story owners, from video review to backup plans, and what it means to build a program that centers dignity at every stage.

This conversation is a reminder that the most powerful moment on a fundraising stage is not the one that extracts the most emotion. It is the one that honors the person whose story made the room possible.

About Jenna Watanabe 

Jenna Watanabe is the Creative Director at The Fundraising Event Co., where she helps nonprofits create meaningful, inclusive, and successful fundraising events. With a background in fundraising, marketing, project management, writing, and storytelling, she develops event scripts, speeches, video treatments, and marketing materials that bring each organization’s mission and impact to life.

Connect with Jenna Watanabe 

The Fundraising Event Company | Instagram 

Connect with Maria

Speaking & Training | LinkedIn | Email 

Transcript

Maria Bryan: Welcome to this episode of When Bearing Witness. We are live at the Nonprofit Storytelling Conference, and I'm so thrilled to have Jenna with us today. At nonprofit galas and fundraising events, storytelling often takes center stage. Too often, those stories are crafted for maximum emotional pull rather than maximum care, especially for the people whose lives are being spotlighted.

How do we create transformational moments at events without sensationalizing trauma, centering pity, or reducing someone's lived experiences to a fundraising hook? Jenna is nodding her head as I'm talking. Today, I'm joined by Jenna Watanabe, creative director at The Fundraising Event Company.

Jenna has spent years shaping the stories that unfold on nonprofit stages, writing scripts, producing videos, and crafting storytelling arcs that honor dignity, agency, and impact. She believes in fundraising events that are meaningful, inclusive, and values-aligned, and she works with organizations to build programs where story owners feel honored and audiences feel connected, not manipulated.

Music to my ears. Jenna, welcome to When Bearing Witness.

Jenna Watanabe: Yeah, thanks for having me.

Maria Bryan: I want to start with your story. I've been to a lot of events. I was in video production for a few years, and I think events and video production can be some of the most vulnerable moments for story owners to tell their stories. You are such an advocate for doing this in a way that is ethical and trauma-informed. What brought you here?

Jenna Watanabe: Yeah, that's a great question. First of all, thanks for having me. A lot of my answers and thoughts are coming in the context of how we think about storytelling at events specifically. What brought me into it personally is that I worked and advocated for a nonprofit for a long period of time.

This was well before I was involved with any nonprofits professionally, and I had a really great experience being an impact speaker and sharing my story politically to advocate for better wages for people. It was a really empowering experience until it wasn't. It wasn't because of bad intentions.

It was just a moment where we were moving too fast, and it got lost for a second. The consent got lost. It felt like, all of a sudden, this story that I had shared and was willing to share on certain stages was expected to be shared on all different types of stages in front of all different types of audiences.

There was one particular time when someone I didn't want to hear the story was within earshot. They asked me, "Can you share the story about XYZ?" That person heard it, and it was a frustrating moment for me because I had a high level of respect for that organization. For me, a lot of this is personal.

I want to make sure we're not doing that to people who are showing up for nonprofits. I want nonprofits to succeed, but I also want them to do it well, in a way that gives people dignity.

Maria Bryan: It reminds me of a Chronicle of Philanthropy article that Damien Cooper wrote. Damien Cooper is the founder of Project Pneuma, and he has a really traumatic founding story, which he'll tell. He knows how important his story is, but he wrote this whole article about what it's like to be put on the spot to tell it.

Whether you're put on the spot or someone is in the room and a person says, "Oh, tell their story," it can be so damaging and dysregulating. It can also be so undignified if someone isn't ready and centered for their story to be told.

Jenna Watanabe: Yeah. I appreciate that. I just want to add that I have a high level of respect for the organization. I'm always going to be passionate about it, but there was that moment when I thought, "We can do better. What is that going to look like?"

Maria Bryan: We forget what it means to be a story owner. Sometimes, when we pause, we can ask people to think of the most painful moment of their life and imagine having that on stage, and what that's like until it's over.

That empathy really is a game changer. I hope we do more of that in the nonprofit space. Wouldn't it be great if we had all the leaders get on stage and tell us their most embarrassing or horrifying moments? No, we won't do that. But going through that reflection and thought process can make a really big difference.

In the world of fundraising events, we're often told that emotional stories open wallets, right? We really want the tearjerker. We love having a video and then having the person in the audience stand up. Where do you see event storytelling crossing into harmful or extractive territory? You gave one example, but maybe you can expand on how these practices can feel exploitative at events.

Jenna Watanabe: I'm going to speak mostly in the context of people who are new to trauma-informed storytelling and are trying to learn about it. First, I want to thank anyone listening for being here, exploring it, and being willing to have that conversation. I think that's where we can slip up, by not being able to embrace the discomfort of not knowing while trying to learn and do better.

We can go back to the 1980s and look at how fundraising was done.

Maria Bryan: Oh, yes. Sally Struthers.

Jenna Watanabe: And look at how stories were told. Yep. I like to say the 1900s. Yes. If we go back and look at that, just pick one. You'll probably find something.

We now have a growing ability to understand people and so many tools to understand their experiences. I work with nonprofits to plan their galas, and my role is more about coaching them and giving them the luxury of time so they can concentrate on the relationship with the speakers.

There are a couple of ways it can start to become harmful. One is how we think about an emotional story. There are so many emotions. It doesn't have to be sadness, anger, despair, or hopelessness. It can be awe. It can be admiration. It can be excitement.

In fact, Kirsten Hill did a breakout session recently, and she shared a really great example. She said, "I've given this presentation a million times. I can't tell you how many gallons of clean water folks don't have in this area, but I do remember a story about a woman named Helen, who said, 'Having access to clean water makes me feel beautiful.'"

That's all you need. That's an empowering moment, as opposed to saying, "I know a woman named Helen who didn't have access to clean water, and her life was really hard because of X." I think people can fill in those blanks. We have to give people a little more credit. They can fill that in. Why not tell the dignified part of their story?

At the end of the day, nonprofits are setting out to solve problems and share resources with people. Sometimes they get really focused on clean water, because that's what they're trying to provide. But what it's really about is giving somebody clean water so they can live a life of safety, health, dignity, and liberty. Focus on telling the story of that, as opposed to focusing only on what they went through that was so hard.

I feel like we are having a hard time looking beyond the hardship and seeing a brighter future.

Maria Bryan: I think storytellers have such an important role to play right now, especially in our specific missions and causes. We are trying to put ourselves out of business and let people see what could happen. This is the beauty. This is what we're working toward, and here's a micro example of that success.

I also love when you say emotions don't have to mean sadness. When we lean into sadness, we're also leaning into stress, anxiety, and dysregulation. Those are feelings everyone in the audience is now experiencing, and they're going to leave this community and space still feeling dysregulated. Of course, it's about dignifying, respecting, and loving our community, but our audience members also deserve to feel regulated, hopeful, and excited in that space.

Jenna Watanabe: How do you want folks to feel the next day after your event? Do you want them to be an anxious mess? Or do you want them to feel like, "You know what? I just see a glimmer of what's possible, and I'm so glad I was at that event. I'm so glad I'm part of this." That's actually been a conversation we've been having with a lot of our clients this year in particular.

How do we throw an event at a time like this? How do we ask people to celebrate at a time like this? At the end of the day, what we have seen time and time again is that once we get folks gathered in that space, they have this shared moment of, "Oh, yeah. There are people out in the world trying to do a good thing."

While we can still have moments in the program where we're addressing the gravity of the situation, I think it's really important to end on a hopeful, celebratory note.

Maria Bryan: Absolutely. The same goes for anyone's story that they share. Joy is how we're going to get through these times.

Jenna Watanabe: Yeah.

Maria Bryan: Let's get a little technical. What practices do you use to ensure that the story owner is protected throughout the storytelling process?

Jenna Watanabe: I actually got a few tips from the Ethical Nonprofit Summit that you spoke at.

Maria Bryan: Oh, wonderful.

Jenna Watanabe: Yes, and from Diana, of course. There are a couple of things. As I mentioned before, I take more of a coaching role with my clients. The area where I can have the most impact is giving clients the luxury of time to make sure they're able to reach out and have the appropriate conversations with program managers and speakers.

We have best practices. In fact, after the Ethical Nonprofit Summit, I came up with an email template that we share with our clients to help with the informing and consent processes. I always explain that the email is one tool. The overall process is ongoing. Consent needs to happen every step of the way.

If a speaker is sharing their story through a video, there are a number of things we can do to protect them and make the process feel safe. I actually love video because you can film it in an environment where they're most comfortable.

You can invite people they have good relationships with, whether someone at the organization or someone who brings them comfort, such as their sister, brother, or significant other, to be with them while they're telling and sharing their story. That gives them an extra source of support.

You can find a video partner who aligns with them, has lived experience, or is culturally aligned with them, just to provide that extra layer of comfort. You can also let them review the video. That's one of my favorite things. It's their story. They should be able to say whether they want certain things kept in, taken out, or replaced.

We do that with clients all the time. If they say, "I really am not comfortable showing this photo of my son. I know it ties into the story, but I would love to remove it," there are no questions asked. We'll take it out. I feel like they can have much more control in a video.

When it comes to someone speaking on stage, it's a little different. I often do an intake with them where we sit down like this, and I say, "Just tell me a little bit about your story, and I'm happy to draft a speech based on exactly what you say. I'm going to try to emulate the way you speak and use your words as closely as I can, without putting my own interpretation into what you're saying."

I tell them, "I'm going to take literally what you are saying and hone it so there's a beginning, middle, and end." Then it gives them the opportunity to decide, "I want to stretch myself and try public speaking, and I'm comfortable sharing this." If they aren't comfortable doing that and would prefer that someone else read it, they can discuss consent and have someone else share it for them.

Maybe we have a moment where we recognize them in the audience. The important thing is getting consent every step of the way and having a backup plan if they decide at some point that it has become too much.

Maria Bryan: I was just talking to someone who said she always has a backup story in case something falls through. Can you imagine if people had a composite or anonymous video on standby? What a relief that would be. If someone changes their mind the day before, or at any point, there's a backup and no one feels that pressure.

Something else you said sparked a thought for me. On this podcast, When Bearing Witness, sometimes folks are telling painful stories. A lot of times, we're just talking professionally. But what I've found is that people often dissociate during an interview. As soon as it's over, they don't remember what they said.

Jenna Watanabe: Yeah. When you're being recorded, that happens.

Maria Bryan: Sometimes we think that because they've given consent, everything they said goes. This is why the review process is so important. One reason is that they may be dissociating, so they may give more information than they want to share. Another is that you're making it a very cozy, comfortable space, which can allow people to open up.

It's crucial for them to see it again and say, "Oh, that is a part of my story that I don't feel comfortable having out there, even though I consented to this interview. Even though I said it and those are my words, it still could be very harmful." We're talking about legal consequences and reputational consequences. I love that you've built that in. This is part of the slowing-down process, allowing people time to review their story.

Jenna Watanabe: Absolutely.

Maria Bryan: As a storyteller, not everyone who speaks understands the arc. You write scripts that tie an entire event narrative together, so this is a completely different arc than someone might use when writing an appeal. What does a values-aligned, cohesive, and ethical event storytelling arc look like? What a huge role.

Jenna Watanabe: It's really fun. It's like putting puzzle pieces together and seeing where everything makes the most sense, including when we should do the fundraising.

Maria Bryan: Oh, I love it.

Jenna Watanabe: The key is starting early. Especially when it comes to planning events, think about your story early. That should be one of the first things, in my opinion. After you lock down the venue, the date, the auctioneer, and all those important core vendors, start thinking about the story you're going to tell.

We tell our clients to think about at least two takeaway messages for every event. It's not necessarily about what you want them to experience, what's going to be there, or what the must-haves are. It's more about the two things you want them to know about your mission or organization before they leave the event.

For example, you might want people to better understand that you have a rent assistance program. Or you might want people to know that you are very committed to being an animal sanctuary, and that there is a difference between being a rescue and a sanctuary. It could be a number of things, but hone in on those two takeaway messages. They will serve as your guide for all the elements you're putting into the program.

I'll explain the formula we use when we build a program. We think about it in terms of chapters. Chapter one is setting the stage. This includes the welcome remarks from your emcee. Chapter two is mission and values. This is where you think about the story you're telling about your organization, and it can change every year.

It doesn't have to be the same story. This chapter includes remarks from leadership, typically an executive director, and then, of course, your impact story. Chapter three is fundraising, and the fundraising happens right after the impact story, when people are most engaged. Chapter four is gratitude, and chapter five is celebration.

That might include the after-party, honorees, or something similar. As I mentioned earlier, the biggest key is starting early and having those conversations early. I know that can be hard because things change so fast. We can't say in November what we're going to need to tell donors in April.

However, there are ways to build your program with room to respond. If an executive director is giving a speech or the emcee is on the board, we can look at their remarks as opportunities to respond to things happening in the moment. You can still have storytelling control over what you're responding to while thinking about videos that are a little more evergreen. Those videos can work both at the event and afterward, as long as you ask for permission to share them.

Maria Bryan: I love that. You're leaving space. You have your structure. It's all meaningful and it all matters, but you leave space for whatever is happening in the moment. I also love that you love it, because it sounds very overwhelming to me. I'm glad there are gifted, talented people out there taking it on.

What early questions should organizations ask themselves when planning an event to ensure the program aligns with ethical and trauma-informed storytelling values from the start? You've talked about starting early. What else should they keep in mind?

Jenna Watanabe: In addition to thinking about the two takeaway messages, ask who the speakers need to be on stage. If we're asking someone who's a former client or participant, have they had time to heal from their journey? Where are they in their journey?

We once had a client who wanted to bring someone on stage who had recently moved into housing after being houseless for, I think, two or three years. We said, "It's way too soon. We have to wait. You have to give them time." Think about where they are in their journey and whether they've had time to heal from it.

Granted, I know we're always healing from our journeys. There's never a time when you can just say, "Okay, great. That trauma is gone." But there is such a thing as letting enough time pass.

Maria Bryan: There's time, distance, and perspective that we have to honor.

Jenna Watanabe: Exactly. I also think being trained in trauma-informed storytelling is important. I know I've been trying to get to your training so many times.

Maria Bryan: It would be such a joy to have you.

Jenna Watanabe: I'm going to make it happen.

Maria Bryan: You're always welcome.

Jenna Watanabe: Training can help you see the signs when someone is struggling. Other questions include what the executive director needs to speak to. Is there something topical that is hurting our community right now that we need to address?

How can we do it in a way that honors people's dignity, rather than only focusing on the bad or what's going wrong? Although I will say there is room for that. I think it's okay to talk about the hardships we're facing politically. Donors are probably wondering what your organization is doing about them.

Maria Bryan: Can we talk about this for a second? I get this a lot. We don't need to tell only rainbow stories. That's not what we're getting at in this conversation. It is crucial that people know the pain, hardships, and trauma that others are experiencing. That's part of change. That's part of moving our missions forward.

I hope the takeaway isn't that we strip pain from our stories or even from our events. It's about looking at the experience holistically and asking how you want people to leave feeling. I appreciate you saying that we still need to be honest. We still need to share the realities of our cause.

Jenna Watanabe: Yeah. I want to echo that. You don't have to create an event that pretends your organization isn't solving some of the biggest problems happening today.

Maria Bryan: Exactly. Thank you for that. You have a session coming up about telling anonymous stories.

Jenna Watanabe: Yes, tomorrow.

Maria Bryan: I'm super excited about that because I think it's another area people don't consider very often.

Jenna Watanabe: Sometimes you have situations where identifying the story owner could be dangerous. One example is organizations that are fighting to keep families together because of ICE. Interviewing someone who has just been impacted by ICE would not be a good thing to do right now. That would be the opposite of trauma-informed storytelling and could put them in a great deal of danger.

That said, there may be people on their legal team who are helping them and could tell the story while protecting that person's anonymity and getting the word out about what's actually happening.

Even for events, we can use whiteboarding, illustrations, and animations. There are so many creative options. Sometimes that push to be creative is what will set your message and story apart, because you have to tell it a little differently to protect the story owner.

Maria Bryan: Absolutely. I'm thrilled to explore anonymous storytelling, especially for events. At events, the magic, and I remember this from working in-house for 10 years, is that you show the video and then the person is in the crowd. There's so much energy and meaning in having them there.

Jenna Watanabe: Yeah. I understand that energy and excitement, but sometimes we need to tell things a little differently. The story can still have a huge emotional impact for people.

Maria Bryan: Absolutely. Thank you so much for talking to us about events and video. I really think this is one of the most precious and vulnerable times, and we need to be slow and intentional. How can listeners connect with you and learn more about The Fundraising Event Company?

Jenna Watanabe: Follow us on Instagram at @fundraisingeventco, or visit us online at fundraisingeventco.com. You can find my email there as well.

Maria Bryan: Beautiful. Thank you again, and thank you for the work you're doing.

Jenna Watanabe: Likewise.