ArtsXchange — Follow-Up Sequence

Target: ArtsXchange (SouthEast Community Cultural Center) — 2148 Newnan St, East Point GA 30344 — 501(c)(3) community cultural center founded in the Black Arts Tradition, in its 40th-anniversary year

Contact: no named contact published — address the center/team

Channel(s): Email info@artsxchange.org (primary); Instagram DM @artsxchangeatl (alternate, one touch max); phone 404-624-4211

Source first-touch: registry/leads/drafts/artsxchange-outreach.md (I10, built 2026-09-20)

Source row: targets.md I10 (Web-sourced candidates 2026-09-20)

Generated: 2026-09-20 (night-shift)

Assumes: no reply to the first touch (free short piece, they pick the story, no strings, they own the footage)

Register: donor-and-community-supported 501(c)(3) arts-and-culture center grounded in the Black Arts Tradition — artist and community storytelling, anniversary and heritage content, youth and education voices, gallery and literary content, and year-end giving, not a commercial sell

Cadence

|-------|--------|---------|------------------|

| 2 | D+12 | Email | Free one-page "one studio visit, sixty seconds" phone-capture guide (Appendix A) |

| 3 | D+20 | Email | The 40th-anniversary / oral-history angle: the story lives in the elders, not the page |

| 4 | D+28 | Email | The youth-program angle: the next forty years starts there |

| 5 | D+36 | Email (or IG DM) | Q4 year-end giving turn, door-open close |

Flags — read before sending

1. No named contact. There is no named staff or board member in the I10 row or the first-touch draft. Address the org generally — "Hi —" / "ArtsXchange team" — and never invent a person. If Brandyn looks up a real executive director, gallery director, or programs lead before sending, he can swap the greeting to a first name; otherwise keep it general.

2. No invented email or handle. info@artsxchange.org is the only published email. The other public channels are IG @artsxchangeatl, FB @artsxchangeeastpoint, X @ArtsXchangeATL, phone 404-624-4211. Do not invent a staff address or a new social handle. Email is primary; Instagram DM @artsxchangeatl is a labeled alternate for at most one touch (Touch 5). Pick one channel per touch — never double- or triple-send.

3. Facts confined to the first-touch draft and the I10 row. 501(c)(3) community cultural center, founded in the Black Arts Tradition, 40th-anniversary year, studio artists, the Jack Sinclair Gallery, the literary program, the youth program, the community garden, 2148 Newnan St in East Point — all from the row. Do not invent artist names, exhibition titles or dates, attendance, donor counts, funds raised, staff/board names, program statistics, event dates, grants, awards, or quotes. "An artist at work," "a kid in the youth program," and "an elder telling the story of the place" are categories, not invented individuals.

4. Don't re-offer the free piece as the lead of every touch. The first touch already made the offer ("one free short piece, they pick the story, they own the footage"). Each touch below leads with a different value. The free piece is only restated once, at the close, in Touch 5.

5. The seasonal hook is Q4 year-end giving, sharpened by the 40th-anniversary year. Touch 3 and Touch 5 both lean on it. Neither names a campaign, a date, or a specific anniversary event.

6. Do not imply ArtsXchange is a current client. It is a cold prospect. The only org named in this sequence is ArtsXchange itself.

7. Stop the moment they reply. This is a conversation, not a drip. Any response restarts as a real thread and the remaining touches get dropped.

Touch 1 — The studio-artist portrait (D+5)

Subject: a programs page lists the artists, it can't show one working

Hi —

Your programs page names the studio artists, the Jack Sinclair Gallery, the literary program, the youth program, the garden. What it can't do is show one artist at work in the studio, hands in the paint or the clay, the room around them.

That's the first thing I'd point a camera at. Not the program, the person in it. If there's one studio artist whose face you'd put in front of a donor or a member, that's where I'd start.

~85 words. Leads with the gap between listing the artists and showing one working, not a re-offer of the free shoot. "You pick it" carries forward from the first touch. The register is donor-and-member storytelling — a small arts nonprofit's comms problem, not a video pitch.

Touch 2 — Free asset + the studio/gallery guide (D+12)

Subject: a one-page guide for whoever runs the studio or the gallery

Hi —

I put together a one-page guide for turning a single studio visit or gallery opening into a 60-second piece on a phone. It's written so you could hand it to whoever works the studio floor or hangs a show, no camera crew needed to start.

It's below, no strings. The artist's hands and the room are the parts most orgs skip, and they're usually the part that moves a donor. If the "one story a month" rhythm reads like something that'd feed your newsletter and your year-end ask, that's the part I'd want to build with you.

— Brandyn
Ghost Coast Video · ghostcoast.video

~100 words. Delivers Appendix A. The "hand it to whoever works the studio floor or hangs a show" framing is aimed at a programs/comms/development person who has to make the case internally, not at a direct video buyer. The artist's hands and the room is the distinct lead value this touch.

Touch 3 — The 40th-anniversary / oral-history angle (D+20)

Subject: forty years is a story that lives in people, not on the page

Hi —

Forty years of a Black Arts institution in East Point is not something a programs page can hold. It lives in the elders who built the place, the artists who came through, the people who remember the building before it looked like it does now.

An oral-history piece — an elder telling the story of the place, the studio before a session, the garden out back — turns the anniversary into something a donor can feel instead of read. The year is already the hook. The people are the proof.

It's a different piece than the studio portrait, and I think it's the one that carries the anniversary.

— Brandyn
Ghost Coast Video · ghostcoast.video

~110 words. The anniversary-and-heritage angle, distinct from the studio-artist and youth angles. Ties to the 40th-anniversary year without naming a date or event. "The people are the proof" is the donor register, not a hard sell.

Touch 4 — The youth-program angle (D+28)

Subject: the youth program is where the next forty years starts

Hi —

The youth program is the one part of ArtsXchange that's already a story about the next forty years, not the last one. A kid in the program, first time in a studio or at a reading, is the face of what the center is trying to keep alive.

That's a piece that works for donors, for families, for anyone deciding whether to send a kid. And it costs the same as the others: point a camera at what's already happening.

If there's a session you'd want on the record, I'd start there.

— Brandyn
Ghost Coast Video · ghostcoast.video

~95 words. The youth-and-education voice, distinct from the studio, heritage, and gallery angles. "The next forty years" ties back to the anniversary through-line. No specific child, no program date, no metric.

Touch 5 — Year-end giving, door-open close (D+36)

Subject: one face beats the year-end letter

Hi —

Q4 is the biggest donor window of the year, and the hard part of a year-end ask is making a year of work land as something a donor can feel. A 60-second thank-you — an artist in the studio, a kid in the youth program, an elder telling the story — does more for the second gift than the letter alone.

I've sent a few notes over the last month and won't keep them coming if the timing's off. The offer stands as it was: one free piece, your pick, you own the footage. If ArtsXchange ever wants its people on camera, I'm around.

— Brandyn
Ghost Coast Video · ghostcoast.video

~105 words. Combines the Q4 year-end giving turn with the door-open close. No ask, no recap, no guilt. The "second gift" line is the donor-retention register, not a hard sell. This is the only touch that restates the free piece, and it does so as a standing offer, not a lead.

Alternate channel (Instagram DM @artsxchangeatl): same message, condensed to the year-end/thank-you idea and the door-open line, signed "— Brandyn / ghostcoast.video".

Appendix A — "One studio visit, sixty seconds" capture guide

The deliverable for Touch 2. Self-contained; paste into an email or drop into a PDF/Google Doc. Written for a cultural center's programs or comms staff, phone in hand.

One studio visit, sixty seconds — turning a day at ArtsXchange into a piece on a phone

What it is. A short recipe for taking one real moment in the building — an artist working in a studio, a gallery being hung, a kid in the youth program, the garden out back — and turning it into a 60-second piece. Shot on a phone, no crew.

Why it works. A donor gives to a person, not a program. The programs page names the studio artists, the Jack Sinclair Gallery, the literary program, the youth program, the garden. It can't show an artist's hands at work, or a kid's first day in a studio, or an elder standing in the building they helped keep open. One honest minute does what the whole page can't.

The shot list (shoot in whatever order the day actually happens).

The room before the work starts. The studio quiet, the canvas or the wheel waiting, the gallery walls half-hung.
Hands at work. An artist's hands in the paint or the clay, close. A frame being leveled. A kid's hands on a book.
A face while the person is working, not posing. The artist looking at the work, not at the camera.
The detail that says "this place is real." A worn easel, a wall of finished work, a garden row somebody planted, the building's front door at dusk.
The room full. The same studio now loud, or the gallery on an opening night.
The quiet after. Brushes in water, a chair pushed in, the last light.

The one question. Ask one person — an artist, a kid in the program, an elder, whoever's willing — one question and let them answer in their own words: "What keeps you coming back here?" Don't coach the answer. That single answer is the whole story.

The cut. One person, one place, one moment. Sixty seconds. The phone footage carries the room; the one answer carries the meaning. End on the person, not the logo.

What a donor gets. A face behind the word "culture." A reason to give again. A piece they can share, which does the asking for the center.

What ArtsXchange gets. A way to show the work instead of listing it. Footage for the anniversary, the newsletter, the year-end ask. A library that builds itself one visit at a time, at no cost to start.

The rule of thumb. A donor remembers the artist's hands, not the number of programs.

Notes for Brandyn

Appendix A is ready to deploy as a one-page PDF or Google Doc for Touch 2. The "one studio visit, sixty seconds" angle is what makes it ArtsXchange-specific rather than a generic nonprofit checklist, and it is distinct from the Emmaus House "one program day" guide, the CCI "room makes the story" checklist, and the No Más! event-recap guide.
Strongest touch if only one gets sent: Touch 1 (the studio-artist portrait). Touch 3 (the 40th-anniversary oral history) is the close second because it leans on a hook no other follow-up can claim — the anniversary year itself.
The greeting stays general until Brandyn looks up a real staff or board name. Every touch is written as "Hi —" for that reason.
Downstream asks stay held until a real conversation, per the first-touch draft: a paid recurring series, anniversary documentary production, a year-end campaign video. None of these appear as asks in this sequence — the only thing on the table is still the free first piece and the door staying open.
No fabricated clients, metrics, artist names, program dates, or testimonials anywhere. Only ArtsXchange's own published facts are named: the five programs, the Black Arts Tradition founding, the 40th-anniversary year, and the East Point address.