Back in 1999, playwright Lisa Kron applied for a grant from a new arts organization called Creative Capital. She had no idea what she was getting herself into. When Kron learned that she would be receiving a few thousand dollars, her initial reaction was, “Great!” And then Creative Capital staff kept asking her, “When are you coming in to talk with us?” Kron demurred, saying: “I’m fine. Really.” Privately, she fretted about wasting her time “on help I didn’t need,” she says. When she heard that the organization was planning a retreat for its artists, all Kron could think was, “Leave me alone.” The plot changed when Kron discovered that there was more money in the pipeline—up to $50,000, available at milestones in the life of her project. This unusual cash flow wasn’t the whole story. As her three-year fellowship unfolded, Creative Capital offered Kron a range of career-boosting benefits, including help with marketing her work and practical advice about budgeting. Kron went on to earn a Tony Award nomination for Well, the autobiographical play produced while she was a grantee, and today credits Creative Capital with taking the “beggar mentality” out of arts philanthropy. Instead of offering her a…