An Anonymous Evaluator: Tips for Applications to the Saari Residence

I had the pleasure and honour of serving as a literary reviewer in the 2026 Saari Residence application process. While reviewing the applications, I recorded some observations that I thought would be helpful both to me and to others in writing a good application.

I’ve divided the tips into two parts. The first section contains general advice based on both my evaluation of applications for Saari Residence and my previous evaluation work for another foundation. The latter list includes suggestions that are particularly suited to applicants from outside Finland but are also suitable for others.

I can’t claim that other reviewers think the same way I do, but at least some of my observations are based on points raised by other evaluators as well.

To Finnish authors, I simply want to say: please send applications.

Among the two hundred applications I reviewed, there were only a few from artists working in Finland. Since half of the applicants accepted to the Saari Residence are based in Finland and half are from elsewhere, applicants from Finland currently have a good chance of securing a residency spot. I myself have stayed at the Saari Residence, and that two-month period had a significant impact on my work. I also advise artists applying from Finland to submit a clear and compelling application, which I will address next.

General Advice on Applications for Residency

• Comprehensibility. Anyone should be able to understand the application text. Of course, not just anyone, but the evaluator may not necessarily specialise in the topic you are researching or have a thorough understanding of your art form or practice. In particular, it is a good idea to make the summary of the application more accessible to a general audience. I recommend having someone else read through your application – or at least the summary – from this perspective: Is the text understandable to someone who isn’t familiar with all the discussions, concepts and technical details of my specific field?

• Risk. I have noticed that both I and other evaluators tend to pay attention to bold and original topics. But the applications that stand out from the crowd are those in which the writer has managed to highlight something exciting, unusual, astonishing or new about their topic or practice. I don’t mean a major social impact or an idea that will change the world. Sometimes a good idea is comforting or beautiful. An interesting idea does not necessarily imply a paranoid or critical view of the world. The idea behind the project might be a small work of art, a small-scale research project or simply exploring a small topic, but it’s something that’s persists and sticks with you. A helpful question might be: What makes my project special, and what do I hope to offer others through it?

• Clarity. If you’re going to spend time on something, make sure it’s on making your application letter more clear. Complexity is not an end in itself. A lot of text and a small font size are not a competitive advantage. Most of the time, we don’t really know what we’re doing, research and art are a wonderful chaos, but in an application, it’s best to aim for the opposite. When a clear plan is combined with a strong idea, those are the two elements in an application that will help it make it through an extremely rigorous screening process.

• Accuracy. By “accuracy”, I do not mean an in-depth literature review or a theoretical discussion. For example, I’m referring to the budget you prepared specifically for this application. I am referring to the timeline and feasibility, which require careful consideration rather than detailed analyses. Budgetary vagueness is surprisingly common. There was also some confusion regarding the travel budgets for Saari Residence. I’ve also noticed that it’s a good idea to clarify any complexities involving overlapping projects, schedules and collaboration arrangements in the application. Instead of overwhelming the evaluator with a jumble of details about who does what and when, just outline the main points.

• Ethics. If your topic involves minorities, violence, injustice or any other sensitive issue, it’s a good idea to say at least a few words about ethics. This also applies to applications in the arts. If a Westerner writes about, say, the experiences of an indigenous people, I want to know why.

• Enthusiasm. Let your enthusiasm show – it will inspire the evaluator as well. Something along the lines of ‘Here’s something surprising and exciting’! Abstract conceptual musings aren’t very inspiring. The evaluator doesn’t need to know every theoretical nuance of your topic – that will just make their head spin – so just highlight the most important concepts.

Advice for Those Applying from Outside Finland (but also for Others)

As I read through the applications, I was particularly aware that there is no way I could know very much about the artistic contexts of different countries. Fortunately, throughout my career I have had the opportunity to work with people who have broadened my perspective on the diversity of art and alternative ways of creating art. Still, my view is always somewhat white. I read the applications from the Global South more carefully, pushing myself in doing so. I asked myself: Am I judging this as less professional simply because I’m not familiar with the literary culture of this region? What kinds of approaches and aesthetics do I value? Is my approach to reading the application colonialist, and do I therefore expect to find a certain kind of language, definitions of concepts and practices?

Although I felt at a loss in the face of this diversity despite my self-criticism, I would like to share a few thoughts that might make the application easier to understand for those coming from a different artistic and cultural context.

• Local context. In your application, describe the artistic context of your region. In the case of writers, for example, you can explain whether there is a high barrier to publication in your region, what types of publications are preferred and how your own publications or work in progress fit into the literary landscape of your region. 

• Language. The evaluator probably can’t read your native language unless it’s English. Translations, for example in poetry, do not necessarily serve as good examples of one’s work either. Ask yourself if your sample text truly conveys your own voice. The synopsis of a novel manuscript is usually also not particularly useful information for an evaluator, and it is not worth including it in the summary, at least.

• Portfolio. Put together a well-curated portfolio. Personally, I consider a strong portfolio more important than a sample text, because I don’t think you can require a sample text if the applicant’s language isn’t the same as mine or if the sample hasn’t been professionally translated.

• Information. Your portfolio provides a quick and comprehensive overview of the kind of art you create and who you are as an artist. It is important for authors to present their literary works with care. The title of a text or work alone tells the evaluator nothing. Instead, other details related to the publication – such as the publisher, any award nominations, and excerpts from reviews – provide insight. Photos of performances and of the covers or content of your works are helpful for your portfolio. Whatever the context and significance of your previous artistic work in your region may be, please tell us at least something about it, even if it doesn’t pertain to the points mentioned above. Something that lets the evaluator know that you are a professional artist, since that is one of the evaluation criteria.

• Career stage. Tell us what stage of your artistic “career” you’re at. If you’re a new writer, share details about that. Tell us about your literary interests, aspirations or dreams, and highlight something personal about your evolving artistic identity. You could perhaps tell more about why you write?

• Artistic context. Place your art in context in relation to other art. In literature, this might involve, for example, a particular genre or mentioning authors with whom the writer identifies. Or, you could contextualise your artistic work in relation to the community and culture, if it is specifically community-oriented, and mention persons or artists who inspire you from this perspective.

• Diligence. The competition is extremely fierce. Incomplete applications will be rejected immediately. Hastily written applications can be spotted in seconds, even just from the summary. A summary written by artificial intelligence is easy to spot and will not make much of an impression. Of course, you may use artificial intelligence to complete the application (and you may also mention this), but your language skills must be sufficient to facilitate interaction during the residency. Openness and honesty pay off. If you’re not serious about applying, don’t apply at all.