UNITARIAN UNIVERSALIST CURRICULUM AND RESOURCE DEVELOPERS
TECHNICAL ASSISTANCE FOR WRITING CURRICULUM

In order to get a feeling for the needs that have led to creating curriculum, we developed the following survey in 2003. You are welcome to complete the questionnaire and to have your responses added to those that we already have. Your data would be included without your name. The easiest way to get this to us is to copy the survey into an e-mail and send to Helen Zidowecki at hzmre@hzmre.com We look forward to your participation.

WHY DO YOU WRITE CURRICULUM?
Why did you write a particular curriculum? (Such as a specific interest but curricula not readily available? Or those available on the topic did not meet the needs of you the group you are focusing on?)

What resources did you use to create the curricula?

FIELD TESTING
How did you make the curricula applicable to more than just your own group? (factors considered, such as geographic variations, sizes of groups, ages…..)

Did you field-test the material? If so, what were the results? If not, why not?

HOW LONG DOES IT TAKE?
How long did it take for you to create the curricula, from conception to publication?

COST OF PRODUCING A CURRICULUM/FUNDING SOURCES
What expenses are involved in creating the curricula? (including editing, format and design, reproduction, advertising, distribution -- other expenses)

What funding sources were available to you?

How do you apply for grants/other resources?

PRESENTATION OF MATERIAL
There are various ways of presenting the material (3 hole punched with or without binders, spiral binding, backing, etc.) Why did you choose the method that you did for the curriculum?

COPYRIGHT CONCERNS
Is your material copyrighted? How?

Have you received permission to use material? What was the cost involved?

Has your material that you have created been used inappropriately, such as without permission?

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RESPONSES

WHY DO YOU WRITE CURRICULUM?
Why did you write a particular curriculum? (Such as a specific interest but curricula not readily available? Or those available on the topic did not meet the needs of you the group you are focusing on?)
Felt the need for something to offer variety within other curriculums and to address how important music is to youth.
There was no existing curriculum on this topic, for which I felt a need, especially at the primary level.
I started writing high school curricula seven year ago because nothing was available. In Our Hands and On the Path were out of print. Life Issues for Teens was already dated. There was literally nothing for high school RE classes. Even if they had been available, however, they did not cover a wide range of subjects that youth are interested in.

What resources did you use to create the curricula?
Fahs' book From Long Ago and Many Lands was a primary resource and is used with the curriculum. I drew from my years of experience with these stories for activities and discussion ideas. Many teachers had also contributed their ideas.
Hundreds of books and web sites.

FIELD TESTING
How did you make the curricula applicable to more than just your own group? (factors considered, such as geographic variations, sizes of groups, ages…..)
Have attempted to phrase the questions in the curriculum in an anti-racist, anti-classist, anti-sexist manner.
I wrote an extensive introduction suggesting ways of using the curriculum with various types, sizes and ages of groups.
I always try to write for a continental audience (although it is hard to write for those outside the U.S.). I try to include materials from different voices, although that is also a great challenge at times. I assume that a class has at the very least six participants, preferably 10 or more. As time has passed, I have aimed my material at a broader range, moving from just high school to mixed junior and senior high

Did you field-test the material? If so, what were the results? If not, why not?
Field tested with my youth group to great success
Much of the material was tested in my own congregation before it became a curriculum, and the rest was tested as I was writing. No broader testing was done - for lack of motivation, I suppose.
I always use my material on my own youth group or the OMD Summer Institute youth program. Other than that, I believe people will adapt material to their own purposes anyway, so that additional field testing does not generate sufficient benefit to offset to lost time and energy. I know that this is not standard practice, but I have never once heard a single complaint about my materials let alone any comments that indicate that additional field testing would have served any purpose.

HOW LONG DOES IT TAKE?
How long did it take for you to create the curricula, from conception to publication?
About a year
About two years.
It usually takes 12-15 months from start to finish. But, I am always filing away ideas in the back of my head, so it is a 24-7 activity

COST OF PRODUCING A CURRICULUM/FUNDING SOURCES
What expenses are involved in creating the curricula? (including editing, format and design, reproduction, advertising, distribution -- other expenses)
A small "honorarium" to a friend who did the original typing.
Reproduction is by American Speedy Printing, 30-100 copies at a time.
Advertising has been inadequate - originally we could put ads for curriculum in REACH packets, but not for some years now. I use the UUCARDS booth at GA now, and shared a table with another curriculum creator before that.
Buying books, photocopying research materials, phone calls, travel, and about 200 hours of time in development.
Photocopying, binding, mailing brochures, work at the UUCARDS booth at GA and distribution costs in production. For example, I send out about 500 brochures each year, which costs me about $250. I attend GA solely to promote curricula, so travel, registration, etc. and a week's vacation from work.

October 2003. Following is the response of Helen Zidowecki to an inquiry.
How do you determine the appropriate amount to ask from each source? How do you estimate printing costs? Are writers expected to cover those costs as well? Are authors given rights to the materials?
Who receives profits (if any)?

Response:
Cost: the hardest cost to recover is your time. I doubt that you ever do get this back.
The more concrete costs will be:
--Resources that you need, such as books and certainly internet connection.
--Office expenses such as paper and cartridges that you will use during drafting and redrafting. This certainly is getting less as we can use computers to edit, etc., and e-mail to transmit to people who might need to read or edit portions. However, you may have some postage if you need to send hard copy to someone for review.
--Advertising can be at minimal cost. Much of this can be done electronically. If you or the church have a web site, that is one avenue. Another is to join UU CARDS ($50/year) and be included in their web site and other publicity. And let the UUA Lifespan Faith Development know so that they can add you to their listing of non-UUA authors (updated annually on the UUA web site). You can also use REACH-L and LREDA-L and other list serves.

Printing costs will vary depending on the approach that you take.
--One of the UUCARDS authors essentially has a master and copies as he receives orders. Actually, this is what is does at GA -- take a master and look for a good copy arrangement near the GA location.
--I have started putting my material on my web site rather than maintain an inventory (My Dr. Seuss is free from the web, and $30 for hard copy.).
--The critical factor here is estimating the sales. I have never been good at that. There may be a good market for material of your theme, but sales in UU circles will still be limited. Are you going into wider circles?
--Some writers announce the expected date of publication and elicit pre-publication orders (sometimes at a reduced price for a specified time period). I am not sure how effective that is.
--The way material is packaged will determine cost. The more common methods seem to be 3 hole punched, with or without the binder; spiral-bound, or soft binding. The usability and the size will be factors here.

As for covering costs,
--I take the approach of minimizing losses, breaking even, and possibly a modest profit. Unless you are going to continue writing on a very regular basis, you probably will not get rich.
--You could try to market your curriculum through the UUA or the Bookstore. The UUA has specific guidelines and criteria for review and publishing. You would need to talk directly with Judith Frediani, Director of Lifespan Faith Development. Your topic might be of interest to them. If you sell through the bookstore, they will take a % off the top.
--I find it really difficult to determine total cost or what to request from grants. I suggest that you request such things as:
>>research expenses (books, phone calls to talk with experts -- such as the phone call if I were answering you that way, internet access)
>>Preparation costs, including paying editors (and you will need at least one person to review and comment on the flow of the material as well as the grammar, etc.), the office costs that I noted above.
>>Permission to use copyrighted material. There sometimes is a cost for this, sometimes not. But build in several hundred $ for that, unless you are creating your own material entirely. Also build in the cost for getting your material copyrighted -- especially when you are dealing with a topic that will be somewhat groundbreaking (about $30 for greater protection).
>>Publicity, especially if you plan to advertise beyond that I noted above.
>>When you are inquiring about the availability of grants, ask what the usual award is, and the type of things that the grantee is interested in funding. And target your request to their response. You can always ask for more than you think you will receive.

I realize that my response is getting long -- probably more than you wanted to know.
--If you are writing this in conjunction with the church, be clear on whether this is your material or theirs. For example, I wrote 2 curricula when I was DRE in Augusta, ME. I then refined them and sold them. I had acknowledged the support and contribution of the congregation, but was under no obligation to give them proceeds. Another curriculum I specifically wrote with my co-DRE, and split the proceeds with the congregation for several years. So, determine this arrangement before you start selling. I would suggest that you approach it as you being the author, and the congregation being the field test site. (And field testing is another whole subject.)
--This also related to "up fronting" the costs. The church or a grant might be willing to pay the initial printing costs, especially on an arrangement of your paying this back as sales come in.

PRESENTATION OF MATERIAL
There are various ways of presenting the material (3 hole punched with or without binders, spiral binding, backing, etc.) Why did you choose the method that you did for the curriculum?
I chose 3-hole punched, shrink wrapped for two reasons: economy of production and of mailing, and easy removal of pages for photocopying. It seems to have been well received in this form.
I think square binding is idiotic. It is the worst possible binding for a teacher who uses the book during a class. I use 3-hole binders so teachers can add materials, easily Xerox pages, or share sessions easily among teachers.

COPYRIGHT CONCERNS
Is your material copyrighted? How?
It will be filed with the copyright office later this summer when I file the forms
Yes Copyright symbol and word on title page
I file a copyright form on everything. It now costs $30 and takes about nine months to hear back from the feds.

Have you received permission to use material? What was the cost involved?
Yes What was the cost involved? No cost
I have never had to pay anyone yet, partly because I use very little material of other people. With only one exception, people have been very courteous about giving permission.

Has your material that you have created been used inappropriately, such as without permission?
In spite of the copyright, I found some of my illustrations used in someone else's curriculum - an experienced DRE who should have asked and acknowledged the source.