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ОглавлениеIntroduction to the
Social Story™ 10.2 Tutorials
Welcome to the Social Story™ 10.2 Tutorials, your introductory guide to developing Social Stories™ according to the current 10.2 criteria. This chapter will help you learn the basics of the approach so that you can begin to write Social Stories™ for those in your care. As you know, I wrote the Stories in this book for students with autism. I also wrote the Stories with you in mind as well, to introduce you to the art of writing Social Stories™. I will be referring to them frequently as you read and complete each tutorial.
As defined in the introduction to this book, A Social Story™ accurately describes a context, skill, achievement, or concept according to 10 defining criteria. These criteria guide Story research, development, and implementation to ensure an overall patient and supportive quality, and a format, “voice”, content, and learning experience that is descriptive, meaningful, and physically, socially, and emotionally safe for the child, adolescent, or adult with autism. The criteria define what a Social Story™ is, and the process that researches, writes, and illustrates it.
In this chapter, the criteria are discussed in a series of ten tutorials. Work through them in sequence. Each tutorial opens with a brief definition of the criterion in italics, followed by a short discussion, activity and answers, and final notes. Answers are discussed in the text immediately following each activity. For this reason, complete each activity before reading further. It’s also important to read the closing notes of each tutorial. They are not always a simple summary. As titled, they are final notes. They may contain information not previously mentioned, or suggest an additional exercise. Finally, it is not necessary to complete all of the tutorials in one session. In fact, it may be preferable to spread them out a bit, perhaps completing one each evening.
The 10.2 criteria are titled to make them easy to memorize. This makes it possible for Authors to develop a Social Story™ without having to run for this book each time.
The 10.2 criteria are:
1. One Goal
2. Two-Part Discovery
3. Three Parts and a Title
4. FOURmat Makes It Mine
5. Five Factors Impact Voice and Vocabulary
6. Six Questions Guide Story Development
7. Seven Is About Sentences
8. A Gr-eight Formula
9. Nine to Refine
10. Ten Guides to Implementation
After completing each tutorial, try to list the titles of the criteria that you have completed from memory. By the time you finish this chapter I am confident that you will have them memorized!
In this chapter, the 10 criteria are discussed in a series of tutorials. Work through them in sequence. Each tutorial opens with a brief definition of the criterion in italics, followed by a short discussion, activity and answers, and final notes. Answers are discussed in the text immediately following each activity. For this reason, complete each activity before reading further. It’s also important to read the closing notes of each tutorial. They are not always a simple summary; as titled they are final notes and their content is varies. For example, the final notes of a tutorial may contain information not previously mentioned, or direct you to complete an additional activity. Finally, It is not necessary to complete all the tutorials in one session. In fact, it may be preferable to spread them out a bit, perhaps completing one each evening.
Relax and have fun as you learn to develop Social Stories according to the 10.2 criteria!
SOCIAL STORY™ VOCABULARY
First, it’s important to establish some basic Social Story™ vocabulary. This vocabulary is designed to save us time so that Authors (that’s you!) can efficiently focus on the task at hand:
Author: The Author is you, the person who researches and develops a Social Story™. The Author may also be someone else, or a team of parents and professionals. Authors adhere to ten criteria that define each Social Story™ and the process that creates it. Due to their specialized skills, Author is always capitalized.
Audience: The Author writes for a specific Audience. This is often a child, adolescent, or adult with autism. Each Social Story™ is developed with consideration of several individual factors, including but not limited to the age, gender, abilities, personality, preferences, and/or interests of the Audience. Audience is always capitalized when it is used in reference to Social Stories™.
Social Stories™: The definition of Social Stories™ appears in the second paragraph of this introduction. Any time the term Social Story™ is capitalized, it refers to a Social Story™ that meets all of the current 10.1 criteria. This distinguishes Social Stories™ from “social stories” (lower case) that may not meet the criteria. When the term is used in these tutorials, it refers to Social Stories™ and Social Articles™. Social Articles are the more advanced counterpart of Social Stories™. They are often written for students who are older or academically more advanced. Social Articles adhere to the same criteria as Social Stories.
Story: Any time the word Story is capitalized, I am referring to a Social Story™ that meets all the current criteria. This distinguishes Stories from stories (lower case) that may not meet the 10.2 criteria.
Team: The Team includes parents and professionals, all those working together on behalf of an individual with ASD. Due to the specialized nature of this group, and the unique issues that they encounter and address, Team is always capitalized.
ACTIVITY
It is likely that you’ve already had some experiences with Social Stories™. Maybe you have read one, written one, heard about one, seen one, or been in a room with one. I’ve developed a short exercise for you. Is this a Social Story™? Complete the activity first and then continue reading.
Introduction Activity: Is This a Social Story™?
Directions: Read the Story below. Is it a Social Story” Yes No
Many people write Social Stories™. You may want to learn how to write Social Stories™, too. Then you will be able to write Stories for the students in your classroom. You’ll have fun at the same time!
You may use the tutorials in this c hapter to learn about the ten criteria that distinguish Social Stories™ from other visual strategies. Work through each tutorial at your own pace. Have fun!
Answer: This is not a Social Story™. It contains errors that deviate from the ten criteria. Here are three of them:
Every Social Story™ has a title that represents the topic. In addition, Social Stories™ use sound story construction, using an introduction, body, and conclusion. This story does not have a title, and the delineation of an introduction, body, and conclusion is unclear.
Social Stories™ contain only first and/or third person statements. Second person statements never appear in a Social Story. This story contains several second person statements.
Social Stories™ are accurate and unassuming. Thus a phrase like, “You’ll have fun at the same time,” would not appear in a Social Story™. The phrase assumes the experience of the Audience; it is a guess that may or may not be true.
These are common errors. In my work, I have reviewed several stories that people refer to as “Social Stories™” that deviate from—or ignore altogether—many of the criteria. The term Social Stories™ is often used carelessly to refer to anything placed in writing for a person on the autism spectrum. As a result, there is a lot of misinformation that ultimately threatens the quality and safety of this important instructional tool.
To get a “feel” for this approach, randomly select a few Stories in this book. As you read them, note the title, introduction, body, and conclusion; the omission of second person statements, and the overall patient quality of each. The Stories in this book have additional characteristics in common as well. We’ll be discussing each of their shared characteristics in the following ten tutorials.
FINAL NOTES
I want to personally thank you for taking the time to learn more about Social Stories™. You are also helping to preserve the integrity and quality of this approach worldwide. I sincerely appreciate your efforts. In return, I will do my best to support you as you work to learn the art of researching and writing Social Stories™.
DEFINITION
The Goal of a Social Story is to share accurate information using a content, format, and voice that is descriptive, meaningful, and physically, socially, and emotionally safe for the intended Audience.
ACTIVITY
Unlike the other tutorials, this one opens with an activity. Complete the activity. Then, read the rest of the tutorial.
Criterion 1 Activity: The Goal
Directions: Reread the definition of the Goal. Answer this question:
Is the Goal of a Social Story™ to get the Audience to do what we want him /her to do? Check one: Yes No
Answer: The most common misconception is that the goal of a Social Story™ is to change Audience behavior. This has never been the case. The Social Story™ Goal is to share accurate information meaningfully and safely. Admittedly, it is often behavior that draws attention to a specific concept, skill, or situation. However, if our objective is simply to change behavior, we are likely to focus on “telling the child what to do.” Chances are the Audience has been told what to do—perhaps many times. Instead, our focus is on the underlying causes of frustration or misinformation. Authors work to identify and share information that supports more effective responses. The theory is that the improvement in behavior that is frequently credited to a Social Story™ is the result of improved understanding of events and expectations.
DISCUSSION
Every Social Story™ has an unfaltering respect for its Audience, regardless of the topic. Read the Story in this book titled, “Why People Take Baths or Showers.” Many parents and professionals have difficulty helping the children, adolescents, or adults in their care understand the importance of personal hygiene. This Story addresses that topic with careful phrasing. Third person statements describe the importance of bathing in general, without pointing an accusing finger at the Audience. Also, the Story incorporates historical facts and a bit of humor to make the content interesting and fun. Other Stories in this book use similar strategies; all geared at sharing information accurately, respectfully, meaningfully, and safely.
The safety of a Story is an Author’s first concern. In terms of physical safety, consider the following example. A mom writes a story for her son, Harrison, about swimming at the beach. She includes a photo of Harrison in the water. There is no one else in the photo. Dad was right next to the child when the photo was taken, although he was out of the range of the viewfinder. A typical child immediately interprets the photo in terms of its context, i.e. “That’s when Dad and I were swimming together at the beach …” In contrast, from Harrison’s perspective, the photo may give permission to swim alone, even though that is certainly not his mother’s intent. To be discussed later, Authors of Social Stories™ work to develop text and illustration that is clear and accurate for the Audience. This supports meaningful comprehension of the Story and, as illustrated in this example, works to protect physical safety.
Social safety is equally important. Mrs. Barnes, a first grade teacher, writes a story for Adam, age six. She includes statements about her class: “We’re all friends here. Friends cooperate with friends.” Adam reads the story and goes out to recess. Two “friends” from his class approach him and tell him to pull down his pants. Working from the information in the story, that these two classmates are friends and friends cooperate with one another, Adam complies with their request. He’s confused as they turn, laughing, and walk away. Adam’s story was inaccurate. Classmates in a classroom are not all friends. Mrs. Barnes did not write a Social Story™. With all good and noble intentions, she wrote a socially unsafe story.
In my experience, the most frequent Author mistakes are statements in a story that threaten emotional safety. Here are some examples from the story archives: “I often interrupt;” “Sometimes, I hit other children;” and, “I often don’t listen when people are talking to me, and that’s rude.” To be discussed in greater detail later when I describe the 5th criterion, self-depreciating statements, or negative references to the Audience, are not allowed in a Social Story™. They threaten self-esteem in the immediate sense, without providing the Audience with any information about alternative responses, and the rationale behind them. In addition, using the Audience voice—i.e. first person statements—in reference to negative behavior models the use of self-depreciating statements, and is at the same time, disrespectful of the Audience.
FINAL NOTES
The Goal is important to every Social Story™ and represents all of the remaining criteria. The 2nd, 3rd, and 4th criteria refer to the process of researching, developing, and implementing a Story with sound Story content, construction, and a meaningful format. The voice of every Story is defined by the 5th criteria, and is directly related to its characteristic patient and reassuring quality. The descriptive quality of every Social Story™ is the focus of the 6th, 7th, and 8th criteria. The 9th criterion requires Authors to check their work and seek feedback to ensure Story quality prior to implementation. Finally, the 10th criterion ensures that the process that carefully researches and develops every Story is reflected in its implementation. In the remaining Tutorials, each of these criteria will be discussed in more detail.
The 2nd Criterion: Two-Step Discovery
DEFINITION
Keeping the Goal in mind, Authors gather relevant information to 1) improve their understanding of the Audience in relation to a situation, skill, or concept, and/or 2) identify the specific topic(s) and type(s) of information to share in the Story.
DISCUSSION
There are two parts to this criterion, both rooted in Story information. First, Authors gather information to (ideally) discover a specific Social Story™ topic or an alternate solution. (Sometimes, in the process of gathering information an Author discovers a solution that does not require a Social Story™.) Information in hand a Story topic is identified.
The 2nd Criterion is frequently dismissed or overlooked. Many Authors fail to realize how this criterion can make the difference between an ineffective story and one that “hits the nail on the head.” Among the ten criteria, this is the “lead domino” that contributes to Story quality early in the writing process. It has a direct impact on an Author’s subsequent efforts.
GATHER INFORMATION
The original rationale for Social Stories™—now increasingly supported by first-hand accounts and research—is that a child or adult with autism may frequently perceive daily experiences differently. This requires Authors to “abandon all assumptions”. Authors consider how a situation may look, feel, smell, or sound like to the Audience, or how a concept may be perceived, understood, and/or processed. The objective is to use any and every source of information that will improve understanding of the Audience in relation to the general topic area.
It is important to gather information before identifying a specific topic. Authors begin with a general targeted situation or topic area, gather information, and then discover the specific topic and Story focus within it. Getting the sequence right on this one –gathering information first prior to identification of a specific topic or title—saves Author time and Audience frustration.
There are several sources of information. Of course, some of them are more relevant in some cases than others. It’s important to consult with others who have knowledge or experience with the Audience and/or the general topic or situation. Regardless of the topic or circumstances, Authors must consult with parents or caregivers prior to developing a story. Parents and caregivers have a rare expertise, a long-term relationship with the Audience and varied and numerous experiences. The bottom line is that they know the Audience better than anyone, providing insights that others may overlook, as well as unique details. Their input often brings a Story project into sharp focus.
Observation is also an important source of information. At least two observations are required. The first is from a third-person “fly on the wall” perspective to gather information about the relevant cues that define a situation or concept. The second observation places the Author in the middle of the action where the situation or concept is continually considered in terms of Audience perception, cognition, personality, and his/her previous experience.
In addition to Team consultation and observation, there are many other possible sources of information. For example, an Author may record objective data to understand a puzzling Audience response. An Internet search may yield helpful information. In my office I have a set of fifteen dictionaries geared to a variety of ages and abilities. I don’t need to spend time groping for the right word, or how to describe the meaning of a given term to my Audience. They are invaluable in helping me as I define the topic and throughout the process of writing the story.
IDENTIFYING A SPECIFIC TOPIC
A topic is often discovered as information is collected. This is called topic discovery and is preferable to an Author’s best guesses. When a topic is discovered, the roots of Audience confusion, misinformation, or challenge become readily apparent and the specific topic is obvious. In contrast, best guess topics—while based upon the information that has been gathered—are a hit-or-miss speculation. For example, Andrew, a student in Mrs. Clark’s first grade class, struggled in math. Only once had he raised his hand for help. I was curious as to why Andrew had given up on the hand-raising process. I decided to try drawing a picture with Andrew to learn more. We drew about what happened when he had raised his hand on that one occasion. While doing so, Andrew said, “I’m never going to raise my hand again. My teacher doesn’t know anything about math.” I asked why he felt that way. “Well, I raised my hand. Mrs. Clark came over and said, ‘OK Andrew, what’s the first number?’ Mrs. Gray, she doesn’t even know her numbers!” The Story topics became clear. I wrote two of them. One described what his teacher knows. It included copies of her diploma and first grade math assignments that she completed. The second Story explained why teachers ask questions when they already know the answers. Immediately after reading both Stories, Andrew began raising his hand once again. Discovered topics are great. In my experience they tailor Author efforts early in the story process and result in Stories that are often immediately effective.
A final important note about topics: Fifty percent (50%) of all Social Stories™ must applaud what the Audience is doing well. In this book, the Story, “Using ‘Excuse Me’ to move through a crowd” is an example. The rationale is simple. Given that Social Stories™ are helpful in teaching new concepts and skills, they may also be just as powerful in adding meaning and detail to praise. What a wonderful way to build self-esteem! The same criteria apply to Stories that praise, as they do to other Stories, including the requirement to gather information. If Authors only write stories that describe challenging situations, concepts, or skills, they are ignoring an important and required part of the writing process. They are not writing Social Stories™.
ACTIVITY
Criterion 2 Activity: Two-Step Discovery
Directions: Read each passage below. Is it TRUE (T) or FALSE (F)?
1. A Story topic is like a sewing pattern. When writing a Social Story, start with the topic.
T F
2. Some Social Story topics are discovered; others are an Author’s “best guess.”
T F
3. In the process of gathering information for a Social Story, an Author may discover an alternate solution where no Story is needed.
T F
Answer: Two-Step Discovery underscores the importance of carefully gathering quality information prior to identification of a topic, which makes the first statement FALSE. The second statement is TRUE. While we would love to be able to discover the very best Story topic each and every time, Authors often have to sit down, review the information that they have gathered, and make the best guess. The final statement is TRUE. Authors may discover the nature of a problem or concern and its counterpart solution simultaneously. No Story required.
FINAL NOTES
Compared to many of the other Social Story Criteria, the 2nd Criterion is a relative newcomer. It was introduced in 2010 when the original ten Social Story Criteria (Social Stories 10.0) were revised and reorganized to include the processes that create and implement each Story document. In the short time since its introduction, it has quickly gained prominence and detail. This is because it represents a critical first step that is all too often a missed or miss-step. In each Social Story 10.2 workshop there is a quote that aptly summarizes the role and contribution of the 2nd Criterion: Get this right and the Story will almost write itself.
The 3rd Criterion: Three Parts and a Title
DEFINITION
A Social Story/Article has a title and introduction that clearly identifies the topic, a body that adds detail, and a conclusion that reinforces and summarizes the information.
DISCUSSION
Similar to all good stories, Social Stories™ have roots in sound structure and organization: a title and introduction; a body; and a conclusion. When we recognize the purpose of a Social Story™ and its unique Audience, these “story basics” take on increased importance. Select two or three Stories in this book to review, and note how each includes these important story elements.
Writing with the introduction, body, and conclusion in mind helps Authors efficiently identify (introduction), describe (body), and reinforce (conclusion) the most important concepts in a Social Story™. The introduction focuses attention on the first challenge: clearly stating the topic. A single sentence may complete the task: “If I lose a toy, people can help.” Sometimes, we may recruit the child’s attention first, “My name is Jeremy,” and then announce the topic. The body immediately follows the introduction, adding further description and/or explanation with statements like, “Mom or Dad knows how to find my toy. We will try to think and look.” The conclusion refers us back to the beginning— the concepts, situations, and/or achievements that initiated the Story. It restates the original purpose with the benefit of additional information, “People can help me look for my toy.” Collectively, the introduction, body, and conclusion guide the development of Social Stories™ regardless of their complexity or length.
In addition to organizing and sequencing our thoughts while writing a Story, the structure provided by the title, introduction, body, and conclusion clarifies information for our Audience. For any child, knowing what a Story is about first (the title and introduction) provides a frame where all subsequent details (the body) can be placed. As the Story draws to a close, important details can be reinforced and in some cases, personalized to the child’s experience (the conclusion). The same is true of Social Stories™, with one difference. The Audience has an inherent difficulty conceptualizing, sequencing, “getting the gist” or the bigger picture, and applying information to their own experience. This increases the critical role of clear organization within each Story.
ACTIVITY
Answer: In order to have a clear and meaningful introduction, body, and conclusion, a Social Story™ has a minimum of three sentences … The title, of course, doesn’t count.
FINAL NOTES
Before moving on stop a moment and try to recite the first three criteria. Yes, now—before reading a word further. They are: One Goal, Two-Part Discovery, and Three Parts and a Title. To this point, we’ve discussed the Goal, and explored what is meant by Two-Step Discovery. We’ve also covered basic story structure, and why every Social Story™ has Three Parts & a Title. “FOURmat Makes it Mine!” is next!
Criterion 3 Activity: Three Parts and a Title
Directions: Considering the 3rd Criterion, complete the sentence below:
A Social Story™ must have a minimum of sentences.
The 4th Criterion: FOURmat Makes It Mine!
DEFINITION
The Social Story™ format is tailored to the individual abilities, attention span, learning style and—whenever possible—talents and/or interests of its Audience.
DISCUSSION
In a Social Story™, format refers to the individualization, organization and presentation of text and illustration. There are several ways to tailor text and illustration to the needs of the Audience. Several individualized factors are considered, including the length of the Story, sentence structure, vocabulary, font and font size, tailoring to Audience talents and/or interests, and the organization of the text and illustration. The art and science of every Social Story™ is selecting format elements that are most likely to be meaningful for the Audience. In other words, format is developed from an understanding of the Audience, so that in turn it may help the Audience understand.
AGE AND ABILITY
The age and ability of an Audience is central to Story format. For a younger child, the time required to peruse each page—or an entire Story—needs to be brief! Generally, a Social Story™ for a young child will contain 3-12 short sentences. In addition, eliminating commas to create two or more shorter sentences is recommended. This matches the duration of many of their other interactions and activities throughout the day. Shorter Stories are challenging to write. A struggle often ensues between the opposing goals of covering the topic and keeping the Story brief. A good solution is to “write everything down” first, then edit the text back to the desired length.
Sometimes, a topic will be impossible to cover in a short Story. To meet the demands of the topic and respect the attention of the child, information can be broken down into two or more shorter Stories. Called Social Story Sets, this format limits the length of each Story while making it possible to include important details and link concepts.
Longer Stories are often more suitable for older or more advanced Audiences. These Stories will contain twelve sentences or more—up to and including extensive Social Articles. Considering the unique and complex topics that often accompany increased age and skill, having more time to explain the “ins and outs” that are involved is a welcome and necessary freedom! In this case “25 words or less” isn’t desirable or necessary; covering the topic takes a higher priority.
REPETITION, RHYTHM, AND RHYME
Repetition, rhythm, and rhyme may be an excellent match for an Audience who thrives on routines and predictability. These elements can hold attention as well as infuse familiarity into a new or difficult topic. For these reasons, many Social Stories™ use rhythmic and repetitive phrasing: “On the playground, I may play on the swings, I may play on the slide, I may play on the monkey bars, or I may play with something else.” Rhyme is often overlooked as Stories are developed, despite the important role that it can play. Rhyme does not have to be used throughout a Story to be effective; it may be used to emphasize just one idea. For example, “Feeling angry is okay; it’s important what I do and say.” Despite the potential benefits of incorporating repetition, rhythm, and/or rhyme into a Story, it’s important to consider Audience preference as well. Some Audiences may regard these elements as “babyish,” and thus insulting. This brings up an important rule of thumb: Never risk insulting the Audience.
TALENTS AND INTERESTS
As readers, we all choose to read those books that are in line with our interests and abilities. Few of us want to read information that is very difficult or hard to understand. It’s frustrating, uninteresting, and … it puts us to sleep. It’s important for Authors to keep in mind that “social” is their most frequent topic, and it is a topic that is exceedingly difficult for the Audience. For this reason, anything that the Authors can do to make the information interesting and fun increases the likelihood that a Story will be effective.
Many of the other Criteria ensure that information is individualized to Audience needs and ability. The 4th Criterion personalizes a Story with consideration of Audience experiences, important relationships, interests, and preferences in the development of content, text, illustration, and format. Also included are highly creative elements that reflect—and in some cases demonstrate—story content. These increase Audience enthusiasm for a Story as well as comprehension and potential ownership of concepts and information. The inclusion of these will also increase the likelihood for generalization of concepts and skills.
It is the consideration of Audience talents and interests that often results in memorable ‘museum quality’ Stories. One grandmother embroidered a Social Story™ about what love means on a quilt for her grandson’s bed. A mother pasted a Social Story™ about buying new shoes on the top of a shoe box, placing photos of the exact shoes her child would try on in the box (taken the day before with a digital camera and the store manager’s permission). For a child with an interest in the United States Postal System, Stories arrived via the mail, in interesting containers with postmarks from new locations. One teacher cuts the pages of every Story into a representative shape, for example, a Story about lunch cut in the shape of a lunch box. Frustrated by the behavior of an entire classroom, a music teacher wrote a Story that identified the rules, and then set it to music to open each lesson. Hopefully, these ideas will inspire you about the potential for building additional meaning and fun into Social Stories™.
In terms of creativity, careful consideration is the rule. Be cautious with creativity; never sacrifice Story meaning or safety for an over-the-top idea. What seems fun and cute may be confusing or even frightening to a specific Audience. Think of the Audience and how the idea may be perceived or understood. If it’s risky, don’t do it.
On the positive side, creativity with cautious restraint results in Stories that captivate the Audience and promote learning. With a balance of creativity and caution, the 4th Criterion can be the difference between a story that is read by the Audience and tossed aside, and a Social Story™ that is taken to bed.
ILLUSTRATION
Illustration plays a critical role in many Social Stories™. For our purposes here, illustration refers to the use of visual arts to support the meaning of text. Illustration options include but are not limited to: actual objects; photos; video; drawings; PowerPoint®; figures; charts; and diagrams. The most effective illustrations highlight and summarize information, captivate interest, and improve Audience comprehension.
Authors are as cautious with illustration as they are with text. They look for anything that may mislead or confuse the Audience. If a child makes frequent literal interpretations of words and statements, he/she may do the same with illustrations. For example, Thomas has a toileting Story. It contains plenty of eye-catching color and detail. Throughout the story, Thomas wears a crayon-yellow shirt and bright blue pants. In the Story, the bathroom has two small, symmetrical windows. Thomas concludes with some relief that should he ever get a yellow shirt and find himself in a bathroom with two small symmetrical windows, he may be asked to try to use the toilet. Imagine his distress with those who ask him to use a toilet without those factors in place! Thomas’ literal interpretations of illustrations will not be an issue for all children. For Thomas, though, minimizing the use of color or extensive detail in the illustrations may reduce the likelihood of misinterpretation.
Photographs are often used to illustrate a Social Story™. The benefit of photographs is that 1) they may hold meaning for a child where drawings have failed, 2) they are accurate, and 3) they are fast and easy to create, particularly if digital cameras are used. However, a photo may be too accurate. The Audience may assign irrelevant meaning to extraneous detail. Photographs work best when the subject is clear, and the background is free of competing detail. Black and white photographs may be helpful, as they contain interesting subject details and minimize extraneous factors (color, for example). In addition, circling important details on a photograph can help to focus Audience participation on the most relevant aspects of an illustration.
Several factors determine the selection of illustrations for a Social Story™. Similar to choosing effective and meaningful text, it is equally important to match illustrations to a child’s ability and interests. For example:
1. Does the Audience have the prerequisite skills to use this form of illustration?
2. Will the Audience understand the representational meaning of a simple drawing?
3. Would a chart or a graph “work harder” with this content, and would the Audience understand its meaning?
4. Has the Audience previously demonstrated interest in this type of illustration?
5. Has this method of illustration captured this child’s attention in the past?
6. Would a combination of two or more forms of illustration work best with this Audience?
When Authors keep several illustration options in mind and consider the questions listed above; they will be able to select a method of illustration that will match the learning profile of the Audience.
ACTIVITY
Criterion 4 Activity: FOURmat Makes It Mine!
Select a Story from this book for someone you know. Using the individual factors listed in the discussion of this criterion as a guide (age and ability repetition, rhythm, and rhyme; talents and interests; and illustration preferences), list ideas to tailor the text and illustration to your Audience.
FINAL NOTES
The 4th Criterion of the Social Story™ 10.2 Criteria is like Texas in the United States. It’s big. There are many possible format factors and variations, countless ways that an Author can improve the odds of effectively reaching the Audience. Creative Authors will discover as they translate each new topic into a meaningful format that despite the required adherence to 10 criteria, writing Social Stories™ holds unlimited possibilities. The best Authors understand this potential and discover something new about the approach with every Story that they write.
The 5th Criterion: Five Factors Define Voice and Vocabulary
DEFINITION
A Social Story™ has a patient and supportive voice and vocabulary that is defined by five factors. They are:
1. 1st or 3rd person perspective;
2. Positive & patient tone;
3. Past, present, or future tense;
4. Literally accurate; and
5. Accurate meaning.
DISCUSSION
The 4th Criterion tailors Story format to the Audience. The 5th Criterion gives additional detail and picks up where the 4th Criterion leaves off with five factors to define Story voice and vocabulary. Working together, these factors result in the characteristic safe, patient and reassuring quality that distinguish Social Stories™ from social scripts and other similar visual strategies.
1. FIRST- OR THIRD-PERSON PERSPECTIVE STATEMENTS
Selecting an effective perspective from which to share the information in a Social Story™ is important, and pre-requisite to placing any words on paper. A few factors impact this decision and ultimately determine the Story’s voice.
Many Social Stories™ are written in a first person voice, as though the Audience is describing the situation, event, or concept. Writing from this perspective, a Story will often contain both first and third person sentences. Presenting information from an Audience vantage point increases Author responsibility. Authors take extra care to make sure that they do not “put words into the mouth” of the Audience, or presume to make an uninformed guess regarding the Audience perspective of the situation. For example, statements like, “I will like eating lunch at recess,” are presumptuous, potentially inaccurate, and unsuitable for placement in a Social Story™.
