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;
