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
