 So, in her 25-year career in health communication, she's specialized in social marketing, multicultural health communications, and specifically in Photonovella development and production, which you've all seen today. We've actually passed out some of the Photonovellas that she has helped to develop with the Ryan White program, and I actually have one more for you. So I'll pass that out in just a second. Let's see. She's one of the first health communications specialists in the United States to use Photonovellas as health education tools, and is the most experienced educational Photonovella producer in this country. So please give me a round of applause for Ms. Anamatea. It's going to go through the slides a little bit, and then I'm going to come down there with you. I'm not going to stay up here because it's hands-on, but, yeah. So thanks a lot for coming. I think this will be, hopefully, useful to you guys as we'll get roll up our sleeves. So you already saw these two slides. That's just an introduction, how to make a Photonovella. All right. So the first thing I want you to do, did you bring paper and pen? Yeah, because you're going to write stuff down. I don't know how you want to do this. If you want to work individually, if you want to work in a team, however you want to work, it's fine with me. And you can just decide. I mean, some of you came from the same organization, and you might have some ideas. Are the two interns here? Oh, hi. You and your friend, the young man, why did you develop a Photonovella here? Okay. All right. Well, I thought you would be here. So it doesn't matter. All right. So the first thing I want you to do is think about what is the problem you're trying to solve. Okay? I always like to look at it that way. It's like, yeah, you can start with, well, we're trying to educate people about dental, you know, dental care. But it'll get you closer to your messaging if you ask yourself the question of what is the problem you're trying to solve? Okay? And then the second thing I want you to do is define your audience. Who do you want to reach? And I want you to define your audience as specifically as possible. Okay? So try to avoid saying, oh, I just want to reach Latinos with diabetes information. I want to know more specifically. I want to reach Hispanic moms, you know, 40 to 55 who want to teach their children how to eat better or something like that, okay? So be very, very specific. And then zero in on your message. What do you want your audience to do as a result of reading the Photonovella? Okay? So let's start with those three questions. And then once you do that, I'll come around and I'll look over your shoulder and I'll talk to you about it. But for now, answer those three questions. And then we will reserve the writing, the educational objectives to after you answer those three questions. And you know, I'm going to ask you to share, I'll ask for volunteers to share. I don't know that we'll have time for everybody to share, but I'll ask for a few volunteers to share the answers to those three questions and then that way we can give you input based on what you do. Okay? So hopefully you all have paper and pencil or pen or computer. If you want, there's, I think you have Photonovellas, but there's some Photonovellas here too. If you want to see what inspires you, all right? So I'm going to give you, this is very quick, I'm going to give you 10 minutes to do this, okay? You better go quick. I want you to share and then we'll give you input based on that. You okay with that? No, I'm okay. Walk around the audience? Because I'm going to walk around. Okay. We'll maybe, huh? Because yeah. You know what? Do you mind? My voice is so funky. I don't want to. That way I don't have to raise my voice too much. Okay. It won't be very loud. Okay. Just to help a little bit. Excellent. So let's clip this. You want to put it on my belt? Okay. Thank you. All right. It's that. Ya está prendido. Oh, okay. Okay. So what you're doing is you're going to answer these three questions. You're going to pretend like you want to do a fotonovela. Okay. And so the first question is what is the problem you're trying to solve? Who's your audience and as specifically as you can define your audience as possible, not like just Hispanics or, you know, get down to age, you know, female, male, as much as you can. Okay. Who do you want to reach? And then what do you want them to do as a result of reading the fotonovela? So, yeah? Okay. And you can work individually or together or whatever. Yeah. Okay. I gave, I'm not like two minutes, but I have 10 minutes. You have 10 minutes to do it. So I'm walking around. So if you have any questions or if you want me to come to your table, just flag me down. Yeah. Okay. Okay. Okay. Okay. So the first is just choose one problem just for today's exercise. Right? Choose one problem you're trying to solve. So say you're saying that one of the problems we have on our campus is that our students drive when they've been drinking. So that's a problem. And we would like for them to stop, right? Or we would like for them to, you know, designate a driver. All right? So then, so that, you know, something like that, like just one problem you're trying to solve just for today, right? Because you're doing a 12-page fotonovela, you might be able to do three problems, right? But for today, you're just going to choose one problem. So what is the problem you're trying to solve? Or you're saying, okay, some of these kids are coming underage. They're not of age yet, yet they're drinking. So we're trying to cut down on underage drinking. That's a problem that we're trying to solve. And then by that, when you identify the problem, you get pretty close to defining your audience. So you're going, okay, we're going to target, say you know that it's higher among boys and girls. We're going to target boys under the age of 21. So then that's your target, right? Not to say that if you had 12 pages to do a fotonovela, you could say we're going to target boys and girls, but the more specific you are, the more successful you're going to be. Okay? So just remember that. And then zero in on your message. And, you know, your messages aren't going to be right on because you have to consult with your audience. So just pretend like you had a focus group interview and they gave you some information, you know, that kind of thing. And because you're just learning about the process right now. Okay? Does that answer your question? Yeah. Okay. Great. Just questions. One, two, three. You already did it? Okay. Good. Women in care. Okay. So the problem you're trying to solve is that a lot of pregnant women who are HIV positive stop their care, their treatment. They might not come in or they might not take their medication every day. Oh, okay. Because they have to take it every day as prescribed throughout their pregnancy so that they can have a very low viral load because that's one of the things that prevents the transmission. Uh-huh. Okay. All right. Okay. So your audience is perfect and it's HIV positive pregnant women under the age of or all child-bearing age. Carrying your message. Stay in medical care. Take medication to reduce viral load as possible. What's this? To become undetectable. Oh, oh, undetectable. In other words, you want that viral load to be so low that they can't detect it with a test. Okay. Okay. It uses transmission down to like 1% of the real. Okay. And then, but it's a two step because the other thing is after the child is born. Yeah. They have to be on medication first. The baby has to. Uh-huh. And so we want them to bring the baby in to see the doctor because they have to be tested also at a certain interval to be able to determine that he's undetected. A lot of mothers bring them for like the first appointments and then after that they never bring them back but they're never actually told your son did not become HIV positive. They just fall out of there. Yeah. Yeah. They just stop coming. And then, yeah. Okay. By the third test that the doctor does, they'll know if the baby's positive or not and sometimes the baby, I mean, the mom just won't bring him back. So they need to go three times? At least. But it's like two months, six months, you know. Right. Okay. There we're getting into the educational objectives. Okay. Right? So this is good. This is really good. What do we, and with this particular problem we would have, it would be a two, you know, it's not just one message. It's two messages. Yeah. This calls for a little, yeah. And we can talk about that a little bit more when you start thinking about, well, what do we have to do, you know? Like when you start, when we start with the educational objectives, this is very good. You're really on target here. The only thing that I would challenge you on is if you could zero in on the age group of women, you know, like, yeah. But child bearing age, you know, the message may be tailored different to an eight-year-old than to a 39-year-old, right? So, you know, so I would, but there's also a way to do that. But I would challenge you on that. I would challenge you on, say, HIV-pregnant women, you know, 18 to 25 or something like that. Then you could really zero in on that. Then you could do another little story for women because they're slightly different circumstances. Or, yeah. I mean, I would just challenge you. It's going to be easier to craft your message if you really control your audience. But, you know, you could have a longer fotonovela with three different audiences, right? And then we could talk about, remember that, did you go to the morning session? Remember, there's that sabido methodology that you have one person that's, right? So then, but you could, we could apply that later. You could go, okay, now apply that. Sabido methodology to this possible storyline. And you could, you know, I don't want to, yeah, three different characters, right? So, yeah. But this is very good. I might ask you to present that to the group. Okay. All right. Let me see if our time is up. Okay, you have about 13 seconds left on that. Okay. There. Okay. You can stop now. All right. What time do we have to wrap this up? Does anybody? 2.45. Okay. So we have an hour. All right. Okay. Very good. Now, I want volunteers to present their, their work on one, two, and three. But I would like to ask these colleagues to present it first because I actually looked over their shoulder and so this is an example. So, one of you share, what is the problem you are trying to solve in your audience? The audience will be brought in to the doctor at different intervals. So, we need, and they are also a measurement before the treatment. So, we need to talk to you that you're, that you're newborn, so you might not care about the treatment. Okay. Very good. That was, that was pretty succinct. Now, as you might know, they already started kind of to segue into the educational objectives. So, you're going to have good material there to segue into your educational objectives and we'll talk a little bit about that next. Okay. So, anyone else? Anyone else want to volunteer on their first, on their three steps for crit? Yes? Okay. Okay. Okay. Very good. Excellent. Now, again, in zeroing in on your message, one of the reasons to take this little formula and do it is that as you can see, again, you segue right into the educational objectives. So, it really helps to separate that out. So, it's the same kind of input that you've got a very well-defined audience except that is it all parents or is it Hispanic parents? Is it, can you zero in? Because, for example, in terms of your audience, because it has to do so much with food, culture is going to play a really big role in that. So, you, but when you're putting out a photo novella to get them possibly one of the cost to action is for them to come to the demonstrations, right? That would be one of the cost to action is you actually want them to come to the class. I would challenge you to think about who you would like, is it African-American folks that you want to target? Is it Hispanic folks? Or is it, I mean, you could say it's a neighbor, it's an African-American, kind of like the approach that we took in the Barbershop talk is that, you know, the reality is that we're in a multicultural environment, right? So, your neighbor could be African-American or Native American or Asian American. So, but zero in, so that way you don't have a whole conversation around, you know, so general, but if you had an African-American mom and a, you know, Hispanic dad, say, talking over the fence or whatever, they could say, oh my god, you know, my kids want to eat this all the time, and so they could, there could be a way to have a conversation around that, very specifically because, again, you want it to resonate with them, you don't want it to be so general, you want it to be specific, but you also got into educational objectives almost a little bit, but again, I want to make a case for writing really specific educational objectives because then that's what you're going to hang your story on, on those educational objectives. Otherwise, you will go so all over the barn, it will be like, you know, because then you start, especially when you start writing dialogue, right? All right, anyone else? Does that make sense? Does that input make sense to everybody? Yeah? Yes? The conversation comes up, like, you know, doing a healthy alternative, you're not going to do it if you don't see it first and you know that you like it, it's like you're not going to waste money, you're not going to waste your food stamps, you're going to get it on something that you know it's going to be something that your kids like, because it's usually that's what we have to give to a treat, so it's like a reward, because if you don't have money, you use food to reward at the time, so like that, like including that into the story, because I think that is part of the culture, even though it's not like the typical, stereotypical, like Mexican culture, it's like using rights and all that, but it's like those are the challenges that our families are facing, and like to reflect that in the story, I think it would really speak to a lot of the moms and why they don't do it, you know? Again, because we want you to involve your audience, you've just hit on an important mark, and that is we come up with these ideas, we went, you know, one, two, three, now, these questions, you take it to a focus group, you get a group of moms, you know, in the room, dads in the room, and you say, here's our idea, and so then you start leaning ideas from them, and start blending those ideas into what you're going to do, right, so that you can get based on the message, it's really important. You had a question, yeah? You want to share, all right, some, all right. I'll show them other ways to deal with problems besides shooting somebody or killing them, because someone, it's like he said, he said, Bob, no? Or, it's like when I, when people grew up in the neighborhood, you would think in the 90s, I don't know, in the 90s, in the harsh neighborhoods, it was like that, and you would think, when you were growing up, you would think that was cool, like, oh, it's cool to be with people, it's cool to do that, so they were thinking it was a good thing, so how I worked on moving to the neighborhood. I wouldn't try to do it without knowing that that's not the right way to do it. I lived there, I've done it before, and this is how you should deal with problems. We didn't get to the educational objectives quite yet. You guys got ahead of me. But we'll come back to that. But let me hear them anyway, because I have some input that might be redundant after so what did you come up with objectives? Just because you worked on it. Let's hear it, because I might send you back to the drawing board. Go ahead. There are other ways to deal with problems. The other ones are like, well, you're not alone out there in the streets doing this, but you think I'm by myself, I don't know how to do this, no one's going to help me do this. I'm going to have to learn it and deal with it myself. And we're trying to to know that you know we lived and done it. That's not the way to do it. And the third one was standing up is here to help you. We should help you. Call stand up, okay, so the call to action, which is really important. It's a call to action. It has to be very direct. It's call so-and-so at stand up or call stand up. Call this number. Stand up is here to help you. It's fine, but it's a very indirect message. So what you want, you want to get right into what you want them to do. Stand up is here to help you is not what you want them to do. What you want them to do is to call you or to go by or to go to a potluck to discuss, you know, neighborhood you know, shootings or whatever, you know, that's the call to action. It's really important that it be direct. But we'll get to that. We'll get to that. So the problem you were trying to solve is violence in neighborhoods, right? Specifically, shootings among teenagers. Great. Okay, so your audience is teenagers, black and Mexican teenagers who are resorting to gun violence, right? That's your audience. And your message, your general message, because we work on the educational objectives, is that there are alternative ways to solve a conflict, right? It's a very general message. But it's okay. It's a good start. There's choices. Now, one of the things that I would challenge you to do, and you probably know this already, and if you don't, you could go to the neighborhoods and you could have focus group interviews or discussions, listening sessions, call them whatever you want. But go talk to the people that you're trying to reach. And say, listen, we're trying to do this and this. You know, share what you just what, you know, why you've got to find out is it anger management? Is it what is at the root of that, right? I don't know. I'm not a violence expert. But you probably know, and your people probably know, what is at the root of it that you're trying to get to? You know, that is really important. There's got to be a specific is it territory? Is it what is it? You know, try to get down a little deeper and talk and have conversations about why are people getting so angry with each other that they're resorting to violence, you know? So that's, but we'll get to that. All right? Very good. Does that help? It's like, but we'll be holding on to the educational objectives because I'll come by and give you some pointers on how to write them. Because again, if you write your educational objectives very specifically, you will be able to write the story very specifically. You won't lose control of the story. Do you understand what I'm saying? Okay, one more. Yes. Decreasing what kind of Okay, got it. Yeah. Okay. Okay. Okay. Okay. That's good. I like that. Get tested, right? That's that's exactly what you want. One concept at a time. It's not that's good. That's really good. Yeah. All right. And we'll get to educational objectives with you as well. Okay. I'm going to go on to educational objectives so that we have time to, do you have any questions about this? Anything that is confusing or is it pretty clear that it's a step by step process? The other thing that I always do, like when I work with a client, I always develop and I challenge you to do the same thing. I always develop a concept paper and I write the questions and I write the answers because that's my map. That's my road map. I always develop or a creative brief if you will because then you have story ideas that come from this work. All right. Now the educational objectives. We could do a whole thing on educational objectives but just to be really brief, keep it really specific like list. That's an action list. Three things you can do to prevent passing the syphilis onto your baby. Define with you guys you're going to have to define there's going to be a concept in there that you have to define, right? Can I see that for a minute? Because you said that, for example this thing about this what is this? What is this? And then reduce this. Reduce the viral load. You're going to have to have a definition of what that is. Right? So one of your educational objectives is going to be reader will define viral load and then your challenge is to come up with a simple definition of that that can be understood by your audience and this is where dialogue is super great, right? Because one person could say one person could say but the viral load and then the other person could say what is that? Like I've never heard of that or whatever. Then there could be dialogue back and forth, right? So you're going to use some of your real estate and your fotonovela on defining what that is because you have to explain jargon. You can't just use a terminology that people don't know. So you have to define it and you have to define it really simply. In the story I highly recommend it and then in the didactic information. Lots of times the first inside cover will say what is viral load you know and you so that you could get at it in different ways, right? It's my old mentor used to say tell them what you're going to tell them and then tell them what you told them, right? Especially with something like that that has to be you have to revisit you have to build in repetition because if you don't you're going to lose that message. So building a repetition is really important when you're writing educational objectives. So define list explain. Explain is good if you're going to use this educational tool for processing. The reason you're going to use it is because you want to have small group discussions around around this issue then you can actually test that. You can test that your reader can explain it. If you're just leaving them it's really hard for them to explain, right? Because you need to be able to verify that they can do that through your field testing. So does that give you an idea? Try to use those very simple define list explain identify those kinds of words, okay? So now I want you each to write three educational objectives just three related to your first three steps and make them simple and make them easy to understand from your point of view, right? Because you're not just to be clear about sharing this information with your reader right now. Right now it's just you. You've got to identify these educational objectives because this is what you're going to base your story on. It's just for you to understand what you're doing. It's a tool for you. Alright, any questions? Alright, I'll give you five minutes. A call to action is an objective. You could say, reader will call reader. That's a coming around if anybody needs help with educational objectives. Anybody need help with educational objectives? You're good. Okay, alright. Sure. Yeah, it's smaller. It's the breakdown. Yeah, because your big goal is your message, right? This is what you're trying to solve who your audience and what your general message. And now the educational objectives are specifics so what's find a doctor. Yeah, reader will find a doctor. Yeah. Or a nurse practitioner. Remember, it has to do with what the photo novella is trying. What do you want it to do at the end of the day? So after reading a photo novella you want your reader to look up if you find a pediatrician. Yeah. Identify a doctor. List you know, list three ways that you can take, you know, like say for example, transportation is a problem. It's a barrier, right? You know, because you know about you've now done your homework on your people, right? You understand your people and but you know that these people are kind of low income. They don't, they live out in the country or something like that and they don't have transportation so finding a doctor is one objective but there might be a barrier like transportation. List three ways that you could find a, you know, go to the doctor and so then you might then have a creative dialogue between I but I don't know, I don't know how to, I don't have a ride and oh but you know, you could ask your neighbor who could you ask, you know, those are the things that you could start identifying how they're going to get to solve that problem, right? You understand that? To answer your question, yes, of course increase in knowledge is our overall objective is we want to increase in knowledge and we want to, you know, change attitudes and we want behavior change, right? That knowledge attitude behavior but that's in the big scheme of things right now you're trying to figure out what the photo novella is going to do and it's true like if you wanted to increase knowledge, like say you know you could say reader will explain why it's important for a baby to have a pediatrician you know, so yeah, you could do that but yeah, yeah, break it down yeah yeah, right? And so picture now a dialogue of, you know, two women talking and one of them says I have no idea where you are, where do I go and then you, the other person could say well, the way I found it is my aunt or my next door neighbor's a promotora or whatever and I got advice from other people and you know those kinds of things, I mean yeah, yeah, so but remember right now it's about the photo novella objectives. What you want the photo novella to do No, because see our company, our business model is that we're producers so we produce them and we deliver to you and then you distribute them so we're not publishers Yeah Yeah, yeah Yeah, exactly. If you didn't want to do it there's various ways you could like, you know, two ways one is, that's my timer go get it two ways is one with these two little ones I just consulted with them, they did it they produced it, I just consulted with them and you know I said well the dialogue's too long or whatever and then the third time they just asked us to do the whole thing but we feel tested with their people and they reviewed it, the kids reviewed it right, so they were very involved but we produced it and started to finish but these were produced here Yeah, does that answer your question? Yeah, yeah Alright, okay time's up, who wants to share who wants to share educational two educational objectives Alright we have a table over here, would you stand up and share two educational objectives for your Fotonovela, give us a quick rundown So we're going to do Okay, alright and the educational objective is Okay, okay Just switching from foods that are more rich in sugar to things that are better for diabetic Okay, alright, so your objective is number one you have to define blood sugar, right? That's number one objective so you have to write that down so reader will define blood sugar Good luck with that That's a big That's good, that's fine You can put in a definition a good simple definition This is what blood sugar is One of the most complex things you can explain but it's okay, you know it's good, it's good So that's define blood sugar and then you could say reader will list three ways that he could cut back on eating flour tortillas I would challenge you to do something like that rather than to give up a flour tortilla because, you know, like people from Sonora where I was raised man there like the people with the guns, right? They're going to take my tortilla sometimes that tortilla So I would challenge you to say the reader will list three ways that they could cut back on flour tortilla so that, you know it's incremental changes, right? If you get, you know, the guy that eats five flour tortillas is sitting to eat two flour tortillas and two corn tortillas in a day or something like that, you're doing good So what was the third area? Oh, the soda I would just stop there I would I would, I would, I would unless you're doing a long okay, right So then the next time is like he's already cut down on flour tortillas now, you know he could see his little you know, nine-year-old grandson guzzled down a Coke or something and that could be an inspiring thing for him, you know, something like that Okay, that's good, that's good But do you understand how very specific and, yeah, yeah, yeah Anybody else want to share an educational objective with a group? Yes Yeah, I think that would be too much Yeah, I'll give you an example We did some work for the National Diabetes Prevention Program and they have 16 16 curriculum lessons in their NDPP course and we developed 16 fotonovelas one on each of the topics that they did lessons, so, you know Yeah, well there's, yeah, one that is defined, well they, it's more like defined prediabetes, right and then one of the definitions of prediabetes is that if you get tested if your blood sugar is above in between like 100 and 100 I don't know what it is, 12 or 10 or something, then you're prediabetic so that's the way we did it, so it's really important to get in small chunks, right because reader fatigue see, that's the other thing too is like, now, you know, who knows these people may be reading at a very high literacy level who knows, right, but err on the side that they're not reading at a high literacy level because there's not that many people that are reading at high literacy level in the United States, right so I would challenge you to make it because people who have a hard time reading, they get tired of reading, so we're getting briefer and briefer in our fotonovelas because we realize that people don't get through the whole thing if it's too long right, so this is one of the reasons I love this little piece this is a really very nice little piece it's very succinct and it's just really, really great and you could have several of these to target who you're trying to reach with that specific information, do you understand because I, you know, believe me I've done fotonovelas that are 24 pages long that deal with, you know I've done it, you know, so it just doesn't work that well I think the more succinct focus you could be, the better so I hope that makes sense anyone else hasn't, yes this is something you ask your audience yeah, yeah when you were, you saw the digital format we did that, there's little tiny ones, you could do four frames you know, on a smartphone you could do that so that's a question for your audience I'm not the audience, you're not the audience and this is a mistake that we make we as educators are best intentions get us into trouble because we don't know, we're not the target audience you have to consult your audience, you have to even if it's five kids even if it's five kids here then go do your thing and then go show them to another five kids iterate that's really important to get the audience to give you input alright, I'm going to go on so that we can get through the agenda alright, so then you get the idea about this succinct educational objectives now this next thing it's a good segue conduct focus group interviews and share your concept so now you've got one, two, three and four you've got a little concept paper one idea, you're going to go out to the field and the ideal thing to do is to have three focus group interviews of eight people in each focus group interview eight to ten people in each focus group that's ideal, three but if you don't have money for three one is better than nothing right, if you don't have money for three two is better than one and I always like to do three because sometimes you get conflicting information from group one to group two they go group one like this message so if you have three, at least you can then triangulate literally and see what you can come up with so I always go for three but anything is better than not consulting your audience anything is better and then when you conduct your focus group interviews and you ask them questions like what's the main message and how can we improve there's lots of resources on how to conduct focus group interviews I think I even have some on my website but so you know look up how to conduct a good focus group interview it's readily available how to do that and again you know you're just trying to improve your work incrementally you're not going to do it perfectly but if you do some of it you're going to get better at it that's all I can tell you so when you take those four steps in your little concept you take it out to your audience you take it to the field you ask them store ask them like has this ever happened to anybody do you know of anyone that has gone through this kind of situation inevitably people will start sharing stories with you those are gold those little stories those little nuggets are like gold that's what you're looking for you're looking for those little treasures from people because now you're retelling a story it's not a story you made up it's a story that you found that wants to be told watch for language and expressions when I wrote and I wrote it you know with input from Charlene's team the barbershop talk I wrote a script and then we did a field test and I couldn't come for the field test we did it on the phone and the kids were awesome they were I told them you need to be honest with me okay so this language isn't working and like my language was so not working and they gave me all kinds of input and made the changes you know and it's you know I did it because my jokes were like old old jokes anyway but they were really good about checking you know reality check so that that's this watch language and expressions use expressions you know like fam I would never say it doesn't happen to you can't doesn't have to happen to you fam apparently the kids at San Antonio use that who knew but it's in there now alright so the other way that you can do this is if you have ideas you could either go and say well what are your ideas or you could create two or three ideas a little synopsis what about a story about Bertha and her you know sister-in-law who's 40 years old who's you know been in prison is HIV processive or whatever you know and like that what about this story about this what about this other story which one do you like better you know I usually give people because not always will people give you stories and then you have to go and say well here's three I thought of what about boom boom boom and then they go I know yeah yeah that happened to my neighbor or whatever so then you start looking for when it resonates when it peaks people's interest that's what you're starting to look for and then you ask it is it feasible are the one of the questions that I use in the field test is do you know characters like Javier have you ever met anyone like Javier if most of your people say no guess what you have to go back to the drawing board because it didn't resonate the character didn't resonate resonate I'm sounding like your former governor now um so it has to resonate um are they believable are they relatable are you how would you describe this story if they say inspiring you're on the right track so those are the kinds of questions that you need to ask when you go out to the field alright um alright so now we have a little time and I want to um I want you to come up with we already have an idea what the story is about but answer this question what is your story about who are the main characters where does it take place and again what do you want them to do what do you want the reader to do most of you have answered that question already the last one but again it has to be hammered in because it's so important so take a stab at it what's the story about who are the main characters where does it take place again um settings are very important right we decided we would set ours in a barber shop and you know that went they suggested that the kids suggested that and that's why we did it and so we chose a really cool looking barbershop that we could fool around with and uh but yeah so those three questions and I think we already covered what I want my reader to do so take ten minutes for that so just for a minute let me advance let me advance something just for a second do you remember this morning when we talked about sabi though methodology do you remember this I just I just want to I just want to get your attention for a minute when you're doing who are my characters remember what we talked about in the sabi though methodology that there's a person doing it right there's a person not doing it right for lack of a better word and then there's a transitional character those are three three ways that characters can inform your story so if you want to use that device for today use that and that's called the sabi though methodology okay sorry keep going the transitional character yeah he's the one that actually has learned from the other two characters and made a change lots of times the main character can be the transitional character right like in the barbershop talk one the two the two friends are sharing information with him he's coming he's coming with like whatever I don't need to use a condom but after he hears the stories right something happened to this guy and something happened to somebody this woman knew her cousin and so now that the middle the main character can go through a transformation and say okay you know what I guess I do have to worry about this I guess I will use condoms that's the transitional character the one that makes the change oh oh okay oh you are oh cool cool cool yeah there's a lot more to it you know I'm just kind of hitting on the little you know little nuggets oh yeah yeah yeah oh yeah that's cute like you could do a little strip or something an ongoing little strip do you know that there's a woman in a professor at the University of New Mexico State University in Las Guces and they're doing they're doing graphic narrative they're drawing their characters they're not doing photographs on legal briefs in in historietta format because legal briefs are so difficult to understand and even lawyers are using this method where they're actually in dialogue and they're educating lawyers on how to use this instead of all the narration in a legal brief do you believe that lawyers I mean they're the most verbose people on the planet anyway yeah yeah there's yeah it's real interesting there's a lot of cool research out there yeah because it before when I started it was just you know now there's research on it you know which is really exciting yeah all right anybody else mm-hmm but now so wouldn't yes they would yes that's perfect the only thing you have to worry about and I realize this really happened to you and it is in your family you don't want to frighten people so much you want to it's emotional arousal right it's an important process of change that's one of the ways that we're motivated to change is when you're emotionally aroused like I don't want that to happen to me what you don't want is you don't want it to be so disastrous like she loses her foot or she's in dialysis you know you don't want to take it that far in an educational material you want to put hope in there you can say my mom's you know my kidneys are failing or whatever and I went to the doctor and he said I had to make some changes and then she could share you know her story and then there's a transformation it's like any good story you want the character to be transformed some colleagues you know what's interesting is some colleagues in Las Cruces did one on diabetes and lo and behold they amputated the guy's leg right I'm like oh my god you guys he lost his leg I'm like they asked me to consult on the story but it was already done deal they had already amputated his leg there's not a darn thing I could do about it but you want to know something people liked it it kind of blew my mind anyway but just be careful because you don't want it to be so disastrous that you're going to shut people down right you can take emotional arousal to a point but not to the point where the guy's losing his leg you know please please you want to get them before dialysis okay alright let's see are we sorry about that alright oh okay anybody else have any questions nothing you're good alright are you ready to because we only have 10 minutes we have 10 minutes so I'm going to I'm going to ask who wants to share a synopsis who wants to share a synopsis no oh thank you the bravas here give them the three lives okay that's a second third one is I showed you how to do this mom with an older child that did everything right she found that she was she was pregnant she brought her baby to the doctor and everything worked out she tested as a native so those are the three terms where does it take place it's a founded family support group where this lady was pregnant and she was thinking positive and I don't know are you a specialist talk to her about the support for the family and she could bring her husband to the you know that's the life for all the kids and for the whole family so she came to the first meeting and then when the conversation came around to hit and they started talking this way when we started talking and that's how the H80 positive new mom a newly diagnosed mom where you know one anyway that's where she's getting her information from and that's where she's going to learn about all of this very good that's using the sabi the methodology yes very good very good I'm going to just for the interest of time because they said they wanted us to finish a little early I'm just going to go to the next thing which is you know this is very quick a very quick little overview of how you develop a photo novella but let me give you the format because the format for the dialogue I mean the format for a script what I usually do is I have you know the page across like that in a in a landscape landscape is this way right I get dyslexic with those landscape format and the first is the shot description and I number it I put number one shot description and I describe where they are and what they're doing the second number is dialogue and that's where your conversation is Maria says gee you know I just found out I was pregnant and the other one goes oh really right and so that's the dialogue that's the slot for the dialogue the set living room support group hall or whatever the props because you need to list the props you know you need to write down all the things that you're going to need if it's going to take place in the kitchen you know do you need pots you need some cafecito you need some cafe con leche you need so you list your props so you'll be nice and prepared and then some people draw a story storyboard we used to do storyboards when I started so many years ago she's 35 years ago I started but I don't do storyboards anymore but some people are really good at drawing and they think visually so this is really really good for people that think visually I think visually but I don't know how to draw for years it just doesn't come that easy for me but a storyboard is stick figures you know you got comadreselia here oh you know Lupita is by the stove and comadre is looking over her shoulder and you draw that in a stick figure so when you get to the shoot you gotta this is the way they do it in the movies right you got it all right there you know exactly what's happening I improvise a lot of the shots I'll just do the shot description the dialogue the set and the props and when I get into the kitchen I go okay I think this will work here here here there you know because I just do it because I've been doing it for so long but it takes the you know it take it make it easier and probably make you less nervous if you do some kind of a stick storyboard of what you know is happening in that frame okay so that's it that's the way I write the scripts so you know feel free to I think you're going to get this in your packet or whatever um all right so yeah so the sabido look up sabido methodology bandura social cognitive theory remember the first way the most effective way you learn is by going through the experience yourself but the second most effective is by watching somebody else go through the experience that's why for the novellas work because it's vicarious role modeling and they're very very good at role modeling and it's one of those things you can't do in a pamphlet you can't show you know a person doing exercise in a pamphlet because they talk to their you know neighbor that has diabetes now and is so inactive that you know he went into a diabetes or whatever right there's no but in a fotonovela you can show them walking you can show them making something healthy in the kitchen you can show them eating a salad or calabacitas or whatever so that's the bandura but do I do encourage you to to look these guys up and then um earlier I shared a reference there's a lot of applied research and graphic narrative and all you really have to do is google research and graphic narrative I was telling a colleague over here that there's a professor at NMSU in the business department of NMSU in Las Cruces that is they're doing fotonovelas well historietas right they're drawing they're not using photographs they're doing drawings like comic books to educate lawyers on how to do legal briefs in that format I mean right and these guys don't have trouble reading it's just that they have to read a lot and so doing this graphic narrative approach and they're learning role modeling watching to people to have a dialogue about a legal document a legal brief so even they're even using they're using this format you know they're using this so anyway that is it for today so tell me if you have any questions be happy to answer any questions yes I would set it up I would set it up the way we do it is we hire we hire you know but community people are great it's so much fun to do a fotonovela that you just need a good director someone that can tell people what to do right you need a bossy person to tell somebody what to do that's what you need and you need expressions and you need to so yeah I hire people to do it and I hire community people to do it all the time but you know there's ways I mean I suppose you could that would be a I've never done it that way you could try it you know get a bunch of pictures and see if you can create a story back up into it any other questions did that answer your question yeah okay any other questions you guys no alright well thank you