Interactivity

ETL533 Assessment 4: Part D – Critical Reflection

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My understanding of digital literature has grown significantly over the last few months. From my early definitions to the creation of my own narrative, I’ve gained a solid understanding of what digital literature is, why it’s beneficial and how it can be implemented to support my school.

My preliminary definitions of digital literature focused on the distinction between the digital and the digitised (Lysaught, 2022, July 19; Lysaught, 2022, July 25). As my research progressed I consolidated these distinctions by combining Unsworth’s (2006, p.2-3) and Allan’s (2017, p.22-23) categories (Lysaught, 2022, August 7). Like my peers (Curtis, 2022, July 19), I believe digital literature should be quality and meet community needs, which led me to consider what makes quality digital literature (Lysaught, 2022, August 14) and to design my own evaluation criteria where I determined three key aspects: multimodality, interactivity, and connectivity (Lysaught, 2022, August 28). Self-evaluations and peer feedback reveals – despite the amateur multimodal features – mine’s an effective, quality text suitable for its intended purpose and audience:

Evaluation of The Shakespeare Chronicles

However, defining digital literature is arguably less important to teacher-librarians than understanding how to incorporate it effectively. Digital literature provides exciting opportunities to move students from passive consumers to active creators of content  (Morra, 2013, para.2; Kitson, 2017, p.66), and as new technologies and communication tools emerge, students require new literacies to ensure they’re critically consuming and ethically creating texts (Walker et al., 2010, p.214-216; Kearney, 2011, p.169; Leu, 2011, p.6-8; Mills & Levido, 2011, p.80-81, 89; Leu et al., 2015, p.139-140; Serafini et al., 2015, p.23; Combes, 2016, p.4). In 2009 students spent an average four hours a day online (Weigel, 2009, p.38); by 2015 US teens consumed between 6-9 hours of media a day (Common Sense Media, 2015, para.6), while Australian teens now spend an average of 14.4 hours a week online (eSafety Commissioner, 2021, p.4). Digital literature therefore harnesses our students’ preferences and familiarity with technological platforms (Figueiredo & Bidarra, 2015, p.323; Skaines, 2010, p.100-104; Stepanic, 2022, p.2; Weigel, 2009, P.38). Digital literature incorporating interactivity, multimodality, and connectivity can develop ‘nöogenic narratives’ wherein personal growth is achieved by viewing our lives as a story (Hall, 2012, p.97), a key element of the English syllabus (NSW Standards Authority, 2019, p.10). Research shows that educators can exploit digital narratives to create meaningful and authentic learning opportunities for students to create personal and academic growth (Bjørgen, 2010, p.171-172; Dockter et al., 2010, p.419; Hall, 2012, p.99; Reid, 2013, p.38-41; Smeda et al., 2014, p.19; Sukovic, 2014, p.222-226).

However, educators must carefully consider the purpose of integrating digital narratives into their programmes. While research reveals digital texts’ benefits supporting young, emerging, or struggling readers and developing transliteracy (Tackvic, 2012, p.428; Cahill & McGill-Franzen, 2013, p.32-33; Matthews, 2014, p.29; McGeehan et al., 2018, p.58), others raise issues regarding reading comprehension, retention, and attention (Cull, 2011, para.35-38; Goodwin, 2013, p.79; Jabr, 2013, p.5-30; McGuire, 2015, para.30-35). Technology should be used as a meaningful tool, not just as a gimmick. Monsen (2016) explored the idea that we are “quintessentially cyborgs” due to the symbiotic relationship between humanity and technology. My research into digital learning frameworks such as the SAMR model (Lysaught, 2022, August 6) revealed that effective implementation of technology should not replace, but co-exist with and supplement existing print literacies. Printed choose-your-own-adventure narratives arguably improve literacy (Chooseco & Hofmann, 2016, para. 8-9) and can be updated using digital features to form powerful digital texts (Farber, 2015, para.1-2). Thus, my own digital narrative was designed as an immersive, interactive, multimodal resource to develop students’ understanding of life in Shakespearean England while supplementing traditional print resources and online information sources.

Throughout ETL533 I have examined how I currently incorporate digital literature into our school and considered ways to increase this in future (Lysaught, 2022, July 31; Lysaught, 2022, August 7; Lysaught, 2022, August 13). As discussed with my peers (Macey, 2022, September 24; Barnett, 2022, September 27; Facey, 2022, September 29) difficulties arise surrounding cost-effectiveness, storage, access, and user preferences that often impede digital literature’s success in schools. Despite these challenges, after creating my own digital narrative I strongly believe that student-created digital texts can enhance their own learning and connections to content, and integrate well with Guided Inquiry units and literary learning (Lysaught, 2022, January 27; Lysaught, 2022, August 14; Lysaught, 2022, September 3; Lysaught, 2022, September 16). Peer feedback also supports this (Lysaught, 2022, September 3). Due to this unit I am more aware of my students’ discussions around digital literature (Lysaught, 2022, July 25; Lysaught, 2022, August 28), revealing these are powerful texts with which students are already engaging. Literature in digital environments allows teacher-librarians to show our value to our school community, as we can support time-poor staff as they include more captivating, rich resources and utilise digital narratives to support our students with various interests and literacy needs.

 

 

Word count: 806

Reference list: https://thinkspace.csu.edu.au/allyoureadislove/2022/10/04/etl533-assessment-4-reference-list/

ETL533 Assessment 4: Part A – Context For Digital Storytelling Project

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The Shakespeare Chronicles is a digital choose-your-own-adventure narrative created using Canva. Also known as a pick-a-path story or a gamebook, these narratives were popular during the 1980s due to their interactivity and appearance of choice for children who otherwise lacked agency (Hendrix, 2011, para.29; Jamison, 2022, para.4). Falling out of favour due to the rise of video games in the 90s (Jamison, 2022, para.46), these printed narratives can be updated for new audiences and technologies in our electronic age by incorporating the digital features which once superseded them (Stuart, 2011, para.1-2; Figueiredo & Bidarra, 2015, p.330).

The Shakespeare Chronicles was designed to support EHS’s Year 7 English Guided Inquiry Design unit ‘Shakespeare’s Bawdy Mouth’. It can also be used to support revision for Stage 5 and 6 English students studying a variety of Shakespeare’s plays. In this narrative, students follow the adventures of an actor in Shakespeare’s theatre company. They are presented with choices to guide the narrative and learn about life in Shakespeare’s time. Utilising interactivity, multimodality, and connectivity – key elements of quality digital literature (Lysaught, 2022, August 28) – it supports students as they explore the following questions:

  1. How different or similar are our experiences to peoples’ experiences in Shakespeare’s time?
  2. Why is Shakespeare considered a significant composer?
  3. How can understanding Shakespeare’s works and the experiences of people living during his lifetime help us understand ourselves and our world?

Due to its historical focus, stage-appropriate language features and dual function as a research pathfinder, this resource allows teachers to meet multiple English and History outcomes, while the inclusion of ICT and the cause-and-effect nature of this interactive narrative allows staff to link to a number of General Capabilities:

This digital narrative taps into what Figueiredo and Bidarra (2015, p.324) call the ‘ludic’ or game-based learning model and draws on students’ predilections towards digital, interactive media (Figueiredo & Bidarra, 2015, p.323; Skaines, 2010, p.100-104; Stepanic, 2022, p.2; Weigel, 2009, P.38). Introduced in the Immerse inquiry stage as a resource to assist student engagement and build background knowledge (Kuhlthau  et al., 2012, p.61-66, 70; Maniotes, 2017, p.8), its secondary purpose as a research pathfinder supports students as they move into the Explore, Identify and Gather stages of Guided Inquiry (Kuhlthau  et al., 2012, p.75-82, 93-98, 109-116; Maniotes, 2017, p.8-9).

Currently the summative assessment for this unit requires students to produce three diary entries from the perspective of someone living during Shakespeare’s time, to be viewed and marked by a teacher. The Shakespeare Chronicles provides a model for students to create their own digital narrative, supporting their digital literacy and social development in interesting and relevant ways with an authentic audience of peers to promote engagement (Dockter et al., 2010, p.419-420; Weigel, 2009, p.40). Multimodal aspects build understanding of life during Shakespeare’s time, supporting students’ use of visual and auditory imagery in their own writing and moving students from consumers to creators of content – a key element of digital literature (Morra, 2013, para.2; Kitson, 2017, p.66).

In designing this resource, I considered the questions posed by Reid (2013, p.41) to ensure my community’s learning needs were being met. EHS is a comprehensive, co-educational public school in South-West Sydney. Enrolments increased 10% in the 2016-2020 period, though decreased in 2021 (Australian Curriculum, Assessment and Reporting Authority [ACARA], 2021a). New housing developments changing our catchment demographics lowered our ICSEA score from 1017 in 2014 to 995 in 2021 (ACARA, 2021a). NAPLAN results are below average (ACARA, 2021b) while Sentral data shows increasing disengagement, with suspensions increasing 96.6% and expulsions 600% since 2014 (Sentral, 2021).

This digital narrative engages students visually and emotionally with the experiences of past people, supporting a variety of literacy needs and growing student independence (Foley, 2012, p.8; Cahill & McGill-Franzen, 2013, p.33, 35-36; Chooseco & Hoffman, 2016, para.8-9; Towndrow & Kogut, 2020, p.4, 14, 147-148). Access to 1:1 devices is limited to shared, bookable banks of often unreliable laptops or iPads, so the resource is accessible on a variety of devices (including student phones) via an easily shared Canva link and can be uploaded to subject learning platforms and the library website for future reference and to support social connection. While our students frequently engage with digital media, they often lack the skills to effectively navigate web content or critically evaluate online information; hyperlinked resources provide students with quality information to use in their own research. Teaching time is limited, as are student attention spans; a short narrative counteracts this peripatetic “grasshopper mind” (Weigel, 2009, p.38), though multiple pathways invite replay and continued enjoyment. Choice encourages interactivity and engagement (Hendrix, 2011, para.19, 29), aiming to overcome disengagement and encourage students to make personal connections with the content (Weigel, 2009, p.40; Bjørgen, 2010, p. 171; Hall, 2012, p.99; Lambert, 2012, p.37-38; Towndrow & Kogut, 2020, p.148).

 

 

Word count: 798

Reference list: https://thinkspace.csu.edu.au/allyoureadislove/2022/10/04/etl533-assessment-4-reference-list/

ETL533 Assessment 3: Digital Storytelling Proposal

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Working titles: Shakespeare’s Age and Stage OR The Shakespeare Chronicles OR Shakespeare Transformed

Topic: This digital storytelling project aims to help secondary students understand Shakespeare’s life and times through an interactive, multimodal choose-your-own-adventure digital narrative. 

Platform/tool: Canva

Rationale: 

This digital narrative is intended to support the EHS Stage 4 English unit Shakespeare’s Bawdy Mouth, where students explore Elizabethan England to gain an understanding of Shakespeare’s context and works. It could also be used as revision for Stage 5 or 6 English students studying a variety of Shakespearean plays. 

In this choose-your-own-adventure narrative, students will follow the adventures of a young actor in Shakespeare’s theatre company, The Lord Chamberlain’s Men, as they prepare for the opening night of Macbeth in 1606. Students will be presented with choices to guide the narrative and learn about Shakespeare’s life and times. It aims to utilise the three elements of quality digital literature I’ve previously identified – interactivity, multimodality, and connectivity – to support students’ developing understandings. 

Ideally, this resource will also function as a research pathfinder, as student’s choices will be supplemented by hyperlinks to external resources in order to support literary learning and develop their information literacy skills. Currently, students are assessed on their knowledge of this unit via their composition of three diary entries from the perspective of someone in Shakespeare’s time. Students could potentially use this narrative as a model for their own digital diary entries, thus updating the task for a digital environment and supporting student learning needs in the 21st century.

I initially investigated PowerPoint and Microsoft Sway for this task but chose to use Canva for a variety of reasons.  I enjoyed using Microsoft Sway but its inability to link between pages meant that it wasn’t viable for a hyperlinked choose-your-own-adventure narrative. I am proficient with PowerPoint and could utilise many of its features to construct a hyperlinked narrative, but felt that Canva was easier and more appealing for Stage 4 students due to its user-friendly interface, cloud storage, collaborative potential and its wide database of images and graphics. It is also free to access for NSW Department of Education students via their student portal. However, I am finding it difficult to inset audio to different slides since Canva is limited to one audio file per design. 

You can view the work in progress here.

ETL533 Assessment 2 Part A: Review 2 – iPoe by iClassics Collection (2012-2015).

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iPoe by iClassics Collection is a wonderful example of the second category of digital text defined by both Unsworth and Allan (Lysaught, 2022): an enhanced app or electronically augmented text. 

Published across three volumes between 2012-2015 for Apple and Android devices, iPoe is a creative augmentation of several Edgar Allan Poe texts alongside contextual information and details about the app designing process. Each volume recontextualises Poe’s original texts alongside interactive illustrations, music, and sound effects which effectively utilise the multimodal and interactive potential of digital environments to enhance the reader’s experience and understanding. This resource would suit our Year 8 unit on suspenseful stories, therefore I’ll focus on two texts relevant to this unit: The Tell-Tale Heart (vol.1) and The Raven (vol.2).

Unsworth defines electronically augmented literary texts as those which take traditionally published print texts and augment them with digital resources to “enhance and extend” the original (2006, p.2). This can be through the addition of digital features such as interactivity and multimodality (Walsh, 2013, p.187) or supplementary digital resources designed to extend commentary, discussion, and interpretation of the text (Kitson, 2017, p.59). Arguably, iPoe features both. Allan (2017, p.22) defines narrative apps as digital, interactive remediations of print narratives – a category into which iPoe seems to fit nicely. However, as with my other reviews (Lysaught, 2022), looking at iPoe from different angles raises questions regarding definition and categorisation of digital texts. Much like the paradoxical ‘ship of Theseus’, I wonder how much has to be changed before it is considered a new, ‘born digital’ text in its own right, since the combination of iPoe’s multimodal and supplementary features greatly enhanced my experience of Poe’s stories, especially through the app’s original artwork and soundtrack. Furthermore, iPoe could fit Unsworth’s sub-category of a linear e-narrative digitally originating text (2006, p.3-4), since it presents an illustrated traditional, linear narrative on screen. Clearly defining digital literature is not so clear!

The interactive multimodal features of iPoe are testament to the transformative potential of literature in digital environments. The iClassics website claims 85 minutes of original soundtrack by Teo Grimalt and Miquel Tejada, 185 sound effects and 95 original interactive illustrations by David G. Forés (iClassics Productions, 2018a, 2018b, 2018c) – reflecting that ‘authorship’ in digital contexts is often shared (Bowler et al., 2012, p.43). 

In The Raven, readers can touch the titular bird to hear it croak ‘Nevermore’, while their understanding of Gothic metonymy and atmosphere is enhanced through other sound effects such the knocking on the door, the fire’s crackling, the hinges creaking, and the wind’s howling. In one dramatic moment, touching the raven led to a shift in camera focus to the ponderous protagonist, while in another readers are invited to touch Lenore’s portrait; the subsequent cracking glass emphasised the protagonist’s fracturing mental state. Likewise, the penultimate image of the protagonist wavering alongside Lenore’s ephemeral ghost was a brilliant representation of grief.

Readers are invited to touch the characters, resulting in a perspective shift.

The ‘camera’ focus shifts to the ponderous protagonist.

Readers are invited to touch the photograph, with the ensuing cracking of the glass acting as an effective visual symbol of the protagonist’s fracturing state of mind.

The protagonist beseeches the reader, inviting their interaction…

… only to be reminded that he is forever haunted by Lenore’s ephemeral ghost.

These multimodal features similarly enhanced my experience reading The Tell-Tale Heart. The old man’s eye shifted into a vulture’s, supplementing the written text with the visuals. The interactive image of the old man, shivering under the reader’s watchful gaze, accentuated his fragility and aligned the reader with the protagonist’s perspective, as did the dark page where text could only be partially illuminated by moving the reader’s finger. The masterful soundtrack underscored the climactic moment of murder through its overwhelming crescendo and fading heartbeat. I experienced genuine discomfort as I watched a dolly zoom of the protagonist murdering the old man before literally turning his gaze to me. The protagonist’s increasing paranoia was stressed with visuals and associated sound effects, particularly when I was invited to touch a close-up of his panicked eyes. His final admission of guilt was brought to life through these multimodal elements – when readers touch the still-beating heart, bloody fingerprints appear on the page.

In this point of view shot, readers assume the position of the insane protagonist as he silently watches the fearful old man.

Readers are encouraged to run their finger over the screen, illuminating the text like the protagonist’s lamp illuminates the room.

The reader’s finger falls upon the old man’s ‘vulture’ eye – much like the protagonist’s lamp, emphasising the horror.

The reader watches as the protagonist murders the struggling old man …

… only to have the protagonist’s murderous gaze fall upon the reader!

Bloody fingerprints follow the protagonist’s confession.

Interactive, multimodal elements are supported by mobile features such as gyro-perspective, flash, and vibration ((iClassics Productions, 2018a, 2018b, 2018c), though I didn’t notice these to any great extent. Also, while some multimodal elements greatly enhanced my reading experience, others were distracting, such as the initial photo and the dismembered corpse in The Tell-Tale Heart. However, the contextual information amplified my understanding of Poe’s life, times, and works (James & Kock, 2013), p.108). 

However, logistical issues around cost, access, and other required technology should also be considered when evaluating digital texts for school libraries (Lysaught, 2022a). The app bundle cost $8.99 on the Apple Store, expensive to replicate on 1:1 devices. Aural elements required additional headphones and were fiddly, while constant review pop-ups interrupted immersion. Also, I couldn’t adjust the font size or define unknown words –  favoured features of digitised texts. Overall, I greatly enjoyed iPoe since it effectively utilised the multimodal and interactive potential of the digital format to enhance my understanding and engagement, especially compared with other gimmicky narrative apps such as Alice for the iPad (Lysaught, 2022b).

 

 

821 words.

Reference list:

Allan, C. (2017). Digital fiction: ‘Unruly object’ or literary artefact? English in Australia, 52(2), 21-27.

Bowler, L., Morris, R., Cheng, I-L., Al-Issa, R., Romine, B., & Leiberling, L. (2012). Multimodal stories: LIS students explore reading, literacy, and library service through the lens of “The 39 Clues”. Journal of Education for Library and Information Science, 53(1), 32-48.

iClassics Productions (2018a). Deliciously dark, devilishly fun. http://iclassicscollection.com/en/project/ipoe1/

iClassics Productions (2018b). Ravings of love & death. http://iclassicscollection.com/en/project/ipoe2/

iClassics Productions (2018c). The master of macabre returns. http://iclassicscollection.com/en/project/ipoe3/

James, R. & de Kock, L. (2013). The digital David and the Gutenberg Goliath: The rise of the enhanced e-book. English Academy Review: Southern African Journal of English Studies, 30(1), 107-123.

Kitson, L. (2017). Exploring opportunities for literary literacy with e-literature: To infinity and beyond. Australian Literacy Educators’ Association. Literacy Learning, 23(2), 58-68.

Lysaught, D. (2022a, August 14). ETL533 Evaluating Digital Literature: Deeper Considerations. All you read is love. https://thinkspace.csu.edu.au/allyoureadislove/2022/08/14/etl533-evaluating-digital-literature-deeper-considerations/

Lysaught, D. (2022b, August 13). ETL533 3.2: Exploring Digital Forms. All you read is love. https://thinkspace.csu.edu.au/allyoureadislove/2022/08/13/etl533-3-2-exploring-digital-forms/

Unsworth, L. (2006). E-literature for children: Enhancing digital literacy learning. Routledge.

Walsh, M. (2013). Literature in a digital environment (Ch. 13). In L. McDonald (Ed.), A literature companion for teachers. Marrickville, NSW: Primary English Teaching Association Australia (PETAA).

ETL533 Assessment 2 Part A: Review 1 – Over the Top by The Canadian War Museum (n.d.)

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Unsworth’s (2006, p.2-3) and Allan’s (2017, p.22-23) three main categories of digital texts provided me with a structural framework for this assessment. As such, each review will focus on one format of digital literature:

  1. A recontextualised or digitised literary text
  2. An enhanced app or electronically augmented text
  3. A ‘born digital’ text.

Over The Top by the Canadian War Museum is a fine example of the third category. This digitally originating narrative updates the choose-your-own-adventure format, allowing readers to electronically explore life in World War I trenches. Multimodal moving visuals and sound effects support readers’ understanding of the 1916 Battle of the Somme, as do interactive choices leading to a variety of possible outcomes and emphasising the difficult decisions faced by soldiers. Based on eyewitness historical accounts, Over The Top successfully utilises digital features to teach students about conditions in WWI while simultaneously developing their empathy and literacy skills. 

‘Born digital’ texts are created for and on digital devices and mix different systems and media to make meaning for their audience (Di Rosario, n.d., 1:10-1:59; Hayles, 2007, para.10; Kitson, 2017, p.59): “if it could possibly be printed out, it isn’t e-lit” (Strickland, n.d., para.3). Over The Top is a browser-based interactive narrative which cannot be printed, thus fitting the definition of a ‘born digital’ text. Unsworth further subdivides digitally originating texts (2006, p.3-4), and Over The Top’s features potentially fall into his hypermedia narrative sub-category due to its combination of hyperlinks, text, and images. However, its prominent interactivity raises questions about the distinction between digital literature and games (Strickland, n.d., para.4, 8; Sargeant, 2015, p.461-463; Kitson, 2017, p.59, 66). Hayles notes that in games users interpret in order to configure while digital narratives allow the user to configure in order to interpret  (2007, para.16); as such, Over The Top is not a game. As with the other three texts examined for this task (Lysaught, 2022), attempts to categorise Over The Top reveal that defining digital literature is no easy task.

Lambert (2012, p.37-38) notes that a key component of the Center for Digital Storyteling’s definition of digital stories is reader participation and ownership of a text. Over The Top successfully utilises what I consider the three core elements of digital literature – mutlimodality, interactivity, and connectivity (Lysaught, 2022) – to ensure active participation in the text’s construction. It begins with the option to enter the reader’s name alongside a friend’s name; this personalisation creates immediate connection between reader and text, allowing for stronger vicarious engagement with the narrative’s content.

Over The Top invites personalisation and immersive interactivity

This vicarious engagement is furthered by the use of second person ‘you’, a common feature of traditional choose-your-own-adventure narratives (Morse, 2019, para.9-16). An optional narrator’s voice-over reads the written text to the audience, supporting a wide range of literacy ability levels. Moving images are supplemented by sound effects such as the wind and explosions to further enhance engagement and understanding. Hyperlinks encourage readers to define unfamiliar words such as ‘dugout’ or ‘duck-board’, developing their understanding of historical metalanguage. Walsh (2013, p.187) notes that non-linear story progression is a feature made possible in digital environments; navigation between pages in Over The Top is easy, as readers can click arrows to advance the story or move backwards, while multiple possible endings expand on traditional linear narrative structures. If the reader’s ‘character’ dies, they are invited to replay and explore the outcomes of different choices, promoting multiple read-throughs and supporting what Bell calls interactional media-specific metalepsis wherein multiple reading paths encourage multiple analytical perspectives by the reader, leading to their immersion in narrative content and new interpretations in new contexts (2016, p.295-6). This non-linear reading behaviour taps into trends regarding engagement with texts in digital environments, as both Cull (2011, para.58) and Liu (2005, p.707) note that non-linear reading has increased and is affecting the way readers understand and interact with digital texts. 

Readers are presented with multimodal image, sound, and text to support their understanding.

Readers must choose to progress the story, inviting interactional media-specific metalepsis which promotes immersion.

The outcome of choice 1: the reader lives and continues to progress with the story.

Strong textual features supported by visuals and sound elements enhance immersion.

Readers are invited to replay.

Logistically, this is an easy to access, free resource that is suitable for a variety of literacy abilities. It is supported by teacher notes and, despite its focus on the Canadian experience, has strong links to the current NSW History Stage 5 topic Australians at War (WWI), while its excellent literary qualities support use in English classrooms. Teachers would need to have access to a bank of laptop or desktop devices to utilise this resource in the classroom and would find it a useful digital narrative to use in conjunction with other historical sources. 

 

 

732 words.

Reference List:

Allan, C. (2017). Digital fiction: ‘Unruly object’ or literary artefact? English in Australia, 52(2), 21-27.

Bell, A. (2016). Interactional metalepsis and unnatural narratology. Narrative, 24(3), 294-310.

Canadian War Museum (n.d.). Over the top. https://www.warmuseum.ca/overthetop/

Cull, B. W. (2011). Reading revolutions: online digital text and implications for reading in academe. First Monday, 16(6). http://firstmonday.org/ojs/index.php/fm/article/view/3340/2985

Di Rosario, G. (n.d.). Are pixels the future of literature? https://www.youtube.com/watch?v=7CAaoWcknvM

Hayles, K. (2007). Electronic literature: what is it? https://www.eliterature.org/pad/elp.html

Kitson, L. (2017). Exploring opportunities for literary literacy with e-literature: To infinity and beyond. Australian Literacy Educators’ Association. Literacy Learning, 23(2), 58-68.

Lambert, J. (2012). Digital storytelling: capturing lives, creating community. Routledge.

Liu, Z. (2005). Reading behavior in the digital environment: Changes in reading behavior over the past ten years. Journal of Documentation, 61(6), 700-712.

Lysaught, D. (2022). ???. All you read is love.

Morse, L. (2019, November 30). How to write a choose-your-own-adventure story: all protagonist POV, all the time. Medium.
https://medium.com/swlh/how-to-write-a-choose-your-own-adventure-story-9d353fa84ce4

Sargeant, B. (2015). What is an ebook? What is a book app? And why should we care? An analysis of contemporary digital picture books. Children’s Literature in Education, 46(4), 454-466.

Strickland, S. (n.d.). Born digital. Poetry Foundation. https://www.poetryfoundation.org/articles/69224/born-digital

Unsworth, L. (2006). E-literature for children: Enhancing digital literacy learning. Routledge.

Walsh, M. (2013). Literature in a digital environment (Ch. 13). In L. McDonald (Ed.), A literature companion for teachers. Marrickville, NSW: Primary English Teaching Association Australia (PETAA).