Month: August 2022

The variety of digital literature currently available creates opportunities for students to explore different formats of narrative and access tools to support their reading endeavours. Enhanced e-books with audio narration options are, in particular, of value to beginning readers (Dobler, 2013). As a practising teacher, I have been using digital texts for their technology aspects with little awareness of their actual quality. Through my exploration of digital texts in this subject I have developed a greater awareness of how digital elements enhance or detract from a text and now know that some digital elements can distract the reader and disrupt the immersive reading experience (Dobler, 2013; James & De Kock, 2013).

Digital literature is ever evolving as are the platforms they reside on, the technologies they use and reliability of accessibility. For example, as part of my research on digital literature I found many dead links and apps that no longer exist. The evolving world of technology means that the presence of digital literature in its current published form is often temporary and unreliable. Any change to the platform that hosts the piece of digital literature can affect the functionality of the work (Bootzs, 2014).  Despite this ephemeral nature there seems to be more digital literature available across multiple platforms than ever before.

Of the types of electronic reading environments mentioned by Lamb (2011); e-books, interactive storybooks, reference databases, hypertext and interactive fiction, and transmedia storytelling I have the most practical experience using enhanced e-books and interactive storybooks. I regularly use these types of digital literature as I have found them to be especially suited to young readers because they contain tools like audio narration to demonstrate fluent reading, and text highlighting to assist students with tracking the text with their eyes rather than their finger (Dobler, 2013).

Using digital literature in the classroom can seem daunting as it is exciting, challenging and in a state of perpetual change (Allan, 2017) and though there is a much needed space for it in the curriculum, it is my view that it will never fully replace print versions. Quality digital literature is first and foremost quality literature. Before evaluating the digital elements of a text, it is important to determine if the story itself is well told and appropriate for its intended audience (Walsh, 2013; Yakota & Teale, 2014).

Some texts are more suited to print due to their intended purpose. For example, some picture books are of a larger size to demonstrate the full value of their illustrations. These types of texts would not transfer well to a digital medium (Yakota, 2015). This also works in the converse where some texts, that were born digital, have unique digital elements that would not be possible to realise in a print version.

In today’s environment, students have grown up using digital technology as part of their everyday play and learning, meaning that they are more inclined to choose a story based on interest rather than format (Kucirkova, 2018).

Of the three digital texts I reviewed, I found the most appropriate to incorporate into my current teaching of Year One students was Don’t Let Pigeon Run This App! This narrative app would be excellent to use in a unit of work investigating texts from the author Mo Willems as well as being a strong foundation for students when innovating on the text. Innovating on a familiar text is an age appropriate way for young writers to learn about crafting a story in a supported manner (Griffith & Ruan, 2008).

The unit of work would include the use of the app and the print iterations of the series with the same character, the Pigeon, as the basis of the comparison. Students could also be guided to compare the app and the print versions of the Pigeon stories, identifying similarities and differences and justifying their own preference. Students would create short narrative texts that build on their knowledge of a familiar character which are key elements in the writing section of the Victorian Curriculum (VCELY194 and VCELT193).

I believe, it is imperative that teachers are incorporating different types of digital literature into their teaching and learning programs. If students are engaging with digital literature outside the classroom then, as teachers, we have an obligation to teach it within the classroom environment (Kitson, 2017). While students may be ‘using’ digital literature, they need to be taught how to navigate and interpret it just as they need instruction on using and interpreting print literature. Fuhler (2010) found that technology use, guided by informed teachers, increased student motivation in the use of technology for learning. It is also difficult for students to turn their knowledge of informally using technology to more explicit learning contexts without teacher intervention (Walker et al., 2010). The teacher’s role is critical to supporting students in navigating and evaluating the best literary medium, digital or print, for their specific students and learning outcomes.

 

References

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

Bootzs, P. (2014). Digital literature: Ephemeral in truth? Hybrid, 1. (N. Cognard, Trans.). https://doi.org/10.4000/hybrid.1162

Dobler, E. (2013). Looking beyond the screen: Evaluating the quality of digital books. Reading Today, 30(5), 20-21.

Fuhler, C. J. (2010). Using primary source documents and digital storytelling as a catalyst for writing historical fiction in the fourth grade. In B. Moss & D. Lapp (Eds.), Teaching new literacies in grades 4-6: Resources for 21^st-century classrooms (pp. 136-150). Guilford Press.

Griffith, P. & Ruan, J. (2008). Story innovation: An instructional strategy for developing vocabulary and fluency. The Reading Teacher, 61(4), 334-358. http://www.jstor.org/stable/20204592

James, R. & De Kock, L. (2013). The digital David and the Gutenberg Goliath: the rise of the ‘enhanced’ e-book. English Academy Review, 30(1), 107-123. https://doi.org/10.1080/10131752.2013.783394

Kitson, L. (2017). Exploring opportunities literary literacy with e-literature: To infinity and beyond. Literacy Learning: The Middle Years, 25(2), 58-68.

Kucirkova, N. (2018). How and why to create and read children’s digital books: A guide for primary practitioners. UCL Press.

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.

Victorian Curriculum and Assessment Authority. (n.d.). Victorian curriculum: Foundation-10. https://victoriancurriculum.vcaa.vic.edu.au/

Walker, S., Jameson, J., & Ryan, M. (2010). Skills and strategies for e-learning in a participatory culture. In R. Sharpe, H. Beetham, & S. Freitas (Eds.), Rethinking learning for a digital age: How learners are shaping their own experiences (pp. 212-224). Routledge.

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers. Primary English Teaching Association PEETA.

Yakota, J. (2015). The past, present and future of digital picturebooks for children. In M. Manrisa & N. Real (Eds.), Digital literature for children: Texts, readers and educational practices. (pp. 73-86). P.I.E. Peter Lang.

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6).

Introduction

At Nightfall, the Goldfish by Melody Mou is a hypertext fictional story (Lamb, 2011) accessible via internet browsers. Using hyperlinks, the non-linear story contains short points of view about five interrelated characters whose connection to each other can be interpreted in a multitude of ways. Mou is a new media artist who has created a story that uses a combination of narrative techniques which are maze like, circular and leap in perspective (Mou, 2021).

Criteria 1: Is the story well told?

This non-linear narrative can be experienced in order of the reader’s choosing and areas of interest and genuine curiosity about life. Each section is short and pertinent to the story enabling the reader to comprehend concepts within the context of the story’s themes and symbols of life and death that touch on the idea of reincarnation. The depth of meaning attributed to the story telling is left to the reader and the depth of their interpretations. The ability to create meaning that shows the human experience is a key aspect to determining a narrative’s quality (Walsh, 2013).

Criteria 2: Are the language and illustrations appropriate for the intended audience?

The intended audience is the adult reader who is seeking an experience in the journey of life where they can determine the order in which they read the story dependent on their interests and direction the story is taking. As a piece of digital literature, the language used is clearly aimed at an adult audience able to see beyond the surface and understand the deeper themes and meanings it holds.

While the text has no illustrations, the background of the text is a plugin that simulates the soothing effects of water and is reflective of the organic nature of life. As the curser moves across the screen it creates ripples in the water like the high and lows of ones lifelong journey. The arrangement of the character hyperlinks creates a circular image using words from each chapter. Words from the central character of Goldfish spread out like a cross visually connecting all parts of the circle together.

Language is used creatively and each individual chapter is set out more like poetry than a traditional narrative. Appropriate to the audience, it plays with language in a way that requires interpretation from the reader as well as giving the reader access to the inner lives of the characters, which Susan Conley in her TEDx talk (2012) deems as being a powerful element to any story.

 

 

 

 

 

 

 

 

 

 

Criteria 3: Do the digital aspects of the text enhance the story?

At Nightfall, the Goldfish utilises a combination of text placement, hyperlinks and a plugin to create an atmospheric text. There are a number of interactive elements that add to the ambience but that don’t change the outcome of the story. The water like plugin that creates ripples as the curser moves across the screen is enchanting and does not distract from reading the passages of text.

The use of hyperlinks allows the reader to choose the order in which they read the characters’ points of view. After clicking on a character the reader is offered no navigation options until they have revealed all of the sentences for that point of view by scrolling across the scattered words on the screen. Only then is the option to continue provided. The limited amount of hyperlinks helps the reader stay engaged in an immersive experience (James & De Kock, 2013).

Dobler (2013) suggests that the digital elements should add to the reader’s understanding of the text and that is true with At Nightfall, the Goldfish. The digital elements add to the atmosphere and clearly show the connections between each character and their point of view. The arrangement of text and the visual elements (while not images) add another layer of meaning to the text and are a part of the culture of digital literature (Rajathi & Kalamani, 2020).

The recent publication date of this text speaks to the ever evolving trend of finding new and innovative ways for people to express themselves at a deeper and more relevant way. A digital medium provides another platform for artists and authors to showcase and promote their work in new ways to a larger audience (Rajathi & Kalamani, 2020).

Conclusion

At Nightfall, the Goldfish is a unique non-linear narrative that uses its digital elements to create a thoughtful narrative experience (McGeehan et al., 2018) for the adult reader. Its key strengths are the way the author connects each character both visually and within the narrative as well as the ambience of life afforded by its watery, rippled background. The text, while possible to read in a printed physical form would lose much of its meaning and clear interconnectedness that makes it such an engaging experience.

 

References

Dobler, E. (2013). Looking beyond the screen: Evaluating the quality of digital books. Reading Today, 30(5), 20-21.

James, R. & De Kock, L. (2013). The digital David and the Gutenberg Goliath: the rise of the ‘enhanced’ e-book. English Academy Review, 30(1), 107-123. https://doi.org/10.1080/10131752.2013.783394

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.

McGeehan, C., Chambers, S. & Nowakowski, J. (2018). Just because it’s digital, doesn’t mean it’s good: Evaluating digital picture books. Journal of Digital Learning in Teacher Education, 34(2), 58-70.

Mou, M. (2021). At Nightfall, the Goldfish. https://melodyneedsmoney.github.io/AtNightfalltheGoldfish/Intro

Rajathi, R. & Kalamani, S. (2020). Digital literature: A literary trend of the twenty first century. International Journal of Advanced Research (IJAR), 8(11), 725-728. http://dx.doi.org/10.21474/IJAR01/12062

TEDx Talks. (2012, June 29). The power of story: Susan Conley at TEDxDirigo [Video]. Youtube. https://www.youtube.com/watch?v=jkqb6uDRNQs

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers. Primary English Teaching Association PEETA.

Introduction

Don’t Let Pigeon Run This App! is produced by Disney and can be downloaded from the Apple app store for a cost. As a piece of digital literature it is hard to place into any of the categories proposed by Lamb (2011). It is not exactly an enhanced e-book or an interactive story book as the text of the story is not always displayed on screen. It also isn’t interactive fiction as the stories presented are linear in nature. The best description for this digital text is a ‘narrative app’ that tells a story in an ordered and linear series of connected events. The events incorporate interactive features that don’t change the outcome of the story, as suggested by Turrion Penelas (2015).

This narrative app will be evaluated using a simplified criteria based on the work of Yakota and Teale (2014) and Walsh (2013).

Criteria 1: Is the story well told?

The app has a number of linear stories that follow the same format as the print version where the reader is trying to be persuaded by the character Pigeon to let him do something that he is not allowed to do. While similar, the stories differ based on the user’s interactions with the text. However, no matter what choices the reader takes, the outcome of the story is always the same. The concept of the reader being guided to make their own stories means they are invested in the story and enables the story to be told in a way that is appropriate to the readers’ level of comprehension. The reader is prompted by Pidgeon to feel empathy for the main character by Pidgeon addressing them directly and seeking their ideas. Walsh (2013) suggest being able to elicit empathy from the reader as an indicator of quality literature.

Criteria 2: Are the language and illustrations appropriate for the intended audience?

The intended audience is the beginner reader. The illustrations and animated style of the characters are appropriate for this age group and transfer well to iPad dimensions which Yokota and Teale (2014) suggest is important for digital literature. Illustrations, which are an integral part of children’s print literature, also play a key role in the success of this narrative app.

The language used throughout the story is fun, engaging and appropriate for beginner readers including  non-readers, as the majority of the story is verbally narrated by Pigeon. Children can be as ‘silly’ as they like in responding to Pigeons request for ideas and are entertained by the text as the character speaks directly to them with Pigeon having many amusing ways to try to persuade the reader of his good intentions. The language in the text becomes even more accessible to students through the ability to partially co-author the story and hear their own voice in the app which can be an engaging feature (Kucirkova, 2018). One of the key features of the app is that there is a new experience for the reader every time they revisit the app and respond the Pigeons questions.

Criteria 3: Do the digital aspects of the text enhance the story?

This digital iteration of Pigeon combines the best aspects of the print book with interactive elements that allow the reader to respond to Pigeons questions in fun ways that allows their own creative input to the flow of the story but not the outcome. This interaction enhances the story as the reader feels involved and part of the story in helping Pigeon.

Turrion Penelas (2015) suggests that the best currently available digital literature for children are ones where the interactive elements are embedded into the story. The digital elements in the Don’t Let Pigeon Run This App! meet this criteria to the benefit of the reader’s experience. Rather than moving through pages of text, the reader’s responses play out on the screen more like a movie or television show. This avoids children reading the story backwards or in a non-linear fashion that Lamb (2011) suggests affects comprehension of the story.

A key digital element that supports the enquiring mind of young readers is the ability of the app to be reused to create a different journey (Bozkurt & Bozkaya, 2015). This app builds on reusability by creating a slightly different story each time it is used meaning the reader will be more likely to return again and again.

Conclusion

Don’t Let Pigeon Run This App! is a well-produced narrative app that contains the appeal of a familiar character from its print iterations and the ability for users to affect the storyline. The app engages children with its ability to be familiar, fun and ‘silly’ each time it is used. It is also a great way to encourage children to write their own stories through Pigeon’s guidance as the main character.

References

Bozkurt, A. & Bozkaya, M. (2015). Evaluation criteria for interactive e-books for open and distance learning. International Review of Research in Open and Distributed Learning, 16(5), 58-82. https://files.eric.ed.gov/fulltext/EJ1077792.pdf

Disney Publishing Worldwide Applications. (2017). Don’t let Pigeon run this app! (Version 1.3) [Mobile app.]. Apple App Store. https://apps.apple.com/us/app/dont-let-pigeon-run-this-app/id459749670

Kucirkova, N. (2018). How and why to create and read children’s digital books: A guide for primary practitioners. UCL Press.

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.

Turrion Penelas, C. (2015). Electronic literature for children: Characterising narrative apps (2010-2014). In M. Manrisa & N. Real (Eds.), Digital Literature for Children: Texts, Readers and Educational Practices. (pp. 87-102). P.I.E. Peter Lang.

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.),  A literature companion for teachers. Primary English Teaching Association PEETA.

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6).

Introduction

Mr. Ball Makes a To-Do List by Michael Townsend is an enhanced e-book in the form of a comic. An e-book is a book in electronic form that can be read on a computer or electronic device rather than print. According to Lamb (2011) enhanced e-books contain extra features such as, audio, images and other media. Mr. Ball Makes a To-Do List has audio, or ‘read to me’ capabilities, along with highlighted text and the ability to click on words to hear pronunciations and see definitions. It fits into Lamb’s (2011) definition of an enhanced e-book and will be evaluated using criteria based on the work of Yakota and Teale (2014) and Walsh (2013).

Criteria 1: Is the story well told?

The main character in the story is Mr. Ball, who loves to make to-do lists but has trouble ticking off all of the items on his list. It is a fun story, full of energy that uses simple vocabulary and frequently used words suitable for beginning readers. The story is in comic book format that fits the trend of publishing graphic novels online (Moorefield-Lang & Gavigan, 2012), allowing a larger audience to access this text. The comic book format helps the author tell the story in a quite direct wat that engages children. It is well told in a logical and sequential manner suitable for its intended audience. The Goodreads (2022) reviews gave the print version of this text an average of 3.76 out of 5 stars, indicating that readers enjoy the story. This text was originally published in print and has been adapted into a digital version for the educational reading app epic!

Criteria 2: Are the language and illustrations appropriate for the intended audience?

One of the main strengths of the book is that it fulfils its purpose of engaging young beginning readers, the intended audience, through a chapter book format with vibrant illustrations and a story that children find relatable and funny. The illustrations are clear and help tell the story while the comic panels are set out in a logical manner that is easy to follow, with some guidance from the author about where to start reading.

The language used is appropriate for beginning readers and is very similar to Green Eggs and Ham by Dr. Seuss which used only 50 different words (Higley, 2021). The concept of using few words frequently helps beginning readers to recognise words and sounds the character is making.

Criteria 3: Do the digital aspects of the text enhance the story?

The main digital feature of the text is the optional audio narration and highlighting of words which helps children follow along with the story and provides a good example of fluent and expressive reading. The beginning reader is able to follow the comic format and the order in which the panels are read. The reader can pause the narration and read the text themselves which helps to differentiate the use of this text for readers. Readers may prefer to hear the words read to them (Lamb, 2011) while more confident readers are able to read the text independently. It also allows students to practise reading on their own with a built in support that is otherwise not possible without an adult presence (Roskos et al., 2014).

Overall the digital features enhance the story however there are some disadvantage with the technical design which distract from the overall experience. For example;  the accuracy and functionality of the clickable sections is not always reliable, pronunciation of words is not always correct i.e.: ‘loves’ converts to ‘love’ and the definitions provided in the written text are not at a level that will assist the audience the book is aimed at.

While the digital elements do not always enhance the story as other enhanced e-books might, the elements used are appropriate for younger readers to use more independently than they would be able to with the print version. There are minimal distractions of extra content that animations and inbuilt games may cause (Dobler, 2013). The focus is on the reading of the text with additional audio support.

Conclusion

Mr. Ball Makes a To-Do List by Michael Townsend is a well-designed enhanced e-book for beginning readers. It is visually enticing and is supported with audio for readers to follow along. The digital elements of the book increase the accessibility for its target audience and aid in supporting early reading abilities. Accessibility to this e-book is another advantage in that it is hosted on the app epic! which has free content for educators and students who sign-up. This app can be accessed on any type of tablet and even has an internet browser version that can be used on desktops and laptops making Mr. Ball Makes a To-Do List able to be enjoyed many times over by the beginner reader from school or home.

 

References

Dobler, E. (2013). Looking beyond the screen: Evaluating the quality of digital books. Reading Today, 30(5), 20-21.

Goodreads, Inc. (2022). Mr. Ball Makes a To-Do List. Goodreads. Retrieved August 15, 2022 from https://www.goodreads.com/en/book/show/18007640

Higley, D. (2021). The stories behind the stories. Bushel & Peck Books.

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17.

Moorefield-Lang, H. & Gavigan, K. (2012). These aren’t your father’s: the new world of digital graphic novels. Knowledge Quest, 40(3), 30-35.

Roskos, K., Burstein, K., Yi Shang, & Gray, E. (2014). Young children’s engagement with e-books at school: Does device matter? SAGE Open, 4(1). https://doi.org/10.1177/2158244013517244

Townsend, M. (2014). Mr. Ball Makes a To-Do List. Blue Apple Books.

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers. Primary English Teaching Association PEETA.

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6).