Before commencing my studies, I knew there were many arguments about the benefits and downfalls of digital literature, including its tendency to distract (Clarke, 2019a). Over time, I discovered both sides of the debate were accurate; good digital stories can enhance the reading experience, whereas unnecessary, complicated or irrelevant texts can be detrimental. Quality digitisations utilise all the capabilities of our computerised world to allow access, support meaning, provide contemporary opportunities and reflect students’ personal worlds. The online world also enables individuals to use a plethora of tools to express their thoughts and ideas. Digital literacy isn’t just about reading and responding, it’s also about creating. Therefore, I have learnt the role of the education professional is to expose students to this world through targeted lessons and resources.

After I read a variety of digital texts, I was surprised to discover that some of my favourite stories were simple and straightforward (Clarke, 2019b). More complex multimodal combinations and layouts were distracting and hard to read if the visual, audio and interactive elements were extraneous. Distractions and disrupted reading can occur when hyperlinks and similar features are embedded in texts (Ross, Pechenkina, Aeschliman & Chase, 2017). It can also be difficult to adjust to the different pages of a text if various layouts, design elements and interactive features are utilised (Mascone, 2014). This is why education professionals need to teach students the language of digital texts and how they can navigate these types of stories (Simpson and Walsh, 2015). When used to support meaning, images and other multimodal elements can lead to critical understanding (Simpson and Walsh, 2015). I have learnt the most important part of a digital text should always be the story (Hardwick, 2018) and technology should be used to support or enhance the narrative.

Additionally, I have discovered teachers should introduce students to lessons and digital texts that reflect the broader worlds of students (Ng & Nicholas, 2016) because our pupils need to be able to read various text types in order to function in modern society. Incorporating students’ prior knowledge is also important because engagement and deeper comprehension is prompted when students are provided with opportunities to interact in familiar digital environments (Ng & Nicholas, 2016), such as those that mimic social media landscapes (McDonald and Danino, 2018). These types of texts provide students with a sense of community and a chance to collaborate with others (McDonald and Danino, 2018).

After reading the literature associated with this subject, it became evident that students need to create and experiment in order to learn the skills necessary to produce texts for a 21st Century audience. Initially I was focused on the benefits of reading digital texts, not the creation of digital texts. In particular, these types of activities enable students from diverse backgrounds to express themselves without the language barriers imposed by traditional forms of composition. For example, Johnson and Kendrick (2016) completed a study where teenagers from immigrant and refugee backgrounds were given a chance to share their stories in a digital format. The students involved were able to use images and music to tell traumatic stories they were unable to put into words. Another study (Laing, Moules, Estefan & Lang, 2017) explored the therapeutic benefits of digital storytelling in the case of adolescent cancer patients, demonstrating the flexibility and relevancy of multimodal texts. Education professionals must provide students with activities where they are able to express themselves digitally.

Reading digital narratives helped me understand why it is often better for teachers and librarians to create texts specifically for their school context. A lot of the literature does not cater to the specific needs of local school communities or it is out-of-date. However, after creating my own text, I realised this isn’t as easy it seems! When I posted my proposal to the INF533 discussion forum, the response was positive (Fawkes, 2019) and I felt optimistic about creating my website. I planned thoroughly and thought about it often, but my limited technical skills slowed the process. Therefore, this experience has showed me that it is important for educational professionals to collaborate because everyone has different technological skills and knowledge.

Through this subject (INF533), I was able to participate in valuable experiences that reflect the ways high school students interact with contemporary literature. In classrooms, we expect students to navigate and create digital texts, but we often haven’t completed these tasks ourselves. My eyes have been opened to the different ways students might respond to the activities I set, and I will endeavour to consider my own struggles with digital texts when I devise future lessons.

References:
Clarke, J. (2019a, July 28). INF533 assessment 1 [Blog post]. Retrieved from https://thinkspace.csu.edu.au/conanthelibrarian/2019/07/28/inf533-assessment-1/

Clarke, J. (2019b, August 26). Critical reflection of digital literature experience [Blog post]. Retrieved from https://thinkspace.csu.edu.au/conanthelibrarian/2019/08/26/critical-reflection-of-digital-literature-experience/

Fawkes, A. (2019, September 8). RE: Assessment 3 digital storytelling proposal [Forum comment]. Retrieved from https://interact2.csu.edu.au/webapps/discussionboard/do/message?action=list_messages&course_id=_39502_1&nav=discussion_board_entry&conf_id=_76005_1&forum_id=_159416_1&message_id=_2470085_1

Hardwick. L. (2018). Digital storytelling: media that makes a difference. In G. Brewer & R. Hogarth (Eds.), Creative education, teaching and learning [Palgrave Macmillan]. DOI: https://doi-org.ezproxy.csu.edu.au/10.1057/9781137402141

Johnson, L., & Kendrick, M. (2016). “Impossible is nothing”: expressing difficult knowledge through digital storytelling. Journal of Adolescent & Adult Literacy, 60(6), 667-675. DOI: 10.1002/jaal.624

Laing, C., Moules, N., Estefan, A., & Lang, M. (2017). Stories that heal: understanding the effects of creating digital stories with pediatric and adolescent/young adult oncology patients. Journal of Pediatric Oncology Nursing, 34(4), 272-282. DOI: 10.1177%2F1043454216688639

Mascone, C. (2014). Print it or forget it. Chemical Engineering Progress, 110(11), 3. Retrieved from https://www.aiche.org/resources/publications/cep

McDonald, R., & Danino, N. (2018). Social media in education and the community. In G. Brewer & R. Hogarth (Eds.), Creative education, teaching and learning [Palgrave Macmillan]. DOI: https://doi-org.ezproxy.csu.edu.au/10.1057/9781137402141

Ng, W., & Nicholas, H. (2016). Understanding mobile digital worlds: how do Australian adolescents relate to mobile technology?. Technology, Pedagogy and Education, 27(4), 513-528. DOI: 10.1080/1475939X.2018.1523067

Ross, B., Pechenkina, E., Aeschliman, C., & Chase, A-M. (2017). Print versus digital texts: understanding the experimental research and challenging the dichotomies. Research in Learning Technology, 25. DOI: https://doi.org/10.25304/rlt.v25.1976

Simpson, A., & Walsh, M. (2015). Children’s literature in the digital world: how does multimodality support affective, aesthetic and critical response to narrative?. English Teaching: Practice and Critique, 14(1), 28-43. DOI: 10.1108/ETPC-12-2014-0005

‘Home’, a digital story in the form of a website, was created for a Stage 4 English class within New South Wales, although it could be used as a resource in other subjects such as Geography and Science as it focuses on environmental issues. Through the text, students will learn about the Cross-Curriculum Priority of sustainability (Australian Curriculum, Assessment and Reporting Authority, 2016) and explore English devices (figurative language, symbolism, visual techniques). The text is a cautionary metaphor for the destruction of the planet. Eventually, the teen narrator is no longer able to live in her house due to her unsustainable actions.

The website is intended to be read and studied as a class and does not provide students with a stand-alone lesson. It creates flexibility for teachers as they can use reading strategies that are appropriate for their students; irrelevant activities and questions do not interrupt the story. Students will use the website as a model when they create websites about their own personal experiences with the planet we call our home. Through creatively and collaboratively creating digital texts, individuals can develop a greater understanding of the complex issues associated with sustainability (Daskolia, Kynigos & Makri, 2015). Furthermore, students are able to immediately respond to the text and a guiding question in the ‘comments’ section of the website. This helps them consolidate their thoughts and opinions about the text and sustainability.

‘Home’ is a valuable resource for the junior English curriculum because multimodal texts are an essential part of the NSW syllabus. Students are expected to ‘effectively use a widening range of processes, skills, strategies and knowledge for responding to and composing texts in different media and technologies’ (NSW Education Standards Authority, 2012). These types of texts are also prevalent in today’s society, so it is important for students to explore a variety of multimodal texts in order to become contemporarily literate (Abrams & Gerber, 2014). During a study of ‘Home’, readers encounter interactive elements, text, images and videos. These features contribute to the meaning rather than just being superfluous. For example, the title (‘Home’) provides a hyperlink to the home page but it becomes unfunctional or ‘broken’ at the end of the story when the house is ruined. The poll encourages readers to think about the length of their showers and how much water they are using.

This website targets and supports a younger audience through its use of social-media style textual features (hashtags, emoticons, references to popular culture, filtered images, first person language, comment section, external links). Students and adults alike are already telling their stories via social media (Alexander, 2011), so it is important to utilise these known formats (Wilber, 2010). The ability to comment on the story provides a social element, which promotes engagement and supports the reading experience (Huang, 2011; Valenza & Stephens, 2012). Some of these elements, specifically the comment section and the website links, are positioned at the end of the story so as to reduce distractions and create clear reading paths.

Easy accessibility is a distinct benefit of ‘Home’. Websites can be used by anyone with an internet connection and students do not need to buy extra devices or download additional applications. It is also free and won’t cost students or schools money like many other digital stories. Most importantly, the short chunks of text and the visual nature of the website allow struggling readers to develop a deeper understanding of the content. The combination of words and images in texts results in increased retention because the visuals make the story more memorable (Botzakis, DeHart & Connors, 2016). It has been proven that these types of texts cater for a wide variety of students by motivating disengaged readers, creating connections for ESL students and providing alternate information paths for deaf students (Botzakis, DeHart & Connors, 2016).

Finally, the website format allows for continuous changes and updates, ensuring ‘Home’ remains contemporary and relevant. Too often, texts become unusable or obsolete because they are not updated to correspond with newer operating systems, software or hardware. For example, educational CD-ROMs were prevalent during the early 2000s, with many academics lauding their benefits in the classroom (Jongsma, 2001; Witham & Krockover, 2001). Now, these are mostly unusable because newer computers do not have CD drives and/or the current operating systems do not support the software. The website is online, so isn’t affected by the physical limitations imposed by changing devices.
Overall, ‘Home’ is a contemporary digital story that provides flexible learning opportunities for Stage 4 English and HSIE students. It is intended to be a springboard for students’ own explorations of sustainability through reflection, discussion and the creation of similar websites.

References:
Abrams, S., & Gerber, H. (2014). Cross-literate digital connections: contemporary frames for meaning making. English Journal, 103(4), 18-24. Retrieved from https://www2.ncte.org/resources/journals/english-journal/

Australian Curriculum, Assessment and Reporting Authority. (2016). Sustainability. Retrieved from
https://www.australiancurriculum.edu.au/f-10-curriculum/cross-curriculum-priorities/sustainability/

Alexander, B. (2011). The new digital storytelling [ABC-CLIO]. Retrieved from ProQuest Ebook Central.

Botzakis, S., DeHart, J., & Connors, S. (2016). Graphic text and visual literacies in reading comprehension. In S. Israel G. Duffy (eds.), Handbook of Research on Reading Comprehension [Guilford Publications]. Retrieved from ProQuest Ebook Central.

Daskolia, M., Kynigos, C., & Makri, K. (2015). Learning about urban sustainability with digital stories. Constructivist Foundations, 10(3), 388-396). Retrieved from https://constructivist.info

Huang, H-C. (2012). E-reading and e-discussion: EFL learners’ perceptions of an e-book reading program. Computer assisted language learning, 26(3), 258-281. DOI: 10.1080/09588221.2012.656313

Jongsma, K. (2001). Instructional materials: using CD-ROMS to support the development of literacy processes. The Reading Teacher, 54(6). Retrieved from http://www.jstor.org/stable/20204959

NSW Educations Standards Authority. (2012). English K-10 Syllabus. https://educationstandards.nsw.edu.au/wps/portal/nesa/k-10/learning-areas/english-year-10/english-k-10

Valenza, J. K., & Stephens, W. (2012). Reading Remixed. Educational Leadership, 69(6), 75-78. Retrieved from http://www.ascd.org/publications/educational-leadership.aspx

Wilber, D. (2010). iWrite: using blogs, wikis, and digital stories in the English classroom [Heinemann]. Retrieved from Proquest Ebook Central.

Witham, S., & Krockover, G. (2001). CD-ROMS in the classroom. The Science Teacher, 68(8), 72-74). Retrieved from https://search-proquest-com.ezproxy.csu.edu.au/docview/214625725?accountid=10344

Throughout my study of digital literature, I have reassessed my knowledge of books and reconsidered what it means to read. In particular, I found discussions of transmedia texts (Carman, 2011; Gutierrez, 2012; Lamb, 2011) interesting because I realised we no longer read texts in isolation; we explore additional online material, play, research information, watch film versions and discuss our thoughts with others (Carman, 2011). Therefore, a good digital text is a text that provides opportunities for adventure and reflects the experiences we encounter on a day-to-day basis. This means that the author’s use of multimedia, interactive elements and hyperlinks should be considered when assessing the quality of a digital text.
However the content of digital texts is presented, it is important for it to be organised and logical. I found that the literature on digital texts is very accurate in that distractions are rife (Kutscher, 2017). I often found myself skipping to other sections of the digital texts before I could fully appreciate all the content. Occasionally I looked at other applications on my devices if a notification appeared or I remembered something I needed to do. The issues I experienced have been raised in various academic journals and books (Farmer, 2014; Kutscher, 2017; Takacs, Swart & Bus, 2015). If these elements are overwhelming for me, an avid reader, they would likely be a problem for young people who are at the beginning of their literacy education.
Through my readings, I discovered that it is important for a digital text to engage a reader (Carman, 2011). For me, this type of connection was developed when I was given the ability to make choices, create my own reading paths and explore a text at my own pace. Although engagement is often discussed in conjunction with the individual’s ability to make choices about the books they read (Foley, 2012), this also applies to the experience of reading a book once it has been provided or chosen. If they do not feel a sense of control, teenagers will soon become disengaged from the content (Edwards, 2013). The personalised opportunities provided in some of the texts I read made me feel a stronger sense of ownership, which lead to an increased investment in the outcome of the story.
One of the biggest benefits I encountered during the process of perusing digital texts was the presence of additional items and features that supported my reading, including pop-up glossaries and dictionaries, audio narration and links to additional information. These elements, which are not features of traditional print literature, could all be used to support my students in a high school setting, especially struggling readers, because it would enable them to quickly learn about unfamiliar words, consequently expanding their vocabularies and improving comprehension (Dalton, 2014; Edwards, 2013; Serafini & Youngs, 2013). Therefore, one of the main purposes of an e-book is to provide additional opportunities readers won’t encounter if they read a physical text.
For these reasons, I believe World War II Infantrymen: An Interactive History Adventure would be the most effective text to use in the secondary curriculum. My conclusion surprised me because I have always thought reader engagement was one of the most important considerations and an effective digital text therefore needed to have a lot of content and moving parts. The simple interface and navigation options were clear and logical. Although this meant there was lack of interactive and multimodal elements, I was still able to connect with the text and personalise my experience due its choose-your-own-adventure format. It would be best used as part of a Stage 5 study of World War II because its interactive content and pictures would help students empathise with the experiences of soldiers. Students could enhance their personal connections by writing their own interactive stories and using the model as a guide.
One of the most important things I have learned from my readings is that it’s not always the content that makes a digital book great, it’s the text’s potential to prompt further activities and exploration (Carman, 2011). Therefore, e-texts shouldn’t be studied in isolation, they should be an introduction to a wider world readers can explore. Teachers should ensure students are given the opportunity to create their own digital texts in order to be able to read them more effectively and develop their digital literacy skills.

References
Carman, P. (2011). Read between the lines. School Library Journal, 57(11). Retrieved from https://www.schoollibraryjournal.com

Dalton, B. (2014). E-text and e-books are changing the literacy landscape. Phi Delta Kappan, 96(3), 38-43). doi: 10.1177/0031721714557451

Edwards, J. (2013). Reading beyond the borders: observations on digital ebook readers and adolescent reading practices. In J. Whittingham, S. Huffman, W. Rickman & C. Wiedmaier (Eds.), Technological tools for the literacy classroom (pp. 135-158). Retrieved from IGI Global.

Farmer, L. (2014). Literacy and Technology. In V. Wang (Ed.), Handbook of Research on Education and Technology in a Changing Society (pp.307-317). Hershey, PA: IGI Global

Foley, C. (2012). Ebooks for leisure and learning. Scan, 31(4), 6-14. Retrieved from https://doms.csu.edu.au/csu/file/2fc4cb65-f36a-4273-a71e-d9970c96d4e9/1/foley-c.pdf

Gutierrez, P. (2012). Every platform tells a story. School Library Journal, 58(6), 32. Retrieved from https://www.schoollibraryjournal.com

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17. Retrieved from http://www.learningandleading-digital.com/learningandleading/Store.action

Otfinoski, S. (2013). World War II infantrymen: an interactive history adventure [Kindle edition]. Retrieved from https://www.amazon.com.au/World-War-Infantrymen-You-Choose-ebook/dp/B00E3SYFCE

Serafini, F., & Youngs, S. (2013). Reading workshop 2.0. Reading Teacher, 66(5), 401-404. doi:10.1002/TRTR.1141

Takacs, Z.K., Swart, E.K., & Bus, A.G. (2015). Benefits and Pitfalls of Multimedia and Interactive Features in Technology-Enhanced Storybooks. Review of Educational Research, 85(4), 698-739. doi: 10.3102/0034654314566989

Touch Press Inc (2017) has created a contemporary experience for readers in their IOS version of War Horse, which was originally penned by Michael Morpurgo in 1982. The classic story of a horse’s participation in World War I remains intact in this digitised adaptation, although it is enhanced by an optional audiobook, illustrations by François Place and a video performance by Michael Morpurgo. The defining aspect of this application, however, is the inclusion of informative text, video and images about World War I. Readers can scroll through a multimodal timeline of of the war or listen to experts discuss different aspects of this period as a slideshow plays.

This text is very engaging and useful because it incorporates different types of media, including audio, images and video. It supports the current English curriculum, which dictates that students must study multimodal texts at various stages (Board of Studies, 2012). The development of multiliteracies has become a necessity because readers regularly encounter various forms of media in their daily lives (Chan, Chia & Choo, 2017). A highlight is Place’s illustrations, which form a menu readers can scroll through in order to access specific chapters. These types of images are important in an increasingly visual world (Unsworth, 2010) and should be emphasised in the classroom because they support comprehension (Cappello & Walker, 2016). In this case, each image summarises the chapter and provides readers with an easier way to find information.

The audio is another beneficial multimodal element because it can be used to help students recognise and comprehend words within the story. Narration can easily be toggled on and off during reading if the reader presses the speaker button at the top of the screen. In addition to audio, the text is highlighted as the narrator speaks. Studies have shown that this support can help improve students’ literacy skills, especially fluency and vocabulary development (Biancarosa & Griffiths, 2012; Guernsey, 2011). The narration, in conjunction with the images, would be particularly helpful to ESL readers (Biancarosa & Griffiths, 2012).

The layout of the app is effective because the additional content (information about World War II, author’s performance) is positioned at the bottom of the application’s homepage so that the focus remains on the actual novel. It is the structure of the War Horse application (Touch Press Inc, 2017) that makes it superior to other enhanced e-books, which can be confusing due to the large number of interactive elements readers are able to explore (Pope, 2010). Touch Press Inc present a cohesive narrative because the story isn’t interrupted. The additional content also means the publisher has created an open world individuals can explore, unlike the more restrictive environments of traditional print books (James & de Kock, 2013). Therefore, the enhancements support the novel rather than causing distractions, which Pope (2010) identifies as a defining feature of a good e-book.

One aspect of the text that doesn’t work as well as it should is the video element, specifically the ‘expert videos’ and the author’s performance of the novel. The presentations are not very engaging because they are static and focus on voice. In fact, the lack of children and teenagers in the filmed audience of the author’s performance demonstrates that the content is not suitable for younger viewers. In order for digital texts to be effective, they should reflect the lives of readers (O’Connell, Bales & Mitchell, 2015), and the videos in this version of War Horse do not reflect the captivating visuals youths witness in their daily lives.

Access to the application is also limited and reading this text would be more difficult in the classroom in comparison to online texts or ebooks that can be read using various devices and operating systems. Touch Press Inc’s version of War Horse is only available as an iPad application, so although the application itself is inexpensive ($7.99), the school would have to purchase iPads for student use or require students to bring their own. In some schools, sets of devices are available but many schools ask students to bring a device of their own choosing. Reading the application on the iPad could also have an impact on the body; the lights and glossiness of the iPad screens can cause eye strain and lead to headaches and other associated health issues (Jabr, 2013).

The War Horse iPad application is recommended for teachers of high school English and History who want to support students with limited reading skills. It would be more feasible for selected students to interact with the text due to the cost of supplying iPads to entire classes. The visual and aural elements would help students comprehend the original novel.

References
Biancarosa, G., & Griffiths, G. (2012). Technology tools to support reading in the digital age. The Future of Children, 22(2), 139-160. Retrieved from https://futureofchildren.princeton.edu/publications

Board of Studies. (2012). English K-10. Retrieved from https://educationstandards.nsw.edu.au/wps/portal/nesa/k-10/learning-areas/english-year-10/english-k-10

Cappello, M., & Walker, N. (2016). Visual thinking strategies: teachers’ reflectins on closely reading complex visual texts within the disciplines. Reading Teacher, 70(3), 317-325. doi: 10.1002/trtr.1523

Chan, C., Chia, A., & Choo, S. (2017). Understanding multiliteracies and assessing multimodal texts in the English curriculum. The English Teacher, 46(2), 73-87. Retrieved from https://journals.melta.org.my/index.php/tet/index

Guernsey, L. (2011). Are ebooks any good?. School Library Journal, 57(6). Retrieved from https://www.slj.com

Jabr, F. (2013, April 11). The reading brain in the digital age: the science of paper versus screens. Retrieved from https://www.scientificamerican.com/article/reading-paper-screens/

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. doi:10.1080/10131752.2013.783394

O’Connell, J., Bales, J., & Mitchell, P. (2015). [R}evolution in reading cultures: 2020 vision for school libraries. The Australian Library Journal, 64(3), 194-208. doi:10.1080/00049670.2015.1048043

Pope, J. (2010). Where do we go from here? Readers’ responses to interactive fiction. The International Journal of Research into New Media Technologies, 16(1), 75-94. doi: 10.1177/1354856509348774

Touch Press Inc. (2017). War Horse [iPad application software]. Retrieved from https://apps.apple.com/au/app/war-horse/id557865146

Unsworth, L. (2010). Multiliteracies, e-learning and English teaching. Language and Education, 22(1), 62-75. doi:10.2167/le726.0

World War II Infantrymen: An Interactive History Adventure by Steven Otfinoski is available in both print and e-book (Kindle app) format and offers an engaging way to explore the role of individuals during World War II. The digital version could potentially excite readers even more; studies such as those conducted by Foley (2012) have shown that young people are keen to access digital texts. In both editions of the novel, readers can choose to be ‘an American infantryman in the Philippines, ‘a British soldier in North Africa’ or ‘an American soldier in the D-Day invasion in France’ (loc. 123). Although the text is fictional, archival images are used and various facts about the Vietnam War have been embedded. These elements mean it would be an excellent resource to use as part of the NSW History curriculum because World War II is a key area of study (Board of Studies, 2012).

Interactive novels have existed in print form for decades, but unenhanced e-book versions of this format provide new functions for readers. Texts such as Otfinoski’s novel use the simple navigational tools found in most e-books to allow readers to make a choice and skip to the appropriate page by clicking a hyperlink. Traditionally, readers would have to manually turn to a page to discover what would happen as a result of their choice. Although this provides ease of access, a benefit of all e-books (Guernsey, 2011), this style of navigation could hinder the reader’s comprehension of the storyline as they are unable to physically flip back and forth between pages and develop connections through contextualisation (Jabr, 2013; Pope, 2010). One way the publisher has reduced these navigational issues is through the inclusion of a ‘back’ button in the body of the e-book. Children and teenage readers need to be able to go back to previous pages and sections in order to clarify information and reaffirm their understanding of the plot (Pope, 2010). A hyperlinked contents page also allows individuals to quickly navigate to specific sections of the novel.

Another effective feature is the text-specific glossary. Important terminology is underlined and presented in red, and readers can click on the word to read a footnote. They can also navigate to the glossary at the end of the book. This feature helps young adults connect with the text, expand their vocabulary and develop their comprehension skills (Dalton, 2014; Edwards, 2013; Serafini & Youngs, 2013). Interruption to the reading experience is limited as glossary terms are not prevalent and clicking on the word will quickly produce a pop-up footnote that can be easily be removed after it has been read. In addition to this feature, the e-book utilises the regular dictionary function of the Kindle, which as Serafini and Youngs (2013) have mentioned, is a key benefit to e-books. Notes and highlighting, another common aspect of e-books, reduces a problem identified by Jabr (2013): readers often prefer print books because they like to be able to annotate the text. Students can also see quotations that have been highlighted by a large number of people. These highlighted sections draw the reader’s attention to important elements of the story and add a social element to reading.

Access to the internet is useful in the case of this e-book as other online experiences are provided by Capstone Press. At the end of the story, readers can click on the FactHound website link and find other website links relevant to the topic they are studying, in this case, World War II. School students can increase their knowledge as they are able to explore the topic in more detail. The hyperlink function mimics the information retrieval processes in which teenagers participate during their daily lives. Interactivity in this form is a key aspect of effective digital texts as students’ comprehension is enhanced when they are able to explore known environments or participate in familiar practices (Edwards, 2013; O’Connell, Bales & Mitchell, 2015). By excluding external hyperlinks from the body of the text, the author ensures students are not distracted from the main story (Dalton, 2014). Unfortunately, many digital texts lack narrative consistency and students become confused (Pope, 2013).

In order to study the text, readers would need to purchase the novel and download it to their devices for $8.71. The Kindle software used to read the e-book is beneficial because it is free and works on various devices and operating systems. The low price makes this text a viable option for schools, although the short length of the text might be a deterrent for some teachers. Therefore, the text would be most useful for struggling readers, especially as its engaging interactive elements, visuals and glossary options promote comprehension. The sensory experiences offered during the use of digital devices also help increase the motivation of low-ability students (Mcclanahan, Williams, Kennedy & Tate, 2012). Overall, this is a recommended text for use in the classroom, although more sophisticated texts or extension options may be necessary for stronger readers.

References
Board of Studies. (2012). History K-10. Retrieved from https://syllabus.nesa.nsw.edu.au/hsie/history-k10/

Dalton, B. (2014). E-text and e-books are changing the literacy landscape. Phi Delta Kappan, 96(3), 38-43). doi: 10.1177/0031721714557451

Edwards, J. (2013). Reading beyond the borders: observations on digital ebook readers and adolescent reading practices. In J. Whittingham, S. Huffman, W. Rickman & C. Wiedmaier (Eds.), Technological tools for the literacy classroom (pp. 135-158). Retrieved from IGI Global.

Foley, C. (2012). Ebooks for leisure and learning. Scan, 31(4), 6-14. Retrieved from https://doms.csu.edu.au/csu/file/2fc4cb65-f36a-4273-a71e-d9970c96d4e9/1/foley-c.pdf

Guernsey, L. (2011). Are ebooks any good?. School Library Journal, 57(6). Retrieved from https://www.slj.com

Jabr, F. (2013, April 11). The reading brain in the digital age: the science of paper versus screens. Retrieved from https://www.scientificamerican.com/article/reading-paper-screens/

Mcclanahan, B., Williams, K., Kennedy, E., & Tate, S. (2012). A breakthrough for Josh: how use of an iPad facilitated reading improvement. TechTrends, 56(3), 20-28. doi:10.1007/s11528-012-0572-6

Pope, J. (2010). Where do we go from here? Readers’ responses to interactive fiction. The International Journal of Research into New Media Technologies, 16(1), 75-94. doi: 10.1177/1354856509348774

O’Connell, J., Bales, J., & Mitchell, P. (2015). [R}evolution in reading cultures: 2020 vision for school libraries. The Australian Library Journal, 64(3), 194-208. doi:10.1080/00049670.2015.1048043

Otfinoski, S. (2013). World War II infantrymen: an interactive history adventure [Kindle edition]. Retrieved from https://www.amazon.com.au/World-War-Infantrymen-You-Choose-ebook/dp/B00E3SYFCE

Serafini, F., & Youngs, S. (2013). Reading workshop 2.0. Reading Teacher, 66(5), 401-404. doi:10.1002/TRTR.1141