Posts Tagged with digital storytelling

Assessment 4 Part D: Critical Reflection

ETL533: Literature in Digital Environments
Posted on

The subject ETL533 has expanded my understanding of what digital literature is and the ever-burgeoning possibilities afforded by advancements in technology (McDonald, 2022, September 5a; Rowland, 2021). There is no doubt that digital texts are changing the way we read, write, create, and respond to literature (Weigel & Gardner, 2009). I personally think that this is exciting as digital technologies are transforming reading experiences in previously inconceivable ways (McDonald, 2022, July 28). It is, however, making it even more difficult to define digital literature due to features, like interactivity and non-linear narratives, that are edging digital texts “closer to the gaming or entertainment industry” and the rapid pace of developments (McDonald, 2022, September 5a; Serafini et al., 2015, p. 16).

At the beginning of this session, I was so naive about the huge variety of digital texts available. My experience was embarrassingly limited – mostly just to eBooks! I have found it helpful to learn about different categories of text formats, even though this can still be contentious (Serafini et al., 2015). According to theorist Allan, the three most popular formats enjoyed by young readers are: eBooks, apps and “born digital narratives” (2017, p. 22). It has been beneficial for me to experience and critique examples of each of these three formats, such as: Pop Out! The Tale of Peter Rabbit (McDonald, 2022, September 5b), Woonyoomboo and the Night Heron (McDonald, 2022, September 5c) and the first episode of Inanimate Alice (McDonald, 2022, September 5d). I have come to realise that while formats evolve and sophisticate, the time-honoured tradition of telling a good story remains and will always be innate to our very nature (McDonald, 2022, July 21).

As a classroom English teacher of six years, I have not yet seen digital literature featured in any subject booklists (McDonald, 2022, August 16a). I recall some early English Department discussions about using Inanimate Alice, but this was eventually outvoted due to staff apprehension about teaching a multimodal text instead of print literature (McDonald, 2022, August 16b). Since learning about the benefits of digital literature, particularly for students who have learning needs and are English language learners, I am surprised that digital texts in classrooms are still so rare (Lamb, 2011; McDonald, 2022, October 9). It has led me to wonder – why are teachers and teacher librarians hesitant to incorporate digital literature into classrooms and school libraries, and what can we do about this? I mean, surely it’s not just a lack of awareness?

I now understand there may be concerns about perceptions of quality (or the lack thereof) of digital literature, particularly when compared to canonical print texts. But to me, this only emphasises the need for evaluative criteria (Walsh, 2013; Yokota & Teale, 2014). For example, when evaluating quality digital literature, it is important that the digital features do not disrupt narrative comprehension and support the reading experience (Lamb, 2011; McDonald, 2022, July 21; Sargeant, 2015).

Other concerns that teachers have may involve perceptions of their own technology skill levels, choice overwhelm, access costs and the time required to feel confident (Curtis, 2022; Matthews, 2014; McDonald, 2022, August 16; McDonald, 2022, October 6). As Weigel & Gardner aptly distil, it’s true that using technology and digital texts in the classroom does require educators to take “several leaps of faith” (2009, p. 41) However, I genuinely don’t think these challenges should deter educators from upskilling and implementing digital literature in the classroom (McDonald, 2022, October 9).

In addition, I think that providing opportunities for students and staff to engage in digital storytelling, and to create digital texts of their own, is equally important (McDonald, 2022, October 9; Reid, 2013). Research suggests that digital storytelling is powerful and supports learner engagement, motivation, creativity, and expression of ideas (Sukovic, 2014; Towndrow & Kogut, 2020).

As I embarked on my first ever digital storytelling project, I felt some apprehension that my limited technical skills would limit my desired creation, as expressed in my written proposal (McDonald, 2022, September 3). Peer feedback was instrumental in shaping the development of my digital text, Head to the Treehouse, as well as bolstering my confidence and sparking new ideas. Stolz (2022, September 4) encouraged me to “be adventurous” in exploring platforms that would offer reader interactivity, where students could click on links to access different story elements (para. 3). Before this, I thought I would have to export a complete video file that was not interactive at all. I was thankful for Stolz’s encouragement because I decided to use Google Slides so I could embed video content in sections and utilise navigational, interactive elements. Building on this feedback, Cheetham (2022) encouraged me to consider incorporating puzzle-decoding elements to enhance the narrative, where protagonist Flo is hunting for and solving clues. This led me to use hyperlinks to Google Forms quizzes, so that readers could solve the clues too.

Finally, Muti (2022) endorsed my choice of Canva as a digital tool, and to utilise premium features. I had not even thought of subsequently prompting students to, as Muti says, “have a shot” at creating their own digital story (2022, para 2.). Her comment encouraged me to consider how I could model to students how to create a digital story, as an exemplar for them to make one of their own. This in turn, prompted me to develop a response task for students to create a digital story that concludes the narrative.

I am excited for the future of digital literature, which is far more sophisticated and engaging than my little story (McDonald, 2022, September 5a). We all need to keep advocating for the incorporation of digital literature and digital storytelling into classrooms and school libraries. This is not to rule out print texts, but to have them sit together side-by-side, as part of rich, diverse, multimodal resource collections offered to students (Yokota & Teale, 2014). Students need to experience a variety of texts, genres, and formats to prepare them for their reading futures and life beyond the school gates (Dobler, 2013; McDonald, 2022, September 9). Let’s keep this digital ball rolling.

 

Reference List 

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

Cheetham, J. (2022, September 7). This sounds like a wonderful and appropriate story for middle to upper primary students. [Comment on “Assessment 3: Digital storytelling proposal”]. From Dust Jackets to Digital Horizons. https://thinkspace.csu.edu.au/emmamcdonald/2022/09
/03/assessment-3-digital-storytelling-proposal/

Curtis, J. (2022, September 13). Too many to choose from. [Comment on “Module 4.2 & 5.2: Digital tools”]. Interact 2: ETL533 Discussion Board. https://interact2.csu.edu.au/webapps/
discussionboard/do/message?action=list_messages&course_id=_64104_1&conf_id=_128305_1&forum_id=_282776_1&message_id=_4253513_1&nav=discussion_board_entry

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

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

Matthews, J. (2014). Voices from the heart: the use of digital storytelling in education. The Journal of the Health Visitors’ Association: Community Practitioner, 87(1), 28-30.

Muti, A. (2022, September 4). I love your proposal, Emma! [Comment on “Assessment 3: Digital storytelling proposal”]. From Dust Jackets to Digital Horizons. https://thinkspace.csu.edu.au/
emmamcdonald/2022/09/03/assessment-3-digital-storytelling-proposal/

Reid, K. (2013). Creating e-books in the classroom. In J. Bales (Ed.), E-books in learning – a beginner’s guide (pp. 37-43). Australian School Library Association.

Rowland, R. (2021, July 8). What is digital literature? Understanding the genre. Book Riot. https://bookriot.com/digital-literature/

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.

Serafini, F., Kachorsky, D., & Aguilera, E. (2015). Picture books 2.0: Transmedial features across narrative platforms. Journal of Children’s Literature, 41(2), 16-24.

Stolz, K. (2022, September 4). This sounds like a wonderful and appropriate story for middle to upper primary students. [Comment on “Assessment 3: Digital storytelling proposal”]. From Dust Jackets to Digital Horizons. https://thinkspace.csu.edu.au/emmamcdonald/2022/09/03
/assessment-3-digital-storytelling-proposal/

Sukovic, S. (2014). iTell: Transliteracy and digital storytelling. Australian Academic & Research Libraries, 45(3), 205-229.

Towndrow, P. A., & Kogut, G. (2020). Digital storytelling for educative purposes: Providing an evidence-base for classroom practice (1st ed.). Springer. https://doi.org/10.1007/978-981-15-8727-6

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers (pp. 181-194). Primary English Teaching Association Australia.

Weigel, M., & Gardner, H. (2009). The best of both literacies. Educational Leadership, 66(6), 38-41.

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6), 577-585.

Image Source: Image by PicJumbo from Pixabay

Assessment 4 Part A: Context for Digital Storytelling Project

ETL533: Literature in Digital Environments
Posted on

Head to the Treehouse is a digital text created using Canva, Google Slides, and Google Forms. Unlike traditional print-based texts, digital texts can incorporate animation, images, video, sound effects, music, and audio narration (Lamb, 2011; Matthews, 2014; Reid, 2013). They can also embed navigational and interactive features, and connect readers to digital resources and other “external platforms” beyond the text (Serafini et al., 2015, p. 18).

This digital text is suited to middle grade readers aged approximately 8–13 years old, due to language complexity and puzzle-based content that requires students to navigate different online platforms to solve clues. Specifically, the target audience is Year 5 and 6 students at Kingswood College who are taking part in the College’s ‘Wide Reading and Responding’ program which runs in conjunction with Years 5 and 6 English. There are explicit links to Year 5 English curriculum (ACELT1610, ACELT1798, ACELY1704, ACELY1707) and Year 6 English curriculum (ACELT1618, ACELT1800, ACELY1714, ACELY1717) (Australian Curriculum, Assessment and Reporting Authority, 2015a).

The purpose of the incorporating digital texts into school library programs is twofold: so that students have access to multimodal texts and can try digital storytelling themselves. Digital storytelling is, put simply, the use of digital tools to share stories (Matthews, 2014; Towndrow & Kogut, 2020). Head to the Treehouse is designed to act as a springboard for students, as, after reading, they are asked to ‘finish the ending’ and design their own digital story which draws the narrative to a close.

Engaging students in digital storytelling projects supports their ICT skill development (Reid, 2013; Tackvic, 2012, p. 429). Accordingly, this activity links to the Information and Communication Technology (ICT) Capability of the Australian Curriculum. Some relevant organising elements include: “applying social and ethical protocols and practices when using ICT”, “creating with ICT” and “communicating with ICT” (Australian Curriculum, Assessment and Reporting Authority, 2015b).

Head to the Treehouse and the associated digital storytelling activity are designed to meet the needs of Kingswood College students. The College is a small, co-educational, independent school in Box Hill South, Victoria. The Index of Community Socio-Educational Advantage value is 1147 (ACARA, 2022). Students bring their own devices, utilise the College wireless internet, and regularly access digital learning content. There are many students who are neurodiverse and have specific learning needs. The College also has multilingual Aboriginal and Torres Strait Islander students and international students who are learning English.

Head to the Treehouse is influenced by interactive digital texts, such as the landmark, born digital narrative series Inanimate Alice (Boyd, 2013; McDonald, 2022, September 5). Many young readers now expect digital content to be interactive (Sargeant, 2015). This text is an opportunity involve readers in the narrative and connect them with elements beyond the story (Walsh, 2013). Like the linear narrative in the first episode of Inanimate Alice, the protagonist of Head to the Treehouse, Flo, is trying to find a missing relative and must solve a series of clues to find out where they are (Cowdy, 2016).

Unlike Inanimate Alice, this text features audio narration, and subtitles, to assist students who need help reading independently, particularly English language learners (Lamb, 2011). Head to the Treehouse uses hyperlinks to Google Forms quizzes, where readers must answer questions or find information using the internet to solve clues (Reid, 2013). There are also two parts of the story that allow for ‘choose your own adventure’ narrative options, where students can make a choice about what happens next (Walsh, 2013). These elements all aim to enhance engagement and involve students as they solve clues alongside the protagonist. Sound effects and background music are used to enrich the immersive reading experience (Walsh, 2013). There are also navigational elements, such as ‘back’ and ‘next’ buttons, which give readers control over the story’s pace and direction (Javorsky & Trainin, 2014). Ultimately, the goal is to expose students to a quality example of a digital text, so they will be inspired to join in and make their own.

Digital texts are relevant because young people are increasingly using devices to access literature (Sargeant, 2015). Quality digital literature supports differentiation in the classroom, as students can read at their own pace, and supports multiliteracy learning (Lamb, 2011; Sukovic, 2014; Yokota & Teale, 2014). For students who have learning needs, digital texts provide accessibility options such as different pathways, labels, audio narration and text highlighting (Kingsley, 2007; Lamb, 2011). It is imperative that students are exposed to a variety of different text formats, both print and digital resources, as school libraries ever-strive to equip students for the “new learning ecology of the twenty-first century” (O’Connell et al., 2015, p. 195; Yokota & Teale, 2014).

Further, it is beneficial for teachers to create their own digital texts as they are tailor-made for their students and learning contexts (Reid, 2013). Modelling ethical digital technology use in the classroom also supports student learning (Kingsley, 2007; Serafini et al., 2015; Weigel & Gardner, 2009).

Supporting students to create their own digital texts empowers students to share their ideas and understandings, “speak their own language” as digital natives, and engage in active, independent learning (Malita & Martin, 2010; Ohler, 2016, p. 11, Rubino et al., 2018; Sukovic, 2014). Research indicates that digital storytelling nurtures student learning engagement, motivation, and creativity (Towndrow & Kogut, 2020). Digital text creations are also evidence of learning that can be shared with the school community and families (Botturi et al., 2012; Reid, 2013). Neurodiverse students who experience communication challenges may find digital storytelling, particularly the use of audio-visual material, helps them to express their ideas (Botturi et al., 2012). All students can benefit from reading and responding to digital texts.

Reference List 

Australian Curriculum, Assessment and Reporting Authority. (2015a). English content descriptions (Version 8.4). https://www.australiancurriculum.edu.au/f-10-curriculum/english/

Australian Curriculum, Assessment and Reporting Authority. (2015b). Information and Communication Technology (ICT) Capability (Version 8.4). https://www.australiancurriculum.edu.au/f-10-curriculum/general-capabilities/information-and-communication-technology-ict-capability/

Australian Curriculum, Assessment and Reporting Authority. (2022). School profile. My School. https://www.myschool.edu.au/school/46202

Botturi, L., Bramani, C., & Corbino, S. (2012). Finding your voice through digital storytelling. Techtrends: Linking Research & Practice To Improve Learning, 56(3), 10-11.

Cowdy, C. (2016). Pedagogical encounters with Inanimate Alice: Digital mobility, transmedia storytelling, and transnational experiences. Jeunesse, Young People, Texts & Cultures, 8(1), 154-179.

Javorsky, K., & Trainin, G. (2014). Teaching young readers to navigate a digital story when rules keep changing. The Reading Teacher, 67(8), 606-618. https://doi.org/10.1002/trtr.1259

Kingsley, K. V. (2007). Empower diverse learners with educational technology and digital media. Intervention in School & Clinic, 43(1), 52-56.

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

Malita, L., & Martin, C. (2010). Digital storytelling as web passport to success in the 21st century. Procedia-Social and Behavioral Sciences, 2(2), 3060-3064.

Matthews, J. (2014). Voices from the heart: the use of digital storytelling in education. The Journal of the Health Visitors’ Association: Community Practitioner, 87(1), 28-30.

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.

Ohler, J. (2016). Digital storytelling in the classroom: new media pathways to literacy, learning, and creativity (2nd ed.). Corwin.

Reid, K. (2013). Creating e-books in the classroom. In J. Bales (Ed.), E-books in learning – a beginner’s guide (pp. 37-43). Australian School Library Association.

Rubino, I., Barberis, C., & Malnati, G. (2018). Exploring the values of writing collaboratively through a digital storytelling platform: A mixed-methods analysis of users’ participation, perspectives and practices. Interactive Learning Environments, 26(7), 882-894.

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.

Serafini, F., Kachorsky, D., & Aguilera, E. (2015). Picture books 2.0: Transmedial features across narrative platforms. Journal of Children’s Literature, 41(2), 16-24.

Sukovic, S. (2014). iTell: Transliteracy and digital storytelling. Australian Academic & Research Libraries, 45(3), 205-229.

Tackvic, C. (2012). Digital storytelling: Using technology to spark creativity. The Educational Forum, 76(4), 426-429.

Towndrow, P. A., & Kogut, G. (2020). Digital storytelling for educative purposes: Providing an evidence-base for classroom practice (1st ed.). Springer. https://doi.org/10.1007/978-981-15-8727-6

Walsh, M. (2013). Literature in a digital environment. In L. McDonald (Ed.), A literature companion for teachers (pp. 181-194). Primary English Teaching Association Australia.

Weigel, M., & Gardner, H. (2009). The best of both literacies. Educational Leadership, 66(6), 38-41.

Yokota, J. & Teale, W. H. (2014). Picture books and the digital world: educators making informed choices. The Reading Teacher, 34(6), 577-585.

Image Credit: Image by Pexels from Pixabay

Digital Storytelling and Digital Tools

ETL533: Literature in Digital Environments
Posted on

This week we have been learning about digital storytelling, and the ways in which we can harness new media technologies to do what humans have always done – tell stories. As defined by Matthews, digital storytelling “presents personal narratives, images and music to create a unique and sometimes emotional snapshot into another person’s experience” (2014, p. 28).

I found this video explainer, created by the University of Guelph in Canada, helpful in clarifying my understanding of digital storytelling:

I also noticed that this YouTube video is itself a form of digital storytelling as the University of Guelph librarians have used the platform Powtoon to create a video that incorporates audio narration, background music, moving images, text, and animation.

When thinking about digital storytelling and how it is used in the classroom, I have a few burgeoning thoughts! I think it can be such a powerful way to teach content using multimodal methods and is likely more appealing to a wider student group than reading printed written texts. Digital stories can also be published and shared widely in learning communities.

I imagine that students with different learning preferences and needs may find it particularly helpful – such as providing definitions, translations, audio narration and so on (Walsh, 2013). However, it is important that multimodal elements enhance understanding, not distract from the text and its content (Dobler, 2013).

Some questions that I have:

  1. How do we best support students, when creating their own digital stories, to source audio-visual content ethically and legally?
  2. How can teachers be best supported to develop their own digital storytelling resources for classroom use? (e.g., through staff professional development activities)
  3. How can we encourage other staff to incorporate digital stories in their classrooms, when their might be some (understandable) apprehension!

Digital storytelling tools

I think it is important for students to be able to create and share their own stories using digital tools. As Tackvic comments, when she reflects on her students using digital storytelling tools, she is delighted that they are “not only becoming more confident writers, they are also learning how to use 21st century skills” (2012, p. 429).

Some fantastic digital tools that I have found so far:

  1. Storyboard That
  2. Canva
  3. Storybird
  4. ThingLink
  5. PicLits

It’s important to incorporate digital literature and digital storytelling into classrooms, not to take the place of print texts, but as an important part of comprehensive programs. Students need to experience a variety of texts, genres and formats to, as Dobler states, “prepare them for the wide variety of reading experiences they will encounter in their future” (2013, p. 21).

References

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

Matthews, J. (2014). Voices from the heart: the use of digital storytelling in education. The Journal of the Health Visitors’ Association: Community Practitioner, 87(1), 28-30.

Tackvic, C. (2012) Digital Storytelling: Using Technology to Spark Creativity. The Educational Forum, 76(4), 426-429.

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).

Image Credit: Visual Art by Çiğdem Onur from Pixabay

Copyright © 2025 Emma McDonald. All rights reserved.