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Assessment 4 Part D: Critical Reflection

ETL533: Literature in Digital Environments
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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

Digital Literature Review 3: Inanimate Alice Episode 1

ETL533: Literature in Digital Environments
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Inanimate Alice is a landmark, born digital narrative series, of which seven episodes have been released (Boyd, 2013). A born digital narrative is a multi-modal text that has been designed in, and for, digital environments (Allan, 2017; Walsh, 2013). Despite previously being freely accessible via the internet, a bundle of the first five Inanimate Alice episodes can be downloaded for $9.99 USD from the text’s website (Bradfield Narrative Designs Inc., 2022).

Inanimate Alice can also be categorised as “game-based storytelling” and is an early, significant example of a transmedia text (Cowdy, 2016; Walsh, 2013). Transmedia stories are often nonlinear and use multiple media platforms while combining features such as audio-visual content, text, graphics, and games (Fleming, 2013; Hamilton, 2019). These text types actively encourage reader participation so that readers can be co-constructors of digital narratives (Hovious et al., 2020).

Even though Inanimate Alice, particularly the first episode, is not a recent text, it is worthy of review due to its wide-reaching, global impact. Episode one has been used by teachers in over 100 countries, it has stirred much academic interest, and the series has been recommended as part of the Australian national curriculum for English (Hovious et al., 2020). Moreover, a research group has been established to recommend Inanimate Alice as a high-quality exemplar text of digital literature (Hovious et al., 2020).

The first episode, released in 2005, is set in remote Northern China where the protagonist Alice is eight years old and being home-schooled by her mother Ming (Pullinger et al., 2005). Subsequent episodes follow Alice as she travels with her parents to different countries around the world (Allan, 2017). The structure of episode one’s narrative is simple; readers learn that Alice’s dad, who works in the oil industry, has been missing for two days. The episode is told from Alice’s first-person perspective whereby Alice and her mother set out in their car to look for him.

Evaluative criteria

Criterion Description Evaluation notes
1 The text is appropriately presented in digital format As a born-digital text, episode one integrates multimodal features, such as: printed text, visuals, moving images, sound, and interactive games. These are integral to the story because they are used by the reader to make inferences about narrative gaps regarding character and plotlines (Walsh, 2013).

The predominant mood of the text is uneasiness and escalating anxiety about Alice’s dad’s safety. This feeling is amplified by soundscapes of white noise and electronic sounds, blurry footage of cars, split screens, and Alice’s comment: “I am frightened too” (Pullinger et al., 2005).
2 The text takes advantage of features the digital world allows, beyond what is possible in print Technology is authentically embedded throughout the story, and it enhances the core narrative (Fleming, 2013).

An example of this is Alice’s handheld gaming device, which she calls her ‘ba-xi’ (Pullinger et al., 2005). Readers interact with the device to take photos of wildflowers that Alice wants to email to her dad, view illustrations of her virtual friend Brad and type notes about things she wants to be doing, rather than searching for her father. These game and messaging elements are appealing to digitally savvy readers (Walsh, 2013).
3 Supplementary features align with the text There are connected resources within the first episode of Inanimate Alice such as embedded documents, text and emails on Alice’s ba-xi, photographs of everyday life in China, maps, and floor plans of ‘base camp’ (Lamb, 2011). On the last screen, there is a hyperlink to the Inanimate Alice website and episodes for purchase (Bradfield Narrative Designs Inc., 2022).
4 Interactive features maintain the integrity of the main story Readers must interact with the text by clicking on arrows or other visual elements, watching footage, and playing Alice’s ba-xi to progress with the narrative (Hamilton, 2019). This is outlined to readers on the opening page. Readers are also informed that they can view the navigational panel on the right-hand side to return to earlier scenes, but they cannot skip forward. The interactive graphics serve to further immerse readers in the story, rather than distract them (Javorsky & Trainin, 2014).
5 Digital features support readers’ acquisition of words or comprehension The white printed text is striking against the black background (Yokota & Teale, 2014). Unfortunately, there are no options for the text to be read aloud. There are a few words spoken by Alice’s ba-xi, in a Chinese dialect, but these are without translation or subtitles. This adds to the enigmatic atmosphere of the narrative but does not support language learning.
6 The story within the digital text has literary merit The Inanimate Alice series’ popularity is unrivalled, and it has been translated into at least seven languages other than English (Allan, 2017). It was the first digital story to feature as part of Australian national English curriculum (Boyd, 2013).

 

Reference List

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

Boyd, B. (2013). Learning objectives: Meeting the needs of young people and the curriculum. Inanimate Alice Australia. https://www.inanimatealice.com/australia/resources/assets/
photostory1/education/bill_boyd.pdf

Bradfield Narrative Designs Inc. (2022). Inanimate Alice. https://inanimatealice.com/

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

Fleming, L. (2013). Expanding learning opportunities with transmedia practices: Inanimate Alice as an exemplar. Journal of media literacy education, 5(2), 370-377.

Hovious, A., Shinas, V. H., & Harper, I. (2020). The compelling nature of transmedia storytelling: Empowering twenty first century readers and writers through multimodality. Technology, Knowledge and Learning, 26(1), 215-229. https://doi.org/10.1007/s10758-020-09437-7

Hamilton, L. (2019). Inanimate Alice. Literacy Learning: The Middle Years, 27(1), 71-74.

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

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

Pullinger, K., Joseph, C., & Harper, I. (2005). Inanimate Alice: Episode 1 [Computer software]. The Bradfield Company Ltd.

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.

Header Image Source: Figure 1. Screenshot from the digital text (Pullinger et al., 2005).

Digital Literature Review 2: Woonyoomboo the Night Heron

ETL533: Literature in Digital Environments
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Woonyoomboo the Night Heron is an enhanced eBook published by Sharing Stories Foundation. It features a Dreaming story shared by Nyikina Mangala elders Annie Nayina Milgin and Darraga Watson, that has been passed down from Annie’s father Darby Nangkiriny (Sharing Stories Foundation, 2022b). The eBook is freely available for download from Apple Books, and there are two versions: one in English and the other in Nyikina language (Milgin & Watson, 2018). The enhanced eBook was created in partnership with the students of Nyikina Mangala Community School and other community members.

Dreaming stories, like Woonyoomboo’s, explain the spiritual world and the creation of the physical world, and are the foundation of Aboriginal lore, culture, and beliefs (Aboriginal Contemporary, 2022; Deadly Story, 2022a). Woonyoomboo is the main creation ancestor of the Nyikina people, the traditional custodians of the Kimberley region in Western Australia (Sharing Stories Foundation, 2022a). Storytelling is an ancient practice which enables knowledge transfer and relationship-building in Indigenous cultures (Iseke, 2013).

Woonyoomboo the Night Heron can be classified as an enhanced or ‘amplified’ eBook because it contains supplementary media such as maps, navigational features, illustrations, audio-visual content, and links to resources outside of the text such as community member stories (Allan, 2017; James & de Kock, 2013; Serafini et al., 2015). The text benefits from the emerging influence of drone technology, incorporating aerial photography and video footage of vast landscapes which reveal the physical geography of creation stories.

The eBook’s narrative tracks the Songline that Woonyoomboo left for the Nyikina people, which holds instructions for how to live and how to care for Country (Milgin & Watson, 2018; Sharing Stories Foundation, 2022b). Songlines are physical paths, often tied with ancestral stories, that link sacred sites and are a “singing celebration of Country” (Deadly Story, 2022b). The Songline in Woonyoomboo the Night Heron is used to guide the narrative and is depicted as an illustrated, interactive map with sacred landmarks along the way.

Evaluative criteria

Criterion Description Evaluation notes
1 The text is appropriately presented in digital format The enhanced audiobook features multimodal elements, such as audio narration and videos. This is appropriate for this Dreaming story as oral traditions are a key feature of Aboriginal culture. The spoken word has been the primary means of passing on stories between generations for millennia (Queensland Curriculum & Assessment Authority, 2018).

The eBook has community approval and is culturally safe (Sharing Stories Foundation, 2022a). For example, it features a warning at the start about images and references to people have died (Milgin & Watson, 2018).
2 The text takes advantage of features the digital world allows, beyond what is possible in print Multimodal, digital features serve to deepen reader understanding of Woonyoomboo’s story (Dobler, 2013). In addition to the illustrations on each page, there are embedded animated videos which incorporate original artwork by Nyikina Mangala Community School students and rich soundscapes, which bring moments of the story to life. Some students also act in the videos!

The Songline map can be viewed while reading the text, by touching the map icon at the bottom-left of each page. This shows not only the illustrated map, but incredible drone photography highlighting aerial views of the physical landscape.

On some pages there is a clapsticks symbol. Readers can touch the icon to hear someone performing a song with clapsticks.

It is powerful to read so experientially; to see the land geography, interact with the illustrated map, and hear recorded songs which are tethered to this creation narrative.
3 Supplementary features align with the text At the end of the story there is section titled ‘Our Community Voices’ which features links to audio clips, video files and written text about locals.
4 Interactive features maintain the integrity of the main story There is “aesthetic synergy” between the digital design, the text itself and the culturally significant Dreaming story captured within (Walsh, 2013, p. 187). Digital elements, such as the animated videos, illustrate parts of Woonyoomboo’s story, such as when he uses a majala bark to collect fish in the water that later becomes the Fitzroy River (Milgin & Watson, 2018).

These elements are instrumental to the reading experience and are inherently purposeful as they support narrative comprehension (Lamb, 2011).
5 Digital features support readers’ acquisition of words or comprehension There is an explanation of icons and symbols that appear in the story on page 9. For example, there are two audio narration buttons: ‘ENG’ is for English and ‘NYK’ is for Nyikina language. These options support bilingual language learning.

Readers can touch any word that is in dark red to hear the pronunciation aloud, which is helpful for language learning and bilingual word recognition (Lamb, 2011; Yokota & Teale, 2014). English subtitles are included for videos which feature Nyikina language, such as the welcome video by Annie at the start of the eBook.

Unfortunately, there is no text highlighting (Segal-Drori et al., 2010). It would also be helpful to have a glossary of terms at the end of the text, with definitions or even opportunities to match illustrations with vocabulary (Yokota & Teale, 2014).
6 The story within the digital text has literary merit This is an ancient Dreaming story, that has been passed down orally through generations of Nyikina families. It is an extraordinary gift that this story has been shared with the public, through the generosity of Nyikina community elders.

 

Reference List:

Aboriginal Contemporary. (2022). What is the dreamtime and dreaming? https://www.aboriginalcontemporary.com.au/pages/what-is-the-dreamtime-and-dreaming

Deadly Story. (2022a). Dreaming. https://www.deadlystory.com/page/culture/Life_Lore/Dreaming

Deadly Story. (2022b). Songlines. https://www.deadlystory.com/page/culture/Life_Lore/Songlines

Iseke, J. (2013). Indigenous storytelling as research. International Review of Qualitative Research, 6(4), 559-577. https://doi.org/10.1525/irqr.2013.6.4.559

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.

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

Milgin, A. N., & Watson, D. (2018). Woonyoomboo: The Night Heron. Sharing Stories Foundation. https://books.sharingstoriesfoundation.org/nyikina/

Queensland Curriculum & Assessment Authority. (2018, July 25). Storytelling in Aboriginal and Torres Strait Islander cultures. https://www.qcaa.qld.edu.au/about/k-12-policies/aboriginal-torres-strait-islander-perspectives/resources/storytelling

Segal-Drori, O., Korat, O., Shamir, A., & Klein, P. (2010). Reading electronic and printed books with and without adult instruction: effects on emergent reading. Read Writ 23(8), 913-930.

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.

Sharing Stories Foundation. (2022a). Nyikina community. https://sharingstoriesfoundation.org/
community/nyikina/

Sharing Stories Foundation. (2022b). Woonyoomboo: the night heron. https://sharingstories
foundation.org/resource/woonyoomboo-the-night-heron/

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.

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

Header Image Source: Figure 1. Screenshot from the eBook (Milgin & Watson, 2018).

Understanding Digital Literature

ETL533: Literature in Digital Environments
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“The art of storytelling has remained unchanged and, for the most part, the stories are recycled. But the way that humans tell the stories has always evolved with pure, consistent novelty” (Sabia, 2011, 02:46)

The art of telling stories is innate to our very nature, and storytelling traditions span all cultures and time periods across human history. This quote by Joe Sabia, from his storytelling TED talk, powerfully encapsulates how stories are told has transformed due to technological advancements, but at its core, the essence of good storytelling has remained the same.

Digital technology is no doubt impacting the literature landscape, expanding opportunities for multimodal texts that increase user interactivity and redefine the scope of traditional paper-bound books (Lamb, 2011, p.13). Multimodality is defined by Walsh (2013) as “how communication occurs through different but synchronous modes: language, print, images, graphics, movement, gesture, texture, music, sound” (p. 181). Walsh distinguishes between traditional literature, which is represented in a digital format, “digital narratives” that are created digitally, and hybrid texts (2013, p. 183).

There are debates about the benefits of digital literature (e.g. eBooks) such as if it has a place in the classroom, if it threatens the publishing industry, whether the benefits are comparable to students reading paper books, and concern about additional access requirements (such as charged devices, different file types and specific literacy skills) compared to picking up a physical book, just to name a few (Sadokierski, 2013). Some people are resistant to digital literature due to nostalgia or preference for the tactile feeling of holding a book that they are reading (Jabr, 2013).

However, as Sadokierski (2013) states, “electronic books can do certain things that print books cannot, and therein lies their value.” Research suggests that “struggling readers” and students with specific learning requirements benefit from interactive texts that incorporate multimodal elements and enhanced navigation and usability options (Lamb, 2011).

How do we, as teachers, evaluate quality digital literature?

As Walsh (2013) states, “we need to consider whether the screen and audio effects enable students to understand and experience the characteristics of traditional narratives, for example, the development of plot with its climax and resolution, the struggle of good over evil, and the effect of setting” (p. 185). There are elements of quality literature, also proposed by Walsh, that can be used to evaluate all digital texts, such as: clear structure, authentic setting, developing reader empathy and imagination, exploration of ideas, age-appropriate language, and likelihood of motivating users to keep reading (2013, p. 185-187).

To this point Lamb (2011) advises, “when evaluating reading resources, consider the role of the audio, graphics, motion, and interactive elements and determine whether the navigation and support tools are easy to use and contribute to the reading experience” (p. 17). Dobler concurs, suggesting that evaluative criteria should include: “ease of use, the promotion of understanding and literary worthiness” (p. 21). In addition, it is important to remember that the content itself is key to evaluating text quality, not just the multimodal elements (Lamb, 2011, p. 17).

References

Dobler, E. (2013). Looking beyond the screen: Evaluating the quality of digital books. Reading Today, 30(5), 20-21. https://web-p-ebscohost-com.ezproxy.csu.edu.au/ehost/pdfviewer/pdfviewer?vid=1&sid=1b2a8f5e-8ca0-46aa-b202-52209b34b771%40redis

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

Kingwell, M. (2013, December 4). Why read literature in the digital age? Retrieved from http://www.universityaffairs.ca/features/feature-article/why-read-literature-in-the-digital-age/

Lamb, A. (2011). Reading redefined for a transmedia universe. Learning and Leading with Technology, 39(3), 12-17. Retrieved from http://ezproxy.csu.edu.au/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ehh&AN=67371172&site=ehost-live

Sabia, J. (2011). The technology of storytelling [Video]. TED. https://www.ted.com/talks/joe_sabia_the_technology_of_storytelling

Sadokierski, Z. (2013, November 12). What is a book in the digital age? [Blog post]. Retrieved from http://theconversation.com/what-is-a-book-in-the-digital-age-19071

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: Photo by Perfecto Capucine on Unsplash

School Library Futures

ETL503: Resourcing the Curriculum
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I’m excited to think about the future of school libraries, as they become more inclusive and relevant to user needs. This could include more accessible resources for students with specific learning needs, multilingual materials, and blended learning resources or information that students can access from home.

I sincerely hope that increasing digital integration and e-resource offerings will further cement the importance of school libraries as learning hubs and integral components for the school teaching and learning landscape. Like Wade’s (2005) phoenix analogy indicates, school libraries need to continuously evolve to keep pace with user needs and information trends. School libraries that become, like dodos, extinct, not utilised or not fit for purpose are such a wasted opportunity for positive impact.  As the International Federation of Library Association and Institutions’ (2018) updated Trends Report suggests that: “Libraries can adapt and respond through sharing skills, tools and ideas that empower their users” (p. 5).

Despite expanding digital collections, I think that physical resources will continue to have a place in school libraries as they serve educational purposes. In the future, there will continue to be changes to what physical library environments look like and feature too. Some examples are more flexible furniture, collaborative working areas, shelving on wheels and different zones (Curtis, 2018).

There is a lot of fearmongering that digital shifts will threaten the place of libraries and, by extension, Teacher Librarians (TLs), but this is not the case. School libraries of the future may look different, but their purpose will not waver: to equip users with the skills they need to navigate information environments, read widely and access resources from a variety of different perspectives. Teacher librarians, like wayfarers guiding users through diverse terrain (digital and physical), will always be needed, if not more than ever as information needs keep proliferating.

References

Curtis, N. (2018). School library staff share: Our wish list for the future. Access, 32(3), 32-38.

International Federation of Library Associations and Institutions. (2018). IFLA Trend Report Update. https://trends.ifla.org/files/trends/assets/documents/ifla_trend_report_2018.pdf

Wade, C. (2005). The school library: phoenix or dodo bird? Educational Horizons, 8(5), 12-14.

Image Credit: Photo by Hadija Saidi on Unsplash

Censorship

ETL503: Resourcing the Curriculum
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The issue of censorship is complex but juicy – and I find it fascinating! Last year I attended a session held by former Victorian CBCA Branch President Karys McEwan who spoke about this. She outlined her approach to censorship: that all the books in the collection had been carefully selected for the student community, but that doesn’t mean that all the books will be suited for each individual student. If the book isn’t quite right for that student, then just pick another one!

In theory, I think that high school students should be able to self-censor and select books that are appropriate for them. The reality, however, is probably that they still need some guidance! At our school, we have some content labels and a separate section of ‘Senior Fiction’ which is for books with mature themes (sex, drugs and rock’n’roll). This area isn’t restricted, because students can access these books, but there will be a system alert if younger students want to borrow one of these titles. Some other libraries require parent permission for students to borrow from these restricted sections, but this could potentially impact students’ rights (Jacobson, 2016).

My key takeaways from the module and readings are that: the best response to challenges is to have a clear Collection Development Policy (CDP) that outlines a process for challenging resources that community members may want censored or removed.

I found it interesting that in the 2016 Controversial Books Survey, conducted by the School Library Journal, more than 90 percent of librarians interviewed said they didn’t select a book to add to the collection because of controversial content (School Library Journal Staff, 2016). This controversial content included: “sexual content, profanity, or other non-age-appropriate material” (Jacobson, 2016, p. 21). Dawkins explains that this can become self-selection, “when a school librarian chooses not to add material to a collection for fear of a challenge” (2018, p. 8). To me, this indicates that resources that make it to the collection are selected carefully with consideration about themes, content, and appropriateness for users. This can all be justified, through selection criteria and the CDP, if challenges do indeed arise.

I also found it interesting that most challenges were came from parents, after that it was teachers or administrators and then, finally, students themselves (Jacobson, 2016). This indicates to me that parents are perhaps most likely to be making challenges about collection content.

References

Dawkins, A. M. (2018). The decision by school librarians to self-censor: The impact of perceived administrative discomfort. Teacher Librarian, 45(3), 8-12.

Jacobson, L. (2016). Unnatural Selection. School Library Journal, 62(10), 20–24.

School Library Journal Staff. (2016, September 26). SLJ Controversial Books Survey Responses: Weighing Subject Matter. https://www.slj.com/story/slj-controversial-books-survey-responses-weighing-subject-matter

Image Credit: Photograph by Steve Buissinne from Pixabay

Collection Evaluation

ETL503: Resourcing the Curriculum
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Johnson (2018) emphasises that collection evaluation is an ongoing process, outlining several quantitative and qualitative methods of collection analysis that can be used to evaluate school library collections. This list is helpful as it outlines use-based and user-based approaches, as well as collection-based approaches.

A combination of quantitative and qualitative dad collection methods is best, particularly when reporting to key stakeholders (such as leadership, school council, students, staff, or parents). These stakeholders might be seeking different kinds of information, to serve a variety of purposes (e.g. circulation data to justify spending, information about collection utilisation, feedback about collection appropriateness).

For example, school leadership might preference quantitative data such as circulation statistics, e-resources use statistics, in-house use statistics, cost per use as well as collection size and growth. This data could be used to justify library budgets or plans for collection expansion, as directed by user community needs. Numerical data, however, only shows part of the picture. As noted by Brown “it’s not enough to include numbers alone. The value lies in your interpretation of what the numbers represent” (2016, p. 22).

Moreover, qualitative methods, such as user opinion surveys (e.g. Google Forms or Survey Monkey), collection mapping or observation (what books are used/read/referred to in the Library but not necessarily loaned) could be used by school library staff to garner richer data about collection use. These methods, however, are more time-consuming and maybe not performed as regularly as some quantitative data collection, particularly methods that can be performed quickly using digital library software.

Other methods, such as list-checking (e.g. comparing to CBCA lists or selection aid recommendations) and collection mapping could be used to inform school staff about what is in the school library collection (and links to curriculum). Comparisons to other school libraries could also prove insightful.

References

Brown, D. (2016). Shine a light on your library. Incite, 37(3), 22-23.

Johnson, P. (2018). Fundamentals of collection development and management. American Library Association.

Image Credit: Photo by Fallon Michael on Unsplash

Defining Collection Development

ETL503: Resourcing the Curriculum
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This week in ETL503 Resourcing the Curriculum, we have been learning about managing and developing the school library collection.

I couldn’t find a definition of collection management or development used by my local educational authority, the Victorian Department of Education. So, instead, I found the South Australian Department of Education’s 2020 policy document: ‘Selecting and using resources for educational purposes guideline’. On page 5, an overview of collection management is discussed:

“Teacher-librarians, resource centre managers, technology coordinators, team leaders and IT managers have key roles in selecting, managing, and distributing a range of resources. They are well-placed to provide advice about selecting resources including conventional books, newspapers, magazines and journals, CDs, talking books and DVDs, conventional charts, digital images, e-collections, apps, and a variety of digital resources. Existing resources require regular review for quality control and to monitor continuing relevance” (Department of Education South Australia, 2020, p.5).

In the School Library Association of Victoria (SLAV)’s 2018 ‘Statement on School Libraries’, they state that school libraries support learning communities by “managing and curating equitable, inclusive and diverse physical and digital collections that reflect both a local and global perspective.”

Key elements across these two definitions are the importance of school collections that comprise digital and print resources that are suitable to the needs of school learning community. The first definition, offered by the South Australian Department of Education, distils the teacher librarian’s core role as “selecting, managing and distributing” resources. In addition, the process that our lecturer Ms Krystal Gagen-Spriggs calls ‘weeding’ is also mentioned, with emphasis on the continual assessment of resource quality and relevance. The SLAV statement places explicit importance on resources that are “inclusive and diverse”, which I think is a vital component of collection management or development as well.

In this week’s module, I found it comforting to read that it’s not just the teacher librarian’s responsibility! Developing and managing resource collections is a collaborative effort which involves the input of many in the broader learning community.

References:

Department of Education South Australia. (2020). Selecting and using resources for educational purposes guideline. https://www.education.sa.gov.au/doc/selecting-and-using-resources-educational-purposes-guideline

School Library Association of Victoria. (2018). ‘Statement on School Libraries’. https://slav.org.au/resources/Documents/statement.pdf

Copyright © 2025 Emma McDonald. All rights reserved.