INF533: Assessment 4: Part C: Critical Reflection

Word Count: 750

Originally when approaching this subject, Literature In Digital Environments, I had a basic understanding that technology and books combined are eBooks, however, eBooks would not take over the publishing industry. Throughout this course I have explored the vast nature of digital literature, the ebb and flow of trends, the impact of digital storytelling and interactive texts can have on both teaching and learning as well as how to create these stories and implement them within the classroom myself. In my Introduction Post to the unit I noted my limited knowledge and practices, however, I failed to note my hesitation towards implementing digital literature as I was unaware of what is considered quality literature.

Throughout this course I have constantly referred to Serafini & Young (2013) because the article left a resounding understanding of what digital texts look like and what they offer in the classroom. The importance of having quality literature and pedagogies that allow students to explore the 4 areas mentioned by Serafini & Young has shaped the way I teach and the way I look at digital literature.

In Assignment 1 I did not understand the extensiveness of digital formats out there and stuck with limited choices rather than expanding my search and utilizing the time to find outstanding texts for my classroom. Digital literature provides a lot of choice for teachers to select from, however, the course has provided us with the resources and tools to select quality criteria (Walsh, 2013; Yokota & Teale, 2014) and as a result quality literature. Reflecting on my choices I regret not expanding into the wider web and selecting quality websites that engage students on a deeper level and provide more opportunities for controlling the narrative as there are numerous categories of digital narratives (Groth, 2018) that I was unaware of and unwilling to explore.

Another reference that has resonated with my understanding of digital literature is Tackvic (2012). Tackvic highlights the importance of teaching digital literature in a way that students can utilize the skills and technologies in a variety of circumstances as these will pave the way for students being 21st century citizens. Students need to understand the fundamental skills and advance their technology tools to maintain their role in a technology driven and focused world. Knowing how crucial it is that students have the capabilities to source their own information, read and create digital literature to share and analyse and to develop their own unique outlook on the digital world encourages the use of quality, authentic and numerous digital experiences that allow students to explore the digital world in an engaging way.

Tackvic (2012) discusses that through digital platforms, students can find the process of writing less challenging and more engaging. A great example being utilized in my classroom is Pobble365 where students select an image, discuss with a friend and then write a narrative in GoogleDocs and submit the narrative within the session. Students locate their own inspiration or be guided by the teacher’s choice. Digital photos have opened avenues for creativity and unique expressions of self that may have been more challenging to create by hand originally.

Alexander (2011) discussed how narratives have changed and examples of how storytelling occurs in the digital world. Alexander provided an understanding of the various forms that storytelling can be found and helped to create a framework of the ways in which students can explore narratives in a new perspective. Shifting the perspective from consumer to creator allows students to become collaborators and producers of creative narratives (Mills & Levido, 2011) that express themselves  in unique light.


One area that I am working to improve on is the implementation of copyright with digital texts. For the Digital Storytelling Project, I thought my idea was sound, however, creating a digital product is not a remake and I had failed to think of the copyright stance of creating a digital remake. Digital texts commonly use other sources and materials, but issues can be rectified with knowledge and learning. Teaching creative commons licensing and the importance of referencing correctly assist students in developing a better understanding and avoidance of major issues (Agnew, 2009).

This course has expanded my knowledge of digital narratives in multiple ways and I am thankful that my pedagogies have shifted to meet the needs of my students, co-workers and wider community.

Part C References:

Agnew, G. (2009, September 3). Restrictions of digital rights management [Video file]. Retrieved from

Alexander, B. (2011). Storytelling: A tale of two generations, Chapter 1. In The new digital storytelling: Creating narratives with new media. ABC-CLIO. Retrieved from

Bernard, P. (2019, July 28). INF533 Assignment Post 1 [Blog post]. Retrieved from

Groth, S. (2018, May 20). Still defining digital literature [Blog post]. Retrieved from

Mills, K.A., & Levido, A. (2011). iPed: Pedagogy for digital text production. The Reading Teacher, 65(1), 80-91, doi: 10.1598/RT.65.1.11

Serafini, F., & Youngs, S. (2013) Reading Workshop 2.0. Reading Teacher. 66(5), 401-404.

Tackvic, C. (2012). Digital storytelling: Using technology to spark creativityThe Educational Forum, 76(4), 426.

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).

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

Leave a Reply

Your email address will not be published. Required fields are marked *

Skip to toolbar