I have several different versions of my digital story. This is partly what I am going to talk about on Monday night. Here is a chance to look at them before, or during the chat.
Final Presentation (unlisted on YouTube)
Creatavist Version (published to the web)
Animoto Version (published to the web)
For the past three years our Year 8 students have engaged in a cultural studies unit, called ‘Life: Cultural Contexts: Personal Stories and Poetry’. The primary assessment task is the creation of a digital story. Ensuring students develop multimodal skills (Walsh, 2010) is an important component for 21st century learners (Dockter, Haug & Lewis, 2010; Dreon, 2011), and an essential requirement of the Australian Curriculum (ACARA, n.d.).
Although the overall unit structure, content, and assessment task has remained the same each year, the emphasis has changed slightly, primarily as an attempt to ensure students achieve success. With the introduction of new technologies, both teachers and students struggle to understand what they are to produce, so each yearly review has resulted in changes to resources and task requirements.
Initially students were asked to write a personal story that reflected their place in a specific cultural group, with the definition of ‘cultural’ broadened to encompass groups such as sporting clubs and musical ensembles. While engaging with one’s own story can be empowering (Dockter, et. al., 2010), our students’ youth resulted in many presentations about sportsmanship or mateship, with little depth or emotional connection.
The following year we focused on the idea of a personal narrative that espoused a value or belief, de-emphasising culture, although students continued to read My Girragundji by Meme McDonald and Boor Pryor (1998). These digital stories lacked a strong narrative structure, because students focused on the value, resulting in more didactic stories, which were usually less engaging for readers (Barack, 2012).
This year we tried to ensure they had a clear grasp of narrative structure, and that they included not only a value or belief, but also an understanding of empathy. We also encouraged them to be more imaginative, rather than to write personal anecdotes which tended to be mundane and clichéd. By all accounts, this year’s stories were the best so far.
Regardless of focus, the paramount aim is to teach students about effective storytelling. Point-of-view and emotional engagement (Dreon, 2011) are the most important and the most difficult elements to convey.
Throughout the years there have been issues with technology. Initially, few students attempted a voiceover, and many did not consider copyright concerns. There were also questions about the technology students chose. Book Creator (2014) was an option which essentially created a linear e-Book which didn’t encourage the development of mood or emotion.
Although students are quite clever with iMovie, Keynote and other programs more appropriate for this task, all have strengths and weaknesses. Students need to have the range of functionality pointed out, so they can make an informed choice. This means teachers must be up-to-date, and unfortunately that is not always so.
I attempted to create a digital production capable of being reproduced by students, using easily accessible programs: Movie Maker, Audacity, Art Rage, and a Creative Commons Image search. I took photographs and videos on the iPad. I was fortunate enough to have a family member who could play piano and one who contributed the line drawings. One of my library assistants provided valuable help with the voice-over files. so it is very much a collaboration.
Although I am able to access all the Year 8 classes sporadically, I cannot attend every single lesson for all six classes for the duration of the eight-week unit. By creating this digital story (Game Face) and some related teaching resources, I hope to supply a range of tools to assist students with their own digital stories. It is important to remember the actual three minute presentation is only part of the help needed. Students must be shown how to use the tools, and must be guided through the process. Individual students have different levels of expertise (Kingsley, 2007) and different access to technology, so teachers must deal with students individually.
References
Barack, L. (2012). Apps, Shmapps. It’s About Story. School Library Journal, 58(2), 12.
Dobler, E. (2013). Looking Beyond the Screen: Evaluating the Quality of Digital Books. Reading Today, 30(5), 20.
Dockter, J., Haug, D., & Lewis, C. (2010). Redefining Rigor: Critical Engagement, Digital Media, and the New English/Language Arts. Journal of Adolescent & Adult Literacy, 53(5), 418-420.
Dreon, O., Kerper, R. M., & Landis, J. (2011). Digital Storytelling: A Tool for Teaching and Learning in the YouTube Generation. Middle School Journal, 42(5), 4-9.
Goodwin, B. (2013). The Reading Skills Digital Brains Need. Educational Leadership, 71(3), 78.
Kingsley, K. V. (2007). Empower Diverse Learners With Educational Technology and Digital Media. Intervention in School & Clinic, 43(1), 52-56.
McDonald, M & Pryor, B (1998) My Girragundji, Allen & Unwin, Melbourne.
Red Jumper Ltd. (2014). Book Creator. Retrieved from https://itunes.apple.com/au/app/book-creator-for-ipad-create/id442378070?mt=8.
Walsh, M. (2010). Multimodal literacy: What does it mean for classroom practice? Australian Journal of Language and Literacy, 33(3), 211–239.
Weigel, M., & Gardner, H. (2009). The Best of Both Literacies. Educational Leadership, 66(6), 38.
Like all literature, digital literature is about story. When we read we connect to story, and then we want to share. We might also find the desire and the confidence to tell our own. As I reflected on INF533 I focused on reading and creating digital literature. I also considered five deeper concepts (see above image) which sum up my understanding of what digital literature can be, regardless of how we engage with it.
When we read digital literature we formulate new learnings (Weignel & Gardner, 2009). Throughout my lifetime print has been the primary reading media. Learning to ‘read’ incorporating image, music, sound, and in some cases interactivity, has forced me to evolve. In a worrying development, researchers now question the increasing time young people spend in front of screens, and the possible accumulating effects on their brain growth (Jabr, 2013). This is why I always highlight my concerns in my blog entries, instead of just passively accepting that digital literature should become the norm.
Sharing is an aspect of experiencing digital texts that I encourage. Although readers have always discussed what they read, Web 2.0 technology has allowed them to connect to communities in many new ways. Our ability to interact with authors has blurred the lines between reader and writer (Skains, 2010), benefiting both parties.
The Lizzie Bennet Diaries (2013) is an example of a transmedia text (Francus, 2013), reflecting a growing development in digital literature . Transmedia texts enrich our reading because their creators build distinct and intertwined narratives across platforms. Where they intersect appears messy (Stackhouse, 2013), but it’s also highly rewarding and often inspiring. This genuine collaboration between creators, performers, and participants highlights the potential of high quality digital texts.
Children are more than just experiencing digital literature by reading it; they are creating it. Mastery of digital tools is a vital component of the Australian Curriculum, and schools are integrating this creative process into a range of different key learning areas.
Students learn many technical skills including mixing, editing, and designing. They also learn valuable social skills like collaborating and sharing. They learn to understand copyright, develop empathy, and engage with topics more deeply (Dockter, Haug & Lewis, 2010). Using narrative to achieve these outcomes makes sense because throughout human history, story has driven the development of society.
Creating a digital story is complex—teachers should try it themselves so they can offer authentic help. Not all students are proficient at writing, drawing, playing music, and being a movie editor, which is why a genuine digital story is best completed by a team collaborating, sharing the roles, the responsibility, and the success.
The way technology evolves will always be an issue. What’s possible today wasn’t even available two years ago, and who knows what options students will have in the near future? Apps can become defunct. Finding effective mechanisms for storing and sharing stories can be difficult. All students should have equitable access to technology that works as it is intended.
Digital literature can be embraced in myriad ways. As its popularity grows there will be more choices and more complex texts, so educators will need to be selective (Dobler, 2013) to ensure students engage with high quality literature. INF533 has taught me the range and value of digital texts, and encouraged me to analyse them while considering diverse learners and rapid changes in technology.
References
Dobler, E. (2013). Looking Beyond the Screen: Evaluating the Quality of Digital Books. Reading Today, 30(5), 20.
Dockter, J., Haug, D., & Lewis, C. (2010). Redefining Rigor: Critical Engagement, Digital Media, and the New English/Language Arts. Journal of Adolescent & Adult Literacy, 53(5), 418-420.
Francus, M. (2013). Pride and Prejudice Goes Interactive: ‘The Lizzie Bennet Diaries’. Paper presented at the Pride and Prejudice: The Bicentennial, Schuster Hall. Retrieved from http://corescholar.libraries.wright.edu/celia_pride/conference/october11/5/.
Rivera, A. (2014) Transmedia is a word for old people. Retrieved from http://www.alisarivera.com/transmedia-is-a-word-for-old-people/.
Smartcopying. (2014). Creative Commons Information Pack. Retrieved from http://www.smartcopying.edu.au/open-education/creative-commons/creative-commons-information-pack/.
Skains, R. L. (2010). The Shifting Author—Reader Dynamic: Online Novel Communities as a Bridge from Print to Digital Literature. Convergence: The International Journal of Research into New Media Technologies, 16(1), 95-111.
Weigel, M., & Gardner, H. (2009). The Best of Both Literacies. Educational Leadership, 66(6), 38.
All images were sourced using a creative commons license.
References
Baird, D. (2007). Thistledown, [Digital Photograph]. Retrieved from http://commons.wikimedia.org/wiki/File:Thistledown,_Stronach_Hill_-_geograph.org.uk_-_533501.jpg.
Cloveapple. (2012). Nervous [Digital Photograph]. Retrieved from http://commons.wikimedia.org/wiki/File:Nervous.jpg.
Emily. (2012). Never out of reach [graphite sketch] Retrieved from https://www.flickr.com/photos/epsb/8161314959/.
Fung, R. (2008). Basketball. [Digital Photograph]. Retrieved from https://www.flickr.com/photos/ryan_fung/2239687100/.
Isafmedia. (2008). Darek Aub Refugee Camp. [Digital Photograph]. Retrieved from http://www.flickr.com/photos/isafmedia/3040014049/.
Jackman, George. (n.d.). Netball Players on the Court, Spring Hill, Brisbane. [Digital Photograph]. Retrieved from http://bit.ly/10Ds7tn.
JaredZammit (2008). Netball Courts. [Digital Photograph]. Retrieved from https://www.flickr.com/photos/_rq/2960090294/.
Johnson, L. (2006). Aussie Rules Football. [Digital Photograph]. Retrieved from https://www.flickr.com/photos/lancejohnson/164731341/.
LauraHale. (2011). Indoor Netball. [Digital Photograph]. Retrieved from http://commons.m.wikimedia.org/wiki/File:Indoor_Netball_AU.jpg.
LauraHale. (2011). ANZ Championship Game. [Digital Photograph]. Retrieved from http://commons.m.wikimedia.org/wiki/File:Tactix_-7-April-15-cropped-01.jpg.
Local Fitness. (2009). Netball Court. [Digital Photograph]. Retrieved from http://commons.m.wikimedia.org/wiki/File:Netball_Court.JPG.
Mclean, A. (2008). Playground seating, Gracemount High School. [Digital Photograph]. Retrieved from http://bit.ly/ZM8bVj.
Manske, M. (2010). Thistledown. [Digital Photograph]. Retrieved from http://commons.wikimedia.org/wiki/File:Thistledown_%284977086083%29.jpg.
Manske, M. (2006). Wellington East Netball Club. [Digital Photograph]. Retrieved from http://bit.ly/1n8pUjL.
Nate. (2009). Netball in Pudsey. [Digital Photograph]. Retrieved from http://commons.wikimedia.org/wiki/File:Netball_in_Pudsey.jpg.
Nottingham Trent University. (2012). Netball Varsity. [Digital Photograph]. Retrieved from https://www.flickr.com/photos/nottinghamtrentuni/7020853587/in/set-72157629680006627.
Pixabay. (2013). Volleyball-ball-network-silhouettes. [Digital Photograph]. Retrieved from http://pixabay.com/en/volleyball-ball-network-silhouettes-78393/.
Ragettho. (2008). Teens sharing a song. [Digital Photograph]. Retrieved from http://en.wikipedia.org/wiki/Adolescence#mediaviewer/File:Teens_sharing_a_song.jpg.
Shimmon, B. (2009). The cricket pitch at Wisborough Green. [Digital Photograph]. Retrieved from http://www.geograph.org.uk/photo/1433981.
Sir James. (2008). Diversity of youth in Oslo, Norway. [Digital Photograph]. Retrieved from http://commons.wikimedia.org/wiki/File:Diversity_of_youth_in_Oslo_Norway.jpg.
U.S Department of State. (2013). An Ariel View of the Za’atri Refugee Camp. [Digital Photograph]. Retrieved from http://commons.wikimedia.org/wiki/File:An_Aerial_View_of_the_Za’atri_Refugee_Camp.jpg.
Consider how engagement with digital literature can be joint, collaborative and framed around making meaning.
Digital stories are most assuredly collaborative, as they require the combination of a number of creators’ talents to produce an effective product. It’s useful to view the concept of ‘joint’ engagement as a teaching and learning process between teacher and student. It’s crucial that students understand the implications of copyright, have knowledge of the best digital creation tools and the way to use them, and awareness of the time needed to create the presentation. It seems almost too obvious to talk about making meaning. Without purpose and clear guidelines, students struggle to comprehend the task and its creation process (Tackvic, 2012). Meaning must be evident in the task outline, in the decision-making process, and the reflection on success. If these three elements are addressed, schools would be a lot closer to providing proof that technology is being embedded appropriately throughout the curriculum.
As I work on my own digital story, it is clear that such a process is entirely collaborative. The fact that digital stories require a range of elements, including images and sound, as well as the text, means that creators must rely on others’ talents as well as their own. Unless students are especially gifted (or totally self-confident) in writing, illustrating and composing, they will need to seek out the pictures or the music from other sources, which brings in a range of implications for teachers and learners, and the need to establish exactly what it is being assessed. In an ideal collaborative situation, students work together in groups, each individual bringing for his or her own talents, with combined efforts synthesising the production through editing and evaluation.
The joint element can refer to the two way street between teacher and learner. There needs to be clear guidelines for students so they know what they are trying to accomplish. The Australian Curriculum recognises the need to explicitly teach ICTs (Acara, n.d.), and yet many teachers expect students to deal with the technological aspects of tasks without much help. Instructions need to encompass some examples of digital tools, and directions as to how to use them. Teachers can also use this activity as a way to educate students about copyright infringement and its implications (James, 2009). Vigilance is necessary as it is increasingly evident that it’s quite easy to ignore these concerns and pilfer any and all material from the Internet without reproach. An important partnership of trust exists between the joint venture: Teachers make it clear that there is zero tolerance on the issue, and students understand they must make every effort to abide by these complicated and almost incomprehensible laws.
Making meaning allows students to dabble and experiment with creativity and play. Creating a digital story involves many skills, and students need time to immerse themselves fully in the production, and often meaning is a slow process, where not all problems are solved early, quickly or simply. It’s quite easy to put together a linear and literal visual representation of a narrative (that’s mine at the moment), but developing symbolic or metaphorical elements require sophisticated thought and high quality technology. Students need time to build their understanding and their meaning.
I understand that people see digital stories as a way to cover several different facets of the new Australian Curriculum. But I worry that not enough pre-planning is being done, that teachers are not attempting the task they actually set for their students, thereby having no real understanding of what they are asking, and I am conscious that no one digital tool does everything a student requires–well not easily anyway. I find lots of programs suitable for younger students, but as they move into high school, the choices are reduced, the frustrations multiply, and the stakes rise.
I know I sound negative and critical, but for every one high school student who produces a high quality emotive digital story, which demonstrates our hopes that he or she has really engaged meaningfully with the task, there are a dozen others who struggled and felt inadequate, or who flailed because poor advice was given and who handed in something that was sub-par. It’s effective development of collaboration, the joint partnership between teacher and learner, and making meaning that can improve the quality of work and the engagement in learning.
Reference List
Curriculum, A. Information and Communication Technology capability. ACARA Retrieved 27 September 2014 from http://www.australiancurriculum.edu.au/GeneralCapabilities/information-and-communication-technology-capability/introduction/introduction.
James, C., Davis, K., Flores, A., Francis, J. M., Perringill, L., Rundle, M., & Gardner, H. (2009). Young People, Ethics and the New Digital Media: A Synthesis from the GoodPlay Project. Cambridge: Harvard Graduate School of Education.
Tackvic, C. (2012). Digital Storytelling: Using Technology to Spark Creativity. The Educational Forum, 76(4), 426-429.
I ended up reading Rules of Summer to Year 9s classes and a couple of Year 7s and 8s too. I have varying success, considering it was the last week of term, and six of the classes were on the last day of term. I think the Year 7s engaged with it the most, and really liked comparing the hard copy version with the digital book. The Year 8s enjoyed the book being read to them and asking a million irrelevant questions like, ‘Why is it bad to use someone else’s Apple ID to share books?’, and ‘Where are the pictures? Why are there just words?’ (even after I explained we would look at the story first, then explore the pictures).
Not surprisingly, the biggest range of responses came from the Year 9s. Shaun Tan’s books are amazingly sophisticated, so I always start with that because too often with teenage boys, their immediate reaction to a picture book is that it’s ‘for babies’. I talk about the way Tan is perceived quite differently, as an artist rather than a children’s book writer, in places like France and Mexico. Forcing them to shift their perceptions is important if the lesson is to have any meaning.
Even though I also explain that Tan’s work is open to interpretation, I admit that I did lead the discussion down a fairly clear path. I believe the book is about two brothers and ‘the game(s)’ they play throughout the summer are frustrating to the younger brother, who is constantly on the back foot. I appealed to their own sibling relationships, and most of them were able to identify with at least one page in the book.
We also spent a lot of time finding the crow/raven/bird on each page, and I pressed each class to work out the meaning and symbolism of it being there. Some classes were able to offer insightful ideas, but for some, it was just ‘where’s wally?’.
I moved around every class, letting the students manipulate the iPad, figuring out how to navigate around the app. It was easy to tell the boys who weren’t paying attention, because they had no idea of how to make it work. I am always amazed to see that it is possible to sit in a classroom and completely disengage with what the teacher is doing… (but that’s a conversation for another degree).
Overall, the boys were interested in Rules of Summer, and offered interesting insights. They understood the difference between an e-book and a digital book, they mostly voted for the interactive version over the print, and they accepted that pictures books can be complex and sophisticated.
It’s always good to be able to talk to students about reading. I hope I was able to open their minds to new technologies and new ways to read.
Proposed Topic: Original fictional narrative with integrated digital affordances to create an immersive emotional experience.
Proposed digital Tools and/or spaces to be used: I would like to experiment with a couple of tools before I make a final decision. Options include Creativist, Animoto, and Slideshare, but if none of these let me achieve what I want, I will return to Keynote or PowerPoint.
Rationale for topic focus for digital storytelling project: For the past three years, our Year 8 English students have created their own digital stories. As stimulus the students discuss and analyse a range of cultural and visual texts in class, such as My Girragundji (McDonald & Pryor, 1998) and the short animated film, The Lost Thing (Tan, 2010). This assessment task is part of a Cultural Studies Unit, and covers a range of core components of the Australian Curriculum, in particular, creating imaginative texts (ACELY1736), recognising differing viewpoints about cultures (ACELT1807), and understanding different ways to interpret visual texts according to audience, purpose and context (ACELT1628).
Although each year, the stories have improved, they still lack style and sophistication, particularly with digital elements. The task is not as successful as we would like because we don’t have a good exemplar, which is why I want to create a digital story that will show students what one should look like. We have also failed to find a suitable digital tool that meets all our needs, and I look forward to experimenting with new alternatives I have discovered. Finally, teachers don’t really have a clear understanding of the concept of digital stories, so I hope to record my creative process as a guide.
My digital story will inherit several key elements from the task requirements: narrative structure, a belief or value such as tolerance or respect, and evidence of empathy. The digital affordances, such as image, music, voice-over, and sound effects must not infringe copyright so my goal is to use original material.
References:
Australian Curriculum (2014) Year 8 English. Retrieved 12/09/14 from http://www.australiancurriculum.edu.au/english/Curriculum/F-10?layout=1#level8.
Digital Story Image by P J Buckley (2014) created in Brushes.
The Lost Thing (2010), DVD Madman Entertainment, Australia. Shaun Tan creator.
McDonald, M & Pryor, B (1998) My Girragundji, Allen & Unwin, Melbourne.
Printed books all share identical physical traits–pages, a cover, and heft (that is, tangible matter). Although content varied, the definition of a book was never queried. The days of simple definitions are gone. Now we discuss narrative non-linear platforms or multimedia interactive hypertexts, and e-books, eBooks, or are they E-Books?
I know the easy answer is: it doesn’t matter. What’s in a name, after all? Well, actually quite a lot. If books are no longer easily classified, then names do matter, and categories, definitions and distinctions must be clear, so the public can be educated about what types of texts are available, and how to engage with them.
Researchers (Lamb, 2011, Rettberg, 2012) have attempted to assign criteria and categorise the increasing array of digital texts. Having agreed upon categories will also make it easier to work out what can be called digital literature and what should be dismissed. Currently the boundaries are blurred and the choices subjective. Researchers also argue these types of texts are here to stay (Darnton, 2009, Edwards, 2013), and that teachers need to bring them into class rooms (Biancarosa & Griffiths, 2012, Lamb, 2011). I wish it was easy to find them.
High quality digital literature balance elements of text, artwork, interactivity, and subject matter in fresh, usable, and enlightening ways, offering readers an enriched experience (Houston, 2011, Unsworth, 2005). Emotional power is also necessary. That they offer participatory connectivity (Skains, 2010) is touted as a major bonus. I am not sure this is true. People have been sharing stories forever, and the web 2.0 affordances are just new ways of uniting readers.
Having spent much time lingering over The Artifacts (Stace & Hare, 2011) and re-reading Rules of Summer (Tan & Kentley, 2013), I can see much value for students. Although I want to recommend them to my boys purely as recreational reads, I am convinced their value lies more in critical discussion and interpretation. Two years ago, I worked with a teacher on a Year 8 English unit, comparing print and online books. These types of texts would fit perfectly into such a unit. During the last two weeks of this term, I plan to share the interactive version of Rules of Summer with all my year 9 classes and discuss the likelihood of them seeking out such texts for themselves. I am keen to see their reactions.
It’s very hard to nominate one digital text as my favourite. I like them all equally for different reasons. Rules of Summer has value in that it can be shown in two formats. It’s a perfect entry in to comparing and contrasting print texts with interactive ones, and it offers much in the way of wonder and beauty. Its ambiguous messages allow room for interpretation and discussion.
The Artifacts, on the other hand, shows what can be achieved with the right combination of story, art and digital affordances. Stace’s story is original with no previous life (as far as I am aware) in print form, and it is likely that parts of the narrative and images were informed by the possibilities of the interactivities and the added features of music and sound effects. The opportunity to discuss the collaborative process of how writer/artist worked with the coder allows students to think more deeply about the technology that influences so much of their lives. Too often, young people remain consumers of the digital devices, instead of taking on more participatory roles, such as developers or creators of content.
The Lizzie Bennet Diaries was a guilty pleasure. The thought of not actually reading, just watching, put me very much in a relaxed study environment, and I enjoyed it more than I thought I should. My school is all-boys, so I would struggle to make this relevant to their lives. However, it does contain several educational opportunities in a range of subjects and year levels. In a very literary sense, episodes could be used as a way to illustrate the point of modernising texts (we do this with Shakespearian texts all the time). Specific episodes could act as good examples of vlog posts – how to attract viewers and entertain them, and keep them watching. Its Meta level is another aspect that has value in Media or Senior English classes – Pemberley Digital (2014) is actually a website hosting the entire Lizzie Bennet story, lifting this from a frivolous use of four minutes, to a clever self-referential example of intertextuality.
There is value in all texts. Print, e-book and interactive. Just as there is with film and music. As more quality digital texts become available and accessible, we will develop new skills and learning. As we move from the predictability of the bound physicality of the book, to the undefinable texts of a changing and complex digital environment, the challenge remains the same: To create powerful stories that can connect us with each other.
References:
Biancarosa, G. & Griffiths, G.G. (2012). Technology tools to support reading in the digital age. Literacy Challenges for the Twenty-First Century, 22(2), 139-160. Retrieved 23 August 2014 from http://futureofchildren.org/publications/journals/article/index.xml?journalid=78&articleid=577§ionid=3990
Campbell, A. (2008). The Flat. Retrieved 16 August 2014 from http://dreamingmethods.com/theflat/.
Edwards, J. T. (2013). Reading beyond the borders: observations on digital ebook readers and adolescent reading practices (ch. 9). In J. Whittingham, & IGI Global (Eds.), Technological tools for the literacy classroom (pp. 135-158). Hershey, PA: IGI Global.
Houston, C. (2011). Digital Books for Digital Natives. Children & Libraries: The Journal of the Association for Library Service to Children, 9(3), 39-42.
Lamb, A. (2011). Reading Redefined for a Transmedia Universe. Learning and Leading with Technology, 39(3), 12-17.
Mitra, S. (2013). Sugata Mitra: Build a School in the Cloud. TED Talk. Retrieved 31 August from https://www.youtube.com/watch?v=y3jYVe1RGaU.
Pemberley Digital, (2014). The Lizzie Bennet Diaries, Retrieved 27 August 2014 from http://www.pemberleydigital.com/the-lizzie-bennet-diaries/
Rettberg, J.W. (2012). Electronic literature seen from a distance: the beginnings of a field. Retrieved from http://www.dichtung-digital.org/2012/41/walker-rettberg.html.
Skains, R. L. (2010). The Shifting Author—Reader Dynamic: Online Novel Communities as a Bridge from Print to Digital Literature. Convergence: The International Journal of Research into New Media Technologies, 16(1), 95-111.
Stace, L., & Hare, D. (2011). The Artifacts.
Su, B., & Green, H. (Writers). (2012). The Lizzie Bennet Diaries Episodes 1 – 100. J. Powell (Producer). YouTube. Retrieved 3 August 2014 from http://www.lizziebennet.com/story/
Tan, S. (2013). Rules of summer. Sydney: Lothian Children’s Books.
Tan, S., & Kentley, T. (2013). Rules of summer Retrieved from https://itunes.apple.com/au/app/rules-of-summer/id705751146?mt=8.
Unsworth, L. (2005). Learning through web contexts of book-based literary narratives in E-literature for Children: Enhancing Digital Literacy Learning (1 ed.). Hoboken: Taylor and Francis. Retrieved 15 August 2014 from http://CSUAU.eblib.com/patron/FullRecord.aspx?p=198496.
The new reader is vocal and social. Not simply content to merely love a book, the readers want to actively celebrate what they read. Do you agree?
People read to connect. So for a fleeting time, it is a solitary activity. It is best when there’s just the reader and the words to engage fully with a printed text. Additionally, it’s also ideal that it is a sustained period of time, to fully immerse in the world created by the author. However, at some point, sharing the story, talking through the concepts, and articulating the feelings brought on by the book, becomes necessary. Reading has always been social. There’s no doubt about that. Technology has just made it easier to be heard, to be connected to others, and to know that validation that comes from being part of a larger community of like-minded readers.
From the earliest days of the Internet, people created places to talk about their passions. It was easy to throw html pages together and write book reviews. Mostly the pages were static, and attempts at discussion and comments were clumsy, but the vision of weblogs was there. Blogging about books in the Web 2.0 days, is now big business. Companies like Netgalley, offer preview copies for the mutual benefit of both publisher and reader, and although some blogs disappear, especially as young people move on with their lives, some have great longevity and an impressive fan base. These readers celebrate their love of reading by connecting with readers. A lot of blogs seem to be written by and for young adults, however, there are many aimed at parents of younger children, encouraging them to develop children as lifelong readers.
Once e-readers appeared on the market, a new way to share was quickly embraced. These devices allow readers to highlight and annotate passages, providing a way of tracking thoughts and comments throughout a digital book. It’s also possible to share these notes with others, and there’s an argument that this 
enhances readers’ enjoyment (not for me). Being able to download these notes to another program like Evernote, makes this useful for students and academics.
As well as blogging and annotating digital copies, readers are able to share and connect via social networking sites. Goodreads is the largest and has become the go-to place for people to track their reading, follow reviews, and find friends. GR was bought by Amazon in 2013, leading to questions about how well a reader’s site would sit against a publisher and retail site, and some of these concerns have proved valid. With over 20 million users, it’s likely the site will continue to grow. Its features are gold to readers: recommendations, customised lists allowing voting, polls and quizzes (all user-created), the ability to create groups, and more statistics and reports than most readers ever need. It’s easy to spend a lot of time there (I know, I do).
What’s more interesting is the blurring of lines between writer and reader. If an author is not blogging, tweeting, pinteresting or blog-touring, they are apparently not making the most of their marketing opportunities. There are so many ways for readers to connect with authors (Skains, 2010), it must overwhelm the writers, and become blasé for the readers. A savvy author, like Neil Gaiman has shown it is possible to connect directly with readers and still remain creative and down-to-earth (Skains, 2010). It’s clearly not every author who can manage this.
Fan-fiction is another pasttime that benefits from the participatory nature of the Web 2.0 environment. It is possible to join very active communities that host stories for free, offer beta readers (also for free), and provide instant gratification for writers who are very passionate about their favourite fictional characters and worlds. Such ability to generate creativity, knowledge, and love for books, reflects how much readers want to connect to others.
There are many ways to be an active, social and vocal reader. I remember a day in 2001 when I received a letter IN THE MAIL(!) from author Cynthia Voigt who replied with two typed pages to my (snail-mailed) fan-gush about Dicey Tillerman and Tish from ‘When She Hollers’. I wonder where that letter is now. It seems a long way from being facebook friends with Michael Gerard Bauer and Monty Boori Pryor, but that memory is still powerful, and to have been able to reach out and connect because of the way her books make me feel, is something I want for all young people.
References:
A Flight of Minds. 9 August 2014.
Asher, L. (2012). Why reading is always social. Literary Kicks: Intellectual Curiosities and Provocations.
Atwood, M. (2013). Your Online Presence: A Writer’s Guide. The Writing Platform. K. Pullinger, The Literary Platform.
Buckley, P J. Photos taken and used with permission.
Daley, M. (2014). Children’s Books Daily: Daily reading experiences for children of today… from the Daley household. 9 August 2014.
Forever Young Adult: Book Report. 9 August 2014.
Frenetic Reader: YA Book Reviews and Such. 9 August 2014.
Friedman, J. (2013). The future of publishing The blurring line between reader and writer. E. Finn. Frankfurt, Sprint Beyond the Book. 1.
Gaiman, N. (2014). Neil Gaiman. 10 August 2014.
Garton, J. (2012). Did you know that you could… with your kindle? Digitally Enhanced, Word Press.
Inkcrush: Crushing on all the Inky Goodness. 9 August 2014.
Miller, L. (2013) How Amazon and Goodreads could lose their best readers. Salon.
Netgalley (2014) 9 August 2014.
Olson, S 2003, Schaumburg, IL – June 21: (Embargoed – No downloads or sales until February 10, 2004), Photograph, Getty Images, accessed 9 August 2014, <https://www.flickr.com/photos/beaconradio/5911999506/in/photolist->, Creative Commons license: <https://creativecommons.org/licenses/by-nc/2.0/>.
Robinson, J. (2014) Game of Thrones author say ‘F**k You’ to fans who hound him about finishing the series. Vanity Fair’s Hollywood
Skains, R. L. (2010). “The Shifting Author—Reader Dynamic: Online Novel Communities as a Bridge from Print to Digital Literature.” Convergence: The International Journal of Research into New Media Technologies 16(1): 95-111.
I want to review more than three. I have already started. Reviewing is almost my favourite thing to do. I am considering the following texts.
The Lizzie Bennet Diaries – (I binged on them ALL over two weekends. Gah! got very little else done.)
Rules of Summer by Shaun Tan – interactive version of his picture book of the same name.
iPoe – The interactive and illustrated Edgar Allan Poe Collection Volume 1
Both The Artifacts and Midnight Feast by Slap Happy Larry Productions – Books designed specifically for the iPad
A Calendar of Tales by Neil Gaiman
The Flat by Andy Campbell (because it is so bizarre)
I probably won’t review them all. I know I will run of out time.
Read. Review. Repeat.
Talking about books
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