United
World College of South East Asia East (UWCSEA-East) is an International School
located in Singapore. It has a student population of 2,240 who come from 68
different countries and speak 50 different languages (UWCSEA, n.d.).
Around 40% of the students are bilingual and 12% speak more than two
languages. As an international school drawing on an expatriate population, it
has a high student turnover and the community can largely be described as
cosmopolitan elite. The campus has two libraries, one for the Kindergarten and
Primary students, and the other for Secondary students.
Section
|
Number
|
Kindergarten
|
353
|
Primary School
|
654
|
Middle School
|
587
|
High School
|
324
|
IB
|
321
|
Total
|
2,239
|
Figure 1: Student breakdown by section
The
school recently won the “21st Century school of the year award” (21stCL, 2013) and has a one-laptop-per-child
program from Grade 6. Secondary school parents are ambivalent about the
prevalence of computers in their children’s lives and often complain that their
teenagers spend too much “non-productive” time on social media and online-game
playing.
While
the school offers a wide range of activities to the students, including outdoor
adventure, sports, drama, music and socially driven clubs, there are no
activities catering for creative writing or story-telling. There is a
“techspert” club which deals with the technical rather than the creative
aspects of technology and at present, besides the parents’ book club, the
library does not run any programs outside of curriculum teaching, readers’
advisory, and reference or research assistance. Some teachers, learning support
staff and librarians feel there is a need for a creative writing activity
outside of the classroom to cater for younger adolescents who are introvert or
struggle to express themselves due to shyness, learning differences or
developing English skills and who would otherwise get “lost” in such a large,
noisy, busy and extroverted campus.
The
affordances of Web 2.0, social media and digital technology may have
pedagogical and social benefits to secondary students, particularly those who
are shy or socially awkward, and act as a bridge to physical relationships and
interactions (Gorrindo, Fishel, & Beresin,
2012; Greenhow, Robelia, & Hughes, 2009). Educational research has indicated
that exposure to technological tools in the creation of digital stories and
book talks benefit students through increased motivation, engagement,
ownership, control, confidence and deeper understanding. In turn, both the
reading and writing aspects of textual literacy are improved (Barnard, 2011; Beach, 2012; Gunter
& Kenny, 2008, 2012; Kenny & Gunter, 2004; Kenny, 2011; Ragen, 2012;
Yoon, 2013).
It was therefore decided to combine the creative writing and technology
aspects in a “Digital Storytelling” eight-week interactive program.
This
program will be targeted to Middle School students, (grades 6 to 8) for a
number of reasons. Firstly, as students move into Middle School (around age 12),
they loose the structure and security of one class teacher and a fixed group of
classmates while at the same time academic demands become higher. In addition,
besides losing part of their peer group from the previous year due to
international relocations, the school adds extra classes and pupils, resulting
in about a third of the cohort being new to both Singapore and the school. This
is the age group where, in Eriksonian terms, students are struggling with the
commencement of puberty, and the related psychological stresses of developing
and discovering an identity, negotiating social interaction and affiliating
with friends, causes and ideals (Greenhow et al., 2009). Finally, this development takes
place within a digital and online context which may be overwhelming to young
teens as they explore the boundaries of online social behaviour and interaction
(Gorrindo et al., 2012) and may not have positive role
models in their home or peer environments.
“One
reason that an afterschool program can have such a large impact relates back to
the developmental needs of teenagers” (Jones & Waddle, 2002, p. 43).
These needs can be summarised as:
·
Positive social interaction
with adults and peers
·
Structure and clear limits
·
Physical activity
·
Creative expression
·
Competence and achievement
·
Meaningful participation
·
Opportunities for
self-definition (Jones & Waddle, 2002 cited in Meyers, Fisher, & Marcoux,
2007)
The
secondary library that will host this program is a two-level open-plan space
with moveable bookshelves. Teenage
students are comfortable in the welcoming library space which incorporates
design thinking in creating zones for comfort, relaxation, reading and social
interaction. The ground floor is mainly open plan with two study rooms with
carousels and one large classroom (the Think Tank), while most of the
collection is located on the first floor that additionally has two study rooms
set up for audio-visual work.
Part 2: Design and develop a program
In this section, the following
elements of program design will be covered: goals and objectives; cost and
logistical considerations; marketing and promotion; and program delivery.
Evaluation will be covered in the next section.
Goals and objectives
The primary goal is to design a program in which students can use
technology in a positive and creative way to express themselves through
storytelling in a safe environment that meets their developmental needs.
The program objectives, their
relevance and how they will meet these needs are summarized below:
Objective
|
Relevance
|
Related Developmental need
|
1. Introduce students to concepts,
examples and tools of digital storytelling
|
Students are familiar with
literature and with digital tools, however not with digital
storytelling. This will broaden their
competencies while scaffolding on what they already know.
|
Competence and achievement
Structure and clear limits
|
2. Support students in the
creation of their own narratives using the tools of digital storytelling
|
For successful creative output,
students will need technical, literacy and social support in an encouraging
non-judgmental environment
|
Creative expression
Positive social interaction with Adults and Peers
Competence and Achievement
Opportunities for Self-definition
|
3. Provide a forum for sharing,
promotion, collaboration and interaction
|
Student’s digital storytelling
outputs receive validation through providing an appreciative audience while
allowing them to contribute the same to their fellow participants.
|
Positive social interaction with
Adults and peers
Meaningful participation
|
Figure 2: Objectives, relevance and developmental needs
Cost, staffing and other logistical
considerations
Since the program will be run from the school
library using school equipment, premises and staff, there are no associated
program costs. Instruction time given to the program will count towards staff’s
“educator activity contribution requirement”. Students will use their own
laptops, pre-loaded with all the necessary software and digital tools for which
the school has an education license.
·
Image – iPhoto and Photoshop
·
Moving image – iMovie
·
Text – Google documents or
Pages
·
Music / sound / voice over –
iTunes / Garage band / Voicethread
Thirteen Nikon D7000 cameras with tripods are
available for loan during school hours to students and teachers. Besides the
“Think Tank” meeting room where most of the sessions will be held, the library
has two audio-visual rooms equipped with a television, projector and green or
blue screen which will be reserved for program students during weeks 5 and 6,
during the program time at lunch time. The program will run as an official school
activity for eight weeks on a Monday afternoon from 15h15 to 17h00 so as not to
clash with the sports and other activity programs. Sign up will be through the
school activity sign up program. The activity is free and limited to 12
students selected from a pool of applicants in consultation with tutor mentors,
learning support staff and the school counsellor.
Program delivery
Writing is a complex highly abstract
process involving productive rather than receptive skills. These include
cognitive, psychological and semiotic expertise within the social, cultural and
historical context of the writer. Students often have an imbalance between
their spoken and written abilities and get bored by the recursive steps of
planning, prewriting, drafting, revising and editing (Thompson, 2012). Ways to encourage reluctant writers include ensuring that the topic
is: relevant; of interest; taught naturally; understandable; engages emotions;
expresses an inner world and is delivered in a playful manner (Vygotsky, 1978, cited in Nilsson, 2010). Fortunately, digital and technological tools have been shown to create
new motivation and purpose in reluctant writers (Beach, 2012; Burke & Kafai, 2012; Dreon, Kerper, & Landis,
2011; Green, 2011; Hall, Hall, Hodgson, Hume, & Humphries, 2012; Morgan,
2014).
In the creation of this program, the
above factors were considered, while the weekly structure follows the four P’s
of digital storytelling (Knight, 2012):
·
Plan (Objective 1 – concept and
tool introduction) - weeks 1-3,
·
Produce (Objective 2 – support
students in their creation) - weeks 4-6,
·
Publish and Promote (Objective
3 – provide a forum for sharing) - week 7
Instructors were carefully selected
to ensure they had a good rapport with this age group, but were not involved with
them as classroom teachers, so did not have any pre-conceptions about their
writing, technological or creative skills.
An overview of the activities is
given in Appendix 1.
Week 1: Experience it!
During the first session, a variety of digital
literature will be made available to the group. An example of each type will be
briefly introduced and then students will be free to chose and borrow the
example that most appealed to them, or to find other examples in that genre.
Week 2: Telling Tales
This week the elements of
storytelling will be introduced. Using
the conceptual framework of Branigan (1992, cited in Kenny, 2011), story telling as a universal construct includes the interaction
between a teller and the audience with the elements of time and place
(background), cause (conflict or challenge) and effect (fight or flight) which
result in a transformation as the story is resolved.
The acronym “I AM TOP CAMP” is a
useful way to remember the principles of digital story telling, i.e. Interactive;
Authentic; Meaningful; Technological; Organized; Productive; Collaborative;
Appealing; Motivating; and Personalized (Yoon, 2013).
Figure 3: Storytelling process
Week 3: Storyboard
Building on the experiences of week one and
learning of week two, students will be encouraged to start thinking about creating
a storyboard for their own story. Comics and graphic books will be used to
scaffold this activity (Hall et al., 2012). The elements of good design will be introduced, namely Contrast, Alignment,
Repetition, Proximity
otherwise known as CARP (Reynolds,
2008).
Week 4: Digital tool box
Each of the modal choices in digital
storytelling (still and moving image, text, voiceover, music and sound (Buchholz, 2014)) requires the use of different technological tools, which can either be
used separately, or in combination with each other.
Weeks 5 & 6: Production
Students are given the opportunity to create
their own story. They have complete control over the type of story, tools to
use and whether to work in a group or pairs or individually. Additional staff
members will be available on a roving basis to trouble-shoot and assist
students with any technical or story-telling difficulties they encounter. Audio-visual rooms and digital cameras will
also be available during lunchtimes should students wish to work on their story
outside of the activity time.
Week 7: Performance
One of the problems with creative writing is
the perceived lack of an audience (Thompson, 2012). Although collaboration, interaction and sharing has been a part of all
the activities up to now, this week the activity makes the audience explicit.
The group’s productions will be shown at a special screening in the small black
box theatre. Students can invite friends, parents and teachers.
Week 8: Reflection and celebration
In the final week, students will be able to
reflect on their experiences during the last 7 weeks and provide feedback to
the group (Survey - Appendix 4). This will be part of the evaluation discussed
in the next section. Students will be allowed to bring along a snack for a celebratory
party and will be invited to help as student volunteers in the Production stage
of the next program.
Detailed activity plan – Week 1
Materials required
Laptop (MacBook) and iPads with preloaded eBook
apps, screen, projector, apple TV for screening. The following digital
literature should be preloaded onto iPads, available online or available for
borrowing from the library catalog:
Type
|
Name
|
Link
|
Interactive Documentary
|
A global guide to the first world
war (Panetta, 2014)
|
http://www.theguardian.com/world/ng-interactive/2014/jul/23/a-global-guide-to-the-first-world-war-interactive-documentary
|
Twitterature
|
100 Greek Myths retold in 100
tweets (Crown Publishing, 2012)
|
https://storify.com/CrownPublishing/100-greek-myths-retold-in-100-tweets
|
Digital Novel
|
Inanimate Alice (DreamingMethods, 2012)
|
http://www.inanimatealice.com/
|
Vlog
|
Lizzie Bennet Diaries (Su, Noble, Rorick, & Austen, 2014)
|
http://www.lizziebennet.com/
|
Animated dreamtime stories
|
Dust Echoes (ABC, 2007)
|
http://www.abc.net.au/dustechoes/
|
iPad app and eBook
|
Shakespeare in Bits – Romeo and
Juliette (Mindconnex Learning Ltd, 2012)
|
https://itunes.apple.com/us/app/shakespeare-in-bits-romeo/id370803660?mt=8
|
Figure 4: Digital Literature examples for screening
Step by step procedures of what is to be done
Item
|
Equipment / Material
|
Timing
|
Greet
students and ask for a brief introduction with name, class, where they are
from and any experience or expectations they have from the program.
|
Stickers for students to write the
names on
|
10 minutes
|
Perform
a short icebreaker such as “two truths and one lie” with students in pairs.
|
n/a
|
10 minutes
|
Ask
students to do initial survey using google forms.
|
Survey (Appendix 3)
|
5 minutes
|
Show
snippets of the first three examples of digital story telling – A Global
guide to the first world war, 100 Greek Myths and Inanimate Alice.
|
Laptop, projector and screen.
Ensure various resources are open to minimise turnover time
|
3 resources, 5 minutes each = 15
minutes
|
Open
discussion on what appeals to the students
|
Use the elements of successful
digital story telling i.e. Interactive; Authentic; Meaningful; Technological;
Organized; Productive; Collaborative; Appealing; Motivating; and Personalized
(Yoon, 2013) to scaffold activity
|
20 minutes
|
Give
students a break to have a snack, use the washroom, etc.
|
|
10 minutes
|
Show
snippets of the next three examples of digital story telling – Lizzie Bennet
Diaries, Dust Echoes and Shakespeare in Bits – Romeo and Juliette.
|
Laptop, projector and screen.
Ensure various resources are open to minimise turnover time.
|
3 resources, 5 minutes each = 15
minutes
|
Ask
students to choose the type of digital storytelling that most appeals to
them; they can explore the resource in the remaining class time and borrow
the resource to explore further at home.
|
Assist with loan and downloading of
materials or searching of similar materials.
|
20 minutes
|
Finish
in time for buses / pickup
|
|
Total 1 hour 45 minutes
|
Figure 5: Step by Step Procedure for week 1
Audience, staffing and other considerations
As discussed in Part 1, there will be 12 middle
school students aged 12 - 15 years. All students should have a laptop and access
to the library catalog and the Internet.
The secondary school librarian will demonstrate the material and show
where similar material can be found in the catalog. An assistant librarian
should be on hand to troubleshoot if students have problems loading the apps or
eBooks, signing in or any other technical difficulties. Ensure room shades are
all working so the room can be darkened sufficiently.
Marketing and promotion
The school markets all activities
through the website and has a centralized signup program, however, as this is a
new activity, additional promotion will be needed. A promotional calendar has
been created including a short synopsis of each activity and its relevance (see
Figure 2 below, and Appendix 1 for the promotional calendar).
Figure 6: Promotional Calendar
Printed posters will be put in the
library, hallways, and elevator notice boards. In order to attract those
students who would most benefit from the program a combination of “pull” and
“push” promotion will be needed, so flyers will be given to Middle School
language teachers, digital literacy coaches, learning support teachers and
school counsellors who will be encouraged to discuss participation with
students who may benefit from the program. A link to the calendar will also be
placed on the library portal and in the school newsletter, the eBrief.
Part 3: Evaluation and reflection
How
to evaluate the program
There
are two main ways in which participants will evaluate the program. In the first place a questionnaire will be
completed (see Appendix 4). Secondly students will reflect on their own work
and give feedback to other participants as part of the reflection in Week Eight.
Students are used to the PNI method of
reflecting on the Positives, Negatives and possible Improvements. The most
relevant evaluation however will be whether the activity is seen as interesting
in subsequent semesters with demand and over-subscription from students during
the Season 2 signup period. Although the student as “client” will be the main
evaluator of the program, the teachers and digital, visual and text literacy
coaches will also be asked to give feedback on the content, logistics and perceived
usefulness of the program.
Some
digital storytelling programs have administered pre- and post- program literacy
tests to students to evaluate the efficacy of the program (Barnard, 2011; Beach, 2012; Gunter
& Kenny, 2008; Ragen, 2012; Yoon, 2013). But, since the primary goal of the
program is to provide a social and creative outlet for students using digital
tools, this will not be undertaken formally. However, the tutor mentors of the
students participating in the program will be asked if they feel the program
had any impact on the students socially or academically.
Reflection
One of the
issues to be considered in this program will be the possible duality in the
audience it attracts. On the one hand it may appeal to students with a passion
for reading and writing, who already have a high level of sophistication and
affiliation for writing. On the other, it may appeal to students who have
difficulties in expressing themselves due to learning or language difficulties.
They may be attracted by the expressive affordances of digital literature, the
lure of technology or they may be encouraged to join in by their English
teacher, learning or language support teacher or school counsellor. An
important consideration would be how to cater to both these groups allowing
each to build on their strengths without compromising the needs of either. A further concern is that students will put a
disproportionate amount of time into struggling with flashy technology and this
will compromise the story-telling process. For this reason, digital tools are
only introduced in the fourth week, after storytelling and the storyboard has
been completed. During the mentoring, digital literacy coaches should remind
students of academic honesty, consideration of DRM (digital rights management)
and the correct accreditation or attribution of images and other material.
In
setting up this program, older students were not considered, since once they
move into High School and the International Baccalaureate program; study and
exam pressures result in limited time for participation in activities. In the
primary school, extensive writing workshops are already in place, led by the
literacy coach. At a later stage, if the program is successful it could be
expanded to include other groups of students.
Finally,
it is important to reflect on the developmental needs of teenagers in the light
of the objectives and characteristics of the program.
Objective
|
1. Introduce
students to concepts, examples and tools of digital storytelling
|
2. Support students
in the creation of their own narratives using the tools of digital
storytelling
|
3. Provide a forum
for sharing, promotion, collaboration and interaction
|
Figure 7: Objectives revisited
Developmental Need
|
Expression
|
Program Objectives
|
Program characteristics
|
Positive Social
Interaction with Adults & Peers
|
Seek attention,
socialization
|
2, 3
|
Small group of students with specialist
teachers with a variety of skills and personalities
|
Structure &
Clear Limits
|
Push boundaries, challenge authority
|
1, 2, 3
|
Program
is limited to 8 sessions with a clear structure within which choice and
autonomy is possible
|
Physical Activity
|
Running, jostling, roaming
|
n/a
|
Not applicable
|
Creative
Expression
|
Vandalism, Vine, Instagram, Snapchat
|
2
|
Creative
storytelling is the main thrust of the program
|
Competence &
Achievement
|
Competitive
behaviour, Minecraft, number of followers on social media
|
1,2,3
|
The program allows for mastery of
technological and storytelling skills within a new format, end result is
performed and published
|
Meaningful
Participation
|
Opinionated, socialization, clique club or team
membership
|
2, 3
|
Activities
allow for interaction in the physical and virtual space
|
Opportunities for
Self-Definition
|
Status symbols, dress and hair,
|
2
|
Students are encouraged to consider their
culture, linguistic and social identities in producing their story
|
Figure 8: Summary of developmental needs, expression, program objectives and
characteristics
(Adapted from: National Middle
School Association (1996). Research Summary: Young Adolescent’s Developmental
Needs, 2006, cited in Gallaway, 2008).
References
21stCL. (2013). School of The Year -
21st Century Learning International. Retrieved May 15, 2014, from
http://21c-learning.com/awards/school-of-the-year/
ABC.
(2007). Dust Echoes. Retrieved August 20, 2014, from
http://www.abc.net.au/dustechoes/dustEchoesFlash.htm
Barnard,
C., A. (2011). How Can Teachers Implement Multiple Modalities into the
Classroom to Assist Struggling Male Readers? (Education Masters Paper 26).
St. John Fisher College, Rochester, NY.
Beach, R.
(2012). Uses of Digital Tools and Literacies in the English Language Arts
Classroom. Research in the Schools, 19(1), 45–59.
Buchholz,
B. (2014). “Actually, that’s not really how I imagined it”: Children’s
divergent dispositions, identities, and practices in digital production. In Working
Papers in Literacy, Culture, and Language Education (Vol. 3, pp. 25–53).
Bloomington, IN: School of Education, Indiana University. Retrieved from
http://education.indiana.edu/graduate/programs/literacy-culture-language/specialty/wplcle/index.html
Burke, Q.,
& Kafai, Y. B. (2012). The writers’ workshop for youth programmers: digital
storytelling with scratch in middle school classrooms (pp. 433–438). Presented
at the Proceedings of the 43rd ACM technical symposium on Computer Science
Education, ACM.
Crown
Publishing. (2012, November). @LucyCoats: 100 Greek Myths Retold in 100 Tweets
(with tweets). Retrieved September 4, 2014, from
https://storify.com/CrownPublishing/100-greek-myths-retold-in-100-tweets
DreamingMethods.
(2012). Inanimate Alice - About the Project [Digital Novel]. Retrieved
September 4, 2014, from http://www.inanimatealice.com/about.html
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.
Gallaway,
B. (2008). Pain in the Brain: Teen Library (mis)Behavior. Retrieved September
4, 2014, from http://www.slideshare.net/informationgoddess29/pain-in-the-brain-teen-library-misbehavior-presentation
Gorrindo,
T., Fishel, A., & Beresin, E. (2012). Understanding Technology Use
Throughout Development: What Erik Erikson Would Say About Toddler Tweets and
Facebook Friends. Focus, X(3), 282–292. Retrieved from
http://focus.psychiatryonline.org/data/Journals/FOCUS/24947/282.pdf
Green, M.
R. (2011). Writing in the Digital Environment: Pre-service Teachers’ Perceptions
of the Value of Digital Storytelling. In American Educational Research
Association (pp. 8–12). Retrieved from
http://worldroom.tamu.edu/Workshops/Storytelling13/Articles/Green.pdf
Greenhow,
C., Robelia, B., & Hughes, J. E. (2009). Learning, Teaching, and
Scholarship in a Digital Age: Web 2.0 and Classroom Research: What Path Should
We Take Now? Educational Researcher, 38(4), 246–259.
doi:10.3102/0013189X09336671
Gunter, G.
A., & Kenny, R. F. (2008). Digital booktalk: Digital media for reluctant
readers. Contemporary Issues in Technology and Teacher Education, 8(1),
84–99.
Gunter, G.
A., & Kenny, R. F. (2012). UB the director: Utilizing digital book trailers
to engage gifted and twice-exceptional students in reading. Gifted Education
International, 28(2), 146–160. doi:10.1177/0261429412440378
Hall, M.,
Hall, L., Hodgson, J., Hume, C., & Humphries, L. (2012). Scaffolding the
Story Creation Process. In 4th International Conference on Computer
Supported Education. Porto, Portugal. Retrieved from
http://www.lynnehall.co.uk/pubs/ScaffoldingTheStoryCreationProcess.pdf
Jones, P.,
& Waddle, L. L. (2002). New directions for library service to young
adults. Chicago: American Library Association.
Kenny, R.
F. (2011). Beyond the Gutenberg Parenthesis: Exploring New Paradigms in Media
and Learning. Journal of Media Literacy Education, 3(1), 32–46.
Retrieved from www.jmle.org
Kenny, R.
F., & Gunter, G. A. (2004). Digital booktalk: Pairing books with potential
readers. Association for Educational Communications and Technology, 27,
330–338.
Knight, S.
(2012, June 20). Introduction to Digital Storytelling. Retrieved September 6,
2014, from
http://www.slideshare.net/sknight/digital-storytelling-ed554?related=1
Meyers, E.
M., Fisher, K. E., & Marcoux, E. (2007). Studying the everyday information
behavior of tweens: Notes from the field. Library & Information Science
Research, 29(3), 310–331. doi:10.1016/j.lisr.2007.04.011
Mindconnex
Learning Ltd. (2012, January 25). Shakespeare In Bits: Romeo & Juliet iPad
Edition on the App Store [iTunes]. Retrieved September 6, 2014, from
https://itunes.apple.com/us/app/shakespeare-in-bits-romeo/id370803660?mt=8
Morgan, H.
(2014). Using digital story projects to help students improve in reading and
writing. Reading Improvement, 51(1), 20–26. Retrieved from
http://search.proquest.com/docview/1540737338?accountid=10344
Musil, R.
(2001). The confusions of young Törless. (S. Whiteside, Trans.). New
York, N.Y.: Penguin Books.
Nilsson,
M. (2010). Developing Voice in Digital Storytelling Through Creativity,
Narrative and Multimodality. International Journal of Media, Technology and
Lifelong Learning, 6(2), 148–160. Retrieved from
http://seminar.net/index.php/volume-6-issue-2-2010/154-developing-voice-in-digital-storytelling-through-creativity-narrative-and-multimodality
Panetta,
F. (2014). A global guide to the First World War [Interactive documentary].
Retrieved from
http://www.theguardian.com/world/ng-interactive/2014/jul/23/a-global-guide-to-the-first-world-war-interactive-documentary
Ragen, M.
(2012). Inspired technology, inspired readers: How book trailers foster a
passion for reading. Access, 26(1), 8–13. Retrieved from
http://search.proquest.com/docview/934354989?accountid=10344
Reynolds,
G. (2008). Chapter 6 Presentation Design: Principles and Techniques. In Presentation
Zen: Simple Ideas on Presentation Design and Delivery (pp. 152–163). New
Riders. Retrieved from http://www.presentationzen.com/chapter6_spread.pdf
Su, B.,
Noble, K., Rorick, K., & Austen, J. (2014). The secret diary of Lizzie
Bennet. London ; Sydney: Simon & Schuster.
Thompson,
I. (2012). Stimulating reluctant writers: a Vygotskian approach to teaching
writing in secondary schools: Stimulating reluctant writers. English in
Education, 46(1), 85–100. doi:10.1111/j.1754-8845.2011.01117.x
UWCSEA.
(n.d.). Languages at UWCSEA. Retrieved from
http://issuu.com/uwcsea/docs/uwcsea_languages
Yoon, T.
(2013). Are you digitized? Ways to provide motivation for ELLs using digital
storytelling. International Journal of Research Studies in Educational
Technology, 2(1). doi:10.5861/ijrset.2012.204
