Digital Magazines For Kids

Educating a child can be a difficult task in this new era of technology. Generation Alpha is noted to have created kids that are “iPad Natives” and keeping their attention off of anything else can be challenging at best. Digital magazines aimed toward child entertainment and education are an interactive meeting point between technology, learning, and digital publication. Despite this, many find the excessive use of “screentime” unhealthy for their developing brains. With all of this taken into consideration, what do digital magazines directed toward kids have to offer, and what is the impact?

To answer this question, one needs to understand what these magazines do and create for the consumer.

Similar to its paper counterpart, this digital media discusses topics specific to an edition and includes related articles and images. However, digital magazines add all the benefits of the internet. EasyTechJunkie explained that these online magazines “add animations and links within the magazine to make it more informative or aesthetically better.” Magazines being online add several avenues of information that cannot be ignored. If a reader wants more extensive information, the reader can click reference links or watch attached videos. Everything cited and additional information is provided with a touch of a button.

This digital media has a lot to offer, but how does this relate to kids?

Over the last few years with COVID-19 and lockdown, parents began searching for different learning opportunities for their children; in that, they found digital magazines. With platforms like KidsWorldFun, parents are exposed to several options of topics to choose from. They range from educational subjects like science and math to other general fun topics like stories and social happenings. Children can also access adult-marketed magazines in a kid-friendly format on subjects they can digest. This includes magazines like Times, National Geographic, and Sports Illustrated.

This creates the value of entertainment and engagement for a kid while also teaching them about subjects that are important. A science digital magazine could have a game where children have to take care of a plant to show photosynthesis or a literature magazine that has the kids change the story with verbs and nouns. Kids could also learn about varied interests like art and music.

Within these kid-marketed magazines, children have access to fun videos, animations, games, and animated scavenger hunts. This digital media allows for an interactive learning experience that scratches a child’s need for entertainment and technology in this new era. The National Center for Education Statistics explains that 97% of all kids between the ages of three and eighteen have home internet available to them. This being noted, these magazines would not normally be difficult to download for a parent. Their child would have a fun and informative tool to use and play with. It being digital just makes it more available when a parent or child wants it.

It is fun and easy to access, but what about the known benefits?

Rocking Rockets has an entire article dedicated to the benefits found in classrooms when digital magazines are being utilized. Teachers notice their children’s excitement but also see a difference in their literacy development. The students are given access to these magazines that teach poetry, nonfiction, and additional crafts and experiments. Teachers have seen a growth in their students’ willingness and excitement to learn. This digital media creates a fun atmosphere to absorb new information that feeds off this “iPad Native” generation instead of fighting against it.

Aside from Rocking Rockets, Exact Editions claims that “Technology continues to evolve at a rapid rate and education must evolve with it by developing new learning strategies and embracing new resources.” Essentially, digital magazines serve to improve child education and development by moving with the world and the inventions and innovations of the internet. Children benefit from this media because it is colorful, expressive, and interesting. The possibilities are endless when it comes to topics and learning material. Children benefit from reading and magazines are a step in the right direction.

Is screen time the enemy?

There have been many studies based on children and the amount of screen time that is acceptable. The findings range from positive and negative. Generally, children who are exposed to screens during the crucial developmental years are found to struggle with sleep, obesity, and language delays. At times these kids miss the building of social skills. Emotional cues and facial expressions are most commonly missed in this period when screen time isn’t regulated or left unchecked.

Along with the negatives, there still remain a few positives. It allows for better reinforcement of a lesson through videos, and it also gives home-schooled children more material to use and build off of. Other studies have shown an increase in creativity and healthy habits when exposed to the right material. Many believe, including SafeSearchKids, that it is less about how much they watch and more about the content they are consuming. Clear boundaries and monitoring can help detour several of the negative impacts.

How much does it cost?

Digital magazines are accessible and particularly low in cost. Medium claims that on average a consumer would spend $10 to $20 a month. There are several streaming services that cost more than it would be to provide a child with a digital, interactive, and educational magazine. Many try one or two before dedicating to a single magazine for their kids. Several digital magazines offer free trials to assist in helping a child or parent make a dedicated decision.

A parent can find this media on websites and apps like KidsWorldFun, Highlights Every Day, National Geographic Kids, Times for Kids, and so many more.

What do digital magazines directed toward kids have to offer, and what is the impact?

Through the resources cited and provided, many will be divided on the answer to this question. It is best to make decisions regarding your child based on your parenting style and your kid’s general interests. Digital media, whether it be magazines for kids, articles, or videos, chosen with care and research can never be a wrong answer.

Kids will continue to learn, grow, and flourish through the growing digital presence. Digital magazines for kids are only the beginning of possibilities to come through online media.

Immersive Narratives: Navigating the Transformative Landscape of Interactive E-Books

In the ever-evolving landscape of contemporary reading experiences, interactive e-books have emerged as a transformative force. By seamlessly incorporating multimedia elements into storytelling, these e-books represent a significant shift in the digital publishing sphere. The emergence of new media formats has led to increased demand for immersive storytelling beyond traditional text. This growing demand for interactive content is reshaping the digital literature landscape, prompting publishers to adapt and innovate. The infusion of multimedia not only enhances the visual appeal of narratives but also fundamentally changes the narrative structure, leaving an enduring impact on reader engagement. This exploration delves into key aspects of this dynamic literary landscape, covering the evolution of reading experiences, the diverse benefits of interactive e-books, the digital tools empowering creators, the impact on authors and publishers, and a glimpse into the future with advancements like virtual and augmented reality. Through this journey, we unveil the profound influence of multimedia integration on storytelling and the ever-evolving nature of reading experiences.

The Evolution of Reading Experiences

The landscape of reading experiences is currently undergoing a profound transformation, witnessing the decline of traditional print books in favor of the dynamic realm of digital interactive e-books. This shift represents a broader change in the interaction between readers and literature, driven by historical events and technological advancements. Pivotal moments in the history of publishing have marked the transition from print to digital formats.

The invention of the printing press, for example, revolutionized the accessibility of books, making literature more widely available. Fast forward to the digital age, and innovations like e-readers, tablets, and smartphones have opened entirely new avenues for interactive storytelling. This blend of historical context and technological progress has not only reshaped the medium through which stories are conveyed but has also led to a noticeable shift in reader expectations and preferences. Readers today, accustomed to the convenience and interactivity offered by digital platforms, seek a more engaging and participatory form of literary consumption.

Moreover, as interactive reading technologies continue to evolve, the evidence is in the growing attraction of readers to these platforms. The increasing popularity of interactive e-books, immersive storytelling apps, and augmented reality reading experiences indicates a demand for more dynamic and participatory engagement with literature. This trend highlights the interplay between history and technology, shaping interactive reading experiences.

Benefits of Interactive E-Books

Interactive e-books provide a wide range of advantages by catering to diverse learning styles and offering a versatile platform for visual, auditory, and kinesthetic learners. This adaptability positions them as valuable tools, addressing individual preferences and reader needs effectively. The integration of multimedia elements plays a crucial role in enhancing storytelling, elevating the reading experience to a multi-sensory journey. Through the seamless combination of visuals, audio, and interactive components, these e-books go beyond traditional narratives, captivating readers in a more immersive and engaging manner.

The cognitive benefits of interactive storytelling extend beyond mere entertainment, contributing to heightened reader engagement and comprehension. This dynamic approach triggers psychological processes that foster deeper cognitive involvement, making the reading experience not only enjoyable but also cognitively enriching.

In education, digital tools empower textbooks to leverage the potential of interactivity. Features such as quizzes, interactive diagrams, and multimedia content significantly enhance the learning experience, offering students dynamic and engaging educational materials. This intersection of technology and education highlights the potential of interactive e-books to revolutionize not only recreational reading but also the presentation and absorption of educational content. The seamless integration of interactive elements into educational materials reflects a shift towards a more engaging and effective learning environment, where technology plays a pivotal role in shaping the future of education.

Digital Tools for Crafting Interactive E-Books

Authors and publishers entering the realm of interactive e-book creation are equipped with a diverse array of digital tools, software, and platforms to bring their narratives to life. Notable options include Canva, known for its user-friendly interface and straightforward design capabilities; Scrivener, offering comprehensive tools for organizing and composing content; and Amazon’s Kindle Create, tailored for crafting e-books compatible with the Kindle platform. Kotobee Author stands out for its quiz features, while Pandasuite offers versatile solutions with options for both free and premium features.

The user-friendly nature of these software and applications is a pivotal aspect, enabling creators to seamlessly integrate multimedia elements into their e-books without a steep learning curve. This accessibility empowers authors and publishers, regardless of their technical expertise, to enhance their storytelling with visuals, audio, and interactive features, fostering a more engaging reading experience.

The Impact on Authors and Publishers

The advent of digital distribution and online platforms has ushered in a new era for authors and publishers, expanding the reach and accessibility of literary works. Digital formats have dismantled geographical barriers, enabling authors to connect with a global audience, reaching readers far beyond traditional distribution constraints. This democratization of access has not only broadened the exposure for established authors but has also provided a platform for emerging voices to be heard.

Authors today have evolved into multimedia storytellers, playing a pivotal role in shaping the landscape of content creation and marketing strategies. With interactive e-books, the traditional boundaries of storytelling have expanded, prompting authors to incorporate multimedia elements seamlessly into their narratives. This shift not only enhances the storytelling experience but also requires authors to engage with diverse media formats, influencing the way they craft and present their literary works.

The impact of interactive e-books extends beyond the creative process, sparking a wave of creativity, innovation, and new opportunities for author-reader interactions. Through features such as interactive discussions, feedback mechanisms, and collaborative elements, authors can actively engage with their readership. This dynamic exchange fosters a sense of community and collaboration, transforming the reading experience into a shared journey. As authors embrace the possibilities of interactive storytelling, they not only unlock new dimensions of creativity but also cultivate a more engaged and participatory relationship with their audience, shaping the future of literary expression.

The Future of Interactive E-Books

The future of interactive e-books is poised for groundbreaking advancements, with the integration of virtual reality (VR) and augmented reality (AR) technologies at the forefront of these transformative developments. These immersive technologies hold the potential to transport readers into dynamic, three-dimensional worlds, elevating the reading experience to unprecedented levels. VR can create fully immersive environments, while AR overlays digital elements onto the real world, offering a spectrum of possibilities for interactive storytelling.

Anticipated developments in sensory engagement further underscore the evolving nature of interactive e-books. Innovations such as haptic feedback, which involves the sense of touch, and interactive simulations are on the horizon, promising to redefine reader immersion. Haptic feedback can simulate the tactile experience, allowing readers to feel the textures and sensations described in the narrative, enhancing the overall sensory engagement. Interactive simulations, on the other hand, provide readers with hands-on experiences within the digital realm, fostering a deeper connection with the content.

As these advancements unfold, the future of interactive e-books appears to be a realm where readers not only consume stories but actively participate in them through multi-sensory experiences. The integration of VR, AR, haptic feedback, and interactive simulations is set to propel interactive e-books into uncharted territories, offering a glimpse into the limitless possibilities that lie ahead for the evolution of digital storytelling.

Conclusion

In conclusion, interactive e-books have revolutionized modern reading experiences, redefining storytelling through seamless multimedia integration. Beyond entertainment, this transformation holds the potential to reshape societal norms, influencing knowledge dissemination. The embrace of multimedia not only caters to evolving reader preferences but also enhances inclusivity, making literature and education more engaging. Continued investment in interactive e-book technologies is essential for literature’s future, offering innovative storytelling and learning experiences as technology advances. This ongoing development ensures literature adapts to the evolving needs of a digital world, marking a narrative evolution that unlocks new dimensions of knowledge, creativity, and engagement.

GPT Chatbots and Academic Integrity: Why Generative AI Should be Allowed in the Classroom

The International Baccalaureate, a prestigious college prep organization, recently allowed students to use ChatGPT on the IB exam as long as they do not claim it as their work. This surprising development is the latest in the string of headlines related to generative AI. Many school systems have already banned ChatGPT out of fear of academic dishonesty. Turnitin has announced the development of an AI-detection software that will be rolling out in April. Generative AI has made many rapid improvements, but students will not completely forego traditional learning in favor of bot-generated responses. Educators should integrate AI into the classroom so students know how to use the developing technology effectively and ethically.

Limitations with AI

An educator’s biggest fear is that students will use ChatGPT to do their work for them. While this is a valid fear it is often exagerrated. Olya Kudina’s students were tasked with comparing their assignments with an AI generated assignment. They were initially blown away by “how quickly the chatbot rendered information into fluid prose;” that is until they reread the bot’s work. The students realized that the bot was using incorrect information and it was unable to provide sources for the things it was claiming . Kudina’s students concluded that “copying from ChatGPT wouldn’t actually net them a good grade.”

On the other hand, Pieter Snepvangers received a passing grade on a 2,000 word essay that was written by AI. While AI generated work is passable at first glance, it fails to produce high quality academic work. Snepvangers’ essay was very generalized and didn’t include any citations. The lecturer grading the essay said it had “fishy language.”

Many teachers are horrified at the thought that students will be able to type an essay prompt into an AI generator and submit a paper in about 20 minutes; however it is not always that simple. ChatGPT can only produce up to 365 words, meaning that the student must ask the AI multiple questions to meet a higher word count. Snepvanger asked ChatGPT ten different questions related to the essay prompt. After receiving the paragraphs, Snepvanger selected the best ones and “copied them in an order that ‘resembled the structure of an essay,’” Even when trying to use Chat GPT, students must use fundamental writing skills to create a coherent paper.

An AI is unlikely to do well on any assignment that requires anything more than a surface-level understanding of the material. AI can’t properly source an article, and it doesn’t tell its users where its information came from. Any analysis produced by AI will be far too shallow to receive a good grade because the AI is unable to understand the deeper themes of texts or form original perspectives.

AI and Academic Integrity

Many institutions are grappling with the ethics of allowing AI in the classroom. Some are simply requiring that students state when they are using AI generated text. Others are claiming that use of AI in any form is plagiarism. Kalley Huang equates the current status of ChatGPT to Wikipedia in the early 2000’s, which educators also saw as the end of traditional education. Villanova University’s Chair of the Academic Integrity Program, Alice Dailey, believes that schools should allow AI, but they should develop a blanket policy that covers a wide range of circumstances. The advancement of AI technology is going to force educators revolutionize the way they evaluate student progress.

Many schools are moving away from take home essays and are using “in-class assignments, handwritten papers, group work and oral exams” to combat AI plagiarism. Stephen Marche claims that the essay is the “way we teach children how to research, think, and write.” Though these skills are important, there are better ways to teach them in an AI world. Antony Aumann is requiring students write their first draft in the classroom and explain each revision. This method of teaching is not only teaching the students how to write an essay, but is also forcing them to think critically about why they are writing it in this way.

AI in the Classroom

Instead of banning ChatGPT because of its risk to academic integrity, educators should use it as a tool in the classroom. The technology is not going away and students will be unprepared for the future if they are not taught how to use AI efficiently and ethically.

Students can only know the limitations of AI by using it. Ethan Mollick is not only allowing AI in his classroom, but he is mandating it. Mollick’s AI policy requires students to assume the AI is wrong, adding that students will be responsible for errors and omissions on behalf of the AI. Mollick also requires his students to include a paragraph at the end of their work disclosing the use of AI, as well as the prompts used.

Contrary to popular belief, turning in a research paper is not the height of academic evaluation. According to Kathy-Hersh Paseck, it is more important that students develop writing skills, like how to write a thesis and support it, rather than turning in a paper. Students are able to learn these necessary skills by interacting with AI.

Donnie Piercey’s fifth grade class plays a game of “find-the-bot,” which asks students to pick the AI summary out of a lineup with peers’ work. The students said that the exercise helped them identify proper capitalization and punctuation, as well as how to correctly summarize information. This exercise also led to a discussion on writing voice, and why the AI text sounds “stilted.”

AI text generators are tools that should be embraced in the classroom. Like other technology that was new for its time, AI will not go away. The best thing educators can do for their students is to teach them efficient and ethical ways to use AI text generators while still honoring academic integrity and learning essential writing skills.

The New Art of E-Book Covers

A physical book has about seven seconds to sell the book before the consumer puts it down. In that time, the consumer is connecting to the art on the cover, the title, and other design elements, such as foiling. Simultaneously, the customer also connects with the book through its weight, texture and scent. If the reader likes what they see and feel, they may flip the book over or open the cover to read a synopsis of the book. All of the sensory inputs allow the reader to form an emotional attachment to the book, making them more likely to buy it.

The digital shopping experience cannot offer the immersive experience that brick-and-mortar stores can. The digital storefront is only capable of connecting with the reader through sight, meaning that e-book covers must adapt to a visually heavy digital storefront.

How are E-Books Presented?

In online storefronts, the cover is reduced to a thumbnail. In physical stores, the books are typically presented spine-first, with a few books cover out; however, in a digital storefront, every book is presented with the cover. Additionally, a thumbnail has no reverse, so even if a reader chooses to click on the book, they have to search for the information that is found on the back of a cover.

Shortform Content and the Rise of Visual Shopping

George Chrysostomou makes the argument that TikTok is influencing book cover designs because content creators want something that will grab the viewers’ attention. Shortform content relies on the visuals of a cover to sell it, much like digital storefronts do. A common BookTok trend is the “Books That” trend, where a creator recommends books that made them cry or that they couldn’t stop thinking about. Creators typically only show the covers of the books against a simple background. Sometimes they will provide a “hook” or a rating system for each book, but the majority of the focus is on the book cover.

The value of aesthetics in shortform content has carried over into digital storefronts as readers expect aesthetically pleasing covers when choosing what books to purchase. A successful e-book cover should be simple and offer a promise of what the reader will find behind the cover.

Creating for Smaller Screens

The first step is to make sure your potential readers can clearly see the cover at its tiniest. An e-book cover is vastly important because it is the first thing, and often the only thing, that readers see when browsing. Smashwords founder, Mark Coker says that “a poor cover creates unnecessary friction that prevents a reader from clicking [on an e-book].” You want your book title to be clearly legible on the cover, as you cannot always count on the platform to format the title correctly or show the complete title. On Kindle, the preview thumbnail is only 60×90 pixels, which is incredibly tiny. Many stylistic choices that work for print books or for larger images will not translate into the thumbnail.

Know Your Genre

Knowing the style of cover that is particular to your genre is imperative, especially in a digital storefront. You want your audience to immediately know that your book will interest them solely off of the cover. Kris Miller argues that one of the most important aspects of book design is a “harmonious cohesion between design elements and market. The art shouldn’t fight the typography. A romance novel shouldn’t look like a thriller or visa versa.” Beyond branding your book for a certain genre, your cover starts to curate your brand.

Develop Your Brand

Colleen Hoover’s branding strategy is clearly defined by her text placement, font, and cover colors. Most of her covers feature pink or blue backgrounds that often have an easily identifiable motif, such as floral accents, that integrate themselves into the other elements on the cover. Hoover’s books are bright, bold, and clearly advertising contemporary romance, except for Verity. Her 2018 novel, Verity, is the opposite of bright and bold, yet it is not completely removed from Hoover’s brand. The dark background offers a nice contrast to the desaturated gold of the title and central design element. More importantly, Hoover kept her name in her typical place at the bottom center of the cover. The success of Verity is dependent on the recognition of Hoover’s brand.

Color and Images

The color of the cover is often the first thing that readers recognize and can be a huge part of an author’s brand; however, different displays will show color differently. Light mode will generally work well with all colors. In dark mode, bright colors can induce eye strain and dark colors will blend in. The cover must also translate into grayscale since most e-readers do not support color. A high contrast between the background image and the text is a good way to make the cover “pop,” even without color. Coker argues that the image alone should convey the premise of the book. The cover art should promise the reader the experience they are searching out.

Typography and Text Placement

Though the color and art are the most easily recognizable part of the cover, the typography and text layout are key elements that can make or break a cover. Aside from the cover art, the text is the largest element on a book cover. It is important that the font categorizes the book into a specific genre and the text is easily readable in thumbnail form.

The largest text should be what will get the reader to click on the book. For established authors with a loyal fanbase, the author’s name is typically the largest piece of text on the cover. For authors who haven’t developed name recognition, an interesting title should be given prominence. While teasers and reviews on the cover can give a print book credibility, the small text shrinks down into a blur on the thumbnails for e-books. The focus for e-book covers should be on hooking the reader with strong visuals.

Text hierarchy and font can also define your brand. Danielle Steele’s books are easily distinguished from other books in her genre because of the specific font she uses for her name, which is always positioned at the top of her cover over the title.

The success of an e-book is dependent on its ability to hook a reader from the search page. Credibility is no longer sought through reviews or a clever synopsis, but the aesthetics of a book cover. With the increasing focus on visual content in shortform media, e-books have no choice but to adapt.

From Fanfiction to Film: How Wattpad is Ushering in A New Age of Writing

Wattpad is an online community of authors and readers that hosts stories from typically unpublished authors. The site is unique in combining social media and a reading platform, which allows readers to interact with the books and the author. Wattpad was founded in 2006 by Allen Lau and Ivan Yuen as an e-reading platform where “readers could download an app to read and chat about fiction shared by professional and aspiring writers from around the world.” According to Lau, being mobile was the top priority. This mobility allowed for interaction on the site to skyrocket. Wattpad appeals to up-and-coming writers who wanted to distribute their work without going through a publishing process.

Writers typically release the book a chapter at a time and readers can make in-line comments on stories, allowing the writer to adjust the book to the reader’s preferences. Wattpad readers are primarily young people who were drawn to the appeal of free books written by their peers instead of older, more established authors. Many of these young authors became success stories through the constructive criticism and praise they received from their fans.

Anna Todd and Happily Ever After

Wattpad has been a powerhouse for undiscovered authors in the past few years. Anna Todd’s After began as a Harry Styles fanfiction in 2013. Written under the name @imaginator1D, After became an almost overnight success, with the fanbase reaching the hundreds of thousands. Todd wrote the majority of After on her phone, with no outlining or proofreading before she uploaded the chapter to Wattpad. While some may dislike the lack of outline, Todd and her fans equally enjoyed the “social writing” model. Todd would listen to her fans’ feedback and adjust the story to their preferences in real time. Not only did Todd’s fanbase grow, but the relationship between the fan and the author grew as well. Readers felt like they had a say in the story, which increased their loyalty to the author, as well as their willingness to offer financial support.

With the help of Wattpad, Anna Todd received a book deal with Simon and Schuster in 2014, just one year after she published her first chapter on Wattpad. After was also granted a movie in 2019, with three sequels to follow. Todd’s story is a testament to the power that her fans and Wattpad hold. The first movie currently holds an 18% on Rotten Tomatoes, though fans give it a significantly better rating of 66%.

Wattpad to Movie Pipeline

Though Todd’s story is one of the most notable, it is far from the only success story that has come from Wattpad. At seventeen, Beth Reekles became the youngest Wattpad writer to score a book deal for her story, The Kissing Booth. Reekle later went on to earn a movie deal with Netflix, though that movie also did poorly on Rotten Tomatoes. Despite the abysmal critic reviews, The Kissing Booth garnered immense fan support. According to Sara Perez, this disconnect is due to the “built in audience” of Wattpad users.

Readers don’t just read and watch these stories, they create them. Wattpad utilizes the fan base when adapting stories for film. In an article for Quartz, Adam Epstein discusses Wattpad’s story-to-film process. The fans are integral to the adaptation process, with some “superfans” gaining access to the script to provide feedback before the film hits the box office. This process seems to work well. Epstein writes,

Most books come with a built-in audience, but this one comes with a built-in audience that’s also invested in the development process itself. It not only makes them more inclined to watch the show when it comes out, but leads them to become evangelists for the project on social media, which helps build buzz.
Adam Epstein, Quartz

Wattpad is unique in that its user base not only reads and shapes the stories on its platform, but also the way the stories transition off the platform.

Story DNA

According to Aron Levitz, the fans’ engagement is part of the “microtrend,” which allows Wattpad to know what will sell based on the size of the fanbase and reader engagement. Macrotrends are made possible by Story DNA. Story DNA is Wattpad’s deep-learning AI technology, which, according to Ashleigh Gardener, “deconstructs stories into their elemental features, such as sentence structure, word use, and grammar,” This gives Wattpad further insight into what makes a story popular outside of comments, likes, and shares. As a result, up-and-coming stories are given a greater chance at being discovered and transitioning off of Wattpad. The development of this technology is leading to a future of reading that is not just consumed by the reader but also formed by them.

Wattpad is unique in the fact that it is constantly reinventing itself to the benefit of its writers and readers. Wattpad has adapted from merely presenting stories to publishing them and promoting them outside of the digital platform. Wattpad not only publishes for fans but with the fans. The future of reading is driven by the reader, not the author or publisher.

AI Writing, Self-Publishing, and the Culture of Instant Gratification

The digital age has ushered in a culture of instant gratification, where people expect to get what they want when they want it. This is especially true with the advent of AI writing and self-publication tools that make it easier than ever for anyone to become an author or content creator almost overnight. But while these new technologies have made creating and sharing content faster, there are some potential drawbacks as well.

The traditional process of publication is a lengthy one. The process from submission to publication can take an average of nine to eighteen months, or even upwards of two years. This time excludes the writing and editing process, which, depending on the book, can add months or years. In the age of instant everything, that is simply unacceptable.

Enter Self-Publication

Self-publication has gone through many evolutions in the digital age, with each iteration becoming more accessible to the public. Desktop Publishing, was introduced in the 1970’s with the adoption of word processing software. Though this form of self-publication was easily accessible by the masses, it was still costly. “Print on demand” revolutionized the self-publishing world. Publishers were no longer responsible for mass printing costs, inventory, and distribution, which further opened the world of self-publication to the public. The blog era allowed authors to reach the masses and publish their works via PDF, with even Stephen King joining in.

Amazon Kindle Direct Publishing was introduced in 2007 to “democratize” the publishing industry. Amazon made it easier than ever to self-publish a book and offered authors 70% of royalties and has since grown to offer more incentives and opportunities to authors. In 2011, authors who gave full digital rights to Kindle were offered KDP Select. KDP Select members exclusively received a higher percentage of royalties and promotional tools. Amazon expanded KDP again in 2016 to include print publishing and has added options for hardcover and lower-cost color printing in the following years. Amazon adapted to the bite-sized market and introduced Kindle Vella in 2021, allowing authors to publish “serial” style stories.

Self-publication and all of its advancements have reduced publishing time from a year and a half to fiv e minutes. It makes sense that the writing process is next on the proverbial chopping block.

Instant Gratification and Independent Authors

In the age of instant gratification, authors are racing against the clock to produce content before readers move on to another writer. Jennifer Lepp, a self-published “cozy paranormal mystery” writer, gets about four months to produce a new work. That deadline is doable, barring any creative setbacks. When those setbacks do happen, it could be catastrophic for reader engagement. Enter AI, specifically Sudowrite in Lepp’s case. Sudowrite is an AI writing tool specifically geared to creative writers. Before we ask if we should use AI, we should understand what it is.

AI Writing

AI has gained increasing notoriety in the past few years by tackling everything from editing and proof-reading to content creation in a few minutes. Most AI geared towards writing has been trained with GPT-3, a program specializing in text completion. This AI program can “understand and generate natural language.” Proofreading, editing, and even writing can be given to most AI software with relative ease. In fact, the introduction paragraph to this article was written by Jasper, an AI program commonly used for text generation. AI is incredibly useful in writing shorter bits of text and it saves writers a ton of time, which is necessary in today’s fast-paced world that demands new content at all times.

The ethical question of AI writing

Just because something is useful does not mean it should be used. The ethical dilemma of AI writing is one that has hounded its users since its inception. In an interview with The Verge, Jennifer Lepp expanded on the ethical dilemma of using AI tools that the writing community is facing. Questions concerning authenticity and intellectual ownership are at the forefront of these debates.

Many authors fear that their work will no longer be original if they allow an AI to write for them. The Author’s Guild argues that human art and literature is advanced by individual experiences, and that AI works will stagnate without human input. AI learns from other people’s work on the internet and compiles that knowledge to generate new work. It could be argued that the writing is plagiarized because it is informed by other author’s works without giving them credit; however, every piece of media informs and is informed by other pieces of media. True originality is not possible, especially in a society that is so digitally connected.

Another concern with AI writing is ownership of the piece. Should the AI program be listed as the author? According to US copywrite laws, no, and others agree. The Alliance of Independent Authors added a new clause to their code of standards regarding AI. The code calls for the author to edit the generated text and ensure that it is not “discriminatory, libellous, an infringement of copyright or otherwise illegal or illicit.” The responsibility of legal compliancy falls on the author, not the AI.

Some writers fear that the AI will take over their writing. In a Plagiarism Today article, Jonathan Bailey goes as far as to say that writers are completely powerless when using an AI. Jennifer Lepp certainly experienced this power imbalance in her writing. She would give Sudowrite an outline, press expand, and keep feeding the algorithm until it spat out a finished product. This process led to a disconnect between herself and the stories she was creating. Now, Lepp offloads certain details to the AI, like the description for a hospital lobby. With her current system, she is still seeing an uptick in productivity while still being much more connected to her work.

The integration of AI is unavoidable if self-published authors are going to keep up with the demand of readers steeped in a culture of instant gratification. Though there should be self-imposed limits to the use of AI, authors should not avoid using it entirely. It is the responsibility of the author to inject the humanity into the writing.

Interactive E-Books: Where Did They Come From, and Where Are They Going

Interactive e-books are taking the digital world by storm. However, while recent developments in electronic texts are exciting, the revolutionizing of book interaction is not new. Publish Drive explains,

Even if we don’t count coloring books, pop-ups and all kinds of hands-on books for kids, traditional printed books that allow the readers to interact or change the story some way or another have been around for a while now.

Interactive e-books are mimicking innovations made in interactive print publishing while also creating new features unique to the digital medium.

The new features of e-books increase audience engagement by including media that the reader can play with. Publish Drive continues, “Interactive ebooks come in two major forms: apps and enhanced ebooks.” Essentially the e-books are made for browsing through an app on the web, on a mobile device, or on a desktop, and the app supports the media.

The other option involves creating an ePub file that internally supports all the different media. “Books made this way are called enhanced ebooks, and offer a significant level of customizability. This includes easy to enlarge pictures, embedded video and audio, and excellent accessibility.”

Features of Enhanced E-books

Authors have a vast array of features they can choose to utilize in their interactive e-books. Videos, animations, and voice-overs are popular inclusions. For visual aids, companies like Pearson use interactive diagrams with pop-up labels and definitions, changing infographics, responsive maps, calculators, and other activities that promote visual learning and engagement.

The most salient features though, include supported activities that can usually be found in print books as well. Features such as quizzes, word searches, comprehension activities, and checklists that e-books can generate and check. No more looking up the answers in a guide or waiting for class reviews; the books can do it all on their own.

Two main factors limit the types and volume of additional media that the author can put in their e-books: copyright restrictions and file size restrictions. If copyright prevents the inclusion of videos and other media, then try embedding them. If they block embedding, then link.

Amazon charges a “delivery fee” for some sales based on the size of the e-book, so authors working with them should be aware of that. As Kotobee says, “Otherwise, the main concern with a large file size is happy readers.” Audiences will tolerate large file, i.e. time consuming, downloads for important texts like academic textbooks much more than pleasure texts like novels.

Examples of Enhanced E-books

The interactive e-books on the market typically fall into three categories: academic texts, adult texts, and children’s books.

According to Iltifat Husain, MD, the most interactive textbook on the market is Ganong’s Review of Medical Physiology. The book features pop-up definitions, interactive label diagrams, surgery videos, and extensive annotation capabilities. Pearson’s Biology and Houghton Mifflin Harcourt’s Modern Chemistry also rank pretty high for number of downloads but lack elegance, says Alex Reinhart.

The adult-oriented interactive e-books fit several different genres; novels like The Magic of Reality by Richard Dawkins and Do or Die by Clark Kokich do well on the market. The most promising entertainment genre though appears to be cookbooks. For example, Look&Cook is an interactive cookbook that includes the usual step-by-step instructions along with voiceover instructions, built-in timers for recipe steps, video tutorials, and emailed shopping lists.

Children’s books typically feature animations and background music like the ones in Two Worlds, One Child’s Heart by Vered Kaminsky and Sparklify the Earth by Sandra Rose Gunn, which Publish Drive’s blog promotes.

Platforms for the Creation and Distribution of Interactive E-Books

Not all interactive e-books have to be coded by hand though. Kotobee offers a platform specifically geared to enhanced text creation through widgets. Flip PDF does the same thing and enables PDF-usable for the initial upload. Apple’s iBook Author, Aquafadas, PubCoder, Atavist, Calibre, and Sigil all offer the same capabilities. Most platforms that facilitate e-book creation will enable enhanced e-books. Platforms for distribution are a different story, though.

Two things determine access to interactive e-books: the device and the distributor. For example, Amazon supports enhanced texts, but their Kindles do not. Kobo tablets support enhanced texts, but leave their apps and other devices lacking. Google Play Books does not support interactive e-books, but Apple iBooks does. Consequently, authors and publishers bear the responsibility of knowing what platform the audience will use.

Success for Interactive Iterations of E-Books

Interactive texts continue to climb the ranks for B2B publishers, students, and casual readers. Map Systems India explains that for students an enhanced e-book “helps them to participate in the learning process, increasing their activities on the platform. For instance, you need not explain them the procedure of completing a task.”

Kitaboo published an article that details all the ways interactive texts surpass regular e-books such as being easier to update and revise. Furthermore, interactive texts provide: more accessibility to readers who may struggle to read a standard e-book; the ability to “link content to additional resources;” and, “Content creators/publishers/institutes/enterprises can set up an assessment for post learning evaluation and even need analysis.”

Kitaboo also claims,

Through the functionalities of interactive eBooks, creators can embed multimedia which makes the content contextually relevant and easier to relate with. Integrating technologies give students an opportunity to learn by viewing 3D models. This adds a layer of information over reality to enhance the learning experience.

Implications for the Industry

Enhanced e-books appear to be here to stay. Snap App says, “This sustained popularity means static ebooks are only going to become more saturated, and readers more numb to them.” Only recently have companies begun to understand how important their digital content is. Reinhart complained about the sloppiness of the e-books publishers are putting out when he stated:

It seems that textbook publishers are only willing to invest effort in multimedia, animations, and interactivity for big intro books—books which will sell tens of thousands of copies to bored students who will generally avoid reading them.

Consequently, good interactive e-books may be far and few between for now, but the ones coming in the future should be truly revolutionary.

I, Robot Author

Earlier this year, science-centered publisher Springer Nature produced the online textbook Lithium-Ion Batteries: A Machine-Generated Summary of Current Research. This e-book has no earth-shattering findings on the batteries, but it made headlines all the same: “This is the first time AI has authored an entire research book, complete with a table of contents, introductions, and linked references.”

AI Now

The first fully AI-authored e-book is here. Similarly, an AI-authored travel novel was released this year, though only in print. In The Verge, James Vincent wrote, “For decades, machines have struggled with the subtleties of human language, and even the recent boom in deep learning powered by big data and improved processors has failed to crack this cognitive challenge,” but this no longer holds true. Now multiple businesses have released writing AI in the past year, all capable of producing intelligible sentences.

Google, Springer Nature, and OpenAI produce the most crucial writing AI. Google’s BERT works with NLG or natural language generation. BERT aims to replicate the way language organically flows.

BetaWriter outranks BERT, though, for writers. BetaWriter wrote the first published e-book from Springer Nature. The publishing industry has hailed the 250+ page textbook as a turning point in the advancement of AI writing.

OpenAI’s GPT-2 also holds serious status for authors. GPT-2 excels in language modeling. The program can create anything from a realistic news headline to an entire story length tale from one line of input.

Positive Aspects of Writing with AI

Writing with AI can certainly benefit authors. The bots excel at matching texts in their samples, which makes them ideal for both writing passages in foreign languages and adding multiple versions of an e-book. Macho from PublishDrive touches on this subject saying, “This innovation shows a more accessible future translation market by listening to or reading a book out loud and getting them translated realtime.”

While the AI bots may not be able to write precisely what the author imagines, they can compile large libraries easily. This research aspect helps authors streamline the writing process. As Kevin Waddel points out in this Axios article, the bots’ function ideally to “Dig researchers out from under information overload.” This function benefits both academic writers trying to compile educational or experimental data and the pleasure writer logging settings, mythical characters, and historical events.

Bots also function within an established framework, making them ideal for online authors. Not only can AI compile all the information necessary to make writing easy, but authors can use the formatting “technicality” to format their e-book files with little error or effort. The bots can do all the formatting that people can, so authors and publishers should take advantage of what the bots can reliably do to maximize the payoff.

Downsides to Writing with AI

Writing with AI can come with some real drawbacks, especially if humans don’t run interference. AI learns through what it reads by searching for patterns, but that’s it. Macho explains, “The key lies in EQ or EI – whatever you call it – using emotional intelligence to engage your audience.” AI can only copy writing moves people because people are where the emotional intelligence comes from.

AI also struggles to understand the more profound meaning and context that often fills writing. The more thorough parts of the pattern analysis, deep learning, can still only measure so much. The resulting text, though accurate, is filled with continuity errors and cold opens. These issues regularly leave the reader confused or lost, which deems AI an unreliable tool for writers.

Many experts consider the AI’s self-learning from input to be the most dangerous drawback for writers. CNN and The Verge both criticized the newly available, high-quality AI writers for their potentially dangerous results. Vincent’s article in The Verge says the following:

In the wrong hands, GPT-2 could be an automated trolling machine, spitting out endless bile and hatred.” OpenAI’s helpful research tool could be used to publish hateful propaganda with minimal effort. These downsides and ambiguities raise many questions.

Questions About Credit

Whenever new technology develops, it always takes time for rules and general knowledge to catch up. With AI itself being so new, authors or publishers intending to use it don’t have very much guidance on doing so ethically. Coldewey of TechCrunch raises several questions about crediting when writing with AI:

Who is the originator of machine-generated content? Can developers of the algorithms be seen as authors? Or is it the person who starts with the initial input (such as “Lithium-Ion Batteries” as a term) and tunes the various parameters? Is there a designated originator at all? Who decides what a machine is supposed to generate in the first place? Who is accountable for machine-generated content from an ethical point of view?

Springer Nature credited the program itself in the textbook they produced, but this does not factor in the rest of Coldewey’s questions. In fact, those questions can’t be answered until the industry knows more about the instrument. In the meantime, each user must rely on their instincts for best practices.

Best Practices for Writers and Publishers

Some experts in AI gave their advice to authors and publishers about the truly effective ways to incorporate AI into their trades. Macho wrote, “There are two big areas of publishing where AI can (and will) make an impact: content analysis, recommendation and creation; and audience analysis.”

The best ways to use AI without cutting out the human touch are by using the bots for everything but the writing. Publishers should use the bots for marketing: find out the types of people viewing the content, their preferences, and then use the bots to implement a targeted marketing plan.

Authors should use AI to prepare their library for writing. The bots can compile all kinds of data which allows the author to focus only on producing the text. The bots could even theoretically produce dialogue to help the author create realistic conversations that sound varied and natural, especially if dialogue challenges the author.

Publishers and authors can both use AI to make widespread changes, such as name or location changes. They can also use AI to reformat the text and files for publication or to determine the best place to insert features like images and other interactive aspects. With these options, authors and publishers should feel motivated to incorporate the bots more effectively.

While writing AI advances further and further in ability each day, the writing AI produces has a very narrow audience, as Springer Nature’s e-book shows. People simply have more skill and nuance. AI can be incorporated more into the writing and publishing world, but only at the writer and publisher’s discretion.