Reading with your children: proper books vs tablets

Image 20160914 4944 ipvcdj

Opal Eyes/Flickr, CC BY-NC-SA

By Nicola Yuill, University of Sussex

Most of us have an opinion about whether we prefer reading on screen or paper: but what difference does it make for children? The truth is that technology is now encountered from babyhood. Anecdotes abound of toddlers swiping their fingers across paper rather than turning the page, while parents and teachers express their fear of screen addiction as tablets introduce new distractions as well as new attractions for young readers. The Conversation

Ofcom figures tell us that children’s screen use rises sharply towards the end of primary school (from age seven to 11) and in the same period, book-reading drops. Increasing screen use is a reality, but does it contribute to a loss of interest in reading, and does reading from a screen provide the same experience as the feel of reading on paper?

We looked at this in our research on shared reading. This has been a neglected topic even though it is clearly a common context for children when they read at home. It might be their regular homework reading of a book from school, or a parent reading them a favourite bedtime story.

Warming up

We asked 24 mothers and their seven to nine-year-old children to take turns – mother reading or child reading – with popular fiction books on paper, and on a tablet. They read Barry Loser: I am not a Loser by Jim Smith and You’re a Bad Man, Mr Gum by Andy Stanton. We found that the children’s memory for the descriptions and narratives showed no difference between the two media. But that’s not the whole story.

The interactions of parent and child were found to be different in the independent ratings from video observation of the study. When they read from paper rather than a screen, there was a significant increase in the warmth of the parent/child interactions: more laughter, more smiling, more shows of affection.

It may be that this is largely down to the simple physical positioning of the parent and child when using the different media, as well as their cultural meaning. When children were reading from a screen, they tended to hold the tablet in a head-down position, typical of the way they would use the device for solo activities such as one-player games or web-browsing.

This meant that the parents had to “shoulder-surf” in order to share visual attention. In contrast, when parents read to their children on paper, they often held the book out to support shared visual engagement, tucking the child cosily under their arms. Some children just listened without trying to see the book, but instead curled themselves up comfortably on the sofa.

Paper or pixels?
Megan Trace/Flickr, CC BY-NC

Keep taking the tablets?

Our research joins a growing list of studies comparing paper and e-books, but the answer isn’t a simple one. Shared reading is different to reading alone, for a start. And we may be interested in whether screen or paper makes a difference in how children learn to read, to understand, and enjoy reading. In short there are multiple perspectives to consider – developmental, educational, literary and technological – if we are to decide which medium is preferable.

Most studies have compared children at the earliest stages of reading, using paper books, e-books with audio and dictionary support to help less-skilled readers, and so-called “enhanced” e-books with multimedia, activities, hotspots and games.

Text with audio support helps children to decode text, and multimedia can keep a reluctant reader engaged for longer, so a good e-book can indeed be as good as an adult reading a paper book with their child. But we don’t yet have long-term studies to tell us whether constant provision of audio might prevent children developing ways of unpicking the code of written language themselves.

They think I’m reading; I’m playing Candy Crush.
George Rudy/Shutterstock

Re-design for life

There is also increasing evidence that adding multimedia and games can quickly get distracting: one study found that young children spent almost half their time playing games in enhanced e-books, and therefore they read, remembered and understood little of the story itself. But there is plenty of guidance for e-book developers on the what, where and how much of designing multimedia texts.

And that brings us back to perhaps the defining conclusion from our own study. Books versus screens is not a simple either/or – children don’t read books in a cultural vacuum and we can’t approach the topic just from a single academic field. Books are just books, with a single typical use, but screens have many uses, and currently most of these uses are designed round a single user, even if that user is interacting with others remotely.

We believe that designers could think more about how such technology can be designed for sharing, and this is especially true for reading, which starts, and ideally continues, as a shared activity in the context of close long-term family relationships. Book Trust figures report a drop from 86% of parents reading with their five-year-olds to just 38% with 11-year olds. There is a possibility that the clever redesign of e-books and tablets might just slow that trend.

Nicola Yuill, Senior Lecturer in Psychology, University of Sussex

This article was originally published on The Conversation. Read the original article.

Discovering the World with Old Maps

Yaggy, Levi Walter Temperate Zone 1893 Chicago Atlas Map David Rumsey Historical Map Collection

By Nora Vasconcelos

Ever since I can remember I’ve loved maps.

When I was a little girl I was thrilled when I found in my books colourful illustrations of foreign lands, even when they where imaginary ones.

I used to spend a long time looking carefully at all the details that those maps contained, divisions between lands, between the earth and the skies, between the skies and the oceans and among all the oceans that covered the known land and the ship routs to reach them.

Those maps took my mind travelling miles away and keep it there for a long time.

Decorative L’Atlas Curieux ou le Monde Represente ans des Cartes Generales et Particulieres du Ciel et de la Terre.; Fer, Nicolas de, 1646-1720; 1705; World Atlas David Rumsey Historical

As I grew up, I started to enjoy those fantastic Atlas full of old legends and legendary creatures.

Nova Orbis Tabula, in Lucem Edita, A.F. de Wit.; Wit, Frederick de; 1682; World Atlas
Nieuwe Werelt Kaert.; Goos, Pieter, 1616-1675; 1667; Chart Atlas David Rumsey Historical Map Collection

And just a few years later, I made a habit of looking up any new place that appeared in the books I was reading back then. So, a Globe and an illustrated dictionary were always at hand. I just couldn’t let it pass, I had to know exactly where those places were!

Land_und-Wasser _ Vertheilung auf der Erde (Land and Water Distribution).; Stieler, Adolf; Berghaus, Hermann; 1880; World Atlas David Rumsey Historical Map Collection

Nowadays, technology has given us the huge advantage of the Internet, with which looking up places is really fast, the same as getting several maps of any given destination when a trip is coming soon.

Pictorial map of the city and surroundings of Melbourne; Dale, O.J.; 1934; Separate Map David Rumsey Historical Map Collection

The Internet has become a great travelling tool. And, as I always say ‘a map will set you free‘, so to me is quite normal to read as many maps as possible of my new destination and then, with all that information in my head, I just give myself the wonderful chance to wander around without getting lost.

Paris.; Zaidenberg, Arthur; 1930; Separate Map David Rumsey Historical Map Collection

But even with all these wonderful advantages, I always melt when I see an old map.

This is way I got so so happy when I came across the amazing David Rumsey Map Collection. A website that let visitors find thousands of maps, divided in different categories.

These maps are not only beautiful, but also full of information, so much that a whole vacation could be completed without leaving home, only with the unique power of very detailed illustrations and descriptions, and the immense power of the imagination.

Voyage from New York to San Francisco upon the Union Pacific Railroad; Union Pacific Railroad Game; 1870; Game David Rumsey Historical Map Collection

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How to write a best-selling novel

 

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Picture: nito

By Andy Martin, University of Cambridge

So you want to write a novel? Of course you do. Everyone wants to write a novel at some stage in their lives. While you’re at it, why not make it a popular bestseller? Who wants to write an unpopular worstseller? Therefore, make it a thriller. It worked for Ian Fleming and Frederick Forsyth … The Conversation

Every now and then I come across excellent advice for the apprentice writer. There was a fine recent article, for example, in The Big Thrill (the house magazine of International Thriller Writers) on “how to lift the saggy middle” of a story. Like baking a cake. And then there is Eden Sharp’s The Thriller Formula, her step-by-step would-be writer’s self-help manual, drawing on both classic books and movies. I felt after reading it that I really ought to be able to put theory into practice (as she does in The Breaks).

But then I thought: why not go straight to the source? Just ask a “New York Times No. 1 bestseller” writer how it’s done. So, as I have recounted here before, I knocked on Lee Child’s door in Manhattan. For the benefit of the lucky Child-virgins who have yet to read the first sentence of his first novel (“I was arrested in Eno’s Diner”), Child, born in Coventry, is the author of the globally huge Jack Reacher series, featuring an XXL ex-army MP drifter vigilante.

It is a golden rule among members of the Magic Circle that, when asked: “How did you do that?”, magicians must do no more than smile mysteriously. Child helpfully twitched aside the curtain and revealed all. Mainly because he wanted to know himself how he did it. He wasn’t quite sure. He only took up writing because he got sacked from Granada TV. Now he has completed 20 novels with another one on the way. And has a Renoir and an Andy Warhol on the wall. Windows looking out over Central Park. Grammar school boy done well.

Cigarettes and coffee

He swears by large amounts of coffee (up to 30 cups, black, per day) and cigarettes (one pack of Camels, maybe two). Supplemented by an occasional pipe (filled with marijuana). “Your main problem is going to be involuntary inhalation,” he said, as I settled down to watch him write, looking over his shoulder, perched on a psychoanalyst’s couch a couple of yards behind him.

Which was about one yard away from total insanity for both of us.

Especially given that I stuck around for about the next nine months as he wrote Make Me: from the first word (“Moving”) through to the last (“needle”), with occasional breathers. A bizarre experiment, I guess, a “howdunnit”, although Child did say he would like to do it all again, possibly on the 50th book.

Maybe I shouldn’t be giving this away for free, but, beyond all the caffeine and nicotine, I think there actually is a magic formula. For a long while I thought it could be summed up in two words: sublime confidence. “This is not the first draft”, Child said, right at the outset, striking a Reacher-like note. “It’s the only draft!”

Don’t plan, don’t map it all out in advance, be spontaneous, instinctive. Enjoy the vast emptiness of the blank page. It will fill. Child compares starting a new book to falling off a cliff. You just have to have faith that there will be a soft landing. Child calls this methodology his patented “clueless” approach.

Look Ma, I’m a writer

To be fair, not all successful writers work like this. Ian Rankin, for one (in his case I relied on conventional channels of communication rather than breaking into his house and staring at him intently for long periods) goes through three or four drafts before he is happy – and makes several pages of notes too.

Ian Rankin, creator of Inspector Rebus.
Mosman Library, CC BY

 

And yet, with his Rebus series set in Edinburgh, Rankin has produced as many bestsellers as Child. Rebus also demonstrates that your hero does not necessarily have to be 6’5″ with biceps the size of Popeye’s. And can be past retiring age too, as per the most recent Even Dogs in the Wild.

Child has a few key pointers for the would-be author: “Write the fast stuff slow and the slow stuff fast.” And: “Ask a question you can’t answer.” Rankin also advises: “No digressions, no lengthy and flowery descriptions.” He has a style, and recurrent “tropes”, but no “system”. And Child is similarly sceptical about Elmore Leonard’s “10 rules of writing”. “‘Never use an adverb’? Never is an adverb!” And what about Leonard’s scorn for starting with the weather? “What if it really is a dark and stormy night? What am I supposed to do, lie?”

Elmore Leonard at the Peabody Awards.
Peabody Awards, CC BY

 

Child never disses other writers. OK, almost never (there is one he wants to challenge to unarmed combat). But he is dismissive of a certain writerly attitude, a self-conscious mentality which he summarises as follows: “Hey, Ma, look – I’m writing!” And here we come close to the secret, the magic potion that if you could bottle it would be worth a fortune in book sales. Do the opposite. If you want to be a writer, the secret is: don’t be a writer. Try and forget you are writing (difficult, I know).

This is why both Child and Rankin speak with such reverence for the narrative “voice”. And why both privilege dialogue. The successful writer is a throwback to a vast, lost, oral tradition, pre-Homer. Another thing, fast-forwarding, they share in common: the default alter ego is rock star. It’s all about the vibe. Everything has to sound good when you read it aloud.

Art is theft

But if you seriously want to be a writer, think like a reader. Child explained this to me the other day in relation to his novel, Gone Tomorrow, set in New York, which is now often used to teach creative writing. “I introduce this beautiful mysterious woman. I started out thinking: I want my hero to go to bed with her. And then I thought: hold on, isn’t the reader going to be asking: ‘What if she is … bad?’” A small but crucial tweak: one letter – from bed to bad.

“So!” you might well conclude, “isn’t this bloke like one of those con men who offer to show you how to make a fortune (for a modest outlay) and you think: ‘Well, why don’t you do it then?’” Fair comment. Which is why I am starting a novel right now about an upstart fan who tricks his way into a successful writer’s apartment and steals all his best ideas. I don’t know why, it just came to me in a flash of inspiration. Maybe that, in a word, is the core of all great art: theft.


Andy Martin in conversation with Lee Child is part of the Cambridge Literary Festival on April 14.

Andy Martin, Lecturer, Department of French, University of Cambridge

This article was originally published on The Conversation. Read the original article.

Books beyond seasons

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By Nora Vasconcelos

It’s almost the end of the year and as December approaches, I can’t be happier for all the great books I have had the chance to read in 2016. Some of them were new releases, some others were published some time ago; some were famous, some others, wonderful little gems which I’ve luckily come across.

There’s not really a particular order I’ve chosen to present them, it’s merely as they come to my mind. My biggest wish is that these books will bring to you as many delightful hours as they brought to me:

The Little Paris Bookshop by Nina George. The magic of this book comes from combining a wonderful location with a very sweet love story and the fantastic presence of books all along the story as the ones that shape the life of all the main characters. If you like France, either because you’ve been there, or because you have the idea of this idyllic country, this is a perfect book for you as wonderful tender descriptions of Paris and the little towns along the main French rivers are presented here. The story will capture your mind from the first chapter when it takes the main characters to an unexpected but charming journey in which not only they will open up to share their deepest fears and dreams but also it will take you along for an introspective trip in which one main question hangs in the air: “what would I do if I found out decades later that I’ve been all wrong about love?”.

The Night Train to Lisbon by Pascal Mercier: I’ve got to read this book thanks to the kind recommendation of my good friend Andrew Hill. The story begins with an unexpected event that makes the main character decide to change his complete life at the age of 57. An inexplicable meeting and a unique book make him drop everything and go to the station to catch the night train to Lisbon. From there, his life will become something very different. Apart from falling in love with Lisbon, I found in this book some of the most wonderful quotes ever about life, books and traveling. This is my favorite one: “We leave something of ourselves behind when we leave a place, we stay there, even though we go away. And there are things in us that we can find again only by going back there.”

A Strangeness in my Mind by Orhan Pamuk: Placed in Turkey, this book tells the story of a street vendor who sells a couple of traditional homemade products. The magic of this novel resides in how the story presents at the same time the changes that this country faces for many decades while the vendor grows up, from a little boy to an old man. Pamuk’s masterful way of writing offers the reader a majestic read in the simplest way, developing an easy-to-read novel based on a very complex topic.

The Phantom Ship by Frederick Marryat: Publish in 1839, this book can be read and enjoyed at any time as it takes the reader’s imagination to a fantastic journey in which the main character goes from ship to ship in order to break an old curse that affects him and his family. Even when some words have the feeling of old English, the skill of the author delivers a fast-paced, easy-to-read story that will absorb you from the beginning to the end. For ship lovers and people who love traveling to exotic lands and adventures, this is a perfect read.

The only street in Paris by Elaine Sciolino: This is not a work of fiction. It’s the result of an amazing work of investigative journalism combined with the delightful narrative of a New York Times correspondent who fell in love with the rhythm and lifestyle of a particular street in Paris, and out of her immense curiosity and skill as a journalist presents a series of interviews with the owners of the stores located along this street in the form of a delightful memoir/travelogue that makes the reader wish, chapter after chapter, to take the first plane to France and go straight from the airport to the Rue des Martyrs.

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Short stories, complete new worlds packed into tiny containers

Recently EbookFriendly published this wonderful infographic as a reminder that “short stories may turn out to be the most effective tool of a revival of reading.” And gave six reasons to start reading a short story right now:

Benefits of reading short stories (infographic) | Ebook Friendly

Via Ebook Friendly

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