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Digi texts are written for and read from a computer, can be web- or app-based (for tablets and smartphones) or accessed via CD-ROMs, and would lose something of their structural form and aesthetic impact if they were removed from the digital medium, as they are “born digital” and not just e-books (Bell et al. 2014, Blake 2013, Dudeney et al. 2013, Hammond 2016, Jonneg 2017, Koskimaa 2016, Rustad 2014). Interactive Fiction contains hyperlinks, moving images, sound effects, mini-games and further gadgets, so the reader constructs the narrative him/herself by controlling a character’s journey through the narrative, changing the way the story unfolds at every major turn, unlocking what-if-storylines through embedded links, interacting with the author through a voting platform, re-reading key scenes from the perspective of different characters. So the 21st century readers no longer are the passive consumers, but the active producers (prosumers), which is in line with the concept of Web 2.0 or even Web 3.0. A creative outlet for writerly and technological types among them is Kinetic Poetry, which synthesizes moving multimedia art with poetic traditions by employing tools like Java, Flash or other animation programs to transform ideas into motion.

Examples: Inanimate Alice by Kate Pullinger/Chris Joseph (https://inanimatealice.com, digital story including text as well as visual elements, sound and even short games, presenting different episodes with Alice, who lives in various parts of the world), Flight Paths by Kate Pullinger/Chris Joseph (http://flightpaths.net, immigration story about young Pakistani airplane stowaway Yacub encountering London resident Harriet, written with contributions from readers, including sound effects, photography, video, music, graphics and written text)