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As part of their own intellectual retooling in the era of the media collage, teachers can begin by experimenting with a wide range of new media to determine how they best serve their own and their students' educational interests. A simple video can demonstrate a science process; a blog can generate an organic, integrated discussion about a piece of literature; new media in the form of games, documentaries, and digital stories can inform the study of complex social issues; and so on. Thus, a corollary to this guideline is simply, "Experiment fearlessly." Although experts may claim to understand the pedagogical implications of media, the reality is that media are evolving so quickly that teachers should trust their instincts as they explore what works. We are all learning together.

Both essay writing and blog writing are important, and for that reason, they should support rather than conflict with each other. Essays, such as the one you are reading right now, are suited for detailed argument development, whereas blog writing helps with prioritization, brevity, and clarity. The underlying shift here is one of audience: Only a small portion of readers read essays, whereas a large portion of the public reads Web material. Thus, the pressure is on for students to think and write clearly and precisely if they are to be effective contributors to the collective narrative of the Web.

The demands of digital literacy make clear that both research reports and stories represent important approaches to thinking and communicating; students need to be able to understand and use both forms. One of the more exciting pedagogical frontiers that awaits us is learning how to combine the two, blending the critical thinking of the former with the engagement of the latter. The report–story continuum is rich with opportunity to blend research and storytelling in interesting, effective ways within the domain of new media.

The new media collage depends on a combination of individual and collective thinking and creative endeavor. It requires all of us to express ourselves clearly as individuals, while merging our expression into the domain of public narrative. This can include everything from expecting students to craft a collaborative media collage project in language arts classes to requiring them to contribute to international wikis and collective research projects about global warming with colleagues they have never seen. What is key here is that these are now "normal" kinds of expression that carry over into the world of work and creative personal expression beyond school.

Students need to be media literate to understand how media technique influences perception and thinking. They also need to understand larger social issues that are inextricably linked to digital citizenship, such as security, environmental degradation, digital equity, and living in a multicultural, networked world. We want our students to use technology not only effectively and creatively, but also wisely, to be concerned with not just how to use digital tools, but also when to use them and why.

Fluency is the ability to practice literacy at the advanced levels required for sophisticated communication within social and workplace environments. Digital fluency facilitates the language of leadership and innovation that enables us to translate our ideas into compelling professional practice. The fluent will lead, the literate will follow, and the rest will get left behind.

Digital fluency is much more of a perspective than a technical skill set. Teachers who are truly digitally fluent will blend creativity and innovation into lesson plans, assignments, and projects and understand the role that digital tools can play in creating academic expectations that are authentically connected, both locally and globally, to their students' lives.

Focus on expression first and technology second—and everything will fall into place.

Historically, new media first appear to the vast majority of us in read-only form because they are controlled by a relatively few technicians, developers, and distributors who can understand or afford them. The rest of us only evolve into writers once the new media tools become easy to use, affordable, and widely available, whether these tools are cheap pencils and paper or inexpensive digital tools and shareware.

Thus, a new dimension of literacy is now in play—namely, the ability to adapt to new media forms and fit them into the overall media collage quickly and effectively.

n the mid 1960s, Marshall McLuhan explained that conventional literacy caused us to trade an ear for an eye, and in so doing, trade the social context of the oral tradition for the private point of view of reading and writing. To him, television was the first step in our "retribalization," providing a common social experience that could serve as the basis for dialogue in the global village.2  However, television told someone else's story, not ours. It was not until Web 2.0 that we had the tools to come full circle and produce and consume social narrative in equal measure. Much of the emerging nature of literacy is a result of inexpensive, widely available, flexible Web 2.0 tools that enable anyone, regardless of technical skill, to play some part in reinventing literacy.

What is new is that the tools of literacy, as well as their effects, are now a topic of literacy itself.

Students need to be media literate to understand how media technique influences perception and thinking. They also need to understand larger social issues that are inextricably linked to digital citizenship, such as security, environmental degradation, digital equity, and living in a multicultural, networked world. We want our students to use technology not only effectively and creatively, but also wisely, to be concerned with not just how to use digital tools, but also when to use them and why.

The fluent will lead, the literate will follow, and the rest will get left behind.

They need to be the guide on the side rather than the technician magician.