Anna BartlettAI in EducationStoryBridge

FOLDER 07 · OPENED

Written for a Real Reader

Why we designed an educational AI platform by deciding what the technology should never be allowed to do.

ROLE Designer · ResearcherTIMELINE ARTG 5000 · AI for EducationTEAM Jahnavi · Anna · Rachel · Cesar
StoryBridge — cover

01 · THE GAP

What the software can’t see.

There is a gap between what educational platforms measure and what actually shapes a student’s outcome. Platforms are built to measure clicks, completion rates, and time-on-task. But the real work of education — building trust, noticing invisible struggles, modeling care — is relational. It is almost entirely invisible to the software.

When my team and I began StoryBridge, we were looking at two groups of students whose needs are usually treated as separate product categories. Younger readers need stories that feel relevant and accessible. High school students need a real audience and a reason to write beyond a classroom grade.

When you look closely at public school districting, you realize that what brings these two groups together is community. High schoolers know what it is like to be an elementary schooler much more recently than their parents do. They are natural mentors. A younger student wants to read about a varsity soccer player from their own town, or a story that references the iconic ice cream shop down the street.

The design opportunity was not to build another content-delivery app. The opportunity was to design a governed relationship — a platform where any high schooler could write a story that could be shared with an elementary schooler, a mentorship exchange that just required some creative writing to make a difference.

THE DISCONNECT · TWO PROBLEMS

Two problems that solve each other.

Younger students read more when a story feels personal. Older students write better when somebody is actually going to read it. Each shortage is the other one’s supply.

Grades K-8

K-8 Readers

THEY NEED

  • stories that feel relatable
  • the right reading level
  • a reason to keep reading
EACH IS THE OTHER’S ANSWER

Grades 9-12

HS Writers

THEY NEED

  • a real audience
  • purpose, not a grade
  • ownership of their voice

Ideation · The readings

We didn’t wireframe our way in. We read our way in.

Every decision traces back to an ARTG 5000 reading. The theory was the ideation stage.

Reading 01 · Ivan Illich

Deschooling Society

Learning should happen through use and relationships, not institutional permission. Schools monopolise knowledge; real learning is a web linking people to resources and to each other.

Became →

StoryBridge is that web. A high-schooler and a K-8 reader connect directly. Kids learn by reading real stories, teens learn by writing for a real reader rather than for a grade.

The test: is our AI a car, a black box, or a mechanical donkey, a tool you understand? We chose the donkey.

Reading 02 · Nabeel Gillani

Education as a social system

Children's outcomes are shaped by networks — families, neighbourhoods, relationships — far more than by content delivery. Design AI for connection, not for optimising content.

Became →

So we optimised for one cross-age connection instead of test scores. The AI sits in the middle of the loop; the people stay on both ends.

What should AI in education optimise for: content delivery, or connection-building?

Reading 03 · Chetty et al.

Neighbourhoods and mobility

Networks that cut across class and background drive mobility more than school quality does. Exposure shapes what a child believes is possible, and you cannot do what you cannot imagine.

Became →

Exposure by design: a young reader meets a real older writer, and sees people like them authoring stories worth reading, across ages and backgrounds.

Can AI disrupt unequal network formation instead of mirroring it?

The critique that set the rule

Learning analytics cannot see the whole child, and when AI summarises it always leaves something out. So the AI adapts the reading level. It never rewrites the story.

“You rarely see who your students become. You teach them anyway, so they have the best chance. We built the AI to protect that relationship, never replace it.”

Design principle · from a note about my mom, an educator

02 · THE PREMISE

Connection over content.

Early in the project, our course readings from Designing AI for Education forced us to clarify our premise. The research consistently showed that education is deeply social, not merely cognitive. An AI system can optimize a match on paper, but it cannot guarantee that someone will show up, care whether a student learns, or notice when they are frustrated.

That insight shifted the entire project. We stopped asking, “How might AI make stories easier to read?” and started asking, “How might a system create a meaningful exchange between people while preserving the roles that make the exchange educational?”

Connecting the two groups created value on both sides. From that point forward, content was simply what moved through the system. Connection was the reason the system existed.
The StoryBridge loop
PeopleAI · the bridge

What makes it work

AI carries the story across. The people stay on both ends.

Every step is either a person or the AI, and never the AI on its own. Open one to see which.

Illich called this a learning web: people linked to people. The AI is the connective tissue, never the teacher.

03 · THE RULE

AI may adapt a copy. It does not become the author.

The hardest part of designing a system with AI is not finding tasks for the model to perform. It is defining the boundaries of what the model should never be allowed to do.

As we figured out how AI would fit into this exchange, we established our strongest product constraint:

AI may adapt a copy. It does not become the author.

We knew that if AI changed the reading level so much that the original voice was lost, it would defeat the purpose of the platform: human authors for human readers.

We defined exactly what adaptation should mean. AI would only adjust vocabulary to simpler words; it would not rewrite sentences or change sentence length. Furthermore, the author’s original story would always remain available beside the adapted copy. Keeping the original available preserves authorship, gives the reader transparency, and makes the adapted copy an optional support layer rather than a replacement.

If we removed that constraint, StoryBridge could collapse into a generic AI reading platform where the system generates or rewrites the content. The high-school author would become a prompt source rather than a person with a voice.

THE RULE · IN THE INTERFACE

Where the promise is actually kept.

A rule only counts if the product enforces it. The author keeps the original and previews what each band reads. The queue marks the machine’s judgement as a label and leaves the decision to a person. Both screens say so on the screen, to the person it affects.

Storybridge

Welcome back, Anna

7
Published
136
Reads
2
Drafts
PUBLISHEDAGE SCORE 30/100

The Youngest Teacher

See how readers experience it

Previewing 3rd–4th. Your original text is never changed. This is only what readers see.

The author keeps the original and previews what each band reads.

THE RULE · AND WHAT THE READER GETS

The same control, from the other end.

The author previews the levels. The reader chooses one, on the story itself, next to read-aloud and a K–2 mode. The dropdown says Original, because that is the default and the adaptation is the thing you opt into.

The StoryBridge reader view of a story called The Rematch, with a reading tools bar carrying read aloud, K to 2 mode, reading support and a reading level dropdown set to Original, above the story's title, byline, tags and opening paragraphs
Reader · story view with the level selector and reading tools

04 · THE ROLES

Designing the roles.

As a product designer, my job is to find out what is true, then make it legible. On StoryBridge, I led the design process, translating our collaborative foundational research into the interface. I specifically shaped the author dashboard and the reader discovery pages, while the admin side and our stakeholder interviews were highly collaborative.

For the high-school authors, I designed an editorial workspace rather than a gamified dashboard. The goal was to make authors feel that their writing had value, not to turn writing into a streak or points system. The dashboard treats drafts, publication status, and readers matched as meaningful signals. It gives the author a calm, professional environment and keeps the story at the center.

For the younger readers, the experience uses book-like discovery and large visual story cards. I wanted to give students autonomy during Choice Reading time. The book-like structure makes the experience feel closer to choosing a story than navigating a school dashboard, and it creates room for culturally specific illustration rather than generic platform imagery.

THE ROLES · BUILT, NOT PICTURED

Three roles. Switch between them.

An author writes outward, a reader browses inward, and an administrator needs neither shape but a queue. Use the nav to move between them. This is markup rather than a screenshot, so it stays sharp at any width, reflows on a phone, and can be read aloud.

StorybridgeANNA B.

Welcome back, Anna

MONDAY, JULY 28

7
Published stories
+2 THIS MONTH
136
Total reads
ACROSS ALL YOUR STORIES
2
Active drafts
STARTED THIS WEEK

YOUR STORIES

  • PUBLISHED

    The Youngest Teacher

    APR 23, 2026 · 41 READS

    EDIT
  • PUBLISHED

    The Rematch

    APR 12, 2026 · 33 READS

    EDIT

SEE HOW READERS EXPERIENCE IT

Previewing 3rd–4th. Your original text is never changed. This is only what readers see.

Writes outward. Their own work, and one control that matters more than the rest.

THE ROLES · MID-FIDELITY TO BUILT

Two directions, three doors.

An author writes outward and a reader browses inward, so the two sides could not share a layout. An administrator needed a third thing again: a queue, not a feed. Each role runs from its mid-fidelity pass to the screens as they ended up, and the reader has the furthest to travel: a feed, a library, and a search that filters by reading level as readily as by theme.

Mid-fidelity wireframe of the StoryBridge author pageThe built StoryBridge author dashboard showing published stories, reads and drafts
01 / 02Mid-fidelityview post ↗

WALKTHROUGH · THE WORKING PROTOTYPE

Five minutes inside StoryBridge.

The roles above, in motion — an author drafting a story, a reader browsing the cards, and the adapted copy sitting beside the original rather than replacing it.

StoryBridge: AI Matched Stories for Students · 4:58 · watch on Loom ↗

05 · THE HANDOFF

Trust lives in the handoff.

StoryBridge relies on three roles: the older student writes, the younger student reads, and the teacher protects the exchange.

People must have the final say before a story is published to a younger audience. Words have a lot of meaning, and human eyes need to monitor language use and be aware of potential content sensitivity.

While AI acts as a middleman — organizing, categorizing for search, and flagging potential issues — it cannot fully understand the classroom context or the student’s intent. A teacher needs to see the original story, understand why something was flagged, and retain the ability to approve, request changes, reject, or override the recommendation. Trust lives in that handoff.

THE SYSTEM · WHAT GOT HANDED OVER

Eight components, three roles.

A handoff is only trustworthy if the pieces are small enough to be re-used and named clearly enough to be asked for. Every screen in this project is built from the set below. It is running here, in its own palette, rather than pictured.

Badge

What state a story is in.

PublishedDraftAI: Flagged

Button

One action per screen leads.

Read Story →Clear all

Nav tab

Which of the three roles you are in.

ReaderAdmin

Tag

Theme and reading level, never ranked.

FamilyMemoryGrade 5–6

Stat card

One number, one word under it.

7
Published
136
Reads

Browse card

A cover, then who wrote it and where from.

Grandma's Soup

Food · Korea

Diwali Lights

Celebration · India

Story card

A result. Level first, then the first line.

My Grandmother’s Hands

Grade 5–6

by Amara N. · 14 readers

She kneaded the dough like she was kneading time itself.

FamilyLove

App header

The same on all three sides.

StorybridgeAlex R.

06 · WHAT WE PROVED

What we proved, and what we didn’t.

We tested our concepts through directional conversations with 11th-grade students and education professionals. The feedback supported our relational premise: real student authorship felt purposeful, and participants saw the value in connecting older writers with younger readers.

But responsible design means knowing where the evidence ends. We did not test the prototype with K-8 readers, so the primary reader experience and educational outcomes remain unvalidated. We cannot claim that the platform improves comprehension or engagement. A future classroom pilot would need to test whether younger readers understand the difference between the original and an adapted copy, and how teachers manage the moderation workload in practice.

StoryBridge is not compelling because it uses AI. It is compelling because we decided what AI should not do. We kept a human author at the beginning, a younger reader at the end, and a teacher at the decision point.

The most responsible role for AI in education may be to strengthen a human relationship without ever trying to become the relationship.

CASE STUDY NOTES

Built from the team's ARTG 5000 (Designing AI for Education) final project — Jahnavi, Anna, Rachel & Cesar — plus a working prototype. It's a research-driven project: the ideation was the reading, not wireframing. The through-line — AI adapts the reading level, it never rewrites the author's story.