The article mainly presents digital literature achievements by diverse learners and creative digital writing workshops tat can be made from elementary school to university. All examples are illustrated with video captures of readings available online. The article begins by positioning itself on the question of how to define digital literature. It approaches this question from the point of view of the field, which considers digital literature to be the set of productions debated and published in the field of digital literature. In this sense, within the field "the" digital literature exists only as a subject, coexisting in fact "digital literatures" objects of scientific and cultural controversies while the field presents itself for the outside as a homogeneous whole promoting "the" digital literature, presented here as an identified cultural component. This term, taken in the singular, is thus in fact a performative label that allows the field to assert itself and grow in the cultural space. The field approach allows us to sketch a history of digital literature as a history of the construction and cultural emancipation of the field of digital literature according to two different perspectives, each of which given prominence to one of the two terms: "digital" and "literature". These two perspectives are complementary, they must be considered both in an approach by the complexity. By considering that the field of digital literature is fundamentally digital, one makes go back up the first productions to the very beginning of computing science. Whereas the awareness of the literary stakes and the intuition of a new literariness intervene only in the 1980s. The relation between these two approaches lets appear a perspective of "computer-assisted literature" which takes birth in the 1970s and remains still today majority in the productions. After this cultural perspective, the article looks at some basic forms from a more didactic approach. It first presents the main characteristics of text animation, which are syntactic tension and linguistic morphing. It then focuses on some characteristics of interactive fictions: the role of the fragment in a non-linear narrative, the interactive exploration of an event, the failure of a book reading by cognitive overload. All these characteristics are simply illustrated by comments on authors' and students' productions and the software used is mentioned and commented. An aside is made on text generation and artificial intelligence but the developments in generation are either too computational or in a state of research & development and do not seem to be adapted yet to a pedagogical use for a non computer scientist public. The article ends with examples of pedagogical projects that I have organized and led in various frameworks. The first example presented is the realization of a CDROM of animated and multimedia poetry in 2001 with a class of CM2. It is followed by the presentation of two transnational semester-long workshops for the Paris8 master's degree, one relating to the augmented book in partnership with the Complutense University of Madrid, the other relating to the contemporary generation of text in partnership with the Rochester Institute of Technology. The last example relates to short workshops (from 4 to 6 hours) carried out in particular in Accra and Sarajevo. All these experiences show that it is perfectly possible to create pedagogical projects including the realization of digital productions of all types, at any level and for very diverse audiences. Today, software tools are simple and powerful enough for the technical dimension to disappear in favor of a reflection on writing and language. It is no longer necessary to know how to program to implement the screen characteristics of programmed digital literatures.