Creative
SHS
Writing
Quarter 1
Republic Act 8293, section 176 states that: No copyright shall
subsist in any work of the Government of the Philippines. However,
prior approval of the government agency or office wherein the work is
created shall be necessary for exploitation of such work for profit.
Such agency or office may, among other things, impose as a condition
the payment of royalties.
Borrowed materials (i.e., songs, stories, poems, pictures, photos,
brand names, trademarks, etc.) included in this book are owned by
their respective copyright holders. Every effort has been exerted to
locate and seek permission to use these materials from their
respective copyright owners. The publisher and authors do not
represent
nor
claim
ownership over them.
This module was carefully examined and revised in accordance with
the standards prescribed by the DepEd Region 4A and Curriculum and
Learning
Management Division CALABARZON . All parts and sections of the module are
assured not to have violated any rules stated in the Intellectual Property
Rights for learning standards.
Creative
Writing
Regional Office Management and Development Team: Job S. Zape, Jr.,
EPS in-Charge, Jhonathan S. Cadavido, Romyr L. Lazo, Fe M. Ong-Ongowan,
Lhovie A. Cauilan,
Schools Division Office Management Team:
Van Russel A. Robles, Paul Ian
Louie D. Robles
Creative Writing
Quarter 1
PIVOT IV-A Learner’s Material
First Edition, 2020
Published by: Department of Education Region IV-A CALABARZON
Regional Director: Wilfredo E. Cabral
Assistant Regional Director: Ruth L. Fuentes
Guide in Using PIVOT Learner’s Material
For the Parents/Guardian
This module aims to assist you, dear parents, guardians, or
siblings of the learners, to understand how materials and activities
are used in the new normal. It is designed to provide the
information,
activities, and new learning that learners need to
work on.
Activities presented in this module are based on the Most
Essential Learning Competencies (MELCs) for Creative Writing as
prescribed by the Department of Education.
Further, this learning resource hopes to engage the learners
in guided and independent learning activities at their own pace and
time. Furthermore, this also aims to help learners acquire the
needed 21st century skills while taking into consideration their
needs and circumstances.
You are expected to assist the child in the tasks and ensure
the learner’s mastery of the subject matter. Be reminded that
learners have to answer all the activities in their own
For the Learners
The module is designed to suit your needs and interests using
the IDEA instructional process. This will help you attain the
prescribed grade-level knowledge, skills, attitude, and values at
your own pace outside the normal classroom setting.
The module is composed of different types of activities that
are arranged according to graduated levels of difficulty—from
For expected
the Learners
simple to complex. You are
to answer all activities on
separate sheets of paper and submit the outputs to your
The module
is designed
to and
suit date
your agreed
needs and
interests using
respective
teachers
on the time
upon.
the IDEA instructional process. This will help you attain the
prescribed grade-level knowledge, skills, attitude, and values at
your own pace outside the normal classroom setting.
The module is composed of different types of activities that
are arranged according to graduated levels of difficulty—from
simple to complex. You are expected to answer all activities on
separate sheets of paper and submit the outputs to your
respective teachers on the time and date agreed upon.
Creative Writing
Imagery, Diction, Figures of
Speech, and specific experiences
to evoke meaningful responses
Creative Writing – Specialized Subject
Alternative Delivery Mode
Quarter 1 – Lesson 1: Imagery, Diction, Figures of Speech, and specific experiences to evoke meaningful responses
First Edition, 2020
Introductory Message
For the Facilitator:
Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.
This module was collaboratively designed, developed and reviewed by educators both from public and private institutions to assist you, the teacher or
facilitator in helping the learners meet the standards set by the K to 12 Curriculum while overcoming their personal, social, and economic constraints in
schooling.
This learning resource hopes to engage the learners into guided and independent learning activities at their own pace and time. Furthermore, this also
aims to help learners acquire the needed 21st century skills while taking into consideration their needs and circumstances.
As a facilitator you are expected to orient the learners on how to use this module. You also need to keep track of the learners' progress while allowing
them to manage their own learning. Furthermore, you are expected to encourage and assist the learners as they do the tasks included in the module.
For the Learner:
Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.
The hand is one of the most symbolized part of the human body. It is often used to depict skill, action and purpose. Through our hands we may learn,
create, and accomplish. Hence, the hand in this learning resource signifies that you as a learner is capable and empowered to successfully achieve the
relevant competencies and skills at your own pace and time. Your academic success lies in your own hands!
This module was designed to provide you with fun and meaningful opportunities for guided and independent learning at your own pace and time. You will
be enabled to process the contents of the learning resource while being an active learner.
This module has the following parts and corresponding icons:
What I Need to Know
What I Know
What’s In
What’s New
What is It
What’s More
What I Have Learned
What I Can Do
This will give you an idea of the skills or competencies you are expected to learn in the module.
This part includes an activity that aims to check what you already know about the lesson to take.
If you get all the answers correct (100%), you may decide to skip this module.
This is a brief drill or review to help you link the current lesson with the previous one.
In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a situation.
This section provides a brief discussion of the lesson. This aims to help you discover and
understand new concepts and skills.
This comprises activities for independent practice to solidify your understanding and skills of the
topic. You may check the answers to the exercises using the Answer Key at the end of the
module.
This includes questions or blank sentence/paragraph to be filled in to process what you learned
from the lesson.
This section provides an activity which will help you transfer your new knowledge or skill into real
life situations or concerns.
What I Need to Know
Week
1
This lesson was designed and written with you in mind. It is here to help you
master the Imagery, Diction, Figures of Speech, and specific experiences to evoke
meaningful responses. The scope of this module permits it to be used in many
different learning situations.
In this lesson, you will be learning the essential components such as its
characteristics, sensory experiences, and languages such as imagery and figures of
speech. I will also show sample works of well-known local and foreign writers.
At the end of this lesson, you will be producing short paragraphs or vignettes
using imagery, diction, figures of speech, and specific experiences.
After going through this lesson, you are expected to:
1. use imagery, diction, figures of speech, and specific experiences to evoke
meaningful responses from readers (HUMSS_CW/MP11/12-Ia-b-4)
2. analyze the imagery, diction, figures of speech, and specific experiences of
the specific literary pieces.
3. write short paragraphs or vignettes using imagery, diction, figures of speech,
and specific experiences.
What I Know
Directions: Read the statements carefully. Identify if the statement is TRUE or FALSE.
Write your answers on your answer sheet.
1. Imaging refers to the “pictures” which we perceive with our mind’s eyes, ears,
nose, tongue, skin, and through which we experience the “duplicate world”
created by poetic language.
2. Diction is the poet’s choice of words. The poet chooses each word carefully so
that both its meaning and sound contribute to the tone and feeling of the
poem.
3. Informal diction is the use of sophisticated language, without slang or
colloquialisms. It sticks to grammatical rules and uses complicated syntax—the
structure of sentences.
4. Sensory imagery is a literary device which writers employ to engage a reader’s
mind on multiple levels. Sensory imagery explores the five human senses:
sight, sound, taste, touch, and smell.
5. Creative writing is any writing that goes outside the bounds of normal
professional, journalistic, academic, or technical forms of literature, typically
identified by an emphasis on narrative craft, character development, and the
use of literary tropes or with various traditions of poetry and poetics.
6. Litotes is figure of speech consisting of an understatement in which an
affirmative is expressed by negating its opposite.
7. Metonymy is a figure of speech in which a part is used to represent the whole.
Example: Tina is learning her ABC's in preschool.
8. Onomatopoeia is the use of words that imitate the sounds associated with the
objects or actions they refer to.
9. Assonance is the identity or similarity in sound between internal vowels in
neighboring words.
10.
Persona is a figure of speech in which an inanimate object or abstraction is
endowed with human qualities or abilities.
What’s In
Learning Task 1: Life and Writing
Directions: Are the objects related to LIFE? Yes, you are correct! And just like
life, CREATIVE WRITING has different components and aspects. Using a Venn
Diagram, compare life to writing. Do this on your answer sheet.
What’s New
Learning Task 2: Creative Search for Words
Directions: Look for the words in the puzzle that can be associated to Creative
Writing. You may also put the meanings of the words that you have found. Write
your found words on your answer sheet.
What is It
your
provide
you to
about
writing
reading
In this part of
journey,
we
something for
deepen your
understanding
creative
essential
elements.
Please
continue
with
comprehension as you discover further knowledge that will help you out in your quest on the
remaining phases of this lesson.
Since our course is Creative Writing, we can deepen our understanding on the literary
elements focusing on fictional genres associating the three genres of literature namely,
Prose, Poetry and Drama.
What is Creative Writing?
Creative writing is any composing that goes beyond ordinary expert, editorial,
scholarly, or specialized types of writing, normally distinguished by an accentuation on
account make, character advancement, and the utilization of abstract tropes or with
different customs of verse and poetics. It is workable for composing, for example, include
stories to be viewed as exploratory writing, despite the fact that they fall under news
coverage, in light of the fact that the substance of highlights is explicitly centered around
account and character improvement.
What Is Sensory Imagery?
Sensory Imagery includes the utilization of elucidating language to make mental
pictures. In abstract terms, it is a sort of symbolism; the thing that matters is that tangible
symbolism works by drawing in a reader's five senses. It is an artistic gadget author utilize
to draw in a reader's brain on numerous levels. This investigates the five human detects:
sight, sound, taste, contact, and smell.
VISUAL IMAGERY engages the sense of sight. Descriptions can be associated to
Visual Imagery. Physical attributes including color, size, shape, lightness and
darkness, shadows, and shade are all part of visual imagery. The text in italics are some
examples of lines using visual imagery.
Her phone signaled, immediately setting her teeth on edge. She looked at the broken
screen, saw his name, and slapped the phone back down on her desk.
Armani stretched across her couch, legs twitching excitedly, and he knew he must be
dreaming of the kittens he tries to capture every morning when he is at the dirty kitchen.
GUSTATORY IMAGERY engages the sense of taste. Flavors are the considerations
in gustatory imagery which includes the five basic taste such as sweet, salty, bitter,
sour, and umami—as well as the textures and sensations tied to the act of eating.
The food tasted good.
The sweet pondant icing melted on my tongue. The word delightful came to mind.
Summer has always tasted like hot chocolate to me. His kisses tasted like
strawberries under the sun.
AUDITORY IMAGERY engages the sense of hearing. Sound devices such as
onomatopoeia and alliteration can help create sounds in writing.
Erick sat alone at the bench nearest the main door so he wouldn't miss Via. The room
was noisy. The clang of heavy dishes glided from the kitchen. Ice tinkled as it settled in
his water glass. His watch read 9:30. She wasn't coming.
OLFACTORY IMAGERY engages the sense of smell. Simile is common in using
olfactory imagery, because it lets writers to compare a particular scent to common
smells like dirt, grass, manure, or roses. The use of scents and stinks are common ways
to use olfactory imagery.
The scent of “latik” when my mother cooks rice cake is really nostalgic to me.
The street going to their house stinks of manure and the courtyard of urine, the
stairwells stank of moldering wood and rat droppings.
TACTILE IMAGERY engages the sense of touch. The feel, textures and many
sensations a human being experiences when touching something are associated in tactile
imagery. Differences in temperature is also a part of tactile imagery.
When we quickly plunge into the cool water, it took our breath away and raised
goose bumps to our arms. We had had been swimming in this pond since we were kids.
In other references, there is a sixth sense which called Kinesthetic imagery
engages the feeling of movement. This can be similar to tactile imagery but deals more
with full-body sensations, such as those experienced during exercise. Rushing water,
flapping wings, and pounding hearts are all examples of kinesthetic imagery.
Questions to Ponder: Among the sensory imagery, which was is easy to use
in writing? Which one is hard for you to use? What could be the barrier in using
sensory imageries well in writing?
What is Diction in Writing?
Diction is the careful selection of words to communicate a message or establish a particular
voice or writing style. For example, flowy, figurative language creates colorful prose, while a
more formal vocabulary with concise and direct language can help drive home a point.
What is the purpose of diction in writing?
Writers pick explicit words and expressions relying upon the result they're attempting
to accomplish. The motivation behind a bit of composing decides its expression. In writing
and fiction composing, authors regularly utilize casual lingual authority and interesting
expressions or words utilized for non-exacting implications, similar to comparisons and
analogies. On the off chance that a researcher is distributing a paper on their exploration, in
any case, the language will be specialized, succinct, and formal, composed for a particular
crowd.
In composing a fiction, the language a creator utilizes bolsters the fundamental story
components, such as setting. Style sets up when and where a story is set by utilizing
language local to that time and spots.
Different Types of Diction in Writing
Different styles of diction impact how different ideas are expressed.
1. Formal diction. Formal diction uses grammatical rules and uses proper syntax or the
formation of sentences. It is considered as a professional choice of words which can be found
in legal documents like business correspondences and academic articles.
2. Informal diction. Informal diction is more conversational and often used in narrative
literature. This casual vernacular is representative of how people communicate in real life,
which gives an author freedom to depict more realistic characters. Most of the short stories
and novels use informal diction to make it easier to understand by anyone especially if the
target audience is anyone.
3. Colloquial diction. These are expressions which are connected to informal. It is
generally representing a particular region or place or era or period. Contractions in American
English such as “ain’t” instead of isn’t is an example of colloquial expressions, the use of
colloquialisms make the writing more realistic.
4. Slang diction. Slang is very informal language or specific words used by a particular
group of people. You'll usually hear slang spoken more often than you'll see it put in writing,
though emails and texts often contain many conversational slang words.
5. Poetic diction. Poetic diction is driven by melodious words that identify with a particular
subject reflected in a sonnet, and make a musical, or agreeable, sound. It generally includes
the utilization of elucidating language, in some cases set to a beat or rhyme.
Questions: In what references or reading materials do you see Formal
Diction? What about the informal, colloquial and slang? What do you think is the
proper diction in creative writing? Will there be an impact to writing?
What is Figure of Speech?
A figure of speech is a rhetorical device that achieves a special effect by using
words in a distinctive way. Though there are hundreds of figures of speech, here
we'll focus on 20 top examples.
You'll probably remember many of these terms from your English classes. Figurative
language is often associated with literature and with poetry in particular. Whether
we're conscious of it or not, we use figures of speech every day in our own writing
and conversations.
Some Figures of Speech
Using original figures of speech in our writing is an approach to pass on implications
in new, surprising ways. They can enable our readers to comprehend and remain
puzzled by what we need to state.
1. Alliteration: The repetition of an initial consonant sound. Example: Betty Botter
bought some butter.
2. Anaphora: The repetition of the same word or phrase at the beginning of
successive clauses or verses. Example: Unexpetedly, we were in the wrong event at
the wrong time on the wrong day.
3. Antithesis: The combination of two different elements to attian equillibrium or
balance. Example: As Abraham Lincoln said, "Folks who have no vices have very few
virtues."
4. Apostrophe: Directly stating or calling a nonexistent person or an inanimate
object as though it were a living being. It commonly uses an apostrophe as a
punctuation. Example: "Oh, rain! Rain! Where are are you? Rain, we really need you
right now. Our town needs you badly.”
5. Assonance: It is the repetition of the vowel sounds in the structure of sentences
or lines. Example: We shall meet on the beach to reach the “Meach” Concert.
6. Chiasmus: A sentence or line structure where the half of the statement is
balanced against the other half. Example: The noble teacher said teachers should
live to teach, not teach to live.
7. Euphemism: The use of subtle and nonoffensive words to conceal or to replace
the offensive words in a statement. Example: "We're teaching our toddler how to go
potty," Bob said. The use of the word potty is euphemism.
8. Hyperbole: An overstatement; the use of exaggerated terms for the purpose of
emphasis or heightened effect. Example: I have a ton of homework to do when I get
home. I need to go home now.
9. Irony: It is a statement or situation where the meaning is contradicted by the
appearance or showing the concept. The use of words to convey the opposite of
their literal meaning is the highlight of irony. Example: Thalia received a very high
grade in her quiz resulting that her mother got mad.
10. Litotes: An understatement in which an affirmative is expressed by opposing
its counterpart. Example: A million pesos is no small chunk of change.
11. Metaphor: An implied comparison between two dissimilar things that have
something in common. Example: "All the world's a stage.” of As You Like It
12. Metonymy: A word or phrase is substituted for another with which it is closely
associated; Linking words that are related to the word to be replaced. Example: The
use of the word vow instead of wedding, the pen stands for "the written word.
13. Onomatopoeia: The use of words that imitate the sounds associated with the
objects or actions they refer to. Example: The clap of thunder went bang and scared
my poor dog.
14. Oxymoron: It is the combination of contradictory or incongruous words such as
cruel kindness; Example: “bitter sweet”
15. Paradox: a statement or proposition that, despite sound (or apparently sound)
reasoning from acceptable premises, leads to a conclusion that seems senseless,
logically unacceptable, or self-contradictory. Example: "This is the beginning of the
end," said Eeyore, always the pessimist.
16. Personification: The utilization of inanimate objects or abstraction to
associate with human qualities or abilities. Example: The leaves of the Fire tree are
dancing with the wind during dry season in our country.
17. Pun: A statement with a double meaning, in some cases on various faculties of
a similar word and here and there on the comparative sense or sound of various
words. Example: I renamed my playlist of The Titanic, so when I plug it in, it says
“The Titanic is syncing.”
18. Simile: The comparison between two fundamentally dissimilar things that have
certain qualities in common using like or as. Example: Michael was white as a sheet
after he walked out of the horror movie.
19. Synecdoche: A figure of speech in which a part is used to represent the whole.
Example: Mark is asking for the hand of our daughter.
20. Understatement: A figure of speech employed by writers or speakers to
intentionally make a situation seem less important than it really is. Example: You
win 10 million pesos in a lottery.
Questions: Which of the following figures of speech are
familiar to you? Which from them is mostly used in literary pieces?
Can you look for some examples?
What’s More
Learning Task 3: Sense it!
Directions: Read the excerpts with understanding. Identify what sensory imagery is
used in each statement. Write your answers on your answer sheet. Identify too
those words used as descriptive in each excerpt. Copy the table and write your
answers on their proper column.
1. On rainy afternoons, embroidering with a group of friends on the begonia porch,
she would lose the thread of the conversation and a tear of nostalgia would salt her
palate when she saw the strips of damp earth and the piles of mud that the
earthworms had pushed up in the garden. Those secret tastes, defeated in the past
by oranges and rhubarb, broke out into an irrepressible urge when she began to
weep. She went back to eating earth. The first time she did it almost out of
curiosity, sure that the bad taste would be the best cure for the temptation. And, in
fact, she could not bear the earth in her mouth. But she persevered, overcome by
the growing anxiety, and little by little she was getting back her ancestral appetite,
the taste of primary minerals, the unbridled satisfaction of what was the original
food. (One Hundred Years of Solitude by Gabriel García Márquez)
Imagery:
______________________
2.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.
(“Stopping by Woods on a Snowy Evening” by Robert Frost)
Imagery: _________________________
3. Outside, even through the shut window-pane, the world looked cold. Down in the
street little eddies of wind were whirling dust and torn paper into spirals, and
though the sun was shining and the sky a harsh blue, there seemed to be no colour
in anything, except the posters that were plastered everywhere. The black
mustachioed face gazed down from every commanding corner. There was one on
the house-front immediately opposite. BIG BROTHER IS WATCHING YOU, the caption
said, while the dark eyes looked deep into Winston’s own. Down at street level
another poster, torn at one corner, flapped fitfully in the wind, alternately covering
and uncovering the single word INGSOC. In the far distance a helicopter skimmed
down between the roofs, hovered for an instant like a bluebottle, and darted away
again with a curving flight. (1984 by George Orwell)
Imagery: _________________________
4.
In the period of which we speak, there reigned in the cities a stench barely
conceivable to us modern men and women. The streets stank of manure, the
courtyards of urine, the stairwells stank of moldering wood and rat droppings, the
kitchens of spoiled cabbage and mutton fat; the unaired parlors stank of stale dust,
the bedrooms of greasy sheets, damp featherbeds, and the pungently sweet aroma
of chamber pots. The stench of sulfur rose from the chimneys, the stench of caustic
lyes from the tanneries, and from the slaughterhouses came the stench of
congealed blood. People stank of sweat and unwashed clothes; from their mouths
came the stench of rotting teeth, from their bellies that of onions, and from their
bodies, if they were no longer very young, came the stench of rancid cheese and
sour milk and tumorous disease. (Perfume: The Story of a Murderer by Patrick
Suskind)
Imagery: _________________________
5.
She ran her hand across the dark, concrete wall. It was cold as ice.
When she came to the middle of the room, she felt a thick, slimy substance
actively oozing down the wall.
Imagery: _________________________
Learning Task 4: Define it!
Directions: Define the following words based on your personal connotation or its
general connotation. Do this on your answer sheet.
1. fire
6. leaf
2. ice
7. mirror
3. rain
8. knife
4. stone
9. microphone
5. rock
10. weed
Learning Task 5: Celebr8!
Directions: Create a paragraph about Fiesta in the Philippines. Choose only one type
of diction in writing. Write your paragraph on your answer sheet.
Learning Task 6: Figure me out!
Directions: Write which technique is being used on the line. There may be more than
one correct answer; you may write more than one answer. Then, explain how you
know your answer on your answer sheet. Slashes represent line breaks.
Example: This falling spray of snow-flakes is / a handful of dead Februaries
What technique is being used?
Personification and Alliteration
Choices: Alliteration, Rhyme, Onomatopoeia, Idiom, Simile, Metaphor, Hyperbole, or
Personification
1. The moon is faithful, although blind
What technique is being used?
Choices: Alliteration, Rhyme, Onomatopoeia, Idiom, Simile, Metaphor, Hyperbole, or
Personification
2. children sleeping softly in their bedroom bunks
What technique is being used?
Choices: Alliteration, Rhyme, Onomatopoeia, Idiom, Simile, Metaphor, Hyperbole, or
Personification
3. They chained themselves to subways for the endless ride from Battery Park to the
Bronx
What technique is being used?
Choices: Alliteration, Rhyme, Onomatopoeia, Idiom, Simile, Metaphor, Hyperbole, or
Personification
4. Time is a green orchard.
What technique is being used?
Choices: Alliteration, Rhyme, Onomatopoeia, Idiom, Simile, Metaphor, Hyperbole, or
Personification
5. At dusk there’s a thin haze like cigarette smoke / ribbons
What technique is being used?
Choices: Alliteration, Rhyme, Onomatopoeia, Idiom, Simile, Metaphor, Hyperbole, or
Personification
What I Have Learned
Learning Task 7: “T-M-L Phrase
Complete the following phrases.
The Topic was about
______________________________________________________________________
It Matters because
______________________________________________________________________
I’ve Learned today that
______________________________________________________________________
What I Can Do
Learning Task 8: Read and Appreciate
Directions: There are millions of literary pieces. Each of them has its unique
characteristics and styles written by the effective and efficient writers. As Plato said
that literature must be Dulce et Utile which means that literature must have
beauty/aesthetics and moral/values to be earned. Here are some of the well-known
local and foreign literary pieces. Let's appreciate them.
1. When I was One-and-Twenty by Alfred Edward Housman
When I was one-and-twenty
I heard a wise man say,
“Give crowns and pounds and guineas
But not your heart away;
Give pearls away and rubies
But keep your fancy free.”
But I was one-and-twenty,
No use to talk to me.
When I was one-and-twenty
I heard him say again,
“The heart out of the bosom
Was never given in vain;
’Tis paid with sighs a plenty
And sold for endless rue.”
And I am two-and-twenty,
And oh, ’tis true, ’tis true.
2. Richard Cory by Edwin Arlington Robinson
Whenever Richard Cory went down town,
We people on the pavement looked at him:
He was a gentleman from sole to crown,
Clean favored, and imperially slim.
And he was always quietly arrayed,
And he was always human when he talked;
But still he fluttered pulses when he said,
'Good-morning,' and he glittered when he walked.
And he was rich - yes, richer than a king And admirably schooled in every grace:
In fine, we thought that he was everything
To make us wish that we were in his place.
So on we worked, and waited for the light,
And went without the meat, and cursed the bread;
And Richard Cory, one calm summer night,
Went home and put a bullet through his head.
3. The Rhodora by Ralph Waldo Emerson
In May, when sea-winds pierced our solitudes,
I found the fresh Rhodora in the woods,
Spreading its leafless blooms in a damp nook,
To please the desert and the sluggish brook.
The purple petals fallen in the pool
Made the black water with their beauty gay;
Here might the red-bird come his plumes to cool,
And court the flower that cheapens his array.
Rhodora! if the sages ask thee why
This charm is wasted on the earth and sky,
Tell them, dear, that, if eyes were made for seeing,
Then beauty is its own excuse for Being;
Why thou wert there, O rival of the rose!
I never thought to ask; I never knew;
But in my simple ignorance suppose
The self-same power that brought me there, brought you.
4. Ito na ang Huling Tula na Isusulat ko Para Sa'yo
by Juan Miguel Severo see the youtube video on
https://www.youtube.com/watch?v=tejS6M3NAdg
5. KPL: Kung Pwede Lang Thesis Rants
by Vincentiments see the youtube video on
https://www.youtube.com/watch?v=nlGxyIRXOhI
Learning Task 9: Critique Time!
Directions: Using the template below, write your comments and observations on the
elements used in each literary piece presented in the previous page. Write your
answers on your answer sheet.
Literary
Pieces
Text 1
Text 2
Text 3
Text 4
Text 5
Assessment
Sensory
Experiences
Imageries
Diction
Figures of
Speech
Writing Time! Directions: Now that you have learned about the essential lessons
on introduction to Creative Writing, you can now write your first ever output as your
final output in this module. Produce short paragraphs or vignettes using the learned
lessons on Imagery, Diction, Figures of speech using YOUR OWN specific
experiences while you are taking this module. Ask your teacher regarding the mode
of submission of your output
Vignette - a short descriptive literary sketch; a brief incident or
scene
Creative Writing
Various elements, techniques,
and literary devices in specific
forms of poetry
Creative Writing – Specialized Subject
Alternative Delivery Mode
Quarter 1 – Lesson 2: Various elements, techniques, and literary devices in specific forms of poetry
First Edition, 2020
Introductory Message
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What I Need to Know
What I Know
What’s In
What’s New
What is It
What’s More
What I Have Learned
What I Can Do
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In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a situation.
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from the lesson.
This section provides an activity which will help you transfer your new knowledge or skill into real
life situations or concerns.
What I Need to Know
This lesson was designed and written with you in mind. It is here to help you master
the various elements, techniques, and literary devices in specific forms of poetry.
The scope of this module permits it to be used in many different learning situations.
Week
2
In this module, you will be learning the essential elements, techniques and literary
devices in specific forms of poetry. I will also show sample works of well-known local
and foreign writers.
At the end of this lesson, you will be seeking for some literary pieces and identify
the elements, techniques and literary devices used.
After going through this lesson, you are expected to:
1. identify the various elements, techniques, and literary devices in specific
forms of poetry (HUMSS_CW/MP11/12c-f6)
2. appreciate some literary pieces which used various identify the various
elements, techniques, and literary devices.
What I Know
Directions: Read the statements carefully. Identify what is being defined in each number.
Choose the letter of the correct answer and write your answers on your answer sheet.
This is just a pretest. Your score in this part won’t be graded.
1. A third person point of view where the narrator knows about one character only
including his/her actions, thoughts and feelings is called __.
a. limited omniscient
b. omniscient c. objective
d. innocent
eyes
2. A character, an action, a setting, or an object representing something else can
be a symbol. Most often, the symbol in a story is an object that represents its
owner’s character or situation, or both is called __.
a. theme
b. moral
c. irony
d. symbolism
3. The repetition of elements with significant importance in the story which helps
the story on producing other narrative (or literary) aspects such as theme or
mood.
a. mood
b. irony
c. motif
d. moral
4. A literary or linguistic technique that produces a specific effect, esp. a figure of
speech, narrative style, or plot mechanism is __.
a. Literary device b. Figure of speech c. element
d. diction
5. Repeating a single word, line, or group of lines
a. Imagery
b. Repetition
c. Meter
d. Form
6. It is the meaning of the poem, the main idea that the poet is trying to
communicate.
a. theme
b. moral
c. context
d. tone
7. The feeling that the poet creates and that the reader senses through the
poet’s choice of words, rhythm, rhyme, style and structure is called __.
a. theme
b. moral
c. context
d. tone
8. It is the systematic regularity in rhythm; this systematic rhythm (or sound
pattern) is usually identified by examining the type of "foot" and the
number of feet.
a. meter
b. rhythm
c. POV
d. tone
9. It is the repetition of entire lines or phrases to emphasize key thematic
ideas.
a. refrain
b. rhyme
c. tone
d. theme
10.It is a poetic foot that has a pattern of weak syllable followed by strong
syllable with five pairs.
a. iamb
b. dactyl
c. anapest
d. trochee
What’s In
Learning Task 1: Arrange to Know
Directions: Arrange the jumbled letter to identify the words that are relevant
to our topic. Definitions will help you to determine the hidden words. Write your
answers on your answer sheet.
TSEEUQCNHI
a way of carrying out a task, especially the execution or
performance of an artistic work or a scientific procedure.
YTOPER
A literary work in which special intensity is given to the
expression of feelings and ideas using distinctive style and
rhythm
MOFR
The physical structure and system of a poem
NMLEEET
A part or aspect of something abstract, especially one that
is essential or characteristic
AOTDRTAIINL
A synonym of conventional
What’s New
Learning Task 2: Use me to create
Directions: Using the formed words from the previous learning task, create two
sentences that will present your idea about the topic. Also, write your questions that
will be answered after taking the lesson. Do this on your paper.
Your sentences
Your Questions
What is It
In this part of your journey, we provide something for you to deepen
your understanding about poetry and its elements, literary devices and
techniques.
Please continue reading with comprehension as you discover further
knowledge that will help you out in your quest on the remaining phases of
this lesson.
What is Poetry?
Poetry is a form of literature which allows the writers who called to be
“poets” to express their thoughts, feelings, emotions, ideas about a particular
theme or topic.
When reading a poem, it is common that we get confuse between poet
and persona. Remember that poet is the author of the poem or literary piece
while persona is the SPEAKER or narrator of the poem.
Poetry is recognizable by its greater dependence on at least one more
parameter, the line, than appears in prose composition.
It will be easy for us to identify if the literary piece is under poetry.
Poetry is cast in lines. It uses forms and elements and does not use ordinary
syntax. We do not use ordinary sentence formation since there are elements
and techniques used by the poets.
Basically, poetry has significant elements that can be used by the
poets to strengthen their techniques and sustain it for recognition of poetic
styles. Elements will help the poets to address the message of the literary
pieces to the audience or readers.
Here are some of the elements of poetry as categorized into six subelements namely, structure, sound, imagery, figurative language, fictional
elements, and poetic forms.
Theme is the lesson about life or statement about human nature that the poem
expresses.
– Though related to the concept of a moral, or lesson, themes are usually
more complicated and ambiguous.
– To describe the theme of a poem is to discuss the overarching abstract
idea or ideas being examined in the poem.
– A major theme is an idea that a writer repeats in his work, making it the
most significant idea in a literary work.
– A minor theme, on the other hand, refers to an idea that appears in a work
briefly and gives way to another minor theme.
Presentation of Themes
– the feelings of the main character about the subject written about
– through the thoughts and conversations of different characters
– the experiences of the main character in the course of a literary work
– the actions and events taking place in a narrative
Functions of Themes
– binds together various other essential elements of a poem
– is a truth that exhibits universality and stands true for people of all cultures
– gives readers better understanding of the main character’s conflicts,
experiences, discoveries, and emotions
– gives readers an insight into how the world works or human life can be
viewed
Theme Vs Subject
– A poem’s subject is the topic of the poem, or what the poem is about
– The theme is an idea that the poem expresses about the subject or uses
the subject to explore
Example:
–
–
So, for example, in the Edgar Allan Poe poem “The Raven”, the subject is
the raven, who continually repeats a single word in response to the
speaker’s questions.
The theme of the poem, however, is the irreversibility of death—the
speaker asks the raven, in a variety of ways, whether or not he will see his
dead beloved again, to which the raven always replies “nevermore.”
Tone
–
–
In fact, it suggests two attitudes: one concerning the people you’re
addressing (your audience) and the other concerning the thing you’re talking
about (your subject).
That’s what the term tone means when it’s applied to poetry as well.
Tone can also mean the general emotional weather of the poem.
the attitude expressed in a poem that a reader sees and feels
the writer’s attitude toward the subject or audience
A. STRUCTURE
Form is the appearance of the words on the page of the reference. It may be
different nowadays since layout artist may simply adjust and create the desired
form of poem.
Poetic Line or Line is a group of words that form a single line of poetry.
Example: “„Twas the night before Christmas, when all through the house” is the
well-known first poetic line of “A Visit from Saint Nicholas” by Clement Clarke Moore.
Kinds of Metrical
monometer
dimeter
trimeter
tetrameter
pentameter
hexameter
heptameter
octometer
Lines/Numbers of Feet
=
one foot on a line
=
two feet on a line
=
three feet on a line
=
four feet on a line
=
five feet on a line
=
six feet on a line
=
seven feet on a line
=
eight feet on a line
Almost all accentual-syllabic poetry in English, except for isolated lines in lyrics,
will have four or five feet in the line. Probably trimeter through hexameter will
be all the terms you will ever have to use.
Stanza is a section of a poem named for the number of lines it contains.
Example: A couplet is a stanza of two lines. The first stanza from “Barbara Frietchie”
by John Greenleaf Wittier is a couplet:
Up from the meadows rich with corn,
Clear in the cool September morn,
Kinds of Stanza
Couplet
= a two line stanza
Triplet (Tercet)
Quatrain
stanza
Quintet
Sestet (Sextet)
Septet
Octave
= a three line stanza
= a four line stanza – This is the usual kind of
= a five line stanza
= a six line stanza
= a seven line stanza
= an eight line stanza
Enjambment is when there is no written or natural pause at the end of a poetic
line, so that the word-flow carries over to the next line. It affects the forms of the
poem on a page. It can create certain form relevant to a poem’s content.
The general rules of Capitalization and Punctuation in poetry are not always
followed; instead, they are at the service of the poet’s artistic vision.
Verse is a line in traditional poetry that is written in meter.
Example: In “When I do count the clock that tells the time” from Shakespeare’s
“Sonnet Number Twelve,” the underlined syllables are accented, giving the line a
metric pattern known as an iambic pentameter (see Meter).





Traditional Form
Poems with rhyme and with meter.
Free Verse:
Unlike metered poetry, free verse poetry does NOT have any repeating
patterns of stressed and unstressed syllables. Does NOT have rhyme.
Free verse poetry is very conversational - sounds like someone talking with
you. A more modern type of poetry.
Blank Verse:
Written in lines of iambic pentameter but does NOT use end rhyme.
With METER without end RHYME
Questions to Ponder: Can you recall some of your favorite
poem way back in elementary and junior high school? Can you
identify its structures? Which of the structural examples do you
think common?
B. SOUND
Rhythm is the basic beat in a line of a poem.
Example: “Whose woods these are, I think I know” is the first line from “Stopping by
Woods on a Snowy Evening” by Robert Frost. Notice that the accented words
(underlined) give the line a distinctive beat.
Meter is a pattern of stressed and unstressed syllables. Meter happens when the
stressed and unstressed syllables of the words in a poem are arranged in a
repeating pattern. In meter, when poets write, they need to count out the number
of stressed (strong) syllables and unstressed (weak) syllables for each line. They
repeat the pattern throughout the poem.
FOOT is a unit of meter.
A foot can have two or three syllables.
Usually consists of one stressed and one or more unstressed syllables.
TYPES OF FEET
The types of feet are determined by the arrangement of stressed and
unstressed syllables.
TYPES OF FEET
1. trochee (adjective form, trochaic) stressed-unstressed
a. Never/ never/ never/ never/ never
b. In the/ spring a/ young man's/ fancy/ lightly/ turns to/ thoughts of/ love. (In
spite of a few feet where the stress is debatable, especially foot 3, this poem
is generally trochaic, as a look at the rest of it would show. It is very common
to omit the final unstressed syllable in this meter; see c. under accentualsyllabic above.)
2. anapest (anapestic) unstressed-unstressed-stressed
a. It was man/y and man/y a year/ ago (The variation in the last foot is
common.)
b The Assyr/ian came down/ like a wolf/ on the fold,
And his co/horts were gleam/ing in purp/le and gold.
3. dactyl (dactylic) stressed-unstressed-unstressed
a. This is the/ forest pri/meval, the/ murmuring/ pines and the/ hemlocks (The
two stressed syllables in the last foot are required by the classical Greek
form of the epic, which Longfellow is imitating.)
b. What if a/ much of a/ which of a/ wind
4. spondee (spondaic) stressed-stressed
The spondee appears in isolated feet and never as a dominant meter in an entire
poem. It is a convenient way of describing feet in which it is hard to determine
which syllable is stressed (e. g., young man's and hemlocks above) and of
describing passages like the following from sonnets, where Donne uses the
spondees to hammer home the woes people can face in life and Hopkins uses them
along with internal rhyme, assonance, and alliteration for an unusual sound effect.
a. All whom/ war, death,/ age, ag/ues, tyr/annies,
Despair,/ law, chance,/ hath slain,/ and you/ whose eyes
Shall be/hold God
b. Crushed. Why/ do men/ then now/ not reck/ his rod?
5. pyrrhic (pyrrhic) unstressed-unstressed. See 6 d. below for an example.
At the/ round earth's/ ima/gined cor/ners blow.
The beginning of this line from Donne has a Pyrrhic Foot followed by a Spondee.
This combination (called a Double or Ionic Foot) often appears at the beginning of
a line.
6. iamb (iambic) unstressed-stressed
The iamb is far and away the most common foot in English, comprising as much as
90-95 percent of English verse. It is also the most conversational of the feet and
therefore the most flexible and most susceptible to variations. One such variation,
as illustrated in the previous two quotes, is the substitution of spondees for iambs.
Others are listed below:
a. Five years/ have passed,/ five sum/mers with/ the length
Of five/long wint/ers! . . .
In addition to the spondees in the first line, the word with receives what is called a
courtesy accent; that is, it must be given more than normal conversational stress
to fill out the line. Critics have argued that the basic rhythm of spoken English
usually dictates about four stresses per line (the form of Old English verse) and that
lines of poetry with five feet will therefore contain one courtesy accent. This
example also shows how a poet can manipulate meter for effect. Wordsworth
stresses the sense of the time lapse by repeating five and long (and its noun form
length) and stressing these words in normally unstressed positions.
b. Scoffing/ his state/ and grin/ning at/ his pomp.
In addition to the courtesy accent in the fourth foot, Shakespeare includes a trochee
in the first foot. A trochee in an iambic line is called a reversed foot. In iambic
pentameter verse, a reversed foot occurs frequently in the first foot, sometimes in
the third and fourth, and almost never in the second and fifth.
c. To be/ or not/ to be;/ That is/ the question.
The extra unstressed syllable at the end of the line, though not common, is still a
possible variation in an iambic line. Note the fourth foot is reversed (unless you
startle people by saying "That IS the question," as Peter O'Toole is said to have done
in one production of Hamlet).
d. At the/ round earth's/ ima/gined cor/ners blow.
The beginning of this line from Donne has a Pyrrhic Foot followed by a Spondee.
This combination (called a Double or Ionic Foot) often appears at the beginning of
a line.
e. Of all/ that in/solent Greece/ or haught/y Rome,
An anapest in an iambic line is more common in some ages and poets (here, Jonson)
than in others.
f. And my/ tears make/ a heaven/ly Lethe/an flood.
This line by Donne shows such a wide range of variations that we might not call it
iambic if it were not in a sonnet with other iambic lines. As a clergyman, Donne
almost certainly pronounced heaven as one syllable (the way it is in hymns), and he
appears to have stressed the second syllable of Lethean. The line thus contains
three regular feet, a spondee, and an anapest. Donne generally makes his "Holy
Sonnets" very irregular to combine powerful emotion and a oratorical effect as in a
sermon. But the point is that knowing what the regular meter was supposed to be
helps us identify and describe the effect Donne creates.
There are some other exotic feet such as the amphibrach (unstressed-stressedunstressed), but for all practical purposes, these six are the ones you need to
know).
Rhythm is the beat created by the sounds of the words in a poem. It can be created
by meter, rhyme, alliteration, and refrain.
There are five types of rhythm, but we will just focus with Accentual-syllabic.
The number of syllables and the number of accents is both counted, and the
stressed and unstressed syllables are usually alternated in a consistent pattern.
When we think of poetry in English, this is the form we think of, and it is the most
common form from the time of Chaucer to the advent of free verse in the late
nineteenth and early twentieth centuries:
a. And justify the ways of God to men. (5 accents, 10 syllables)
b. And malt does more than Milton can (4 accents, 8 syllables)
To justify God's ways to man.
c. Wake: the silver dusk returning (4 accents, 8 syllables with final
Up the beach of darkness brims. unstressed syllables in lines 2 & 4
And the ship of sunrise burning omitted, a common variation)
Strands upon the eastern rims.
HOW TO FIND A METER IN ACCENTUAL-SYLLABIC VERSE
1. Find syllables that would ordinarily be accented in a dictionary and in
conversation. In the line "And justify the ways of God to men," for example, the first
syllable in justify and the syllables comprising ways, God, and man would receive
stress in normal conversation. There is a problem: although in the dictionary and in
analyzing meter, we usually talk as if there were only two levels of stress (stressed
and unstressed), linguists suggest that there may be as many as four in actual
spoken English. Thus, in the word justify, the just is stressed more than i or fy, but
fy is stressed more than i. Nevertheless, if you look at enough lines, you should be
able to get an overall sense of the meter. The important thing to remember is that
skillful poets will have a meter, which fits a pattern, but which is also true to the
actual rhythms of spoken English; their work should sound natural.
2. Because poets want their work to sound natural, the meter of a given line, or
even passage, may vary slightly from the basic pattern; therefore, you need to go
over several lines assigning the stresses where they would fall in normal
conversation. If you look at enough lines, a general pattern should emerge.
3. A stressed syllable will be accompanied by some unstressed syllables, and in
English they usually (though not always) come before the stressed syllable. A
stressed syllable and the unstressed syllable(s), which go with it, are called a Foot.
If you look at several lines, it should become clear whether the unstressed syllables
precede or follow the stressed.
4. After you have found the stressed and unstressed syllables, you may then put
strokes between the feet to determine the meter. The meter depends on the Type
and Number of feet in a line. In the example below, the type of foot has an
unstressed syllable followed by a stressed, and there are five such feet. The meter
would therefore be labeled iambic pentameter (iambic for the type of foot and
pentameter for the number).
The cur/ few tolls/ the knell/ of part/ ing day.
End Rhyme has same or similar sounds at the end of words that finish different
lines.
Example: The following are the first two rhyming lines from “The King of Cats Sends
a Postcard to His Wife” by Nancy Willard:
Keep your whiskers crisp and clean,
Do not let the mice grow lean,
Hector the Collector
Collected bits of string.
Collected dolls with broken heads
And rusty bells that would not ring.
Internal Rhyme has same or similar sounds at the end of words within a line.
Example: A line showing internal rhyme from
When they said the time to hide was mine,
- “The Rabbit” by Elizabeth Maddox Roberts
Once upon a midnight dreary, while I pondered weak and weary.
- “The Raven” by Edgar Allan Poe
Rhyme Scheme is a pattern of rhyme in a poem. A rhyme scheme is a pattern of
rhyme (usually end rhyme, but not always).
Example: A quatrain – a stanza of four lines in which the second and fourth lines
rhyme – has the following rhyme scheme: abcb (see Quatrain).
The Germ by Ogden Nash
A mighty creature is the germ,
a
Though smaller than the pachyderm.
a
His customary dwelling place
b
Is deep within the human race.
b
His childish pride he often pleases
c
By giving people strange diseases.
c
Do you, my poppet, feel infirm?
a
You probably contain a germ.
a
Assonance is the repetition of vowel sounds within words in a line. Example: A line
showing assonance (underlined) from “A Visit from Saint Nicholas” by Clement
Clarke Moore:
The children were nestled all snug in their beds
Sounds of a for words like Lake Fate
Base Fade
Consonance is the repetition of consonant sounds within words in a line.
Example: A line showing consonance (underlined) from “A Visit from Saint Nicholas”
by Clement Clarke Moore: Not a creature was stirring, not even a mouse
“silken, sad, uncertain, rustling . . “
Alliteration is the repetition of consonant sounds at the beginning of words.
Example: Notice the alliteration (underlined) in “Sarah Cynthia Sylvia Stout Would
Not Take the Garbage Out” by Shel Silverstein.
Tongue Twisters are perfect examples of Alliteration
If Peter Piper picked a peck of pickled peppers, how many pickled
peppers did Peter Piper pick?
Onomatopoeia are words that sound like their meaning.
Example: buzz, swish, hiss, gulp
Repetition is sounds, words, or phrases that are repeated to add emphasis or
create rhythm. Parallelism is a form of repetition.
Examples: Two lines from “Jabberwocky” by Lewis Carroll showing
parallelism:
Beware the Jabberwock, my son!
The jaws that bite, the claws that catch!
Read the poem “The Bells” by Edgar Allan Poe and listen to the way the repetition of
the word “bells” adds rhythm and creates an increasingly ominous and morbid
mood.
Refrain is a line or stanza repeated over and over in a poem or song.
Example: In “Jingle Bells,” the following refrain is repeated after every stanza:
Jingle Bells, jingle bells,
Jingle all the way!
Oh, what fun it is to ride
In a one-horse open sleigh!
Word Play is to play with the sounds and meanings of real or invented words.
Example: Two lines from the poem “Synonyms” by Susan Moger:
Claptrap, bombast, rodomontade,
Hogwash, jargon, and rant
Note: Imageries and Figures of Speech were already presented in the
previous module. Take a glimpse for you to recall it.
Questions to Ponder: Why do you think tone is important in
writing a poem? Does it affect your interest as a reader? Can you
identify the tone elements of your favorite poem?
C. ELEMENTS OF FICTION
(Poems may contain some or all elements of fiction. For example, a narrative poem
(a poem that tells a story) may contain all elements.)
Setting is the time and place where a story or poem takes place.
Point of View / Narrative Voice is the person narrating a story or poem (the
story/poem could be narrated in first person (I, we), second person (you), or third
person limited or omniscient (he/she, they).
Characterization is the development of the characters in a story or poem (what
they look like, what they say and do, what their personalities are like, what they
think and feel, and how they are referred to or treated by others).
Dialog or Dialogue is the conversation between the characters in a story or
poem.
Dialect or Colloquial Language is the style of speaking of the
narrator and the characters in a story or poem (according to their region, period,
and social expectations).
Conflict is the problem or situation a character or characters face in a story or
poem.
Plot is the series of events in a story or poem.
Tone and Voice are the distinctive, idiosyncratic way a narrator has of telling a
story or poem (tone and voice depend on the intended audience, the purpose for
writing, and the way the writer or poem feels about his/her subject).
Style is the way a writer uses words to craft a story or poem.
Mood is the feelings and emotions the writer wants the reader to experience.
Theme and Message are the main topic of a story or poem, and the message the
author or poet wants to convey about that topic.
Questions to Ponder: Can you think of a poem with a
character? How was it delivered? Is it possible to tell a story even if
it is a poem? If you were a poet, how would you use the presented
elements?
D. FORMS OF POETRY
1. Found poems are created through the careful selection and organization of
words and phrases from existing text. These take existing texts and refashion
them, reorder them, and present them as poems. The literary equivalent of a
collage found poetry is often made from newspaper articles, street signs,
graffiti, speeches, letters, or even other poems.
Source: https://spark.adobe.com/page/pFdRX0QqcJvw6/
2. Tanaga is a type of Filipino poem which consists of four lines with seven syllables
each with the same rhyme at the end of each line. It has a 7-7-7-7 syllabic verse,
with commonly an AABB rhyme scheme
1. “Oh be resilient you Stake
Should the waters be coming!
I shall cower as the moss
To you I shall be clinging.”
2. Inumit na salapi
Walang makapagsabi
Kahit na piping saksi
Naitago na kasi.
–
–
–
Like the Japanese haiku, Tanagas traditionally do not have any titles.
They are poetic forms that should speak for themselves.
Most are handed down by oral history, and contain proverbial forms,
morals, and snippets of a code of ethics.
– A poetic form similar to the tanaga is the ambahan.
– Unlike the ambahan whose length is indefinite, the tanaga is a compact
seven-syllable quatrain.
3. Diona is an ancient form of poetry that is composed of 7 syllables for every
verse/line, 3 verses/lines for every stanza, and has a single rhyme scheme.
Sa kasalukuyan, tinatanggap ang diona bilang isang tulang may pitong pantig at
tatlong taludtod. Iisa ang tugmaan nito (pero may mga makabagong diona na
hindi na rin ito sinusunod). At sari-sari na ang tema.
1. Kung ang aso hinahanap
Pag nagtampo’t naglayas
Ikaw pa kaya anak.
– Ferdinand Bajado
2. Lolo, huwag malulungkot
Ngayong uugod-ugod
Ako po’y inyong tungkod
– Gregorio Rodillo
4. Haiku is a Japanese poem written in three lines followong the Five Syllables,
Seven Syllables and Five Syllables. Often focusing on images from nature, haiku
emphasizes simplicity, intensity, and directness of expression.
1. I call to my love
on mornings ripe with sunlight.
The songbirds answer.
2. An old pond!
A frog jumps in—
the sound of water.
5. An Acrostic poem is a poem where the first letters of each line spell out a word
or phrase vertically that acts as the theme or message of the poem. Sometimes a
word or phrase can also be found down the middle or end of the poem, but the
most common is at the beginning. A lot of people use these poems to describe
people or holidays, and lines can be made up of single words or phrases. Acrostic
poems do not follow a specific rhyme scheme, so they are easier to write.
A FRIEND
F is for the fun we had together
R is for the relaxing time we shared together
I is for the interesting moments we had
E is for the entertaining time we spent
N is for the never-ending friendship that we'll have
D is for the days we'll never forget
6. A sonnet is a poem that has 14 lines and follows a specific rhyme scheme. It
comes from the Italian word that means “little song.” There are various types of
sonnets, and each one is formatted a little differently, following various rhyme
schemes. The three main types are the Italian (or Petrarchan) sonnet, the English
(or Shakespearean) sonnet, and the Spenserian sonnet. They are named after the
poets who made them famous. These forms have been around since the
sixteenth century. The poem is written in three quatrains and ends with a couplet.
How Do I Love Thee?
By Elizabeth Barrett Browning
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of being and ideal grace.
I love thee to the level of every day's
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for right;
I love thee purely, as they turn from Praise.
I love with a passion put to use
In my old griefs, and with my childhood's faith.
I love thee with a love I seemed to lose
With my lost saints, I love thee with the breath,
Smiles, tears, of all my life! and, if God choose,
I shall but love thee better after death.
6. Concrete Poem is a poem
that uses words to form the
shape of the subject of the
poem (also known as a
“shape poem”).
7. Lyric Poem is a short poem that usually written in first person point of view
and expresses an emotion or an idea or describes a scene. It does not tell a
story and are often musical.
I Wandered Lonely as a Cloud
BY WILLIAM WORDSWORTH
I wandered lonely as a cloud
The waves beside them danced; but
That floats on high o'er vales and hills,
they
When all at once I saw a crowd,
Out-did the sparkling waves in glee:
A host, of golden daffodils;
A poet could not but be gay,
Beside the lake, beneath the trees,
In such a jocund company:
Fluttering and dancing in the breeze.
I gazed—and gazed—but little thought
What wealth the show to me had
Continuous as the stars that shine
brought:
And twinkle on the milky way,
They stretched in never-ending line
For oft, when on my couch I lie
Along the margin of a bay:
In vacant or in pensive mood,
Ten thousand saw I at a glance,
They flash upon that inward eye
Tossing their heads in sprightly dance.
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.
8. Cinquain is a five-line untitled
poem, where the syllable
pattern increases by two for
each line, except for the last
line, which ends in two
syllables (2,4,6,8.2).
9. Narrative Poem is a form of poetry that tells a story, often making the
voices of a narrator and characters as well; the entire story is usually written
in metered verse. Narrative poems do not need rhyme.
Sing, Goddess, Achilles' rage,
Black and murderous, that cost the Greeks
Incalculable pain, pitched countless souls
Of heroes into Hades' dark,
And left their bodies to rot as feasts
For dogs and birds, as Zeus' will was done.
Begin with the clash between AgamemnonThe Greek warlord - and godlike Achilles.
- The Iliad by Homer
Questions: Which of the following poetic forms do you usually
encounter? How do you appreciate these forms?
What’s More
Learning Task 3: Feel and Tell!
Directions: Read the literary pieces with understanding. Identify the Theme and
Tone of the following excerpts. Use the table below and write your answers on your
answer sheet.
Literary Piece
Theme
Tone
Kind of
Stanza
Verse
Type
1
2
3
Songs of an Empty House
by Marguerite Wilkinson
My father got me strong and straight and
slim,
And I give thanks to him;
My mother bore me glad and sound and
sweet,
I kiss her feet.
I have no son, whose life of flesh and fire
Sprang from my splendid sire,
No daughter for whose soul my mother's
flesh
Wrought raiment fresh.
Life's venerable rhythms like a flood
Beat in my brain and blood,
Crying from all the generations past,
"Is this the last?"
And I make answer to my haughty dead,
Who made me, heart and head,
"Even the sunbeams falter, flicker and
bend -I am the end."
PERFECT YOU
Trisha Kris Aquino
You see, you feel you're useless
Best description that fits
To me you always make sense
Just perfect, yes it is
You think you're born for nothing
Nothing more, nothing less
To me you're here for something.
To me, though no one sees.
That is a proof that love is blind
I bet you are one of a kind
Don't ask me how, don't ask me why
My whole just did and I can't fly.
But why you cannot accept it?
Look from your head down to your feet
You'll see I'm right, you're perfect
At any angle, you have it.
As said again, love is really blind
And I think I was gone with this tide
But why mine is too deep to get
Though this is the thing I won't regret?
Sonnet 18
BY WILLIAM SHAKESPEARE
Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date;
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimm'd;
And every fair from fair sometime declines,
By chance or nature’s changing course untrimm'd;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st;
Nor shall death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st:
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
Learning Task 4: What Feet am I?
Directions: Read the statements carefully. Identify the type of foot in meter being
defined in each sentence. Choose among the given options. Write your answers on
your answer sheet.
Choices: a. trochee
b. anapest
c. spondee
d. iamb
e. dactyl
______ 1. It is a weak syllable followed a strong syllable. Words like 'guitar' and
phrases like 'to sleep'.
______ 2. These are two weak syllables followed by one strong syllable. Words like
'understand' and phrases like 'in the dark.
______ 3. It is one strong syllable followed by two weak syllables (the exact opposite
of an anapest). Words like 'camera' and phrases like 'This is a...'
______ 4. It is a strong syllable followed by a weak syllable (the exact opposite of an
iamb). Words like 'baseball' and phrases like 'Thank you'.
______ 5. It is a metrical foot consisting of two long syllables, as determined by
syllable weight in classical meters, or two stressed syllables in modern meters.
Learning Task 5: Count and Measure
Directions: Read and understand the following lines. Analyze the lines according to
its meter foot by putting the marks (x – unstressed and / - for stressed). Then,
identify what kind of meter foot was used in each sentence. Write your answers on
your answer sheet. Note: / – is used for division of pairs.
1. Shall I / com pare / thee to / a sum / mer’s day?
2. In the midst / of his laugh / ter and glee,
3. Cannon to / left of them,
4. Tell me / not in / mournful / numbers
5. And we / will all / the plea / sures prove
Learning Task 6: Go Back with Three
Directions: Go back with the three literary pieces in Learning Task 3. Identify the
following sound elements used in each literary piece. Use the table below and write
your answers on your answer sheet.
Literary
Piece
1
2
3
Rhymed
Words
Type of
Rhyme
Rhyme
Scheme
Sound
Devices
Learning Task 7: Element Time
Directions: Read the statements carefully. Identify the element of poetry being
described in each sentence. Write your answers on your answer sheet.
1. The repetition of sounds within different words, either end sound, middle or
beginning is called __.
2. Something that represents something else through association, resemblance or
convention is called __.
3. It is the meaning of the poem, the main idea that the poet is trying to
communicate.
4. The feeling that the poet creates and that the reader senses through the poet’s
choice of words, rhythm, rhyme, style and structure is called __.
5. It refers to the “pictures” which we perceive with our mind’s eyes, ears, nose,
tongue, skin, and through which we experience the “duplicate world” created by
poetic language.
6. It is the poet’s choice of words. The poet chooses each word carefully so that
both its meaning and sound contribute to the tone and feeling of the poem.
7. It is the systematic regularity in rhythm; this systematic rhythm (or sound
pattern) is usually identified by examining the type of "foot" and the number of feet.
8. It is the repetition of vowel sounds (anywhere in the middle or end of a line or
stanza) - Tilting at windmills
9. It is the repetition of entire lines or phrases to emphasize key thematic ideas.
10. It is a poetic foot that has a pattern of weak syllable followed by strong syllable
with five pairs
What I Have Learned
Learning Task 8: “T-M-L Phrase
Complete the following phrases.
The Topic was about
______________________________________________________________________
It Matters because
______________________________________________________________________
I’ve Learned today that
______________________________________________________________________
What I Can Do
Learning Task 9: Read and Identify
Directions: Read the statements carefully. Identify the type of poetry of the given
literary pieces. Write your answers on your answer sheet.
1
Maraming mga bagay,
Na sadyang lumalatay,
Isip ko’y walang malay,
Sa hiwaga ng buhay?
2
Lolo, huwag malulungkot
Ngayong uugod-ugod
Ako po’y inyong tungkod
5
Party
Happy, cheerful
singing, eating, playing
Mica’s eighteen birthday party
Perfect!
4
I love my kitten.
She is so little and cute.
She has a pink tongue,
And lots of long whiskers too.
She purrs when I stroke her back.
3
Ang payong ko’y si inay
Kapote ko si itay
Sa maulan kong buhay
6
An ocean voyage
As waves break over the bow
The sea welcomes me
Learning Task 10: Try to Read some!
Directions: Read and list down five literary pieces from the local and foreign writers.
Appreciate the elements, literary techniques and forms used by the authors. Write
your general comments and reactions about the poems. Do this on your answer
sheet.
Assessment
Critiquing Time! Directions: Using the template below, write your comments and
observations on the elements used in each literary piece presented in the previous
page. Write your answers on your answer sheet.
Elements of
Poetry
Verlost (Saved)
Structure
Sound Devices
Essential Elements
Poetic Form
Figures of Speech
Imagery
VERLOST (SAVED)
Cristina Kyla C. Villagen
Voices keep on echoing inside my head
They want me dead
Bottles, blades and blood on my bed
Hang yourself, cut your wrist; they said
Haven’t looked at the mirror for years
For I’ve been swallowed by my fears
Of seeing cheeks stained by tears
And body that completely differs from my peers’
When will I be enough?
When will I be worthy of someone’s love?
I keep on asking, but they all just scoffed
I’m running out of hope as I stare up above
But the moment when I almost lost my sanity
You saw through me
When my world was filled with cold breeze
One warm embrace took away every trace of melancholy
You saved me, darling
From my thoughts and tears that kept me drowning
After years and years of failing
Through you, I have realized something
I need not to please anybody
And that my happiness should be my top priority
And other people’s opinion doesn’t define me
Above all, there’ll always be someone who’ll accept you—
Despite all your flaws and insecurities
Creative Writing
Writing a short poem applying the
various elements and
literary devices
exploring innovative techniques
Creative Writing – Specialized Subject
Alternative Delivery Mode
Quarter 1 – Lesson 3: Writing a short poem applying the various elements and literary devices
exploring innovative techniques
First Edition, 2020
Introductory Message
For the Facilitator:
Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.
This module was collaboratively designed, developed and reviewed by educators both from public and private institutions to assist you, the teacher or
facilitator in helping the learners meet the standards set by the K to 12 Curriculum while overcoming their personal, social, and economic constraints in
schooling.
This learning resource hopes to engage the learners into guided and independent learning activities at their own pace and time. Furthermore, this also
aims to help learners acquire the needed 21st century skills while taking into consideration their needs and circumstances.
As a facilitator you are expected to orient the learners on how to use this module. You also need to keep track of the learners' progress while allowing
them to manage their own learning. Furthermore, you are expected to encourage and assist the learners as they do the tasks included in the module.
For the Learner:
Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.
The hand is one of the most symbolized part of the human body. It is often used to depict skill, action and purpose. Through our hands we may learn,
create, and accomplish. Hence, the hand in this learning resource signifies that you as a learner is capable and empowered to successfully achieve the
relevant competencies and skills at your own pace and time. Your academic success lies in your own hands!
This module was designed to provide you with fun and meaningful opportunities for guided and independent learning at your own pace and time. You will
be enabled to process the contents of the learning resource while being an active learner.
This module has the following parts and corresponding icons:
What I Need to Know
What I Know
What’s In
What’s New
What is It
What’s More
What I Have Learned
This will give you an idea of the skills or competencies you are expected to learn in the module.
This part includes an activity that aims to check what you already know about the lesson to take.
If you get all the answers correct (100%), you may decide to skip this module.
This is a brief drill or review to help you link the current lesson with the previous one.
In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a situation.
This section provides a brief discussion of the lesson. This aims to help you discover and
understand new concepts and skills.
This comprises activities for independent practice to solidify your understanding and skills of the
topic. You may check the answers to the exercises using the Answer Key at the end of the
module.
This includes questions or blank sentence/paragraph to be filled in to process what you learned
from the lesson.
What I Can Do
Weeks
This section provides an activity which will help you transfer your new knowledge or skill into real
life situations or concerns.
What I Need to Know
This module was designed and written with you in mind. It is here to help you
master the various elements, techniques, and literary devices in specific forms of
poetry. The scope of this module permits it to be used in many different learning
situations.
In this module, you will be mastering the essential elements, techniques and literary
devices in specific forms of poetry. I will also show sample works of well-known local
and foreign writers.
At the end of this module, you will be producing a short, well-crafted poem.
After going through this module, you are expected to:
1. write a short poem applying the various elements and literary devices
exploring innovative techniques (HUMSS_CW/MP11/12c-f10)
2. use some of the learned elements, techniques, and literary devices.
3. appreciate literary pieces written by local and foreign writers.
What I Know
Directions: Using a mind map, present what have you known about Creative Writing and
how will you use your knowledge in writing outputs in Creative Writing. Do this on your
answer sheet.
What’s In
CREATIVE
WRITING
3-4
Learning Task 1: Identify Your Writing Preferences
Directions: Knowing your writing preferences will help you be more successful
in your writing process. To determine your idiosyncratic writing preferences, answer
the following questions on your paper:
1. When do you like to write? Where do you like to write?
2. What writing tools (paper, pens, pencils, laptop, dictionary, thesaurus, etc.)
do you need to write a document?
3. What genres do you prefer to write? Why?
4. How do you write your first draft? Are you a think-write writer or a write-write
writer?
5. What stages of the writing process do you use? Which are your strengths?
And which are your weaknesses?
What’s New
Learning Task 2: Fill Me In
Directions: Using your answers from the previous learning task, accomplish the writing
process cycle. Also, write your initial understandings that will be enhanced after taking the
lesson. Do this on your paper.
________
________
The
Writing
Process
________
________
________
What is It
In this part of your journey, we provide something for you to deepen your
understanding about writing process and how creative writing is different from the other
types of writing. This will help you to utilize your understandings in using the poetry
elements, literary devices, and techniques. Tips in crafting a poetry are also provided here.
Please continue reading with comprehension as you discover further
knowledge that will help you out in your quest on the remaining phases of this
lesson.
Is experimental writing a workmanship or a specialty? Obviously, the
discussion will never wrap up. Yet, I do accept that it is both. In this manner, it is
something unique of a craftsmanship and an art. Disregard definition. Utilize your
own imagination and locate your own one of a kind importance of experimental
writing. Someone said that scholars have a blessing. Particularly innovative
essayists. Creative writers have the ability to engage somebody, to make somebody
snicker, to make somebody cry. To make somebody think.
In any subject, ideas must be comprehended by models. Fiction, verse, and
true to life are altogether instances of exploratory writing. We'll see them in detail in
future portions of this arrangement. For the time being, we should perceive what
establishes experimental writing.
Writing Preferences and The Writing Process
Writing Preferences
Every author has his/her own inclinations when drafting a record. Regardless
of whether an individual is composing a story, a sonnet, a diary passage, a letter, or
an innovative genuine piece, the composing approach is peculiar, implying that it is
particular to the individual who is composing.
Some are think-compose journalists. They have to think and think and figure
some more until they can compose their first draft. At the point when they compose
their first draft, they need a huge square of time to get it down on paper. Their first
drafts feel like a completed item to the essayist since they've done the greater part
of their prewriting and updating in the reasoning procedure. In any case, these
scholars need to recollect that the primary draft is only that—a first draft.
Modification is fundamental.
Advantages
Once they’ve start writing, they finish
the draft easily.
The first draft can feel like a polished
final draft to the writer. They usually
finish drafts on time or earlier than
the deadline.
Disadvantages
They need time to think; they can’t
write under command or time
pressure.
Starting
the
opening
paragraph can be difficult because
they are still thinking.
Revising their work is difficult because
from their perspective a lot of the
revision decisions were made in the
thinking process.
Different scholars have different styles in writing. They compose, cut,
duplicate, and rearrange their work just as discard and start once more—here and
there numerous occasions. They are continually prewriting, arranging, and
modifying as they go. They now and then battle with completing a last draft, and
they have even been known to erase a portion of their best work. These essayists
need to make sure to spare all drafts, with the goal that the best work is rarely lost.
The Writing Process
Every piece of writing goes through a process of stages: prewriting (also
sometimes called planning), drafting, cooling, revising, and publishing. These steps
do not always follow one another in succession. Instead, they are recursive,
meaning a step can occur again at any point in the process. For instance, while
revising an historically-based short story, a writer may discover he/she needs to do
additional research about the time period that the story is set, which takes the
writer back to the prewriting stage.
Prewriting
Publishing
The
Writing
Process
Revising
Conceptualzing/D
rafting
Revitalizing
Prewriting/Planning
This is the stage where the writer thinks of the possible concept or ideas.
Conceptualizing helps to determine the flow of the writeup.
Some writers keep a composing diary, a record of records and notes, possibly
drawings or photos, that at first grabbed their eye. Authors by and large are solid
eyewitnesses who record what they see, hear, taste, contact, and smell since it
might turn out to be a piece of a story, a sonnet, a true to life article, a play, and so
on. Scholars may convey a little journal with them for the duration of the day and
set it on the end table close to their bed around evening time. At that point, it is
promptly accessible when a thought a motivation catches their eye.
Writers make several decisions in the prewriting stage as well. They will
answer questions like the topic, readers/audience, the mode of delivering the
context, the genre, the point of view on how to tell the content and some factual
information.
Conceptualizing
Drafting includes composing the primary draft of a report. A few journalists
compose their first draft with a pen and a note pad. Different essayists compose
legitimately on a PC or PC. The decision relies upon the inclination of the essayist.
A short bit of composing can be drafted at a time. The objective is to get
everything down on paper before it is lost. On the off chance that a piece can't be
drafted at a time since it is excessively long, scholars for the most part stop at a
spot where they recognize what they will compose straightaway. This forestalls a
mental obstacle, the powerlessness to compose the following day.
When drafting, writers are urged to not focus on spelling, accentuation,
language structure, and so on. Reexamining while at the same time composing
makes essayists lose the first progression of the thought. Spelling, accentuation,
language structure, and so on can be tended to in the last update.
Revitalizing
Time plays an important part in writing. Once you create your draft, you need
to have some break for you to unwind your mind in conceptualizing. This will help
you to rethink and reconceptualize for a new possible content or inputs. This allows
writers to have a new perspective when entering the revision stage. To do this,
journalists should be sorted out and time supervisors. The main draft must be done
early enough to save it for the suggested cooling time.
Writers of books have significantly longer cooling periods. It might be weeks,
months, and here and there even years, contingent upon the author's inclination
and the cutoff time for the distribution of the book.
Revising
Revising literally means “to see again” not just once but multiple times.
Revision has two types of processes where the larger problems such as content and
organization and the smaller problems such as sentence structure, word choice, and
formatting shall both be considered in revising your output. Revising will help you to
notice the other elements of your writeup from the mechanics, structure, coherence
of the paragraphs and its core.
Some portion of updating may incorporate requesting that others read drafts
and make modification proposals. Eventually, it's consistently up to the author
whether those update suggestions will be actualized into the last draft.
Publishing
Publishing involves submitting final manuscripts to editors of print and online
journals and magazines, newspapers, or publishing companies.
Although it’s great to see one’s name in print, not all writers write for
publication. Some write their stories, poems, letters, diaries, etc. for the next
generations – their children, grandchildren, and great-grandchildren. They write to
record their personal history.
Questions to Ponder: Have you tried to follow the writing process?
How was it? Among the phases of the writing process, which is hard for
you? How do you surpass it?
Creative Writing vs. Technical Writing
Today, after learning what creative writing is and how to get started in it,
we’re
going to compare the this to technical writing.
There are journalists everywhere throughout the world in the two
classifications – and it boggles the brain to hear that millions have been produced
using both experimental writing and specialized composition. Some have made
fortunes. While some have not made anything.
Delight can be picked up from the two sorts, yet most would agree that the
two of them fill various needs. The two of them have their own do's and don'ts and
the two of them have their own principles. Both are represented by language
structure and style. Both show up all over. So what's the distinction?
Creative writing is written to entertain and educate. We enjoy reading
novels and stories, not because they are necessary to read or helpful for us, just
because we get a certain pleasure from reading them, the pleasure which can’t be
got from reading technical writing.
Creative writing has such huge numbers of sorts and sub-classes that they
merit an entire area of an article for themselves. It in some cases keeps a given
arrangement of rules, and once in a while tosses alert to the breezes and breaks
every one of them. In any case, ability is fairly an important fixing in the event that
you need to compose inventively. Obviously, composing can be improved by
training. Be that as it may, on the off chance that you don't have the fundamental
ability, your composing would not offer joy to anybody.
Technical writing is wholly written to inform and sometimes to trigger the
person reading into making an action beneficial to the one of the writer.
Technical writing isn't composed to entertain. It has its own arrangement of
rules, shows, do's and don'ts, magnum opuses and bits of garbage. There is an
entire craftsmanship to acing specialized composition, despite the fact that it also is
fanned: online specialized composition and disconnected specialized composition.
Actually, I believe that on the off chance that you need to ace specialized
composition, you should initially ace brief and attractive composing that attracts the
critics whether or not it's inventive or specialized.
Illustrations on the Comparison and Contrast of
Creative Writing and Technical Writing
The contrasts between exploratory writing and specialized composing are
that creative writing is composed basically to engage with the inventiveness of the
brain and specialized composing is composed chiefly to advise in a conventional
way or to induce to make an activity, for example, buy the author's item.
This, in a significant piece, is the principle contrast. In the start of this article,
I made my own case: right cerebrum versus Left mind.
Be that as it may, they merit their very own article, and not here. On the off
chance that you need to know more, you can generally do your own examination.
Questions to Ponder: Can you recall the reading texts that you have
read? Can you now categorize if these are creative or technical writing?
Tips in Creative Writing – Writing a Poem
Knowing that after taking this module, you will be writing your own wellcrafted poem considering the elements, techniques and devices presented. You
have also to decide the form of the poetry, the diction, tone and other essential
elements that you have learned in the previous modules.
Learning how to write a poem is debatably one of the hardest forms of
creative writing to master—there are so many “rules”, but at the same time, no
rules at all. (Kidder, 2019)
Despite the challenge, writing poetry is a very fulfilling creative venue, and
we have exactly what you’re looking for to learn how to nail this art form.
Because poetry is so specific to the artist, knowing how to write a poem in
your own way can be tricky. Kidder had given several benefits of writing a poem.
Benefits of Learning How to Write a Poem
Even if you aren’t looking to become a full-time poet, or even attempt to publish a
single poem, writing poetry can be beneficial in several ways.
One, It fortifies your abilities recorded as a hard copy strong symbolism. Verse is a
very picture based type of composing, so rehearsing verse will improve your
symbolism in different structures also.
Poetry is concise and impactful because it uses strong language that is not
literal. Connotation is mostly used in writing a poem. Elements are being associated
to attain the aesthetics of the piece.
Poetry helps you to incorporate your thoughts, feelings and emotions in an
effective way. Other forms of writing have the plot to hide behind—with poetry, all
you’ve got are emotions.
You can become a professional poet and earn a living writing. Even if you just
want to enjoy poetry for the above reasons, you can also make a full-time income
this way.
Fundamentals for How to Write a Poem
Poetry can often be subjective. Not every poem will speak to every person.
That being said, there are different attributes that you should learn if you want to
know how to write poetry well regardless.
Select the form of your poem
The structure of a poem can refer to many different things, but we’re going to
discuss some different forms of poetry, how to use punctuation, and last words.
Form of a Poem
The form of your poem is the physical structure. It can have requirements for
rhyme, line length, number of lines/stanzas, etc.
Here are different types of poetry forms that we have discussed in the previous
module:
Sonnet – A short, rhyming poem of 14 lines
Haiku – A poem of 3 lines where the first is 5 syllables, the middle is 7 syllables,
and the last is 5.
Acrostic – A poem where the first letter of each line spells a word that fits with the
theme of the poem or exposes a deeper meaning.
Couplet – This can be a part of a poem or stand alone as a poem of two lines that
rhyme.
Free verse – This type of poem doesn’t follow any rules and is free written poetry
by the author.
Most of the poets have explicitly less experienced ones, compose what's
called free stanza, which is a sonnet without a structure, or with a structure the
writer has compensated for that particular piece.
The writer may choose to have a specific rhyme conspire or may make their
sonnets syllabic. With a free refrain sonnet, you can set up any topic or example
you wish, or have none by any means. The extraordinary thing about verse is that
you can even beginning with a particular sonnet structure, and afterward decide to
adjust it so as to make it special and your own.
Poetry Punctuation
Writing a poem is difficult because you never know what the appropriate
punctuation is, because it can be different from punctuation when writing a book.
This means you use punctuation properly for every grammar rule; if you
removed the lines and stanzas, it would work as a grammatically correct paragraph,
and this even includes writing dialogue in your poem. Moerover, it implies you use
accentuation to serve the manner in which you might want the sonnet to be
perused. A comma shows a brief delay, a period demonstrates a more drawn out
respite, a scramble demonstrates an interruption with an association of
contemplations. Utilizing no accentuation at all would loan to a surged feeling,
which you may need. Your accentuation decisions will rely upon your objectives
when composing a sonnet.
Sealer of your poem
The last word of a line, the last word of your poem, and the last line of your
poem are very important—these are the bits that echo in your reader’s head and
have the most emphasis.
The use of the imageries
The use of imagery as a literary device in your writing consists of descriptive
language that can function as a way for the reader to better imagine the world of
the piece of literature and also add symbolism to the work. Imagery draws on the
five senses, namely the details of taste, touch, sight, smell, and sound. Imagery can
also pertain to details about movement or a sense of a body in motion or the
emotions or sensations of a person, such as fear or hunger.Using imagery helps the
reader develop a more fully realized understanding of the imaginary world that the
author has created.
Taste: The familiar tang of his grandmother’s cranberry sauce reminded him
of his youth.
Sound: The concert was so loud that her ears rang for days afterward.
Sight: The sunset was the most gorgeous they’d ever seen; the clouds were
edged with pink and gold.
Smell: After eating the curry, his breath reeked of garlic.
Touch: The tree bark was rough against her skin.
The association of Sound Devices
The use of the auditory effect on your piece will also give aesthetics to your
piece not just the physical outlook of the piece but also on how to sound it when the
reader reads the piece. It gives additional impact to the reader and let him to
remember it. The use of figures of speech like Alliteration, Assonance, Consonance,
Onomatopoeia, rhyme and rhythm will surely help you to utilize siund aesthetics
well.
Tell and Express the feelings
Structure, imagery, and sound work together to make up the technical
excellence of a poem. But if your words are empty of a deeper meaning, what’s the
point in writing a poem at all?
“Poetry is a form of storytelling. The key to writing is making the audience feel.
Give them something to remember and hold onto.” – Brookes Washington
Numerous new scholars lock onto buzzwords and tired points (peep that
similar sounding word usage) for their sonnets, since they imagine that is what they
should do. In any case, copying something another person has done, or some
thought of what you should figure a sonnet ought to be about, won't give you a
certified, passionate piece that others can interface with. So compose the sonnet
that no one but you can compose.
Considering at your own experiences will help you to establish your thought s
and emotions. What do you know? Since your experiences may be the first sources
of your concept, it will be easy for you to tell and share. Where could be the writers
of stories and poem, composers of songs get their thoughts? As you learn in
literature that personal experiences could be the substantial source of concepts. As
a writer, all you need to do is to transfer the concepts into words. Can you make
that feeling an image other people can see through your words? That is the poem
you write.
Do not be so orinary, be unique to standout
There are many clichés you want to avoid when writing poetry. Nothing really
marks an amateur poet like clichés. The temptation, avoid cliché phrases. Go line by
line and make your language as crisp and original as you can. If there are pieces in
your poem that seem like you’ve read or heard them before, try to reword it in order
to make it more original.
If your poem seems long-winded to you, imagine what that would be like for
your reader. Be ready to edit your poem to get it down to its best form.
“Poetry is just word math. Every piece has mean something, and there can’t be any
extraneous bits otherwise it gets confusing. It just becomes a puzzle made out of all
the words that make you feel something.” – Abigail Giroir
Enhancing your poem using the Writing Cycle
The genuine enchantment of verse occurs in the reexamining and refining.
Amend the ever-living hell out of it. To summarize an old educator of mine: Don't be
reluctant to sit with it. For a considerable length of time, months, years—as long as
the sonnet needs.
It's incredible to have composing objectives and courses of events, yet don't
surge a sonnet before you know it's prepared.
Avoid abstractions. A word that can just allude to an idea or feeling—it is
anything but a solid, unmistakable thing. A few instances of this are freedom, love,
servitude, hostility. Reflections make each individual picture something other than
what's expected, so they are powerless words, and they will debilitate your sonnet.
Rather than utilizing a reflection, consider what symbolism you can use to
pass on that feeling or idea. Freedom can become chains breaking or winged
creatures flying. Love can be acquiring your life partner espresso bed, petting a
canine, cleaning a headstone.
Think about the best pictures to pass on your concept of that deliberation, so
every peruser can be on the same wavelength with you.
Try not to categorize yourself into a structure that will smother your
inventiveness, use symbolism and sound, have an importance and a reason for each
sonnet, and change until your fingers drain.
Questions: Which of the following tips in writing of a poem do you
really consider? Can you follow these tips in writing your own poem?
What’s More
Learning Task 3: Complete the Table
Directions: I. Complete the table. Supply the correct answers to complete the
comparison of Creative Writing and Technical Writing. Write your answers on your
answer sheet.
Learning Task 4: Creative Search for Words.
Directions: Loop the words that can be found in the word puzzle. After finding the
words, on your paper, draw a table with 2 columns (one for imaginative writing and
one for technical writing). Place the found words into its proper column to determine
the examples of the two types of writing.
Learning Task 5: React with the Literary Pieces
Directions: Go back with your previous literary pieces that you have searched for in
the previous module. Choose 1 and react with the elements used by the author. DO
this on your notebook.
Elements of
Poetry
Structure
Sound Devices
Essential Elements
Poetic Form
Figures of Speech
Imagery
Title:
Learning Task 6: Read and Give
Directions: Read the following lines of different literary pieces. Give the appropriate
title of the literary pieces considering the content, theme, and message of the
poems. Do this on your answer sheet.
Title
1.
by:
Lovely
Jaime
Content of the poem
Once I failed,
Everyone feels disappointed
When I did mistake
It seems like, I’m in the end
Thus, I can't stop asking myself
Why is this happening in our environment?
Why do some people, full of judgement?
In this world, that no one's perfect
All of us are different
Has their own version, skills, and talent
We have weaknesses and strengths
We got failures and achievements
So you, me, and all of us
Can be the version, we wish to have
We may live a life we dream
With contentment, acceptance, love and not a fear
Therefore, I have realized
I shouldn't let anyone dictate my life
No matter what other talked about me
I will always show the real me, that I wanted to be
2.
3.
by:
Rafael
Gonzales
Everyone is magnificently beautiful,
You and I are beautiful,
No matter what other say,
We are gorgeous in our own way.
Hey pretty!
Don’t you ever feel that you are not perfect,
Cause God makes no mistakes,
He made us beautifully.
There is nothing wrong with you,
Putting labels are just people do,
Insecurities, doubt will kill,
But confident and trust makes you steel.
Go around along the crowd,
Show them that you got a crown,
So hold your head up and go far
And shine like a bright star.
4.
Seeing the blue sky,
by:
Mary
Vianney
Batan
5.
With birds flying in the air.
It was relaxing.
As you walk away
Left my broken heart in vain
by:
Mary Jade
Dondonay
And I heard you say
Let go, sorry for the pain
Move on, forget me my love
Learning Task 7: Analyze the samples
Directions: using the poems in the previous learning task 6, do the analysis of the
poems by commenting on the elements presented on the table. Do this on your
answer sheet.
Elements of
Poetry
Structure
Sound Devices
1
2
3
4
5
Essential Elements
Poetic Form
Figures of Speech
Imagery
What I Have Learned
Learning Task 8: “T-M-L Phrase
Complete the following phrases.
The Topic was about
______________________________________________________________________
It Matters because
______________________________________________________________________
I’ve Learned today that
______________________________________________________________________
What I Can Do
Learning Task 9: Be Inspired by Reading (to be done for two weeks)
Directions: Read some of the existing poems in various resources. It may be found
in the internet, existing literature books, newspapers and other reading materials or
even your own created poems before. Appreciate the elements used by the poet for
you to use it in accomplishing the next learning task.
Learning Task 10: Outline by using the elements (To be submitted next
week)
Directions: With your learnings with the different tips in writing a poem, Do the
outlining or planning of your poems to be written. Do this on your answer sheet.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
Theme:
Poetic Form:
Kind of Stanza:
Meter:
Sound Devices:
Imagery:
Figures of Speech:
Message:
Target Audience:
Assessment
Writing Time! Directions: Write two poems considering the elements, literary
devices and techniques presented in the previous module and your understanding
in writing a poem. You have the freedom to choose and utilize any of the elements,
forms and other essential topics about poetry. Do this output in a short bond paper.
You may be creative in presenting your poems. You will be guided by the rubrics in
grading your outputs.
Note: This will be submitted next week.
You have two weeks to create your poems.
POETRY WRITING RUBRICSs
Cohesivene
ss
Use of
poetic
elements
Rhythm
Creativity
Excellent
(5 points)
The poem goes
perfectly together.
There is unity
between lines and
stanzas, which
connect with the
topic.
The poem uses 3 or
more poetic elements
to enhance the poem
and the reader’s
emotions.
The poem uses
rhythm throughout,
which benefits the
poetic tone.
The poem uses 3 or
more unique
metaphors and
similes to describe
situations, objects,
and people.
Average
(3 points)
The poem somewhat goes
together but needs more
cohesiveness. The poem’s
lines and stanzas
sometimes sway from the
topic.
Poor
(1 point)
The poem does
not go together.
The poems lines
and stanzas sway
from the topic.
The poem uses 1 or 2
poetic elements but they
sometimes distract the
reader.
The poem uses no
poetic elements.
The poem sometimes
uses rhythm but may
waver in a way that
distracts the reader and
negatively affects the
tone.
The poem uses 1 or 2
unique metaphors and
similes to describe
situations, objects, and
people.
The poem does
not have any
noticeable
rhythm.
The poem does
not use unique
metaphors and
similes.
Creative Writing
Various elements, techniques,
and literary devices in various
modes of Fiction
Creative Writing – Specialized Subject
Alternative Delivery Mode
Quarter 1 – Lesson 4: Various elements, techniques, and literary devices in various modes of Fiction
First Edition, 2020
Introductory Message
For the Facilitator:
Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.
This module was collaboratively designed, developed and reviewed by educators both from public and private institutions to assist you, the teacher or
facilitator in helping the learners meet the standards set by the K to 12 Curriculum while overcoming their personal, social, and economic constraints in
schooling.
This learning resource hopes to engage the learners into guided and independent learning activities at their own pace and time. Furthermore, this also
aims to help learners acquire the needed 21st century skills while taking into consideration their needs and circumstances.
As a facilitator you are expected to orient the learners on how to use this module. You also need to keep track of the learners' progress while allowing
them to manage their own learning. Furthermore, you are expected to encourage and assist the learners as they do the tasks included in the module.
For the Learner:
Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.
The hand is one of the most symbolized part of the human body. It is often used to depict skill, action and purpose. Through our hands we may learn,
create, and accomplish. Hence, the hand in this learning resource signifies that you as a learner is capable and empowered to successfully achieve the
relevant competencies and skills at your own pace and time. Your academic success lies in your own hands!
This module was designed to provide you with fun and meaningful opportunities for guided and independent learning at your own pace and time. You will
be enabled to process the contents of the learning resource while being an active learner.
This module has the following parts and corresponding icons:
What I Need to Know
What I Know
What’s In
What’s New
What is It
What’s More
What I Have Learned
What I Can Do
This will give you an idea of the skills or competencies you are expected to learn in the module.
This part includes an activity that aims to check what you already know about the lesson to take.
If you get all the answers correct (100%), you may decide to skip this module.
This is a brief drill or review to help you link the current lesson with the previous one.
In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a situation.
This section provides a brief discussion of the lesson. This aims to help you discover and
understand new concepts and skills.
This comprises activities for independent practice to solidify your understanding and skills of the
topic. You may check the answers to the exercises using the Answer Key at the end of the
module.
This includes questions or blank sentence/paragraph to be filled in to process what you learned
from the lesson.
This section provides an activity which will help you transfer your new knowledge or skill into real
Weeks
life situations or concerns.
What I Need to Know
This lesson was designed and written with you in mind. It is here to help you
master the various elements, techniques, and literary devices in various modes of
fiction. The scope of this module permits it to be used in many different learning
situations.
In this lesson, you will be learning the essential elements, techniques and
literary devices in various modes of fiction. I will also show sample works of wellknown local and foreign writers.
At the end of this lesson, you will be seeking for some literary pieces and
identify the elements, techniques and literary devices used.
After going through this lesson, you are expected to:
1. identify the various elements, techniques, and literary devices in various
modes of fiction (HUMSS_CW/MPIg-1-11)
2. appreciate some literary pieces which used various identify the various
elements, techniques, and literary devices.
What I Know
Directions: Read the statements carefully. Identify what is being defined in each number.
Choose the letter of the correct answer and write your answers on your answer sheet.
This is just a pretest. Your score in this part won’t be graded.
1. __ is an element of a short story or prose which is the vantage point,
perspective, or angle from which the story is told.
a.
Point of view
b. character
c. plot
d.
setting
2. __ is a type of character who is central to the story with all major events
having some importance to this character.
a.
narrator
b. antagonist
c. protagonist
d. reader
3. __ is the series of events of a story. Freytag’s Pyramid is the other term for
this. It is a planned, logical series of events having a beginning, middle, and
end.
a.
Point of view
b. character
c. plot
d.
setting
4. It is a kind of plot where the story starts with an introduction of the
characters and setting and involves the development of the story.
a. Modular/episodic
b. verbal
c. linear
d. dramatic
5. A Plot device technique used to focus the reader’s, but not the characters’
attention on an object, or location is called __.
a. Flashing arrow
b. Red Herring
c. Deathtrap
d. In medias res
6. A plot device that distracts the reader’s attention from the plot twist. It is
used to maintain tension and uncertainty is _
a. Flashing arrow
b. Red Herring c. Deathtrap
d. In medias res
7. A Vision Technique where series of dreams which allows the character to
5-6
see events that occur or have occurred in another time is called __.
a. Prophecy
b. Dream Sequence c. Analepsis
d. Prolepsis
8. It is an abrupt ending that leaves the plot incomplete, without denouement,
it often leaves characters in a precarious or difficult situation which hint at
the possibility of a sequel.
a. Deus ex Machina b. Happy Ending c. Twist Ending d. Cliff Hanger
9. It is the general emotional weather of the literary piece.
a. irony
b. dramatic premise c. tone
d. theme
10.The character’s Struggle takes place in his/her own mind. It is usually has
something to do with a choice (choosing between right or wrong), or it may
have to do with overcoming emotions or mixed feelings.
a. Major Conflict
b. Minor Conflict
c. Internal
d. External
What’s In
Learning Task 1: Arrange to Know
Directions: Arrange the jumbled letter to identify the words that are relevant
to our topic. Definitions will help you to determine the hidden words. Write your
answers on your answer sheet.
INOTCFI
IYNTTILREEXTTUA
ENRGE
TLOP
ICEVDE
literature in the form of prose, especially short stories and
novels, that describes imaginary events and people.
The complex interrelationship between a text and other
texts taken as basic to the creation or interpretation of the
text
A category of literary composition; genres may be
determined by literary techniques, tone, content, or even
(as in the case of fiction) length
the main events of a play, novel, movie, or similar work,
devised and presented by the writer as an interrelated
sequence.
literary or linguistic technique that produces a specific
effect, esp. a figure of speech, narrative style, or plot
mechanism.
What’s New
Learning Task 2: Use me to create
Directions: Using the formed words from the previous learning task, create two
sentences that will present your idea about the topic. Also, write your questions that
will be answered after taking the lesson. Do this on your paper.
Your sentences
Your Questions
What is It
In this part of your journey, we provide something for you to deepen your
understanding about poetry and its elements, literary devices and techniques.
Please continue reading with comprehension as you discover further
knowledge that will help you out in your quest on the remaining phases of this
lesson.
What is Literature?
Literature, in its broadest sense, is any written work; etymologically the term
derives from Latin literatura/litteratura "writing formed with letters", although some
definitions include spoken or sung texts. More restrictively, it is writing that
possesses literary merit, and language that foregrounds literariness, as opposed to
ordinary language.
Importance of Literature
 Serves as an art form used for expression
 preserves cultural ideals, customs, and morals.
 gives us a deeper context into the lives and livelihood of people
distinct from ourselves.
"Literature adds to reality, it does not simply describe it. It enriches the
necessary competencies that daily life requires and provides; and in this respect, it
irrigates the deserts that our lives have already become."
- C.S. Lewis, a British scholar and novelist.
What is a genre?
What is a genre \zhän-rə\
is a French word for "kind" or "sort is the term for any category of literature or
other forms of art or entertainment, e.g. music, whether written or spoken, audial or
visual, based on some set of stylistic criteria.
What is Prose?
Prose is a form of language that possesses ordinary syntax and natural
speech rather than rhythmic structure; in which regard, along with its measurement
in sentences rather than lines, it differs from poetry.
Normal everyday speech is spoken in prose, and most people think and write
in prose form. Prose comprises of full grammatical sentences, which consist of
paragraphs, and forgoes aesthetic appeal in favor of clear, straightforward
language. It can be said to be the most reflective of conversational speech. Some
works of prose do have versification, and a blend of the two formats that is called
“prose poetry.”
Example of a Poetry Verse vs. the Prose Form
Following is a poetry verse from a popular work of Robert Frost:
“The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.”
(Stopping by Woods on a Snowy Evening, by Robert Frost)
Prose Form
Following is the same sentiment written in prose form:
“The woods look lovely against the setting darkness and as I gaze into the
mysterious depths of the forest, I feel like lingering here longer. However, I have
pending appointments to keep, and much distance to cover before I settle in for the
night, or else I will be late for all of them.”
The above paragraph is conveying a similar message, but it is conveyed in
ordinary language, without a formal metrical structure to bind it.
Function of Prose
While there have been numerous basic discussions over the right and
substantial development of composition, the explanation behind its selection can be
credited to its inexactly characterized structure, which most authors feel great
utilizing when communicating or passing on their thoughts and considerations. It is
the standard style of composing utilized for most spoken exchanges, anecdotal just
as effective and genuine composition, and talks. It is additionally the normal
language utilized in papers, magazines, writing, reference books, broadcasting,
theory, law, history, technical studies, and numerous different types of
correspondence.
Some Common Types of Prose
Nonfictional Prose: A literary work like essays, biographies and
autobiographies that are mainly based on fact, though it may contain fictional
elements in certain cases.
Fictional Prose: Holistically or partially imagined stories like novels and
stories.
Heroic Prose: A literary work that might be recorded or recounted, and
which utilizes a significant number of the standard articulations found in oral
custom. Models are legends and stories. Epics and Legends may be examples of
this.
Prose Poetry: A literary work that shows poetic characteristics and nature
and utilizing passionate impacts and elevated symbolism. However these are
written in exposition rather than section.
Examples of Prose in Literature
Prose in Novels
This is usually written in the form of a narrative and may be entirely a figment of
the author’s imagination.
Example #1: David Copperfield (By Charles Dickens)
“Whether I shall turn out to be the hero of my own life, or whether that station will
be held by anybody else, these pages must show.”
Example #2: Anna Karenina (By Leo Tolstoy)
“Happy families are all alike; every unhappy family is unhappy in its own way.”
These examples of prose have been taken from novels, where the writers have
employed their imaginations. They are examples of fictional prose.
Prose in Speeches
Prose used in speeches often expresses thoughts and ideas of the speaker.
Example #3: Nobel Peace Prize Acceptance Speech (By Mother Teresa)
“The poor are very great people. They can teach us so many beautiful things.”
Example #4: Equal Rights for Women speech (By U.S. Congresswoman Shirley
Chisholm)
“As for the marriage laws, they are due for a sweeping reform, and an excellent
beginning would be to wipe the existing ones off the books.”
These prose examples have been taken from speeches where the writing is often
crisp and persuasive and suits the occasion to convey a specific message.
Prose in Plays
Prose written in plays aims to be dramatic and eventful.
Example #5: Cat on a Hot Tin Roof (By Tennessee Williams)
“You can be young without money, but you can’t be old without it.”
Example #6: As You Like It (By William Shakespeare)
“All the world’s a stage, And all the men and women merely players.”
Prose in plays is frequently in conversational mode and is conveyed by a character.
Notwithstanding, its style remains the equivalent all through the play as indicated
by the character of the character. Fiction incorporates short stories, books,
fantasies, anecdotes, sentiments, and legends. For the most part, center around
one or a couple of significant characters that manage issues or challenges in their
lives.
Questions to Ponder: Can you recall some of your favorite prose
literary pieces way back in elementary and junior high school? Can you
identify if it is a story in a novel or a short story or a speech or a script of
a play? What is the common elements that you can recall about
particularly in Fiction?
A. Elements of Fictional Prose
I. SETTING - The time and location in which a story takes place is called the
setting. There are several aspects of a story's setting to consider when examining
how setting contributes to a story (some, or all, may be present in a story):
a)
b)
c)
d)
e)
place - geographical location.
time - When is the story taking place?
weather conditions - Is it rainy, sunny, stormy, etc?
social conditions - What is the daily life of the characters like?
mood or atmosphere - What feeling is created at the beginning of the story?
II. CHARACTER
– People who take part in the story
– Individuals that do the action in the story
– The representation of a person in the story
– Is revealed by the tone of voice
– Occasionally, it could be an animal or object given human qualities
– There are two meanings for the word character:
The person in a work of fiction.
The characteristics of a person.
Protagonist – the chief figure who struggles against opposing forces
Antagonist – the force, most often another character, that opposes the
protagonist
Dynamic Character – one whose attitudes and values are affected by the events
in the story
Flat Character – a character having only a single trait or quality
Round Character – a multi-dimensional or a complex character
Static Character – one whose personality, attitudes, and beliefs remain fixed, no
matter what kinds of situations he encounters
Characterization - The development of characters as done by the short story
writer. The way in which an author presents and reveals his/her characters.
Ways to do Characterization
– Direct presentation
– the author makes explicit/outright statements or explanations about
the characters
Examples:
 As the years passed, Makato grew tall and handsome.
 He never idled. He never complained and was always satisfied.
 He did every kind of work—carrying heavy things, clearing away the
forest, or feeding pigs.
–
Indirect presentation
– the author reveals the characters through actions and dialogues
Example:
 “I would like to go on a journey for an adventure,” said Makato.
III. PLOT
The plot is the logical arrangement of events in a story or play. The plot is a
organized. logical series of events having a beginning, middle, and end.
Kinds of Plot
1. Linear Plot
In literature, a linear plot begins at a certain point, moves through a series
of events to a climax and then ends up at another point.
Also known as the plot structure of Aristotle, it is possible to represent a
linear plot line with the drawing of an arc.
The primary advantage of using a linear plot is that the reader knows, or at
least has an idea, of where the plot goes next, and the reader is guaranteed to get a
beginning and ending.
a) Introduction - The beginning of the story where the characters and the setting is
revealed.
b) Rising Action - This is where the events in the story become complicated and the
conflict in the story is revealed (events between the introduction and climax).
c) Climax - This is the highest point of interest and the turning point of the story.
The reader wonders what will happen next; will the conflict be resolved or not?
d) Falling action - The events and complications begin to resolve themselves. The
reader knows what has happened next and if the conflict was resolved or not
(events between climax and denouement).
e) Denouement - This is the final outcome or untangling of events in the story.
2. Modular Plot
Nonlinear narrative, disjointed narrative or disrupted narrative is a narrative
technique, sometimes used in literature, film, hypertext websites and other
narratives, where events are portrayed, for example out of chronological order, or in
other ways where the narrative does not follow the direct causality pattern of the
events featured, such as parallel distinctive plot lines, dream immersions or
narrating another story inside the main plot-line. It is often used to mimic the
structure and recall of human memory, but has been applied for other reasons as
well.
It is a story that does not follow a linear narrative. That is, it doesn’t move in
a chronological order, instead jumping around within the story or between different
stories. Sometimes, the different sections don’t even feature the same characters or
world. Instead, they are united by thematic meaning.
3. Episodic Plot
Made up of a series of chapters or stories linked together by the same
character, place, or theme but held apart by their individual plot, purpose, and
subtext.
IV. CONFLICT - Conflict is essential to plot. It is the opposition of forces which ties
one incident to another and makes the plot move. Within a short story there may be
only one central struggle, or there may be one dominant struggle with many minor
ones.
There are two types of Conflict:
1) External - A struggle with a force outside one's self.
2) Internal - A struggle within one's self; a person must make some decision,
overcome pain, quiet their temper, resist an urge, etc.
There are various kinds of Conflict:
1) Man vs. Man (physical) - The leading character struggles with his physical
strength against other men, forces of nature, or animals. A character struggles with
another character.
Protagonist vs. Antagonist
The classic “good guy” vs. “bad guy” situation.
Example: - Spiderman. This is the story of Peter Parker who is nerdy high-schooler.
One day while on an excursion to a laboratory a runway radioactive spider
bites him... And his life changes in a way no one could have imagined. Peter
acquires a muscle-bound physique, clear vision, ability to cling to surfaces and crawl
over walls, shooting webs from his wrist... But the fun isn’t going to last.
An eccentric millionaire Norman Osborn administers a performance
enhancing drug on himself and his maniacal alter ego Green Goblin emerges. Now
Peter Parker has to become a Spider-Man and take Green Goblin to the task... Or
else Goblin will kill him. They come face to face and the war begins in which only
one of them will survive at the end
2) Man vs. Circumstances (classical) - The leading character struggles against
fate, or the circumstances of life facing him/her.
3) Man vs. Nature - A character struggles with a force of nature (natural disaster,
desolation, animal, etc.) Usually, the character is struggling to survive.
Example: San Andreas. In the movie, A series of massive earthquakes hits Nevada
and California. Caught in the middle is a helicopter rescue pilot, Raymond Gaines.
Flying his helicopter, he must first rescue his ex-wife, Emma, and his daughter,
Blake. Meanwhile, a pre-eminent seismologist, Dr Lawrence Hayes, is trying to
predict where the next earthquake will hit.
4) Man vs. Society - In this conflict, a character, or a group of characters fight
against the society in which they live. The character fights against social traditions
or rules (fight for freedom, rights, for a cause etc.) Society becomes a “character” of
its own. Usually used to comment on positive or negative aspects for real society.
(SATIRE)
Example: Avatar. In the movie Avatar a man is put into an army to get rid of a
civilization of blue creatures. They want the civilization to move to another location
cause their town is built over rich treasures. But the civilization prays to their God in
that one location. Jake Scully (main character) is told to go into a replica of a body
from civilization. After getting used to how they live he wants to help them fight for
their land, so he starts a war to help keep their land.
5) Man vs. Self - The character’s Struggle takes place in his/her own mind.
Usually has something to do with a choice (choosing between right or wrong), or it
may have to do with overcoming emotions or mixed feelings.
Example: Tangled (Rapunzel). In the movie Tangled Rapunzel, experiences man vs.
Self throughout the movie. She cannot decide if she want to stay in the tower or
defy her “mother’s wishes and leaved the tower. When she finally decides to leave,
she is very hesitant and does not know if what her “mother” has told her is true or
not. She goes back and forth with herself wondering what will happen if she
continues.
6) Man vs. Supernatural - is a conflict between a character and something that is
not normal in some way. Supernatural elements include ghosts, omens, and
superstitions.
Example: Predator
- The U.S government hires a team of commandos. The group of goes to
Guatemala. There they battle and invisible extraterrestrial with superhuman
strength.
7) Man vs. Fate - This type of Conflicts occurs when is trapped by an inevitable
destiny, freedom and free.
Example: Example: Fahrenheit 451
-In part of Fahrenheit 451, “Burning Bright,” Montag’s Fate is to be hunted and
killed. The Hound, programmed to kill Montags, is chasing him, and has the TV says,
“The Mechanical Hound never fails” (page numbers vary by edition)..
8) Man vs. Technology - The protagonist must overcome a machine or technology.
Most often the encounter with the machine or technology is through the character's
own doing. For example, it may be technology or a machine that they created,
purchased, or owned with the assumption that it would make their life easier. Over
time the protagonist must overcome the technology, in some instances, even
destroying it before it destroys them.
Example: The Matrix. Thomas A. Anderson is a man living two lives. By day he is an
average computer programmer and by night a hacker know as Neo. Neo has always
questioned his reality, but the truth is far beyond his imagination. Neo finds himself
targeted by the police when he is contacted by Morpheus, a Legendary computer
hacker branded a terrorist by the government.
V. POINT OF VIEW
Point of view, or P.O.V., is defined as the angle from which the story is told.
1. Third Person P.O.V – The narrator does not participate in the action of the story
as one of the characters but let us know exactly what the characters feel. (uses
third personal pronoun he, she, it, they)
2. First Person - The story is told by the protagonist or one of the characters who
interacts closely with the protagonist or other characters (using pronouns I, me, we,
etc).
The reader sees the story through this person's eyes as he/she experiences it and
only knows what he/she knows or feels.
3. Omniscient- A narrator who knows everything about the characters is all
knowing or omniscient.
a) Omniscient Limited - The author tells the story in third person (using pronouns
they, she, he, it, etc). We know only what the character knows and what the author
allows him/her to tell us. We can see the thoughts and feelings of characters if the
author chooses to reveal them to us.
b) Omniscient Objective – The author tells the story in the third person. It
appears a camera is following the characters, going anywhere, and recording only
what is seen and heard. No interpretations are offered. The reader is placed in the
position of spectator without the author there to explain. The reader must interpret
events on his own.
VI. THEME - The theme in a piece of fiction is its controlling idea or its central
insight. It is the author's underlying meaning or main idea that he is trying to
convey. The theme may be the author's thoughts about a topic or view of human
nature. The title of the short story usually points to what the writer is saying, and
he may use various figures of speech to emphasize his theme, such as: symbol,
allusion, simile, metaphor, hyperbole, or irony.
Some simple examples of common themes from literature, TV, and film are:
- things are not always as they appear to be
- Love is blind
- Believe in yourself
- People are afraid of change
- Don't judge a book by its cover
Presenting the theme of the prose:
• the feelings of the main character about the subject written about
• through the thoughts and conversations of different characters
• the experiences of the main character in the course of a literary work
• the actions and events taking place in a narrative
Theme Vs. Subject
• A poem’s subject is the topic of the poem, or what the poem is about
• The theme is an idea that the poem expresses about the subject or uses
the subject to explore
• Example: So, for example, in the Edgar Allan Poe poem “The Raven”, the
subject is the raven, who continually repeats a single word in response
to the speaker’s questions.
•
The theme of the poem, however, is the irreversibility of death—the
speaker asks the raven, in a variety of ways, whether or not he will see his
dead beloved again, to which the raven always replies “nevermore.”
Motifs
• Look for meaningful repeated elements in the poem, or motifs.
• An example from the poem “The Raven” is the repeated word “nevermore.”
• Whenever an element is repeated in a poem, you should assume it is both
intentional and meaningful.
• Motifs are often connected to the theme of the poem, as is the case
with “nevermore.” This connection is so close that many people use the
words “theme” and “motif” interchangeably.
VII. TONE
• When you speak, your tone of voice suggests your attitude.
• In fact, it suggests two attitudes: one concerning the people you’re
addressing (your audience) and the other concerning the thing you’re talking
about (your subject).
• That’s what the term tone means when it’s applied to poetry as well. Tone
can also mean the general emotional weather of the poem.
Example: “And the trees all died. They were orange trees. I don’t know why they
died, they just died. Something wrong with the soil possibly or maybe the stuff we
got from the nursery wasn’t the best. We complained about it. So we’ve got thirty
kids there, each kid had his or her own little tree to plant and we’ve got these thirty
dead trees. All these kids looking at these little brown sticks, it was depressing.”
Questions to Ponder: Can you still recall the novel that you have
analyzed when you were taking the 21 st Century Literature in the
Philippines and the World? How was the storyline? Was the author used
effectively the elements?
B. TECHNIQUES AND LITERARY DEVICES
A literary device is a technique that shapes narrative to produce an effect
on the reader. It is a literary or linguistic technique that produces a specific effect,
esp. a figure of speech, narrative style, or plot mechanism.
Plot Device - an object, character or a concept introduced into the story by the
author to introduce its plot.
1. Flashing arrow- technique used to focus the reader’s, but not the
characters’ attention on an object, or location.
Example: The Shutter
A man wonders on his consistent neck ache without knowing that he is
carrying the ghost all those times.
2. Red herring- it distracts the reader’s attention from the plot twist. It is used
to maintain tension and uncertainty.
Example: Professor Snape of Harry Potter
In Harry Potter and the Philosopher's Stone, Severus Snape is a red herring,
sneaky and behaving suspiciously but not, eventually guilty. In fact, Snape's
chequered path through the books is littered with red herrings. Less
ambiguously, Sirius Black is painted as an evil character, to be feared, which
is undermined when he finally meets Harry.
3. Deathtrap- device that the villain uses to try to kill the protagonist and
satisfy his own sadistic desires.
Example: Different Death scenes in Final Destination stories
4. Reverse chronology- is a technique where the story begins at the end and
works back toward the beginning.
Example: The White House Story where the story begins at the end and
progressed the story while taking the story backward.
5. ‘In medias res’- the narrative starts in the middle of the story instead of
from its beginning. Other events are often introduced through a series of
flashbacks.
Example: The Odyssey of Homer. The story started in the middle instead of
the beginning of the story. Flashbacks were used to introduce the initial
events in the story.
VISION - character share with the reader visions of the past or the future to explain
a character’s motives.
1. Dream sequence- series of dreams which allows the character to see
events that occur or have occurred in another time
Example: The Christmas Carol by Charles Dickens
Ebenezer Scrooge had a series of dreams which allowed him to see the events
happened in another time with the help of the Christmas ghosts of the past, present
and future and led him to change his attitude.
2. Analepsis (flashback)- prevents events from before the current time frame.
Flashbacks are usually presented as characters’ memories and are used to
explain their background.
Example: Titanic. The story used Rose, the main character, to tell the events
happened to Titanic.
3. Prolepsis (flash-forward)- presents events that will occur in the future.
Example: Final Destination seeing what will happen in the future.
4. Prophecy- is often used in science fiction to underline their futuristic
structures.
Example: Breaking Dawn’s Final Rival Scene between the Volturi and Bella Swan
and Edward Cullen’s family. Alice who has a premonition supernatural presented
the prophecy, the possible event that can be happened once the action will be
continued.
5. Foreshadowing- is a premonition, muck like a flash-forward, but only hints
at the future.
Example: Toy Story 2. The use of Buzz’s glass space helmet to ignite the rocket
string was foreshadowed when Buzz was accidentally burnt because of the glass
lens.
ENDING - refers to story endings
1. Cliff-hanger- an abrupt ending that leaves the plot incomplete, without
denouement, it often leaves characters in a precarious or difficult situation
which hint at the possibility of a sequel. Films with sequel are examples of
this.
2. Twist ending- is an unexpected finale that gives an entirely new vision on
the entire plot. It is a powerful technique but may leave the reader
dissatisfied and frustrated.
Example: Planet of the Apes. Twist: As Taylor escapes with mute companion
Nova (Linda Harrison), he is stunned to discover that he didn't land on a
distant planet, he was back on Earth, centuries into the future.
3. Happy ending- a finale when everything ends in the best way for the hero.
Example: Since the target audience are the children, Disney Movies have
Happy endings.
4. Deus ex machina- plot dating back to ancient Greek theater, where the
conflict is resolve through a means (god, or dues) that seem unrelated to the
story. This allows the author to end the story as desired without following the
logic and continuity of the story.
For a plot device to be a Deus Ex Machina, it has to satisfy the
following conditions:
 The plot is facing an impossible and hopeless problem, no existing characters
can solve.
 A new element is introduced.
 The element itself usually doesn't have any plot/character development to
set it up.
 Even if the element was previously mentioned, it was never used in such
fashion, or never explained to have such power.
 The element is here to solve this problem and disappear again. The element's
power was never used to solve other problems, even the situation is similar.
 The element is independent of character choices made in the story.
Perfect example of Deus ex machina is the Fairy Godmother of
Cinderella who helped her during the moment that the reader
thought that no one could help the main character.
Questions to Ponder: Among the literary techniques and devices
presented, which one for you is the most effective? What will be the
devices and techniques that you will use in your own fictional story?
What’s More
Learning Task 3: Read and Tell!
Directions: Read the statements with understanding. Identify the Theme, Subject
and Tone of the following excerpts. Use the table below and write your answers on
your answer sheet.
Literary Piece
1
2
3
4
5
Theme
Subject
Tone
1. The space travelers were travelling to the moon, when their spaceship
suddenly ran out of fuel. They were all frightened to learn that they wouldn’t
be able to return to Earth and could only land on the moon.
2. Their marriage ceremony was taking place in a grand hotel. All the eminent
people of the city were invited, the reason that the celebration was excellent.
3. The teacher said that she hoped all of her students would pass with good
grades.
4. The politician was delivering a speech on the need for peace between two
neighboring states. He said through peace they could achieve what not
possible through war.
5. The general commanded his troops to open fire at the enemy, and to kill each
and every soldier of the combatants.
Learning Task 4: Very Short Story Time
Directions: Read the short stories with understanding. Use the table below to
determine the parts of the plot in each story and write your answers on your answer
sheet.
Elements
1. Plot
Exposition
Rising Action
Climax
Falling Action
Denouement
2. Point of View
3. Characters
4. Setting
5. Conflict
Story 1
Story 2
1. Kaitlin wants to buy a puppy. She goes to the pound and begins looking
through the cages for her future pet. At the end of the hallway, she sees a
small, sweet brown dog with a white spot on its nose. At that instant, she
knows she wants to adopt him. After he receives shots and a medical
check, she and the dog, Berkley, go home together.
2. Scott wants to be on the football team, but he’s worried he won’t make the
team. He spends weeks working out as hard as possible, preparing for try
outs. At try outs, he amazes coaches with his skill as a quarterback. They ask
him to be their starting quarterback that year and give him a jersey. Scott
leaves the field, ecstatic!
Learning Task 5: Read and Appreciate
Directions: Read the short story with understanding and appreciation.
Broken Hope
by Skye Robertson
The Doctor hated his job, not all of it but this part. His job is usually so
rewarding. He saves people’s lives; he gives mothers their children. He is the
guardian angel that they pray for. He strides down the hospital halls, his footsteps
creating a symphony of righteous and warm music. The walls of the obstetrics
center painted with bright vibrant colors, full of sounds of happiness and joy. The
Doctor would walk down the hall full of pride. Standing straight a grin of true
content on his face. New fathers would greet him with thank you and handshakes.
And the mothers, while thankful could not bear to tear their gaze from their new
child’s face. They just mumbled thank you as they cried tears of joy. The nurses
would give him flirtatious looks, and he would send them right back. The interns
looked at him like he was a Rockstar, their hero. But not today, today was different.
He’d been sitting in his office, about to go see a patient, he was happy. When
he received an email from his friend, a doctor in the oncology department. He’d
consulted him to help with the test result for a patient. The patient he was going to
see, Cora Broehain and her husband Euston. He picked up a doughnut sitting on his
desk and took a bite while opening the file. He scanned over it looking for one word
humming the song Hero by Enrique Iglesias while looking. When he found the one
word he abruptly stopped, and his doughnut slipped from his hand. He read the
word over and over again and again, Hoping, praying that it was a mistake. He
called his friend, but their was none. All of the sudden he was being stared in the
face by the only part of his job that he hated. His shoulders slumped his happiness
and content gone. He slowly rose from his chair and walked down the hallway that
he usually loved so much. But today, the hallway was different. He wasn’t smiling,
he walked slowly drained of purpose. The walls were a grey and bleak. His footsteps
echoing down the hall making it sound as if he was being followed, haunted by
ghosts. As the doctor neared the end of the hall he came upon the door. He pauses
at the door listening to the sounds of laughter, joy, and love inside. All of this he
was about to ruin, he took a deep breath, knocked once, and walked inside.
Our lives were perfect, my wife Cora Broehain was laying on her back in a
hospital bed. Her swollen stomach exposed; her eyes fixed on the screen. Her
mouth parted as she took in our daughter, Hope. Still trapped in Cora’s stomach,
waiting to be released.
“Ohhhh Euston she’s perfect,” her voice choked with tears as she looks
toward her husband.
“Just like her mama,” I lean down and kiss her forehead. Then I kiss her belly.
“Euston stop,” I keep going and she goes from giggling to laughing. She’s still
laughing when we hear the knock on the door. That single knock signaling the end
of good times. Followed by Dr. Kevorkian sweeping in, his coat flapping like the
robes of Death himself.
“Hey Doc,” I rose and extended my arm to shake his hand but freezing when I
saw him flinch. He started sweating and his eyes shifted between Cora and me. I
knew that look, the look a deer gives when trapped in headlights. A look of
impending doom, my heart grew heavy and I took my wife's hand. She looked me in
the eye trying to discern what's wrong before finally piecing it together. Her
shoulder stiffened and her lips pursed, a tear already welling up in her eye.
“Euston, Cora I’m afraid I have some bad news,” He paused taking a breath
composing himself. “Your tests came back….. It’s Cancer.”
“No, No, No please God No,” Cora cry’s out screeching clawing into her
husband’s arms. Euston gathers her shaking form barely holding on himself.
“Please Doctor Kevorkian tell me there’s something we can do, anything
please.” Euston’s words frantic taking Dr. Kevorkian by the shoulders shaking him.
Eyes mad with grief searching his face but seeing the hard lines of bad news yet to
come.
“There’s more the treatment for your cancer,” his eyes nervously darted to
Cora’s. “Is extremely aggressive, you would normally have a high success rate.”
Then she’ll be okay right she has to be ok. Cora reaches out and touches his hand
Looking the doctor hard in the face.
“You said normally, what’s different here?” Dr. Kevorkian looked at her in grief
and unbearable pain.
“What’s different here is Hope, you can survive the treatment, but she can’t.
I’m sorry but you have to make a choice.” Wait what do you mean we have to make
a choice. Euston stands face red in anger, what kind of choice. Cora’s eyes fall down
already knowing the truth before the Dr. says it. “If your wife gets the chemo Hope
will die, but if she doesn’t your wife will die.
“How do we save her?”
“What are you talking about Cora you’re not gonna die.” Euston yelling at her
grabbing her gently tugging. Fully conscious of her condition. “You aren’t dying, we
can, we can have other kids.” Euston chock’s out stammering between tears.
“No baby we can’t, because I can’t let Hope die. We’ve been trying for years
we lost faith until God gave us this….. This hope. You have to hold onto her.”
“Don’t say that,” Eustons grief torn screech echoes out. “Don’t say that I
have to take care of her as if it’s already been decided.” He kneels down by her and
rests his head on her stomach. “Don’t talk like you’re already dead. Please you’re all
I have.” He’s racked with sobs as he hugs her swollen belly. Cora looks at the ceiling
trying to make the tears fall silently.
“Can you hear her?” She whispers silently her voice breaking. “Can you feel
her heartbeat? Remember the time I woke up and punched you because I thought
you kicked me?” Euston laughs through his tears choking on them.
“Not even born yet and still making us fight.” He keeps chuckling making
Cora smile. Cora grabs his head and looks him right in the eye’s. Tears pouring
down her face.
“Baby you know what I want, and I know what you want, but you have to
make the decision. But before you do. Just think of all the moments of happiness
she’s already given us, Choose.” Euston starts crying again before steeling himself.
He looks at Dr. Kevorkian who had been shifting awkwardly the whole time.
“I choose……”
The hill was moving as the pair climbed it. The wind blowing the grass every
direction. They walked to the lone headstone and kneeled before it. The man
appearing older than he was. Weathered by the storm of pain that makes up the
world. He stared at the tombstone no longer prey to tears, but forever filled with
grief. He squeezes the hand of his partner.
“I think about the choice I made everyday. I play it in my mind, but I still
chose you. Every year we come here not just because she died on this day. But
because it should remind us that the hard choices in life. The ones that come at a
great sacrifice, always have the best reward.” He looks down at his partner, “If
there’s one thing she taught me it would be to never give up Hope. Do you
understand sweetheart?” His partner looks up at him and smiles her candy smile.
“Yes daddy.”
Learning Task 6: Go Back with the Fifth
Directions: Go back with the story in the previous learning task. After reading the
story, arrange the sequence of events to create the plot the story. Use number 1-5
and write your answers on your answer sheet.
___ 1. They are in the cemetery visiting her wife and telling her child the great
sacrifice and choice that people will get through.
___ 2. They have to decide who will live, whether Cora will get chemo and the child
will die or Cora will die, and the Hope will save. Then Euston chose.
___ 3. Cora and Euston were on the Hospital and waiting for the result of the test.
When the doctor arrived and tell the result they were shocked knowing that Cora
has a cancer.
___ 4. The doctor received an email from a friend to help in a test. The doctor was
going to see Cora Broehain and her husband Euston to deliver the news. When he
read the result, he was shocked, and he thought it was just a mistake. He walked at
the hallway in a sad mood.
___ 5. The story starts by introducing and on discussing the job of the doctor. The
feeling of saving people’s life and the happiness he brought to a mother and
father’s face.
Learning Task 7: Element Time
Directions: Read the statements carefully. Identify the element of fictional prose
being described in each sentence. Write your answers on your answer sheet.
1. A point of view where the narrator is not included in the story. He is not one of the
characters and uses the pronouns she, he, it, they is called __.
2. A third person point of view where the narrator told as though a camera is
following the characters, going anywhere and everywhere and recording only what
is seen and heard is called __.
3. It is a kind of plot that follows a conventional arrangement of the events where
the story may begin in any part of the plot.
4. A Plot device technique used to focus the reader’s, but not the characters’
attention on an object, or location is called __.
5. A Vision Technique where series of dreams which allows the character to see
events that occur or have occurred in another time is called __.
6. It is the narrative starts in the middle of the story instead of from its beginning.
Other events are often introduced through a series of flashbacks.
7. It prevents events from previous to the current time frame. Flashbacks are
usually presented as characters’ memories and are used to explain their
background.
8. It is a plot dating back to ancient Greek theater, where the conflict is resolve
through a means (god, or dues) that seem unrelated to the story. This allows the
author to end the story as desired without following the logic and continuity of the
story.
9. The character’s Struggle takes place in his/her own mind. It is usually has
something to do with a choice (choosing between right or wrong), or it may have to
do with overcoming emotions or mixed feelings
10. In a piece of fiction is its controlling idea or its central insight, it is the author's
underlying meaning or main idea that he is trying to convey
What I Have Learned
Learning Task 8: “T-M-L Phrase
Complete the following phrases.
The Topic was about
______________________________________________________________________
It Matters because
______________________________________________________________________
I’ve Learned today that
______________________________________________________________________
What I Can Do
Learning Task 9: End it on your own way!
Directions: Go back with the story of Broken Hope, if you could change the ending of
the story, how would you end it? Write your ending part on your answer sheet.
Also, determine the Plot Device and Vision used in the story. Use the table below.
Plot Device of the Story
Vision of the Story
Your Own Ending
Learning Task 10: Try to Read some!
Directions: Read and list down two literary pieces from the local and foreign writers.
Appreciate the elements, literary techniques and forms used by the authors. Write
your general comments and reactions about the stories. Do this on your answer
sheet.
Assessment
Identifying Time! Directions: Read the story with understanding and appreciation.
Using the outline below, identify the elements, literary devices and techniques used
by the writer of the story. Write your answers on your answer sheet.
THE LAST LEAF
O. Henry
In a little district west of Washington Square the streets have run crazy and
broken themselves into small strips called "places." These "places" make strange
angles and curves. One Street crosses itself a time or two. An artist once discovered
a valuable possibility in this street. Suppose a collector with a bill for paints, paper
and canvas should, in traversing this route, suddenly meet himself coming back,
without a cent having been paid on account!
So, to quaint old Greenwich Village the art people soon came prowling,
hunting for north windows and eighteenth-century gables and Dutch attics and low
rents. Then they imported some pewter mugs and a chafing dish or two from Sixth
Avenue and became a "colony."
At the top of a squatty, three-story brick Sue and Johnsy had their studio.
"Johnsy" was familiar for Joanna. One was from Maine, the other from California.
They had met at the table d'hôte of an Eighth Street "Delmonico's," and found their
tastes in art, chicory salad and bishop sleeves so congenial that the joint studio
resulted.
That was in May. In November a cold, unseen stranger, whom the doctors
called Pneumonia, stalked about the colony, touching one here and there with his
icy fingers. Over on the east side this ravager strode boldly, smiting his victims by
scores, but his feet trod slowly through the maze of the narrow and moss-grown
"places."
Mr. Pneumonia was not what you would call a chivalric old gentleman. A mite
of a little woman with blood thinned by California zephyrs was hardly fair game for
the red-fisted, short-breathed old duffer. But Johnsy he smote; and she lay, scarcely
moving, on her painted iron bedstead, looking through the small Dutch
windowpanes at the blank side of the next brick house.
One morning the busy doctor invited Sue into the hallway with a shaggy, grey
eyebrow.
"She has one chance in - let us say, ten," he said, as he shook down the
mercury in his clinical thermometer. " And that chance is for her to want to live. This
way people have of lining-u on the side of the undertaker makes the entire
pharmacopoeia look silly. Your little lady has made up her mind that she's not going
to get well. Has she anything on her mind?"
"She - she wanted to paint the Bay of Naples someday." said Sue.
"Paint? - bosh! Has she anything on her mind worth thinking twice - a man for
instance?"
"A man?" said Sue, with a jew's-harp twang in her voice. "Is a man worth but, no, doctor; there is nothing of the kind."
"Well, it is the weakness, then," said the doctor. "I will do all that science, so
far as it may filter through my efforts, can accomplish. But whenever my patient
begins to count the carriages in her funeral procession, I subtract 50 per cent from
the curative power of medicines. If you will get her to ask one question about the
new winter styles in cloak sleeves, I will promise you a one-in-five chance for her,
instead of one in ten."
After the doctor had gone Sue went into the workroom and cried a Japanese
napkin to a pulp. Then she swaggered into Johnsy's room with her drawing board,
whistling ragtime.
Johnsy lay, scarcely making a ripple under the bedclothes, with her face
toward the window. Sue stopped whistling, thinking she was asleep.
She arranged her board and began a pen-and-ink drawing to illustrate a
magazine story. Young artists must have their way to Art by drawing pictures for
magazine stories that young authors write to pave their way to Literature.
As Sue was sketching a pair of elegant horseshow riding trousers and a
monocle of the figure of the hero, an Idaho cowboy, she heard a low sound, several
times repeated. She went quickly to the bedside.
Johnsy's eyes were open wide. She was looking out the window and counting
- counting backward.
"Twelve," she said, and little later "eleven"; and then "ten," and "nine"; and
then "eight" and "seven", almost together.
Sue look solicitously out of the window. What was there to count? There was
only a bare, dreary yard to be seen, and the blank side of the brick house twenty
feet away. An old, old ivy vine, gnarled and decayed at the roots, climbed halfway
up the brick wall. The cold breath of autumn had stricken its leaves from the vine
until its skeleton branches clung, almost bare, to the crumbling bricks.
"What is it, dear?" asked Sue.
"Six," said Johnsy, in almost a whisper. "They're falling faster now. Three days
ago, there were almost a hundred. It made my headache to count them. But now it's
easy. There goes another one. There are only five left now."
"Five what, dear? Tell your Sudie."
"Leaves. On the ivy vine. When the last one falls, I must go, too. I've known
that for three days. Didn't the doctor tell you?"
"Oh, I never heard of such nonsense," complained Sue, with magnificent
scorn. "What have old ivy leaves to do with your getting well? And you used to love
that vine so, you naughty girl. Don't be a goosey. Why, the doctor told me this
morning that your chances for getting well real soon were - let's see exactly what he
said - he said the chances were ten to one! Why, that's almost as good a chance as
we have in New York when we ride on the street cars or walk past a new building.
Try to take some broth now, and let Sudie go back to her drawing, so she can sell
the editor man with it, and buy port wine for her sick child, and pork chops for her
greedy self."
"You needn't get any more wine," said Johnsy, keeping her eyes fixed out the
window. "There goes another. No, I don't want any broth. That leaves just four. I
want to see the last one fall before it gets dark. Then I'll go, too."
"Johnsy, dear," said Sue, bending over her, "will you promise me to keep your
eyes closed, and not look out the window until I am done working? I must hand
those drawings in by to-morrow. I need the light, or I would draw the shade down."
"Couldn't you draw in the other room?" asked Johnsy, coldly.
"I'd rather be here by you," said Sue. "Besides, I don't want you to keep
looking at those silly ivy leaves."
"Tell me as soon as you have finished," said Johnsy, closing her eyes, and
lying white and still as fallen statue, "because I want to see the last one fall. I'm
tired of waiting. I'm tired of thinking. I want to turn lose my hold on everything, and
go sailing down, down, just like one of those poor, tired leaves."
"Try to sleep," said Sue. "I must call Behrman up to be my model for the old
hermit miner. I'll not be gone a minute. Don't try to move 'til I come back."
Old Behrman was a painter who lived on the ground floor beneath them. He
was past sixty and had a Michael Angelo's Moses beard curling down from the head
of a satyr along with the body of an imp. Behrman was a failure in art. Forty years
he had wielded the brush without getting near enough to touch the hem of his
Mistress's robe. He had been always about to paint a masterpiece but had never yet
begun it. For several years he had painted nothing except now and then a daub in
the line of commerce or advertising. He earned a little by serving as a model to
those young artists in the colony who could not pay the price of a professional. He
drank gin to excess, and still talked of his coming masterpiece. For the rest he was a
fierce little old man, who scoffed terribly at softness in anyone, and who regarded
himself as especial mastiff-in-waiting to protect the two young artists in the studio
above.
Sue found Behrman smelling strongly of juniper berries in his dimly lighted
den below. In one corner was a blank canvas on an easel that had been waiting
there for twenty-five years to receive the first line of the masterpiece. She told him
of Johnsy's fancy, and how she feared she would, indeed, light, and fragile as a leaf
herself, float away, when her slight hold upon the world grew weaker.
Old Behrman, with his red eyes plainly streaming, shouted his contempt and
derision for such idiotic imaginings.
"Vass!" he cried. "Is dere people in de world mit der foolishness to die
because leafs dey drop off from a confounded vine? I haf not heard of such a thing.
No, I will not bose as a model for your fool hermit-dunderhead. Vy do you allow dot
silly pusiness to come in der brain of her? Ach, dot poor leetle Miss Johnsy."
"She is very ill and weak," said Sue, "and the fever has left her mind morbid
and full of strange fancies. Very well, Mr. Behrman, if you do not care to pose for
me, you needn't. But I think you are a horrid old - old flibbertigibbet."
"You are just like a woman!" yelled Behrman. "Who said I will not bose? Go
on. I come mit you. For half an hour I haf peen trying to say dot I am ready to bose.
Gott! dis is not any blace in which one so goot as Miss Johnsy shall lie sick. Someday
I vill baint a masterpiece, and ve shall all go away. Gott! yes."
Johnsy was sleeping when they went upstairs. Sue pulled the shade down to
the windowsill, and motioned Behrman into the other room. In there they peered out
the window fearfully at the ivy vine. Then they looked at each other for a moment
without speaking. A persistent, cold rain was falling, mingled with snow. Behrman, in
his old blue shirt, took his seat as the hermit miner on an upturned kettle for a rock.
When Sue awoke from an hour's sleep the next morning, she found Johnsy
with dull, wide-open eyes staring at the drawn green shade.
"Pull it up; I want to see," she ordered, in a whisper.
Wearily Sue obeyed.
But, lo! after the beating rain and fierce gusts of wind that had endured
through the livelong night, there yet stood out against the brick wall one ivy leaf. It
was the last one on the vine. Still dark green near its stem, with its serrated edges
tinted with the yellow of dissolution and decay, it hung bravely from the branch
some twenty feet above the ground.
"It is the last one," said Johnsy. "I thought it would surely fall during the night.
I heard the wind. It will fall to-day, and I shall die at the same time."
"Dear, dear!" said Sue, leaning her worn face down to the pillow, "think of
me, if you won't think of yourself. What would I do?"
But Johnsy did not answer. The lonesomest thing in all the world is a soul
when it is making ready to go on its mysterious, far journey. The fancy seemed to
possess her more strongly as one by one the ties that bound her to friendship and
to earth were loosed.
The day wore away, and even through the twilight they could see the lone ivy
leaf clinging to its stem against the wall. And then, with the coming of the night the
north wind was again loosed, while the rain still beat against the windows and
pattered down from the low Dutch eaves.
When it was light enough Johnsy, the merciless, commanded that the shade
be raised.
The ivy leaf was still there.
Johnsy lay for a long time looking at it. And then she called to Sue, who was
stirring her chicken broth over the gas stove.
"I've been a bad girl, Sudie," said Johnsy. "Something has made that last leaf
stay there to show me how wicked I was. It is a sin to want to die. You may bring a
me a little broth now, and some milk with a little port in it, and - no; bring me a
hand-mirror first, and then pack some pillows about me, and I will sit up and watch
you cook."
And hour later she said:
"Sudie, someday I hope to paint the Bay of Naples."
The doctor came in the afternoon, and Sue had an excuse to go into the
hallway as he left.
"Even chances," said the doctor, taking Sue's thin, shaking hand in his. "With
good nursing you'll win." And now I must see another case I have downstairs.
Behrman, his name is - some kind of an artist, I believe. Pneumonia, too. He is an
old, weak man, and the attack is acute. There is no hope for him; but he goes to the
hospital to-day to be made more comfortable."
The next day the doctor said to Sue: "She's out of danger. You won. Nutrition
And that afternoon Sue came to the bed where Johnsy lay, contentedly
knitting a very blue and very useless woollen shoulder scarf, and put one arm
around her, pillows and all.
"I have something to tell you, white mouse," she said. "Mr. Behrman died of
pneumonia to-day in the hospital. He was ill only two days. The janitor found him
the morning of the first day in his room downstairs helpless with pain. His shoes and
clothing were wet through and icy cold. They couldn't imagine where he had been
on such a dreadful night. And then they found a lantern, still lighted, and a ladder
that had been dragged from its place, and some scattered brushes, and a palette
with green and yellow colours mixed on it, and - look out the window, dear, at the
last ivy leaf on the wall. Didn't you wonder why it never fluttered or moved when
the wind blew? Ah, darling, it's Behrman's masterpiece - he painted it there the
night that the last leaf fell."
I.
II.
III.
IV.
V.
VI.
Characters (Consider the kinds of characters)
Setting (Consider the elements of setting)
Plot (Identify the five parts of a plot)
Theme, Tone, Subject, Motif
Conflict and Point of View
Plot Device, Vision and Finale used in the story
Creative Writing
Writing journal entries and other
short compositions exploring key
Elements of Fiction
Creative Writing – Specialized Subject
Alternative Delivery Mode
Quarter 1 – Lesson 5: Writing journal entries and other short compositions exploring key elements of fiction
First Edition, 2020
Introductory Message
For the Facilitator:
Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.
This module was collaboratively designed, developed and reviewed by educators both from public and private institutions to assist you, the teacher or
facilitator in helping the learners meet the standards set by the K to 12 Curriculum while overcoming their personal, social, and economic constraints in
schooling.
This learning resource hopes to engage the learners into guided and independent learning activities at their own pace and time. Furthermore, this also
aims to help learners acquire the needed 21st century skills while taking into consideration their needs and circumstances.
As a facilitator you are expected to orient the learners on how to use this module. You also need to keep track of the learners' progress while allowing
them to manage their own learning. Furthermore, you are expected to encourage and assist the learners as they do the tasks included in the module.
For the Learner:
Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.
The hand is one of the most symbolized part of the human body. It is often used to depict skill, action and purpose. Through our hands we may learn,
create, and accomplish. Hence, the hand in this learning resource signifies that you as a learner is capable and empowered to successfully achieve the
relevant competencies and skills at your own pace and time. Your academic success lies in your own hands!
This module was designed to provide you with fun and meaningful opportunities for guided and independent learning at your own pace and time. You will
be enabled to process the contents of the learning resource while being an active learner.
This module has the following parts and corresponding icons:
What I Need to Know
What I Know
What’s In
What’s New
What is It
What’s More
What I Have Learned
What I Can Do
This will give you an idea of the skills or competencies you are expected to learn in the module.
This part includes an activity that aims to check what you already know about the lesson to take.
If you get all the answers correct (100%), you may decide to skip this module.
This is a brief drill or review to help you link the current lesson with the previous one.
In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a situation.
This section provides a brief discussion of the lesson. This aims to help you discover and
understand new concepts and skills.
This comprises activities for independent practice to solidify your understanding and skills of the
topic. You may check the answers to the exercises using the Answer Key at the end of the
module.
This includes questions or blank sentence/paragraph to be filled in to process what you learned
from the lesson.
This section provides an activity which will help you transfer your new knowledge or skill into real
Weeks
7-8
life situations or concerns.
What I Need to Know
This lesson was designed and written with you in mind. It is here to help you master
the various elements, techniques, and literary devices in specific forms of fictional
prose. The scope of this module permits it to be used in many different learning
situations.
In this lesson, you will be mastering the essential elements, techniques and literary
devices in specific forms of fictional prose. I will also show sample works of wellknown local and foreign writers.
At the end of this lesson, you will be producing a short, well-crafted journal entries
or short compositions.
After going through this lesson, you are expected to:
1. write journal entries and other short compositions exploring key elements
of fiction (HUMSS_CW/MPlg-i-13)
2. use some of the learned elements, techniques, and literary devices.
3. appreciate literary pieces written by local and foreign writers.
What I Know
Directions: Using the provided acrostic, present what have you known about the
previous lesson about the elements of fiction. Consider the provided clue on each letter
of the acrostic. Do this on your answer sheet.
S – SCENARIO
T – TALKING
CHARACTERS
O – OOPS! A
PROBLEM!
R – ATTEMPTS TO
RESOLVE THE
PROBLEM
Y – YES, THE PROBLEM IS SOLVED!
What’s In
Learning Task 1: Recall the Elements
Directions: Knowing your writing preferences will help you be more successful
in your writing process. The use of elements of fiction will help you to retell the
story effectively. Answer the following questions on your paper.
1. What fiction genre do you prefer to write? Why?
2. How will you use your learned elements of fiction?
What’s New
Learning Task 2: Say Something!
Directions: Tell something about the provided pictures. Write your statements on
your paper.
1. ______________
2. ___________________
4. ________________
________________
5. _____________________
3. _______________
6.
What is It
In this part of your journey, we provide something for you to deepen your
understanding about writing process considering the different genres of fiction and
some tips in writing a story. This will help you to utilize your understandings in using
the fictional elements, literary devices, and techniques.
Please continue reading with comprehension as you discover further
knowledge that will help you out in your quest on the remaining phases of this
lesson.
Fictional Genres
There are general rules to follow, for example, manuscript length, character
types, settings, themes, viewpoint choices, and plots. Certain settings suit specific
genres. These will vary in type, details, intensity, and length of description. The tone
employed by the author, and the mood created for the reader, must also suit the
genre.
Why Does Genre Matter?
Genres are great because they fulfil reader expectations. We purchase certain
books since we have appreciated comparative stories previously. Perusing these
books gives us a feeling of having a place, of plunking down with an old companion
and knowing we're on recognizable ground. There is additionally a brotherhood
between readers who follow similar classes.
Journalists can utilize this for their potential benefit on the grounds that their
limits are models on which to base stories. Sorts reflect patterns in the public arena,
and they advance when authors push the limits. At last choose if the trial has
worked by purchasing these books.
The most significant piece of sort fiction, however, is that it satisfies our
human requirement for classic narrating. We some of the time need stories we can
depend on to dull the unforgiving real factors of life.
These are some of the fictional genres that you may encounter while reading
a story or watching a film. But, let us focus only with some of the most common
fictional genres that you may select in writing your own fictional story.
1. FANTASY
A story that is imaginative but could never really happen. The setting may be
of another world. Characters might be magical like talking animals, sorceries,
witches and wizardry. It is a genre of imaginative fiction involving magic and
adventure, especially in a setting other than the real world.
Many fantasy novels involve adventure as a key feature. Characters may
discover portals to other worlds or discover hidden magic, wonder and surprise in
our own world. Novels from C.S. Lewis’s classic Chronicles of Narnia series to J.K.
Rowling’s Harry Potter series populate imaginary worlds with mythical beasts,
power-seeking tyrants and more.
Characters adventure through worlds where the impossible is possible.
Exploring the ‘impossible’ is another common element in fantasy. Magical wands
may weave spells that defy the laws of physics as we know them.
Other times magic is spoken, chanted, or ripples through land and landscape.
Element 1: Magic
The word magic comes from the Greek magikos, from magos. This means
‘one of the members of the learned and priestly class’. This explains how magic, in
fantasy, is often associated with learning, with complex books and rituals.
Magic in great books takes many forms. The apprentice wizards in J.K.
Rowling’s Harry Potter duel with wands. In C.S. Lewis’ Narnia series, a witch casts a
spell over the Kingdom of Narnia, plunging it into eternal winter. She also destroys a
secondary world by speaking ‘the Deplorable Word’.
Element 2: Adventure
Adventure in fantasy is common, from bands of travelling, questing heroes
(like Frodo and friends in Tolkien’s The Lord of the Rings) to girls who fall down
magical rabbit holes (Alice in Wonderland).
Adventure in fantasy often features another meaning of magic:
‘A quality of being beautiful and delightful in a way that seems remote from
daily life.’
Adventure does indeed take us to places that seem remote from daily life, full
of new joys and discoveries (or dangers). In Frodo’s adventures, he finds both the
dazzling land of the elves, Lothlorien, and the foul, stinking lands of Mordor where
the story’s villain resides.
Adventure means ‘an unusual and exciting or daring experience’, as well as
‘excitement associated with danger or the taking of risks.’
Element 3: Struggle for mystery
Themes of struggle and mastery are found in many forms throughout many
fantasy novels. Part of this is due to fantasy’s origins in ideas of arcane, ‘special’,
yet volatile and dangerous knowledge. The initiate often must learn to control the
unpredictable surges of ‘wild’ magic, to trace or utter the ‘right’ thing to achieve the
desired effect.
This process of struggle and mastery is often shown in character
development. Sometimes characters use power irresponsibly. For example, a
character tries to ruin a magical game of the airborne sport Quidditch in Rowling’s
fantasy series. Struggle in fantasy fiction includes:
Struggle for mastery of self: Understanding and using one’s own power
effectively or wisely
Conflict between those who use their own magical mastery for positive or
destructive ends
Element 4: Setting
Because of its exploration of the otherworldly and the supernatural, place is a
key aspect of many fantasy novels. Some places are created through magic. The
lion Aslan sings the Kingdom of Narnia into being in C.S. Lewis’ lore. (A Christian
mythology parallel to the Creation in the Bible.) By contrast, Jadis, the White Witch,
destroys a whole world by speaking a powerful word.
In fantasy, we often strongly experience both characters’ effects on their
world, and their worlds effects and influence on them.
These are some of the literary pieces under fantasy genre:
1. The Tale of Peter Rabbit, by Beatrix Potter
2. The Adventures of Pinocchio, by Carlo Collodi
3. Charlie and Chocolate Factory, by Roald Dahl
4. Alice Adventures in Wonderland, by Lewis Carroll
5. Harry Potter and the Sorcerer’s Stone, by K. Rowling
6. Gulliver’s Travels, by Jonathan Swift
7. The Lord of the Rings trilogy / Hobbit, by J. R. R. Tolkien
2. HISTORICAL FICTION
A story that takes place in a historically accurate time and setting. The
characters and some events are fictional.
Element 1: Character – whether real or imagined, characters behave in
keeping with the era they inhabit, even if they push the boundaries. And that means
discovering the norms, attitudes, beliefs and expectations of their time and station
in life.
Element 2: Dialogue - is cumbersome and difficult to understand detracts
from readers’ enjoyment of historical fiction. Dip occasionally into the vocabulary
and grammatical structures of the past by inserting select words and phrases so
that a reader knows s/he is in another time period.
Element 3: Setting – setting is time and place. More than 75% of
participants in a 2013 reader survey selected ‘to bring the past to life’ as the
primary reason for reading historical fiction. Your job as a writer is to do just that.
Even more critically, you need to transport your readers into the past in the first few
paragraphs. Consider these opening sentences.
Element 4: Plot – the plot has to make sense for the time period. And plot
will often be shaped around or by the historical events taking place at that time.
This is particularly true when writing about famous historical figures. When
considering those historical events, remember that you are telling a story not
writing history.
Element 5: Conflict – the problems faced by the characters in your story. As
with theme and plot, conflict must be realistic for the chosen time and place.
Readers will want to understand the reasons for the conflicts you present. An
unmarried woman in the 15th century might be forced into marriage with a difficult
man or the taking of religious vows. Both choices lead to conflict.
These are some of the literary pieces under historical fiction genre:
War and Peace by Leo Tolstoy
Tolstoy's epic masterpiece depicting the French invasion of Russia during the
Napoleonic era
Memoirs of a Geisha by Arthur Golden
The fictional memoir of a geisha, from age nine to adulthood, in pre- and post
WWII Japan.
The Hunchback of Notre-Dame by Victor Hugo
A gothic novel that inspired a flood of tourists to Paris' most famous
cathedral.
The friar's daughter : a story of the American occupation of the Philippines
/ (Girard, Kansas : the author, 1909), by Charles Lincoln Phifer (page images at
HathiTrust)
Luha at dugo : (hayag na pangyayari, buhat ng 1895 hanggang 1913) by M.
B. Sevilla.
3. SCIENCE FICTION
A story that is typically set in the future or on other planets. It is based on the
impact of actual, imagined, or potential science. It is a type of imaginative
literature. It provides a mental picture of something that may happen on realistic
scientific principles and facts. This fiction might portray, for instance, a world where
young people are living on Mars. Hence, it is known as “futuristic fiction.” It
dramatizes the wonders of technology, and resembles heroic fantasy where magic
is substituted with technology.
Often called “sci-fi,” is a genre of fiction literature whose content is imaginative,
but based in science. It relies heavily on scientific facts, theories, and principles as
support for its settings, characters, themes, and plot-lines, which is what makes it
different from fantasy.
Importance of Science Fiction
Many times, science fiction turns real scientific theories into full stories about
what is possible and/or imaginable. Many stories use hard facts and truths of
sciences to:
 suggest what could really happen in the future
 to explore what could happen if certain events or circumstances came to
be or
 suggest consequences of technological and scientific advancements and
innovation.
Historically it has been a popular form for not only authors, but scientists as well.
In the past 150 years, science fiction has become a huge genre, with a particularly
large presence in film and television—in fact, the TV network “SciFi” is completely
devoted to science fiction media. It is a particularly fascinating and mind-bending
genre for audiences because of its connection to reality.
These are some of the literary pieces under Science Fiction genre:
1.
2.
3.
4.
5.
6.
7.
8.
The Avengers
Frankenstein, or, The Modern Prometheus by Mary Wollstonecraft Shelley
Nineteen Eighty-Four by George Orwell
Fahrenheit 451 by Ray Bradbury
The Time Machine by H. G. Wells
Men in Black 3 by Barry Sonnenfeld
Planet of the Apes by Franklin J. Schaffner
The Matrix by Wachowski brothers
4. MYSTERY FICTION
Mystery (pronounced mis-tuh-ree, ) is a genre of literature whose stories
focus on a puzzling crime, situation, or circumstance that needs to be solved. The
term comes from the Latin mysterium, meaning “a secret thing.” stories can be
either fictional or nonfictional, and can focus on both supernatural and nonsupernatural topics. Many mystery stories involve what is called a “whodunit”
scenario, meaning the mystery revolves around the uncovering a culprit or criminal.
Importance of Mystery
Mysteries began to gain popularity in the Victorian era, mostly in the form of
gothic literature, which was primarily for women. Since then it has developed in
both form and reach, and has become a widely read genre among male and female
readers of all ages. Mysteries are important because they feature topics that are
usually both fascinating and troubling to the human mind—unsolved crimes,
unexplained questions and events in natural and human history, supernatural
curiosities, and so on.
The late 1800’s gave rise to the iconic fictional character Sherlock Holmes, a
detective who is featured in a series of mystery novels and short stories written by
Sir Arthur Conan Doyle. Most of the stories are told from the perspective of Dr.
Watson, Holmes’s assistant and companion. Holmes is an independent detective
based in London with eccentric personality and highly logical reasoning skills. Below
is a short selection from the novel The Hound of Baskerville:
Another item had been added to that constant and apparently
purposeless series of small mysteries which had succeeded each other so
rapidly. Setting aside the whole grim story of Sir Charles’s death, we had
a line of inexplicable incidents all within the limits of two days, which
included the receipt of the printed letter, the black-bearded spy in the
hansom, the loss of the new brown boot, the loss of the old black boot,
and now the return of the new brown boot. Holmes sat in silence in the
cab as we drove back to Baker Street, and I knew from his drawn brows
and keen face that his mind, like my own, was busy in endeavouring to
frame some scheme into which all these strange and apparently
disconnected episodes could be fitted.
Here, Watson is running through some of the clues to the victim’s death in
his head. He also expresses his familiarity with Holmes’ character and skills by
telling the audience that he knows the detective is finding the connections between
all of these clues in his mind; which will inevitably lead to the solving of the
mysterious murder.
These are some of the literary pieces under Mystery Fiction genre:
1. The Girl with the Dragon Tattoo, Stieg Larsson
A run-away bestseller, The Girl with the Dragon Tattoo has everything a
mystery requires. Murder, family ties, love in the air, and financial
shenanigans. What happened to Harriet Vanger who disappeared forty years
ago? Mikael Blomkvist, a disgraced journalist, and Lisbeth Salander, a
tattooed and pierced hacker genius, are on the case. They uncover family
iniquity and corruption at the top of Sweden’s industrial ladder.
2. And Then There Were None, Agatha Christie
Ten people, strangers, gather on a private island as weekend guests of
an unseen eccentric millionaire. These strangers have secrets to keep, but
one by one they are murdered. They all have something in common, though
—they each have a wicked past they’re hiding, a secret that seals their fate.
Only the dead are above suspicion.
3. The Curious Incident of the Dog in the Night-Time, Mark Haddon
Christopher John Francis Boone’s logical mind can find patterns and
rules for everything but has little time or inclination for understanding human
emotions. When his neighbor’s dog, Wellington, is killed, he starts a quest to
find the killer using Sherlock Holmes as his model.
5. REALISTIC FICTION
 A story that seems real or could happen in real life. It is set in present day
and includes modern day problems and events.
Characteristics of Realistic Fiction
A quick way to classify a story or novel as realistic fiction is to identify the
following characteristics within that literary work:
1.
2.
3.
4.
Realistic fiction stories tend to take place in the present or recent past.
Characters are involved in events that could happen.
Characters live in places that could be or are real.
The characters seem like real people with real issues solved in a realistic way
(so say goodbye to stories containing vampires, werewolves, sorcerers,
dragons, zombies, etc.).
5. The events portrayed in realistic fiction conjure questions that a reader could
face in everyday life.
Realistic fiction attempts to portray the world as it is. It contains no fantasy,
no supernatural elements, and it usually depicts ordinary people going about the
business of daily living, with all its joys, sorrow, successes, and failures.
Over the past 150 years, children's literature has gradually moved from a
romantic view of the world toward a more realistic view (*Note: "Romance" refers to
the fiction portraying a world that seems happier than the one we live in). Subjects
that were once taboo in realistic fiction are now commonplace, and language and
character development are presented with greater candor and boldness.
1.
2.
3.
4.
5.
6.
7.
8.
In good realistic fiction,
the characters are engaging and believable.
the dialogue is believable.
the plot is fresh and original.
the setting is true to life.
the problems faced by the characters are honestly portrayed.
the resolution makes sense.
the theme grows naturally out of the action and characters - the writer does
not preach at us.
These are some of the literary pieces under Mystery Fiction genre:
1. The Fault in Our Stars by John Green
John Green’s fourth novel, The Fault in Our Stars, has gained a following
among tween and teen readers. This is partly due to its tragic love story, but
may also be due to its thought-provoking subject matter. The book explores
philosophical questions about the meaning of life, death, and suffering. While
adults may find the topics in this novel heavy and too mature for children,
Green believes that young readers are probably already thinking about them.
2. Diary of a Wimpy Kid by Jeff Kinney
Diary of a Wimpy Kid, a realistic fiction novel, humorously describes the
troubles of being in middle school and trying to fit in with integrated text and
drawings. This is the first book in the immensely popular Diary of a Wimpy
Kid series.
3. A Walk to Remember by Nicholas Sparks
Every April, when the wind blows from the sea and mingles with the
scent of lilacs, Landon Carter remembers his last year at Beaufort High. It
was 1958, and Landon had already dated a girl or two. He even swore that he
had once been in love. Certainly the last person in town he thought he’d fall
for was Jamie Sullivan, the daughter of the town’s Baptist minister. A quiet
girl who always carried a Bible with her schoolbooks, Jamie seemed content
living in a world apart from the other teens. She took care of her widowed
father, rescued hurt animals, and helped out at the local orphanage. No boy
had ever asked her out. Landon would never have dreamed of it. Then a twist
of fate made Jamie his partner for the homecoming dance, and Landon
Carter’s life would never be the same. Being with Jamie would show him the
depths of the human heart and lead him to a decision so stunning it would
send him irrevocably on the road to manhood.
6. HORROR
The horror genre in literature dates back to Ancient Greece and Ancient
Rome, where horror stories explored themes related to death, demons, evil spirits,
and the afterlife. Examples include the ancient Greek tragedy Hippolytus by
Euripides, a gruesome story about how jealousy and a lack of empathy can lead to
tragedy; and Parallel Lives by Plutarch, a series of biographies highlighting the
many moral failures of man.
The gothic novel, a genre of horror that focuses specifically on death,
originated in the eighteenth century and is exemplified by the author Edgar Allan
Poe. Horror literature in the nineteenth century and twentieth centuries often
focused on tales involving occult ideas, like Mary Shelly’s Frankenstein (1818) or
Bram Stoker’s Dracula (1897).
Modern horror novels have expanded the genre to include new elements
and contemporary themes, like serial killers and slasher stories—Stephen King’s The
Shining (1977) is a perfect example—as well as genre mashups that combine horror
with historical fantasy, and modern interpretations of fantastical creatures, like
ghosts, vampires, werewolves, and witches.
Other Fictional Genres:
7. Adventure - A story where a protagonist and other major characters and are
placed in dangerous situations. The characters must use their wit and skills to
defeat the antagonist.
8. Folktales
a. Fable - A brief story that is meant to tell a lesson or a moral. The
characters are usually animals with human characteristics.
b. Fairy Tale - A story that has magical elements. The characters are
usually fairies, giants, elves, and other magical creatures.
c. Legend - A story usually about a national or folk hero. This story takes
place in a particular time and place and is partly true and partly fiction.
The character traits of the hero are typically exaggerated.
d. Tall Tale - A humorous story with extreme exaggerations. The main
character, or hero, usually does impossible things with ease.
e. Myth - A story that is often based on a historical event that is meant
to serve as an explanation for some phenomenon of nature or human
behavior. Characters are usually gods.
Questions to Ponder: Among the fictional genres presented, which
is/are interesting to you? What are your reasons why do you like the
genre/s?
Tips in Creative Writing – Writing a Fictional Story
Knowing that after taking this module, you will be writing your own wellcrafted poem considering the elements, techniques and devices presented. You
have also to decide the form of the poetry, the diction, tone and other essential
elements that you have learned in the previous modules.
Some Tips in Writing a Fictional Story
Writing fiction is not as hard as it seems, as long as you follow these eight
simple rules:
1. Choose what design you need to compose your fiction in. This may rely
upon what kind of story you need to tell. For instance, on the off chance that you
need to compose an epic dream that traverses numerous ages, a novel (or even a
progression of books) may work superior to a short story. In case you're keen on
investigating the mind of a solitary character, a short story might be perfect
2. Show, don’t tell. Recall sharing time in grade school, when you'd acquire an
article from home and discussion about it? I need you to recollect that experience
and the exercises about narrating it bestowed. At that point concoct a time
machine, and travel back to primary school, and find a new line of work as a
second-grade educator, and ensure you get yourself as an understudy in your
group, and in the time machine bring along an iPhone, and offer it to your secondgrade self. All the children will be overwhelmed, despite the fact that it won't get
telephone gathering since mobile phone towers haven't been fabricated at this
point. The more youthful you will create more noteworthy confidence from your
recently discovered notoriety, and proceed to lead a more extravagant grown-up
life, and have more material to expound on.
3. Build up the stakes early. To be connecting with, your fiction needs clear
stakes for its characters. These don't need to be world-breaking, yet they do need
to feel critical to the characters.
For instance, regardless of whether a courageous woman gets the chance to be
involved with the individual she adores likely won't be the apocalypse for every
other person, yet it is something that ought to be significant for the character.
Some of the time, the stakes truly are the apocalypse, for example, in J.R.R.
Tolkien's Lord of the Rings arrangement, wherein the characters' inability to
pulverize the One Ring will bring about the pulverization of Middle Earth by evil.
These kinds of stakes are generally best saved for dream and legends.
4. Create three-dimensional characters. Let's assume you're expounding on a
hard-charging broker who's having an extramarital illicit relationship. This is a
decent beginning, however to abstain from transforming him into an adage, you
have to round him out in three measurements. In each passage, tell the peruser
precisely how high, wide, and long he is.
5. Figure out the basic setting and plot. You have to have a strong feeling of
what your story's reality resembles, who lives on the planet, and what will occur in
your story before you begin composing full scenes and sections. In the event that
you have a decent comprehension of your characters, which you ought to have in
the wake of conceptualizing, let their characters and blemishes control your plot.
For setting, ask yourself questions like these: When is it? Is it in the present? The
future? The past? More than one? What's the season? Is it cold, hot or mild? Is it
stormy? Where is it? Is it in this world? A different world? An alternate universe?
What country? City? Province/State?
For plot, ask yourself questions like these: Who is in it? What is their role? Are they
good or bad? What flaws do they have? What goals do they have? What is the
precipitating incident that made this story happen in the first place? Is there
something that happened in the past that could affect what happens in the future?
Regardless of whether you start in the activity, it's significant that you as of now
have a thought of what happened previously. Regardless of whether you just
suggest or allude to the occasions that occurred before the beginning of your story,
it will be simpler for you to be inside predictable and for your perusers to fill in the
spaces if there's a built up backstory.
6. Choose a point of view. Decide which point of view makes most sense for your
story: first person; second person; third person, either limited or the omniscient. You
have known the different types of Point of View. Consiodering the applicability of the
point of view and the effectiveness of it in telling a story.
7. Don’t be too predictable. While a lot of fiction proceeds along very familiar
lines -- consider how many stories are about heroic quests or 2 people who initially
hate each other but learn to love each other -- you don’t want to lapse into
formulaic storytelling. If your reader can predict everything that’s going to happen,
they won’t care about finishing your story.
For example, you could have a romance novel in which it’s hard to see how the
characters will end up happily ever after because of the situations they’re in or their
personality flaws. The surprise for readers will be how things do end up working out
in the end, despite all appearances to the contrary.
8. Give your characters motivations. If you’re having trouble fleshing out your
characters, continually ask yourself in each scene, “What does this character
want?” Say this out loud enough, and soon someone nearby will ask why you keep
repeating that. Do not reply, but simply keep questioning aloud, “What does this
character want?” Eventually you’ll be committed to an asylum. Asylums are great
places to think without the distractions of the modern world. I’m sure you’ll figure
out that pesky protagonist in no time.
9. Start writing what you know. You may want to try pen and paper instead of
the computer for the first draft. If you're sitting at a computer and there's one part
that you just can't seem to get right, you could find yourself sitting there for ages
trying to figure it out, typing and re-typing. With pen and paper, you just write it and
it's on paper. If you get stuck, you can skip it and keep going. Just start wherever
seems like a good place and write. Use your outline when you forget where you're
going. Keep on going until you get to the end.
If you're more of a computer person, a software program like Scrivener may help
you get started. These programs let you write multiple little documents, such as
character profiles and plot summaries, and keep them all in the same place
11. No tears for the writer, no tears for the reader. If you’re not moved by
your story, don’t expect your reader to be. Therefore, sob uncontrollably as you
compose. Slice onions to abet the process.
12. Revise, revise, revise. This gos without saying. Follow the Writing Process
that you have learned.
Revision literally means to re-view something, to look at it again. Look at your fiction
from the point of view of your readers, not you as a writer. If you had paid money to
read this book, would you be satisfied? Do you feel a connection to your characters?
Revision can be incredibly hard; there’s a reason why in the writing business it’s
often talked about as “killing your darlings.”
Don't be afraid to cut out words, paragraphs, and even entire sections. Most people
pad their stories with extraneous words or passages. Cut, cut, cut. That is the key to
success.
13. Trust yourself. Ultimately, you should value your own judgment over that of
others. Except for this list of writing rules. It is completely accurate.
Questions: Which of the following tips in writing of a story do you really
consider? Can you follow these tips in writing your own story?
What’s More
Learning Task 3: What genre am I?
Directions: I. Read the synopsis of the literary pieces. Identify their fictional genre.
Note that some of the literary pieces might have more than one genre. Write your
answers on your answer sheet.
1. Travis Shaw is a ladies' man who thinks a serious relationship would cramp
his easygoing lifestyle. Gabby Holland is a feisty medical student who's
preparing to settle down with her long-term boyfriend. Fate brings the two
together as Gabby moves next door to Travis, sparking an irresistible
attraction that upends both of their lives. As their bond grows, the unlikely
couple must decide how far they're willing to go to keep the hope of love
alive.
2. 84 years later, a 100 year-old woman named Rose DeWitt Bukater tells the
story to her granddaughter Lizzy Calvert, Brock Lovett, Lewis Bodine, Bobby
Buell and Anatoly Mikailavich on the Keldysh about her life set in April 10th
1912, on a ship called Titanic when young Rose boards the departing ship
with the upper-class passengers and her mother, Ruth DeWitt Bukater, and
her fiancé, Caledon Hockley. Meanwhile, a drifter and artist named Jack
Dawson and his best friend Fabrizio De Rossi win third-class tickets to the ship
in a game. And she explains the whole story from departure until the death of
Titanic on its first and last voyage April 15th, 1912 at 2:20 in the morning.
3. A student named Tine wants to get rid of a gay admirer. His friends
recommend getting a pretend boyfriend, Sarawat, who plays hard to get, until
he finally agrees. The two become close and intense emotions soon erupted.
4. Bella Swan has always been a little bit different. Never one to run with the
crowd, Bella never cared about fitting in with the trendy girls at her Phoenix,
Arizona high school. When her mother remarries and Bella chooses to live
with her father in the rainy little town of Forks, Washington, she doesn't
expect much of anything to change. But things do change when she meets
the mysterious and dazzlingly beautiful Edward Cullen. For Edward is nothing
like any boy she's ever met. He's nothing like anyone she's ever met, period.
He's intelligent and witty, and he seems to see straight into her soul. In no
time at all, they are swept up in a passionate and decidedly unorthodox
romance - unorthodox because Edward really isn't like the other boys. He can
run faster than a mountain lion. He can stop a moving car with his bare
hands. Oh, and he hasn't aged since 1918. Like all vampires, he's immortal.
That's right - vampire. But he doesn't have fangs - that's just in the movies.
5. Our friendly neighborhood Super Hero decides to join his best friends Ned, MJ,
and the rest of the gang on a European vacation. However, Peter's plan to
leave super heroics behind for a few weeks are quickly scrapped when he
begrudgingly agrees to help Nick Fury uncover the mystery of several
elemental creature attacks, creating havoc across the continent.
6. As the film begins, we see Owen and Mariella are fighting in a car by a lake. It
appears that Owen has left his wife to be with Mariella, and is angry that
Mariella is not willing to make the same sacrifice. The fight turns violent, and
Owen has hit Mariella through the car window. Mariella tries to escape from
the car, and the scene cuts to flashback. We see Mariella telling her husband,
Ivan, that her best friend, Samantha needs company and she drives off into
the night. Later that evening, their daughter Angel comes to Ivan looking for
her mother, and Ivan tells Angel that her mother has gone away. There is a
car that passes by in the area where a bloody Mariella is looking for help, in
the middle of a rainstorm. The driver and his passenger are singing Christmas
carols in the car, Mariella knows she is dead.
7. Oscar Diggs (James Franco), a small-time circus magician with dubious ethics,
is hurled away from dusty Kansas to the vibrant Land of Oz. At first he thinks
he's hit the jackpot-fame and fortune are his for the taking. That all changes,
however, when he meets three witches, Theodora (Mila Kunis), Evanora
(Rachel Weisz), and Glinda (Michelle Williams), who are not convinced he is
the great wizard everyone's been expecting. Reluctantly drawn into the epic
problems facing the Land of Oz and its inhabitants, Oscar must find out who
is good and who is evil before it is too late. Putting his magical arts to use
through illusion, ingenuity-and even a bit of wizardry-Oscar transforms
himself not only into the great and powerful Wizard of Oz but into a better
man as well.
8. Miser Ebenezer Scrooge is awakened on Christmas Eve by spirits who reveal
to him his own miserable existence, what opportunities he wasted in his
youth, his current cruelties, and the dire fate that awaits him if he does not
change his ways. Scrooge is faced with his own story of growing bitterness
and meanness, and must decide what his own future will hold: death or
redemption.
Learning Task 4: Go back with the Third!
Directions: Go back with the previous learning tasks. Using the given synopses, try
to supply the information about the literary pieces dealing with the elements of
fictional story. Do this on your answer sheet.
Literary Piece 1:
I.
II.
III.
IV.
V.
VI.
Can you guess the title:
Characters:
Theme:
Setting:
Subject:
Possible Conflict in the Story:
Learning Task 5: React with the Literary Pieces
Directions: Go back with your previous literary pieces that you have searched for in
the previous module. Choose 1 and react with the elements used by the author. DO
this on your notebook.
Elements of
Fiction
Vision
Plot Devices
Title:
Finale
Essential Elements
Figures of Speech
Learning Task 6: Read and Give
Directions: Read the following excerpt of a literary piece. Analyze the elements of
the short story and give the plot of the story. Do this on your answer sheet.
VISIBLY GONE
Trisha Kris Aquino
Would feelings remain if memories seem to fade? What if the reason why you
forget, is also the reason why you remember, will you take it? In this universe,
where everything seems temporary, could love be the only exception?
I landed like an asteroid but I've controlled my speed before I totally touched
the ground so it didn't hurt. Unfortunately, I landed to a girl who I can't even
remember the face but I am sure that she was wearing her school uniform. It seems
like I got electrified. There was a spark I suddenly felt in my heart.
Wearing my prince's suit, I immediately ran as fast as I can. Yes, it was me.
Shawn Lui Van, a prince and at the same time, an alien (based on what humans call
us) with special abilities. I can run to the highest speed higher than the speed of
light. I am strong as if I control gravity. I can also teleport like traveling to another
planet for a second. I ran and hid and hid and ran. Stole clothes and was finding a
place to rest in.
Then I saw Lucas Smith, my friend. I was surprised to know that he followed
me here in the human world. He got my arms and brought me to Houston
University. I remembered that this is where I landed earlier. We entered and enrolled
as College freshmen and took the course that has something to do with detective
stuff. I don't know what he's planning but I trust him.
I met this girl named Kris Pierre Cruz. She was the current secretary of
Detective Club. I don't know. I was caught by her presence as I fell in line for
application. Today was six days after the first day I started entering school. Because
of Lucas, we became friends and even closer. This day, I was surprised to hear from
her that she was the girl I accidentally bumped into before. This time that I realized
that I loved that girl, I wish I wouldn't meet her. It's not bad to love but it's what I'm
afraid of.
Whatever I do now, she'll be hurt. But the decision to stay away from her as
early as today, it will give her less pain. It's difficult for me to do these but I already
did. I decided not to talk to her. I ignored her and kept my distance from her. She
doesn't deserve to feel the pain that only me should feel. If only I can break the
curse, I'll do it right away.
Today was the tenth day. I am not feeling good today. When all D Club
members were called for a meeting, I caught Kris looked at me. She was the
secretary of D Club. She looked so weird that it even gave me headache. She was
staring at me as if I did something wrong to her. I just ignored her. She's making my
day worse by just seeing her and I don't know why. The meeting started, and Mrs.
Scott, the librarian was reported missing. Another case to solve.
I was about to work on my investigation when Kris approached me. She asked
what happened to me. I don't know what she's talking about. Are we close? I hate
her presence in front of me. So, I told her to get out of my eyes because I don't like
her presence even just before I met her. I walked out and left her. I can't understand
her. Have I lost my memory? No. I can still remember Lucas.
Months had passed and today, I am asking myself why am I thinking of that
Kris. I hate her but this previous week, especially when I saw her punching the wall
while her hand was bleeding, I felt hurt. Another day, it was already our vacation. I
woke up to prepare my things for today's camping with the members of D Club. It's
already 7:00 AM and I was about to leave when I suddenly felt my head hurting. I
rest for a while and my past memories filled my mind. I remembered everything. I
already broke the curse. I loved the same person I temporarily forgotten because of
the curse. I should talk to Kris. I should say sorry to her.
Today was the camping day. I am still feeling guilty that's why I am not still
talking to her. Everyone was almost asleep. I planned to finally talk to her but as I
found her, she's not in the place. When I realized that Cailyn wasn't around, I
assumed that she's with her, but to put her in danger. I immediately left and
searched for them. There I saw a cave. I saw Azhi Lou, the princess of Alter
Kingdom. That selfish, desperate girl. I refused to go with her in return for Kris'
release. Even I have to face the punishment, I fought against her. I did it for
someone I truly loved, someone innocent.
What I Have Learned
Learning Task 7: “T-M-L Phrase
Complete the following phrases.
The Topic was about
______________________________________________________________________
It Matters because
______________________________________________________________________
I’ve Learned today that
______________________________________________________________________
What I Can Do
Learning Task 8: Be Inspired by Reading (to be done for two weeks)
Directions: Read some of the existing stories in various resources. It may be found
in the internet, existing literature books, newspapers and other reading materials or
even your own created stories before. Appreciate the elements used by the author
for you to use it in accomplishing the next learning task.
Learning Task 9: Outline by using the elements (To be submitted next
week)
Directions: With your learnings with the different tips in writing a fictional story, Do
the outlining or planning of your story to be written. Do this on your answer sheet.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
IX.
X.
Characters (Consider the kinds of characters)
Setting (Consider the elements of setting)
Plot (Identify the five parts of a plot)
Theme, Tone, Subject, Motif
Conflict and Point of View
Plot Device, Vision and Finale used in the story
Imagery:
Figures of Speech:
Message:
Target Audience:
Assessment
Writing Time! Directions: Write one journal entry or other short composition or
story exploring key elements of fiction considering the elements, literary devices
and techniques presented in the previous module and the genre that you have
chosen considering your created outline. You have the freedom to choose and utilize
any of the elements, forms, and other essential topics about fictional prose. Do this
output in a yellow paper. You may be creative in presenting your output. You will be
guided by the rubrics in grading your outputs.
Note: This will be submitted next week.
You have two weeks to create your output.
SHORT STORY WRITING RUBRICS
CATEGORY
Setting
Characters
Problem/
Conflict
Solution/
Resolution
Dialogue
Organization
Creativity
Mechanics
Exceptional
Good
Fair
Many vivid, descriptive
words are used to tell
when and where the
story took place.
Some vivid, descriptive
words are used to tell the
audience when and
where the story took
place.
The main characters are
named and described.
Most readers would have
some idea of what the
characters looked like.
It is fairly easy for the
reader to understand the
problem the main
characters face and why
it is a problem.
The reader can figure out
when and where the
story took place, but the
author didn't supply
much detail.
The main characters are
named. The reader
knows very little about
the characters.
The reader has trouble
figuring out when and
where the story took
place.
It is fairly easy for the
reader to understand the
problem the main
characters face but it is
not clear why it is a
problem.
The solution to the
character's problem is a
little hard to understand.
It is not clear what
problem the main
characters face.
There is too much
dialogue in this story,
but it is always clear
which character is
speaking.
There is not quite
enough dialogue in this
story, but it is always
clear which character is
speaking.
It is not clear which
character is speaking.
The story is pretty well
organized. One idea or
scene may seem out of
place. Clear transitions
are used.
The story contains a few
creative details and/or
descriptions that
contribute to the reader's
enjoyment. The author
has used his/her
imagination.
The story contains few
minor errors in grammar,
usage, or mechanics.
The story is a little hard
to follow. The transitions
are sometimes not clear.
Ideas and scenes seem to
be randomly arranged.
The story contains a few
creative details and/or
descriptions, but they
distract from the story.
The author has tried to
use his/her imagination.
There is little evidence
of creativity in the story.
The author does not
seem to have used much
imagination.
The story contains many
and/or serious errors in
grammar, usage, or
mechanics; may interfere
with reading.
Most (about 75%) of the
written requirements
were met, but several
were not. MLA format
The story contains so
many errors in grammar,
usage, and mechanics
that errors block reading.
The main characters are
named and clearly
described. Most readers
could describe the
characters accurately.
It is very easy for the
reader to understand the
problem the main
characters face and why
it is a problem.
The solution to the
character's problem is
easy to understand, and
is logical. There are no
loose ends.
There is an appropriate
amount of dialogue to
bring the characters to
life and it is always
clear which character is
speaking.
The story is very well
organized. One idea or
scene follows another
in a logical sequence
with clear transitions.
The story contains
many creative details
and/or descriptions that
contribute to the
reader's enjoyment. The
author has really used
his/her imagination.
The story contains no
errors in grammar,
usage, or mechanics.
Requirements All of the written
requirements (typed,
double spaced, # of
pages, font, margins)
were met. MLA Format
The solution to the
character's problem is
easy to understand, and
is somewhat logical.
Almost all (about 90%)
the written requirements
were met. MLA format
Poor
It is hard to tell who the
main characters are.
No solution is attempted
or it is impossible to
understand.
Many requirements were
not met.
References
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“Image of Titanic”. Retrieved July 23, 2020 from
https://en.wikipedia.org/wiki/Titanic_(1997_film)
“Image of Avengers End Game”. Retrieved July 23, 2020 from
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R.
(2020).
Figures
of
Speech.
Retrieved
July
15,
2020
from
https://www.thoughtco.com/top-figures-of-speech-1691818
Patel, I. (2019). Writing Preferences. Retrieved July 19, 2020 from
http://www.writerstreasure.com/creative-writing-introduction/
Paterson,
A.
(2019)
Genres
of
Fiction.
Retrieved
July
25,
2020
from
https://www.writerswrite.co.za/the-17-most-popular-genres-in-fiction-and-why-theymatter/
Pla, E. (2011). Elements of Poetry. Retreieved July 16, 2020 from
https://elsapla.files.wordpress.com/2011/08/poetry-elements-partial-list.pdf
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Tanay SHS G12 – Athena The Erudites. https://spark.adobe.com/page/Z6Z0sE2H0280u/?
fbclid=IwAR0zUu_-UvQOswLfaeAmbMVbb9HHPI5atoNV7ia-0vrg4LvsnCYfumJ0v7I
Tanay SHS G12 – Athena The Abnegation. https://spark.adobe.com/page/5vndVgVV4Czua/?
fbclid=IwAR3LbjZNnR1CAIaWnb613LGCdkr6STlGDFSOSv2shQImtkXgbdyczKb1P30
Tanay SHS G12 – Athena The Dauntless. https://spark.adobe.com/page/W8IHEy3Exe02s/?
fbclid=IwAR3LbjZNnR1CAIaWnb613LGCdkr6STlGDFSOSv2shQImtkXgbdyczKb1P30
Tanay SHS G12 – Athena The Candor. https://spark.adobe.com/page/YMTEhpmrakEgi/?
fbclid=IwAR2niAiWg3rqImyV3p-2s-ieu0DYC6ksyfoZMM9l5luxWevVzvNlJLyncBs
Tanay SHS G12 – Athena The Amity Boys. https://spark.adobe.com/page/tVjgspb1zgZ9b/?
Lessonfbclid=IwAR052drhZqOQdTUNrAeVOVuF2WIA5dxgEZbBX-oJV00wanGNckapiGphS2Y
3:
Lesson
Tanay
SHS2:
G12 – Athena The Amity Girls.https://spark.adobe.com/page/AZXAFJPmDLjLC/?
Pre-assessment:
Answers may vary
fbclid=IwAR1cVvqo6Mn4A41jorB14yllZvB5UtW9nfboEqv-uksPKlYAPre-assessment: 1. a 2. a 3. c 4. a 5. b 6. a 7. a 8. a 9. a. 10. a
Learning
Task
1:
Answers
vary https://elsapla.files.wordpress.com/2011/08/poetryu66z0hhUiYElementsmay
of Poetry.
Learning
Task
1:
1.
Techniques,
2. Poetry, 3. Form, 4. Element, 5. Traditional
elements-partial-list.pdf
Learning
Tasks 2: 1. Prewriting, 2. Drafting, 3. Revitalizing,
LearningisTasks
2-3: Answers
may Literature”,
vary
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Plot
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July
22,
2020
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4. Revising,
5. Publishing
https://www.reference.com/art-literature/linear-plot-literature-ed5e36d4f223e71e
Learning Task 4: 1. D, 2. B, 3. E, 4. A, 5. C
Learning Task 3: 1. Factual, 2. Imaginative, 3. Specific, 4. Inform, 5. Entertain
Learning Task Key
5: 1. Iambic pentameter, 2. Anapestic Trimeter, 3. Dactylic Dimeter
Answer
6. Formal, 7. Subjective, 8. Specific, 9. General, 10. Arbitrary, Artistic
4. Trochaic tetrameter, 5. Iambic tetrameter
Learning Task 4:
Learning1:
Lesson
Task 6: Answers may vary
Imaginative Writing
Technical Writing
Learning Task 7:Memoir
Pre-assessment:
1.
1. Rhyme,
T 2. T 3.2.
F 4.
Symbol,
T 5. T 3.
6. Theme,
T 7. F 8.4.
T 9.
Rhythm,
T. 10. F5. Imagery
Dissertation
Learning
6. Diction,
Tasks 1 Song
to
7. 5:
Meter,
Answers
8. Assonance,
may vary 9. Refrain, 10. Iambic
MinutesPentameter
Learning Task 6:
8: Novel
Answers
1.
Personification,
may vary 2. Alliteration, 3. Hyperbole
and Alliteration,
Book Analysis
Learning
4. Metaphor,
Task 9: 1.5.
Tanaga,
Simile 2.
and
Diona,
Metaphor
3. Diona, 4. Tanka, 5. Cinquain, 6. Haiku
Learning Tasks
Task 10:
5-10:
7-9:
Answers
Answers
Answers
may
may
may
vary
vary
vary
Assessment: Answers may vary
Lesson 4:
Pre-assessment: 1. A, 2. C, 3. C, 4. C, 5. A, 6. B, 7. B, 8. D, 9. C, 10.C
Learning Task 1: Fiction, Intertextuality, Genre, Plot, Device
Learning Tasks 2-5: Answers may vary
Learning Task 6: 1. 5
2. 4
3. 3
4. 2
5. 1
Learning Task 7: 1. Third Person, 2. Third Person Omniscient, 3. Linear Plot,
4. Flashing Arrow, 5. Dream Sequence, 6. In Medias Res, 7. Flashbacks
8. Deus Ex Machina, 9. Internal, 10. Theme
Learning Tasks 8-10: Answers may vary
Assessment: Answers may vary
Lesson 5:
Pre-assessment: Answers may vary
Learning Tasks 1-2: Answers may vary
Learning Task 3:
1. Realistic Fiction
2. Historical Fiction
3. Realistic Fiction
4. Fantasy
5. Fantasy
6. Horror
7. Fantasy
8. Fantasy
Learning Tasks 4-10: Answers may vary
Assessment: Answers may vary
Para sa mga katanungan o puna, sumulat o tumawag sa:
Department of Education Region 4A CALABARZON