i
TEACHING CREATIVE WRITING FOR GRADE 11 STUDENTS VIA MODULAR
DISTANCE LEARNING IN THE NEW NORMAL
A Dissertation
Presented to
The Graduate School
CEBU TECHNOLOGICAL UNIVERSITY
Moalboal Campus
Moalboal, Cebu
In Partial Fulfillment of The Requirements for the Degree
DOCTOR IN DEVELOPMENT EDUCATION
JOSUA D. QUINIQUITO
May 2021
ii
ABSTRACT
TEACHING CREATIVE WRITING TO GRADE 11 STUDENTS VIA MODULAR
DISTANCE LEARNING IN THE NEW NORMAL
Josua D. Quiniquito
quiniquito1993@gmail.com
Cebu Technological University-Moalboal Campus
Creative writing is a skill that ought to be mastered by students. Considering
this, the researcher conducted a study assessing students' performance in writing
poem and fiction with reference to a set of criteria, the extent of their learning
experiences in modular instruction, significant difference between their pre- and
post-test, and significant relationship between performance and profile as well as
their learning experiences in modules. This study utilized a quasi-experimental
method using single group design. There were 105 students and parents who
participated in the study. Adapted Test and Survey Questionnaires were the
instruments to gather the data. Also, an interview was conducted to elicit the
challenges encountered by the parents. The statistical tools were simple
percentage, weighted mean, dependent t-test, and chi-square. The researcher
found out that the performance level in the pretest was Fairly Satisfactory in poem
and fiction both having a composite mean of 2.08. However, it improved to 3.44
(poem) and 3.25 (fiction) in the posttest or Very Satisfactory which had a significant
difference. Meanwhile, the students' perceptions on the use of modules provided
a total mean of 3.25 (Very Positive) while 2.95 (Positive) for the parents.
Furthermore, there was a significant relationship between performance and Oral
Reading Verification, performance and previous grade in English, as well as
performance and learning experiences. As revealed in the findings, students'
performance should be developed to achieve Outstanding level. Thus, the
researcher crafted the development plan which includes enhanced learning
modules as output.
Keywords: Development Education; Creative Writing; Quasi-experimental;
Siaton, Negros Oriental, Philippines
iii
APPROVAL SHEET
This Dissertation entitled “TEACHING CREATIVE WRITING FOR GRADE 11
STUDENTS VIA MODULAR DISTANCE LEARNING IN THE NEW NORMAL” prepared
and submitted by JOSUA D. QUINIQUITO in partial fulfillment for the degree DOCTOR
IN DEVELOPMENT EDUCATION has been examined and is recommended for
acceptance and approval for Oral Examination.
DISSERTATION ADVISORY COMMITTEE
ROSEIN A. ANCHETA, JR., ASEAN PE, D.M., Ph.D.
Chairman
REBECCA DC. MANALASTAS, Ed.D., Ph.D.
Co-chair
RODOLFO A. GOLBIN, JR., Dev.Ed.D.
Adviser
SEVERINA P. VELOS, Dev.Ed.D.
Member
MARIVEL B. GO, Dev.Ed.D.
Statistician
GRACE B. GIMENA, Dev.Ed.D., Ph.D.
Censor/Member
ADRIAN P. YBAÑEZ, DVM, MBA, PhD, Dip PCVPH, CBO
Member
Approved by the Committee on Oral Examination with the grade of PASSED.
PANEL of EXAMINERS
ROSEIN A. ANCHETA, JR., ASEAN PE, D.M., Ph.D.
Chairman
REBECCA DC. MANALASTAS, Ed.D., Ph.D.
Co-chair
RODOLFO A. GOLBIN, JR., Dev.Ed.D.
Adviser
SEVERINA P. VELOS, Dev.Ed.D.
Member
MARIVEL B. GO, Dev.Ed.D.
Statistician
GRACE B. GIMENA, Dev.Ed.D., Ph.D.
Censor/Member
ADRIAN P. YBAÑEZ, DVM, MBA, PhD, Dip PCVPH, CBO
Member
Accepted and Approved in partial fulfillment of the requirements for the degree of
Doctor in Development Education.
Design Hearing: PASSED
Oral Defense: PASSED
ELDIE V. AVENIDO, Ed.D.
Campus Director
iv
ACKNOWLEDGMENT
Were it not for the undying support and guidance of the following people
who contributed from the making of this research to its completeness, this work
would have not been made possible. The researcher, as deemed appropriate,
expresses his profound gratitude and appreciation to the following individuals:
To Dr. Rosein A. Ancheta, Jr., President and Chairman of the panel;
To Dr. Rebecca DC. Manalastas, Co-chairman; Dr. Adoracion A. Lawas,
Dr. Adrian Y. Ybañez, Dr. Eldie V. Avenido, Dr. Severina P. Velos, and Dr.
Grace B. Gimena, members of the panel for their expertise in improving this
manuscript;
To Dr. Rodolfo A. Golbin, Jr., research adviser, who devoutly shared her
time to help correctly fill in the necessary information used in the study, guided in
every section of every chapter, and meticulously aided the correction of errors
despite her busy schedule;
To Dr. Marivel B. Go, research statistician, for carefully examining the
appropriate statistic tools to be used in this study as well as in helping the
researcher in the interpretation of data;
To the CTU Professors, for their helpful suggestions and ideas that helped
the researcher revise and polish the paper;
To the School Heads, for their approval in conducting the study in their
respective schools;
To the Respondents, for their full cooperation in answering the
questionnaires with utmost honesty.
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To his Friends, for egging him on to strive and reach greater heights;
To his Family, the reason he wakes up and lives out his dream, for fueling
him with love and inspiration;
Above all, to God Almighty, the source of the fountain of blessings,
knowledge, and wisdom, for giving the researcher the strength and endurance that
led to the fulfillment of his studies.
It has been said that writing a dissertation is a long, solitary journey, but you
have proven him otherwise. Moreover, because of you, the researcher “has fought
a good fight, has finished the race, and has kept his faith”.
—Josua D. Quiniquito
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Dedication
Writing this dissertation in the time of Covid-19 is a Herculean task, entailing a
huge amount of power, perseverance, and patience. Needless to say, the process was
intricate. But after looking at the final book, caressing its pages, smelling the fragrance
of words that turned into sentences and paragraphs, it gives a feeling of euphoria.
I conceptualized and wrote the book not only for myself but also for some
people who, in one way or another, have touched the core of my soul.
To Mama Diday, my wind beneath my wings, for her unconditional love and for
her unwavering support for my endeavor to grow professionally;
To Papa Bordet for all his sacrifices who, I know, must have been very proud of
what I have become; for teaching me to be determined and to be appreciative of the
small things in life;
To my sisters, Ate Riza and Ate Dideth; my brothers, Simbo and Paul John,
for your tons of encouragement. May you achieve greatness and reach the apex of
success;
To my friends and classmates, Maristelle (special mention), for being my
sheltering tree whenever I am under the weather;
To people who doubt their abilities and think their dreams are out of reach;
To them who are deprived of education, especially in our community; and
To those who, like Santiago in The Alchemist, are eager to search for their
Personal Legend amidst the obstacles and challenges they might face;
I yearn that this work – shed with blood, sweat, and tears – will inspire its readers
to dream deep.
—Josua
Hda. San Jose, Tanjay City
7th April 2021
vii
TABLE OF CONTENTS
TITLE PAGE
i
ABSTRACT
ii
APPROVAL SHEET
iii
ACKNOWLEDGMENTS
iv
DEDICATION
vi
TABLE OF CONTENTS
vii
LIST OF FIGURES
xi
LIST OF TABLES
xii
CHAPTER
1
Page
THE PROBLEM AND ITS RESEARCH DESIGN
INTRODUCTION
1
1
Rationale of the Study
1
Theoretical Background
3
THE PROBLEM
13
Statement of the Problem
13
Hypotheses
14
Significance of the Study
15
RESEARCH METHODOLOGY
16
Design
16
Flow of the Study
17
Environment
19
Respondents
21
viii
Instrument
22
Data Gathering Procedure
23
Statistical Treatment of Data
24
Scoring Procedure
24
DEFINITION OF TERMS
2
3
REVIEW OF RELATED LITERATURE AND STUDIES
28
32
Related Literature
32
Related Studies
36
PRESENTATION, ANALYSIS, AND INTERPRETATION OF DATA
PROFILE OF THE RESPONDENTS
42
42
Previous Grade in English
42
Reading Proficiency based on their
Oral Reading Verification (ORV)
44
Instructional Materials Available at Home
45
Parent’s Highest Educational Attainment
46
Parent’s Combined Monthly Income
47
RESPONDENTS‘ LEVEL OF PERFORMANCE IN THE
PRETEST AND POSTTEST IN CREATIVE WRITING
48
Students’ Level of Performance in Writing Poem
48
Diction
48
Elements
50
Language
52
Style
55
Students’ Level of Performance in Writing Fiction
Elements
57
57
ix
Narrative Techniques
59
Plot Structure and Conflict
62
Language
64
Summary of Mean Scores in Poem’s and Fiction’s
Pretest and Posttest
STUDENTS’ AND PARENTS’ LEARNING EXPERIENCES
IN MODULAR INSTRUCTION
4
5
67
69
Problems and Concerns
70
Ease of Access
72
Evaluations
74
Delivery
77
Satisfaction
79
Summary of Students’ and Parents’ Learning
Experiences
81
TEST OF SIGNIFICANT DIFFERENCE
84
TEST OF SIGNIFICANT RELATIONSHIP
86
Respondents’ Performance and their Identified Profile
86
Respondents’ Performance and their Learning
Experiences
88
SUMMARY, FINDINGS, CONCLUSIONS, & RECOMMENDATIONS
90
SUMMARY
90
FINDINGS
91
CONCLUSIONS
94
RECOMMENDATIONS
94
DEVELOPMENT PLAN
95
x
Rationale
95
Objectives
95
Scheme of Implementation
96
Development Plan
97
Matrix of Activities
99
Enhanced Learning Module in Creative Writing
100
Reading and Writing Poetry
102
Reading and Writing Fiction
118
BIBLIOGRAPHY
141
APPENDICES
148
A
TRANSMITTAL LETTER
149
B
RESEARCH QUESTIONNAIRE
151
C
TABLE OF SPECIFICATIONS
160
D
CERTIFICATE OF SIMILARITY CHECK
161
CURRICULUM VITAE
162
xi
LIST OF TABLES
Table
Title
Page
1
Distribution of Respondents’ Group
22
2
Distribution of Respondents’ Profile
43
3
Summary of Mean Scores in the Pretest and Posttest in
Writing Poem and Fiction
67
Summary of Students’ and Parents’ Learning Experiences in
Modular Instruction
81
Mean Difference between the Pretest and Posttest Results in
Writing Poem and Fiction
85
6
Respondents’ Performance and their Identified Profile
86
7
Respondents’ Performance and their Learning Experiences
88
4
5
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LIST OF FIGURES
Figure
Page
1
Theoretical Framework of the Study
2
Flow of the Study
18
3
The Locale of the Study
20
4
Level of Pretest and Posttest Performance in Poem’s Diction
49
5
Level of Pretest and Posttest Performance in Poem’s Elements
51
6
Level of Pretest and Posttest Performance in Poem’s Language
53
7
Level of Pretest and Posttest Performance in Poem’s Style
55
8
Level of Pretest and Posttest Performance in Fiction’s Elements
58
9
Level of Pretest and Posttest Performance in Fiction’s
Narrative Techniques
60
Level of Pretest and Posttest Performance in Fiction’s
Plot Structure and Conflict
62
11
Level of Pretest and Posttest Performance in Fiction’s Language
65
12
Students’ and Parents’ Learning Experiences in Module’s
Problems and Concerns
71
Students’ and Parents’ Learning Experiences in Module’s
Ease of Access
73
10
13
4
14
Students’ and Parents’ Learning Experiences in Module’s Evaluations ‘75
15
Students’ and Parents’ Learning Experiences in Module’s Delivery
16
Students’ and Parents’ Learning Experiences in Module’s Satisfaction ‘80
78
1
Chapter 1
THE PROBLEM AND ITS RESEARCH DESIGN
INTRODUCTION
Rationale of the Study
Creative writing, like any other forms of writing, is a skill and an art that must
be mastered by students. It is defined by Morley (2007) as writing in an open space
with endless possibilities and freedom of imagination. It gives learners the skills to
use the language effectively in expressing their thoughts, feelings, and ideas
uniquely (Tok & Kandemir, 2015). According to Pratiwi (2010), it has an essential
contribution to the development of other skills. Therefore, writing should be
perceived as a skill that covers understanding, thinking, developing, and producing
of skills. These skills are known as the creative process.
With this, many previous studies have stressed the importance of creative
writing. As cited by Chowdhury (2015), it has a significant contribution to students
learning a second language because it makes them grasp the language skills in
their written expression. For Ostrom (2012), it is both way of knowing and
knowledge creation.
However, creative writing is a challenge among students. In Pakistan, for
instance, students’ writing skills are weak and inferior. They face issues on syntax,
coherence, idea expansion, content selection, topic sentence, rhetorical
conventions, mechanics, organization, lack of vocabulary, and inappropriate
diction (Dar & Khan, 2015). Nationally, in Pablo and Lasaten (2018) study, the
writing difficulties among the senior high students in Laoag City, Philippines,
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include vocabulary and word choice. Meanwhile, in the researcher’s workstation,
only five students out of 22 obtained a semestral grade of 90% and above in the
Creative Writing course in S.Y. 2019–2020. These results are alarming knowing
that writing is a useful tool used in communication.
In some respects, this study is similar to Tok and Kandemir’s (2014) when
they investigated the effects of using creative writing activities on students’
achievement in writing skills and attitude to English. The pre- and post-test results
were compared. It revealed that students’ achievement in writing increased after
the experiment. However, their attitude to English course did not augment.
To establish the gap, the researcher of this present study used printed
modules to evaluate students’ writing skills and their learning experiences after
exposure to the modules. Modular instruction is a teaching setup since the opening
of classes for school year 2020–2021 has posed a pressing challenge due to
COVID-19. With its mission to provide quality education and continue education
amidst the threat, DepEd made an intervention that will still respond to the
students’ needs. Based on the Learners’ Enrolment and Survey Form (LESF),
majority of the parents in Paciente Cesar G. Cabrera High School prefer to use
modular distance learning because they do not have Internet access.
Finally, the main thrust of this study is to assess students’ performance level
in Creative Writing via modular instruction in the new normal of education with
reference to their scores in the pre-test and post-test based on the Most Essential
Learning Competencies (MELCs) so that the researcher can craft a development
plan which includes printed modules as output to hone students’ writing skills.
3
Theoretical Background
This research assumes two theories: Experiential Theory and SelfDirected Learning (SDL) Theory and is anchored on DepEd Order No. 39 s.
2012, otherwise known as Policy Guidelines on Addressing Learning Gaps
and Implementing a Reading and Writing Program in Secondary Schools and
DepEd Order No. 12 s.2020, or the Basic Education Learning Continuity Plan
(BE-LCP) as its legal bases.
Experiential Theory, according to Kolb (2015), considers the individuality
of the students. In this process, they reflect on the effects of the activities that they
engage in. It is believed in this theory that students have innate abilities to learn.
The role of the teacher is to encourage and motivate students so that they are
guided on what to do. At the same time, the teacher does minimal supervision of
the students since he or she is after for their experiences. When students become
independent, they feel a sense of self-satisfaction, which in return, is the role of
modular instruction. Experiential learning theory centers on students’ experiences
as part of their learning experiences.
In experiential learning, students get involved and are active participants.
They learn best by doing (Munge et al., 2018). They involve their senses in the
tasks because their learning is based on direct experiences (Fűz, 2018).
Experiential theory, according to Cherry (2020), differs from cognitive and
behavioral theories because in the cognitive, it emphasizes the role of mental
processes while in the behavioral, it ignores the possible role of subjective
experience in the learning process.
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THEORIES
Experiential
Learning
as discussed by
Nardo (2017)
→ involves the
students more
to initiate and
evaluate
themselves
LEGAL BASES
Self-Directed
Learning
as discussed by
Morris (2019)
→ students
control their
learning
objectives to
meet personal
needs
DepEd Order
No. 39 s. 2012
→ Addressing
Learning Gaps
&
Implementing
a Reading and
Writing
Program in
Secondary
Schools
DepEd
Order No.12
s.2020
→ Basic
Education
Learning
Continuity
Plan
(BE-LCP)
MODULAR DISTANCE LEARNING IN TEACHING
CREATIVE WRITING
➢ Writing Poetry
• Diction
• Language
• Elements
• Style
➢ Writing Fiction
• Elements
• Narrative Techniques
• Plot & Conflict
• Language
DEVELOPMENT PLAN
Figure 1
Theoretical Framework of the Study
5
Part of the process in this theory is critical reflection. In one way or the other,
this develops problem-solving and higher-order thinking skills (Collins et al., 2016;
James & Williams, 2017; Scogin et al., 2017). Through the testing of ideas,
students gather information through experience. The process does not necessarily
begin with experience; instead, students choose which learning mode will work
best based upon the specific situation (Cherry, 2020). This notion is true to the
observation of Kurt (2020) that experiences are central to this theory. Memorization
or recollection of ideas taught does not equal learning, as no value has been added
to the students.
In simple terms, by connecting schoolwork and theories to experience or
activities, students play an active role in what they are learning and the way they
are learning. Through experiential learning activities, students can grasp concepts,
have an opportunity to be more creative, and become more engaged in what they
are learning (Barton, 2020).
Asfeldt, Hvenegaard, and Purc-Stephenson (2018) discuss that students
need to reflect on their knowledge to create an original piece in creative writing.
This is where reflection is of paramount importance since it creates meaningful
experiences for the students. Consequently, Larsen (2017) concluded that this
theory is more of emotional experiences where learners are responsible for their
learning. They have specific roles in honing their skills (Bialka & Havlik, 2016;
Fifolt, Morgan, & Burgess, 2018).
Furthermore, Fede, Gorman, and Cimini (2018) considered students as
decision-makers. This means that along with their intellects, they also develop their
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emotions. In return, Isaak et al. (2018) observed that they become confident writing
a well-crated piece of literature such as poem and fiction.
Morris’ (2019) analysis on experiential learning is that learners are active
participants; they are exposed to new experiences; learning consists of finding
solutions to specific world problems; and critical reflection is part of meaningful
learning.
Effective learning in this theory can only take place when an individual
completes a cycle of four stages, namely: concrete experience, reflective
observation, abstract conceptualization, and active experimentation. In the first
stage of the cycle or concrete experience, a person has an experience that serves
as the basis for observation. The individual encounters a new experience, which
in return creates a learning opportunity. The goal is for the individuals to actively
participate in the experience so they can learn from it. In reflective observation, the
individual reflects on the experience before making any judgments. Particular
notice is paid to any inconsistencies between experience and understanding. The
goal is for the individual to review the situation and find meaning behind the
experience.
The third stage is abstract conceptualization, wherein the individual
develops theories to explain their experience. This analysis often gives rise to a
new idea or changes a pre-existing concept. In this stage, the individual identifies
recurring themes, problems, and issues to help them with new learning
experiences. The goal is to create concepts that they can apply in the future. The
fourth stage is active participation, where individuals apply what they learned in
7
the experience to another situation. They use their theories to solve problems,
make decisions, and influence people and/or events. The learner takes risks and
implements theories to see what will result. The goal is to test the concepts in
different and new situations to discover ways to improve (Explorance 2015).
Some of the benefits of experiential learning, as cited by Barton (2020) from
Carlton University, include: providing students with an opportunity to apply what
they have learned in the theory to practical, real-world situations; encourages
critical thinking, problem-solving skills, and decision making; assists with memory
retention by building strong relationships between feeling and thinking processes;
leads to the development of skills for life-long learning by assisting in the
acquisition of essential skills and encouraging students to reflect, conceptualize,
and plan for next steps; helps develop a positive attitude toward learning; connects
service learning with helping community needs; provides a safe learning
environment; and influences both feelings and emotions as well as enhancing
knowledge and skills.
The second theory is Self-Directed Learning. This theory is where learners
plan their objectives and the techniques to achieve them. They are the central
aspect of this theory because learning is highly individualized. According to Loeng
(2020), it entails individuals taking the initiative and responsibility for their learning.
They are free to set goals and define what is worth learning. Self-directed learning
can take place both inside and outside of formal institutions.
Students would most effectively learn by integrating past and present
experiences based on personal interpretations and subject matter. As a result, the
8
educator’s role is to guide students in exploring the world around them, formulating
investigative questions, and testing hypotheses. On the same hand, this theory
can be as diverse as simply discovering new information and thinking critically
about it, actively participating and contributing to a learning community, or
designing one’s learning path and selecting resources and guides (Petro, 2017).
There are three dimensions of this theory as enumerated by Sawatsky,
Ratelle, Bonnes, Egginton, and Beckman (2017): (1) the process of learning; (2)
the personality of the learners; and (3) factors that influence their learning.
Educators find self-directed learning a vital part of today’s world and
workforce, considering the new norm in education. Individuals must know how to
take charge of their learning—to plan, develop, adapt, and change in a digital,
interactive, and global society. The best way to assess this is through authentic,
performance-based tasks that allow students to demonstrate their ability to apply
self-directed learning skills. Students develop these skills as they practice them
(Brandt, 2020).
As discussed by Francis (2017), there are four dimensions of self-directed
learning. First, is self-regulation defined as the ability to plan, direct, and control
one’s emotions, thoughts, and behaviors during a learning task. The second is
motivation. The desire to engage in an activity emerges from the inherent
enjoyment of an activity or a sense of obligation to engage in a task. The third is
personal responsibility, or the willingness to take full responsibility for one’s
actions. Fourth is autonomy. It is the ability to recognize available choices, take
9
charge of one’s learning, and control choices through ongoing reflection and
evaluation.
The main feature of self-directed learning is that learning experiences
contribute to the personal growth of the students. This growth represents the
students and other persons within their society (Elias & Merriam, 1995; Groen &
Kawalilak, 2014; Maslow, 1943). Arnold (2015) described self-directed learning as
the ability wherein people have the advantage to compete with others.
Robinson, PharmD, and Persky (2020), in their journal Developing Selfdirected Learners, present six processes. These include a) developing goals for
study; b) outlining assessments with respect to how the student will know when
they achieve those goals; c) identify the structure and sequence of activities; d) lay
out a timeline to complete activities; e) identify resources to achieve each goal;
and f) locate a mentor to provide feedback on the plan. In addition, developing selfdirected students requires a scaffolded approach in which more self-paced or
teacher-directed activities are introduced early on to help students become more
self-regulated in their “self-directedness.”
Furthermore, this learning theory involves the ability to manage learning
tasks without having them directed by others. Self-directed learning skills are
necessary for effective life-long learning and are one of many learning skills
students are expected to develop in college. The expectation is that students will
become self-directed learners as they mature and gain content knowledge
(Weimer, 2010).
10
At some point, educators may encounter challenges when using selfdirected learning, and these challenges can be classified into: time (e.g., SDL may
be less “efficient” than direct instruction), acceptance of change, assessment of
student learning, motivation, and lack of expertise by the learner. Students who
are novice learners in a specific domain may not be equipped to design their own
learning goals or know where to find quality information in solving the problem. In
some ways, traditional instruction occurs because the instructor has the insight
into the skills and knowledge a novice may need to develop and knows how to
guide learning in a specific domain. To overcome this particular barrier, targeted
feedback from the teacher or coach is required in order to help students refine and
focus learning outcomes throughout the process (Magolda, 2004).
SDL instills a sense of autonomy and mastery in the students and a sense
of purpose into the educational process. In a well-designed SDL environment,
students’ motivation increases, as well as their feelings of control, confidence, and
belief in themselves (Boyer, Edmondson, & Fleming, 2014).
Tough (1971) identified that most of them learned through self-taught
through structured interviews with the Canadian students. This means that they
acquire learning outside the classroom or without a teacher. This is relevant to the
current situation in modular distance learning, considering that students learn from
their homes. Furthermore, in his study, students found solutions to real-life
problems within the society they belong to.
Meanwhile, DepEd Order No. 39 s. 2012 otherwise known as Policy
Guidelines on Addressing Learning Gaps and Implementing a Reading and
11
Writing Program in Secondary Schools states that the development of reading
and writing skills is critical to effective learning. In many cases, deficiencies in
these areas are often at the roots of why gaps in learning occur.
In its guiding principles, every student should have a learning profile
detailing the results of the pre-assessment. The results would indicate the areas
of strengths and development that should be the basis for designing appropriate
intervention programs, i.e. for enrichment or remediation. The same process shall
be applied in addressing gaps in the curriculum.
A large number of researchers have agreed that reading and writing and
strictly intertwined and connected. For Olness (2005) and Tsai (2006), they
considered reading and writing as similar processes of composing in which the
reader or the author interacts with a text.
As it has been noticed in classroom experiences, good readers are mainly
good writers (Williams, 2003). The explanation of this is that the skill of writing is
similar to second language skills. Its mastery comes out of a comprehensible input
over a period of time, which means that proficiency in writing is a result of sufficient
and comprehensible reading input.
To reinforce the improvement of writing skills, across all subject areas, the
following strategies are suggested: a) including writing in co-curricular and extracurricular activities; b) encouraging the students to join in the school paper; c)
asking the students to write journals and personal diaries; and d) encouraging
students to use technology to improve their writing skills.
12
Finally, Basic Education Learning Continuity Plan (BE-LCP) proposed
in DepEd Order No.12 s.2020 as one of the legal bases for this study, emphasizes
that this package of education interventions will respond to basic education
challenges brought about by COVID-19. Furthermore, learning opportunities for
students will be provided through blended distance learning modalities depending
on the situation and the availability of resources.
In national news, published on July 03, 2020, it was reported that most
parents and students prefer to use modular distance learning of all the alternative
learning modalities offered by the Department of Education (DepEd) this upcoming
school year. With this, the Department of Education will provide Self-Learning
Modules (SLMs) as an alternative learning delivery modality for face-to-face.
The SLMs include the learning competencies to be mastered by the
students, the lessons, and the task and activities. These modules will be offered
for various types of learners across the Philippines, especially for students where
internet connectivity poses a challenge.
Thus, upon revisiting the theories and studies underlying the advantages of
modular instruction in improving the skills in creative writing of the students as well
as the legal bases for addressing learning gaps through reading and writing
programs, the researcher aims to propose a development plan that will help extract
and unleash students’ skills in writing poem and fiction not only because creative
writing is part of the Senior High school curriculum, but also it is a good way of
enhancing their English proficiency.
13
THE PROBLEM
Statement of the Problem
This study assessed the students' performance in Creative Writing and
learning experiences via modular distance learning in the new normal of the Grade
11 students of Paciente Cesar G. Cabrera High School and Mainit High School,
Siaton 1 District, Municipality of Siaton, Negros Oriental for School Year 2020–
2021 as basis for a development plan.
Specifically, it sought answers to the following sub-problems:
1. What is the profile of the respondents in terms of:
1.1 previous grade in English;
1.2 reading proficiency based on Oral Reading Verification (ORV);
1.3 instructional materials available at home;
1.4 parents’ highest educational attainment; and
1.5 parents’ combined monthly income?
2. What is the respondents’ level of performance in the pre-test and posttest in Creative Writing course for the 3rd quarter as to:
2.1 poem:
2.1.1 diction;
2.1.2 elements;
2.1.3 language conventions; and
2.1.4 style
2.2 fiction:
2.2.1 elements;
14
2.2.2 narrative techniques;
2.2.3 plot structure and conflict; and
2.2.4 language?
3. As perceived by the parents and students, what is the extent of their
learning experiences in modular instruction in the following areas:
3.1 problems and concerns;
3.2 ease of access;
3.3 evaluations;
3.4 delivery; and
3.5 satisfaction?
4. Is there a significant difference between the pretest and posttest of the
respondents in the aforementioned areas in Creative Writing?
5. Is there a significant relationship between the respondents’ performance
and:
5.1 their identified profile; and
5.2 learning experiences?
6. Based on the findings, what development plan can be crafted?
Hypotheses
The hypotheses were tested at α=0.05 level of significance. Statistically, the
first hypothesis was treated using a dependent t-test, while the second and third
were treated using a chi-square.
15
𝐻𝑜 1:
There is no significant difference between the pre-test and post-test of the
respondents.
𝐻𝑜 2:
There is no significant relationship between the respondents’ performance
and their identified performance.
𝐻𝑜 3:
There is no significant relationship between the respondents’ performance
and their learning experiences.
Significance of the Study
The study would benefit the students and teachers of Siaton 1 District. The
results of the study may give them guides on the crafting of learning modules to
improve the creative writing skills of the students.
More specifically, the results would be of great use to the following:
Administrators. As leaders of the school, they will be provided with more
insights as to where to anchor their programs and projects in supporting the
teachers for effective teaching–learning process.
Teachers. They can improve their strategies or methods in teaching
creative writing through modules and they can provide assessment suitable to the
learning styles and multiple intelligences of their students.
Students. They would thoroughly understand the lessons provided in the
module and become responsible and independent in their learning. In addition,
they would learn to evaluate themselves on the level of their progress.
Researcher. Through this study, the researcher would be able to develop
reviews, enhancement programs/development plan, and learning modules that
16
would help improve students' skills in creative writing.
Future Researchers. With the result of this study, future researchers would
be encouraged to conduct related studies that would further benefit the students
including the teachers to improve their teaching skills and how module instruction
facilitates language learning.
RESEARCH METHODOLOGY
Design
This study employed a quasi-experimental method using single group
design in assessing the students’ level of performance in Creative Writing course
through a percentage of their scores obtained in the pre-test and post-test. The
use of modules helped determine the significant difference between the
respondents’ pre-test and post-test results graded through rubrics with reference
to the Most Essential Learning Competencies (MELCs) in Creative Writing.
Furthermore, it described and provided an in-depth analysis of the effect of
modular instruction on students’ performance based on their learning experiences
when they are exposed to the said instruction. Their parents were also asked to
respond to their perceptions of modular instruction and were interviewed on the
challenges and benefits of the modules.
The MELCs were based on the K to 12 competencies, modified and
clustered by the DepEd during this time of a pandemic to master the essential skills
needed by the students. Meanwhile, the modules written by select teachers in the
17
department had undergone Quality Assurance stage before the distribution to the
field to ensure correctness and relevance.
Flow of the Study
The flow of the study was presented through input–process–output
model. The first frame is the Input which includes the respondents' profile
(previous grade in English, reading proficiency based on Oral Reading Verification
(ORV), instructional materials available at home, parents’ highest educational
attainment, and parent’s combined monthly income); the level of performance in
creative writing specifically poetry and fiction based on the Most Essential Learning
Competencies (MELCs); the significant difference between the pre-test and posttest results; the extent of their learning experiences on modular instruction as to
problems and concerns, ease of access, evaluations, delivery, and satisfaction;
and the significant relationship between their level of performance and their
identified profile.
The second frame is the Process in which the gathered data were
classified, tabulated, computed, and analyzed. Statistically, they were treated
using Simple Percentage, Weighted Mean, Mean Percentage Score (MPS),
Dependent t-test to show the difference in the pretest and posttest means, and
Chi-square to test if there is a significant relationship between the students’
performance and their identified profile and learning experiences in the modules.
Lastly, the third frame is the Output. After learning and identifying the
challenges, the development plan was crafted to make the instructions and
18
INPUT
Data on:
➢ Respondents’ profile Data on
➢ Level of performance in creative writing
• Poetry
➢ Students’
• Fiction
Profilethe pre-test and post-test
➢ Significant difference between
➢ Learning experiences
on modular on
distance learning
➢ Perceptions
➢ Significant relationship between the level of performance and
Modular
their identified profile and learning experiences on the
utilization of modules Instruction
Approval of the Transmittal Letter for the Data Gathering
Gathered data were:
•
•
•
•
classified
tabulated
computed
analyzed
Data were statistically treated using:
• Simple percentage
• Weighted mean
• Mean Percentage Score (MPS)
• Dependent t-test
DEVELOPMENT PLAN
Figure 2
The Flow of the Study
19
delivery of the lessons better and more effective. In this way, students’ ability in
writing a poem and fiction–with emphasis on their elements–will be developed to
the greatest extent.
Environment
This study was conducted in the two schools of Siaton 1 district, namely:
Paciente Cesar G. Cabrera High School (PCGCHS) and Mainit High School
(MHS). PCGCHS was established in 2008 by the Department of Education
(DepEd) to address an increasing number of out-of-school youths. The family of
the late Atty. Paciente Cesar G. Cabrera donated the school. It was named
Napacao High School then and was later changed to the owner's name in 2011 in
honor of his memory and benevolence.
The site is agricultural and has a total land area of 10,000 sq.m or 1 hectare.
The primary source of living of the constituents of Napacao is farming, especially
sugarcane planting, weeding, tilling, and fertilizing. The school is 11 km. away from
the district office and 13 km. away from the town proper. It is a barangay high
school located along the highway. It offers General Academic Strand (GAS) for
Senior High School. The school plans to open more tracks so that more students
will enroll.
Meanwhile, Mainit High School is situated in Mainit, Tayak, Siaton, Negros
Oriental. It is 8 km. away from the national road and 13 km. away from the district
office. It is accessible through motorcycles. Same with PCGCHS, it is agricultural
where the means of livelihood among its citizens is farming. The senior high
20
`
Figure 3
The Locale of the Study
21
department offers two courses, Computer System Servicing for TechnologicalVocational (TVL) track and General Academic Strand (GAS) for Academic track.
Guided by the DepEd's Vision, Mission, and Core Values, Paciente Cesar
G. Cabrera High School and Mainit High School aim to develop and produce
globally competitive and well-rounded students armed with the 21st-century skills
necessary to combat the 21st-century challenges.
Respondents
The respondents of the study were the 105 Grade 11 students. They were
currently enrolled in Creative Writing course and parents of Paciente Cesar G.
Cabrera High School and Mainit High School. Since these two schools belonged
to the same cluster in Siaton 1 district, the cluster sampling was used. It is where
the whole population is divided into groups or schools based on their geographical
location. These respondents were purposively chosen and their participation in the
study was voluntary.
Table 1 shows the distribution of respondents’ age and gender. It can be
seen that 20 males or 19.05% were under the age bracket 18–19 years old while
24 or 22.86% were females. In the 16–17 years old bracket, 18 or 17.14 were
males while 23 or 21.90% are females. There were 11 males or 10.48% and 9 or
8.57% who fell under 20–21 years old. Majority of the student-respondents were
from 18–19 years old. Meanwhile, in the parent’s group, majority or 79.05% were
mothers and only 22 or 20.95 were fathers.
22
Table 1
Distribution of Respondents’ Group
Student-Respondents
Age
Male
%
Female
%
Total
%
20–21 y/o
11
10.48
9
8.57
20
19.05
18–19 y/o
20
19.05
24
22.86
44
41.90
16–17 y/o
18
17.14
23
21.90
41
39.05
Total
49
46.67
56
53.33
105
100.00
Gender
Parent-Respondents
Role
f
%
Father
22
20.95
Mother
83
79.05
105
100.00
Total
Instrument
This research used questionnaires in gathering the data of this study. The
first part includes the respondents' profile: age and gender, previous grade in
English, reading proficiency based on Oral Reading Verification (ORV),
instructional materials available at home, parent’s highest educational attainment,
and parent’s combined monthly income. The second part is the questionnaire
proper which consists of the performance level in writing poetry and fiction. The
third part is the extent of the students’ learning experiences in modular instruction
as to problems and concerns, ease of access, evaluation, delivery, and
23
satisfaction. Their parents, being the guides, were also asked about their
perceptions of printed modules in creative writing.
The questionnaires Writing Poem and Writing Fiction were adapted from
Vazques and Lee (2017) and were slightly modified by the researcher, while the
questionnaire for learning experiences was adapted from Misko (2010).
Data Gathering Procedure
The researcher wrote a letter to the school heads asking permission to
conduct the study. Upon granting permission, the questionnaire (pre-test) was
handed to the parents since the students were not allowed to go out as per InterAgency Task Force for Emerging Infection Diseases (IATF-EID) rules. After four
days, the questionnaire was retrieved. Two months later, modules in Creative
Writing, which include the lessons on poetry and fiction were sent to the students.
This was the new set-up in the new normal as per DepEd advisory to contain the
possible spread of Covid-19 and minimize large gatherings of people. Students
were instructed to read the lessons, accomplish all the activities or tasks found in
the modules.
After a few days, the post-test was administered. In gathering the data, the
researcher followed the safety protocols such as wearing of face mask and face
shield and maintaining physical distancing. Then, the collected data were
classified, tabulated, computed, and analyzed towards the preparation of the data
matrix.
24
Statistical Treatment of Data
The processing of data derived from the research instrument was treated
as follows:
To determine the respondents' profile, the simple percentage was
employed. To identify the level of student’s performance in poetry and fiction, the
Mean Percentage Score (MPS) was applied. To find out the extent of the students'
learning experiences in the use of Creative Writing modules, the Weighted Mean
was utilized. To obtain the significant difference between pre-test and post-test,
the dependent t-test was used. Finally, to determine the significant relationship
between the respondents’ level of performance and their identified profile, the chisquare correlation was used.
Scoring Procedure
The respondent's level of performance on creative writing was scaled using
the rubrics adapted from Lewy (2001) and Vazques and Lee (2017).
A. Scoring Procedure for Writing Poem
SCALE AND DESCRIPTIONS
AREAS
Diction
5
(Outstanding)
4
(Very
Satisfactory)
3
(Satisfactory)
2
(Fairly
Satisfactory)
1
(Did not
Meet
Expectation)
• Student’s use of
vocabulary is
precise, vivid,
and paints a
strong clear and
complete picture
in the reader’s
mind.
• Student’s use of
vocabulary is
routine and
workable, and
meaning is
written behind
the line.
• Student’s use
of
vocabulary is
more telling
than
showing, but the
meaning is
written between
the line.
• Student’s
use of
vocabulary is
literal but
meaningful.
• Student’s
use of
vocabulary is
literal
25
Elements
• Effectively and
appropriately uses
poetic elements
and literary
devices
to reinforce the
theme.
• Uses a lot of
poetic
elements and
literary devices to
reinforce the
theme.
• Uses some
poetic
elements and
literary devices
to
reinforce the
theme.
• Uses few
poetic
elements and
literary
devices.
• Uses little
poetic
elements and
literary
devices.
Language
• Has
appropriate
spelling,
grammar, and
punctuation;
contains few, if
any, errors that do
not interfere
reader’s
understanding
• Has appropriate
spelling,
grammar, and
punctuation;
contains some
errors that do not
interfere
reader’s
understand
ding.
• May contain
few
errors in
spelling,
grammar,
and/or
punctuation that
may interfere
reader’s
understanding.
• May contain
frequent and
numerous
errors in
spelling,
grammar, and
punctuation
that interfere
reader’s
• It contains
frequent and
numerous
errors in
spelling,
grammar, and
punctuation
that interfere
reader’s
understand
ding
The poem is
written with a
great sense of
style. The poem
has been wellthought and
makes sense to
the reader.
The poem is
written with a
defined style.
Thoughts are
clear to read and
easy to
understand.
The poem is
written with
style. Thoughts
are clear to a
degree.
The poem is
written with a
style but not
that effective
to the readers
Style
understanding
The poem
lacks style,
and the
thoughts did
not come out
clearly.
B. Scoring Procedure for Writing Fiction
Scale and Descriptions
Areas
5
(Outstanding)
4
(Very
Satisfactory)
Elements
• The setting
has been
skillfully
established and
effective
• The story
maintains a
consistent point
of view, and it
enhances the
story.
• The theme is
clear and
developed
throughout the
story.
• The setting
has been
established and
effective
• The story
maintains a
consistent point
of view, but it
seldom
enhances the
story.
• The theme is
precise and
clearly implied
in the story
3
(Satisfactory)
• The setting
has been
established,
although there
may be some
confusion.
• The point of
view is
consistent.
• The theme is
present in the
story.
2
(Fairly
Satisfactory)
• The setting is
unclear; only
one aspect of
the setting has
been
established.
• The point of
view is
occasionally
consistent.
• The theme is
hard to
determine.
1
(Did not Meet
Expectation)
• There is no
description
of the setting.
• The point of
view is not
consistent or
meaningful
to the story's
progress.
• There is no
determinable
theme.
26
Narrative
Techniques
• Skillfully uses
narrative
techniques
(dialogue,
descriptions,
etc.) to develop
characters.
• Includes more
than one clear
example of
direct and
indirect
characterization
• Consistently
uses narrative
techniques
(dialogue,
descriptions,
etc.) to develop
characters.
• Includes at
least one clear
example of
direct and
indirect
characterization
• Seldom uses
narrative
techniques
(dialogue,
descriptions,
etc.) to develop
characters.
• Includes at
least one
example of
direct and
indirect
characterization
• Inconsistently •There is no use
uses narrative
of meaningful
techniques
narrative
(dialogue,
techniques such
descriptions,
as meaningful
etc.) to develop word choice or
characters.
dialogue.
• Includes an
unclear
• Does not
example of
include direct
direct and
and indirect
indirect
Characterization
characterization
Plot
Structure
and
Conflict
• The story
introduces a
clear & effective
conflict.
• Uses a variety
of techniques to
sequence the
events so that
they create a
particular tone
and outcome
• It contains a
consistent &
smooth
progression of
experiences
and events.
•The story
introduces a
detailed
conflict.
• Uses some
techniques to
sequence the
events so that
they create a
tone and
outcome
• It contains a
consistent
progression of
experiences
and events.
•The story
introduces a
clear conflict.
• Uses
techniques to
sequence the
events so that
they create a
tone and
outcome
• The writing
contains an
inconsistent
progression of
experiences and
events.
• The story
introduces
unclear conflict.
• Uses
techniques to
sequence
the events, but
the purpose
may be
unclear.
• The writing
contains a
vague
progression of
experiences
and events.
• There is no
conflict, tone
and/or
meaningful
sequence of
events.
• There is no
determinable
progression of
events.
Language
•Demonstrates
a skillful
command of
standard
English
conventions.
• Skillfully
employs
language
and tone
appropriate for
audience and
purpose.
• No
grammatical
errors that
interfere with
understanding.
• Demonstrates
a good
command of
standard
English
conventions.
• Employs
language and
tone
appropriate for
the audience
and
purpose
leading to a
better
understanding
• Few
grammatical
errors that
interfere
understanding.
• Demonstrates
a command of
Standard
English
conventions.
• Employs
language and
tone
appropriate for
the audience
and
purpose.
• Some
grammatical
errors that
interfere with
understanding.
• Demonstrates
a limited
command of
standard
English
conventions.
• Inconsistently
and/or employs
language and
tone
inappropriate
for audience
and purpose.
• Grammatical
errors may
interfere
with
understanding.
• Demonstrates
no command of
standard
English
conventions.
• Does not
employ
appropriate
language for
audience and
purpose.
• Grammatical
errors interfere
with
understanding.
27
C. Scoring
Procedure
for
Learning
Experiences
on
Modular
Instruction
SCALE
DESCRIPTIVE
RATING
EXPLANATION
3.25–4.00
Strongly Agree
The students and parents have
manifested very positive perceptions
towards the utilization of printed modules.
2.50–3.24
Agree
The students and parents have
manifested positive perceptions towards
the utilization of printed modules.
1.75–2.49
Disagree
The students and parents have
manifested negative perceptions towards
the utilization of printed modules.
1.00–1.74
Very Disagree
The students and parents have
manifested very negative perceptions
towards the utilization of printed modules.
28
DEFINITION OF TERMS
For a better understanding of this study, the following terms are
conceptually and operationally defined:
Creative Writing. This refers to the course offered in Senior High, which
requires students to manipulate the language in attractive, interesting, and
demanding ways to express uniquely personal meanings through poetry and
fiction.
COVID-19. A pandemic that caused the DepEd to shift to modular
instruction.
Delivery. This term describes how the module contributes to the students’
learning.
Developmental Plan. This is the output of the study, which addresses the
problems in the use of modules. It also contains activities to improve the printed
modules so that students’ creative writing performance will reach Outstanding
level.
Diction. Refers to the author’s choice of words and the orders of words in
a poem.
Ease of Access. Refers to the extent of the module’s capability to be used
and the materials needed for learning.
Evaluation. This variable describes the assessments and activities found
in the module.
Fiction. These are written stories about people and events that are not real
which are imagined by the writer.
29
Elements. In the poem, this consists of meter, rhyme, figures of speech,
tone, and theme. In fiction, this term refers to the plot, conflict, point of view,
character, and setting.
Meter. This is an element where the number of syllables in a poem
is counted.
Rhyme. This refers to one of two or more words that end in the same
sounds.
Figures of Speech. A word or phrase that departs from
straightforward, literal language.
Tone. The feelings or manner in which a poem is expressed.
Theme. A subject or topic of a poem.
Plot. The series of events that make a fiction.
Point of View. A position from which something is seen. It can be in
the first person, second person, or third.
Character. The protagonist or antagonist of the story who plays the
role.
Setting. The place where a story happens.
Language. Fictional language is created as part of a fictional setting. It is
designed with the intent of giving more depth or an appearance to the fiction
and still follows the rules in English.
Language Conventions. In this area,
spelling,
grammar,
and
punctuation are required by students for effective writing.
Learning Experiences. Refer to students' interest or attitude in learning
30
creative writing upon exposure to printed modules.
Students' Performance. The proficiency and competence in creative
writing, specifically in poetry and fiction.
Modules. Also known as learning modules is a package where lessons,
activities, and assessments are included to provide learning to the students.
Modular Instruction. This refers to a learning delivery modality where
learning takes place between the teacher and the students who are geographically
remote from each other during instruction.
Modular Distance Learning. This term involves individualized instruction
that allows students to use self-learning modules (SLMS) in print or digital
format/electronic copy, whichever is applicable in the context of the student and
other learning resources.
Most Essential Learning Competencies (MELCs). These are the
modified and clustered competencies prepared by the DepEd in the time of
COVID-19 pandemic. These need to be mastered by the students in order to
continue to subsequent grades.
Narrative Techniques. In fiction, narrative technique is any of several
specific methods the writer uses to convey the strategy used in the making of a
narrative to make it more complete, complex, or interesting.
New Normal. Refers to education where the mode of delivery is through
modular instruction since face-to-face learning is not allowed due to the pandemic.
31
Parent’s Highest Educational Attainment. This refers to the highest
education obtained by the parents since they guide their children in learning the
lessons found in the modules.
Parent’s Combined Monthly Income. This is part of the profile of the
student, where it identifies the income of their parents.
Perceptions Towards the Utilization of Modules. This refers to the
students’ learning experiences and parents’ attitudes on modules.
Plot Structure and Conflict. This area involves the series of events in
fiction and some challenges, struggles, or opposition the character faces.
Poetry. This term refers to the component of creative writing that students
need to master. In poetry, elements are to be identified and employed to create a
well-crafted piece.
Previous Grade in English. The grades of the students in English during
the school year 2019-2020.
Problems and Concerns. Refers to the extent of the possible challenges
and drawbacks encountered by the students in using the printed modules.
Reading Proficiency Based on Oral Reading Verification. This term
refers to the levels of reading proficiency of the student-respondents, namely:
Independent, Instructional A, Instructional B, and Frustration.
Satisfaction. This variable assesses how satisfied the students are when
they use modules in learning creative writing.
Style. Refers to the choices that are used to create the poem’s meaning. It
includes using short or long lines, varying or omitting punctuation, or using rhythm.
32
Chapter 2
REVIEW OF RELATED LITERATURE AND STUDIES
This Chapter enumerates a plethora of literature and studies discussing the
importance of creative writing, the problems and challenges encountered by the
students in learning the skills, as well as the benefits of using modular instruction
in language learning and its implication to the educational system.
Related Literature
Creativity in writing is the ability to bring some qualities such as originality,
extraordinariness in a particular composition, creating new experiences and new
ideas and thoughts (Temizkan, 2011). It emphasizes how the new thoughts and
ideas are connected to new information that makes sense. For this reason,
creativity and writing skill are closely related to one another and leads to the term
creative writing. For Ostrom (2012), creative writing is both a way of knowing as
well as a way of knowledge creation.
The idea of creative writing is that students write their original literary piece
or composition and not copy the ideas from someone else. In this point, Pikulski
(1975) conveyed that students can be considered creative writers when they do
not imitate the work of other writers. Furthermore, if the thought of their
composition contains bad expression and does not evoke the readers’ senses, this
cannot be categorized as creative writing.
One of Howard Gardner’s multiple intelligences is verbal or linguistic
intelligence. People who are strong in this intelligence can use words well, both
33
when writing and speaking. These individuals are typically very good at writing
stories, memorizing information, and reading. Their strengths are words and
language (Cherry, 2019).
If students have a full grasp of the language, they can be great writers in
the future. Chowdhury (2015) asserted that writing has a significant contribution to
students learning a second language because it makes them grasp the language
skills in written expression. Creative writing opens the possibility for students to
develop their creativity (Cusk, 2010). It also has an essential contribution to
developing other skills and becomes a tool to express a person’s feelings,
thoughts, and information. Writing should be perceived and evaluated not as a
mechanical process but as a skill that covers understanding, thinking, developing,
and producing skills, as MoNE (2011) discussed.
Because of this, teachers need to find ways to integrate writing with other
skills and activities, giving it more relevance and importance – and making it more
interesting. They need to use meaningful, realistic, and relevant writing tasks
based on learners' needs and interests and design individual tasks based on what
learners need to write (Monis & Rodriques, 2012).
Teaching creative writing, as defined by Barbot, Tan, Randi, Donato &
Grigorenko (2012), is writing through imagination. Eckhoff and Urbach (2008)
found out that the educational environment can enhance students’ imagination and
creativity and support their writing ability. The importance of creative writing is
undeniable to improve the cognitive and communicative skills of children. Harmer
(2004) believed that creative writing students are self-assured to use their
34
language proficiency in written expression. Furthermore, they can express their
ideas and create mental images when they are motivated.
One of the literary activities that can help students in writing is learning
poetry. Olila and Jantas (2006) state that “poetry is any kind of verbal or written
language that is structured rhythmically and is meant to tell a story, or express any
kind of emotion, idea, or state of being and it is used to achieve this artistic
expression in several ways.” Students can share their ideas and stories through
learning poetry. By learning poetry, students can improve four language skills
(listening, reading, writing, and speaking). By listening and reading poetry,
students can exercise both skills in order to guess the meaning and exercise to
listen to the words in English. Moreover, they can write other poems that are
related to their experiences. By writing a poem, students can improve the language
aspects such as grammar and vocabulary.
Although there are many advantages in integrating poetry, teachers should
identify the challenges in implementing poetry activities and how they overcome
these challenges. Killander (2011) states that in Foreign Language Teaching
(FLT), teaching poetry is a challenge for teachers because students should have
extra thinking to get the meaning of the poem that they read especially if it is written
in a foreign language.
Hismanoglu (2005) explains that there are some benefits of poetry in ELT
classrooms, such as students can appreciate the process of writing poetry,
students understand the composition and structure in composing poetry, students
35
are to be sensitive to new words and can find out the meaning to get more profound
interest and to be an analytic person.
Moreover, Saraç (2003) also explains the educational benefits of poetry as
follows: literature provides readers with a different viewpoint towards language use
by going beyond the known usages and rules of grammar, syntax, and vocabulary;
literature triggers unmotivated readers owing to being so open to explorations and
different interpretations; literature evokes feelings and thoughts in heart and mind;
literature makes students familiar with figures of speech (i.e., simile, metaphor,
irony, personification, imagery, etc.) due to their being a part of daily language use.
Moreover, poetry employs language to evoke and exalt unique qualities of life and
suffices readers with feelings.
Arguably, poetry teaches students to be more appreciative of their culture
and the culture of other people. As cited in Panavelil’s (2011) study, poems provide
students with insight into developing cross-cultural awareness, and this, in turn will
help them in acquiring fluency in the target language.
The second way of language learning is writing fiction. It is defined as a
literary type that uses imagination, usually written as prose. However, a writer who
is just beginning to learn to write might find some problems during the creative
process. These problems can be from several factors. They are from the elements
of prose fiction, linguistic factors, and self-perception factors.
Fiction, like the poem, aids students in learning the English language.
Language teachers, according to Bradford (2006), use this genre of literature as a
way for students to acquire language skills in three ways. First, students acquire
36
new vocabulary by reading fiction, and they can use the words in meaningful
conversation. Second, they become familiar with the correct grammar rules,
including punctuations, because they are exposed to these aspects. Third, reading
fiction enables students to better appreciate their culture and traditions through the
themes and lessons embedded in the story.
Creative writing in English is beyond assisting and enabling learning
(Everett, 2005). Furthermore, it can also provide alternative ways of expressing
and demonstrating learning. When students write, they become imaginative and
adventurous in expressing their ideas.
In the case of Raimes (1983), the result indicates that writing can help
students for these reasons; first, writing reinforces the grammatical structures,
idioms, and vocabulary. Secondly, when students write, they have a chance to be
adventurous with the language to take risks. Lastly, they become very involved
with the new language; the effort to express ideas. There are many writing forms,
some are creative, and some are not. However, all writing is creative writing
because writing uses the materials of language, experiences, knowledge, textual
sources, personal ideas, and imaginings of the writer, bringing out something that
did not exist before.
Related Studies
In a university of China, Dai (2010) students explored different experiences
of their lives in the creative writing course. They became proficient in the language.
At the same time, the study of Duran (2010) found out that creative writing
37
performance was affected by literary activities. Students were able to internalize
the lessons and applied them in their writing. The same result went to Kuvanç
(2008) that using creative writing activities was effective on the increase of
vocabulary of the students.
In writing the story, Pratiwi (2010) found that most of the students had
problems with the design of the plot for the story, covering 77% of the respondents.
These problems are caused mainly by the students’ difficulties finding a unique
theme that might be interesting for the target reader. About 66% of the students
admitted having problems with the characterizations. As it is found in the findings
of this research, the students responded to the questions of the problem by stating
that the problem was with the characterizations. It could be creating or designing
the characterizations, revealing them, or maintaining the characterizations
throughout the story.
In an attempt to cope with this problem, some students researched a
character. This research was done by observing the real character or a real
person, or it can be inspired by other fictional characters from movies or books. In
the process of creating the theme, 69% of the students experienced similar
problems found in the creation of the plot, that whether or not the main idea of the
story is unique or identical with the other stories. In coping with these problems,
the students attempted to research before deciding the theme and the plot. The
research is done in the form of reading from many resources.
The major difficulty with the students is to deliver the details of the settings
in a short story that provides limited room. In order to make the settings happened,
38
the story had to be effective. This is done by various actions, such as providing an
obvious scene, a character’s action, or an illustration that allows the student to
dismiss the explanation of the setting. This is an effective way to provide the
imagination of a scene without using too much description that ended up wasting
a lot of space.
The fifth element is the point of view. The majority of the problem found in
the point of view is choosing between the first-person point of view or the third
person point of view. About 38% of the students found that it is hard to decide the
point of view due to the lack of experience the students had in fiction writing.
As the learner for English as a foreign language, the students’ vocabulary
and expression are limited. This is faced by 54% of the students, which stated that
the problems with the word choices are the repetition of a certain words or the
difficulty in varying the words.
As the learner for English as a foreign language, the students’ vocabulary
and expression are limited. This is faced by 54% of the students, which stated that
the problems with the word choices are the repetition of certain words or the
difficulty in varying the words.
The problems faced by the student involved three aspects, namely the
literature aspects, the technical aspects, and the students’ self-perception aspect,
which later developed into eleven problems, namely plot, characterization, theme,
settings, point of view, grammar, sentence structure, word choice, distraction,
writer’s block, and mood. The various problems found in this research result in
39
multiple ways to deal with the issues, although it is also found that there are
problems that have similar solutions from the students.
Not knowing how to create a story plan impedes the writing process
because the required characters, locations, descriptions, and sequence of events
need to be presented cohesively to demonstrate the story structure's idea and hold
the reader’s interest (Dunn & Finley, 2010).
Because of the pandemic, the Department of Education adopted modules
as an alternative to face-to-face. Here are some of the benefits of modules in
honing creative writing skills.
In the study of Nardo (2017), she encouraged English and content teachers
to make their own materials to facilitate the learning activities for independent study
of the students. Working on these modules will encourage learners to work on
assigned tasks at their own pace with minimal supervision and guidance of the
teacher to ensure that they learn correctly. The teachers can further pattern similar
texts that cater to the varied lessons depending on the students' major field.
Moreover, teachers are enjoined to produce quality modules that will alleviate the
rigors of preparation of daily activities and meet teachers' need for prepared
relevant materials for students to realize their goals. The modules may serve as
guidelines in setting goals of teaching content subjects by providing teachers the
steps to follow in preparing materials that will realize the attainment of objectives
of designed courses.
On the part of the students, the use of creative writing module in the study
of Shaw and Moriarty (2012) had enhanced their employability and vocational skills
40
and could foresee how this might help them with their existing studies and with
their careers after university. The module helped students to articulate their
learning in more depth and with more confidence. This, in turn, supported their
development as undergraduate researchers and allowed them to use the
experiences they had gathered outside higher education to enrich their creative
writing without feeling vulnerable or exposed.
Moreover,
their
study
suggests
that
incorporating
concepts
and
understanding of sustainability into literary studies and creative writing can
effectively link academic achievement and vocational ambition. By focusing on a
sustainable life, literacy, and society, higher education was produced to support
students in developing their personal, vocational and academic development
through writing sessions. This module offers a model of best practices. First, it
provided opportunities for students to engage in intensive reflective practice on an
individual basis and in groups that helped them to make links between creative
processes,
research-enabled
learning
practices,
meta-cognition,
learning
outcomes, personal, vocational, and academic aspirations. When students’
academic and creative work is developing through reflective practice, so is their
ability to be critically self-aware, understand the inspirations driving their work, and
provide opportunities to articulate their learning and creative processes.
Second, the module was collaborative and brought together students with
professionals from the ‘real’ world. The learning experiences of the students
represent desirable, personal, and responsible growth. Third, the module
41
promoted the idea of creative writing students as researchers – providing
opportunities for students to articulate and present ideas to others.
Fourth, the module engaged the students in the local community and
academic community and helped them to consider their role as global citizens,
engendering a sustainable attitude to life beyond university
The implications of this study to the educational system respond to the
DepEd’s goal of providing quality education. Long before the onset of modules,
John Dewey (1969) asserted that the development of self-learning materials or
resources for modular instruction tends to meet the demand for educational
opportunity for students of every background, regardless of their aptitude,
intelligence, or previous achievement as well as in moral, emotional and
personality traits. Individualized instruction is an attempt to provide the optimum
learning condition for individual students and situations. For Cruickshank et al.
(2003), modular instruction guides students in achieving their personal goals; thus,
making them responsible and independent learners. With this instruction, they
develop a feeling of satisfaction.
In developing students’ writing skills, educators feel the need to provide
learning activities or resource materials to aid them in their writing. These include
modules that allow them to be proficient in the second language (Waguey, 2012).
The role of the teachers in this mode of delivery is to guide the students'
progress and apply remediation whenever they perform unsatisfactorily. They
should make sure that the activities are interesting to maintain students’
motivation.
42
Chapter 3
PRESENTATION, ANALYSIS, AND INTERPRETATION OF DATA
This chapter deals with the statistical presentation, analysis, and
interpretation of data based on the identified problems in the preceding chapter.
The presentation comes in this order: Profile of the Respondents, Level of
Students’ Performance in Poetry and Fiction, Learning Experiences of Students
and Parents, Test of Significant Difference, and Test of Significant Relationship.
PROFILE OF THE RESPONDENTS
The profile of the respondents assessed in this study includes Previous
Grade in English, Reading Proficiency based on their Oral Reading Verification,
Instructional Materials Available at Home, Parent’s Highest Educational
Attainment, and Parent’s Combined Monthly Income.
Previous Grade in English
The students' grades during the school year 2019–2020 in English were
included as these may affect their performance in writing. Components included in
this subject are Reading Comprehension, Vocabulary Development, Literature,
Writing and Composition, and Grammar Awareness.
Table 2 reveals that majority or 34.29% had their grades between 80 and
84%. This means that their level of progress and achievement was Satisfactory.
There were 25 or 23.81% who were in the bracket 75–79% or their achievement
was Fairly Satisfactory. Meanwhile, only 17 belonged to 90–100%, or Outstanding
43
Table 2
Distribution of Respondents’ Profile
Variables
N = 105
f
%
17
27
36
25
16.19
25.71
34.29
23.81
Previous Grade in English
90–100
85–89
80–84
75–79
Reading Proficiency based on Oral Reading Verification (ORV)
Independent
Instructional A
Instructional B
Frustration
24
22
33
26
22.86
20.95
31.43
24.76
57
1
11
13
71
54
43
54.29
0.95
10.48
12.38
67.62
51.43
40.95
5
6
9
17
22
46
4.76
5.71
8.58
16.19
20.95
43.81
12
10
13
36
18
16
11.43
9.52
12.38
34.29
17.14
15.24
Instructional Materials Available at Home
Books
Computer
Laptop
Newspaper
Smartphone
TV
Radio
Parent’s Highest Educational Attainment
College Graduate
College Level
High School Graduate
High School Level
Elementary Graduate
Elementary Level
Parent’s Combined Monthly Income
11,000 above
9,000–10,999
7,000–8,999
5,000–6,999
3,000–4,999
below 2,999
44
level. These data imply that most of the students’ performance met expectations.
The competencies in English in their Junior High were achieved based on the
established standards.
Students’ grades are proof of their learning in a particular subject. If their
grades are high, that can be attributed to their excellent performance in English.
According to Hvidman and Sievertsen (2019), in their study High-Stakes Grades
and Students’ Behavior, grades give students feedback on how well they master
a subject.
Reading Proficiency based on Oral Reading Verification (ORV)
The ORV result in the previous grade level was taken from the English
coordinators. Students were required to read a passage aloud. After which, the
teacher asked them questions and categorized them based on their correct
responses.
It can be seen that 33 or 31.43% were under Instructional B. This means
that they are fast readers but have poor comprehension. There were 26 or 24.76%
who fell under Frustration level or slow readers and have poor comprehension.
Meanwhile, 24 or 22.96% were Independent. They are described as fast readers
and have good comprehension. Finally, 22 or 20.95% were categorized as
Instructional A or slow readers but had good comprehension.
Owing to these results, some students were not confident in answering
orally, especially when in front of a teacher. Most of them could answer the literal
questions or those questions that are explicitly stated in the text and the inferential
45
questions or those questions that have responses that are indirectly expressed,
induced, or require other information. However, they mainly struggled in answering
critical and creative questions or those questions that require judgments and
create new ideas from what was learned.
It is essential to identify the levels of comprehension of the students since
it has been noticed in classroom experiences that good readers are mainly good
writers (Williams, 2003). The explanation of this is that the skill of writing is similar
to second language skill in which its mastery comes out of a comprehensible input
over a period of time, meaning that proficiency in writing is a result of a sufficient
and comprehensible reading habit.
Instructional Materials Available at Home
This variable enumerates the materials that can be used by the students in
improving their writing skills.
Based on the data, most of the students, or 67.72%, have a smartphone.
There are already downloadable applications where they can read the lessons and
get tips or techniques in writing, such as Creative Writing and Guide to Creative
Writing both powered by the developer Andromo. These applications can be
downloaded for free via students’ smartphones.
Books are also suitable reference materials in honing their reading and
writing skills. More than half or 54.29% own books. Most of them have television,
while 43 or 40.95% have a radio. Only a few own laptops and computers. When
46
students are exposed to these various media, these can be their gateway to
develop their skills and imagination.
These materials can be used to engage students and to make learning more
accessible and more fun. They can also significantly increase achievement and
practice a new skill gained. In a study by Oyola (2010), instructional materials were
created based on the Structural Cognitive Modifiability theory (SCM), a theory that
purports that intelligence is not static but dynamic and able to be modified by
means of mediated learning experiences. The materials were implemented in the
classroom not only to teach the English language but also to scrutinize first
graders' writing development and determine if such materials did or did not
influence the progress of cognitive skills such as identification, comparison,
classification, differentiation, decoding, synthesis, analysis, and the use of
divergent thinking.
Parent’s Highest Educational Attainment
In this study, it is vital to identify the parent’s education because being the
first teachers, they play an essential role, especially in guiding the students
whenever the latter have difficulty in their modules.
Majority of the parents or 43.81% were Elementary Level. There were 22 or
20.95% who fell under Elementary Graduate. Only 5.71% were College Level, and
4.76% were College Graduate. These results imply that only a few parents can
assist their students in answering the module since they had not taken up Creative
Writing as a course or subject in Elementary or High School.
47
In a study by Chiu and Khoo (2005), they reported that the test scores
among 15-year-old students correlated significantly with mothers’ mean years of
schooling. However, there are also instances where students whose parents were
not college graduates but performed well.
Parent’s Combined Monthly Income
It is widely believed that parents' social and economic status can contribute
significantly to students’ success in education; thus, this variable is included.
It is shown in this variable that 36 or 34.29% had ₱5,000–₱6,999 monthly
income. There were 10 whose monthly income fell between ₱9,000–₱10,999.
These data explain that most of the families fell under the bracket of low-income
class or, as described by the National Economic and Development Authority
(NEDA), “cannot afford in a sustained manner to provide their minimum basic
needs of food, health, education, housing, and other essential amenities of life.”
Since the land composition of these barangays is agricultural, the primary
source of living of the constituents of Napacao and Mainit is farming, especially
sugarcane planting, weeding, and fertilizer application. Some of the students help
their parents in agriculture to make both ends meet.
In a study Impact of Parental Socioeconomic Status on Academic
Performance of Students of Soharwardi, Fatima, Nazir, and Firdous (2020), the
researchers found out that families from the low socio-economic status group are
less likely to have economic resources or time available to provide academic
support to their children.
48
RESPONDENTS’ LEVEL OF PERFORMANCE IN THE PRETEST AND
POSTTEST IN CREATIVE WRITING
This part spells out the students’ performance level in writing a poem and
fiction based on criteria for each genre.
Students' Level of Performance in Writing Poem
This sub-section elucidates the students’ level of performance in writing a
poem with emphasis on the criteria: Diction, Elements, Language Conventions,
and Style.
Diction. In poetry, diction refers to the author’s choice of words and the
orders of words in a poem. Proper diction is essential to get connected with the
readers without any misinterpretation. Hence, the right choice of words is
indispensable not to divert the readers.
It can be seen in Figure 4 that the highest total in the pretest was 43
students who fell under Did not Meet Expectations. This means that their use of
vocabulary was literal. Only 10 students got the rating of 5 (Outstanding) or their
use of vocabulary was precise or vivid and paints a strong, clear, and complete
picture in the reader’s mind.
It was observed in their outputs that most of them used general or abstract
words such as “I see flowers in the garden” or “The leaves fall from the tree”. They
did not give the specific kind of flowers or specific name of the tree in the poem.
Because of this, the use of literal words did not create layers of meaning for the
readers.
49
Diction
45
No. of Students
40
35
30
25
20
15
10
5
0
O
5
10
VS
4
FS
2
26
Mean
Md
Sd
13
S3
13
DME
1
Before
Pretest
43
Posttest
After
19
32
24
16
14
2.03
3.38
2.00
3.33
1.36
1.12
Descrp.
FS
VS
Figure 4
Level of Pretest and Posttest Performance in Poem's Diction
In the posttest, there were only 14 students who got a rating of 1 while
majority or 30.48% obtained the rating of 4 (Very Satisfactory) or their use of
vocabulary was workable, and the meaning was written behind the line of the
poem. The raters found out in their poems that they were able to use words that
create a mental image or evoke senses such as roses instead of flowers, mango
tree instead of tree, tread instead of walk, excruciating instead of painful. Most of
these students who fell under Did not Meet Expectations were Frustration readers
or slow readers with poor comprehension.
Meanwhile from 10 in the pretest, now it climbed to 19 students who fell
under Outstanding level. During the pretest, it obtained a mean of 2.03 with a
descriptive rating of Fairly Satisfactory. However, in the posttest, it went up to
50
3.38 or their performance became Very Satisfactory. Students were able to use
the correct terms. These results show that the use of printed modules was effective
in honing students’ writing skills, especially in word usage. These students who
obtained an Outstanding level were Independent readers or fast readers with good
comprehension. The modules, as discussed in the Experiential theory, contain
skills making them independent learners.
The use of words is the most critical tool of a writer. When students use
words intelligently, they create images for the readers. This was observed by
Rachmawati, Supriyanto, and Doyin (2019) that by the time the students’ choice
of words has begun to vary, images of poetry have also been able to strengthen
and clarify poetry.
Elements. In poetry, these include meter, stanza, rhyme, and figurative
language. These are the ingredients of a poem. They make it creative and effective
to the readers.
It can be seen in the pretest that 42 of them got the rating of 1 (Did not
Meet Expectations), which means they used little poetic elements and literary
devices. Twenty-five (25) students used a few elements and literary devices, while
only 9 (Outstanding) of them had effectively and appropriately used poetic
elements and literary devices to reinforce the theme. These elements include the
use of metaphor, simile, and imagery in their written pieces.
51
Elements
45
40
No. of Students
35
30
25
20
15
10
5
0
O
5
VS
4
9
15
3S
14
FS
2
Before
Pretest
25
DME
1
42
Posttest
After
21
32
24
19
9
Mean
2.05
3.32
Md
Sd
Descrp.
2.00
3.33
1.35
1.22
FS
S
Figure 5.
Level of Pretest and Posttest Performance in Poem's Elements
Based on their outputs, the students’ poems did not employ figurative
language (e.g., The grass is green or The flowers bloom). Their poems had no
creative impulse that can catch readers’ interest.
In the posttest, 32 got a rating of 4 (Very Satisfactory) or used a lot of
poetic elements and literary devices. There were 21 students whose performance
was Outstanding, or they effectively and appropriately used poetic elements and
literary devices in their poem. After checking their outputs, the researcher
observed that the elements were evident. They used simile and personification in
their poems, for example, “The sun is like an orange fruit” or “The bamboo trees
dance against the wind.” They were able to imbibe the lessons on the elements of
poetry found in Creative Writing modules. Students who performed better in this
52
area were good readers. The moment they read different elements of poetry, they
were able to apply them in their written outputs.
Comparably, from 42 in the pretest, there were only 9 who fell to Did not
Meet Expectations in the posttest. In terms of their means, it was 2.05 or their
level of performance was Fairly Satisfactory before the printed modules were
given to them, but when they used the modules, the mean went to 3.32. This
unveils that their performance became Satisfactory. Because of the modules, the
students learned to transpose their words from literal to figurative (e.g., from The
garden has full of flowers to Roses and daisies blanketed the garden). This is true
to Experiential Learning theory, as discussed by Asfeldt, Hvenegaard, and PurcStephenson (2018), that students need to reflect on their knowledge to create an
original piece.
The students need to have a full grasp of the elements, especially the
figurative language. For instance, the study of Roebuck (2015) revealed that for
the advanced student, poetry’s wide object and demanding linguistic structures,
technical elements such as figurative language, and frequent use of rhythm and
repetition provide an intellectual challenge. Therefore, students should master the
different elements of poems found in the modules to improve their literary skills to
an Outstanding level.
Language. In this area, spelling, grammar, and punctuation are
required by students for effective writing .
Based on the result in the pretest, 37 out of 105 obtained a rating of 1 (Did not
Meet Expectations), or their output contained frequent and numerous errors in spelling,
grammar, and punctuation that interfered with understanding, while 22 fell under Fairly
53
Language
40
35
No. of Students
30
25
20
15
10
5
0
O
5
VS
4
S3
FS
2
DME
1
Mean
Md
Sd
Descrp.
Pre
Before
12
15
18
22
37
After
Post
25
25
27
20
8
2.21
3.50
2.00
3.33
1.40
2.21
FS
VS
Figure 6
Level of Pretest and Posttest Performance in Poem's Language
Satisfactory, or they had some errors in the language conventions. The common
errors committed by students in this aspect were subject-verb agreement,
punctuation, and tenses of verbs. For instance, they wrote, “The woman ‘carry’ her
bag” instead of “The woman ‘carries’ her bag.” Most of them inserted an
apostrophe (‘) to the possessive pronoun its, for example: “It’s sound rings to my
ears.” They also failed to use comma in separating items on a list, such as, “Inside
her bag are bread, fish and umbrella” instead of bread, fish, and umbrella.
Students, therefore, are encouraged to read so that they will familiarize themselves
with the use of correct grammar and apply it in their writing.
54
Only 12 of them were able to get a rating of 5 (Outstanding), or they had
appropriate spelling, grammar, and punctuation. Their written outputs contained
minimal errors. These students were Independent readers or with good
comprehension based on their Oral Reading Verification.
When they were exposed to Creative Writing modules, 27 of them were
categorized as Satisfactory, which means that they had only a few errors in their
outputs. Twenty (25) of the students had appropriate spelling, grammar, and
punctuation. This implies that before writing the final draft, they edited, polished,
and revised their poems. It was also observed that they were more careful in their
use of language. They used punctuation and tenses of verbs correctly (e.g., It’s
Monday, and the azure sky illuminates my smile).
Based on their means, it obtained a 2.21 before the exposure of the printed
modules. This means that their performance level was Did not Meet
Expectations. However, the mean result went to a whopping 3.50 after they used
the modules. The students’ performance improved and is now categorized as Very
Satisfactory.
Since the target level is Outstanding, students’ skills in language
conventions should be honed to the fullest extent. They should read the
lessons in the modules. Language, being the writer’s toolbox, should be
accurate, precise, concrete, and appropriate. As Marimutu (2007) discussed, the
tasks of understanding the poetry would require a certain level of proficiency in the
language, and not all students have it. Some of them do not have a literature
55
background while in school. Quite a number of students find it challenging to use
English as a means of communication.
Style. This refers to all the choices that are made to create the poem’s
meaning. Style can include technical choices, such as using short or long
lines, varying or omitting punctuation, or using a set rhythm or rhyme
scheme.
Style
45
No.of Students
40
35
30
25
20
15
10
5
0
5
O
11
VS
4
10
3S
14
FS
2
DME
1
Mean
Md
Sd
Descrp.
Pretest
Before
29
41
Posttest
After
23
38
27
11
7
2.02
3.56
2.00
3.33
1.40
2.21
FS
VS
Figure 7
Level of Pretest and Posttest Performance in Poem's Style
The pretest shows that 41 received the lowest rating, Did not Meet
Expectations. This means that their poem lacked style, and the thoughts did not
come out clearly. In their poems, a line break was not effective. For example, in
verse, Free as the wind, the virus came uninvited, it could have been better if it
was split into, Free as the wind, // the virus came uninvited to allow pause and flow
56
of the ideas clearly. Only 11 had a rating of 5 (Outstanding). This implies that the
poem was written with a great sense of style, and it was well-thought-of and made
sense to the reader. One student wrote, I peep through the window // and see a
rainbow. This created an image for the reader because the two sentences were
divided by a line break, and it achieved rhyme (i.e., window-rainbow).
In the posttest, 38 of the students’ poems were Very Satisfactory. This
implies that they were written with a defined style. The thoughts were clear to read
and easy to understand. Twenty-three (23) students were Outstanding, meaning
they wrote the poem with style. The poems had been well-thought-of and made
sense to the reader. An example of this well-thought image from a student was,
Endless gloomy skies, // barrels of tears, // wounded hearts as time flies. This time,
only 7 belonged to Did not Meet Expectations or whose poem lacked style, and
the thoughts did not come out clearly. Comparing the means, before the modular
instruction, it had 2.02 or Fairly Satisfactory, but it increased to 3.56 or Very
Satisfactory after they used the modules. Before their compositions sounded like
prose but after exposure to printed modules, they learned to apply rhythm and
melody. These gave their outputs a poetic style. When students are more exposed
to reading materials, they will be able to use the style in the pieces.
The challenges in the students' poems correspond to the study of Liao
(2017) that the students in the second language might be unable to express
themselves within the constraints of the forms or structures of grammar-based
instruction. They are more likely to think about respecting specific rules while
57
producing poetry, such as rhyme and stanzas. By doing so, students may perceive
they have lower poetry writing ability.
The best way to develop students’ style in writing poems is to imitate the
style of famous poets. The printed modules contain various poems that serve as
their guide. In this way, students will be accustomed to composing or writing
correctly; hence their performance in this area would become Outstanding.
Students' Level of Performance in Writing Fiction
This competency presents the students’ level of performance in writing
fiction based on the criteria: Elements, Narrative Techniques, Plot Structure and
Conflict, and Language.
Elements. These refer to the point of view, character, and setting of a story.
It is a combination of them that determines a piece of literature’s genre, and how
they are used and represented determines the quality of the piece.
Figure 8 shows the total number of students in each of the categories
tested. It revealed that a total of 48 students got the lowest rating. This means that
their fiction had no description of the setting (e.g., The conversation happened in
the afternoon of July). The point of view was not consistent or meaningful to the
story’s progress and had no determinable theme. Based on their composition, they
used I, you, we, and he/she inconsistently the reason the readers were confused
(e.g., We should learn to forgive because you are humans.)
Only 3 students fell under Outstanding. The students’ written outputs
showed that the setting had been skillfully established (e.g., It was in the middle of
58
Elements
50
45
No. of Students
40
35
30
25
20
15
10
5
0
O
5
VS
4
Pretest
Before
3
Posttest
After
22
P
o
FS
2
DME
1
9
3S
16
29
48
41
18
15
9
Mean
Md
Sd
Descrp.
1.96
3.50
2.00
4.00
1.11
1.21
FS
VS
Figure 8
Level of Pretest and Posttest Performance in Fiction's Elements
the night when the moon shone the brightest). The story maintained a consistent
point of view, and it enhanced the story. The theme was clear, and it developed
throughout the story. Without a doubt, since reading and writing go together, these
students who performed well were Independent readers or fast readers with good
comprehension. Those students who are under Frustration usually failed to apply
the elements of fiction in their compositions.
In the posttest, 41 students reached the rating of 4 (Very Satisfactory) or
the setting had been established and effective, the story maintained a consistent
point of view, but it seldom enhanced the story. The theme was precise and clearly
implied in the story. Out of 105, 22 of them were categorized as Outstanding,
whose setting had been skillfully established and effective, the story maintained a
consistent point of view, and the point of view chosen enhanced the story, the
59
theme was clear and developed throughout the story such as hate, peace,
friendship, longing, beating the odds, etc. These were clearly conveyed in their
story. Only 9 students were categorized under Did not Meet Expectations after
they were exposed to modular instruction. These students fell under Instructional
B or students who are fast readers but with poor comprehension.
The means before and after the test were also found to be progressive.
From 1.96 or Fairly Satisfactory, it augmented to 3.56 or Very Satisfactory. This
implies that printed modules enhanced their performance in using the elements of
fiction. It was easier for them to use the elements because they were guided by
the explanations in the modules. The students, as explained in Self-Directed
Learning theory, are the central part of the teaching-learning process because their
goals are highly individualized.
Students need to exert more effort so that their performance would reach to
Outstanding level. The problems in the use of the elements relate to the study of
Dunn and Finley (2010) that when students do not know how to create a story plan,
it impedes the writing process because the required characters, locations,
descriptions, and sequence of events need to be presented cohesively to
demonstrate the idea of story structure and to hold the reader’s interest.
Narrative Techniques. In fiction, the narrative technique is a strategy used
in developing the narrative to make it more interesting and effective.
The majority or 43 of the students fell to Did not Meet Expectations in this
area. This shows that their fiction did not use dialogue. The students failed to
describe
60
Narrative Techniques
45
40
No. of Students
35
30
25
20
15
10
5
0
O5
VS 4
S3
FS 2
DME1
Pretest
Before
6
9
18
29
43
Posttest
After
12
35
30
14
13
Mean
Md
Sd
2.10
3.18
2.00
3.00
1.21
1.19
Descrp.
FS
S
Figure 9
Level of Pretest and Posttest Performance in Fiction's Narrative
Techniques
the characters in their dialogues, and the way they narrated the story was not that
descriptive (e.g., I open the window, and I see the sunrise). They need to build up
the characters so that the readers can create mental pictures of the way they act
and speak.
Moreover, only a few of them skillfully used dialogue and descriptions to
develop the characters of the fiction. Twenty-nine (29) of them were Fairly
Satisfactory, or the use of narrative techniques was inconsistent, and that
characterization was unclear. Since the skill in reading shows an interplay with
writing, these students either fell under Instructional B (fast readers with poor
comprehension) or Frustration (slow readers with poor comprehension).
61
Meanwhile, in the posttest results, 35 had reached the rating of 4 (Very
Satisfactory), or they consistently used narrative techniques. Their writings
included at least one clear example of direct and indirect characterizations. As
observed, the stories were more understandable when they included meaningful
words, especially in narrating events. Such examples from their story were, “The
room was dark. Anna jumped in fear, taking three steps at a time downstairs” and
“It was windy. The breeze woke me up from my slumber as it gently caressed my
hair.” The good reading habits of the students also contributed to their high
performance.
From 6 in the pretest who were Outstanding, the number doubled in the
posttest. Regarding the means, the pretest shows that it got 2.10 or the students’
level of performance was Fairly Satisfactory; however, the mean score climbed
to 3.18 in the posttest, or the students’ performance was Satisfactory. It had been
observed that they effectively developed narrative techniques because of the
examples found in the printed modules.
For fiction to be effective, Lee and Vasquez (2017) enumerate various
techniques. They said that a writer of fiction could manipulate time and spacing in
a story through foreshadowing or providing hints for the future events; in media res
or putting the exposition right in the middle of the action; flashback or when the
narrative moves back in time usually as memory or remembrance of how the past
influenced the current goings-on in the narrative; and through flashforward, this is
62
when the narrative moves forward in time, usually providing a glimpse of the
consequences of the present-day action or activities of the characters.
Plot Structure and Conflict. This area involves the series of events in
fiction and some challenges, struggles, or opposition the character faces.
Plot Structure and Conflict
50
45
No. of Students
40
35
30
25
20
15
10
5
0
O
5
VS
4
S3
FS
2
DME
1
Mean
Md
Sd
Descrp.
Pretest
Before
4
10
17
28
47
Posttest
After
14
23
24
22
12
2.02
3.03
2.00
3.00
1.15
1.21
FS
S
Figure 10
Level of Pretest and Posttest Performance in Fiction's Plot Structure and
Conflict
Assessing their ability in this criterion, the raters found that most of their
output had no conflict, tone, or meaningful sequence of events that made
progression or build-up. From exposition to resolution in their fiction, the events
were not elaborated well by the students. They also failed to include the possible
conflict the character may experience, such as Man against Himself, Man against
Man, Man against Society, Man against Nature, Man Culture, Man against
Supernatural Beings, and Man against Machinery.
63
Only 4 students whose story introduced a clear and effective conflict (e.g.
Man against Man: Ma’am Raya got pissed off at Mariel when the latter didn’t come
to their meeting place). Moreover, the students’ writing contained a consistent and
smooth progression of experiences and events.
In the posttest, 24 of them were under Satisfactory level which indicates
that they introduced a clear conflict (e.g., Man against Himself: Anger takes over
my consciousness and After some time, I noticed something peculiar going on).
The writing contained a consistent progression of experiences and events. These
hooked the readers from the beginning of the story towards the end. Most of the
students who performed better in this area were readers of short stories and
novels. By the time they identified the plot and conflict in the stories, they could
apply them in their composition.
Compare to 4 who got a rating of 5 or Outstanding in the pretest, the data
shows that it increased to 14 students which means that their story was written
with effective conflict, they created tone and outcome, and there was a progression
of events in the story. During the pretest, they were not aware of the different
conflicts of fiction the reason they failed to apply but after reading the modules,
they were able to construct effective conflict that reveals the true colors of the
characters (e.g., He wanders through the forest. There he fights his thirst and
hunger, and he meets his waterloo.) The explanation is similar to the theory of
Experiential Learning as elaborated by Munge, Thomas, and Heck (2018) that
students learn by engaging in the activities.
64
Consequently, the mean score of 2.02 during the pretest raised to 3.03,
which means that their level of performance improved from Fairly Satisfactory to
Satisfactory. Before the plot did not flow smoothly, but after they were introduced
to the modules, they were able to organize their exposition, rising and falling
actions, climax, and resolution.
However, the target level is Outstanding; hence, students are encouraged
to write most of the time to enhance their skills in structuring the plot and conflict
since majority of them had difficulty in formulating the series of events in a story.
The challenges observed in the outputs of the students correspond to the study of
Pratiwi (2010), where he found that majority of the students had problems with the
design of the plot for the story, covering 77% of the respondents. These problems
were caused mainly by the students’ difficulties finding a unique theme that might
be interesting for the target reader.
Language. Fictional language is created as part of a fictional setting. It is
designed with the intent of giving more depth or an appearance to the fiction
and still follows the rules in English.
It can be gleaned from the graph that most of their fiction demonstrated no
command of English. A lot of grammatical errors interfered understanding of the
story. Majority of them committed errors on tenses. They shifted from present to
past tense, and vice versa. For example, “My brother bought cake after his shift.
He ‘slices’ it into eight” instead of “He sliced it into eight” to make it parallel to the
first statement.
65
Based on the rating, only 8 of them whose writing demonstrated a skillful
command of standard English conventions. In addition, few grammatical errors
interfered with understanding.
Language
40
No. of Students
35
30
25
20
15
10
Pretest 5
0
FS
2
DME
1
13
3S
17
27
40
32
34
14
10
VS
4
Before
Pretest
5O
8
After
Posttest
16
Mean
2.25
3.30
Md
2.00
3.00
Sd
1.31
1.15
Descrp.
FS
S
Figure 11
Level of Pretest and Posttest Performance in Fiction's Language
When students used the printed modules, 34 of them obtained a rating of 3
(Satisfactory), or they demonstrated command of Standard English conventions.
They also employed language and tone appropriate for the audience and purpose.
Some grammatical errors interfered with understanding of their story. From 8 in
the pretest who were categorized as Outstanding, the number doubled to 16
whose fiction demonstrated a skillful command of standard English conventions.
They skillfully wrote for specific readers. It was also found that no grammatical
errors interfered with readers’ understanding. They were able to use the rules of
66
grammar correctly. Some of these students were either Independent (fast readers
with good comprehension) or Instructional A readers (slow readers but have good
comprehension).
Based on their level of performance, the mean shows that they were under
Fairly Satisfactory level (2.25) during the pretest. However, they improved to
Satisfactory (3.30) in their posttest after they were taught using the modular
instruction. Students were able to use consistent verb tenses in their story (e.g.,
Out of my realization, I got home without noticing it. Then I went inside my room
and put my things on the table). However, they must consider writing as a habit
while observing grammar rules in the editing stage so that they can augment their
performance in this technical aspect.
This technical problem which consists of grammar, sentence structure, and
word choice, comes as a consideration that this beginner writer is not a native
speaker of English, as disclosed by Pratiwi (2010). Moreover, based on his
observation, the students of creative writing learn English as a foreign language,
affecting the language used in the story. There were 77% of the students
experienced problems with grammar, and 69% of the students experienced
problems in arranging the sentence structure. The problem found in the grammar
use is mainly caused by tenses confusion; meanwhile, the main problem with the
sentence structure is the level of sentence complexity which causes meaning
confusion.
67
Summary of Mean Scores in Poem’s and Fictions’ Pretest and Posttest
This subsection shows the overview of the means of the areas in writing
poems and fiction along with their descriptive rating.
Table 3
Summary of Mean Scores in the Pretest and Posttest in Writing Poem and
Fiction
PRETEST
POSTTEST
AREA
Mean
Description
Mean
Description
Diction
2.03
Fairly Satisfactory
3.38
Very Satisfactory
Elements
2.05
Fairly Satisfactory
3.32
Very Satisfactory
Language
2.21
Fairly Satisfactory
3.50
Very Satisfactory
Style
2.02
Fairly Satisfactory
3.56
Very Satisfactory
2.08
Fairly Satisfactory
3.44
Very Satisfactory
Elements
1.96
Fairly Satisfactory
3.50
Very Satisfactory
Narrative Techniques
2.10
Fairly Satisfactory
3.18
Satisfactory
Plot Structure & Conflict
2.02
Fairly Satisfactory
3.03
Satisfactory
Language
2.25
Fairly Satisfactory
3.30
Very Satisfactory
2.08
Fairly Satisfactory
3.25
Very Satisfactory
Poem
Composite Mean
Fiction
Composite Mean
Table 3 unveils that in the pretest in writing poems, all the four areas had a
descriptive rating of Fairly Satisfactory, but during posttest, it improved to Very
Satisfactory. The Style had the most significant leap from a mean of 2.02, it
reached 3.56 after the students were exposed to modular instruction.
Correspondingly, diction’s mean of 2.03, Fairly Satisfactory stepped up to 3.38,
Very Satisfactory. Students used concrete words rather than abstract.
68
Collectively, the pretest had a composite mean of 2.08, Fairly Satisfactory, while
in the posttest, it went to 3.44. This means that their performance was Very
Satisfactory in writing the poem.
Indeed, the utilization of modules complemented the increase of
performance in the poem. Students were able to apply accurate, concrete,
appropriate, and precise diction, as well as elements, techniques, and style in their
written outputs.
Similarly, the lowest mean in writing fiction was 1.96 in the area of Elements
followed by Plot Structure & Conflict, which had a mean of 2.02. However, the
student's performance improved when they used the printed modules. For
instance, in the Elements, the mean incremented to 3.50, or their performance
became Very Satisfactory. The same is true in the area of Language. From 2.25
or Fairly Satisfactory in the pretest, it increased to 3.30 or Very Satisfactory in
the posttest. In the Narrative Techniques and Plot Structure, the students’
performance was Satisfactory in the posttest. The composite mean yielded a 2.08
(Fairly Satisfactory) before the printed modules were given to the students. In the
posttest, it reached 3.25 (Very Satisfactory).
These favorable contributions and impact imply that their performance in
writing fiction in the four areas was Very Satisfactory. This means that they
learned the lesson in creative writing because of their exposure to printed modules.
These became both their learning resources and instructional materials in honing
their writing skills. Despite the increase of students’ mean scores, however, they
69
should develop their skills since they did not achieve the Outstanding level in all
the areas tested.
With these positive and promising results, students should read intensively
the lessons found in the printed modules in Creative Writing, accomplish the tasks
and activities, follow the tips and techniques in order to progress their performance
and reach the Outstanding level in writing poem and fiction. These modules cater
to their needs and abilities. As discussed in Self-Directed Learning theory, students
control their learning objectives and means in order to meet personal goals or the
perceived demands of their individual context.
In his study Modular Method of Teaching, Sejpal (2013) concluded that the
modular method of teaching is a more effective, recent, and more technologybased teaching method in the present educational field. It also provides more
flexibility to distance teaching mode as well to learners. Indeed, this is timely in the
time of crisis where face-to-face instruction is not possible.
STUDENTS’ AND PARENTS’ LEARNING EXPERIENCES IN MODULAR
INSTRUCTION
This section assessed the respondents’ level of agreement and perceptions
when they were exposed to printed modules in Creative Writing regarding the
following areas: Problems and Concerns, Ease of Access, Evaluations, Delivery,
and Satisfaction.
70
Problems and Concerns
This area in modules refers to the extent of the possible challenges and
drawbacks encountered by the students and parents when they used these
learning materials.
Students. It can be seen in Figure 12 that 73 students strongly agreed
that the modules fit their needs and goals. Sixty-two (62) said that they are
disciplined enough to do their studies. This means that the modules contributed to
the skills that they ought to acquire. Only a few students disagreed on this area.
It can be further seen that they strongly agreed on items 1, 2, and 3 and agreed
on items 4 and 5. The composite mean in this area was 3.27 or interpreted to be
Very Positive. Based on their responses, their study habits improved to a great
extent.
Parents. Meanwhile, 60 parents agreed that modules fit in in work
obligations and study time of their child. More than half of them agreed that their
child has enough time to study with modules or their child is being disciplined to
their studies. There were 25 who disagreed on the item, My child can complete
assignments before deadlines. Some of the students have work obligations the
reason that sometimes they cannot finish the task ahead of time, especially those
that require intensive reading and research. Based on their means, the parents
agreed on the 4 items except in item 2 Modules fit his/her goals which was
strongly agreed with a mean of 3.26. The composite mean for the parents was
3.05 and was interpreted to be Positive. This means that parents’ guidance
contributed to students’ performance.
71
Problems and Concerns
80
No. of Students
70
60
50
40
30
20
10
0
Mean
1. I have
enough time to
study with
modules.
2. Modules fit
my needs and
goals.
3.25 = SA
3.61 = SA
3. I'm being
disciplined
enough to do
my studies.
4. Modules fit in
work
obligations with
study time.
3.33 = SA
3.07 = A
5. I can
complete
assignments
before
deadlines.
3.08 = A
`
Composite Mean
3.27 = Very Positive
No. of Parents
60
40
20
0
1. My child has
enough time to
study with
modules.
Mean
3.03 = A
2. Modules fit
his/her needs
and goals.
3.26 = SA
3. My child is
being
disciplined
enough to do
my studies.
2.93 = A
4. Modules fit
in work
obligations
with study
time.
3.07 = A
5. My child can
complete
assignments
before
deadlines.
2.97 = A
`
Composite Mean
3.05 = Positive
Strongly Agree
Agree
Disagree
Strongly Disagree
Figure 12. Students' and Parents' Learning Experiences in Module's
Problems and Concerns
72
The printed modules in Creative Writing contain lessons and activities to be
accomplished by the students to hone their writing skills. Cruickshank et al. (2003)
believed that modular instruction guides students in achieving their personal goals;
thus, making them responsible and independent learners. With this instruction,
they develop a feeling of satisfaction.
Ease of Access
Refers to the extent of the module’s capability to be used and the materials
needed for learning.
Students. The diagram shows that 48 students strongly agreed that it’s
easy for them to locate reference materials required for tasks. There were 46 of
them who strongly agreed that it’s easy to access equipment to learn and practice
skills. Because the topics in the modules are carefully chosen, students found it
easier to use other references. Close to half of them agreed that it’s easy to return
the modules to my teachers and easy to contact the teaches when having
problems. All five items were agreed upon by the respondents. The composite
mean of 3.12 suggests that they found the ease of accessibility positive.
Parents. The responses of the parents revealed that most of them agreed
on the five items. There were 48 who agreed that the printed modules are easy to
get from the teacher. Because of the pandemic, they are the ones who went to the
school to get the modules of their students. Forty-five (45) agreed that it’s easy to
return the modules to the teacher. Because of their effort to provide education to
73
Ease of Access
50
40
No. of Studnets
30
20
10
0
6. The printed
modules are
easy to get from
my teachers.
Mean
3.03 = A
Composite Mean
7. It's easy for
me to locate
reference
materials
required for
tasks.
3.17 = A
8. It's easy to
access
equipment to
learn and
practice skills.
3.12 = A
9. It's easy to
contact my
teacher when
having
problems.
10. It's easy to
return the
modules to my
teachers.
3.09 = A
3.19 = A
`
3.12 = Positive
Chart Title
50
No. of Parents
40
30
20
10
0
6. The printed
modules are
easy to get
from the
teacher.
Mean
2.90 = A
Composite Mean
7. It is easy for
my child to
locate
reference
materials
required for
tasks.
2.55 = A
8. It is easy for
my child to
access
equipment to
learn and
practice skills.
9. It is easy to
contact the
teachers when
having
problems.
2.54 = A
3.08 = A
3.08 = A
`
2.85 = Positive
Very Positive 4
10. It is easy to
return the
modules to the
teacher.
Positive 3
Negative 2
Very Negative 1
Figure 13. Students' and Parents' Learning Experiences in Module's Ease
of Access
74
their students, the latter showed interest in their studies as seen in their
performance in the Creative Writing course.
Meanwhile, 41 of them disagreed on the item, It is easy for my child to
locate reference materials required for tasks. According to them, their students do
not have specific books in writing as their reference. Despite the challenge, the
means of the five items showed that the parents agreed to them. The composite
mean of 2.85 posits that ease of accessibility was positive.
With these results, language teachers should use materials that respond to
the learning styles of the students. In the study of Nardo (2017), English teachers
are encouraged to create learning activities such as printed modules for students.
These modules will encourage them to become independent with minimal
supervision. They will also work to meet their desired goals. In return, the teachers
can prepare instructional materials that respond to their needs. Thus, the
enhanced module crafted in this study is recommended.
Evaluations
This area of modules describes the assessments, tasks, and activities found
in the module.
Students. Figure 14 presents the students’ and parents' learning
experiences on modules’ evaluations. It can be gleaned that majority or 70 of the
students strongly agreed that the tests and activities are for practical use with a
mean of 3.48. There were 55 of them who strongly agreed that the instructions in
the study guides are clear having a mean of 3.25. In the item, The instructions in
75
Evaluations
70
60
No. of Students
50
40
30
20
10
0
11. The
instructions in
study guides
are clear.
Mean
3.28 = SA
Composite Mean
12. It's easy for 13. It's easy to
me to
process the
understand the contents of the
study guides &
tests.
assessments.
3.22 = A
14. The
instructions in
the modules
are easy to
follow.
3.05 = A
15. The tests
and activities
are for
practical use.
3.23 = A
3.48 = SA
`
3.25 = Very Positive
Chart Title
70
60
50
No. of Parents
40
30
20
10
0
Mean
11. The
instructions in
study guides
are clear.
12. It is easy for 13. It is easy for
my child to
him/her to
understand the
process the
study guides & contents of the
assessments.
tests.
3.20 = A
3.00 = A
Composite Mean
2.67 = A
14. The
instructions in
the modules
are easy to
follow.
3.04 = A
3.00 = A
`
2.98 = Positive
Very Positive
15. The tests
and activities
are for
practical use.
Positive
Negative
Very Negative
Figure 14. Students' and Parents' Learning Experiences in Module's
Evaluations
76
the modules are easy to follow, 53 also strongly agreed. Collectively, the module’s
evaluations had a composite mean of 3.25 or were perceived by the students to be
very positive.
This implies that they were satisfied with the tests and activities found in the
modules. Likely, the tests and activities brought a new concept of learning based
on their perceptions.
Parents. Majority of them agreed that the tests and activities are for
practical use with a mean of 3.00. Out of 105 respondents, 50 of them agreed that
the instructions in the modules are easy to follow with a mean of 3.04. The
respondents agreed to all five items. During the interview, parents said that
modules developed the reading comprehension and writing skills of their children.
They observed that they were more focused on their study habits and eager to
learn independently. However, others responded that there were questions that
were difficult to understand. Despite this challenge, it can be related that the
composite mean of 2.98 proved that they embraced and perceived the modules’
evaluations to have positively contributed to their children’s learning.
Undeniably, the role of parents in modular instruction is crucial because
other than the teachers, they are the ones who extend guidance and utmost
support to the students, especially when the latter have difficulty answering or
completing the tasks.
The printed modules, according to Cruickshank et al. (2003), guide and
track the parents and teachers in their students’ progress. With the use of these
modules, students maintain their focus and motivation.
77
Delivery
This term describes how the module contributes to the students’ learning
and development of their skills.
Students. Figure 15 explains that 74 of the students strongly agreed the
modules helped them practice the skills required, with a mean of 3.64. Seventytwo (72) strongly agreed that it helped them understand the subject matter well,
with a mean of 3.56. There were 65 of them who responded that modules allowed
them to complete course requirements with a mean of 3.50. The composite mean
of 3.35 emphasized that they perceived the modules’ delivery as very positive in
developing their skills.
Parents. Perceptions of the parents show that they agreed on the item,
They allow my child to complete his/her requirements with a mean of 2.96.
Similarly, 49 parents agreed that modules helped their child practice skills required
with a mean of 3.25, modules allowed their child to have access to their teacher
having a mean of 2.57. Based on their interview, parents observed that students
were obliged to answer or become responsible to do the tasks found in the
modules. The composite mean of 2.85 revealed that they perceived this area as
positive.
With the use of modules, students were trained to write down their thoughts,
and they were able to express themselves. In developing students’ writing skills,
educators feel the need to provide learning activities or resource materials to aid
them in their writing. These include textbooks and modules that allow them to be
proficient in the second language (Waguey, 2012). When students are exposed to
78
Delivery
80
70
60
No. of Students
50
40
30
20
10
0
16. It helps me
17.They allow
understand the me to complete
subject matter.
course
requirements.
Mean
3.56 = SA
Composite Mean
3.50 = SA
18. The use of
modules in
Creative
Writing suits
my lifestyle.
19. They help
me practice the
skills required.
3.16 = A
3.64 = SA
20. Modules
allow me to
have ready
access to the
teacher.
2.87 = A
`
3.35 = Very Positive
Chart Title
50
40
No. of Parents
30
20
10
0
Mean
16. Creative
Writing
modules help
my child
understand the
subject matter.
17.They allow
him/her to
complete
course
requirements.
2.94 = A
2.96 = A
Composite Mean
18. The use of
modules in
Creative
Writing suits
my child's
lifestyle.
19. They help
my child
practice the
skills required.
2.74 = A
2.57 = A
`
2.85 = Positive
Very Positive
3.25 = SA
20. Modules
allow my child
to have ready
access to
his/her
teacher.
Positive
Negative
Very Negative
Figure 15. Students' and Parents' Learning Experiences in Module's Delivery
79
modules and other learning materials, their communicative competence in English
would increase.
Satisfaction
This variable assesses how satisfied the parents and students are when
they use modules in learning creative writing.
Students. Figure 16 unveils that majority of the students strongly agreed
that they looked forward to doing their assignments with a mean of 3.43. There
were 59 who would recommend this method of learning to other students, with a
mean of 3.27. The 3.26 composite mean proved that their level of satisfaction was
very positive.
Parents. Most of them agreed that their child looked forward to doing their
assignments, their child prepared the assignments most of the time, their child
looked forward to study sessions. All the five items in this area were perceived to
be agreed by them. The composite mean of 2.96 uncovers that their level of
satisfaction was positive. This means that they are willing to the idea that their
children learn using the printed modules. However, according to them, some of the
students were crammed because there were many tasks and activities to be
accomplished.
When students exert effort in learning the language using creative writing
modules, it would be a good avenue for them to land a job in the future since written
communication is required. This is true to the study of Shaw and Moriarty (2012),
wherein the modules enabled students to become expressive of
80
Satisfaction
60
No. of Students
50
40
30
20
10
0
21. With the
modules, I look
forward to my
study sessions.
Mean
22. I prepare my
assignments
most of the
time.
3.22 = A
Composite Mean
3.30 = SA
3.43 = SA
24. I would
25. I would
recommend the recommend this
use of modules
method of
to other subject
learning to
areas
other students.
3.27 = SA
3.09 = A
`
3.26 = Very Positive
Chart Title
60
No. of Parents
23. I look
forward to
doing my
assessments.
50
40
30
20
10
0
21. With the
modules, my
child looks
forward to
study sessions.
Mean
3.12 = A
Composite Mean
22. My child
prepares
his/her
assignments
most of the
time.
3.13 = A
23. He/she
24. I would
25. I would
looks forward recommend the recommend this
to doing his/her use of modules
method of
assessments.
to other subject
learning to
areas
other students.
3.08 = A
2.66 = A
`
2.96 = Positive
Very Positive
2.81 = A
Positive
Negative
Very Negative
Figure 16. Students' and Parents' Learning Experiences in Module's
Satisfaction
81
their feelings, and they used this skill to interact with others outside their
classrooms without a feeling of doubt and apprehension.
Summary of Students’ and Parents’ Learning Experiences
This part shows the overview of the means along with their descriptive rating
in modular instruction in the five areas, namely problems and concerns, ease of
access, evaluations, delivery, and satisfaction.
Table 4
Summary of Students’ and Parents’ Learning Experiences in Modular
Instruction
Students
Parameters
Parents
Composite
Mean
Descriptive
Rating
Composite
Mean
Descriptive
Rating
Problems & Concerns
3.27
Very Positive
3.05
Positive
Ease of Access
3.12
Positive
2.85
Positive
Evaluations
3.25
Very Positive
2.98
Positive
Delivery
3.35
Very Positive
2.85
Positive
Satisfaction
3.26
Very Positive
2.96
Positive
3.25
Very Positive
2.95
Positive
Total
Students. In the area Problems and Concerns, Modules fit my needs and
goals had the highest mean of 3.61 or interpreted to be strongly agree. This was
followed by I’m being disciplined enough my studies with a mean of 3.33.
In the area Ease of Access, the student-respondents agreed on all the
items. This obtained a composite mean of 3.12 or manifested a positive influence
on the respondents. Meanwhile, in the Evaluations, the items The tests and
82
activities are for practical use and The instructions in study guides are clear were
strongly agreed by the students with means of 3.48 and 3.28, respectively. In the
Delivery, the highest mean was 3.64 (Strongly Agree) for the item, They help me
practice the skills required followed by 3.56 (Strongly Agree) for the item, It helps
me understand the subject matter well. This means that they were contented with
the delivery of the modules’ contents.
Finally, in Satisfaction, the mean of 3.43 for the item I look forward to doing
my assessments, 3.30 for I prepare my assignments most of the time, and 3.27 for
I would recommend the use of modules to other subject areas implied that they
strongly agreed or satisfied with the modules. The composite mean of 3.26 can
be interpreted that the modules had a very positive contribution to their learning.
This correlates to the study of Shaw & Moriarty (2012), that learning
activities contributed to their academic achievement and work experiences.
Through the writing sessions, they developed their personal, vocational, and
educational aspects. This module offers a model of best practices. First, it
developed students’ learning through reflection. Second, the module opens a
collaboration with the students in the real world. This means that their learning
experiences catered to their personal growth. Third, they allowed students to
express their feelings. Fourth, they made them connected to their community and
fostered their sustainable development.
Parents. In the area Problems and Concerns, only item, Modules fit his/her
needs and goals was strongly agreed by the parents with a mean of 3.26. The
lowest mean was 2.97 in the item, My child can complete assignments before
83
deadlines. Because of the many subjects or modules students have to accomplish,
some cannot complete the tasks in a specified time. In the area Ease of Access,
all the items were agreed upon by them. The highest mean was It is easy to return
the modules to the teacher, 3.19.
In modules’ Evaluations, the item, The instructions in study guides are clear
had a mean of 3.20 followed by It is easy for my child to understand the study
guides & assessments and The tests and activities are for practical use with the
same mean of 3.00. These results suggest that the parents observed their children
have fully grasped the series of tests and activities in the modules. Meanwhile, in
the Delivery, all the items were agreed by the parent-respondents except in the
item, They help my child practice the skills required, which was strongly agreed
with a mean of 3.25. With this promising result, parents believed that creative
writing modules prepare their children in the future endeavor since the modules
hone not only their ability to write but also in learning the second language.
Undeniably, as discussed by Eckhoff and Urbach (2008), creative writing
improves the critical thinking and communicative skills of the students since the
lessons included were the essential part of the curriculum. Therefore, in second
language learning, modules play a vital role.
In terms of Satisfaction, they agreed to all five items. The parents observed
that their children prepared the assignments most of the time, and they looked
forward to their study sessions. Parents were quoted to have said during the
interview that creative writing “modules provided meaningful ideas” as well as
“gave more time for students to reflect.” The composite mean of 2.95 indicates that
84
they considered the modules in Creative Writing to have a positive impact on their
children’s overall performance.
The development of self-learning materials or resources for modular
instruction, according to Dewey (1969), responds to students’ needs, abilities from
diverse backgrounds, which in turn is the primary goal of inclusive education. For
this reason, modules should be introduced to students since they helped them
analyze the lessons well.
TEST OF SIGNIFICANT DIFFERENCE
The following table reflects the significant difference among the mean
scores of writing a poem and fiction with respect to their specified areas.
It can be seen in Table 5 that in Writing Poem, all the means in the four
areas in the posttest improved. The t-values ranged from 4.39 to 7.51 have
corresponding p-values (.000). Since the p-values are less than the set alpha
(α=0.05 ), these findings result in the rejection of the null hypothesis "𝐻𝑜 1: There
is no significant difference between the pre-test and post-test of the respondents.”
This means that a significant difference existed in the pretest and posttest scores
in each criterion under writing a poem.
The results further imply that utilizing printed modules in teaching creative
writing is effective in improving the writing skills of students, as evident in their
posttest scores, which were significantly higher than their pretest performance.
Similarly, all four areas in writing fiction improved after the students used
the printed modules. As seen in the Table, the obtained t-values and p-value of
.000, have resulted to reject the null hypothesis "𝐻𝑜 1: There is no significant
85
difference between the pre-test and post-test of the respondents.” This means that
a significant difference in the scores of the students existed among the four
variables under writing fiction, indicating an effectiveness of the printed module to
improve their writing skills.
Table 5
Mean Difference Between the Pretest and Posttest Results in Writing Poem and
Fiction
Variables
Test
Mean
Pre
Post
Pre
Post
Pre
Post
Pre
Post
2.03
3.38
2.05
3.32
2.21
3.50
2.02
3.56
Pre
Post
Pre
Post
Pre
Post
Pre
1.96
3.50
2.10
3.18
2.02
3.03
2.25
Post
3.30
tValue
pValue
Decision
Interpreta
tion
6.224
.000
Reject H01
Significant
5.819
.000
Reject H01
Significant
4.392
.000
Reject H01
Significant
7.512
.000
Reject H01
Significant
10.092
.000
Reject H01
Significant
6.622
.000
Reject H01
Significant
6.581
.000
Reject H01
Significant
6.474
.000
Reject H01
Significant
Writing Poem
Diction
Elements
Language Conventions
Style
Writing Fiction
Elements
Narrative Techniques
Plot and Conflict
Language
The increase of students’ mean scores in the posttest can be attributed to
the use of printed modules since they were given a chance to explore and discover
their own learnings and become active doers of the activities required to
accomplish. This, in return, corresponds to the study of Cruickshank et al. (2003)
that printed modules have the ability to enhance students’ academic performance.
86
TEST OF SIGNIFICANT RELATIONSHIP
Using Chi-square, this section presents the test of the significant
relationship between the students' performance and their identified profile.
Respondents’ Performance and their Identified Profile
The result on the respondents’ performance in Creative Writing and their
identified profile is presented in Table 6.
Table 6
Respondents’ Performance and their Identified Profile
Χ2
Cramer's
V
Interpreta
tion
pValue
α
Decision
Interpreta
tion
Performance and
ORV
35.24
0.419
Moderate
0.000
0.05
Reject
H02
Significant
Performance and
Previous Grade in
English
35.76
0.443
Moderate
0.000
0.05
Reject
H02
Significant
Performance and
Parents’ Educational
Attainment
15.69
0.284
Low
0.109
0.05
Failed to
Reject
H02
Not
Significant
Performance and
Parents’ Income
12.48
0.239
Low
0.254
0.05
Failed to
Reject
H02
Not
Significant
Variables
Based on the Table, it can be observed that the variables Performance
and ORV and Performance and Previous Grade in English had a p-value of
0.000, which is less than the alpha set at 0.005. Therefore, the decision is to reject
the hypothesis. This means that a significant relationship existed between
them. Under Cramer’s V, 0.419 and 0.443, respectively, tell that the two sets of
variables have a moderate association. This can be interpreted to mean that the
87
level of reading comprehension of the students is associated with their writing
skills.
As pointed out by some researchers, reading and writing are strictly
intertwined and connected. For Olness (2005) and Tsai (2006), they both consider
reading and writing as similar processes of composing in which the reader or the
author interacts with a text. As has been noticed in classroom experiences by
Williams (2003), good readers are mainly good writers.
Undeniably, through reading, students learn new vocabulary, organize their
thoughts well, and allow them to create connections to their own experiences and
emotions; thus, making them better writers.
In Performance and Parents’ Highest Educational Attainment, the pvalue of 0.109 is greater than the alpha. This results in the acceptance of the null
hypothesis, which means that there is no significant relationship between the
two or the parents’ education did not contribute to students' performance.
There were students who performed better in writing regardless of their
parents’ low education than those students whose parents were college graduates.
This corresponds to the study of Nelson (2009) that parents’ education mediates
but generally does not directly influence all dependent variables of student
success.
In the same manner, Parents’ Income did not significantly contribute to
students’ performance, as evident in the p-value of 0.254. This is in consonance
with the study of Gabriel (2015), where it established a non-significant correlation
between the occupation of parents and the academic performance of learners.
88
This can be elaborated that senior high students who came from low-income
families were seen to work extra hard to liberate themselves from such conditions
and are therefore likely to perform well academically.
Respondents’ Performance and their Learning Experiences
This section presents the test of the significant relationship between the
students' performance in creative writing and their learning experiences in the
utilization of modules.
Table 7
Respondents’ Performance and their Learning Experiences
Variables
Χ2
Cramer's
V
Interpreta
tion
pValue
α
Decision
Interpreta
tion
Performance and
Learning Experience
19.41
0.284
Low
0.004
0.05
Reject
H03
Significant
Table 7 presents the relationship between Performance and Learning
Experience. The variables obtained a p-value of 0.004 less than the set alpha at
0.005. This results in the rejection of the null hypothesis, "𝐻𝑜 3: There is no
significant relationship between the respondents’ profile and their learning
experiences.” which means that a significant relationship existed between the
aforementioned variables.
This can be interpreted that the very positive perceptions of modules as
part of students’ learning experiences correlated with their performance. The
improvement of their level of progress was due to the use of Creative Writing
89
modules. In totality, students’ positive learning experiences towards the use of the
module resulted in a better performance.
Corollary to the study of Morris (2019), learning experiences in self-directed
learning theory develop the students' abilities. In addition, as pointed out by Sadiq
and Zamir (2014), the use of printed modules fosters life-long learning. This means
that even after graduation, students can recall and apply the knowledge, concepts,
and skills found in the modules.
90
Chapter 4
SUMMARY, FINDINGS, CONCLUSIONS, AND RECOMMENDATIONS
To give a succinct overview of the results of the study, this chapter spells
out the summary, findings, conclusions, and recommendations.
SUMMARY
The main thrust of this study was to assess the level of performance in
Creative Writing via modular distance learning in the new normal as well as
students’ and parents’ learning experiences in the utilization of printed modules in
Paciente Cesar G. Cabrera High School and Mainit High School, Siaton 1 District,
Siaton, Negros Oriental for S.Y. 2020–2021 as basis for a development plan.
Specifically, this study sought answers to the subproblems: the profile of the
respondents in terms of previous grade in English, reading proficiency based on
their oral reading verification, instructional materials available at home, parents’
highest educational attainment, and parents’ combined monthly income. Likely, it
focused on the level of learners’ performance in the pretest and posttest in the
areas of poem: diction, elements, language conventions, and style; and in the
areas of fiction: elements, narrative techniques, plot structure and conflict, and
language.
Also, the study put an emphasis on the extent of students’ and parents’
perceptions on the utilization of modules, the significant difference between the
pretest and posttest results, and significant difference between the students’ level
91
of performance and their profile as well as the learning experiences on the use of
modules in order to craft learning modules as part of the development plan.
Accordingly, questionnaires were used to assess the students’ level of
performance in writing a poem and fiction. Rubric scoring was used by the raters
to grade students’ output.
The respondents of the study were the 105 Grade 11 students and parents
of Paciente Cesar G. Cabrera High School and Mainit High School during the S.Y.
2020–2021.
To interpret the data, the following statistical tools were used, namely:
Simple Percentage, Weighted Mean, dependent t-test, and Chi-square.
Consequently, the results served as a basis for crafting enhanced learning
modules to hone the creative writing skills of the students.
FINDINGS
In Respondents’ Profile, the variable Previous Grade in English revealed
that 36 or 34.29% had their grades between 85 and 89%. This means that their
level of progress and achievement was Satisfactory. There were 25 or 23.81%
who were in the bracket 75–79% or their achievement was Fairly Satisfactory.
Meanwhile, 17 or 16.19% belonged to 90–100%, or Outstanding level. In
Reading Proficiency based on Oral Reading Verification (ORV), 33 or 31.43%
were under Instructional B or fast readers with poor comprehension. There were
26 or 24.76% who fell under Frustration level or slow readers with slow
comprehension. Meanwhile, 24 or 22.86% were Independent readers or fast
92
readers with good comprehension, while 22 or 20.95% were categorized as
Instructional A or slow readers with good comprehension. In Instructional
Materials Available at Home, majority of them had smartphones. Fifty-seven (57)
or 54.29% owned books, while 43 or 40.95% had a radio. Less than 13% owned
laptops and computers. In Parents’ Highest Educational Attainment, majority or
43.81% were Elementary level. There were 22 or 20.95% who were Elementary
graduates. Only 6 or 5.71% were College level and 5 or 4.76% were College
graduate. In Parents’ Combined Monthly Income, 36 or 34.29% had ₱5,000–
₱6,999. There were 10 or 9.52% whose monthly income fell under ₱9,000–
₱10,999.
In terms of Diction in the Level of Students’ Performance in Poetry, the
mean score in the pretest was 2.03 or Fairly Satisfactory. In the posttest, it
reached 3.38 or Satisfactory. In Elements, the pretest mean was 2.05 or Fairly
Satisfactory, while in the posttest, it went up to 3.32 or Satisfactory. In
Language, the pretest mean was 2.21 or Fairly Satisfactory, while in the posttest
it became 3.50 or Very Satisfactory. In Style, the pretest was 2.02, Fairly
Satisfactory. In the posttest, it obtained a mean of 3.56 or Very Satisfactory.
In fictions’ Elements, the mean of 1.96 (Fairly Satisfactory) improved to
3.50 (Very Satisfactory) in the posttest. In Narrative Techniques, the pretest
yielded a mean of 2.10 or Fairly Satisfactory. In the posttest, it reached 3.18 or
Satisfactory. In Plot Structure and Conflict, the pretest mean was 2.02 or Fairly
Satisfactory. In the posttest, it augmented to 3.03 or Satisfactory. Finally, in
93
Language, the mean score of 2.25 (Fairly Satisfactory) in the pretest
incremented to 3.30 (Satisfactory) in the posttest.
Regarding Learning Experiences in Modular Instruction, the students’
perceptions in Problems and Concerns had a composite mean of 3.27 or Very
Positive, while for the parents’ perceptions, it was positive with a mean of 3.05.
In Ease of Access, the composite means were 3.12 or Positive for students while
2.85 or Positive for parents. In Evaluations, students had a composite mean of
3.25 or Very Positive while 2.98 or Positive for parents. In Delivery, the students’
composite mean was 3.35 or Very Positive while 2.85 or Positive for parents. In
Satisfaction, the students’ perceptions yielded a mean of 3.26 or Very Positive
while for the parents, it had a composite mean of 2.96 or Positive. Collectively,
the students’ perceptions had a composite mean of 3.25 (Very Positive) while
2.95 (Positive) for the parents’.
In Significant Difference between the Pretest and Posttest, using
dependent t-test, the p-values of all areas were 0.000 or less than 0.005. The null
hypothesis "𝐻𝑜 1: There is no significant difference between the pre-test and posttest of the respondents.” was rejected. This means that a significant difference
existed between the pretest and posttest results.
In Relationship between Students’ Creative Writing Performance and
their Profile, the variables Performance and ORV and Performance and
Previous Grade in English had a p-value of 0.000, less than 0.05. This means
that a significant relationship existed between them. However, there was no
significant relationship between Performance and Parents’ Educational
94
Attainment (p-value of 0.109) and their Parents’ Combined Monthly Income (pvalue of 0.254). In Relationship between Students’ Creative Writing
Performance and their Learning Experiences, the p-value of 0.004 suggested
that a significant relationship existed between these two variables.
CONCLUSIONS
Based on the findings, modular instruction improved the students’
performance in Creative Writing from Fairly Satisfactory in the pretest to Very
Satisfactory in the posttest. Meanwhile, students and parents manifested their
learning experiences in the utilization of modules as very positive and positive,
respectively. Statistically, students’ previous grade in English and their levels of
reading comprehension had significantly influenced their creative writing
performance. However, parents’ educational attainment and their combined
monthly income did not affect students’ performance.
RECOMMENDATIONS
Since modular instruction improved the creative writing skills of the
students, it is recommended that language teachers, especially creative writing
teachers are to make use of the crafted learning modules as a way of developing
and enhancing students’ creative writing skills and competencies to the greatest
extent since the target level of progress and achievement is outstanding. They are
also tasked to convene to implement the matrix of activities found in the
development plan.
95
Chapter 5
DEVELOPMENT PLAN
Rationale
This research work entitled “Teaching Creative Writing to Grade 11
Students via Modular Distance Learning in the New Normal” was made to assess
the students’ level of performance and progress in writing poems and fiction.
Based on the findings, there is a dire need to develop students’ skills and
competence in these aspects of creative writing. To address this problem, the
researcher crafted the development plan which includes the enhancement of the
modules in Creative Writing course. This module contains a series of activities to
be accomplished by the students. The positive outcome would help language
teachers and school administrators achieve the goal of high competence and
outstanding performance in creative writing among their students as the skill is of
paramount importance in learning the English language.
Objectives
The following objectives for the development plan are constructed in order
to improve students’ performance in creative writing as well as to address
problems of the modules:
1. to implement the proposed modules to the English teachers Paciente Cesar
G. Cabrera High School and Mainit High School in Siaton 1 district, Siaton,
Negros Oriental;
96
2. to improve the quality of implementation of modular instruction by employing
suitable and efficient language teaching strategies in the time of crisis; and
3. to enhance students’ creative writing skills and competence through the use
of the enhanced learning module.
Scheme of Implementation
To make this output realize, the researcher will present the development
plan to the school heads of Paciente Cesar G. Cabrera High School and Mainit
High School. After which, sessions will be organized involving English teachers
handling Creative Writing. On the part of the students, they will be asked to study
the lessons, accomplish the tasks, and let themselves engage in the activities in
the crafted modules. Teachers shall monitor the progress of the students in order
for them to achieve mastery of the competencies. Also, during in-service training
wherein English teachers of Siaton 1 district will gather either face-to-face or
virtual, the researcher will ask permission to the district supervisor to present this
learning material to give language teachers an idea of new teaching strategy to be
employed, i.e., modular-assisted instruction, so as students’ creative writing skills
will be improved.
1
DEVELOPMENT PLAN
SY 2021-2022
Areas
Problems &
Concerns
Objective
Produce modules in Creative
Writing that respond to
students’ needs and learning
styles.
Strategies
Time
Frame
Persons
Involved
Fund
Source
Budget
Enhanced printed
modules
SeminarWorkshop
Year
round
Improve the creative writing
performance of the students
Resource
Speaker,
Teachers, Sch
Head
MOOE
₱5,000.00
Communicate with students
& parents in any platforms
so that questions can be
accommodated
Ease of
Access
Include reference materials
for students’
assignments/tasks
SeminarWorkshop
Year
round
Teachers, Sch
Head
MOOE
₱2,000.00
Enhanced printed
modules
Students’
performance
reached
Outstanding level
Improve instructions, study
guides, assessments
Retool teachers on
appropriate assessment
tools to be used
Students’
performance
reached
Outstanding level
Built rapport
between teachers
and parents
Improve the creative writing
performance of the students
Evaluation
Expected
Output
SeminarWorkshop
Year
round
Resource
Speakers,
Teachers, Sch
Head
MOOE
₱5,000.00
Developed
teachers’
competence in the
use of assessment
tools
Enhanced printed
modules
Actual
Accomplishment
Remarks
2
Students’
performance
reached
Outstanding level
Improve the creative writing
performance of the students
Expedite learning by making
subject matter or lessons
easier for students
Delivery
Prepare lessons for
enhancement of practical
skills.
Enhanced printed
modules
SeminarWorkshop
Year
round
Teachers, Sch
Head
MOOE
₱3,000.00
Improve the creative writing
performance of the students
Students’
performance
reached
Outstanding level
Motivate students in the use
of printed modules
Satisfied and
motivated students
Assure modules’ quality
prior to distribution
Enhanced printed
modules
Satisfaction
Improve the creative writing
performance of the students
SeminarWorkshop
Year
round
Teachers, Sch
Head
MOOE
₱2,000
Students’
performance
reached
Outstanding level
98
99
MATRIX OF ACTIVITIES
Time
Day 1
Day 2
Day 3
7:45–8:00
Registration
Management of Learning
(MOL)
Management of Learning
(MOL)
8:00–9:00
Opening Program
Assessment Strategies in
the New Normal
21st Century Teaching
9:00–10:30
10:30–12:00
(Mrs. Isabel B. Pusalan)
(Mr. Rene Boy D. Gadiana)
Self-Directed Learning in
the New Normal
The School & Community
Relationships
(Mrs. Jeany P. Arangco)
(Mrs. Jimalyn E. Borreros)
12:00–12:45
Writing of Enhanced
Learning Modules in
Creative Writing
LUNCH
Management of Learning
(MOL)
Management of Learning
(MOL)
Unpacking of Most
Essential Learning
Competencies (MELCs)
Problem-Solving &
Working with Parents
2:30–3:30
(Mr. Marvin Q. Amparado)
(Mrs. Airen Jun B. Kadusale)
3:30–4:30
Contextualization,
Localization, and
Indigenization of Modules
Development Education:
Innovations for Modular
Instruction
4:30–5:00
(Mr. Edsel Mari A. Uy)
(Ms. Mary Mae V. Diaz)
Closing Program
Class Manager
Mr. Joseph A. Agor
Mr. Joseph A. Agor
Mr. Joseph A. Agor
Process
Observer
Mr. Gaudioso G. Gaitera Jr.
Mr. Gaudioso G. Gaitera Jr.
Mr. Gaudioso G. Gaitera Jr.
12:45–1:00
1:00–2:30
Prepared by:
JOSUA D. QUINIQUITO
Researcher
Management of Learning
(MOL)
Quality Assurance: Editing,
Revising, Polishing of
Modules
100
ENHANCED LEARNING MODULE IN CREATIVE WRITING
JOSUA D. QUINIQUITO
May 2021
101
TABLE OF CONTENTS
Page
Reading and Writing Poetry
102
Overview
102
Learning Competencies
102
Diction
103
Elements of Poetry
106
Language Convention
109
Style
113
Reading and Writing Fiction
118
Overview
118
Learning Competencies
118
Elements of Fiction
119
Plot Structure and Conflict
125
Narrative Techniques
133
Language
137
102
Reading & Writing Poetry
Overview:
Good day students. Welcome to Module in Creative Writing in our journey
to become creative writers! This module will introduce you to perhaps one of the
oldest types of art developed as a type of literary genre even before our ancestors
have learned to write. Folk stories have been told for generations in verses and
other forms of poetic language that had fascinated us even to this day.
At the end of this module, you are expected to:
1. use appropriate diction in poetry;
2. identify the various elements;
3. determine specific forms and language conventions of poetry;
4. explore innovative style and techniques in writing poetry; and
5. compose a short, well-crafted poem applying the various elements, style,
techniques, and literary devices.
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Name : ____________________________
Date : __________________
Year & Section
Score
: _________
: ________
Subject Matter
: Diction
Writing Guide
:
Diction or word usage is the author’s choice or
selection of words or vocabulary; the artistic arrangement
that words constitute. Inappropriate use of diction is called
diction error.
Concrete diction is usually preferred over a general or
abstract word choice. By evoking images and appealing to
the senses, concrete words allow the reader to be immersed
in that imaginary world and even experience what the
characters are going through.
Example
:
Abstract:
Specific:
Audrey exhibited extreme shyness.
Audrey looked sheepish.
The first sentence sounds formal and to an
extent clinical. The use of the word “exhibit” reminds
one of a psychological case and is not used in everyday
conversation. The second sentence is concrete and
directly associates with the description of the images of
a sheep, meek and helpless. The adjective itself means
“sheep-like” and gives a mental picture of what extreme
shyness must be like.
Activity
: Take the Challenge!
Accomplish Activities 1 and 2.
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Activity #1 In this activity, you are going to transform the abstract/generic
descriptions into more concrete ones.
1. Mary's pet was sleeping.
➢
2. For the first time in years, he felt happy.
➢
3. The meal Auntie Mae prepared was a disaster.
➢
4. The country's citizens pushed their agenda.
➢
5. The doctor examined her condition thoroughly.
➢
6. It is obvious that that the house used to be in a better state.
➢
7. John cried over the death of a relative.
➢
8. All they wanted was long-lasting peace.
➢
9. She sensed the need to make changes in her life.
➢
10. The old couple still looked very much in love.
➢
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Activity #2.
Write a 2-stanza poem with specific diction based on the picture
above. Think of a title that evokes mental image to the readers.
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Subject Matter
: Elements of Poetry
Writing Guide
:
Essential elements of poetry are things that we can
find in most if not all forms and types of poetry. Every poem
consists of a theme or an underlying message of what the
poem wanted to tell us.
Equally important element in every poem is a tone. A
tone is the attitude that we feel when we read or listen to a
poem.
Poetry can evoke our emotions and feelings when we
read it out loud. These emotions and feelings help establish
a certain atmosphere or mood.
Example
:
Themes
• family
• freedom
• fate
• action vs. apathy
• beating the odds
• coming of age
• fear
• greed
• nature
• beauty
• faith
• courage
• fear of failure
• hate
• love
• fall from grace
• friendship
• corruption
Sample poem:
Little drops of water
Little grains of sand,
Make the mighty ocean
And the pleasant land.
Thus the little minutes
Humble though they be,
Make the mighty ages of eternity.”
Theme: Time moves on
Tones
• serious
• sad
• angry
• cheerful
• humorous
• amused
• ironic
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Sample poem:
My dead love came to me, and said:
'God gives me one hour's rest,
To spend with thee on earth again:
How shall we spend it best?'
'Why, as of old,' I said; and so
We quarreled, as of old:
But, when I turned to make my peace,
That one short hour was told.”
Tone: Ironic
Mood
• romantic
• realistic
• optimistic
• pessimistic
• mournful
• sorrowful
• suspense
Sample poem:
"The little house stood
in the twilight with its gate ajar,
creaking as the wind blew.
A shutter slammed against the house,
and a curtain fluttered in the breeze."
Mood: Suspense
Activity
: Take the Challenge!
Accomplish Activity 1
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Activity #1.
Write a 2-stanza poem with theme, tone, and mood based on the picture
above. Think of a title that evokes mental image to the readers.
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Subject Matter
: Language Convention
Writing Guide
: 1. PERIOD (.) – full stop; use a period to mark the end of
the thought
I had a dream, which was not all a dream.
-Darkness by Lord Byron
2. COMMA (,) – commas help to make a pause, separate
elements, use many adjectives, and eliminate “and”
Ring out, wild bells, to the wild sky,
The flying cloud, the frosty light
-In Memoriam A. H. H. OBIIT MDCCCXXXIII: 106 By
Alfred Tennyson
3. QUESTION MARK (?) – needless to say, with a question mark, you indicate a
question (sometimes rhetorical); as well as give the reader a chance to take a
breath
Who can sing the House of the Sun?
Who shall frame its dreadful art?
-The House of the Sun by Donald (Grady) Davidson
4. EXCLAMATION POINT (!) – use exclamation marks to specify some protest,
excitement, appeal, completeness, or just emphasize a thought.
Earth, ocean, air, belovèd brotherhood!
-Alastor; or, The Spirit of Solitude by Percy Bysshe Shelley
I know what the caged bird feels, alas!
-Sympathy by Paul Laurence Dunbar
5. SEMICOLON (;) – semicolons are for connecting two separate parts of the
sentence and to separate lists.
I know why the caged bird beats his wing
Till its blood is red on the cruel bars;
For he must fly back to his perch and cling
When he fain would be on the bough a-swing;
-Sympathy by Paul Laurence Dunbar
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6. COLON (:) – use a colon before introducing a list, explanation, or definition.
They wander & are exiled, they live in exile
through long ages
Like drawn blades never sheathed, hacked and
gone black,
The alien trees in alien lands: and yet
The heart of blossom,
The unquenchable heart of blossom!
-Almond Blossom by D. H. Lawrence
7. QUOTATION MARKS (“) – like in prose punctuation, quotation marks in
poems serve to mark words of another source.
The light there, but
what’s it for? For eyes. He called me “Four Eyes”
now I have billions.
-My Sea by Alice Notley
8. ELLIPSIS (…) – this mysterious mark says about the omitted part of the
sentence (sometimes word) and indicates a transition.
I’m going to lead you
into a you you don’t know … Most people want
to go.
-My Sea by Alice Notley
9. APOSTROPHE (‘) – besides pointing to the possessive form, apostrophes can
also be used to omit letters from the word.
‘Tis true, ’tis day, what though it be?
O wilt thou therefore rise from me?
Why should we rise because ’tis light?
Did we lie down because ’twas night?
-Break of Day by John Donne
10. HYPHEN (-) – use a hyphen to connect compound words (or add some
modifiers)
With blood-hot eyes and cane-lipped scented mouth,
Surprised in making folk-songs from soul sounds.
-Georgia Dusk by Jean Toomer
11. EM-DASH (–) – with this punctuation mark, you can introduce an explanation
or specification, make a break in thought, or separate two parts of the sentence.
All water from the streams; dead birds were found
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In wells a hundred feet below the ground
Such was the season when the flower bloomed.
-November Cotton Flower by Jean Toomer
12. PARENTHESIS (( )) – use parenthesis to add a text that is not a part of the
sentence (for example, qualifying notes or developed thoughts
I only have this whimsy hair
(that always remained the same)
yet once was somone’s dearest love.
-Song of the Orphan by Rainer Maria Rilke
Adapted: https://helpfulpapers.com/blog/punctuation-in-poetry-4-main-typesand-simple-tips
Activity
: Take the Challenge!
Fill in the blanks with appropriate punctuation marks.
A Time to Talk
by Robert Frost
When a friend call to me from the road
And slows his horse to a meaning walk __
I don’t stand still and look around
On all the hills I haven’t hoed ___
And shout from where I am, What is it___
No__ not as there is a time to talk ___
I thrust my hoe in the mellow ground ___
Blade__end up and five feet tall ____
And plod__ I go up to the stone wall
For a friendly visit___
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Activity #1.
Write a 2-stanza poem based on the given picture using the language
conventions. Think of a title that evokes mental image to the readers.
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Subject Matter
: Style
Writing Guide
:
This refers to all the choices that are made to
create the poem’s meaning. Style includes technical
choices, such as using short or long lines, varying or
omitting punctuation, using a set rhythm or rhyme
scheme, line breaks and enjambments.
A Line Break is a poetic device which is used at the
end of a line and the beginning of the next line in a poem. It
could be employed without traditional punctuation. A line
break in poetry is a method by which lines of poetry are
divided to show a change in a metrical pattern. Unlike prose,
the poetry’s rhythmic pattern can be visually seen when
written using line breaks.
Enjambment can be defined as a thought or sense, phrase or clause, in a line of
poetry that does not end at the line break, but moves over to the next line. In
simple words, it is the running on of a sense from one couplet or line to the next
without a major pause or syntactical break. Conversely, it runs into each other
and make meaning in conjunction with each other rather than independent units
like end-stopped lines.
Example
:
Line Break
Cymbeline (By William Shakespeare)
“With his own sword,
Which he did wave against my throat, I have ta’en
His head from him
I am absolute
‘Twas very Cloten”
Explanation:
There are two-line break examples in the given passage. One
line break cuts the line, “I have ta’en his head from him” in the
middle, placing the line break at the end of the second line. Another
line break is used in the fourth line, “I” being a person has an
absolute meaning. These line breaks are determining the visual
shape of this text.
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Enjambment
It is a Beauteous Evening (William Wordsworth)
“It is a beauteous Evening, calm and free;
The holy time is quiet as a Nun
Breathless with adoration; the broad sun
Is sinking down in its tranquility;
The gentleness of heaven is on the Sea;
Listen! The mighty Being is awake,
And doth with his eternal motion make
A sound like thunder―everlastingly. …
“Thou liest in Abraham’s bosom all the year;
And worshipp’st at the Temple’s inner shrine,
God being with thee when we know it not.”
Explanation
This poem is a perfect example of enjambment. In this poem,
every line is running over to the next, while the sense is not finished
at the end of lines, without pause or break. None of the lines make
sense – or stand on their own – without the next line.
Activity
: Take the Challenge!
Accomplish Activities 1 and 2.
Activity #1
Below are texts with specified cues on line break and enjambment.
Identify the item if it utilizes line break or enjambment.
1.
The poet labors all his days//
To build the beauty in his rhyme.
➢
2.
When rain drops are
Exposed to sunlight, even
Colorless become vibrant.
➢
3.
Amongst the bushes and thorns
Beautiful red rose blooms.
➢
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4.
Cold morning time
Ice crystals reflect the rays
Of blazing sunrise.
➢
5.
Lovely nature has something to offer
you; so inhale the fresh air
And, beautifully, learn by deciding where to go.
➢
Activity #2
Put a double bar line to show line break and underline once the word
that displays enjambment. The first one is done for you.
Sample: I have eaten the plums that were in the icebox.
Answer: I have eaten// the plums// that were in //the icebox.
1. I think I had never seen a verse as beautiful as a flower.
➢
2. Amongst the bushes and thorns beautiful red rose blooms.
➢
3. The sunlight brightens the horizon like the sky lightens a small island.
➢
4. Breezy blue sky so clear, so bright and relaxing that escapes daily toil.
➢
5. How beautiful are sunflowers that yield without difficulty, blooming so fully
now
in the light of the sun.
➢
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Activity #3.
Write a 2-stanza poem based on the given picture above using the line
break and enjambment to achieve poem's style. Think of a title that evokes
mental image to the readers.
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EXTRACT YOUR CREATIVE JUICES
Create an original four-stanza poem of four lines following the aabb ccdd
ccdd aabb rhyme scheme with a line break and enjambment. Your poem’s theme
should base on the picture below. Apply the style and the elements of poetry.
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Reading & Writing Fiction
Overview:
Welcome to this module! This will expose you to creative literary works of
well-known writers and will help you develop the writer in you as this module
focuses on reading and writing fiction. This module will also discuss the elements
and literary devices in fiction. Activities are prepared for you to craft an
imaginative short scene.
At the end of this module, you are expected to:
1. identify the various elements of fiction;
2. determine narrative techniques in fiction;
3. explore innovative style in developing plot structure and conflict; and
4. write a short fictional scene applying the elements, appropriate language,
and narrative techniques.
119
Name : ____________________________
Date : __________________
Year & Section
Score
: _________
: ________
Subject Matter
: Elements of Fiction
Writing Guide
:
The Elements of Fiction
A. Character. This element refers to a representation of a
human being or any other creature in the course of the story.
A character can be any person, a figure, an animate object,
or animal usually endowed with human qualities. The
characters are the people or any figures in the story.
1. Protagonist is the main character in a novel, play or in a
story. The protagonist is also referred as the hero of the work.
Frodo Baggins, a hobbit, who inherits The One Ring from
Bilbo in The Lord of the Rings is an example of this type of
character.
2. Antagonist is a character in a story who deceives, frustrates or works against
the main character or the protagonist. In The Lord of the Rings the title character
named Sauron, who desires for power is an example of an antagonist character.
3. Flat Character is a character who is the same kind of person at the end of the
story as he/she was at the beginning. Gollum from The Lord of the Rings is an
example of this type. Gollum’s character is determined by his obsession with the
recovery of the ring “his precious.” Jafar from the folktale Aladdin, was described
as evil and ambitious and always wants to be evil and ambitious.
4. Dynamic Character is a character who undergoes a permanent change in the
aspect of his/her personality or outlook. Aladdin from Aladdin is an example of
a dynamic character. Aladdin was first described as a thief but eventually
becomes an honest hero in the end.
5. Tragic hero/Tragic figure is a protagonist who comes to a bad end as a result
of his own behaviour, usually caused by personality disorder. Romeo in
Shakespeare’s Romeo and Juliet is a good example of this type. Romeo killed
himself when he thought that Juliet is actually dead.
6. Antihero is a protagonist character who has the opposite of most of the
traditional attributes of a hero. This type of character may be bewildered,
deluded, or merely pathetic. A good example of this type is Captain Jack Sparrow
in Pirates of the Caribbean, a major character named Captain Jack Sparrow is
described as a selfish pirate he even ran away to save
himself when others need help too.
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B. Point-of-View. Point of view is the perspective from which the story or work is
told. Point –of-view is also defined as the eyes and mind through which the reader
views the unfolding of events. It tells through whose eyes we are seeing the story
and as well reveals the attitude of the writer toward the character.
1. First Person POV. This is used when the
narrator is a character of the story. This point of view is
identifiable by the use of the pronoun “I.” Narrators of
first person fiction are characters in the story. They can
be the protagonist (very common choice), a participant
in the action (a major character), a bystander (a minor
character, mainly an observer), or even a frame
narrator. Take a look at the passage below from
Charlotte Bronte’s Jane Eyre,
“I could not unlove him now, because I found that he
had ceased to notice me.”
2. Second Person POV. This is the rarest narrative voice in literature. The
narrator refers the reader as “you” making the reader feel as if he/she is a
character or part within the story. Instructional manuals, how-to-guides and selfhelp books are usually written using this point-of-view.
You hear the car after an hour and a half. During that time, you’ve
been here in the darkness, sitting on the small telephone seat near the front
door, waiting. You only moved once, after half an hour, when you went back
through the kitchen to check on the maid.
3. Third Person POV. This happens when the narrator does not take part in the
story. The narrator relates events but is not one of the characters.
A. Objective POV is often referred to as Dramatic point of view, because
the story is narrated by the author as if he is a mere spectator of events. Objective
point of view contains no references to thoughts or feelings; it only reports what
can be seen and heard. A narrator tells a story without describing any of the
character’s thoughts, opinions, or feelings; instead an objective, unbiased point
of view.
“Hansel walked ahead of Gretel. Gretel dropped breadcrumbs behind her
as she went. Ahead of them, an old witch waited.”
B. Third person limited, the narrator can relate to what is in the minds
of only a select few characters. Limited means that the POV is limited to only one
character and that the narrator only knows what that character knows. In third
person limited you can choose to view the action from right inside the character's
head, or from further away, where the narrator has more access to information
outside the protagonist's viewpoint.
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•
Karen couldn't tell if her boss was lying.
•
Aziz started to panic. How am I going to get out of this mess?
C. Third person omniscient, the narrator can render information from
anywhere, including the thoughts and feelings of any characters. This allknowing perspective allows the narrator to explore the story’s setting and beyond.
This omniscient narrator is not a character in the story and can tell what any or
all characters are feeling and thinking. The narrator knows things that others
don't, can make comments about what's happening, and can see inside the minds
of other characters.
•
•
He thought that Sarah was fantastic, but she didn't think the same of
him.
As Leslie and Andi kissed under the Eiffel Tower, a burglary was taking
place four miles east, in the 11th Arrondissement.
Activity
: Take the Challenge!
Activity 1.
Read the description of the story and determine the
protagonist and antagonist character. Then describe
the type of conflict found in the description.
1. Kiko is a ninja warrior trained by Mountain Master
Yoho Mahrati. When master Mahrati is slain by Shan Bhutan of the Lotus Clan
in the most cowardly of fashions, Kiko lays it all on the line to avenge the death
of his master. Will Kiko lays overcome the Shan Bhutan and the powerful Lotus
Clan?
Protagonist : _____________
Antagonist : _____________
2. Greg is just a regular boy who tries his best in school and just so happens to
have a magical unicorn. When he’s not studying and playing baseball, Greg is
riding his unicorn through the enchanted land of Harmonia. When Greg brings
something to Harmonia that he shouldn’t, a secret gate is unlocked and the
muck-muck monsters are unleashed, causing terrible pollution in Harmonia.
Can Greg and his unicorn stop the muck-muck monsters before they find a way
to Greg’s world?
Protagonist : _____________
Antagonist : _____________
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Activity 2.
Read the following passage and tell what Point of View is used in the
material.
______________ 1. When Jane and Elizabeth were alone, the former who had been
cautious in her praise of Mr. Bingley before, expressed to her
sister how very much she admired him. “He is just what a
young man ought to be,” said she, “sensible, good humoured,
lively; and I never saw such happy manners! – so much ease,
with such perfect good breeding!”
-from Jane Austen’s Pride and Prejudice
______________2. When the bus came, I got on, carrying my pink backpack. It was
the first day of school, and I was nervous. I smiled, though
when I saw my bestfriend Kevin sitting in the back.
______________3. All the same, he’s a good man, truthful, kind and remarkable in
his sphere,” Anna said to herself, going back to her room, as
if defending him before someone who was accusing him and
saying that it was impossible to love him, “but why do his
ears stick out oddly? Did he have to have his hair cut?”
Exactly at midnight, when Anna was still sitting at her desk
finishing a letter to Dolly, she heard the measured steps of
slippered feet, and Alexi Alexadrovich, washed and combed,
a book under his arm, came up to her. “It’s time, it’s time,”
he said with a special smile, and went into the bedroom.
-Anna Karenina
______________4. First, you will need to wash your hands and gather all of your
materials. Once you’ve done that, follow all of the directions
in your cookbook. Put your crispy treats in the oven and cook
for 30-35 minutes. Once the treats are cooled, you and your
friends can enjoy.
______________5. Odin brushed the snowflakes off of his sword and replied, “I will
never accept a peace treaty from the Hamburgs. They are our
sworn enemies and so long as I can hold a sword, I will point
it at Hamburgs.” Epee looked at him and wrinkled her face.
A long moment passed in silence. Snow continued to fall from
the sky. Finally, Epee responded, “But, Odin, think about
what peace might mean for the children.” Odin sneered and
said, “Hump, “but made no further comment. Epee drew her
weapon.
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Activity 3.
Have you thought about what story you are going to write about? Or
who the characters would be? Try to do it step by step. First, think of three
characters who will be part of your storyline. Illustrate each character in
the first box, write their name on the second then write short descriptions
for each character in the third box. Them, write a short scene.
Character 1
Character 2
Character 3
Character 1
Character 2
Character 3
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Write your short scene here using the information of the
characters.
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Subject Matter
: Plot Structure and Conflict
Writing Guide
: A. Plot. This refers to the series or sequence of events that
give a story its meaning and effect. It is built around the
events that take place within a definite period. This is what
happens to the characters found in the work.
Read the sample story, My Father Goes to Court. Examine how it is divided into
different parts of plots.
1. Exposition is the introductory part that creates the tone, gives the setting,
and introduces the character and other necessary facts in
understanding the work.
The Story starts in a small town in the island of Luzon.
A poor but happy family usually stands by the house of a rich man to smell
the Delicious Food that the Servants are cooking.
The children of the poor family enjoy and play a lot outside of the
house, while the rich man's children are locked up in their house.
2. Rising Action contains several events to make the story more interesting, in
this part of the story the characters have encountered problems.
One day the rich man appeared at his window and stood there for a
long time, He glowered down on the children of the poor family who had
grown robust and full of life as if he was condemning them, while his
children became thin and anemic.
The rich man shut down all the windows in his house, and from that
day on, the windows of our neighbor's house were always closed.
126
3. Climax is the suspenseful part of the story. The character needs to face the
problem and the need to make a decision.
One morning, a policeman from the presidencia came to our house
with a sealed paper. The rich man had filed a complaint against the poor
family. He sued the poor family of stealing the Spirit of his wealth and food.
4. Falling Action is the part of the plot where the character has already made a
decision about handling the problem and the story is coming closer to the end.
On the court trial, the father didn't need an attorney to defend him.
The attorney of the rich man questioned the poor father about stealing the
spirit of the rich man’s wealth and food.
The father answered all the questions and asked if he could question
the rich man's children. the children, came in shyly, looked so thin and pale,
and was question by the poor father.
5. Resolution/Denouement is the final unravelling of a plot; the living solution
of a mystery; an explanation or outcome. Denouement is the untying of the knot
of intrigue, involving not only a satisfactory outcome of the main situation but an
explanation of all the secrets and misunderstandings connected with the plot of
complication.
The father says that he will pay them for stealing the spirit of their
food, he took a straw hat, put money and coins, and he walked around.
The sweet tinkle of the coins carried beautifully in the courtroom.
The poor father has paid the rich family with the spirit of the money.
B. Conflict. A story without conflict or problem is lifeless. Every good story must
have a conflict. Conflict is a problem or obstacle encountered by the character
within the story. Conflict creates tension and interest in a story by adding doubt
as to the outcome.
1. Man against Himself. This conflict happens when the character is
experiencing inner struggle, or the character is in conflict with himself.
To be, or not to be: that is the question: Whether 'tis nobler in the mind
to suffer The slings and arrows of outrageous fortune, Or to take arms
against a sea of troubles, And by opposing end them? To die: to sleep; No
more; and by a sleep to say we end The heart-ache and the thousand
natural shocks That flesh is heir to, 'tis a consummation Devoutly to be
wish'd. To die, to sleep; To sleep: perchance to dream: ay, there's the rub;
For in that sleep of death what dreams may come When we have shuffled
off this mortal coil, Must give us pause: there's the respect That makes
calamity of so long life.
—Hamlet
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2. Man against Man. A type of conflict that shows two characters pitted or in
clash against each other. One character is against another.
The thousand injuries of Fortunato I had borne as I best could, but
when he ventured upon insult, I vowed revenge. You, who so well know the
nature of my soul, will not suppose, however, that I gave utterance to a
threat. At length I would be avenged; this was a point definitely settled—
but the very definitiveness with which it was resolved, precluded the idea
of risk. I must not only punish, but punish with impunity. A wrong is
unredressed when retribution overtakes its redresser. It is equally
unredressed when the avenger fails to make himself felt as such to him who
has done the wrong.
—The Cask of Amontillado
3. Man against Society. The character is against a group of people or the
society itself. This is shown when the character has done something which
offended society he/she is part of. Also, when the character is unable to
adjust to the ways of the people around him/her.
No man, for any considerable period, can wear one face to himself
and another to the multitude, without finally getting bewildered as to which
may be the true.
—The Scarlet Letter
4. Man against Nature. This conflict happens when the character has to deal
with natural disasters such as earthquakes, landslides, or the characters
are found in a harsh environment like, in the middle of the ocean or desert
and struggles to survive against bit.
He always thought of the sea as 'la mar' which is what people call
her in Spanish when they love her. Sometimes those who love her say bad
things of her but they are always said as though she were a woman. Some
of the younger fishermen, those who used buoys as floats for their lines and
had motorboats, bought when the shark livers had brought much money,
spoke of her as 'el mar' which is masculine. They spoke of her as a
contestant or a place or even an enemy. But the old man always thought of
her as feminine and as something that gave or withheld great favours, and
if she did wild or wicked things it was because she could not help them. The
moon affects her as it does a woman, he thought.
—The Old Man and the Sea
5.
Man against Supernatural Beings. The hero/protagonist faces
extraordinary creature such as gods or monsters before he can achieve his
goal.
Ah how shameless—the way these mortals blame the gods. From us
alone they say come all their miseries yes but they themselves with their own
reckless ways compound their pains beyond their proper share.
—The Odyssey
128
6. Man against to Technology/Machinery. This type of conflict focuses on
a person or group of people fighting to overcome unemotional and
unsympathetic machinery that believes it no longer requires humanity.
'Do you have information that there's an android in the cast? I'd be glad
to help you, and if I were an android would I be glad to help you?' 'An android,'
he said, 'doesn't care what happens to another android. That's one of the
indications we look for.' 'Then,' Miss Luft said, 'you must be an android.'
—Do Androids Dream of Electric Sheep?
Activity
: Take the Challenge!
Read
the
fiction
carefully
and
supply
the
information of its plot: exposition, rising action,
climax, falling action, and resolution.
The Three Valuable Pieces of Advice
A young, newlywed couple lived on a small farm. Since the man was poor
and had nothing much to offer his wife, he thought about leaving and finding a
better job.
So, he spoke to her and said, “Honey, I will leave and travel far. I’ll get a
job and work hard so I can give you the comfortable life that you deserve when I
come back. I do not know how long I’ll be gone, but only ask one thing: please
wait for me. Be faithful to me for I will be faithful to you.”
So, the young man left. He walked for many days until he
found a farmer who was in need of help. The young man
offered his services and was immediately accepted.
However, before he began his work, he laid a few conditions.
“Let me work for you as long as I want, but when I think it’s time for me to go
home please release me of my duties. I do not want to receive my salary. I ask
you to save it for me until the day I leave. The day I decide to go, please give me
the money and I will be on my way.”
The young man worked for twenty years without
holidays and rest. Finally, after twenty years, he went
to his boss.
“Boss, I need my money now; it’s time for me to
come home.”
129
The boss replied, “All right. After all, I made a deal with you and I’ll keep
my word. However, before you go, I want to offer you something new: I will give
you all your money and send you away, or I will give you 3 pieces of advice and
then send you away.
"If I give you the money, I will not give you the 3 pieces of advice. But, if I
give you the 3 pieces of advice, I will not give you the money. Now, go to your
room and think about your answer.”
He thought about it for two days. Until the man made up his mind and
went to the boss and said, “I want the 3 pieces of advice.”
The boss stressed again, “If I give you the 3 pieces of advice, I will not give
you the money.”
But the man insisted, “I want the 3 pieces of advice!”
The boss then told him his three pieces of advice:
Never take shortcuts in your life, shorter and unknown paths can cost your
life;
Never be too curious, for curiosity towards evil can be deadly; and
Never make decisions in moments of anger or pain, because when you
repent, it could be too late.
After giving these 3 pieces of advice, the boss gave him 3 huge loaves of
bread for his journey.
“Here you have 3 loaves of bread. Two are for you to eat during the journey
and the last is for you to eat with your wife when you get home.”
So finally, after twenty years of working so hard. The man went on his way
to return to his wife whom he loved so much.
On the first day of his travel, he found a man
who greeted him and asked, “Where are you going?”
He replied, “To a distant place which is about
20 days away if I continue walking on this road.”
The man said to him, “Oh boy, this path is too long! I know a shortcut that
is very safe and you will arrive in 5 days only.”
The man began to follow the path suggested until he
remembered the first piece of advice. Then, he returned
and followed the long path. Days later, he learned that
the shortcut led to an ambush.
A few days after, he found a small shack in a village
where he could rest. He kindly asked the owner if he
could stay for just one night.
130
During the night, he woke up as he heard a terrifying scream. He rose to
his feet and went to the door to check what happened. He was about to open the
door when he remembered the second piece of advice. Therefore, he ignored the
screams and went back to bed.
At dawn, after having his breakfast, the owner asked him if he had not
heard the screams that night. He affirmed that he did.
Then, the host said, “Were you not curious to see what happened?”
And he replied, “No! I was not!”
Then the host answered again, “You are the first traveler who stayed
overnight and leave this village alive. My neighbor is completely crazy. He usually
shouts at night to call someone’s attention. When the guest comes out, he kills
them and buries their bodies in the backyard.”
The man continued his long journey, eager to arrive soon. After many days
and nights of walking, he was very tired, but he finally
saw his house.
It was nighttime. He saw light coming out from the
window and was able to see the silhouette of his wife. But
he also saw that she was not alone. He came closer and
saw that there was a man with her. She was softly caressing his hair.
His heart was immediately filled with hatred and
bitterness. He decided that he would confront and kill
them mercilessly. However, he took a deep breath, and he
remembered the third piece of advice.
He stopped, reflected, and decided to sleep outside that
night. He slept in the midst of the bushes, determined that
he was going to make a decision the next day.
By dawn, when he was calmer, the man said to himself, “I will not kill my
wife and her lover. I am going back to my boss and ask him to take me back. But
before I do, I want to tell my wife that I have always been faithful to her.”
He went to the front door and knocked. When his wife opened the door
and recognized him, she cried and embraced him warmly. He tried to push her
away, but he was not able to.
Then, with tears in his eyes, he told her, “I was faithful to you and you
betrayed me!”
She was shocked by that accusation, so she replied, “How did I betray you?
I have never betrayed you. I waited patiently for you for twenty years.”
Then he asked, “How about the man that you were caressing yesterday?”
131
And she said, “That man is our son! When you left, I discovered I was
pregnant. Today he is twenty years old.”
Hearing that, the man asked for her forgiveness. He met and hugged his
son. After that, he told them all the stories that he
experienced while he was away. Meanwhile, his wife
prepared coffee and the last bread given by her
husband’s boss.
After a prayer of thanksgiving, he broke the
bread. When he looked at it, he found all his money
inside. In fact, there was even more than the right payment for his twenty years
of dedication and hard work.
Activity #1. Identify the exposition, rising action, climax, falling action,
denouement, and the conflict of the story, Three Valuable Pieces of Advice:
Exposition
___________________________________________________________________________
___________________________________________________________________________
______________________________
Rising Action
___________________________________________________________________________
___________________________________________________________________________
______________________________
Climax
___________________________________________________________________________
___________________________________________________________________________
______________________________
Falling Action
___________________________________________________________________________
___________________________________________________________________________
______________________________
Denouement
___________________________________________________________________________
___________________________________________________________________________
______________________________
Conflict
___________________________________________________________________________
_____________________________________________
____________________________________________________________
132
Activity #2. Write an outline of your short scene using the format below.
Exposition
_________________________________________________________________________
_________________________________________________________________________
__________________________________
Rising Action
_________________________________________________________________________
_________________________________________________________________________
__________________________________
Climax
_________________________________________________________________________
_________________________________________________________________________
__________________________________
Falling Action
_________________________________________________________________________
_________________________________________________________________________
__________________________________
Denouement
_________________________________________________________________________
_________________________________________________________________________
__________________________________
Conflict
_________________________________________________________________________
_______________________________________________
____________________________________________________________
133
Subject Matter
: Narrative Techniques
Writing Guide
: Narrative techniques is any method a writer uses to convey
his/her message. These devices add texture, energy and
excitement that grips readers imagination.
1. Dialogue is the talk between your characters. Dialogue is
the spoken communication found within quotation marks.
Dialogue and thought has three purposes; first, they reveal
something about the character. Second, they build tension.
Third, they help advance the story. Dialogue is spoken
action, that means it is spoken aloud, while thought is an
internal monologue. Dialogue is a conversation between
characters that can help to evolve the characters.
•
They hung their head and mumbled, “It’s fine if you don’t want me to come.”
•
“Are you sure we should go this weekend?” She shoved the curtain aside,
sneering at the greying clouds. “It could be a mess out there.”
2. Thought. A character’s thoughts might be simply thoughts. But a character
could talk to himself in his head, calling himself names, for example, for the
foolish risks he took or giving himself a pep talk.
“The Indian world is on a collision course with the white world,” Billy
said. Wasn’t that the truth, Horse thought.”
3. Action is a driving force of your narrative, it does not only advance the story,
but also to reveal information about your characters. Readers become engaged
when something happens to the fictional characters. It is something that happens
and may include dialogue, gestures, and other activities.
Nola didn’t look back at the drenched, angry matron standing at the
edge of the schoolyard with her hands on her hops. Will turned on the
wipers. He took off his expensive wet hat, threw it in the back, and drove
Nola away in the rainstorm, imagining the taste of the rain on her skin. In
this passage the action not only moves the plot of the story forward, but also
reveals something about the personalities of the three characters involved.
4. Descriptions are those deep sensory images the writer wants the reader to
experience. It sets the mood and the scene, and it provides an explanation. It
gives details about the place, person, or thing.
Tornado Nola, as it came to be called, was a favorite topic in Indian
Territory. The twister had touched down only in select locations. It destroyed
134
the Catholic church, but it left the Baptist church untouched. The most
devout of both faiths concluded it was God’s will they attend the Baptist
church. Slogan on TV suggests, and the floor was sticky with spilled drinks
from the children scurrying around like an infestation, waiting to be pressed
into the ground by a careless foot.
5. Exposition. This refers to the details the narrator gives about a character.
Exposition tells readers about the important elements of the story or
characters.
Unlike her mother, however, she had Catholic leanings and placed
anemic looking statues of saints, Jesus, and the blond Virgin Mary
throughout the rooms. She burned candles at the feet of the statues. And
her monkey wore a rhinestone collar.
Activity
: Take the Challenge!
Activity 1
Directions: Read the selection below and determine the
narrative technique used. Write your answer on the space
provided.
___________1. Because he didn’t have his driver’s license yet—he would next year
if all went well—his mother would normally have driven him here,
but she’d already promised his younger sister a trip to the zoo on
the next nice Saturday, and the zoo was in the opposite direction
of the library. He pushed through the revolving door and into the
massive lobby. It had been a couple of years since he’d been to the
main library. He’d forgotten how huge this place was!
___________ 2. In front of him, in the center of the lobby and under the four storytall dome, sat the long, information and check-out desk. To either
side, stairs curved up along the wall to the second-floor balcony.
Straight ahead, behind the desk stood two elevators. What
surprised him were how many people he saw in here on a sunny
morning. He didn’t see any other students, just mostly adults and
older folks.
___________ 3. Well, it was only ten o’clock. They might still be in bed, or more
likely planning on going other places than the library would
probably take him all day to do this paper.
___________ 4. At the information desk a young lady was typing something on her
computer.
___________5. “May I help you?” she asked, looking up. “Sure. Where is the
archaeology section?” “Third floor.” She pointed behind her at the
elevators. “Turn right off the elevator and go all the way to the
end of the hall.” He smiled and said, “Thank you.
135
Activity #2. Below are individual details to make up a story. Create a
short scene following the narrative techniques by connecting the
following details.
Man
playing
a
guitar
Blood in the hallway
Woman crying under the rain
Song, Hawak Kamay, playing
over a radio
A loud gun shot
136
Short scene:
137
Subject Matter
: Language
Writing Guide
: Principles of Composition
1. Make the paragraph the unit of composition.
The paragraph is a convenient unit; it serves all forms
of literary work. As long as it holds together, a paragraph
may be of any length — a single, short sentence or a passage
of great duration.
If the subject on which you are writing is of slight extent, or if you intend to treat
it briefly, there may be no need to divide it into topics. Thus, a brief description,
a brief book review, a brief account of a single incident, a narrative merely
outlining an action, the setting forth of a single idea — any one of these is best
written in a single paragraph. After the paragraph has been written, examine it
to see whether division will improve it.
Ordinarily, however, a subject requires division into topics, each of which
should be dealt with in a paragraph. The object of treating each topic in a
paragraph by itself is, of course, to aid the reader. The beginning of each
paragraph is a signal that a new step in the development of the subject has been
reached. As a rule, single sentences should not be written or printed as
paragraphs. An exception may be made of sentences of transition, indicating the
relation between the parts of an exposition or argument
In dialogue, each speech, even if only a single word, is usually a paragraph
by itself; that is, a new paragraph begins with each change of speaker. The
application of this rule when dialogue and narrative are combined is best learned
from examples in well-edited works of fiction. Sometimes a writer, seeking to
create an effect of rapid talk or for some other reason, will elect not to set off each
speech in a separate paragraph and instead will run speeches together. The
common practice, however, and the one that serves best in most instances, is to
give each speech a paragraph of its own.
As a rule, begin each paragraph either with a sentence that suggests the
topic or with a sentence that helps the transition. If a paragraph forms part of a
larger composition, its relation to what precedes, or its function as a part of the
whole, may need to be expressed. This can sometimes be done by a mere word or
phrase (again, therefore, for the same reason) in the first sentence. Sometimes,
however, it is expedient to get into the topic slowly, by way of a sentence or two
of introduction or transition.
In narration and description, the paragraph sometimes begins with a
concise, comprehensive statement serving to hold together the details that follow.
The breeze served us admirably.
The campaign opened with a series of reverses.
138
The next ten or twelve pages were filled with a curious set of
entries.
But when this device, or any device, is too often used, it becomes a mannerism.
More commonly, the opening sentence simply indicates by its subject the
direction the paragraph is to take.
At length I thought I might return toward the stockade.
He picked up the heavy lamp from the table and began to explore.
Another flight of steps, and they emerged on the roof.
2. Use the active voice.
The active voice is usually more direct and vigorous than the passive:
I shall always remember my first visit to Boston.
This is much better than
My first visit to Boston will always be remembered by me.
The latter sentence is less direct, less bold, and less concise. If the writer
tries to make it more concise by omitting "by me,"
My first visit to Boston will always be remembered,
it becomes indefinite: is it the writer or some undisclosed person or the
world at large that will always remember this visit?
This rule does not, of course, mean that the writer should entirely discard
the passive voice, which is frequently convenient and sometimes necessary.
The dramatists of the Restoration are little esteemed today.
Modern readers have little esteem for the dramatists of the Restoration.
The first would be the preferred form in a paragraph on the dramatists of
the Restoration, the second in a paragraph on the tastes of modern readers. The
need to make a particular word the subject of the sentence will often, as in these
examples, determine which voice is to be used.
3. Put statements in positive form.
Make definite assertions. Avoid tame, colorless, hesitating, noncommittal
language. Use the word not as a means of denial or in antithesis, never as a
means of evasion.
He was not very often on time.
She did not think that studying Latin was
a sensible way to use one's time.
The Taming of the Shrew is rather weak in
spots. Shakespeare does not portray
Katharine as a very admirable character,
nor does Bianca remain long in memory as
an important character in Shakespeare's
works.
He usually came late.
She thought the study of Latin a
waste of time.
The women in The Taming of the
Shrew are unattractive.
Katharine is disagreeable,
Bianca insignificant.
139
The last example, before correction, is indefinite as well as negative. The
corrected version, consequently, is simply a guess at the writer's intention. All
three examples show the weakness inherent in the word not. Consciously or
unconsciously, the reader is dissatisfied with being told only what is not; the
reader wishes to be told what is. Hence, as a rule, it is better to express even a
negative in positive form.
4. Use definite, specific, concrete language.
Prefer the specific to the general, the definite to the vague, the concrete
to the abstract.
A period of unfavorable weather set in.
It rained every day for a week.
He showed satisfaction as he took
He grinned as he pocketed the
possession of his well-earned reward.
coin.
If those who have studied the art of writing are in accord on any one point,
it is this: the surest way to arouse and hold the readers’ attention is by being
specific, definite, and concrete. The greatest writers — Homer, Dante,
Shakespeare — are effective largely because they deal in particulars and report
the details that matter. Their words call up pictures.
5. Omit needless words.
Vigorous writing is concise. A sentence should contain no unnecessary
words, a paragraph no unnecessary sentences, for the same reason that a
drawing should have no unnecessary lines and a machine no unnecessary parts.
This requires not that the writer make all sentences short, or avoid all detail and
treat subjects only in outline, but that every word tell.
Many expressions in common use violate this principle.
the question as to whether
whether (the question whether)
there is no doubt but that
no doubt (doubtless)
used for fuel purposes
used for fuel
he is a man who
he
in a hasty manner
hastily
this is a subject that
this subject
Her story is a strange one.
Her story is strange.
the reason why is that
because
Activity
: Take the Challenge!
140
Remember your last encounter with someone wherein you felt insulted
and betrayed. Can you vividly reminisce the exact words he/she said to you?
I know it's painful. For you to be able to at least lessen the pain you felt, I am
giving you the chance to change the words he/she said to you at that time.
Re-create the short scene between you at that someone who insulted and
betrayed you. However, this time you change the words he/she exactly told
you which made you feel insulted and betrayed. Make these words not hurtful
for you. The two of you will be the main characters but you may not use your
real names.
In re-creating the short scene, you incorporate key elements of fiction,
literary devices, and techniques.
141
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148
APPENDICES
149
Appendix A
TRANSMITTAL LETTER
150
151
Appendix B
RESEARCH QUESTIONNAIRE
General Instructions: Kindly supply the needed information below. All the details you will
provide shall only be used for research purposes.
Name: __________________________________ Grade/Section: ________________
Part I. Profile of the Respondents
Age
Gender
16
19
Male
17
20
Female
18
21 up
Previous Grade in English
Reading Proficiency based on ORV
95
89
83
77
Independent
94
88
82
76
Instructional A
93
87
81
Instructional
92
86
80
Frustration
91
85
79
90
84
78
Instructional Materials available at home
Books
Newspaper
Radio
Computer
Smartphone
Others: _________
Laptop
TV
Parent’s Educational Attainment
Elementary Level
College Level
Elementary Graduate
College Graduate
High School Level
Master’s Units/Degree
High School Graduate
Others: __________
152
Parent’s Monthly Income
Php 11,000 above
Php 5,000–6,999
Php 9,000-10,999
Php 3,000–4,999
Php 7,000–8,999
below Php 2,999
Part II. Level of Performance
A. Writing Poem
Instructions: Look outside the window—of a bus, your room, even a public
restroom, or any window. What do you see? Write a 2-stanza poem
with a minimum of eight lines based on what you see in that frame.
—Adapted from Vazques and Lee (2017)
______________________
__________________________________________
__________________________________________
__________________________________________
__________________________________________
__________________________________________
__________________________________________
__________________________________________
__________________________________________
153
Rubric for Poetry
Areas
Diction
Elements
Language
Conventions
Style
5
4
3
2
1
• Student’s use
of
vocabulary is
precise, vivid,
and paints a
strong clear and
complete
picture
in the reader’s
mind.
• Student’s
use of
vocabulary
is
routine and
workable
and meaning
is written
behind the
line.
• Student’s use
of
vocabulary is
more telling
than
showing but the
meaning is
written between
the line.
• Student’s use
of
vocabulary is
literal but
meaningful.
• Student’s
use of
vocabulary is
literal
• Effectively and
appropriately
uses
poetic elements
and literary
devices.
to reinforce the
theme.
• Uses a lot
of poetic
elements
and literary
devices to
reinforce the
theme.
• Uses some
poetic
elements and
literary devices
to
reinforce the
theme.
• Uses few
poetic
elements and
literary devices.
• Uses little
poetic
elements and
literary
devices.
• Has
appropriate
spelling,
grammar, and
punctuation;
contains few, if
any, errors that
do not interfere
reader’s
understanding
• Has
appropriate
spelling,
grammar,
and
punctuation;
contains
some
errors that
do not
interfere
reader’s
understand
ding.
• May contain
few
errors in
spelling,
grammar,
and/or
punctuation that
may interfere
reader’s
understanding.
• May contain
frequent and
numerous
errors in
spelling,
grammar, and
punctuation
that interfere
reader’s
understanding
• It contains
frequent and
numerous
errors in
spelling,
grammar, and
punctuation
that interfere
reader’s
understand
ding
The poem is
written with
style. Thoughts
are clear to a
degree.
The poem is
written with a
style but not
that effective to
the readers
The poem
lacks style,
and the
thoughts did
not come out
clearly.
The poem is
written with a
great sense of
style. The poem
has been wellthought and
makes sense to
the reader.
.
The poem is
written with
a defined
style.
Thoughts
are clear to
read and
easy to
understand.
—Adapted from Lewy (2001)
154
B. Writing Fiction
Instructions: Many stories start by connecting different ideas or concepts or
elements, and then finding a way to make them make sense. In the
diagram, fill in the boxes with your answers, and write a 300-word
story that combines all of them in one coherent scene. Make sure
that all four answers make an appearance or are referred to within
the scene.
Who was the last person you were
angry at and why you were angry
with that person?
What was the last thing you ate
before class?
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
What was the weather like when
you got home yesterday?
What is your current favorite song
and your favorite lyric in that song?
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
___________________________
—Adapted from Vazques and Lee (2017)
155
Your story:
___________________________
___________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
156
Rubric for Fiction
AREAS
Elements
Narrative
Techniques
Plot
Structure
and
Conflict
5
4
3
2
1
• The setting
has been
skillfully
established and
effective
• The story
maintains a
consistent point
of view, and the
point of view
chosen
enhances the
story.
• The theme is
clear and
developed
throughout the
story.
• The setting
has been
established and
effective
• The story
maintains a
consistent point
of view but it
seldom
enhances the
story.
• The theme is
precise and
clearly implied
in the story
• The setting
has been
established,
although there
may be some
confusion.
• The point of
view is
consistent.
• The theme is
present in the
story.
• The setting is
unclear; only
one aspect of
the setting has
been
established.
• The point of
view is
occasionally
consistent.
• The theme is
hard to
determine.
• There is no
description
of the setting.
• The point of
view is not
consistent or
meaningful
to the story's
progress.
• There is no
determinable
theme.
• Skillfully uses
narrative
techniques
(dialogue,
descriptions,
etc.) to develop
characters.
• Includes more
than one clear
example of
direct and
indirect
characterization
• Consistently
uses narrative
techniques
(dialogue,
descriptions,
etc.) to develop
characters.
• Includes at
least one clear
example of
direct and
indirect
characterization
• Seldom uses
narrative
techniques
(dialogue,
descriptions,
etc.) to develop
characters.
• Includes at
least one
example of
direct and
indirect
characterization
• Inconsistently
uses narrative
techniques
(dialogue,
descriptions,
etc.) to develop
characters.
• Includes an
unclear
example of
direct and
indirect
characterization
•There is no use
of meaningful
narrative
techniques such
as meaningful
word choice or
dialogue.
• The story
introduces a
clear & effective
conflict.
• Uses a variety
of techniques to
sequence the
events so that
they create a
particular tone
and outcome
• The writing
contains a
consistent &
smooth
progression of
experiences
and events.
•The story
introduces a
detailed
conflict.
• Uses some
techniques to
sequence the
events so that
they create a
tone and
outcome
• The writing
contains a
consistent
progression of
experiences
and events.
•The story
introduces a
clear conflict.
• Uses
techniques to
sequence the
events so that
they create a
tone and
outcome
• The writing
contains an
inconsistent
progression of
experiences and
events.
• The story
introduces
unclear conflict.
• Uses
techniques to
sequence
the events, but
the purpose
may be
unclear.
• The writing
contains a
vague
progression of
experiences
and events.
• There is no
conflict, tone
and/or
meaningful
sequence of
events.
• There is no
determinable
progression of
events.
• Does not
include direct
and indirect
Characterization
157
AREAS
1
2
3
4
5
Language
•Demonstrates
a skillful
command of
standard
English
conventions.
• Skillfully
employs
language
and tone
appropriate for
the audience
and purpose.
• No
grammatical
errors that
interfere
understanding.
• Demonstrates
a good
command of
standard
English
conventions.
• Employs
language and
tone
appropriate for
the audience
and
purpose
leading to a
better
understanding
• Few
grammatical
errors that
interfere
understanding.
• Demonstrates
a command of
Standard
English
conventions.
• Employs
language and
tone
appropriate for
the audience
and
purpose.
• Some
grammatical
errors that
interfere
understanding.
• Demonstrates
a limited
command of
standard
English
conventions.
• Inconsistently
and/or employs
language and
tone
inappropriate
for the
audience and
purpose.
• Grammatical
errors may
interfere
understanding.
• Demonstrates
no command of
standard
English
conventions.
• Does not
employ
appropriate
language for
audience and
purpose.
• Grammatical
errors interfere
understanding.
—Adapted from Vazques and Lee (2017)
158
Part III. Learning Experiences for Students
Instructions: Please read each of the following statements about your learning experiences
in using Creative Writing modules for the distance learning. Show your level of
agreement with each statement by checking your response.
4=Strongly Agree
3=Agree
2=Disagree
1=Very Disagree
Areas/Items
4
3
2
1
A. Problems and Concerns
1. I have enough time to study with modules.
2. Modules fit my needs and goals.
3. I am being disciplined enough to do my studies.
4. Modules fit in work obligations with study time.
5. I can complete assignments before deadlines.
B. Ease of Access
6. The printed modules are easy to get from my teachers.
7. It is easy for me to locate reference materials required for the tasks.
8. It is easy to access equipment to learn and practice skills.
9. It is easy to contact my teacher when having problems.
10. It is easy to return the modules to my teachers.
C. Evaluations
11. The instructions in study guides are clear.
12. It is easy for me to understand the study guides and assessments.
13. It is easy to process the contents of the tests.
14. The instructions in the modules are easy to follow.
15. The tests and activities are for practical use.
D. Delivery
16. Creative Writing modules help me understand the subject matter.
17.They allow me to complete course requirements.
18. The use of modules in Creative Writing suits my lifestyle.
19. They help me practice the skills required.
20. Modules allow me to have ready access to the teacher.
E. Satisfaction
21. With the modules, I look forward to my study sessions.
22. I prepare my assignments most of the time.
23. I look forward to doing my assessments.
24. I would recommend the use of modules to other subject areas
25. I would recommend this method of learning to other students.
—Adapted from Misko (2000).
1. What are the benefits you have acquired and challenges you have encountered in using Creative
Writing modules?
_______________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
__________________________________________________________________________.
159
Part IV. Learning Experiences for Parents
Instructions: Please read each of the following statements about your learning experiences
in using Creative Writing modules for the distance learning of your child. Show
your level of agreement with each statement by checking your response.
4=Strongly Agree
3=Agree
2=Disagree
1=Very Disagree
Areas/Items
4
3
2
1
A. Problems and Concerns
1. My child has enough time to study with modules.
2. Modules fit his/her needs and goals.
3. My child is being disciplined enough to do his/her studies.
4. Modules fit in work obligations with study time.
5. My child can complete assignments before deadlines.
B. Ease of Access
6. The printed modules are easy to get from the teacher.
7. It is easy for my child to locate reference materials required for tasks.
8. It is easy for my child to access equipment to learn and practice skills.
9. It is easy to contact the teachers when having problems.
10. It is easy to return the modules to the teacher.
C. Evaluations
11. The instructions in study guides are clear.
12. It is easy for my child to understand the study guides & assessments.
13. It is easy for him/her to process the contents of the tests.
14. The instructions in the modules are easy to follow.
15. The tests and activities are for practical use.
D. Delivery
16. Creative Writing modules help my child understand the subject matter well.
17. They allow him/her to complete course requirements.
18. The use of modules in Creative Writing suits my child's lifestyle.
19. They help my child practice the skills required.
20. Modules allow my child to have ready access to his/her teacher.
E. Satisfaction
21. With the modules, my child looks forward to study sessions.
22. My child prepares his/her assignments most of the time.
23. He/she looks forward to doing his/her assessments.
24. I would recommend the use of modules to other subject areas
25. I would recommend this method of learning to other students.
—Adapted from Misko (2000).
1. What are the benefits you have acquired and challenges you have encountered in using Creative
Writing modules?
_______________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
__________________________________________________________________________.
160
Appendix C
Table of Specifications
Writing Poem and Fiction
Quarter: 3rd
Year Level: Grade 11
Cognitive Level
Total
%
1
5
25
2
2
5
25
1
1
2
5
25
1
1
1
2
5
25
Elements
2
1
1
1
5
25
Narrative
Tech.
Plot &
Conflict
2
1
2
5
25
2
1
2
5
25
Language
1
1
2
5
25
100
100
Areas
Remem
ber
Under
stand
Apply
Ana
lyze
Eval
uate
Create
Diction
2
1
1
Elements
1
Language
1
Style
Poem
Fiction
1
Total
Prepared by:
JOSUA D. QUINIQUITO
Creative Writing Teacher
161
Appendix D
Certificate of Similarity Check
162
CURRICULUM VITAE
163
CURRICULUM VITAE
PERSONAL PROFILE
Name
Address
Place of Birth
Date of Birth
Age
Civil Status
E-mail Address
Contact Number
: Josua D. Quiniquito
: Hda. San Jose, Tanjay City, Negros Oriental
: Hda. San Jose, Tanjay City, Negros Oriental
: December 10, 1993
: 27
: Single
: quiniquito1993@gmail.com
: 0975-931-4104
EDUCATIONAL BACKGROUND
Graduate Studies
Doctor in Development Education (Dev.Ed.D.)
Cebu Technological University-Moalboal Campus
Moalboal, Cebu
May 20, 2021
Graduate Studies
Master of Arts in Educ. (English Language Teaching)
Cebu Technological University-Moalboal Campus
Moalboal, Cebu
May 29, 2018
Tertiary Education
Bachelor of Secondary Education (English)
Villaflores College
Tanjay City, Negros Oriental
March 17, 2014
cum laude
164
Secondary Education Tanjay National High School (Main)
Tanjay City, Negros Oriental
March 31, 2010
Elementary Education San Jose Elementary School
San Jose, Tanjay City, Negros Oriental
March 2006
1st honorable mention
ELIGIBILITY
Licensure Examination for Teachers (LET)
Aug. 17, 2014
81.20%
WORK EXPERIENCES
Senior High School Teacher
DepEd-Negros Oriental Division
Dumaguete City, Negros Oriental
Jun. 13, 2016–present
Copy editor
Elsevier Journals
SPI Global, Inc., Dumaguete City, Negros Oriental
Jul. 16, 2014–Sept. 22, 2015
ANCILLARY
School Paper Adviser
Hyperion Publication
June 2017–present
Coordinator
School In-Service Training (INSET)
Dec. 2020–present
Chairman
Human Resource Development
April 16, 2021-present
165
PUBLISHED WORKS
Short Fiction: The Note in the Library
Anak Sastra, Literary Magazine for Southeast Asian Writers
40th issue, July 31, 2020
Poem: I Don’t Love You
Anak Sastra, Literary Magazine for Southeast Asian Writers
39th issue, April 30, 2020
AWARDS
Performance Management System (PMS) Achiever
Copy editing Department, Elsevier Journals
SPI Global, Inc.
Dumaguete City, Negros Oriental
Best Paper Award (English category)
Mobile-assisted Instruction in Teaching Syntax for Grade 10 Learners
3rd UP–CTU Research Conference
Moalboal, Cebu
Feb.16–18, 2018
RELEVANT TRAININGS/SEMINARS
Midyear In-Service Training
Paciente Cesar G. Cabrera High School, Napacao, Siaton, Neg. Or.
Mar 15–19, 2021
Learning Delivery Modalities
Paciente Cesar G. Cabrera High School, Napacao, Siaton, Neg. Or.
Dec. 14–18, 2020
School Paper Adviser Summit
Bacong, Negros Oriental
September 12, 2019
Collaborative Research Publication
Cebu Technological University-Moalboal Campus
Moalboal Cebu
Feb. 23–24, 2019
Two Day Live-Out Division Training of School Paper Advisers
166
Zamboaguita, Negros Oriental
Sept. 25–26, 2018
Research Publication Seminar-Workshop
Cebu Technological University-Moalboal Campus
Moalboal Cebu
Feb.16–18, 2018
Training Workshop on Action Research
Cebu Technological University-Moalboal Campus
Moalboal Cebu
Oct. 15–17, 2017
Campus Journalism Enhancement of Coaching and Managing Skills
Dumaguete City, Negros Oriental
Jul. 19, 2017
Workshop on the Crafting of District Educational Plan (DEP)
Dumaguete City, Negros Oriental
Phase 1: Apr. 28–29, 2017
Phase 2: May 05, 2017
Phase 3: May 17, 2017
Enhanced School Improvement Plan (E-SIP) Writeshop
Mabinay II District
Mabinay, Negros Oriental
Mar. 16–18, 2017
Training Workshop on the Second Batch of Senior High Teachers
Dumaguete City, Negros Oriental
Jul. 01-02, 2016