San Pablo Dicesan Catholic Schools System

Diocese of San Pablo

Liceo de San Pablo
M. Paulino St., San Pablo City
Tel. No. (049) 562-3808

Learning Module

Name of Student:_____________________________
Strand and Section:______________________________

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 Quarter 1. Week 2.

Creative and the Nonfictional elements of Creative Nonfictional Texts

Ms. Joanna Marie P. Azuilo

[email protected]

Content Standard:
The learner understands the delineation between creative and nonfictional elements of creative
nonfictional text.

Performance Standard:
The learner clearly and coherently uses multiple elements conventionally identified with a genre
for a written output.

Learning Competencies:
• The learner analyzes factual / nonfictional elements (Plot, Characters, Characterization, Point of
View, Angle, Setting and Atmosphere, Symbols and Symbolisms, Irony, Figures of Speech,
Dialogue, Scene, Other Elements and Devices) in the texts;
• Write a draft of a short piece using multiple elements conventionally identified with the literary
genres following these pointers:
a. Choosing a topic
b. Formulating a thesis statement
c. Organizing and developing ideas
d. Using multiple literary conventions of a genre
e. Ensuring that theme and technique are effectively developed;
• Evaluate other’s draft based on:
a. clarity of ideas
b. appropriate choice of literary elements
c. appropriate use of the elements
d. effective combination of the ideas and the chosen literary elements; and
• Revise the draft of a short piece using any of the literary conventions of a genre (e.g. plot for
narrative piece)

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Lesson 5. Elements of Creative Nonfiction

At the end of this lesson, the learners will be able to:

• Describe the elements of creative nonfiction.
• Analyze factual / nonfictional elements in the sample texts.

What is Creative Nonfiction?

Creative Nonfiction is a genre that uses traditional literary styles to report, recount, or
tell stories of factual persons, places, events, or things. At times, called literary
nonfiction or factual literature, it utilizes fact-based writing of stories with human values.
The words “creative” and “nonfiction” describe the form. The word “creative” refers to the use of
literary craft, the techniques fiction writers, playwrights, and poets employ to present
nonfiction—factually accurate prose about real people and events—in a compelling,
vivid, dramatic manner. The goal is to make nonfiction stories read like fiction so that
your readers are as enthralled by fact as they are by fantasy.

Elements of Creative Nonfiction

1. PLOT – It is the chain of events in chronological order. When you study plot, you focus on what drives,
motivates, or shapes the story. The events are presented in the order in which they happened to
highlight significant or vivid incidents in the life of the subject. Plot can be divided into the following:
1. 1. Beginning – the initiating event
1. 2. Exposition – background information
1. 3. Rising Action with Conflict – the tension or problem experienced by the character
1. 4. Climax – the most intense part of the story
1. 5. Falling Action or Resolution – how the tension or problem is resolved
1. 6. Ending – completes the story

2. CHARACTERS AND CHARACTERIZATION – It reveals how the author views or feels about the subject.
In order to do so, the author needs to bring out the facts and details of the subject’s personality. The
chronology of events and other characters also help describe how the character of the subject is defined.

3. SETTING – It pertains to the place, time, weather, and social conditions of a story. Nonfiction writers
use sounds and visual images to describe the setting. The world being created by nonfiction writers is
based from a real world and the role of the writer is to make this world real and exciting for the reader to
enter.

4. ATMOSPHERE – It is also known as the mood. It is reader-centric. It is how the reader reacts to the
creative nonfiction work – both their emotional state and disposition in mind.

5. ANGLE – It is a way of presenting your information and telling the story that makes it interesting,
unique, and memorable. Without an angle, all you have is a broad topic that you could take in any and
every direction. An angle will help you stay focused and keep you from wandering off in random
directions.

6. POINT OF VIEW – It answers the questions from whose angle the story is being told. However, the
grammatical point of view refers to whether is told in the first, second, or third person. In creative
nonfiction, the writer may use the first person but s/he is using the point of view of the major or a minor
character.

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7. SYMBOLISM – It is employed in creative nonfiction in order to make one’s narration or exposition
interesting to say the least. A creative nonfiction should not simply be a rundown of events or a
straightforward revelation of the writer’s thoughts or feelings.

8. IRONY – It is a literary device that is meant to infuse more life into one’s writing. It may be verbal
irony in which an utterance contradicts the reality of a given situation. It can also be situational, that is,
when an event is an opposite of what one intended.

9. FIGURES OF SPEECH – It constitutes a rhetorical or literary device that departs from the literal
meaning of an idea. They may be employed to make the articulation of an otherwise familiar idea more
vivid and more colorful.

10. SCENE – According to Cristina Pantoja-Hidalgo (2003), “the chief distinction between traditional
reportage and creative nonfiction is the use of scenes or dramatic writing” (p. 98). The text should not
simply be an impersonal, bare narration of events; it should actually be narrated in such a way as to
make the reader feel as if the events, to borrow a cliché, were unfolding before his/her very eyes. The
creative nonfiction text should, therefore, contain believably realistic and descriptive imagery.

11. DIALOGUE – It refers to the verbal exchange between the characters. When adding dialogue, one
should imagine the characters themselves speaking to each other to make the dialogue as realistic as it
should be. Moreover, the dialogue should often be brief because that is how exchanges are in real life.

HOW TO ANALYZE THE DIFFERENT ELEMENTS WITHIN A PARTICULAR STORY

Here are some tips, guides, and questions which will serve as your roadmap towards analyzing the
different elements.

Character & Characterization

*What is the role of that character in the story? *What does this character display? Is
he good or evil? How do you say? Give some textual proof. * What does this character
epitomize? Is he/she a representation of hope or goodness? How?

Setting Point of View

Where is the setting of the story (time and What is the point of view of the story? How
place)? What is the impact of the setting to the do you know that it was the POV used? What
over-all atmosphere or meaning of the story? is the over-all effect of the type of POV used
in the story? Is the story more dramatic if you
use such type of POV?
Irony
*What kind of irony is present in the story?
*What is the significance of this irony in the
Plot
story?
Do you think the sequence of the story is
logical? What technique did the author use to
Moral make the plot more creative? Did he use
*What is the moral of the story? *How is the flashback or foreshadowing? Was he
moral evident in the story? successful? What happened in each of the
scene?

Allusion Mood
Do you see some allusions in the story? If so, *What is the mood of the story? *What words
what are they? What is the significance of support the mood of the story?
these allusions in the story?

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 Suspense Tone
*What suspense were you able to spot in the *What is the tone of the story that you read?
story? *How did you feel upon reading it? * *How did the different elements converge to
What happened next? come up with the overall tone of the story?

Symbol Theme
*What are the symbols/symbolisms in the *What is the theme of the story? *What
story? *How were you able to know such evidences can you provide to prove that
symbols/ symbols in the story? such is the theme of the story?

Figures of Speech
*What are the figurative languages that you were able to spot in the
story? *What do these figures of speech mean? *What is the impact
of these to the story?

WORK IT OUT.

Activity 1. Read the selection below. Then be able to analyze the selection through
supplying the needed information in the boxes below.

SAPAY KOMA
By Jhoanna Lynn Cruz

“I looked at Maria and she was lovely. She was tall…and in the darkened hall the fragrance of her was
like a morning when papayas are in bloom.” –Manuel Arguilla

On our first Valentine as a couple, he gave me a bowl of white nondescript flowers. They had a
distinctly sweet but faint scent. I had never been a fan of Valentine’s Day nor of love like a red, red rose;
but that day, I became a believer. He told me they were papaya blossoms from his mother’s garden. At
that moment, I knew I would one day marry him. We had started dating only three months ago, but I
knew I would be Maria to his Leon. Why, he even had a younger brother the same age as Baldo! And
even though they didn’t live in Nagrebcan nor owned a carabao, the town of Itogon, Benguet was remote
enough for me. I have always enjoyed teaching the Arguilla story for its subversive take on the role that
one’s family plays in a marriage; but having been born and raised in Pasay City, I had no idea what
papaya blossoms smelled like. I imagined that my new boyfriend had read the story in his Philippine
literature class and meant for me to recognize his gift as an allusion. In fact, I imagined we would defy
societal norms and prove that love conquers all. Instead of a “theme song,” our relationship had a story
to live up to. It was a disaster waiting to happen.

In the story, Leon brings his city-girl wife, Maria, home to meet his parents for the first time. His
surly father orchestrates several tests of Maria’s suitability through Leon’s younger brother Baldo, who is
quickly won over by her papaya blossom scent. The first time I met his parents was on the wedding day
of his eldest brother. By then, we had been seeing each other discreetly for seven months, somehow
knowing that no one would approve of our relationship. In the midst of the beating of gongs and best
wishes, his Kankanaey father only wanted to know two things about me: where I was from and what
language I spoke. I gave the wrong answer on both points. I was a Manileña and I couldn’t speak Ilocano
yet, having only recently moved to Baguio City to rebuild my life after becoming disillusioned with the
institution that had once nurtured my desire to excel. But no love lost, I was only their son’s “gayyem”
(friend), after all. It didn’t help that I was wearing a leopard print spaghetti-strapped dress, which
exposed the tattoo on my back. I reasoned that the Cordillera culture has a long tradition of body art; so
they should appreciate the significance of mine. None of us knew at that time that I was already carrying
a half-Igorot child in my womb (which, I imagined, somehow made me an acceptable quarter-Igorot for

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the nonce). Against better judgment, we decided to get married. We were under the influence of
hormones, of pregnancy, of the Catholic church, of Manuel Arguilla. We would have gotten a quickie
secret wedding if he were old enough, or I, wais enough; but by law we needed his parents’ consent.
Which they refused to give. For perfectly good reasons.

They could have said, “You shouldn’t marry because he is too young” (and you are ten years
older). Or “You shouldn’t marry because he is still studying” (and you were even his teacher). Or “You
shouldn’t marry because he has a calling” (and you are snatching him from God).

But instead his mother said, “We can’t give you permission because his brother had just gotten
married. In the theology of the Cordilleras, if siblings marry within the same year, one of the marriages
will fail. The community will blame us if we allow you to marry.”

So I called my mother, who promptly came to my rescue, writing them a demand letter based on
a fallacy: “If your child were the woman in this situation, you would rush to marry them!” I’m sure she
was so eager to get me married off because she knew it was a fluke.

What was most ridiculous (though I refused to see it at that time), was that I was a self-
proclaimed lesbian feminist. Despite all the tragic relationships I had had with women, I still believed that
it was worth fighting for the right of a woman to love another woman. What business did I have getting
married to a very young man? And for all the wrong reasons. Must have been oxytocin overdose
sponsored by the baby in my womb. Or a planetary alignment exerting mysterious forces on my
consciousness. Or, gasp—Love!

Whatever it was, it came to pass. My mother didn’t have to bring my grandfather’s rifle. But I had
to do it all on my own: filing the license, finding the Judge, buying the rings, reserving a restaurant,
paying for everything. It was a good thing his parents didn’t allow us to tell anybody about the marriage –
that way I didn’t have to invite anyone — which lessened my expenses. I had to understand that they had
spent all their savings for his brother’s recent wedding, where they had butchered eight pigs for a
traditional Igorot wedding feast. And after all, lest we forget, we were getting married against their will.
But hey, there they were, on hand to sign the marriage certificate in the sala of the Honorable Judge
Fernando Cabato of La Trinidad, Benguet.

The ceremony itself was quick – but peppered with omens. First, when the court clerk asked for
my mother-in- law’s name, I told her “Constancia” – because I figured that was where her nickname
“Connie” came from. When I asked my nervous groom, he agreed. When the Judge confirmed the
information, “Constancia” objected because her name is actually “Conchita.” Judge Cabato made the
correction and lectured us about how important it is not to make errors in a legal document. Then, when
it came to my father-in-law’s name, the Judge refused to believe that “Johnny” was his real name.

When he asked for the rings, my groom gave him the little box, but when the Judge opened it, it
was empty. The elderly honorable Judge sat down and asked, “Is this a prank?” It turned out that the
rings had slipped out of the box and were floating in my groom’s pants’ pocket.

When it was time for the wedding kiss, the Judge “got even” with us. He pronounced us husband
and wife and then said, “No more kissing, it’s obvious there’s a deposit in there!” Then he laughed hearty
congratulations. I wonder now how many times he has regaled a party crowd with our story.

At the reception in a Chinese restaurant, we occupied only one round table, with only ten guests.
The pancit canton was very good. We didn’t get any gifts, except for a framed copy of 1 Corinthians 13:
“Love is patient, love is kind… love does not keep a record of wrongs…” It wasn’t the wedding of my
dreams, but the whole event cost me only Php 2,500. It was as do-it-yourself as DIY could get. That
didn’t include the cost of the wedding rings, for which I had to sacrifice some of my old gold jewelry.
The irony of it escaped me at the time; but for a modern woman on a budget, there was no room for
finesse.

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 Thus we began our married life: full of contention, confusion, and concealment.

We couldn’t live together immediately; nor was I allowed to be seen in their little neighborhood,
where everyone knew everyone. A very pregnant stranger ambling up and down the steep Upper
Mangga Road would have been a conspicuous mystery. I continued to live alone in my apartment, with
my husband staying weekends, and I pretended in school that my husband is from Manila. I’m not sure
anyone actually believed the drama, but I was bathing in first-baby-love, so I couldn’t care less.

My other Igorot friends assured me that when the baby is born, my in-laws would finally accept
me as the mother of their grandchild. But as I said, I couldn’t care less. I was a Manila girl – I truly
believed that our marriage would succeed even without his parents’ approval of me. I was used to
flouting norms and not needing anyone. And for his part, my husband argued existentially that we should
live by the integrity of our own little family. You see, he was a Philosophy major under the tutelage of
two young Jesuit-educated instructors, who had come to the mountains from Manila to indulge their
fantasies about love and teaching (in that order). We, the migrant teachers, smiled at each other in the
College of Human Sciences silently acknowledging each other’s foolishness; ignoring the fact that most
of the other “native” faculty members looked askance at the three of us.

When our daughter was born, we decided it was time to move into the family home. In the
innocent presence of the new half-Igorot baby, all would be forgiven. It seemed the most practical thing
to do. But I soon realized how naïve we were. We didn’t take into account all the new wrongs that could
be committed while sharing one household.

Before I got married, I had a dog – a black mongrel I had named “Sapay Koma,” which is Ilocano
for “sana.” It is both a wish and a prayer – difficult to translate into English, unless in context. Koma was
my companion throughout the two years I had lived in my dank, quirky apartment – the mute witness to
the drama and dilemma preceding my decision to marry. We took him along with us in our move, of
course. But the five other dogs in the new household didn’t like him all that much and they all raised
such a nonstop racket, none of the humans could sleep, particularly the newborn baby.

The neighbors offered to buy him for Php 500. Igorots like black dogs because the meat is
tastier. I was aghast. He was my dog, my loyal friend. If anyone was going to eat him, it should be
family. So my husband invited his friends over to put Koma out of his misery.

I locked myself in our little bedroom with the baby, while they did it. But despite the closed
windows, I could still smell the burning hair and later, the meat cooking. The putrid scent seemed to
stick to my nose for days after, accusing me of betrayal. I wept for Koma and for all that was dying in the
fire – all the wishes that had no place in my new life. I decided that this was the price for what Filipinos
like to call “paglagay sa tahimik.”

It took two hours for the meat to be tender enough to eat and when we all sat down to dinner, I
was glad they didn’t expect me to partake of the canine feast. Yet I did. I took one mouthful, which I
swallowed quickly without chewing, so I wouldn’t have to relish the flavors. I may have had the stomach
for it, but I didn’t have the heart. I only wanted to show them that I respected their culture, even though
in fact, I would never belong. Also, I was hoping that this way, Koma would forgive me for having failed
him, for offering him as a sacrifice at the altar of my marriage. This way, we could be truly together.

For weeks after, every time I overheard my husband reply “Aw, aw” to his father, I would shiver
at the prospect that we would have dog for dinner again. They had five other dogs, after all. Luckily, it
turned out that “aw” only means “yes” in their language, Kankanaey. Besides, they only butcher dogs on
very special occasions. Ordinarily, there was always the savory chicken soup dish, Pinikpikan, which
features a similar charred skin aroma and taste. I was quite relieved to learn that his father did not
require beating the chicken to death with a stick before cooking, as is customary in the Igorot culture.

To this day, I have not been able to care for another dog. I do, however, have another child. By
the same man. Accidentally. It happened on Father’s Day, when we thought having sex was a nice

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distraction from the confusion that arose from our growing discontent with the marriage. When we
found out about the pregnancy, we agreed, albeit reluctantly, that it was Divine Intervention – a sign that
we should keep trying to save the marriage.

It was not just the food that was strange. I couldn’t understand why everyday, some relatives
would come over and expect to be fed. I had not been raised in an extended family, and even within our
nuclear family, we pretty much kept to ourselves. In my mother’s house, we were trained to share
through “one for you, one for me, then stay out of my bag of goodies.” You can imagine how I felt the
day they served my Gardenia whole wheat bread to the “relatives,” who promptly wiped it out, because
my peanut butter was delicious.

Not that I was being selfish. Aside from the fact that I didn’t have any bread for breakfast the next
day and the house being a ten-minute hike uphill plus ten kilometers to downtown Baguio City, I fumed
about not even being introduced to these relatives as the wife of their son. They would introduce my
daughter and her yaya, but I remained a “phantom of delight” flitting about the house.

When I confronted my husband about the bread, he explained that in the Igorot culture,
everything belongs to the community. So, I took a permanent marker and wrote my name on my next
loaf of bread. It was a Saussurean signifier of sorts – and it was unforgivable.

My father-in-law was a man of few words. In fact, my daughter was already two years old when
he decided it was time to acknowledge my existence and say something to me. In the past, he would use
an intermediary (usually my husband) if he wanted to get information from me. It wasn’t too difficult
because by this time we had already moved to Manila and were living in my mother’s house – which was
another disaster and another story. It was Christmas Eve and we were spending the holidays in Baguio
City. He was watching a replay of a boxing match and I was playing with my daughter in the living room.
He asked, in Ilocano, “Do you have a VCD player at home?” I was so shocked I couldn’t reply
immediately. He repeated the question in Tagalog. It turned out he was giving us the VCD player he had
won in a barangay raffle. That night, as the entire family sang their traditional “Merry Christmas To You”
to the happy birthday tune, I felt I was finally getting a fair chance to prove that I was worthy of being in
their cozy family.

In our six years together, I can think of more instances in which our separate worlds collided and
caused aftershocks in my marriage. But none of it rivaled what I thought was the worst affront to me. My
mother-in-law is Cancerian, like me, so her house is a pictorial gallery of her children and their
achievements. She had a wall with enlarged and framed wedding photos of her children. Through the
years, her exhibit grew, and expectedly, I and my husband didn’t have a photo on this wall. I figured it
was because we had not had a church wedding. In fact, when we told them I was pregnant with our
second child, they requested that we hold a church wedding already. They even offered to share the
expense. But I preferred to save my money for the birth of the baby. However, given my theater
background, I once tried to convince my husband to just rent a gown and tuxedo and then have our
“wedding” photo taken so we’d finally get on “The Wedding Wall.” But he has always been the more
sensible half of our couple.

One day, though, a new picture was added to the wall. It was a studio photo of his eldest sister,
her American husband, and their baby boy. It wasn’t “The Wedding Wall” anymore; it was now the “Our
Children and their Acceptable Spouses” wall. It was their version of the Saussurean signifier. The
message was loud and clear – to me and to other people who came to visit.

I wonder now why it so mattered to me to be on that wall. I guess I felt that after all those years,
we had been punished enough for defying the culture. Maybe I actually believed in 1 Corinthians 13. Or
perhaps I also needed to be reassured that I was indeed happily married.

I confronted my husband about it and demanded that he finally stand up for me and our family.
And he did – he wrote his parents a letter that made his mother cry and beat her breast. We each tried to
explain our sides, finally coming to terms with the bitter past. They told me that they are simple folk and

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didn’t mean to ostracize me; that when they agreed to the marriage, they accepted me as part of the
family, no matter what. I believed them. I told them I was never going to be the woman they had
probably wanted for their son; but that I am a perfectly good woman, most of the time. We tried to make
amends. Our family picture was up on the wall within three days. Our kids were quite pleased.

But it was too late. By then, my husband and I had been grappling with our own issues for the
past five years. He had gotten tired of my transgressions and sought solace with his friends. After
coming home late from another “Happy Hour” with them, I screamed at him, “What happy hour? Nobody
is allowed to be happy in this house!” It was then we both finally realized that we had to face the truth
about our marriage. By the time his parents were willing to start over in our journey as a family, we had
given up on ours.

Most couples find breaking up hard to do. It was particularly hard for us because we had to
convince his parents that it was not their fault. On the other hand, I had to deal with the fact that maybe
my marriage did fail because of the “curse” of the superstition “sukob sa taon” – that maybe we were
wrong to insist on our choice. Yet on good days, I am pretty sure it was a perfectly “no fault divorce,” if
there ever was one.

“Kapag minamalas ka sa isang lugar, itawid mong dagat” goes the Filipino proverb. Perhaps the
salt in the sea would prevent the bad luck from following you. So today I live with my two Igorot children
in Davao City – fondly called “the promised land.” Everyone is astounded when they learn that I had
moved even though I knew only one person here – who didn’t even promise me anything. I just wanted a
chance to start over. When we moved into this house, it had a small nipa hut in the backyard. The kids
enjoyed staying there during the sweltering hot Davao afternoons, especially when their Daddy called
them on the phone. But it was nearly falling apart and was host to a colony of termites that had actually
begun to invade the house as well. My generous landlady soon decided it was time to tear down the
structure. When I got home one day, it was gone. All that was left was a dry and empty space in the
yard; yet everything looked brighter too. We missed the “payag;” but soon the grass crept into the
emptiness and we began to enjoy playing Frisbee in the space that opened up. It was a Derridean
denouement of sorts.

Last year, we spent our first Christmas without any family obligations. It was liberating not to
have to buy any gifts for nephews, cousins, in-laws. All the shopping I did was for my children. I was
determined to establish my own Christmas tradition with them. I wanted to show them we were happy. I
wanted them to grow up never having to sing “Merry Christmas To You” ever again. I decided to cook
paella for nochebuena as if my life depended on it. I thought it was simply a matter of dumping all the
ingredients in the pan and letting it cook – like the aftermath of a failed marriage. The recipe was so
difficult I ended up crying hysterically, asking myself over and over, “what have I done?” My kids
embraced me and said, “Nanay, stop crying na.” But I couldn’t. It seemed as if it was the first time I had
let myself cry over what I had lost. I noticed though, that the kids did not cry. Embarrassed with myself, I
picked myself up from the river of snot that was my bed and finished what I had set out to do – as I
always have. It even looked and tasted like paella, despite the burnt bottom. But next year we’ll just order
take-out from Sr. Pedro (Lechon Manok).

That night, my mother-in-law sent me a text message saying they are always praying for us to
get back together, especially for the children’s sake. I do not know how to comfort her, except to keep
saying that we had all done the best we could at the time; that we are always trying to do the right thing;
that despite what happened, or perhaps because of it, we will always be a family. Of a kind. We are, after
all, inextricably linked by a timeless story and “sapay koma.”

Each of us in this story nurtures a secret wish to have done things differently – to have been
kinder, more understanding of each other’s quirks and shortcomings. But it takes less energy to wish it
forward. Sapay koma naimbag ti biagyodita — to hope that your life there is good.

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Analyze the story. For MODULAR, write your answers on your ANSWER SHEETS. For
ONLINE, write your answers in the Genyo Forum assigned to you.

STOP! DO NOT ANSWER HERE.

SAPAY KOMA
By Jhoanna Lynn Cruz

Character & Characterization

_____________________________________________________________________
_____________________________________________________________________

Setting Point of View

_____________________________________ ____________________________________
_____________________________________ ____________________________________
____________________________________
____________________________________
Irony
_____________________________________
_____________________________________
Plot
____________________________________
____________________________________
Moral ____________________________________
_____________________________________ ____________________________________
_____________________________________ ____________________________________

Allusion Mood
_____________________________________ _____________________________________
_____________________________________ _____________________________________

Suspense Tone
_____________________________________ ___________________________________
_____________________________________ ___________________________________

Symbol Theme
___________________________________ ___________________________________
__________________________________ ___________________________________

Figures of Speech
_______________________________________________________
_______________________________________________________

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Activity 2. After learning about the elements of creative nonfiction, be able to write short piece following the
simple steps below.
For MODULAR, accomplish this task in the ASNWER SHEETS provided to you.
For ONLINE, make a separate document file where you will encode your answers to this activity. Then, upload it to
the class’s Google Classroom.

1. Choosing a topic: (Think of someone whom you learned a lot from or someone you always look up to. Choose a
part of his or her life that you want to highlight as you write a short profile about him/her.)
a. Name of the person:
b. Why is s/he is worth writing about?

2. Thesis Statement: (Thinking about your topic, formulate your thesis statement. This can be determined by how
you want to highlight his or her significant human experience [S.H.E.].)

3. Organizing and developing ideas: (Determine how you want to organize your ideas, e.g. outline, mind map, venn
diagram, columnar, etc.)

4. Literary Conventions: (Identify the literary conventions you will incorporate in your writing, e.g. metaphor,
symbolisms, plot, imagery, etc.)

5. Theme: (What is the idea or the lesson you want to explore in your writing?)

Activity 3. Upon accomplishing the previous activity, it’s time to start writing. Write a 400-500 word essay about
the person with whom you learned a significant lesson in your life or with someone you look up to because s/he
has given you some learnings that you will never forget. Be able to incorporate the details you have written in the
previous activity in your essay.
For MODULAR, accomplish this task in the ASNWER SHEETS provided to you.
For ONLINE, make a separate document file where you will encode your answers to this activity. Then, upload it to
the class’s Google Classroom.

Your output will be scored through the criteria below:

CRITERIA POINTS
Presentation of a focused idea 20
Organization and development of ideas 20
Connection of ideas 20
Punctuation, Spelling, Grammar 20
Effective use of literary elements 20
TOTAL 100

Activity 4. Using a Venn diagram, compare and contrast Creative Nonfiction with Creative Writing.
For MODULAR, accomplish this task in the ASNWER SHEETS provided to you.
For ONLINE, make a separate document file where you will encode your answers to this activity. Then, upload it to
the class’s Google Classroom.

---------------------
ESSENTIAL LEARNING

In this lesson, you learned that WRITING, as one of the verbal modes of communication, offers a way to
immortalize noble ideas of the human mind and spirit. Indeed, through this skill, the permanence of thoughts and
ideas is possible.
CREATIVE NONFICTION is a cross between creative writing and journalistic writing. It is writing realistic
events in a creative way. Fumar (2010) noted that this genre combines the authority of both literature and fact.
The cardinal rule in nonfiction writing is the consideration of facts, authentic information, or real events and
experiences. It is used to recount real encounters, events, and information, is more subjective since the
personality of the writer is mainly encouraged to be established in the entirety of the work.

END OF WEEK 2.

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 QUARTER 1 WEEK 2
ANSWER SHEETS
CREATIVE NONFICTION

Name: ______________________________________________________

Activity 1.
SAPAY KOMA
By Jhoanna Lynn Cruz

Character & Characterization

_____________________________________________________________________
_____________________________________________________________________

Setting Point of View

_____________________________________ ____________________________________
_____________________________________ ____________________________________
____________________________________
____________________________________
Irony
_____________________________________
_____________________________________
Plot
____________________________________
____________________________________
Moral ____________________________________
_____________________________________ ____________________________________
_____________________________________ ____________________________________

Allusion Mood
_____________________________________ _____________________________________
_____________________________________ _____________________________________

Suspense Tone
_____________________________________ ___________________________________
_____________________________________ ___________________________________

Symbol Theme
___________________________________ ___________________________________
__________________________________ ___________________________________

Figures of Speech
_______________________________________________________
_______________________________________________________

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Activity 2. Making the PLAN.

1. Topic:
a. Name of the person:
b. Why is s/he is worth writing about?

2. Thesis Statement:

3. Organizing and developing ideas:

4. Literary Conventions:

5. Theme

Activity 3. 400-500 word Essay

__________________________________

________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________
________________________________________________________________________

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Activity 4. Creative Nonfiction versus Creative Writing

CREATIVE CREATIVE
NONFICTION WRITING

Reference:

Angeles, Mark Anthony S. (2017). Creative Nonfiction. Diwa learning Systems Inc.
Gallo, Harold V. and Oliveros, Aries N. (2017). Grammar Essentials: Creative Nonfiction. Sibs Publishing House,Inc
Moratilla, Noel Christian A. and Teodoro, John Iremil E. (2016). Claiming Spaces: Understanding Reading and
Writing Creative Nonfiction. Phoenix Publishing House
Online Reference:
Cruz, Jhoanna Lyn. (2008) Sapay Koma. Retreived Juy 25 from
https://dagmay.online/2008/09/14/sapay-koma/

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