SDO Navotas SHS CreativeWriting FirstSem FV

DIVISION OF NAVOTAS CITY
Creative Writing
(Quarter 1)
First Semester
S.Y. 2021-2022
NAVOTAS CITY PHILIPPINES
Creative Writing for Senior High School
Alternative Delivery Mode
Quarter 1
Second Edition, 2021
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agency or office may, among other things, impose as a condition the payment of royalties.
Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
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Every effort has been exerted to locate and seek permission to use these materials from their
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Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio
Development Team of the Module
Writer: Jholina H. Valentin

Editors: Jholina H. Valentin, Hazel Santorce
Reviewers: Hazel Santorce, Marco D. Meduranda
Illustrator:
Layout Artist: Jholina H. Valentin
Management Team: Alejandro G. Ibañez, OIC- Schools Division Superintendent
Isabelle S. Sibayan, OIC- Asst. Schools Division Superintendent
Loida O. Balasa, Chief, Curriculum Implementation Division
Marco D. Meduranda, EPS in English
Grace R. Nieves, EPS In Charge of LRMS
Lorena J. Mutas, ADM Coordinator
Vergel Junior C. Eusebio, PDO II LRMS
Inilimbag sa Pilipinas ng ________________________
Department of Education – Navotas City

Office Address: BES Compound M. Naval St. Sipac-Almacen Navotas City
____________________________________________
Telefax: 02-8332-77-64
____________________________________________
E-mail Address: [email protected]
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Table of Content
What I Know ................................................................................1
Module 1......................................................................................3
Module 2......................................................................................11
Module 3......................................................................................27
Assessment ..................................................................................39
Answer Keys.................................................................................41
References ..................................................................................41
Multiple Choice. Choose the letter of the best answer. Write the chosen letter on a
separate sheet of paper.
1. What is Creative Writing used for?

a. Any comedic writing
b. Any writing like complaint letter, letter to the forum, letter to your
boss
c. Any writing like novels, resumes, short stories, fiction writing
d. Any sad or disastrous piece of writing
2. What is the most important ingredient in Creative Writing?

a. Imagination
b. Jokes
c. Autobiographies
d. True stories
3. What are Sensory details?

a. Details that involve your five senses
b. Details that involve your sight
c. Details that require common sense
d. Details that involve sense and sensibility
4. What is the narrator of a poem called?

a. Author
b. Narrator
c. Speaker
d. Main character
5. What device is a comparison of two unlike things which says one

thing IS another?
a. Hyperbole
b. Metaphor
c. Alliteration
d. Simile
6. The way a poem look is its ______________________.

a. Stanza
b. Set-up
c. Sentences
d. Structure
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7. A form of writing that tells a story or might entertain the reader.
a. Fiction
b. Non-fiction
c. Poetry
d. Drama
8. Setting, Plot, Conflict, Climax, Resolution are parts of ___________________

a. parts of nonfiction
b. parts of fiction
c. parts of both fiction and nonfiction
d. none of the above
9. Which best describes a summary?

a. a really long detailed piece of writing
b. the entire text told in your own words
c. a dumb thing that teachers make you write
d. the main ideas and important details of a text
10. Which one of the following is NOT a part of a summary?

a. using your own words
b. summary being shorter than the text
c. exact words from the text
d. including main ideas only
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MODULE 1
This module was designed and written with you in mind. It is here to help you master
the Southeast Asian music. The scope of this module permits it to be used in many
different learning situations. The language used recognizes the diverse vocabulary
level of students. The lessons are arranged to follow the standard sequence of the
course. But the order in which you read them can be changed to correspond with
the textbook you are now using.
The module is divided into several lessons, namely:
Lesson 1 – Creative Writing
a. Imaginative writing vs. technical / academic

b. Sensory experience
c. Language
i. Imagery
ii. Figures of speech
iii. Diction
After going through this module, you are expected to:
1. Use imagery, diction, figures of speech, and specific experiences to

evoke meaningful responses from readers. HUMSS_CW/MP11/12-Ia-
b-4
3
Lesson
Introduction to Creative Writing
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Many of us experience dreaming. Some in the morning. Some in the daytime

and in the night. Because dreaming is so common, it seems to be very simple. But
in writing, describing dreaming entails careful forge of a link between the imagery
and symbolism of their dreams and the power of their writing. That is the time
creative sparks will fly.
This module provides you with creative writing knowledge and skills necessary
to describe creative writing in different aspects. You will learn to describe creative
writing in terms of imaginative writing, technical or academic writing, sensory
experience, use of language, imagery, figures of speech and diction. While these all
provide the same information about the creative writing, you will find out that one
may be more helpful than the other depending on your objective.
Creative Writing
Creative writing is any writing that goes outside the bounds of normal
professional, journalistic, academic, or technical forms of literature, typically
identified by an emphasis on narrative craft, character development, and the use of
literary tropes or with various traditions of poetry and poetics. Due to the looseness
of the definition, it is possible for writing such as feature stories to be considered
creative writing, even though they fall under journalism, because the content of
features is specifically focused on narrative and character development. Both
fictional and non-fictional works fall into this category, including such forms as
novels, biographies, short stories, and poems.
In the academic setting, creative writing is typically separated into fiction and
poetry classes, with a focus on writing in an original style, as opposed to imitating
pre-existing genres such as crime or horror. Writing for the screen and stage –
screenwriting and playwriting —are often taught separately but fit under the creative
writing category as well.
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Creative writing is a form of writing that is written with a descriptive and
creative mind. There are many styles of creative writing, such as: fiction, nonfiction,
poetry, novels, and more. The purpose is to not only express one’s deepest thoughts,
but to also entertain, educate, and spread awareness. Within creative writing, we can
write about anything: a story, an experience, friends, a hobby, a memory, an event
and even the “what if” scenarios. Creative writing should almost always be used
because the amount of detail a writer incorporates, a reader can visualize the writing
through secondhand experience.
It can technically be considered any writing of original composition. In this

sense, creative writing is a more contemporary and process-oriented name for what
Creative Writing vs. Technical Writing

In creative writing the most of the part is self-created, although the idea might
be inspired but in technical writing the facts are to be obliged and the note is
delivered from leading on what previously other greats have concluded. Most
commonly, the creative writing is for general audience or for masses, but technical
writing is for specific audience. The creative writing entertains people as it has poetry
or some illustrations or another idea, whereas the technical writing causes boredom
as it follows the strong pattern based on facts and is just to transfer the information
to the audience. In technical writing the specialized vocabulary, such like scientific
terms and other are used while in creative writing, one can go with slang or evocative
phrases or even something which can be perceived well by the audience. Humor,
satire might be the useful essences in creative writing, but such thoughts or ideas
have no link with the technical writing.
Creative Writing vs. Academic Writing

Creative writing is different to academic writing. Writing for websites is
different to writing for newspaper columns. Journal entries are different to writing
press releases on behalf of a brand. Writing purposes do vary. It’s important that
when undertaking any writing you have a firm grasp on this concept.
Let us look at the fundamental differences between academic and creative

writing. Style is the chief difference between academic and creative writing. Creative
writing need not adhere to any specific style parameters. Academic writing is
different. Academic writing needs to be structured and executed adhering to a series
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of guidelines. Indeed, so stringent are these guidelines that academic institutions
include these guidelines as part of their curriculum.
Overall, creative writing allows for more personal expression whereas

academic/scholarly writing aims to explore an idea, argument, or concept. Academic
writing requires more factual evidence for support and presents challenges such as
the pressure of time. They each have their own purpose.
Activity 1.1 Understanding Creative Writing

Observe the left column. Define what a vignette is based on the vignettes from
different authors. [(2017). Literary Devices. Retrieved from https://literarydevices.net/vignette/]
“Some boys taught me to play (An American Childhood by Annie

football. This was a fine sport. You Dillard)
thought up a new strategy for every play
and whispered it to the others. You went In this excerpt, Dillard has used
out for a pass, fooling everyone. Best, you her personal experiences, while she
got to throw yourself mightily at someone was growing up in Pittsburgh and
is running legs… In winter, in the snow, describes the nature of American life. In
there was neither baseball nor football, this scene, she tells us how she learnt
so the boys and I threw snowballs at to play football with other boys and
passing cars. I got in trouble throwing offering this incident of her life occurred
snowballs and have seldom been happier in mid-teenage years.
since.”
“The strong streak of insanity in (Railroads by E.B White)
railroads, which accounts for a child’s
instinctive feeling for them and for a In this descriptive passage,
man’s unashamed devotion to them, is White laments the bad condition of
congenital; there seems to be no reason passenger train industry in the state of
to fear that any disturbing improvement Main, his home state and feels worried
in the railroads’ condition will set in… He for the future. He softens his
gravely wrote ‘Providence’ in the proper complaints by going into memories
space, and we experienced anew the when he would ride as an adult.
reassurance that rail travel is unchanged
and unchanging, and that it suits our
temperament perfectly–a dash of lunacy,
a sense of detachment, not much speed,
and no altitude whatsoever.”
“Then Uncle Nacho is pulling and (House on Mango Street by Sandra
pulling my arm and it doesn’t matter how Cisneros)
new the dress Mama bought is because
my feet are ugly until my uncle who is a This whole story provides us a
liar says, “You are the prettiest girl here, collection of vignettes. There are several
will you dance… My uncle and me bow passages with detailed description
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and he walks me back in my thick shoes about ideas or characters, such as this
to my mother who is proud to be my extract illustrates a dancing scene.
mother. All night the boy who is a man
watches me dance. He watched me
dance.”
What is a vignette?
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
Write your answer on the right column.
What is being portrayed in the

vignette?
1. ) from A Well-Lighted Café by
Ernest Hemingway
It was very late, and everyone had left

the cafe except an old man who sat in
the shadow the leaves of the tree made
against the electric light. In the daytime
the street was dusty, but at night the
dew settled the dust and the old man
liked to sit late because he was deaf and
now at night it was quiet, and he felt the
difference. The two waiters inside the
cafe knew that the old man was a little
drunk, and while he was a good client
they knew that if he became too drunk
he would leave without paying, so they
kept watch on him.
2. ) from The House on Mango

Street by Sandra Cisneros
The house on Mango Street is ours, and

we don’t have to pay rent to anybody, or
share the yard with the people
downstairs, or be careful not to make
too much noise, and there isn’t a
landlord banging on the ceiling with a
broom. But even so, it’s not the house
we’d thought we’d get.
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3. ) from Railroad by E.B. White
“The strong streak of insanity in

railroads, which accounts for a child’s
instinctive feeling for them and for a
man’s unashamed devotion to them, is
congenital; there seems to be no reason
to fear that any disturbing improvement
in the railroads’ condition will set in …
He gravely wrote ‘Providence’ in the
proper space, and we experienced anew
the reassurance that rail travel is
unchanged and unchanging, and that it
suits our temperament perfectly – a
dash of lunacy, a sense of detachment,
not much speed, and no altitude
whatsoever.”
4. ) from An American Childhood by
Annie Dillard
“Some boys taught me to play football.

This was fine sport. You thought up a
new strategy for every play and
whispered it to the others. You went out
for a pass, fooling everyone. Best, you
got to throw yourself mightily at
someone is running legs … In winter, in
the snow, there was neither baseball nor
football, so the boys and I threw
snowballs at passing cars. I got in
trouble throwing snowballs and have
seldom been happier since.”
5. ) from Harry Potter and the
Deathly Hallows by J. K. Rowling
“Apparently wizards poke their noses in

everywhere!” said Petunia, now as pale
as she had been flushed. “Freak!” she
spat at her sister, and she flounced off
to where her parents stood. . .
The scene dissolved again. Snape was

hurrying along the corridor of
the Hogwarts Express as it clattered
through the countryside. He had
already changed into his school robes,
had perhaps taken the first opportunity
to take off his dreadful Muggle clothes.
At last he stopped, outside a
compartment in which a group of
rowdy boys were talking. Hunched in a
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corner seat beside the window was Lily,
her face pressed against the
windowpane.
Snape slid open the compartment door

and sat down opposite Lily.
She glanced at him and then looked
back out of the window. She had been
crying.
KWL Chart on Imagery and Figures of Speech
What do I know? What do I want to What have I learned?

learn?
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Write the imagery you see as you read the texts. Write your answer on the right
column.
from “The Monkey’s Paw” by W. W. Jacobs
Neither spoke but lay silently listening to

the ticking of the clock. A stair creaked, and a
squeaky mouse scurried noisily through the wall.
The darkness was oppressive, and after lying for
some time gathering up his courage, he took the
box of matches, and striking one, went downstairs
for a candle.
At the foot of the stairs the match went
out, and he paused to strike another; and at the
same moment a knock, so quiet and stealthy as
to be scarcely audible, sounded on the front door.
The matches fell from his hand. He stood
motionless; his breath suspended…
“The New Moon” by Sara Teasdale
Day, you have bruised and beaten me,

As rain beats down the bright, proud sea, beaten
my body, bruised my soul,
Left me nothing lovely or whole—
Yet I have wrested a gift from you,
Day that dies in dusky blue:
For suddenly over the factories

I saw a moon in the cloudy seas—
A wisp of beauty all alone
In a world as hard and gray as stone—
Oh, who could be bitter and want to die
When a maiden moon wakes up in the sky?
“The Eagle” by Alfred, Lord Tennyson
He clasps the crag with crooked hands;

Close to the sun in lonely lands,
Ring’d with the azure world, he stands.
The wrinkled sea beneath him crawls;
He watches from his mountain walls,
And like a thunderbolt he falls.
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MODULE 2
Lesson 2 – Poetry as a Genre
1. Elements
2. Techniques
3. Literary Devices

1. Identify the various elements, techniques, and literary
devices in specific forms of poetry.
HUMSS_CW/MP11/12c-f-6
4. Write a short poem applying the various elements and literary devices
exploring innovative techniques HUMSS_CW/MP11/12c-f-10
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Lesson Elements, Techniques and
2 Literary Devices in Poetry
Poetry
A literature that evokes a concentrated imaginative awareness of
experience or a specific emotional response through language chosen and
arranged for its meaning, sound, and rhythm.
Poetry is a vast subject, as old as history and older, present wherever

religion is present, possibly—under some definitions—the primal and primary
form of languages themselves. The present article means only to describe in as
general a way as possible certain properties of poetry and of poetic thought
regarded as in some sense independent modes of the mind. Naturally, not every
tradition nor every local or individual variation can be—or need be—included,
but the article illustrates by examples of poetry ranging between nursery rhyme
and epic. This article considers the difficulty or impossibility of defining poetry;
man’s nevertheless familiar acquaintance with it; the differences between poetry
and prose; the idea of form in poetry; poetry as a mode of thought; and what
little may be said in prose of the spirit of poetry.
Formally, poetry is recognizable by its greater dependence on at least one

more parameter, the line, than appears in prose composition. This changes its
appearance on the page; and it seems clear that people take their cue from this
changed appearance, reading poetry aloud in a very different voice from their
habitual voice, possibly because, as Ben Jonson said, poetry “speaketh
somewhat above a mortal mouth.” If, as a test of this description, people are
shown poems printed as prose, it most often turns out that they will read the
result as prose simply because it looks that way; which is to say that they are
no longer guided in their reading by the balance and shift of the line in relation
to the breath as well as the syntax.
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That is a minimal definition but perhaps not altogether uninformative. It
may be all that ought to be attempted in the way of a definition: Poetry is the
way it is because it looks that way, and it looks that way because it sounds that
The Structure of Poetry

We’ve mentioned already that though poetry’s origins lie in the spoken word, it
does take a very recognizable shape when put down on the page. This is largely
due to the overall organization of the lines on the page, often in the form of
stanzas.
The Stanza
Though some modern forms of poetry eschew traditional poetic conventions such
as rhyme schemes and meter etc, the stanza still plays an important role in the
overall look of printed poetry.
But, just what exactly is a stanza? - your students may well ask
Stanzas are basically the poetic equivalent of a prose paragraph. They are a
series of lines that are grouped together and separated from other groups of lines
or stanzas by a skipped line.
Stanzas come in a variety of lengths, dependent either on the whim of the poet
or the conventions of a particular poetic form. There is a variety of technical
vocabulary often used to refer to stanzas of specific lengths. Here are the most
common of these,
Stanzas of:
● 2 lines are called a couplet
● 3 lines are called a tercet
● 4 lines are called a quatrain
● 5 lines are called a cinquain
● 6 lines are called a sestet, or occasionally a sexain
● 7 lines are called a septet
● 8 lines are called an octave
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Poem Structures: Types of Poetry and Their Characteristics
There are many different types of poetry, some of which we will look at below.
But, regardless of the specific type of poetry in question, most likely a poem will
fit into one of these three overarching types of poetry: lyric, narrative, and
descriptive.
Lyric Poetry
Lyric poetry concerns itself largely with the emotional life of the poet, that is, it’s
written in their voice and expresses strong thoughts and emotions. There is only
one voice in a lyric poem, and we see the world from that single perspective. Most
modern poetry is lyric poetry in that it is personal and introspective.
Narrative Poetry
As its name implies, narrative poetry is concerned with storytelling. Just as in a
prose story, a narrative poem will most likely follow the conventions of plot
including elements such as conflict, rising action, climax, resolution etc. Again,
as in prose stories, narrative poems will most likely be peopled with characters
to perform the actions of the tale.
Descriptive Poetry
Descriptive poetry usually employs lots of rich imagery to describe the world
around the poet. While it most often has a single poetic voice and a strong
emotional content, descriptive poetry differs from lyric poetry in that its focus is
more on the externalities of the world, rather than the interior life of the poet.
We have mentioned that poetry often hangs on the conventions of specific

underlying structures. Let’s now take a look at some of the more common of
these subtypes and their defining characteristics.
Subtypes of Poetry
Sonnet
Sonnets are predominantly concerned with matters of the heart. If you see a
sonnet’s recognizably blocky form on a page, there’s a good chance the theme
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will be love. There are two common forms of sonnet: Shakespearean and
Petrarchan. They differ slightly in their internal structure, but both have 14
lines. Let’s take look at some more of the internal characteristics of both forms:
Petrarchan
● Comprises 2 stanzas
● First 8 lines pose a question
● 2nd stanza answers the question posed
● Rhyme scheme is: ABBA, ABBA, CDECDE
Shakespearean
● Comprises 3 quatrains of 4 lines each
● Ends with a rhyming couplet which forms a conclusion
● Rhyme scheme is: ABAB, CDCD, EFEF, GG
Haiku
The Haiku is a disciplined form of poetry that has its origins in 17th century
Japanese poetry. Usually it is concerned with nature and natural phenomenon
such as the seasons, weather etc. They are often quite meditative in tone.
However, there are no real rules regarding themes, the only real demands here
relate to structure:
● They are written in three line stanzas
● 1st line contains 5 syllables
● 2nd line contains 7 syllables
● 3rd line contains 5 syllables
Due to their short length and limited requirements, these are usually a lot of fun
for students to write. They can serve as a great introduction for students to
attempt to write poetry according to specific technical requirements of a form.
Elegy
Elegies are a type of poem that don’t really come with specific structural
requirements, but still constitute a recognizable form of poetry. What makes an
elegy an elegy is its subject, that is, death. Elegies are poems of lamentation -
the word elegy itself comes from the Greek word elegeia which means to ‘lament’.
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● A poem of reflection on death, or on someone who has died
● Usually comes in three parts expressing loss:
○ grief
○ praise for the deceased
○ and, finally, consolation.
Limerick
Favorites of school children everywhere, the most defining characteristic of
limericks are their renowned humor. Given their well-deserved reputation for
being funny and, on occasion, crude, it’s easy to overlook the fact that beneath
the laughs lie quite a tightly structured verse form.
● 5 lines in total
● Distinct verbal rhythm
● 2 longer lines of usually between 7 to 10 syllables
● 2 shorter lines of usually between 5 to 7 syllables
● 1 closing line containing the ‘punchline’
● Rhyme scheme is AABBA
Ballad
Ballads are a type of narrative poetry that has close ties to musical forms.
Ballads written as poetry can often easily be adapted as song lyrics. While
ballads don’t have tight formal constrictions like some other forms of poetry,
there are enough in the way of distinguishable features to identify it as a form.
● Tells a story, often using simple language
● Often romantic, adventurous, or humorous
● Arranged in groups of 4 lines or quatrains
● Often uses alternating 4 and 3 beat lines
● Rhyme scheme is usually ABAB or ABCB
Ode
Another poetry form that traces its origins to Ancient Greece, odes were originally
intended to be sung. Nowadays, though no longer sung, the term ode still refers
to a type of lyrical poem that addresses and often praises a certain person, thing,
or event.
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● The author addresses a person, thing, or event
● Usually has a solemn, serious tone
● Explores universal elements of the theme
● Powerful emotional element, often involving catharsis
Odes written in the classical vein can follow very strict metrical patterns and
rhyme schemes, however, many modern odes are written in free verse involving
irregular rhythm and without adherence to a rhyme scheme.
Epic
These are long narrative poems that recount heroic tales, usually focused on a
legendary or mythical figure. Think of works of literature on a grand scale such
as The Odyssey, The Cattle Raid of Cooley, or Beowulf.
● Employs an objective and omniscient narrator
● Written in an elevated style
● Recounts heroic events
● Grand in scale
Poetic Devices
Though we refer to these devices here as ‘poetic devices’, the devices below are
not the exclusive domain of poetry alone. Many of these are to be found in
other writing genres too, particularly other creative forms such as short stories,
novels, and creative nonfiction.
any of these devices have their origins in poetry’s roots as a spoken literary form.
They rely on the musicality of words, their rhythm and rhyme. They focus on
various sound effects that can be created by the carefully chosen word.
Other devices are more concerned with imagery. They forge connections between
various ideas and conjure pictures in the minds of the readers. Together, these
devices lift poetry into the realm of art.
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The following devices are organized into two sections. The first section titled
Sound Devices deals with the following devices: alliteration, assonance,
consonance, onomatopoeia, rhyme, and rhythm.
The second section Figurative Language deals with metaphor, personification,

and simile. These are not meant as an exhaustive list, but to give an indication
of the possibilities for these elements of poetry. You can find many more
examples of these in our article on figurative language.
Students will benefit from learning the definitions of each of these devices over
time. While it is important that they learn to recognize their use in the poetry of
others and to learn to appreciate the effects these devices can create, it is equally
important that the students get a chance to have a go at creating their own
examples of these devices in their own writing.
It is only by trying their hand at employing these devices in their own work that
students can really internalize how these devices operate. So, in the section
below we’ll first look at a working definition of the poetic device, then an example
to illustrate it in action, before offering a simple exercise student can undertake
to gain more practice with it themselves.
Sound Devices
Alliteration
This device involves the repetition of the initial consonant sound of a series of
words, often consecutively. Alliteration is most easily explained to students
through looking at a few simple tongue twisters, such as Peter Piper or She Sells
Seashells.
Example:
Betty Botter bought a bit of butter
But, the bit of butter Betty Botter bought was bitter
So Betty Botter bought a better bit of butter
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Assonance
Similarly, to alliteration, assonance involves the repetition of sounds in a series
of words, often consecutive words. However, rather than repeating the initial
sounds, assonance focuses on the internal vowel sounds that are repeated.
Example:
We can find many examples of assonance in poetry and song. Here’s an example
from the poetry of Edgar Allen Poe: Hear the mellow wedding bells
Consonance
Consonance is the consonant-focused counterpart to assonance. It involves the
repetition of consonant sounds in the middle or at the end of words, as
distinguished from alliteration where the initial sound is repeated.
Example: The crow struck through the thick cloud like a rocket
Onomatopoeia
Onomatopoeia refers to the process of creating words that sound like the very
thing they refer to. For many students, the first introduction to onomatopoeia
goes back to learning animal sounds as an infant. Words such as Oink! Chirp!
Woof! and Meow! can all be thought of as onomatopoeic.
Example: Aside from animal noises, the names of sounds themselves are often
onomatopoeic, for example:
Bang!
Thud!
Crash!
Rhyme
Rhyme refers to the repetition of sounds in a poem. Various types of rhyme are
possible, however in English we usually use the term rhyme to refer to the
repetition of the final sounds in a line, or end rhyme. Letters are often used to
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denote a rhyme scheme. A new letter is ascribed to each of the different sounds.
For example, in the following example the rhyme scheme is described as ABAB.
Example:
The people along the sand
All turn and look one way.
They turn their back on the land.
They look at the sea all day.
[From Neither Out Far Nor In Deep by Robert Frost]
Rhythm
Rhythm in poetry involves sound patterning. A lot of classical poetry conforms
to a systematic regularity of rhythm which is referred to as the poem’s meter.
This involves the combining of stressed and unstressed syllables to create a
constant beat pattern that runs throughout the poem. Each pattern of beats is
called a foot. There are various possible combinations of stressed and unstressed
syllables, or feet, and these patterns have their own names to describe them.
While it is impossible to explore all of these in this article, we take a look at one
of the more common ones below.
Example:
Shall I compare thee to a summer’s day
[Iambic pentameter i.e. five metrical feet of alternating unstressed and
stressed syllables]
Figurative / Connotative Language
Metaphor
Metaphors make comparisons between things by stating that one thing literally
is something else. Metaphors are used to bring clarity to ideas by forming
connections. Often, metaphors reveal implicit similarities between two things or
concepts.
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Example: We can find lots of examples of metaphors in our everyday speech,
for example:
She’s an old flame
Time is money
Life is a rollercoaster
Simile
Unlike metaphors that make comparisons by saying one thing is something else,
similes work by saying something is similar to something else. They commonly
come in two forms. Those that make a comparison using ‘as’ and those that
make a comparison using ‘like’.
Example:
She is as strong as an ox
She sings like a nightingale
Personification
Personification is a metaphor where a non-human thing or idea is ascribed
human qualities or abilities. This can be in the form of a single phrase or line,
or extended in the form of a stanza or the whole poem.
Example:
The moon was shining sulkily,
Because she thought the sun
Had got no business to be there
After the day was done -
“It’s very rude of him,” she said,
“To come and spoil the fun.”
[From the Walrus and the Carpenter by Lewis Carroll]
The elements of poetry are many and while the elements explored above
represent the most important of these, it is not an exhaustive list of every
element. It takes lots of exposure for students to become comfortable recognizing
each and confident employing these elements in their own writing.
21
Take every opportunity to reinforce student understanding of these elements.
Poetic elements are often employed in genres outside of poetry such as in stories,
advertising, and song - waste no opportunity!

Write five (5) tongue twisters using alliteration. For example: The slithering snake
slid sideways through the grass…
1. _____________________________________________________________________
_____________________________________________________________________
2. _____________________________________________________________________
_____________________________________________________________________
3. _____________________________________________________________________
_____________________________________________________________________
4. _____________________________________________________________________
_____________________________________________________________________
5. _____________________________________________________________________
_____________________________________________________________________
Find five (5) examples of assonance in music and/or song that you listen to and
write down the title and the lyrics of the music and/or songs.
1. _____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
2. _____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
22
3. _____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
4. _____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
5. _____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
23
Analyze the Poem! Read the different excerpt of poem below and identify the
rhyme scheme of each poem.
Invictus RYHME SCHME:

Out of the night that covers me, ______________________
Black as the pit from pole to pole, ______________________
I thank whatever gods may be
______________________
For my unconquerable soul.
______________________
Source:
Henley, William Ernest, “Invictus” retrieved from

https://www.familyfriendpoems.com/poem/invictus-by-
william-ernest-henley
A Psalm Of Life RYHME SCHME:

Tell me not, in mournful numbers, ______________________
Life is but an empty dream!—
For the soul is dead that slumbers, ______________________
And things are not what they ______________________
seem.
______________________
Source:
Longfellow, Henry Wadsworth, “A Psalm of Life”
retrieved from
https://www.familyfriendpoems.com/poem/a-psalm-of-
life-by-henry-wadsworth-longfellow
RYHME SCHME:
The Brook ______________________
I come from haunts of coot and hern,
I make a sudden sally ______________________
And sparkle out among the fern, ______________________
To bicker down a valley.
______________________
Source:
Tennyson, Albert, “”The Brook” retrieved from
https://www.familyfriendpoems.com/poem/the-brook-
by-alfred-lord-tennyson
24
The One RYHME SCHME:
The one who brought me down to
earth ______________________
And held me every day. ______________________
The one who gracefully gave me
birth ______________________
And said, I love you in every way. ______________________
Source:
Adame, Claire R., “The One” (2006) retrieved from
https://www.familyfriendpoems.com/poem/the-one
So Happy And So
RYHME SCHME:
Proud
Thoughts of you surround me. ______________________
You're the beating of my heart. ______________________
The love you give defines me.
______________________
My life is no longer dark.
______________________
Source:
Sabatani, Scott, “So Happy And So Proud” (2013)
retrieved from
https://www.familyfriendpoems.com/poem/so-happy-
and-so-proud
25
Write a poem about Hope consisting of 5 stanzas with 4 lines each stanza and
following alternate rhyme (ABAB, CDCD, EFEF, GHGH)
________________________________________
TITLE
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
26
MODULE 3
Lesson 2 – Fiction as a Genre
a. Elements
b. Techniques
c. Literary Devices
1. Identifythe various elements, techniques, and literary devices in

various modes of fiction. HUMSS_CW/MPIg-i-11
2. Write journal entries and other short compositions exploring key
elements of fiction. HUMSS_CW/MPIg-i-13
27
Lesson Elements, Techniques and
3 Literary Devices in Fiction
Fiction
Fiction is make-believe, invented stories. They may be short stories, fables,
vignettes, plays, novellas, or novels. Although writers may base a character on people
they have met in real life, the characters and the experiences that the character faces
in the story are not real.
You probably have dreams sometimes that take details from your real life and
scramble them all up into something new. That's your grandmother standing there,
but in your dream, she's also a bank teller, and you're trying to rob the bank, which
looks exactly like the kitchen of the house where you grew up. And then the police
arrive, and your high school gym teacher is "playing the role" of the chief detective.
Writers are constantly recycling real details in this way. Anything in their lives
can show up in a work of fiction; for example:
● people they know

● pieces of overheard conversations
● streets where they've walked
● events in the newspaper
● feelings they've had
Just as in dreams, these true details can take on a very different form in a story
or a novel. Your fear of dogs can turn into a fictional character's fear of heights. The
abandoned shed where you used to hang out with your friends in high school can
become the hideout of a fictional teenage runaway. You can give your attractive
next-door neighbor a starring role as the romantic hero or heroine who saves your
character from a dead-end relationship.
The writer Sue Grafton says she was inspired to write her first murder mystery
after fantasizing about killing her ex-husband. The stories are make-believe, but the
details and feelings are real. This can help the writer to imagine the story more vividly
and create an intense experience for the reader.
Writers tend to be especially observant. They notice and remember small

details, the clicking sound a moth makes against a lampshade, the metallic aftertaste
of canned string beans, the way the shop assistant sticks out her tongue when she
laughs. When the children's writer Linda Leopold Strauss watches the news with her
husband, he sometimes becomes impatient with her because instead of commenting
on current events, she tends to comment on the newscasters, their way of talking
28
and small mannerisms. Such details, transplanted into imagined scenes, make them
seem real. Practice really paying attention to the way things look, smell, taste, sound,
and feel. Eavesdrop ruthlessly on conversations on the bus. Collect details that you
can use later in fiction.
Keeping a journal is a great way to start writing. You can use it to keep track
of your observations. Then whenever you need creative writing ideas, you can go to
your journal for material. Reading fiction can feel like entering a dream. But writing
fiction is different from dreaming because you, as the writer, are in complete control.
You can rearrange details from reality in the way that is most interesting or
satisfying. In this sense, it is more like daydreaming than dreaming.
There was a "magic trick" you could learn to make your fiction seem real, to
create a dream experience for your reader. The trick, as I will explain, is essentially
daydreaming. This may sound ridiculously simple, but it really works.
So, how does a writer write fiction? Characters, setting, plot, conflict, point
of view, and theme are six key elements for writing fiction.
Characters
Characters are the people, animals, or aliens in the story. Readers come to know the
characters through what they say, what they think, and how they act.
E. M. Forster, an English novelist, identified that characters are either flat or round.
Flat characters do not play important roles in the stories. They often have only one
or two traits with little description about them. A flat character may even be a stock
character, which is a stereotypical figure that is easily recognized by readers, for
example, the mad scientist or the evil stepmother.
On the other hand, the round characters play an important role, often the lead roles
in stories. They are complex, dimensional, and well-developed. The stories are about
them; therefore, pages of writing will be about them. They often change by going
through a life-changing experience as the story unfolds.
When discussing stories with other readers and writers or when writing an analysis
of a story, fictional characters can be described as static or developing. Static means
the character stays the same throughout the story. They do not change. Developing,
also called dynamic, means the character changes. The change may impact the
29
character’s beliefs, attitudes, or actions. The change may be small or large. This
change occurs because the character experiences an epiphany, an insight about life.
If writers write about characters outside their own culture, they need to do research
so as not to misrepresent a particular culture. The same is also true of characters,
who have illnesses. The writer may need to research the illness and treatment for it
in order to be accurate about it.
Setting
Setting is where and when the story takes place. It includes the following:
● The immediate surroundings of the characters such as props in a scene: trees,

furniture, food, inside of a house or car, etc.
● The time of day such as morning, afternoon, or night.
● The weather such as cloudy, sunny, windy, snow, or rain, etc.
● The time of year, particularly the seasons: fall, winter, summer, spring.
● The historical period such as what century or decade the story takes place.
● The geographical location including the city, state, country, and possibly even
the universe, if the writer is writing science fiction.
Setting can function as a main force that the characters encounter, such as a tornado
or flood, or a setting can play a minor role such as setting the mood. Often times, the
setting can reveal something about the main character as he/she functions in that
place and time period.
Writers write about places they are familiar with. If they aren’t familiar with the place,
then they need to research it in order to be accurate about the place.
Plot
Plot is the order of events in the story. The plot usually follows a particular structure
called Freytag’s Pyramid. Gustav Freytag, a German playwright who lived during the
1800s, identified this structure.
Freytag’s Pyramid has five parts: exposition, rising action, climax, falling action, and
denouement, also known as resolution. See Figure 3.1.
30
Figure 3.1: Freytag’s Pyramid
Exposition is an introduction to the characters, time, and the problem. At the point
where exposition moves into rising action a problem, sometimes called an inciting
incident, occurs for the main character to handle or solve. This creates the beginning
of the story.
Rising action includes the events that the main character encounters. Each event,
developed in separate scenes, makes the problem more complex.
Climax is the turning point in the story. Usually, it is a single event with the greatest
intensity and uncertainty. The main character must contend with the problem at this
point.
Falling action includes the events that unfold after the climax. This usually creates
an emotional response from the reader.
Denouement or resolution provides closure to the story. It ties up loose ends in the
story.
Do writers plan out their stories? Some do, especially if they are an extreme think-
write writer. Some don’t. They have a story idea, begin it, and watch it unfold as
they write.
Conflict
Conflict is the struggle between two entities. In story writing the main character, also
known as the protagonist, encounters a conflict with the antagonist, which is an
adversary. The conflict may be one of six kinds:
● Character vs. character

● Character vs. nature or natural forces
● Character vs. society or culture
● Character vs. machine or technology
● Character vs. God
31
● Character vs himself or herself
Point of View
Stories are generally told in one of two points of views:
● First-person point of view

● Third-person point of view
First-person point of view means that one of the characters in the story will narrate–
give an account–of the story. The narrator may be the protagonist, the main
character. Writing in first-person point of view brings the readers closer to the story.
They can read it as if they are the character because personal pronouns like I, me,
my, we, us, and our are used.
Third-person point of view means that the narrator is not in the story. The third-
person narrator is not a character. Third-person point of view can be done two ways:
● Third-person limited
● Third-person omniscient
Third-person limited means that the narrator limits him/herself by being able to be
in one character’s thoughts. Whereas, third-person omniscient means the narrator
has unlimited ability to be in various character’s thoughts. Writing in third-person
point of view removes readers from the story because of the pronouns he, she, it, him,
her, his, hers, they, them, and theirs.
Theme
A theme is not the plot of the story. It is the underlying truth that is being conveyed
in the story. Themes can be universal, meaning they are understood by readers no
matter what culture or country the readers are in. Common themes include coming
of age, circle of life, prejudice, greed, good vs. evil, beating the odds, etc.
32
After reading “The Story of an Hour” by Kate Chopin, list information from
the story for each plot element: Exposition: List the characters and time period.
Inciting Incident: Identify the first problem in the story. Rising Action: List the
events (scenes) that lead up to the climax. Climax: Identify the turning point in the
story. Falling Action: List events that unfold after the climax. Denouement
(Resolution): Explain how the story ends. Theme: Identify the theme of the story.
The Story of an Hour
Author: Kate Chopin
Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break
to her as gently as possible the news of her husband’s death.
It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in
half concealing. Her husband’s friend Richards was there, too, near her. It was he who had
been in the newspaper office when intelligence of the railroad disaster was received, with
Brently Mallard’s name leading the list of “killed.” He had only taken the time to assure
himself of its truth by a second telegram, and had hastened to forestall any less careful, less
tender friend in bearing the sad message.
She did not hear the story as many women have heard the same, with a paralyzed inability
to accept its significance. She wept at once, with sudden, wild abandonment, in her sister’s
arms. When the storm of grief had spent itself, she went away to her room alone. She would
have no one follow her.
There stood, facing the open window, a comfortable, roomy armchair. Into this she sank,
pressed down by a physical exhaustion that haunted her body and seemed to reach into her
soul.
She could see in the open square before her house the tops of trees that were all aquiver with
the new spring life. The delicious breath of rain was in the air. In the street below a peddler
was crying his wares. The notes of a distant song which someone was singing reached her
faintly, and countless sparrows were twittering in the eaves. There were patches of blue sky
showing here and there through the clouds that had met and piled one above the other in the
west facing her window.
She sat with her head thrown back upon the cushion of the chair, quite motionless, except
when a sob came up into her throat and shook her, as a child who has cried itself to sleep
continues to sob in its dreams.
She was young, with a fair, calm face, whose lines bespoke repression and even a certain
strength. But now there was a dull stare in her eyes, whose gaze was fixed away off yonder
on one of those patches of blue sky. It was not a glance of reflection, but rather indicated a
suspension of intelligent thought.
There was something coming to her and she was waiting for it, fearfully. What was it? She
did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky,
reaching toward her through the sounds, the scents, the color that filled the air.
Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that
was approaching to possess her, and she was striving to beat it back with her will — as
powerless as her two white slender hands would have been. When she abandoned herself, a
33
little whispered word escaped her slightly parted lips. She said it over and over under her
breath: “free, free, free!” The vacant stare and the look of terror that had followed it went from
her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed
and relaxed every inch of her body. She did not stop to ask if it were or were not a monstrous
joy that held her. A clear and exalted perception enabled her to dismiss the suggestion as
trivial.
She knew that she would weep again when she saw the kind, tender hands folded in death;
the face that had never looked save with love upon her, fixed and gray and dead. But she saw
beyond that bitter moment a long procession of years to come that would belong to her
absolutely. And she opened and spread her arms out to them in welcome. There would be no
one to live for her during those coming years; she would live for herself. There would be no
powerful will bending hers in that blind persistence with which men and women believe they
have a right to impose a private will upon a fellow-creature. A kind intention or a cruel
intention made the act seem no less a crime as she looked upon it in that brief moment of
illumination.
And yet she had loved him — sometimes. Often she had not. What did it matter! What could
love, the unsolved mystery, count for in face of this possession of self-assertion which she
suddenly recognized as the strongest impulse of her being!
“Free! Body and soul free!” she kept whispering.
Josephine was kneeling before the closed door with her lips to the keyhole, imploring for
admission. “Louise, open the door! I beg, open the door — you will make yourself ill. What
are you doing, Louise? For heaven’s sake open the door.”
“Go away. I am not making myself ill.” No; she was drinking in a very elixir of life through
that open window. Her fancy was running riot along those days ahead of her. Spring days,
and summer days, and all sorts of days that would be her own. She breathed a quick prayer
that life might be long. It was only yesterday she had thought with a shudder that life might
be long.
She arose at length and opened the door to her sister’s importunities. There was a feverish
triumph in her eyes, and she carried herself unwittingly like a goddess of Victory. She clasped
her sister’s waist, and together they descended the stairs. Richards stood waiting for them at
the bottom.
Someone was opening the front door with a latchkey. It was Brently Mallard who entered, a
little travel-stained, composedly carrying his grip-sack and umbrella. He had been far from
the scene of the accident and did not even know there had been one. He stood amazed at
Josephine’s piercing cry; at Richards’ quick motion to screen him from the view of his wife.
But Richards was too late.
When the doctors came, they said she had died of heart disease — of the joy that kills.
34
35
Writing an InstaMemory
andersphoto/Shutterstock.com
So you're having a great time and want to capture the moment. One way to do so is to take a
picture, whether it's a selfie or an action shot. In this writing activity, you'll describe a real or
make-believe photograph.
Create a cellphone snapshot.
1. Imagine a favorite memory as a cellphone

picture.
2. Finish this sentence starter: My memory
snapshot shows . . .
3. Keep writing until you’ve described your
memory snapshot in full. Make sure to
include who is in it, what is happening,
where it is happening, and when it is
happening. Note colors, emotions, facial
expressions, and other visual details about
the moment.
36
My memory snapshot shows
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
Writing a Four-Star Food Review

Do you have what it takes to be a food journalist? In this activity, you will describe
your favorite fall meal in such great detail that your readers' mouths might water!
Write a four-star food review.
1. List the food items that would
make up your ideal fall meal.
Include one main dish, one side
dish, one dessert, and one
drink.
2. Describe the looks, smells, and

tastes associated with the meal.
Main Dish:
Side Dish:
Dessert:
Drink:
37
My meal reminds me of fall because
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
38
Multiple Choice. Choose the letter of the best answer. Write the chosen letter on a
separate sheet of paper.
1. Which is NOT one of the basic characteristics of creative writing?
a. critique
b. entertain
c. educate
d. spread awareness
2. ____________________ is any writing that goes outside the bounds of normal

professional, journalistic, academic, or technical forms of literature.
a. Technical writing
b. Academic writing
c. Creative writing
d. Expository writing
3. Which of the following imagery describes what we feel or touch?

a. Auditory
b. Tactile
c. Olfactory
d. Gustatory
4. A type of literature that uses the sounds, rhythms, and meanings of words to
describe the world in striking and imaginative ways.
a. Lines
b. Poetry
c. Rhymes
d. Imagery
5. Descriptions that appeal to the five senses.

a. refrain
b. variations
c. imagery
d. meter
6. Groups or words that poetry is divide into.

a. lines
b. stanza break
c. stanzas
d. feet
39
7. Fiction can be divided into four main genres ___________________
a. Realistic, historical, dystopian, fantasy
b. Realistic, historical, science, fantasy
c. Adventure, mystery, science, fantasy
d. Realistic, mystery, adventure, dystopian
8. Fiction can be defined as____________________________

a. Literature based on cold, hard facts
b. Literature about imagery places, people or events
c. Stuff about stuff
d. All of the above
9. A story titled "The Day the Aliens Attacked" would most likely belong in which
genre?
a. Realistic Fiction
b. Historical Fiction
c. Science Fiction
d. Fantasy
10. A story titled "Through the Mirror and Into Narnia" would most likely belong
to which genre?
a. Realistic Fiction
b. Historical Fiction
c. Science Fiction
d. Fantasy
40
C
Posttest Pretest
References
Department of Education. (2013). English Grade 3 Learners' Material. Retrieved
from https://k12resources.files.wordpress.com/2014/08/3-eng-lm_mod-2-
v1-0.pdf
Department of Education. (2013). English Grade 3 Teachers Guide. Retrieved from

https://drive.google.com/file/d/10SBYpqpeeaRJZvh1snNsuqYGJehhPp12/vi
ew
Stokpic. (2020, July 11). Assorted educational illustrations. Pixabay. Retrieved

from https://pixabay.com/images/search/educational%20illustrations/
41
DIVISION OF NAVOTAS CITY
Creative Writing
(Quarter 2)
First Semester
S.Y. 2021-2022
NAVOTAS CITY PHILIPPINES
Creative Writing for Senior High School
Alternative Delivery Mode
Quarter 2
First Edition, 2020
Republic Act 8293, section 176 states that: No copyright shall subsist in any work of
the Government of the Philippines. However, prior approval of the government agency or office
wherein the work is created shall be necessary for exploitation of such work for profit. Such
agency or office may, among other things, impose as a condition the payment of royalties.
Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright holders.
Every effort has been exerted to locate and seek permission to use these materials from their
respective copyright owners. The publisher and authors do not represent nor claim ownership
over them.
Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio
Development Team of the Module
Writer: Jholina H. Valentin

Editors: Jholina H. Valentin, Hazel Santorce
Reviewers: Hazel Santorce, Marco D. Meduranda
Illustrator:
Layout Artist: Jholina H. Valentin
Management Team: Alejandro G. Ibañez, OIC- Schools Division Superintendent
Isabelle S. Sibayan, OIC- Asst. Schools Division Superintendent
Loida O. Balasa, Chief, Curriculum Implementation Division
Marco D. Meduranda, EPS in English
Grace R. Nieves, EPS In Charge of LRMS
Lorena J. Mutas, ADM Coordinator
Vergel Junior C. Eusebio, PDO II LRMS
Inilimbag sa Pilipinas ng ________________________
Department of Education – Navotas City

Office Address: BES Compound M. Naval St. Sipac-Almacen Navotas City
____________________________________________
Telefax: 02-8332-77-64
____________________________________________
E-mail Address: [email protected]
____________________________________________
Table of Content
What I Know ................................................................................45
Module 1......................................................................................47
Module 2......................................................................................55
Module 3......................................................................................62
Module 4......................................................................................69
Module 5......................................................................................75
Module 6......................................................................................80
Module 7......................................................................................85
Assessment ..................................................................................93
Answer Keys.................................................................................95
References ..................................................................................96
Multiple Choices. Choose and encircle the letter of the best answer.
(Pretest)
1. Which of the following applies to prose fiction?

a. It should always be entirely made up
b. It should always be based on personal experience
c. It can be based on something that has really happened
2. Which of the following best describes the purpose of short story?

a. An attempt to create a cut-down novel
b. A kind of snapshot of a significant moment in the characters’
lives
c. An attempt to describe characters and places in as much depth
as possible
3. What does ‘first person” mean?

a. The most important character in the story and the first to be
mentioned
b. A method of telling the story from one character’s point of view
c. A way of telling the story from the point of view of someone not
involved in the story
4. What is the maximum recommended number of characters that your

story should include?
a. One
b. Three
c. Six
5. What is the main purpose of description in a short story?

a. To show what characters look like
b. To fill up the story
c. To help add to the atmosphere and mood
6. Which of the following would be most suitable topic for a short story?
a. Abduction by aliens
b. A significant moment in character’s life
c. An act of international terrorism
45
7. Which narrative method is used in the following sentence: “Louise
sighed as she picked up her bag and set off for school”?
a. First person
b. Third person
c. Neither
8. Which narrative method is used in the following sentence:

“I decided there and then that I was never going to see him again”?
a. First person
b. Third person
c. Neither
9. Who is the narrator in the following sentence: “Since the day they
started school, Andy and joe had been inseparable”?
a. Andy
b. Joe
c. Neither
10. Which of the following would be the best ending to a story on

bullying?
a. So he told his teacher and it all got dealt with immediately and
Sean liked the school
b. Simon knew that Paul might try to bully him again though
somehow he thought that was unlikely. Anyway, this time he
would be able to handle it. He wasn’t going to be a victim again.
c. Simon didn’t think Paul would try to bully him again but if Paul
did then was Simon determined that he wasn’t going to put up
with it
46
MODULE 1
the Southeast Asian Music. The scope of this module permits it to be used in many
the textbook you are using now.
1. Define Drama;
2. Describe the different types of drama and;
3. Identify the various elements, techniques and literary devices in drama
HUMSS_CW/MPIj-IIc-15
47
Lesson Elements. Techniques and
1 Literary Devices in Drama
DRAMA
Derived from the Greek word “darn” meaning to do or to act. It is a work of art
made up of words, which is meant to be performed on the stage.
Drama is a mode of fictional representation through dialogue and

performance. It is one of the literary genres, which is an imitation of some action.
Drama is also a type of a play written for theater, television, radio, and film.
TYPES OF DRAMA
1. Tragedy
A drama in which character is brought to a disastrous end in his
confrontation with a superior force.
2. Melodrama
A term applied to any literary work that relies on implausible events
and sensational action for its effects. A melodramatic story ends
happily, with Protagonist defeating the Antagonist, at the last possible
moment.
3. Comedy
It is a work intended to interest, involve and amuse the reader or the
audience in which no terrible disaster occurs and at the ends happily
for the main character.
4. Farce
A play that is characterized by broad humor, wild antics and often
slapstick, pratfalls or other physical humor.
5. Musical drama
Dramatists not only tell their stories through acting and dialogue, but
through dance as well as music. Often the story may be comedic,
though it may also involve serious subjects.
48
TWO KINDS OF LITERARY DEVICES
Literary Elements have an inherent existence in literary piece and are extensively
employed by writers to develop a literary piece e.g. plot, setting, structure, mood, etc.
Literary Techniques, on the contrary, are structures usually a word or phrases in

literary texts that writers employ to achieve not merely artistic ends but also reads a
greater understanding and appreciation of their literary works.
ELEMENTS OF DRAMATIC LITERATURE
1. Plot, Action, Conflict

It is an ordered chain of physical, emotional, and intellectual events
that ties the action together. It is planned sequence of interrelated
actions that begins in a state of imbalance, grows out of conflict,
reaches a peak of complications, and resolves into new situation.
2. Character
A person created by the playwright to carry the action, language, ideas
and emotional of the play.
3. Point of view and perspective

The playwright gives us the objective raw materials. Which is the
actions and the words but ranges them in such a way that we ourselves
must draw all the conclusions.
4. Setting, Sets, Scenery

In the text of play, the setting is usually described in the opening stage
directions. In a production scenery, it is the first thing we see on stage.
5. Diction, Imagery, Style and Language

Their language may reflect the details of their deepest thoughts about
life. Their words must fir the circumstances, the time and the place of
the play.
6. Tone and atmosphere

Tone in drama as in other literature, signifies the way moods and
attitudes are created and presented.
7. Symbolism and allegory

As in fiction and poetry, symbols represent meaning or signifies beyond
the intrinsic identity of the symbol itself.
49
8. Subject and theme
Playwrights do write their plays with a design to dramatize ideas about
the human condition, which explores to constitute the play’s subject.
COMMON LITERARY TECHNIQUES
1. Vocal Dynamics
Volume, pitch, pausing, intonation, pace and accent can all influence
audience understanding of a character and the tension of the scene.
2. Body language and mannerism

Character is conveyed through posture, gesture, and facial expression.
In this way, the audience can instantly identify with a character type or
understand a situation without a word being spoken.
3. Use and awareness of space

The positioning of objects and body stage and the relationships between
them are a vital means of making meaning.
LITERARY DEVICES
1. Allegory
A work that symbolizes or represents an idea or event.
2. Alliteration
The repetition of the same or similar consonant sounds in succession.
3. Allusion
An indirect reference to a person, place, thing, event, or idea.
4. Analogy
A parallel between disparate ideas, people, things, or events, that is
more elaborate than a metaphor or simile.
5. Anthropomorphism
The interpretation of a non-human animal, event, or object as
embodying human qualities or characteristics.
6. Anachronism
An intentional or unintentional error in chronology or a timeline.
7. Colloquialism
An informal piece of dialogue or turn of phrase used in everyday
conversation.
8. Diction
The word choice and speaking style of a writer or character.
50
9. Elegy
A poem expressing grief or death.
10. Epiphany
A moment of sudden realization by a character.
11. Euphemism
A less provocative or milder term used in place of a more explicit or
unpleasant one.
12. Foreshadowing
Hinting at future or subsequent events to come to build tension in a
narrative.
13. Hyperbole
A statement that is obviously an intentionally exaggerated.
14. Idiom
A figure of speech that is indecipherable based on the words alone.
15. Imagery
A compilation of sensory details that enable the reader to visualize the
event.
16. Irony
An instance of language conveying the opposite of its literal meaning.
17. Juxtaposition
Ideas, people, images, or objects placed next to one another to highlight
their differences.
18. Malapropism
An incorrect word intentionally or un intentionally used in a place of a
similar sounding one, sometimes used for humorous effect.
19. Metaphor
A comparison of two ideas, events, objects, or people that does not use
‘like’ or ‘as’.
20. Mood
The general feeling that the speaker evokes in the reader through the
atmosphere, descriptions, and other features.
21. Onomatopoeia
A word that is closely associated or identical to the sound it describes.
22. Oxymoron
A pairing of seemingly contradictory terms used to convey emphasis or
tension.
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23. Paradox
An apparent contradiction that, upon further unravelling, may contain
truth, used for effect on the reader.
24. Personification
Lending descriptions generally applied to human beings to non-
humans.
25. Repetition
Multiple instances of a word or phrase, often in succession, used for
emphasis.
26. Satire
A phrase or entire work of satire, critiquing Stalinism, and the politics
Soviet Union.
27. Simile
A comparison between objects, events or people that uses ‘like’ or ‘as’.
28. Symbolism
Something is used to represent a larger concept or idea.
29. Synecdoche
An instance of a part representing a whole or vice versa.
30. Tone
The speaker or narrator’s attitude toward the subject of the piece,
distinct from mood in that it is not used to evoke a particular feeling in
the reader.
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LET’S DO TECHNIQUE CHART
Direction: Create and supply all necessary information needed by using appropriate drama
techniques in the given chart below.
Description Name the Name the Description of Why would What was
of character category of aspect of the how you you choose the actual
and duration technique technique would use this to use this effect of
used technique technique in using it?
appropriately this way?
53
GUESS ME!
Direction: Identify the following examples of literary devices by writing the
correct letter of your answer on the space provided in each item.
A. Imagery
B. Dramatic irony
C. Alliteration
D. Hyperbole
E. Simile
F. Personification
__________ 1. Throughout most of The Lion King. Simba mopes around feeling
guilty for his father’s death, unaware (as the audience is) that Scar actually killed
Mutasa.
__________ 2. I have got a million issues to look after!
__________ 3. Better butter always makes the batter better.
__________ 4. “My love is like red, red rose”
__________ 5. Have you seen my new car? She is a real beauty!
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MODULE 2
1. Define Intertextuality and its types;

2. Identifies the intertextual figures and;
3. Understand intertextuality as a technique of drama
HUMSS_CW/MPIj-IIc-16
55
Lesson
Intertextuality in Drama
2
Literary Technique
Composers define this as the most powerful technique to create multiple
layers of meaning. That is why you need to have a wide knowledge of different
texts in order to identify the different intertextuality. Reading and expanding
your bank of books, poems, films and plays are very important.
What is Intertextuality
It refers to the shaping of a text’s meaning by another text.
It is when a text implicitly or explicitly refers to another text, by using

distinctive common or recognizable elements of the referenced text.
It is when a text is read in the light of another text, all the assumptions and
effects of the other text give a new meaning and influence the way of
interpreting the original text.
“Any text is the absorption and transformation of another.” This was an

introduces notion by Julia Kristeva.
It does not require citing or referencing punctuation (such as quotation marks)
and is often mistaken for plagiarism (Ivanic, 1998)
Inter is a prefix which means “between”, “among”, “in the midst of”,
“mutually”, “reciprocally”, “together”, “during”.
Textuality refers to all the attributes that distinguish the communicative

content under analysis as an object of study.
Implicit reference refers to when the composer alludes to another text

through ideas, symbols, genre or style
Explicit reference refers to when the composer directly mentions quotes or

references another text in their work
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Inferred reference refers to the texts drawn on by the actual responder and
will likely include texts that had not even existed when the text was composed
TYPES OF INTERTEXTUALITIES
1. Obligatory
It is when the writer deliberately invokes a comparison or association
between two or more texts.
It is without the pre-understanding or success to ‘grasp the link’, the

readers’ understanding of the text is regarded as inadequate.
It also relies on the reading or understanding of prior hypertext, before full

comprehension of the hypertext can be achieved.
2. Optional
It has a less vital impact on the significance of the hypertext.
It is a possible, not essential, intertextual relationship that if recognized,

the connection will slightly shift the understanding of the text.
It also means is possible to find a connection to multiple texts of a single

phrase, or no connection at all.
In here, the intent of the writer when using optional intertextuality, is to

pay homage to the original writers, or to reward those who have read the
hypertext.
3. Accidental
It is when the readers often connect a text with another text, cultural
practice, or a personal experience, without there being any tangible anchor
point within the original text.
It is when the writer has no intention of making an intertextual reference

and it is completely upon the readers’ own prior knowledge that those
connections are made (Wohrle, 2012).
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INTERTEXTUAL FIGURES
1. Allusion
It is a subtle or indirect reference to another text, historical period or religious
belief.
2. Parody
It is an imitation of another text for satirical purpose; usually mock.
Very similar in form to the pastiche, it re-appropriates the work of others, but
for the purpose of poking fun rather than praising.
3. Quotation
It refers to the direct reference to another text within acknowledgement of its
composer.
4. Appropriation
It refers to the reworking or re-imagination of a well-known text to change or
extend its meaning
5. Plagiarism
It is when you do not include this information in your paper.
It is also the act of using someone else’s ideas, words, or thoughts as your
own with giving credit to other person.
6. Calque
Basically, refers to when a word is borrowed from a foreign language.
It can be the word-for-word translation of a phrase borrowed from another
language.
7. Pastiche
It is related to the Italian word for ’paste’, this is a collage of words, phrases
or entire passages from one or more other authors that creates a new literary
work.
It usually incorporates elements of plot, theme, style and even character
development.
TIPS IN USING INTERTEXTUALITY
1. Venture outside the genre

Lines of dialogues can be used as titles or inspiration of your work, storylines
can be placed in a different time or setting to create a new plot, even text from
essays or other parodies can be used within your own writing to make it
intertextual.
2. Embrace it
Every text has been influenced by other nationalities countless ones that come
before. This means that, with that in mind, it is fine to accept that everything
has already been written and make something of your own. It can be
deliberated or latent but is completely unavoidable.
58
3. Do not plagiarize
You don’t need quotation marks but using someone’s work as a basis for your
own does not mean copying their writing or taking credit for their original
writing. Remember, intertextuality is about referencing, allusions, satire, and
borrowing not taking whole texts and changing the character names.
59
YOU COMPLETE ME, ALLUSION…
Direction: Write four sentences in making allusions to the characters or events from
the given category.
BOOKS
HISTORY
TV
MOVIES
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FILL ME IN, PARODY!
Direction: Create your own Parody using “Call Me Maybe”. Think of a concept
to your lyrics. Take note that your concept will not be the same with the
original song. Show your creativity.
Song Title: _________________________________________

Concept: ____________________________________________
61
MODULE 3
1. Conceptualize characters / setting / plot for one-act play and;

2. Write a one-act play based on the lesson discussed
62
Lesson Elements of Drama
3 (One – Act Play)
DRAMA ELEMENTS
These are the ingredients that give work its shape and character. When devising
a work, whatever your stimulus or theme, you should consider the following
elements:
1. PLOT
This is the story, or through-line of your piece. A storyline is often called a
narrative. Without any narrative the work might be on one level, failing to keep the
interest of the audience. The sequence of the plot is something that can be explored
once you have brainstormed and improvised your narrative.
Most stories have a beginning, middle and an end. However, your drama
doesn’t have to run in this linear order. Some work is non-linear in structure. This
means that it doesn’t follow a chronological sequence but moves about in time. This
can be an excellent device for building tension and keeping the audience engaged as
the story unravels bit by bit.
2. CHARACTERIZATION
Characterization The act of changing voice, body language, movement,
gesture etc. when in role is called characterization.
All people are different. The actor must use their skills to portray a character
consistently throughout their performance. When creating characters you need to
consider the following:
63
Voice: Does your character have an accent? What is the tone of their voice
like? How quickly do they speak? Do they have any vocal mannerisms that are
particular to them?
Body language: This is what your character’s movements and way of using
their body says about them. A character who is very nervous and stressed may fidget
a lot or have their shoulders hunched up tight to indicate tension.
Facial expression: Does your character move their face a lot? What does their
facial expression say about their character? Do they have a very expressive face or
do they try not to give much of themselves away?
Hot seating: (being questioned in character) is an excellent way of ensuring

that you understand the role you are playing.
Improvisation: It is also very useful in rehearsal as it ensures that you can

act as that character ‘off the text’. It helps you to understand how they would react
in a range of circumstances.
3. ACTION IN DRAMA
The action of the drama is the events that are contained within it. It’s what
happens between characters in a scene and in the play. It could be a sword fight in
Macbeth or a tense discussion during which neither character moves physically at
all.
4. CONTENT
This is what your drama is about. It’s the themes, issues and ideas it contains.
For example, the action of the piece might be two sisters arguing, but the content is
the exploration of sibling rivalry.
5. CLIMAX AND ANTI-CLIMAX

This is the building and release of tension in drama.
Tension is a growing sense of expectation within the drama, a feeling that the
story is building up towards something exciting happening. Without tension in a
scene it is hard to keep the audience engaged with what is happening so the work
may be flat and dull.
64
A climax is when the tension within a scene builds to its highest point. It’s the
most exciting moment. An anti-climax is the release of tension. It happens after the
tension has reached its highest point and then suddenly drops.
Imagine a scene where a hostage has escaped their captors. They realize what
has happened and search the room where the hostage is hiding. Pauses build the
tension and the hostage is very close to being caught so the audience are on the edge
of their seats. When the hostage is seconds away from having their hiding place
discovered, the captors decide to leave and search somewhere else. The audience
breathe a collective sigh of relief for the hostage.
This is an anti-climax. The tension has built and has been released. Serial
dramas and television soap operas such as East Enders often finish just before or at
the point of climax so that the audience will tune in again to see what happens next.
This is called a cliffhanger or the ‘duff duff’ moment on account of the music at the
end of each episode!
6. CONTRAST
Contrast is a marked difference between two or more things placed side by
side for dramatic effect, eg stillness next to activity. When two opposing things are
placed next to each other their impact is strengthened. You could use contrast as a
way of highlighting differences in your drama and keeping the audience interested.
For example, a woman is lonely and miserable after the death of her beloved
husband. Creating a flashback memory of their joyous times together, laughing, and
playing with their children contrasts with the present and makes her loss more
intense and moving for the audience. They fully understand what she’s lost.
7. USING SYMBOLS
A symbol is something which stands for, or represents something else.
Symbols are often used in drama to deepen its meaning and remind the audience of
the themes or issues it is discussing. A prop often has a particular significance that
an audience will instantly recognize when used symbolically in the work.
65
8. SYMBOLIC MOVEMENTS
Movement and actions can be symbolic too, particularly if you’re using
Physical theatre as a form. In Mark Wheeler’s play, Too Much Punch for Judy, the
keys being thrown are significant in certain important moments in the play.
Remember that the meanings behind symbols can sometimes change within the
same play.
9. STORY DEVELOPMENT
Writing off the top of our head sometimes is great to capture a fleeting idea.
But real planning and preparation work can save the writer a lot of frustration and
backpedaling at a later date. Outlining and breaking down the dramatic elements of
a story are well worth the effort. By playing contrasts and conflict to maximum effect
the playwright can stir the primal in us.
There are so many ways to approach an idea. And the actual activity of logging
in the possibilities is not a pleasant task. But having an easy and systematic method
to catalog ideas, dialogue, and other snippets is like having an assistant available at
all time to do your bidding. In recent years software developers have created products
to simplify this process; some are for outlining/brainstorming and others specifically
organize dramatic elements under a theoretical umbrella.
66
Activity 1: Character Creator!
Direction: When your play, or any new scene or act, begins, the reader wants to
know the setting and who and what is seen on stage. Draw a picture of the setting
for your story. Make sure that you include WHO, WHAT, and WHERE.
What is the first

event?
What is the
next
event?
What is the last

main event?
Conclusion
67
Direction: Create your own story using the graphic organizer below.
Setting (include the

time and place)
Characters
Problem
Plot/events
Resolution
Rubrics
3 points 2 points 1 point Score
Mechanics Fills all parts Misses answer
of the activity on some part
of the activity
Content Clearly gives Gives Answers are
the elements sufficient insufficient
of the story elements of and not
the story relevant
TOTAL /5
68
MODULE 4
1. Explore different staging modalities vis-à-vis envisioning the script
69
Lesson Exploring Different Staging
4 Modalities
STAGING YOUR PERFORMANCE
Before you begin to set your work and rehearse in detail you should consider
the relationship between performers and audience. There are a variety of stage
shapes you can choose from to present your work. Each provides a different
experience for the audience.
Thinking carefully about where the characters are placed on the stage can
make all the difference. Avoid using too wide space which will distance the audience.
Decide how close to you they should be.
Once you’ve established the content of your work you need to consider its
structure. The order of the scenes will have a big effect on the journey on which you
take the audience. If your piece is non-naturalistic you may want to repeat scenes or
moments through the piece and slowly reveal their significance to the audience as
the piece unfolds.
You could choose to start at the beginning of the story and build in tension
towards a climax at the end of the piece. When your work runs in chronological order
like this, it is called a linear structure. If your work is inspired by Stanislavski, you
should use a linear structure to ensure it is naturalistic.
If you decided to begin by presenting the outcome of the story first and then
move back in time to how it all began, this would be a non- linear structure. It
does not run in a chronological time sequence but moves about in time. These builds
tension in another way. Revealing events and information bit by bit for the audience
and providing clues to what happened keeps them engaged. The work is like a jigsaw
puzzle for the audience which finally makes sense when all the pieces are in place.
Changing the structure can have a profound effect upon the shape and impact of
your drama.
70
Part of conducting a stage production is also considering the stage lay out or
stage modalities.
There are some practical staging considerations that playwrights need to be

aware of when constructing a play.
Beginnings and endings, “tops and tails”, the flow of one scene into another is
one such consideration. Playwrights need to know how their characters will move
from one scene into the next and what demands changes in story location and other
story variables impose on actors and stage crew, who must realize these changes
physically.
For example, do actors need to change their costumes or age or change their
character’s appearance in some way? How long will these changes take? Have
you “covered” these changes in your script so that the action continues while the
actors are achieving the change? If the location changes, how does the set change
and how long will this take? For example, does large furniture need to be struck?
How long will this take?
Music/sound is sometimes used to link scenes and to cover for changes.

Again, however, length of time is important. Stage time and real time are not the
same from an audience’s perspective.
Sometimes the style of the play can aid the writer in this respect. Plays that
allow the audience to watch set/costume changes and other mechanisms of
performance can increase an audience’s tolerance of the time taken between scenes
because the audience becomes involved or interested in the performance process
itself. However, the time taken should still be minimized to avoid losing the
audience’s “contact” with the story.
Generally speaking, long intervals between scenes break the tension of a play
and are therefore not desirable. The task of the the writer is to design the action of
the play in a way that will minimize the time taken between scenes to ensure a
smooth flow in an acceptable period of time.
71
NARRATIVE AND PLOT
Your devised work may have one clear storyline, or narrative, running
throughout. If there are two or more story lines in your piece, you’ll need to decide
how you deal with these separate stories when structuring your work. You could run
each story consecutively or decide that it’s more interesting to break up each story
and interweave them, cutting from one to the other. This is called a fractured
narrative. The trick is to leave each story at a point which keeps the audience
wanting to know what happens next. It’s like a jigsaw that the audience have to put
the pieces together for themselves.
72
Direction: List down the major points on staging modalities by accomplishing the
graphic organizer below.
Concept
73
Direction: Identify the elements of drama using the graphic organizer below and
describe each element.
Elements
of Drama
74
MODULE 5
This module was designed and written with you in mind. It is here to help you
master the Southeast Asian Music. The scope of this module permits it to be used in
many different learning situations. The language used recognizes the diverse
vocabulary level of students. The lessons are arranged to follow the standard
sequence of the course. But the order in which you read them can be changed to
correspond with the textbook you are using now.
1. Write at least one scene for one-act play applying various elements,
techniques, and literary devices
Lesson
Writing a scene for one-act play
5
ONE-ACT PLAY
One-act play is a short play consisting of only one act, as distinct from plays
that occur over several acts. In one-act play, all elements that are mentioned are
usually, present. There is setting, a plot, a structure, characters, conflict, theme.
and the type of atmosphere present. In one-act plays, there is only one setting and
the plot or conflict of the story is rather simple.
A short story works best. Remember to give the one act play the necessary
plot, action and characters to make it a complete story. Research other one act
plays to get ideas and inspiration for yours. Develop the action first, then compose
the dialog before you decide anything else
If plays are the small siblings of movies, then a one act play is the infant of
the family. One act-play are short plays, but complete stories. They are plays that
take place in only one scene and are generally less than an hour long.
75
A good one-act play focuses on one main action or problem; there’s no time
to get into complicated layers of plot. It’s a good idea to keep your play to one set
and as few scenes as possible. A one-act play is 9-12 pages with four characters or
less.
❖ Theme
- Ask yourself, “what is the play about? Revenge? Self-
discovery? Romance?
- Your mind needs to be clear about the theme
- Characters, plots need to point to and support the theme
❖ Plot
- Different in one-act play from a full-length play. In a one-act
play, there is only time for one significant event
- Determine the place for hero, where all can be won or lost
- Events leading to this can be included without being shown
to audience
- The events that follow must be inferred or understood by the
audience
❖ Character
- There is not much area to develop all the characters – limit
four
- The hero or the protagonist’s character needs to be more
developed and focused on
- The antagonist can be developed to show conflict
- Some other characters can also be a little bit developed to
move the story forward
- Protagonist/Hero - the leading character or one of the major

characters in a drama, movie, novel other fictional text
- Antagonist/Villain - a person who actively opposes or is

hostile to someone or something; an adversary
❖ Dialogue
- Economy is the key aspect here
- Each line must be crafted carefully to focus on the theme,
the incident and the character of the protagonist
- The dialogues need not be terse, but concise and full of
meaning
- Dialogues irrelevant to the plot, must be altered or omitted
immediately.
So, how does a writer write One-act play?
76
Develop the action first, then compose the dialog before you decide anything
else. Keep the plot simple for a one act play and it should move consistently
throughout the play.
Develop the characters. Write out a character sketch beforehand to help you
flesh out your characters and bring them to life. Give your characters a motive in
life (or lack thereof) and up the stakes by making them face a problem. This is
central to any story.
Generate the setting. The setting for a one act play will be one scene, but
you have to still develop the scene so the audience sees everything about the story
line. Include as many of the five sense as you can. Lighting helps the setting. Make
sure you write in notes about how the lighting should look.
Add in the stage directions after you write the action. Write notes about
how each character should respond and what props you'll need. For example, if the
characters should be facing another direction and talking to another character,
note it in the script.
Find performers that fit each part. Hold auditions to find the right actors
and actresses. Be upfront with them about whether this gig is a paying gig or a
volunteer gig.
Make copies of the play for each cast member. Save the document in case
you need extra copies. Give copies of the one act play to each member of the stage
and prop handling too.
Practice the play. Ask for feedback from all the people involved in the play.
Hire or ask an expert to help with the production too. Hold one final practice before
opening the show. This should be a dress rehearsal. Treat this final as the real
thing and tie up any loose ends.
77
Direction: Fill-in the one-act play web-graphic organizer below with ideas in your
mind.
Characters
Setting
Plot
Title
Conflict Theme
78
WRITING YOUR ONE-ACT PLAY SCENE
Create your own one-act play scene applying various elements, techniques,
and literary devices. Choose among the pictures below as the theme in the play. (Use
another sheet of paper if necessary)
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79
MODULE 6
1. Write a craft essay demonstrating awareness of and sensitivity to the

different literary and/or socio-political contexts of creative writing.
HUMSS_CW/MP1j-IIc-23
80
Lesson
Writing a Craft Essay
6
Effectively writing different types of essays has become critical to academic

success. Essay writing is a common school assignment, a part of standardized tests,
and a requirement on college applications. Often on tests, choosing the correct type
of essay to write in response to a writing prompt is key to getting the question right.
Clearly, students can’t afford to remain confused about types of essays.
There are over a dozen types of essays, so it’s easy to get confused. However,
rest assured, the number is more manageable. Essentially there are four major types
of essays, with the variations making up the remainder.
FOUR MAJOR TYPES OF ESSAYS

Distinguishing between types of essays is simply a matter of determining the
writer’s goal. Does the writer want to tell about a personal experience, describe
something, explain an issue, or convince the reader to accept a certain viewpoint?
The four major types of essays address these purposes:
1. Narrative Essays: Telling a story

In a narrative essay, the writer tells a story about a real-life experience.
While telling a story may sound easy to do, the narrative essay
challenges students to think and write about themselves. When writing
a narrative essay, writers should try to involve the reader by making
the story as vivid as possible. The fact that narrative
essays are usually written in the first person helps engage the reader
“I” sentences give readers a feeling of being part of the story. A well-
crafted narrative essay will also build towards drawing a conclusion or
making a personal statement.
81
2. Descriptive Essays: Painting a picture
A cousin of the narrative essay, a descriptive essay paints a
picture with words. A writer might describe a person, place, object, or
even memory of special significance. However, this type of essay is not
description for description’s sake. The descriptive essay strives to
communicate a deeper meaning through the description. In a
descriptive essay, the writer should show, not tell, through the use of
colorful words and sensory details. The best descriptive essays appeal
to the reader’s emotions, with a result that is highly evocative.
3. Expository Essays: Just the Facts

While like an expository essay in its presentation of facts, the goal
of the persuasive essay is to convince the reader to accept the writer’s
point of view or recommendation. The writer must build a case using
facts and logic, as well as examples, expert opinion, and sound
reasoning. The writer should present all sides of the argument, but
must be able to communicate clearly and without equivocation why a
certain position is correct.
82
Directions: Match the descriptions in A with the literary/critical approaches
in B. Write only the letter of your answer.
A B
_____ 1. This approach breaches the traditional a. Historical

understanding of the terms in the process
redrawing the limits that formerly separated
them.
_____ 2. This theory considers every literary work as a b. Cultural

product of its time and its world.
_____ 3. This approach is concerned with understanding c. Formalism

the role of politics, money, and power in literature
works and with redefining and reforming the
way society distributes its resources among the
classes.
_____ 4. This criticism attempts to redress the imbalance d. Marxism

of literary study in which all important books
were written by men or the only characters of
real interest are male protagonists.
_____ 5. This approach does not limit itself to language e. Feminism

and structure but also spends time analyzing
non-literary texts from the same time in which
literary works were written.
83
Directions: On a separate sheet of paper, write a craft essay on any timely topic. The
essay must employ any of the discussed critical theories in literature.
Craft Essay Rubric
FOCUS CONTENT ORGANIZATIO CREATIVE MECHANIC

N S
CONVENTION
S
4 Controlling Specific Sophisticated Precise, use of Evident

point made and/or arrangement of the orientations control of
about a illustrative content with of creative grammar and
single topic content evident and/or writing like mechanics
demonstratin subtle transitions word, structure,
g strong visual and
development audible crafts
of ideas
3 Apparent Sufficiently Functional Generic use of Sufficient

point made developed arrangement of orientations of control of
about a content with content that creative writing grammar and
single topic adequate sustains logical like word, mechanics
elaboration order with some structure, visual
transitions and audible
crafts
2 No apparent Limited Confused Limited use of Limited

point but content with arrangements of the orientations control of
evidence of a inadequate content without of creative grammar and
specific topic elaboration or attempts at writing like mechanics
explanation transitions word, structure,
visual and
audible crafts
1 Minimal Superficial Minimal control of Minimal use of Minimal

evidence of a and/or control the orientations control of
topic minimal arrangement of creative grammar and
content writing like mechanics
word, structure,
visual and
audible crafts
84
MODULE 7
1. Create on online portfolio of the outputs produced: poetry, fiction, script

etc. applying ICT skills / any appropriate multimedia forms
85
Lesson Creating an Online Portfolio of
7 the Outputs Produced
Portfolios are collections of student’s work representing a selection of

performance. Portfolios in classrooms today are derived from the visual and
performing arts tradition in which they serve to showcase artists' accomplishments
and personally favored works. A portfolio may be a folder containing a student's
best pieces and the student's evaluation of the strengths and weaknesses of the
pieces.
WHY TRY IT? Students have been stuffing assignments in notebooks and
folders for years, so what's so new and exciting about portfolios? Portfolios
capitalize on students' natural tendency to save work and become an effective way
to get them to take a second look and think about how they could improve future
work. As any teacher or student can confirm, this method is a clear departure from
the old write, hand in, and forget mentality, where first drafts were considered final
products.
HOW DOES IT WORK? Although there is no single correct way to develop

portfolio programs, in all of them students are expected to collect, select, and
reflect. Early in the school year, students are pressed to consider: What would I like
to reread or share with my parents or a friend? What makes a particular piece of
writing, an approach to a mathematics problem, or a write-up of a science project a
good product? In building a portfolio of selected pieces and explaining the basis for
their choices, students generate criteria for good work, with teacher and peer input.
Students need specifics with clear guidelines and examples to get started on their
work, so these discussions need to be well guided and structured. The earlier the
discussions begin, the better.
86
Showcase Portfolio – The showcase portfolio is used to demonstrate the
highest level of achievement attained by a learner. Collecting items for this portfolio
is a way of saying “Here's who I am” or Here is what I can do.”
Assessment Portfolio – The assessment portfolio documents what a student

has learned. It contains reflections of each output that will focus on how they were
able to demonstrate their mastery of the topic and its impact to them.
Magnum Opus – a large and important work of art, music, or literature,

especially one regarded as the most important work of an artist or writer. This
portfolio will be your magnum opus!
87
THE CREATIVE FOOTPRINT
I have good news for you! Before you make your actual Creative Footprint
which everyone will see, you are given the chance to plan how your portfolio will look
and feel.
Conceptualize what your Creative Footprint will be. What will be its theme?
How will you present each Learning Challenge? Create an outline of your plan so you
will be guided as we go along. Do this on one whole sheet of paper.
Portfolio Title:
• Attract everyone right from the title! This is your hook.
Theme:
• Provide 2-3 sentences description of how you plan to present your identity.
Contents:
• Aside from all the Learning Challenges and outputs you created what other
contents will you include? How will you present your outputs?
Color Combination Choices:

• Your color preferences also have something to do with your identity as a
writer. What will it be and why?
Outline Criteria:
1. Completeness – 5 points
2. Organization and Clarity – 5 points
88
Producing the portfolio
This will be the pinnacle. Your Creative Footprint will be the key
for you to return. Here, you will proudly show to everyone how you have
evolved as a writer of poetry, prose, and fiction once you have finished
The Creative Writer. You will be crafting your legacy in this voyage; you
will be leaving your artistic legacy. MS PowerPoint will definitely help
you realize and actualize this goal.
Tasks:
1. Compile all the Learning Challenge outputs you will be making for every
module and present them in your digital portfolio using MS PowerPoint.
(Your Creative Writing teacher may be adding more outputs to compile,
so please coordinate closely with him/her).
2. You are not restricted as to how you want to present your works. You
can present it by chapter, you can disarrange the order and present
how they are connected to each other, or whatever your imagination
and craft takes you. Use the outline we previously made to guide you.
However, for the sake of uniformity, follow the parts below:
-Portfolio Title
-About the Title
-Introduction
-Table of Contents
-Content Proper
89
Important: You are making a combination of the Showcase and
Assessment Portfolio. Each Learning Challenge piece must have a
simple reflection about the learning experience, writing process, and
the actual output you made.
3. Be guided with the dimensions of the portfolio:

-Orientation: Portrait
-Screen size: Wide Screen
4. Save the file as MS PowerPoint Show (.ppsx)

5. Keep in touch with your subject teacher about the due date of your
digital portfolio.
Reminder: If it is not within your resources to create a portfolio digitally,

do not worry! You can still make a hard copy of your portfolio (hand-
written or printed).
90
THE CREATIVE FOOTPRINT: DIGITAL PORTFOLIO RUBRIC
3 2 1 0
Assessme Exceeds Meets Partially Meets Not
nt expectation Expectation Expectation Observed
Indicator
s
The portfolio embodies The portfolio The portfolio There is no

the students’ acceptably presents presents the outputs concept
Concept / uniqueness and style the students’ style as a and required demonstrated
Theme as a Creative writer. It Creative writer and contents as is and at all
effectively establishes somehow establishes merely establishes
an identity an identity an identity
The portfolio The portfolio The portfolio There is no

demonstrates the documents the demonstrates the mastery of
students have acquisition of students’ ability to knowledge and
Mastery of mastered the knowledge and skills use the knowledge skills
knowledge knowledge and skills for the course learning and skills for the
and skills for the course learning outcomes, with some course learning
outcomes and can ability to apply them in outcomes in practice
apply them in practice practice is limited
Demonstrate a Demonstrate a basic Demonstrate a The portfolio is

conscious and understanding of the limited disorganized,
Depth of thorough creative writing understanding of the and
Reflection understanding of the process and the creative writing presentation is
on Learning writing prompt and the subject matter process and the inferior
subject matter subject matter. This
reflection needs
revision
91
The portfolio is well- The portfolio is well- Most of the expected The portfolio is
organized with all organized with all elements are disorganized
critical elements critical elements included; the quality and
Presentation included. Learning is included. The quality of written, visual presentation is
and well-documented with of written, visual, and/or digital inferior
organization writing and production and/or digital. The presentation does
skills that exceed those presentation is not meet with too
of most students and competent with minor many errors in
can serve as a role errors in spelling, spelling, grammar
model grammar and and punctuation
punctuations
The portfolio The portfolio shows The portfolio used Other software
impressively shows application of Microsoft PowerPoint is used in
Application application and Microsoft PowerPoint for the sake of creating the
of ICT skills mastery of Microsoft with minor technical requirement and has output. The
PowerPoint, and the issues major technical portfolio did
software has added to issues not show
the total effectivity and evidence of ICT
success Skills
92
Multiple Choices. Choose and encircle the letter of the best
answer.
1. What is a script/screenplay?
a. It is the heart and spine of the film.
b. It is the work of a single person without any revisions.
c. It outlines some of the audio, visual, behavior and dialogue
elements
d. All of the above
2. What is the first thing you should do when using a script stimulus?
a. Read the script
b. Rehearse with the cast list
c. Look at the cast list and decide who should play who
d. Do some research on the internet to find out as much as you
can about the play
3. What comprises Act I?

a. Introduction of characters and setting up of problems
b. Denouement
c. Confrontation of problem
d. Resolution
4. What comprises Act II?

a. Revelation of the story
b. Characters and confrontation of the problem
c. Setting up of the characters and environment
d. Problem is solved
5. What comprises Act III?

a. Characters struggle to prevail
b. Problems turns into something unexpected
c. Rising action
d. Went back to the setting
6. What is stimulus?
a. The act of devising original work
b. A recurring theme or idea explored on stage
c. The elements of a staging and creating a play
d. Anything which is a starting point for creating drama, such as a
poem, piece of music or object
93
7. Why is research important when devising drama?
a. In order to have detailed information for the program notes
b. To check if anybody has already used your ideas
c. So you will have a good understanding o the world of the play
and any themes or issues in it
d. To memorize and internalize the lines
8. What is a mind map?

a. A chart that focuses on the character’s frame of mind
b. A diagram that helps you capture ideas when brainstorming
c. A term used for a diagram noting a character’s motivation
d. A picture that reveals a character’s thoughts
9. What is a theme in a story?

a. What is the story all about
b. The main plot
c. The dialogue between characters
d. The running idea that is present throughout the work
10. How is drama different from prose?

a. It has plot
b. It has characters
c. It uses symbols
d. It is meant to be performed
94
95
What I Know Assessment
(Pretest) (Post test)
C A
B A
B A
B A
C A
B D
B B
A C
C B
B D
References
Department of Education. (2013). English Grade 3 Learners' Material. Retrieved
from https://k12resources.files.wordpress.com/2014/08/3-eng-lm_mod-2-
v1-0.pdf
Department of Education. (2013). English Grade 3 Teachers Guide. Retrieved from

https://drive.google.com/file/d/10SBYpqpeeaRJZvh1snNsuqYGJehhPp12/vi
ew
Stokpic. (2020, July 11). Assorted educational illustrations. Pixabay. Retrieved

from https://pixabay.com/images/search/educational%20illustrations/
96
For inquiries or feedback, please write or call:
Department of Education – Schools Division Office Navotas

Learning Resource Management Section
Bagumbayan Elementary School Compound

M, Naval St., Sipac Almacen, Navotas City
Telefax: 02-8332-77-64
Email Address: [email protected]

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DIVISION OF NAVOTAS CITY

Published by the Department of Education

Development Team of the Module

Writer: Jholina H. Valentin

Inilimbag sa Pilipinas ng ________________________

Department of Education – Navotas City

What I Know ................................................................................1

1. What is Creative Writing used for?

2. What is the most important ingredient in Creative Writing?

3. What are Sensory details?

4. What is the narrator of a poem called?

5. What device is a comparison of two unlike things which says one

6. The way a poem look is its ______________________.

8. Setting, Plot, Conflict, Climax, Resolution are parts of ___________________

9. Which best describes a summary?

10. Which one of the following is NOT a part of a summary?

The module is divided into several lessons, namely:

Lesson 1 – Creative Writing

a. Imaginative writing vs. technical / academic

After going through this module, you are expected to:

1. Use imagery, diction, figures of speech, and specific experiences to

Many of us experience dreaming. Some in the morning. Some in the daytime

It can technically be considered any writing of original composition. In this

Creative Writing vs. Technical Writing

Creative Writing vs. Academic Writing

Let us look at the fundamental differences between academic and creative

Overall, creative writing allows for more personal expression whereas

Activity 1.1 Understanding Creative Writing

“Some boys taught me to play (An American Childhood by Annie

Write your answer on the right column.

What is being portrayed in the

It was very late, and everyone had left

2. ) from The House on Mango

The house on Mango Street is ours, and

“The strong streak of insanity in

“Some boys taught me to play football.

“Apparently wizards poke their noses in

The scene dissolved again. Snape was

Snape slid open the compartment door

KWL Chart on Imagery and Figures of Speech

What do I know? What do I want to What have I learned?

from “The Monkey’s Paw” by W. W. Jacobs

Neither spoke but lay silently listening to

Day, you have bruised and beaten me,

For suddenly over the factories

“The Eagle” by Alfred, Lord Tennyson

He clasps the crag with crooked hands;

The module is divided into several lessons, namely:

Lesson 2 – Poetry as a Genre

After going through this module, you are expected to:

Poetry is a vast subject, as old as history and older, present wherever

Formally, poetry is recognizable by its greater dependence on at least one

The Structure of Poetry

We have mentioned that poetry often hangs on the conventions of specific

The second section Figurative Language deals with metaphor, personification,

Figurative / Connotative Language

Activity 1.1 Understanding Creative Writing

Invictus RYHME SCHME:

Henley, William Ernest, “Invictus” retrieved from

A Psalm Of Life RYHME SCHME: