Department of Education

Division of Leyte
Jugaban National High School
Carigara, Leyte
Name of student: _____________________ Grade Level: ___________________
Section: ________________ Date: ____________ Contact #: ___________________

ACTIVITY WORKSHEET FOR CREATIVE NONFICTION

WEEK 4 DAY 1&2 MONDAY & TUESDAY

General Objective: (MELC) Analyze factual/nonfictional elements (Plot, Characters, Characterization,

Point of view, Angle, Setting and Atmosphere, Symbols and Symbolisms, Irony, Figure of speech,
Dialogue, Scene, Other elements and Devices) in the texts. (HUMSS_CNF11/12-lb-d-4)

Learning Objective: Write a narrative vignettes based on real life experiences using various points of view.
A. Explore
Exploratory activity: Answer a question bellow using the appropriate point of view.

Imagine that you have offended a very good friend of yours. You have made up your mind
that you are going to apologies to him or her. What are you going to say?
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B. Learn
Point of View. Refers to the narrator of the story, the vantage point from where readers observe the
events of the story, or writer’s special angle of vision, the one whose perspective is told. Creative
nonfiction also employs a specific point of view just like fiction.
Approach
A. Objective
When you’re using Third Person Objective Point of View, it’s a case of giving just the facts. The
reader is never allowed into any of the characters’ minds, nor given any of their feelings or
emotions. The reader has to judge what the character is thinking or feeling by what they say, what
they do, and their facial expressions - much like real life, in fact.

B. Subjective
In subjective point of view, in contrast to Objective Point of View, the reader is told what the
characters are thinking and feeling.
Point of View
1. First Person Point of View
In the first person point of view ‘I’ is telling the story. The camera lens is firmly behind the
narrating character’s eyes, and the reader only sees what the narrating character sees,
knows what the narrating character knows, and so on.
The narrator is usually the main character/protagonist.

2. Second Person Point of View

In second person point of view, the second person referred to is 'you'. So, the second person
point of view in a story would go something like this:
“You woke up suddenly. What had woken you? That strange noise - that rhythmic banging. But what was
it? And hang on a second - where were you? This wasn't where you had gone asleep. This wasn't your
bedroom. What had happened to you while you slept”
 3. Third Person Point of View
The third-person point of view is a form of storytelling in which a narrator relates all the
action of their work using third-person pronouns such as "he," "she," and "they." It's the most
common perspective in works of fiction.

C. Engage
Read the text The Death of the Moth by Virginia Woolf. After reading, answer the following questions.
The Death of the Moth
by Virginia Woolf

Moths that fly by day are not properly to be called moths; they do not excite that pleasant
sense of dark autumn nights and ivy-blossom which the commonest yellow-underwing asleep in
the shadow of the curtain never fails to rouse in us. They are hybrid creatures, neither gay like
butterflies nor sombre like their own species. Nevertheless the present specimen, with his narrow
hay-coloured wings, fringed with a tassel of the same colour, seemed to be content with life. It was
a pleasant morning, mid-September, mild, benignant, yet with a keener breath than that of the
summer months. The plough was already scoring the field opposite the window, and where the
share had been, the earth was pressed flat and gleamed with moisture. Such vigour came rolling
in from the fields and the down beyond that it was difficult to keep the eyes strictly turned upon the
book. The rooks too were keeping one of their annual festivities; soaring round the tree tops until it
looked as if a vast net with thousands of black knots in it had been cast up into the air; which, after
a few moments sank slowly down upon the trees until every twig seemed to have a knot at the end
of it. Then, suddenly, the net would be thrown into the air again in a wider circle this time, with the
utmost clamour and vociferation, as though to be thrown into the air and settle slowly down upon
the tree tops were a tremendously exciting experience.

The same energy which inspired the rooks, the ploughmen, the horses, and even, it
seemed, the lean bare-backed downs, sent the moth fluttering from side to side of his square of
the window-pane. One could not help watching him. One was, indeed, conscious of a queer
feeling of pity for him. The possibilities of pleasure seemed that morning so enormous and so
various that to have only a moth's part in life, and a day moth's at that, appeared a hard fate, and
his zest in enjoying his meagre opportunities to the full, pathetic. He flew vigorously to one corner
of his compartment, and, after waiting there a second, flew across to the other. What remained for
him but to fly to a third corner and then to a fourth? That was all he could do, in spite of the size of
the downs, the width of the sky, the far-off smoke of houses, and the romantic voice, now and
then, of a steamer out at sea. What he could do he did. Watching him, it seemed as if a fibre, very
thin but pure, of the enormous energy of the world had been thrust into his frail and diminutive
body. As often as he crossed the pane, I could fancy that a thread of vital light became visible. He
was little or nothing but life.

Yet, because he was so small, and so simple a form of the energy that was rolling in at the
open window and driving its way through so many narrow and intricate corridors in my own brain
and in those of other human beings, there was something marvellous as well as pathetic about
him. It was as if someone had taken a tiny bead of pure life and decking it as lightly as possible
with down and feathers, had set it dancing and zig-zagging to show us the true nature of life. Thus
displayed one could not get over the strangeness of it. One is apt to forget all about life, seeing it
humped and bossed and garnished and cumbered so that it has to move with the greatest
circumspection and dignity. Again, the thought of all that life might have been had he been born in
any other shape caused one to view his simple activities with a kind of pity.

After a time, tired by his dancing apparently, he settled on the window ledge in the sun,
and, the queer spectacle being at an end, I forgot about him. Then, looking up, my eye was caught
by him. He was trying to resume his dancing, but seemed either so stiff or so awkward that he
could only flutter to the bottom of the window-pane; and when he tried to fly across it he failed.
Being intent on other matters I watched these futile attempts for a time without thinking,
unconsciously waiting for him to resume his flight, as one waits for a machine that has stopped
momentarily, to start again without considering the reason of its failure. After perhaps a seventh
attempt he slipped from the wooden ledge and fell, fluttering his wings, on to his back on the
window sill. The helplessness of his attitude roused me. It flashed upon me that he was in
difficulties; he could no longer raise himself; his legs struggled vainly. But, as I stretched out a
pencil, meaning to help him to right himself, it came over me that the failure and awkwardness
were the approach of death. I laid the pencil down again.

The legs agitated themselves once more. I looked as if for the enemy against which he
struggled. I looked out of doors. What had happened there? Presumably it was midday, and work
in the fields had stopped. Stillness and quiet had replaced the previous animation. The birds had
taken themselves off to feed in the brooks. The horses stood still. Yet the power was there all the
same, massed outside indifferent, impersonal, not attending to anything in particular. Somehow it
was opposed to the little hay-coloured moth. It was useless to try to do anything. One could only
watch the extraordinary efforts made by those tiny legs against an oncoming doom which could,
had it chosen, have submerged an entire city, not merely a city, but masses of human beings;
nothing, I knew, had any chance against death. Nevertheless after a pause of exhaustion the legs
fluttered again. It was superb this last protest, and so frantic that he succeeded at last in righting
himself. One's sympathies, of course, were all on the side of life. Also, when there was nobody to
care or to know, this gigantic effort on the part of an insignificant little moth, against a power of
such magnitude, to retain what no one else valued or desired to keep, moved one strangely.
Again, somehow, one saw life, a pure bead. I lifted the pencil again, useless though I knew it to
be. But even as I did so, the unmistakable tokens of death showed themselves. The body relaxed,
and instantly grew stiff. The struggle was over. The insignificant little creature now knew death. As
I looked at the dead moth, this minute wayside triumph of so great a force over so mean an
antagonist filled me with wonder. Just as life had been strange a few minutes before, so death was
now as strange. The moth having righted himself now lay most decently and uncomplainingly
composed. O yes, he seemed to say, death is stronger than I am.

RUBRICS:
3 Completely answered the question
2 Some were answered
1 No answer at all

Answer the following questions.

1. What kind of creative nonfiction piece is Virginia Woolf’s “The Death of the Moth”? Justify your
answer.
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2. What point or points of view did the writer use? Cite an example.
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3. Did the writer succeed in using the point or points of view in emphasizing her point? Explain your
answer.
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 D. Apply

Rubrics for Activity 1 and 2.

Point Value 4 points 3 points 2 points 1 points

Topic Sentence Interesting, original Clearly stated topic Acceptable topic Missing, invalid, or
topic sentence, sentence presents one sentence presents inappropriate topic
reflecting thought and main idea. one idea. sentence; main idea is
insight; focused on     missing.
one interesting main  
idea.
Supporting Interesting, concrete Examples and details Sufficient number Insufficient, vague, or
Details  and descriptive relate to the topic and of examples and undeveloped
examples and details some explanation is details that relate to examples. 
with explanations that included.  the topic.
relate to the topic.  
Organization Thoughtful, logical Details are arranged Acceptable No discernible pattern
and Transitions progression of in a logical arrangement of of organization;
supporting examples; progression; examples; Unrelated details; no
Mature transitions appropriate transitions may be transitions.
between ideas. transitions. weak.

Activity 1: What Photographs Actually Say

Instructions: Take a photo of anything that catches your fancy (e.g., a selfie, your family having dinner,
a long queue in a movie theatre, children playing, a beautiful scenery etc.) Write your thoughts about
the photograph that you took.

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Activity 2: Tell Me What You Think

Instructions: Interview any of the following: a staff of the school paper, a sports personality in your
school, an honor students, an employee of the school, a subject teacher, a writer in your school. Ask
that person what he or she thinks of the following:
Family ties
The work that he/she does
The TV programs and movies he/she watches and likes and why he/she likes them
What love means to him/her
What his/her biggest dream is
 The current state of the country
Then write an essay with 8 to 10 sentences about your subject. You may use any point of view.
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WEEK 4 DAY 3 & 4 WEDNESDAY & THURSDAY

General Objective: (MELC) Analyze factual/nonfictional elements (Plot, Characters, Characterization,

Point of view, Angle, Setting and Atmosphere, Symbols and Symbolisms, Irony, Figure of speech,
Dialogue, Scene, Other elements and Devices) in the texts. (HUMSS_CNF11/12-lb-d-4)

Learning Objective: Identify the symbols, different types of irony and figure of speech used in a particular
text.
A. Explore
Word Vocabulary: The following are important terms which are related to the lesson. Use as many
references as you can to define each these terms. Be sure to put it in the context of the lesson.
1. Gustatory
2. Setting
3. Atmosphere
4. Auditory
5. Tactile

B. Learn
You have learned in your Creative Writing class that setting refers to the place and time where and
when an event happens. In fiction, you can have a very realistic setting like a city, town, street or other
places that readers are familiar with such as a crowded shopping mall, an old mansion, a dirty
classroom, a dark forest, an abandoned warehouse, etc. But as a fictionist, you can also create settings
that are not of this world like those found in science fiction, horror, fantasy, and speculative fiction. The
creative nonfiction writer has no recourse but to stick o places that actually exist. You are not allowed to
invent places or locales to make your narrative interesting. The readers of creative nonfiction must be
taken to the places where the events actually happened. But just like in fiction, creative nonfiction
becomes more realistic if you are able to incorporate the physical, sociological, and psychological
environment in depicting setting. The place, the time, and the bigger environment that the setting
signifies create an atmosphere that affects both the characters and the readers. Just like in fiction,
atmosphere or mood in creative nonfiction is the element that evokes certain feelings or emotions. It is
conveyed by the words used to describe the setting or reflected by the way your subject speaks or in
the way he or she acts.
According to Cristina Pantoja-Hidalgo:
The most successful pieces of creative nonfiction are rich in details. Bare facts are never enough. They
need to be fleshed out; they need to be humanized. But besides giving information, details serve other
purpose. Details should be accurate and informative first. And then must be suggestive or evocative.
 The right details arouse emotions, evoke memories, help to produce the right to produce the right
response in your reader. Details are extremely important in evoking a sense of time and place. It must
evoke a period as well as location. Descriptive details are particular importance for travel writing, the
point of which is, to begin with, to literally transport the reader to the place to which the traveler has
been.
C. Engage
Read the text Baguio (from Sojourns) by Cristina Pantoja-Hidalgo. After reading, answer the
following questions
RUBRICS:
3 Completely answered the question
2 Some were answered
1 No answer at all

Answer the following questions.

1. How did the writer describe in the first paragraph of the essay her memory of going to Baguio?
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2. What are some of the memorable images of Baguio that are found in the essay?
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3. What are some of the things that the writer and her family did in Baguio?
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4. How would you describe the mood of atmosphere of the essay?
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D. Apply
Rubrics for Writing a Descriptive Paragraph on Setting
Category Distinguished- 4 Proficient – 3 Apprentice – 2 Novice – 1
(100%-90%) (89%-79%) (78%-65%) (64 & under)
Audience The description is very The description is The description is The description is
Does the writer clear, vivid, and clear and fairly fairly clear, but mostly confusing and
describe the setting by interesting. The interesting, but not uninteresting. Parts uninteresting. The
including the where, description is well especially vivid. The of the description description is very
when, and what? organized focusing on description is were organized and
the where, when and organized but a few many details related
confusing and rambling,
what the environment more details related to the setting were writing a summary
looked to the setting were missing. instead of focusing on
needed. the setting.

Organization The topic sentence,
Were all three parts of a body, and clincher were
paragraph included? included.
Elaboration The description was very
Does the writer use the interesting and lively with
different types of the four types of
sentence beginnings to sentence beginnings –
make the response subjects, phrases,
interesting and lively? adverbs, and dependent
clauses used.
Skills Many adjectives are
Does the writer use used and help
adjectives to make the bring the
description clearer? description to
life.
Conventions Spelling, grammar,
Everything was Topic sentence is Many items were
included, but either missing and the missing and it was hard
the topic sentence or paragraph was not to read.
clincher was not organized correctly.
written correctly.
The description was The description was a The description was dull
very interesting and little boring and many and trite and none of the
lively. A few of the of the four types of four types of sentence
four types of sentence beginnings beginnings were used.
sentence beginnings were not used or
were used. many were used but
not correctly.
Several adjectives A few adjectives were The description included
are used and help used. only one or two
make the description adjectives.
clears.
One –two errors Three or more errors Many errors were made
 Is the writing clear and capitalization and were made. were made. making it hard to read.
understandable? punctuation were used
correctly throughout the
entire paragraph.

WRITING EXERCISE

“How I Spent My Summer Vacation”

First Paragraph. Where did you spend your vacation last summer? Who were with you? Where did you stay? Was it
your first time to visit the place? What do you think of the place? What were the places you visited?

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Second Paragraph. What were the good things you remember about the vacation? Did you dislike anything about the
trip and the vacation? What were they?

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Third Paragraph. If you were to relive your summer vacation, what changes would you make?

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Last Paragraph. What is your dream summer vacation? Where do you want to go? Who do you want to take with you
in this dream vacation?

What activities do you want to engage in which you haven’t done yet in your previous vacation? Do you think
this is possible? What do your parents think about it?

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