Republic of the Philippines

Department of Education

Quarter 1 – Module 1

Prepared by:

Princess Dianne P. Cuasay

Teacher II

Address: San Joaquin Road, Poblacion, Malvar, Batangas

09171601390
info@shsinmalvar.org
www.shsinmalvar.org
Introductory Message For the facilitator:
This module was designed and written with the learners in mind. This is meant to help them understand
the process of Creative Writing. 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.
For the success of modular instruction, utmost assistance from learning facilitators such as you; the
parents, guardians, siblings, tutors, and those considered “more knowledgeable others” is expected. As the
facilitator, your job is to help our learners to clearly understand the use of this module and how to complete the
learning tasks in each part of the lessons. Kindly remind our learners to use separate sheets in answering the pre-
test, self-check exercises, and post-test.

For the learners:

This is a course in “inquiry” and “total response.” In the process of reading and writing poetry and fiction,
you’ll come to recognize the power of the written word how it can change the way writers and readers live their
lives. This writing course is designed to help you discover and put into practice your own strategies for living a
more creative life. More practically (or more academically), you’ll learn basic strategies for gathering ideas for,
writing, critically reading, and revising prose (primarily fiction) and poetry (which may be fictional or non-
fictional). The following will guide you in the use of this module:
• Answer the pretest activities at the beginning of each lesson. Use a separate answer sheet for all the
activities that you are asked to complete.
• Carefully read and understand the instructions for every learning task in this module. You may ask the
assistance of a facilitator if you are not sure on what to do.
• There are practice exercises and assessment activities after you have read the lessons, you may scan the
exercises and read again the lessons before you start answering.
• The module is intended for “self-learning”, you can study on your own phase, but always put in mind the
time frame intended for you to complete the module.
• There are activities in this module with corresponding answer keys at the end of the lesson, you can use
the answer keys to check your answers and assess your learning. Honesty is expected from you in
answering and checking your own work.
• Each part of the module comes with a corresponding icon that may guide in knowing your phase and
understanding the tasks that you are about to do while completing this module.

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WHAT ARE THE PARTS OF THE MODULE?
What I need to Know
This icon provides the description of what the lesson is about. This part enumerates the
contents and objectives of the lesson. It gives you the idea of what concepts you should
learn, skills you should be able to do, and values that you can imbibe after completing the
lesson.

What I Know
This icon signals a pre-test that you need to answer to determine how much you know
about the topic. At every pre-test, you will find questions to answer. Write your answers
on a separate answer sheet. Do not worry if you are not sure about an answer to a question,
may leave it blank, but see to it that you’ll go back to answer it after you have studied or
read the text.

What’s In
This icon signals preliminary activities to introduce the lesson using enabling and
prerequisite competencies. This may also mean activities that will help you review on a
previous topic to enable you to recognize its importance in understanding the present
lesson.

What’s New
This icon signals the presentation of the new lesson. You will find this icon before some
chunks of text in the following pages. It tells you to carefully study the concepts,
principles, or processes discussed in the text. This part serves as the discussion and
composes the body of the lesson

What is It
This icon signals the activities that you need to do to check on how well you understood
the topic presented. It involves varieties of exercises to test your comprehension of the
discussed topic as well as your analysis on certain concepts and ideas.

What’s More
This icon deals with formative assessments/exercises based on the intended learning
competencies. The goal is for you to master and develop the learning outcomes
stated as the objectives of the lessons.

What I Have Learned

This icon introduces a list of important ideas to remember. It serves as a generalization of
the concepts that you should have learned from the lesson. The summary of the important
concepts will help you identify the important points that you should remember and keep
in mind.

What I Can Do
This icon will instruct you do perform activities which applies your learned knowledge to
real life situations. This will introduce you to how can the new knowledge be used in real
life. The activities that you will accomplish oftentimes promote synthesis of new
knowledge to previous knowledge.

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 Assessment
You will find this icon at the end of every lesson. It signals a self-test to determine how
well you have achieved the objectives set in the unit. Study the lesson well and you will
perform well in the self-test. The assessment part may be composed of test questions
which entails all the essential competencies that you need to learn.

Additional Activities
This icon tells you of an additional activity that you may be asked to perform. The
activities in this part can be an additional assignment that may enrich your learning.
Oftentimes activities for this part promote self-reflection and creativity.

Answer Key
This icon provides you with the answers on most of the objective tests and exercises in
the module. You are expected to only go to this part after you have finished answering
the questions and completing the tasks. For activities which requires reflections and
sharing of opinions and insights no answer key will be provided.

Are you now set to perform the activities, answer the questions, and read the texts? If so, then you may get
your pen and notebook and start. Always remember to be resourceful when it comes to learning. You can
supplement this module with other sources such as books, e-learning materials, multimedia presentations, and alike.
You have the power to decide your own phase so be responsible in your own learning.
Good luck and enjoy learning!!!

DO NOT WRITE ANYTHING ON THIS MODULE.

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 What I Need to Know

Research shows that people learn best when their reading, writing, and thinking relate to challenges and
needs within their communities. Good writing is never a product of only one mind. Writers draw on a variety of
experiences and influences to work through the writing process. Writing involves risk. Responding to writing
involves careful, critical, sensitive communication.

Good writing comes out of the reader's sense of drama, risk, and satisfaction, and from the writer's sense
of having set up patterns and brought about surprising depths. This module will introduce you to the different
formats of creative writing such as poetry and fiction and the elements and techniques in writing.

After completing this module, you are expected to be able to use imagery, diction, figures of speech,
and specific experiences to evoke meaningful responses from readers.

Creative Writing

What I Know (PRE-TEST)

MIXED SENTENCES. Rearrange the words to make complete sentences.

1 funny / she/ me/ laugh / makes / she’s
2 all / about / he / so / is / computers /boring /talks / he’s
3 you / of / really / help / us / it’s / kind / to
4 bed / out / of / thing / you / lazy / get
5 a / scientist / he / brilliant / is
6 won’t / he / if / he’s / mind / you / easy going / are / late / very
7 very / likes / Rob’s / he / sociable / parties
8 the / you / birthday / are / generous / for / thank / very / you / present
9 teacher / let / class / in / talk /us / won’t / our / very / he’s / strict
10 teacher / rather / son’s /my / says / often / is / careless / that / he

What’s New

DEFINITION OF CREATIVE WRITING

Creative writing or imaginative writing is writing that expresses the writer’s thoughts and feelings in an
imaginative, often unique, and poetic way. It is guided more by the writer’s need to express feelings and ideas
than by restrictive demands of factual and logical progression of expository writing
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 Traditionally referred to as literature, creative writing is an art of sorts - the art of making things up. It's
writing done in a way that is not academic or technical but still attracts an audience. Though the definition is
rather loose, creative writing can for the most part be considered any writing that is original and self-expressive. A
news article, for example, cannot be considered creative writing because its main goal is to present facts and not
to express the feelings of the writer. While a news article can be entertaining, its main purpose is to present the
facts.
The purpose of creative writing is to both entertain and share human experience, like love or loss. Writers
attempt to get at a truth about humanity through poetics and storytelling. If you'd like to try your hand at creative
writing, just keep in mind that whether you are trying to express a feeling or a thought, the first step is to use your
imagination.
Types of creative writing include:
• Poetry • Songs
• Plays • Speeches
• Movie and television scripts • Memoirs
• Fiction (novels, novellas, and short • Personal essays
stories)

A. IMAGERY IN CREATIVE WRITING

Imagery is language used by poets, novelists, and other writers to create images in the mind of the reader.
Imagery includes figurative and metaphorical language to improve the reader’s experience through their senses.
Though imagery contains the word "image," it does not only refer to descriptive language that appeals to the sense
of sight. Imagery includes language that appeals to all the human senses, including sight, hearing, taste, touch, and
smell. While imagery can and often does benefit from the use of figurative language such as metaphors and
similes, imagery can also be written without using any figurative language at all.
Imagery in fiction isn’t just about describing actions or telling the reader what is happening. Instead the
use of imagery allows the reader to identify with the story, the characters and the themes by making the reader see
everything in their mind, just like a picture or a movie. It’s done through various techniques. Writers have so
many tools at their disposal, but rarely use them to full effect. Visual prompts, senses, sounds, colours, metaphors
and similes all help enhance description.

TYPES OF IMAGERY

Literary Terms. (2015, June 1). Retrieved June 16, 2020, from https://literaryterms.net/

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1. VISUAL IMAGERY
Visual imagery describes what we see: comic book images, paintings, or images directly experienced
through the narrator’s eyes. Visual imagery may include:
§ Color, such as: burnt red, bright orange, dull yellow, verdant green, and Robin’s egg blue.
§ Shapes, such as: square, circular, tubular, rectangular, and conical.
§ Size, such as: miniscule, tiny, small, medium-sized, large, and gigantic.
§ Pattern, such as: polka-dotted, striped, zig-zagged, jagged, and straight.

The night was black as ever, but bright stars lit up the sky in beautiful and varied constellations which were
sprinkled across the astronomical landscape.
In this example, the experience of the night sky is described in depth with color (black as ever, bright),
shape (varied constellations), and pattern (sprinkled).

2. AUDITORY IMAGERY
Auditory imagery describes what we hear, from music to noise to pure silence. Auditory imagery may
include:
§ Enjoyable sounds, such as: beautiful music, birdsong, and the voices of a chorus.
§ Noises, such as: the bang of a gun, the sound of a broom moving across the floor, and the sound of broken
glass shattering on the hard floor.
§ The lack of noise, describing a peaceful calm or eerie silence.

For example, “a sound of broken shells underfoot”, “her voice sounded like a clanking chain” or “breezes
whispered through trees like a chorus”. These create the kind of sensory images that help the reader build up
a picture of the scene.

3. OLFACTORY IMAGERY
Olfactory imagery describes what we smell. Olfactory imagery may include:
§ Fragrances, such as perfumes, enticing food and drink, and blooming flowers.
§ Odors, such as rotting trash, body odors, or a stinky wet dog.

Example, “The scent of roiled earth lingered on his fingertips” or “A heavy hint of dank moss and rotted
flowers…”

4. GUSTATORY IMAGERY
Gustatory imagery describes what we taste. Gustatory imagery can include:
• Sweetness, such as candies, cookies, and desserts.
• Sourness, bitterness, and tartness, such as lemons and limes.
• Saltiness, such as pretzels, French fries, and pepperonis.
• Spiciness, such as salsas and curries.
• Savoriness, such as a steak dinner or thick soup.

Example, “He winced as the vinegary liquid bristled against his tongue before sloping down his throat and
leaving a brackish aftertaste…”

5. TACTILE IMAGERY
Lastly, tactile imagery describes what we feel or touch. Tactile imagery includes:
• Temperature, such as bitter cold, humidity, mildness, and stifling heat.
• Texture, such as rough, ragged, seamless, and smooth.
• Touch, such as hand-holding, one’s in the grass, or the feeling of starched fabric on one’s skin.
• Movement, such as burning muscles from exertion, swimming in cold water, or kicking a soccer ball.

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 Example, “Grandpa’s skin felt like grains of sand between my fingers”, “Her lips pressed against mine,
soft as velvety rose petals”.

Because we experience life through our senses, a strong composition should appeal to them through the
use of imagery. Descriptive imagery launches the reader into the experience of a warm spring day, scorching hot
summer, crisp fall, or harsh winter. It allows readers to directly sympathize with characters and narrators as they
imagine having the same sense experiences. Imagery commonly helps build compelling poetry, convincing
narratives, vivid plays, well- designed film sets, and descriptive songs.

Diction

DICTION IN CREATIVE WRITING

Diction can be defined as style of speaking or writing, determined by the choice of words by a speaker or a writer.
Diction, or choice of words, often separates good writing from bad writing. It depends on a number of factors.
Firstly, the word has to be right and accurate. Secondly, words should be appropriate to the context in which they are
used. Lastly, the choice of words should be such that the listener or reader understands easily. Proper diction, or
proper choice of words, is important to get the message across.

PURPOSE OF DICTION IN WRITING

Writers choose specific words and phrases depending on the outcome they’re trying to achieve. Diction can:
• Create a certain tone that supports purpose. The purpose of a piece of writing determines its diction.
In literature and fiction writing, writers often use informal diction and figures of speech—words used for
non- literal meanings, like similes and metaphors. If a scientist is publishing a paper on their research,
however, the language will be technical, concise, and formal, written for a specific audience.
• Support the setting. In fiction writing, the language an author uses supports the basic story elements,
like setting. Diction helps establish when and where a story is set by using language native to that time
and place. This is called colloquial diction. For example, a story set in New York City will have a
different style of language compared to a story that takes place in London.
• Establish a narrative voice and tone. A writer’s attitude towards the subject of a story comes through
in the words they use. This helps establish tone and impacts readers’ emotional response. For example,
the tone of a horror novel will be very different to that of a romance novel.
• Bring characters to life. A writer can tell a reader a lot about characters through their dialogue. The way
a character uses diction reflects personal details like age and gender, background, social setting, and
profession. For example, a younger character might use slang when they speak.

TYPES OF DICTION
Individuals vary their diction depending on different contexts and settings. Therefore, we come across various
types of diction.

Formal diction – Formal diction is the use of sophisticated language, without slang or colloquialisms and when
contractions (isn’t, don’t) are avoided. Formal diction sticks to grammatical rules and uses complicated syntax—
the structure of sentences. This elevated type of language is often found in professional texts, business documents,
and legal papers.

Example, “Hello, young man. It is a true pleasure to make your acquaintance. How are you feeling today?”

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 Informal diction – Informal diction is more conversational and often used in narrative literature. It uses informal
words and conversation, such as writing or talking to friends. This casual vernacular is representative of how
people communicate in real life, which gives an author freedom to depict more realistic characters. Most short
stories and novels use informal diction. Informal diction is sometimes referred to as “vernacular,” which means
“everyday speech.”

Example, “Hey, kid. Nice to meet ya. What's up?”

Colloquial diction – Uses words common in everyday speech, which may be different in different regions or
communities. Colloquial words or expressions are informal in nature and generally represent a certain region or
time. “Ain’t” and “y’all” are examples of colloquial expressions, born in rural areas of the United States.
Colloquialisms add color and realism to writing.

Example, “She was hotter than a hen on a July Sunday.”

Slang diction – It is the use of words that are newly coined, or even impolite. These are words that originated
within a specific culture or subgroup but gained traction. Slang can be a new word, a shortened or modified word,
or words that take on a new meaning. Examples of common contemporary slang words are “aggro” instead of
“aggravated”; “hip,” which means trendy; and “throw shade,” which is to lob an insult at someone.

Example, “I’m so upset about my birthday party pictures. My brother is making faces behind me in every
picture, what a photo bomb!” (photo bomb is the slang word)

Figure of Speech

FIGURE OF SPEECH IN CREATIVE WRITING

The meaning of language can be literal or figurative. Literal language states exactly what something is.
On the other hand, figurative language creates meaning by comparing one thing to another thing. Poets use figures
of speech in their poems.

A figure of speech is a use of a word that diverges from its normal meaning, or a phrase with a
specialized meaning not based on the literal meaning of the words in it such as a metaphor, simile, or
personification. Figures of speech often provide emphasis, freshness of expression, or clarity. However, clarity
may also suffer from their use, as any figure of speech introduces an ambiguity between literal and figurative
interpretation. A figure of speech is sometimes called a rhetoric or a locution.

Several types of figures of speech exist for them to choose from. Five common ones are simile, metaphor,
personification, hypberbole, and understatement. You can also check the video of Snap Language on Figure of
Speech Part 1 on this site: https://www.youtube.com/watch?v=3P_XeyPh2XY.

Simile - compares one thing to another by using the words like or as.
“My love is like a red, red
rose.” “Busy as a bee”

Metaphor - compares two things by suggesting that one thing is

another. “The United States is a melting pot.”"
“You are what you eat.”
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 Personification - involves giving a non-human, inanimate object the qualities of a person.
“Opportunity knocks at the door.”
“The wind whistled and hissed through the stormy night.”

Hyperbole - is an exaggeration of the truth in order to create an effect. Sometimes that’s done in a single statement.
“I would die without you.”
“He was so hungry, he ate that whole cornfield for lunch, stalks and all”

Understatement - is the exact opposite of a hyperbole. The writer deliberately chooses to downplay the
significance or seriousness of a situation or an event.
“He is not too thin.” – Describing an obese person.
“It was O.K.” – Said by the student who got the highest score on the test.

Idiom – A saying that means something different than what it

says “It’s raining cats and dogs.”

Alliteration –is the repetition of the same initial letter, sound, or group of sounds in a series of words. It includes
tongue twisters.
“She sells seashells by the seashore”

Ellipsis – is the deliberate omission of one or more words from a sentence because their meaning is already
implied “Should I call you, or you me.”
“Lacy can do something about the problem, but I don’t know what (she can do).”

Onomatopoeia – is the use of a word to describe or imitate a natural sound or the sound commonly produced by an
object or an action
“The fire crackled and popped.”
“She rudely slurped and gulped down her soup.”

Irony - is a figure of speech in which actual intent is expressed through words that carry the opposite
meaning “A marriage counselor files for divorce.”

Paradox - is a statement that appears to be self-contradictory or silly, but which may include a latent truth. It is
also used to illustrate an opinion or statement contrary to accepted traditional ideas. A paradox is often used to
make a reader think over an idea in innovative way.
“What a pity that youth must be wasted on the young.” – George Bernard
Shaw “I can resist anything but temptation.” – Oscar Wilde

Figure of speech can transform ordinary descriptions into evocative events, enhance the emotional
significance of passages, and turn prose into a form of poetry. It can also help the reader to understand the
underlying symbolism of a scene or more fully recognize a literary theme. Figurative language in the hands of a
talented writer is one of the tools that turn ordinary writing into literature.

Evoke Meaningful Responses from Readers

EVOKE MEANINGFUL RESPONSES FROM READERS

Readers like to be touched or moved by a story. They like to imagine themselves in worlds and situations
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that challenge them, that give them opportunity to do and be something other than what they do or are in their real
lives. Fiction, whether in book or film or games, allows people to not only step into other worlds, but to
experience those worlds. To do what they can’t in a normal day. To feel beyond their normal feelings. Since
readers want to immerse themselves in other worlds and other lives, what can writers do to make that experience
authentic, to make the fictional world real for a few hours?
One technique the writer can make use of to create reality out of fiction is to induce emotion in readers,
make them feel something of what the characters are experiencing. Writer and reader know the fictional events
aren’t real, but the emotion can be. Readers can fear and feel joy and be excited and know grief. They can laugh
and cry, shiver and rage. All from reading a story.

How To Evoke The Emotions From Your Readers

1. Write in scenes, showing rather than telling. That is, don’t report that a character is afraid or giddy or
grieving. Show the results of character emotions through the character’s actions. Show what fear or giddiness or
grief does to him. Character action and response is a good place to focus.
This is a major key for rousing reader emotions. No one gets emotional over a report. They do get
emotional when they can step into someone’s shoes and experience his or her feelings as if those feelings were
churning inside them.
Delores was afraid to open the door to the basement steps. She stood at the far side of the kitchen, debating
what to do.
vs.
Delores’s hand trembled as she reached for the locked doorknob. Tom had warned her not to open
the basement door when he wasn’t around, but he was due home soon, so what could happen? She
bit her lip and tightened her fingers around the cold knob. A shiver shook her. She inhaled only a
shallow breath and then struggled for another. And nearly shot through the ceiling when the
microwave dinged, letting her know her tea was hot.

2. Make a character sympathetic, so the reader identifies with her. If the reader can identify with a character—
with her dreams or habits or choices—he can also identify with her emotions—pains and joys and sorrows.
(Readers can also identify with the shared human condition, so sometimes a particular situation will resonate with
readers even before the character becomes involved.)
You know how this plays out in your own life. A death reported on the nightly news means one thing
when it’s a stranger and something totally different when it’s someone you know or a relative of someone you
know. Help your readers know your characters. Make your character believable and sympathetic so the reader
wants to be that character, wants to go through everything he goes through for the length of the story.

3. Make a character unsympathetic, so the reader feels anger or repugnance toward him. A character who is
hated has already created an emotional response in your reader. This is not about caricature or stereotype but about
creating a character who is soul ugly or evil or unfeeling, but one who belongs in one story and no other.
Your unsympathetic character might be no one of consequence in another book. But here, in this
particular story, his actions/words are destructive to your protagonist or to someone close to him. Cruel characters
doing cruel things—cruel in the eyes of the protagonist or the reader—can affect the reader. If the character reacts
to the cruelty, the reader can as well. Or, if the reader feels something because of what a cruel character does,
you’ve already stirred his emotions.

4. Don’t hold back. If you want to reach the reader’s emotions, you need to write emotion-evoking scenes.
Killing or injuring a character’s child, pet, or loved one can touch the reader, if the reader has sufficient investment
in the character.
Don’t be afraid of killing off someone close to your main characters or of taking away something else
dear to them. If they are crushed, the reader can be as well. This is fiction; you’re not really hurting someone if
you write them into a car accident. Death or injury aren’t the only ways to hurt your characters. Misunderstanding,
betrayal, and forced choices that hurt their friends are all ways to agitate characters. And when characters are
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agitated, readers can be as well.

5. Tease the reader with hints of what’s to come. You see this in romantic comedies, the backward and forward
dance between a couple just falling in love. The tease, the delay, the anticipation makes the payoff dramatic and
satisfying. In mysteries and suspense, anticipation increases tension and therefore increases the emotional impact.
Fear drawn out to just the right degree gives a satisfying snap when hell breaks loose.

6. Recognize that word choice can greatly affect reader emotions. Some words are triggers in themselves and
can be used to set off the reader.
Some words convey lightness or humor or passion. Other words have little emotional shading. Choose
your words with their impact potential in mind. Even common actions can be influenced by word choice. Do
characters cross a room or lope or shuffle? Do they race across town or merely make their way through traffic? Do
they demand or ask for something? Do they heave or lift or haul or pick up an object?

7. Create a situation that’s important, vital, or life altering, if not life threatening. Make sure there’s
something at stake for the character, make sure his actions reflect the importance of this something, and make sure
he tries to do something to change this intolerable dilemma. Produce in the reader both the emotion from the
situation and the hope that the character can triumph.

8. Put your characters under time constraints to increase tension, to cause them to make decisions they might
not ordinarily make, to set them—and the reader—on edge.

9. Force your character into making a decision between a bad choice and a worse choice. This kind of
situation pulls the reader in whether he knows the reason for those bad choices or not. The reader feels for the
character, for him having to make bad decisions that both character and reader know will cause even more
problems.

10. Move the story. Don’t dwell so long on an event that the reader loses interest or the urgency wanes.

11. Write realistic scenes with realistic problems, problems that are conceivable for the characters and world
you’ve created. Events, characters, and setting must be logical for your world. Don’t give your reader a reason to
doubt the truth and possibilities of your story and story events. Don’t give them a push out of your fictional world.

12. Surprise the reader by turning the story in an unexpected direction. Keep the reader off balance,
unsuspecting, so he can be blindsided and thus feel more unsettling emotions.

13. Write conflict into every scene. Conflict can be character to character, character to himself, character to
events, and character to setting. An agitated character can pass that agitation to the reader.

14. Adjust the pace for the emotion you want to create. Use short sentences and paragraphs to speed the pace,
to encourage suspense and fear. (Readers read faster and feel the story is moving at a faster pace when there’s
more white space on a page.) Use longer phrases and paragraphs to slow the momentum, to ease off the forward
rush, to create a sense of relaxation or calm.

15. Choose words with deliberation. Use harsh or sharp words for the harsher emotions, soft-sounding and soft-
meaning words for gentle emotions. (Or, cross up your words and emotions to create confusion. But remember that
you want the reader confused in the same way the characters are confused, not unable to follow what you’re
saying.)

16. Reduce the use of unnecessary and unrelated detail to keep the focus on one emotion. Characters involved
in chases don’t notice the flowers or the store fronts decorated for Christmas. Lovers in their first sex scene don’t
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notice every object in the room; they’re far more interested in one another. Stay in the moment and only turn the
reader’s attention to what’s important for this moment and this scene and the characters involved.

17. Use setting to influence the reader and deepen his emotional response. Paint your rooms, put sounds in
your outdoor spaces, add smells to your attic. Imagine how these elements would influence your readers—dark
rooms, dark colors, enclosed spaces, echoing spaces, wide-open fields, silence, the living room of a house where
someone was murdered, the living room of the house owned by the lead character’s enemy, a courtroom, a
boardroom, backstage during a concert, backstage three hours after the concertgoers have all gone home.

18. Use sense details to mire readers in the reality of the scene. What can the character hear and smell? What
does a change in sound mean? What does the absence of sound mean for the character and the reader? When a
character reaches into a dark hole and feels something brittle, does the reader break out in goose bumps? What if
the character felt something soft and silky, something like springy curls? Does the reader’s pulse jump? Play with
all five senses to keep your readers involved, maybe off balance, but always interested in what’s coming next.

Whatever you write, bringing your own personal experience to the page only enriches and deepens the
experience for the reader. As writers mature, their content and style are increasingly influenced by their life
experiences, which can become a crucial part of the writing process

What is It

ACTIVITY 2
A. Using the different types of imagery, describe the picture below in one sentence.

VISUAL

AUDITORY

OLFACTORY

GUSTATORY

TACTILE

B. Identify the figure of speech applied in each statement.

1. The righteous shall flourish as the palm tree.
2. The clap of thunder went bang and scared my poor dog
3. Life is as tedious as a twice-told.
4. Variety is the spice of life.
5. Pride goeth forth on horseback, grand and gay.
6. Death lays his icy hands on kings.
7. If the river were dry, I am able to fill it with tears.
8. She can help with the housework; Nancy can too.

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 9. She’s giving him the cold shoulder.
10. Peter Piper picked a peck of pickled peppers.

Assessment

This serves as your summative test. Answer the questions below following the instructions given in each test.

I. IDENTIFICATION. Identify what is being asked in each number. Use a separate sheet for your answers. 10pts
1. It is a language used by poets, novelists, and other writers to create images in the mind of the reader.
2. It describes what we see: comic book images, paintings, or images directly experienced through the
narrator’s eyes.
3. It is a type of imagery that describes what we hear, from music to noise to pure silence.
4. It is a type of imagery that describes what we smell.
5. It is a type of imagery that describes what we taste.
6. It is a type of imagery that describes what we feel or touch.
7. This can be defined as style of speaking or writing, determined by the choice of words by a speaker or a
writer.
8. It is a use of a word that diverges from its normal meaning, or a phrase with a specialized meaning not
based on the literal meaning of the words in it such as a metaphor, simile, or personification.
9. Figure of speech that compares two things by suggesting that one thing is another.
10. It is a kind of writing that expresses the writer’s thoughts and feelings in an imaginative, often unique,
and poetic way

II. MULTIPLE CHOICE. Carefully read the following questions. Choose the letter the best answer. Write your
answers on a separate sheet. 10pts
1. The following are types of creative writing EXCEPT
A. Poetry B. Songs C. Journals D. Memoirs

2. “A heavy hint of dank moss and rotted flowers…” This is an example of which imagery?
A. Visual B. Auditory C. Olfactory D. Tactile

3. Sweetness, bitterness, spiciness and saltiness are examples of which imagery?

A. Gustatory B. Tactile C. Olfactory D. Visual

4.A writer can tell a reader a lot about characters through their dialogue.
The way a character uses diction reflects personal details like age and gender, background, social setting,
and profession
A. The first statement is correct, second is not.
B. The second statement is correct, first is not.
C. Both statements are correct.
D. Both statements are incorrect.

5. “You ain’t seen nothin’ yet” is an example of which type of diction?

A. Formal B. Informal C. Colloquial D. Slang

For numbers 6-10, identify the figure of speech used.

6.You are my sunshine, my only sunshine.
A. Metaphor B. Hyperbole C. Personification D. Simile
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 7. She is like a storm that barged in.
A. Metaphor B. Hyperbole C. Personification D. Simile
8. Should I call you, or you me?
A. Metaphor B. Ellipsis C. Onomatopoeia D. Simile

9. My phone alarm woke me up.

A. Metaphor B. Hyperbole C. Personification D. Simile

10. He’s so hungry he can eat a whale.

A. Metaphor B. Hyperbole C. Personification D. Simile

III. ESSAY. 10pts

Think of a memorable event that had a considerable impact in your life. Describe the event in detail and
how you felt while it was happening. DO NOT NAME the feeling but use words to paint a picture of how the
experience felt. For example, sweaty palms, dry throat, tight muscles and flushed face are all acceptable
descriptions.

REFLECTION
Directions: In your notebook, journal or portfolio, write your personal insights.

I understand that…

I need help with…

I realized that…

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