SHS CW 2021-2022

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NOTRE DAME OF SALAMAN COLLEGE INC.

Founded in 1965 by the Oblates Mary Immaculate (OMI)
Owned by the Archdiocese of Cotabato
Managed by the Diocesan Clergy of Cotabato (DCC)
Lebak, Sultan Kudarat
“Service for the Love of God through Mary”
(B.E.S.T)
ENHANCED STUDENT SELF-DIRECTED LEARNING AND ASSESSMENT

CREATIVE WRITING
HUMSS Strand
(Senior High School-Grade XII Academic Track)

FIRST SEMESTER 2021-2022
Prepared by:
Jhoey Asuero-Delos Santos, MIE
Rosalie M. Blanca
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All rights reserved. No parts of this document may be reproduced, distributed in any form or by any means including photocopying or
any electronic or mechanical methods without the prior written permission of the writer except in the case of brief quotations
embodied in critical reviews and certain other noncommercial uses permitted by copy right law.
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LESSON COVERAGE
In this Enhanced Self-Directed Lesson and Assessment, you will examine these competencies, when you take the
following lessons:
Lesson No. Title You’ll learn to… Estimated Time
 differentiate imaginative writing
Creative Writing from among other forms of writing
 cull creative ideas from experiences
 Imaginative writing vs.
Technical/Academic/other forms of writing  utilize language to evoke emotional
Lesson 1 and intellectual responses from 4 Weeks
readers
 use imagery, diction, figures of
speech, and specific experiences
 identify the various elements,
Reading and Writing Poetry techniques, and literary devices in
poetry
 Elements of the genre/Elements of Specific
 determine specific forms and
Forms/Techniques and Literary Devices
conventional of poetry
 use selected elements of poetry in
Lesson 2 short exercises 4 Weeks
 explore innovative technique in
writing poetry
 write a short poem applying the
various elements, techniques, and
literary devices
Reading and Writing Fiction techniques, and literary devices in
fiction
A. Elements of the genre/Techniques and
Literary Devices  determine various modes of fiction
 write journal entries and other short
exercises exploring key elements of 4 Weeks
Lesson 3 fiction
 write a short scene applying the
various element, techniques, and
literary devices
Reading and Writing Drama techniques, and literary devices in
Lesson 4 drama
B. Elements of the genre/The creative work in
Literary and/or sociopolitical/Final Output  understand intertextuality as a
technique of drama
 conceptualize a character/setting
plot for a one- act play
 explore different staging modalities
vis-à-vis envisioning the script
 write short exercises involving 4 Weeks
character, dialogue, plot, and other
elements of drama
 write at least one scene for one-act
play applying the various elements,
techniques, and literary devices.
Pre -Assessment ( self-assessment NOT to be submitted)

I. True or False. Write CREATIVE if the statement is correct and NON-CREATIVE if it is wrong.
_______1. Creative writing involves a wide range of literary forms.
_______2. Great writing is the poem that comforts you when your times are rough.
_______3. Many good stories draw lightly on the experience of the writer.
_______4. In order for the students to start writing compositions, they must have some basic
knowledge about the “building blocks” that make up a sentence.
_______5. Technical writing is an expression of who you are.
II. Identification
_______6. The purpose of this type of writing is to entertain.
_______7. This type of writing deals with science topic or a technical subject.
_______8. It is way of telling a story. This story may be fact or fantasy.
_______9. This refers to the choice of words.
_______10. It is descriptive language that applies to the senses- sight, sounds, touch, taste, or smell.
III. Multiple Choice. Choose and write the letter of your choice.
_______11. A word often used to describe categories or types of written text is called ____.
A. Writings B. poem C. letters D. Genre
_______12. It is any form of writing which is written with the creativity of mind: fiction writing, poetry
writing, creative nonfiction writing and more. The purpose is to express something,
whether it be feelings, thoughts, or emotions.
A. Academic Writing B. Creative Writing C. Technical Writing D. Thesis
_______13. “Palawan is like paradise”, is an example of what figure of speech?
A. Personification B. Synecdoche C. Allusion D. Metonymy
_______14. “Pedro Paterno picked a pack of pad paper”, is an example of what figure of speech?
A. Alliteration B. Consonance C. Allusion D. Metonymy
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_______15. What is alliteration?

A. Words that attempt to imitate sounds
B. A comparison of two unlike things using the words “like” or “as”.
C. Applying human traits to non-human objects/ideas.
D. When two or more words in a poem begin with the same letter or sound.

Founded in 1965 by the Oblates
(B.E.S.T)
Amare Est Servire

CREATIVE WRITING
HUMSS Strand
Topic/Lesson 1 CREATIVE WRITING
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CONTENT STANDARD: The learners have an understanding of imagery, diction,

figures of speech, and variations of language.
PERFORMANCE STANDARD: The learners shall be able to produce short story paragraph
or vignettes using imagery, diction, FOS, and specific
experiences.
MOST ESSENTIAL COMPETENCIES: At the end of the course, the students should be able to:
 differentiate imaginative writing from among
other forms of writing
 utilize language to evoke emotional and
intellectual responses from readers
 use imagery, diction, FOS, and specific
experiences
 read closely as writers with consciousness of craft
TIME ALLOTMENT: 10 hours (2 weeks)
GENERAL INSTRUCTIONS FOR THE FOLLOWING ACTIVITIES:

 submit all the activities required for you to answer, these activities will be recorded; and
 all answer/s should be written on a long bond paper.
Week 1
Key Concepts:
 Writing involves putting words on paper via a computer, pen,
pencil or crayon.
 When you write, you COMMUNICATE a message the reader.
 The MESSAGE of writing is its content. You can present your
message in a variety of ways.
 Forms of writing are divided into narration, description,
exposition, and persuasion.
 Creative writing is writing from the heart. It’s the real stuff that doesn’t rely on high school tricks and complex sentences
structure; it relies on you!
 Creative writing is an expression of who you are. If you are closed off from yourself, if you hide the person that you are for
fifteen to twenty-four hours per day, and if you have locked yourself into a dream that is no longer yours, you will be hard
pressed to write creatively.
Activity 1: Creative writing Definition: Find Me! ( not necessarily to submit the answer)
Take a look at the following definitions of Creative Writing. Which ones do you agree with? Pick the best definition.
Creative writing is…
 An income tax return
 A grocery list
 A high-impact polymer used in food storage system
 A losing lotto ticket
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 “Productive and imaginative”

 “Characterized by expressiveness and originality”
 A writing which uses language imaginatively.
Creative Writing
The word “creative” is synonymous with inventive, imaginative, productive, and characterized by expressiveness and originality.
Based on the synonyms, the meaning of creative writing can be derived. Creative writing is invented writing, writing based on one’s
imagination, writing produced with expressiveness, writing that is original.
Creative writing is most popularly understood to be writing that comes from the imagination, writing that is “not true”. Creative writing
is the very fine art of making things up, in the most attractive, apt, and convincing way possible. It’s the telling of lies in order to reveal
illuminating and dark truths about the world and our place in it. We tend to think of Poetry, Fiction, and Plays. Of course, we do know
that some creative writing is partly based (or) inspired by real events.”
Therefore, a creative writer is one who writes a poem, short, novel, or play. Poets, short story writers, novelists, and playwrights are
creative writers, that is, if they produce literary pieces based on their imagination, with inventiveness, expressiveness, and originality.
VARIETY is the KEY to CREATIVE WRTING

Remember these: Other definitions of Creative Writing:
“Creative Writing is considered to be any writing, fiction, poetry, or non-fiction

that goes outside the bounds at normal professional, journalistic, academic, and
technical forms of literature. Works which fall into this category include novels,
epics, short stories, and poems. Writing for the screen and stage, screenwriting
and playwriting respectively, typically have their own programs of study, but fit
under the creative writing category as well.”
-Wikipedia
“Creative Writing is writing that expresses the writer’s thoughts and feelings in
an imaginative often unique, and poetic way.”
- Sil.org
 Writing of any sort is hard, but rewarding work- you’ll gain a huge amount of satisfaction from a finished
piece. Being creative can also be difficult and challenging at times, but immensely fun.
The World of Creative Writing

It is quite wasteful to wait for inspiration to come. Generally, ideas flow once you begin writing. If the ideas
you have initially written about are not good enough, you could always go back and rewrite your false start.
It may be necessary to start writing about the things you already know very well. But even if they are about things, you
are familiar with, make sure to plan ahead. If you are planning to write short, story, you should fairly have an idea of the
theme of the story. You are already aware of the conflict that your characters will have to face. You already have an
imagination of some of the descriptive details and scenery that you will utilize in your story.
Some beginning writers are wary about style. Don’t be too worries about it. Perhaps, not just yet. Generally, style
will take care of its own as long as you write honestly and truthfully. You can pick up style of other writers by reading
their works but never imitate completely. You will realize that as you practice writing quite regularly, you will develop
your own distinct way of storytelling.
Different writers come up with how they get started writing. Some begin with an interesting opening dialogue.
Others start with small scattered ideas which they patch all together until a pattern develops. Others are initially fascinated
with a character until they get to weave a story about him or her. Still others begin with a scene and play around it. There
are no hard or fast rules as to how ideas are germinated into writing.
Here are some helpful strategies which you can adopt before you begin writing:
It is suggested, at this point, that you read all forms or writing, even the ones that, at the onset, will have any bearing or
relation to whatever it is you want to write about. Even the ones others call ‘pulp’ or “trash” literature Reading always
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helps generate all sorts of ideas.
Keep a notebook handy. You’ll never know when idea will come along. Write in your notebook your observations,
impressions, and the lines that you probably have overheard from someone.
Learn to appreciate the magic and power of words, their meanings and their vagueness. People who love to say and hear
words generally have better chances of putting something on paper.
Observe how people talk and relate to one another. Listen to their conversations. Make guesses about their characters
and personalities and watch out for their mannerism and ways of talking.
Keep articles of interest from newspapers and magazines. You’ll never know when you are going to use them.
Read anecdotes, song lyrics, Facebooks posts, and descriptions people, films, painting, dance and music. Many of these
will not be used, but maybe some will be developed into scenes. Others into stories, eventually.
Once you have started writing something, read your work aloud; perhaps even record it. This is a better way to spot
errors in your language and sentence constructions, dialogues or descriptions that are not working, or phrases that are
awkward.
Have somebody check on your work, even if the piece is not yet finished. Usually, another person’s eyes get to see the
faults of our work better than our own eyes do.
Have open mind about criticisms. Writing is never static. You will realize that the version you wrote is not final one, and
that it can still be improved and developed through time and place.
In writing, writers need to understand the possibilities of intertextual forms. What you write, whether it is a poem, a
story, or a play, any, in one way or another, connect with other types of literature. Also, writers make use of references
that influence readers and add layers of understanding to a text. These references may have basis on the reader’s
previous knowledge and experiences.
What is Technical Writing? Literary Writing?

Technical writing deals with science topic or a technical subject. Its main purpose is to educate the audience with the
factual information and is presented in a logical manner.
A. Technical Writing versus Literary Writing
Technical writing differs from other types of writing, particularly literary writing. The difference between technical
writing and literary writing are shown in the table below:
Point of Contrast Technical Writing Literary Writing
1. subject Scientific/technical Non-scientific/non-technical
2. readership specific general
3. purpose Informative/ persuasive entertaining
4. language literal/denotative figurative/denotating
5. style impersonal personal
6. tone heavy/serious light/amusing
7. point of view usually third person, sometimes first person or third person, rarely second
second person person
8. emotionality unemotional emotional
9. objectivity objective/neutral subjective
10. form/format formal informal
Technical writing deals with science topic or a technical subject. If a technical writer focuses on cats, then his treatment is
science-oriented, that is, biological. His readers must be biological students, teachers, and specialists or zookeepers and
other interested parties. His aim is to inform his readers about cats, using words in their literal sense (dictionary-based).
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He makes use of an impersonal style, serious tone, and third-person (it, they) point of view. His writing is devoid of
emotions and biases; it conforms with the standard format.
Literary writers can also have cats as topics; however, their treatment is different from that of technical writers. For
example, Japanese writers, Lady Sarashina and Lady Shonagon, wrote about cats in the form of short stories. Using
personal style and amusing tone, they wrote emotion-laden stories serving to amuse English readers of almost all ages.
Both made use of figures of speech, but one used the first-person point of view and the other used the third- person point
of view. Their subjective narratives were written informally.
B. Creative Writing Distinction: Figure Out!
Technical writing and creative writing are two types of writing, which can be distinguished easily by looking at
their traits. The main difference between both of them is that, creative writing is written to enthrall, entertain and arouse a
certain feeling in a reader, whereas technical writing is to educate the audience with the factual information and is
presented in a logical manner.
Characteristics Creative Writing Technical Writing
Definition often defined as the writing of is a type of writing where the author
fiction where the author creates is writing about a particular subject that
events, scenes and character even a requires direction, instruction, or
world explanation.
Purpose both entertain and share human entertaining

experience, like love or loss.
C. Venn Diagram (CW vs. Journalism)

Creative Writing VS. Journalism
CREATIVE WRITING Same JOURNALISM
-is an activity in which

the writer has free reign
-refers to the activity of to be creative and
writing on events that take produce an original piece
place in the world which -used creative elements in of writing
entails all forms of news writing story
-describes news stories
and other information. and real events
-used when we are writing
fiction
D. Table (CW vs. AW)

Creative Writing vs. Academic Writing
Creative Writing Academic Writing
factual fictional, imaginative
informative, instructional, or persuasive entertaining, provocative and captivating
clear, precise and straightforward artistic, figurative, symbolic or even vague
specialized vocabulary generalized vocabulary
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objective subjective
Activity 2: E. Creative Writing VS. Scientific Writing (Research on these) (Write your answer
on a long bond paper)
Can you further fill in some differences between creative writing and scientific writing
according to Goldbort in Writing for Science (2006):
Characteristics Creative Writing Scientific Writing
Purpose
Generality
Writer vs. Subject
Audience
Form vs. Content
Reader Interest
Accuracy and Clarity
Passive Voice
Source of Material
Graphics
Format Integrated; headings not common Headings important, numerous
Forms of Writing
Traditionally, the forms of writing are divided into narration, description, exposition, and persuasion. Let’s look at
each writing form in more detail.
Narration
This writing that tells a story. Narration that tells about real events includes biographies and autobiographies.
Narrations that deal with fictional events include short stories, myths, narrative poems, and novels.
Description
This is a kind of writing that creates a word picture of what something or someone is like. Description is made up
of sensory details that help readers form pictures in their minds.
Description also use images, words that appeal to one or more of our five senses: sight, hearing, taste, touch or
smell, Imagery can be found in all sorts of writing (and should be), but it is most common in poetry.
Exposition
This type of writings explain, shows, tells about a subject. As a result, it is the most common type of everyday
writing. Exposition includes news articles, memos, business reports, and notes to the butcher, baker, and candlestick
maker.
Persuasion
This is a type of writing that tries to move an audience to though or action. Newspaper editorials,
advertisements, and letters to the editor are all examples of persuasive.
Genres of Creative Writing
Here are the main types of creative writing.

Journals are often confused for diaries. Technically, a diary is a type of journal, but a journal is any written
log. You could keep a gratitude journal, a memory journal, a dream journal, or a goals journal.
1.Diaries
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A diary is a specific kind of journal where you write down the events of each day, resulting in a chronicle
of your life.
2.Essays
Not all essays are creative, but plenty of essays flow creative thinking. Some examples include personal
essays, descriptive essays, and persuasive essays.
3.Fiction
One of the most popular types of creative writing is fiction. Prose fiction, or narrative fiction, includes
novel, short stories, myths, parables, romances, and epics. Fiction originally meant anything made up, crafted, or
shaped, but as we understand the word today, it means a prose story based in the imagination of an author.
Although fiction, like all imaginative literature, may introduce true historical details, it is not real history, for its
purpose primarily to interest, divert, stimulate, and instruct. The essence of fiction is narration, the relating or
recounting of a sequence of events or actions. Works of fiction usually focus on one or a few major characters and
undergo some kind of change as they interact with other characters and deal with problems.
4.Poetry
Another popular but under -appreciated type of writing ids poetry, which is easily the most artistic,
creative form of writing. Poetry is more economical than prose fiction in the use of words, and it relies heavily on
imagery, figurative language, and sound. You can write structured poetry, free-form poetry, and prose poetry. Or
try writing a story in rhyme (perfect for kids).
5. Memoir
Memoir are personal accounts (or stories) with narrow themes and specific topics. They are usually the
length of novels or novellas; shorter works of this kind would be considered essays. Memoir topic focus on
specific experiences rather than providing a broad life story (which would be a biography).
For example, one might write a travel or food memoir, which is an account of one’s personal experiences
through the lens of travel or food (or both).
6.Vignettes
A vignette is defined as “a brief evocative description, account, or episode.” Vignettes can be poems,
stories, description, personal accounts…anything goes really. The key is that a vignette is extremely short-just a
quick snippet.
7.Letters
Because the ability to communicate effectively is increasingly valuable, letter writing is a useful skill.
There is a longer tradition of publishing letters, so take extra care with those emails, you’re shooting off to
friends, family, and business associates. In, fact, one way to get published if you don’t have a lot of clips and
credits is to write letters to the editor of a news publication.
8.Scripts
Hit the screen or the stage by writing screenplays, (for film), scripts (for plays), or teleplays (for TV).
You can even write scripts for videos games! As a bonus, script have the potential to reach a non-reading
audience.
9.Song Lyric
Close cousin of poetry, song lyrics are fun and creative way to merge the craft of writing with the art of
music. Writing lyrics is an excellent path for writers who can play an instrument or who want to collaborate
musicians.
10. Drama
Drama is a literary work which is designed to be performed by actors. Like fiction, drama may, focus on
single character or a small number of characters, and it presents fictional events as if they were happening in the
present, to be witnessed by an audience. Dramas can be read as well as acted.
11. Blogging
A blog is nothing more than a publishing platform-a piece of technology that displays content on the web
or an electronic device. A blog can be just about anything from a diary to a personal platform to an educational
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tool. In terms of creative writing, blogs, are wide open because you can use the to publish any (or all) types of
creative writing.
12. Fiction
Fiction that contains imagery situation and characters that are very similar to real life is called creative
nonfiction. It’s just writing which is true, but which also contains some creativity. It uses literary styles and
techniques to create factually correct narratives.
Activity 3: Creative Writing Challenge: What do you write?

Materials:
Long bond paper
Ball point pen
Procedure:
1. Make a list of all kinds of writing you regularly do- shopping lists, class notes, whatsoever.
2. In a paragraph or two, write why some writing experiences are productive and satisfying while others are not.
Process Questions:
1. What do you typically write, and why?
2. What kinds of writing do you most often? Least often?
3. What are your usual reasons for writing?
4. Which of your writing experiences are generally productive and
satisfying? Unproductive and unsatisfying? Why?
You may refer in your textbook on pages 1-6 for additional inputs about creative writing.
Quiz 1:
“Only in men’s imagination does every truth find an effective and undeniable existence.
Imagination, not invention, is the supreme master of art as of life.”
-Joseph Conrad
END OF THE LESSON
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(B.E.S.T)
Amare Est Servire

CREATIVE WRITING
HUMSS Strand
Topic/Lesson: Quarter 1 Imaging and the Use of Imagery (WEEK3-4)
CONTENT STANDARD:
The learners have an understanding of imagery, diction, figures of speech, and variations on language.
PERFORMANCE STANDARD:
The learners shall be able to produce short story paragraph or vignettes using imagery, diction, FOS, and
specific experiences.
LEARNING COMPETENCIES:
At the end of the course, the students should be able to:
 differentiate imaginative writing from among other forms of writing
 utilize language to evoke emotional and intellectual responses from readers
 use imagery, diction, FOS, and specific experiences
 read closely as writers with consciousness of craft
Imaging and the Use of Imagery
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Exploratory Activity
You are inside a house. Look at the objects in front of you. Try to listen to different sounds and smell the
familiar and unusual scents. Then close your eyes. Be sure to record in your mind the things that you saw, listened,
and smelled. You can write about them.
____________________________________________
____________________________________________
____________________________________________
____________________________________________
Key Concepts:
Imagery
One of the helpful devices that a writer can use in his writing is imagery wherein the writer can use words and
phrases to create “mental pictures’ for the reader. Imagery, in a literary text, occurs when an author uses an object that is
not really there, in order to create a comparison between one that is, usually evoking a more meaningful visual experience
for a reader. Imagery helps the reader to visualize more realistically the author’s writings.
In creative writing, you will be making a lot of descriptions. These descriptive details are necessary to make your
writing clear because they help generate specific mood of emotion about people, places, and circumstances. They are
called images and sensory impressions or symbols. The use of imagery appeals to how you see, hear, smell, taste, touch,
and feel the things that you are writing about. If you write from memory, these images can also help readers imagine or
relate to some of your specific experiences.
 Visual
- is a picture in words; something that is concrete and can be seen.
Example: Broken hula-hoops, hollow blocks and tires are crowded atop a thatched roof.
 Auditory/Sound
- is something that you can hear through your mind’s ear.
Example: The puttering of the rain is heard against the window pane.
 Olfactory/Smell
- is something that you can smell through your mind’s nose.
Example: The aroma of freshly-brewed Colombian coffee wafted the entire room.
 Gustatory/ Taste
- is something that you can taste through your mind tongue.
Example: Mouth-watering ripe mangoes, tender melons and luscious cherries are served on a
tray.
 Tactile/ Touch
- is something that you can touch through your mind’s skin
Example: The soft velvety feel of silk and satin caressed my skin.
 Thermal
- is something that depicts temperature
Example: The scorching heat of a midday tropical sun made my eyes squint.
 Erotic
- is something that suggests sensation and feeling.
Example: His eyes follow her wherever she goes like a blin servant following her omnipresent
master.
Activity 1: Sensory Experience:

Direction: Using the underlined words, determine the sensory details. Write your answer on a long
bond paper.
Love is not all: it is not meat nor drink nor slumber nor a roof against the rain; Nor yet a
floating spar to men that sink and rise and sink and rise and sink again; Love cannot feel the
thickened lung with breath. Nor clean the blood, nor set the fractured bone; Yet many a man is
making friends with death Even as I speak, for lack of love alone. It well may be that in a
difficult hour, Pinned down by pain and moaning for release, or nagged by want past
resolution’s power, I might be driven to 12 sell your love for peace, or trade the memory of this
Allnight
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Reading Activity
Open your textbook on pages 21-35. Read the poem written by T.S. Eliot on page 23 and answer the questions at the
end of the text. On page 27 answer the activity BEYOND the CLASSROOM. SEND YOUR WORK TO GC/CW FB
CLOSED Group.
Imagery and Sensory Experience

Imagery is the creation of a picture or images in the mind of the readers/s by the use of words that appeal to the
sense. To create imageries, poet makes use of his sensory experiences. He recalls what he perceives through his eyes, ears,
nose, tongue, hands, skin, and other sensory organs.
Visual Imagery The imagery produced by the use of words that appeal to the sense of sight, as in dark,
scintillating, and neon signs
Auditory Imagery The imagery produced by the use of words that appeal to the sense of hearing, as in loud,
explosion, and creaking
Olfactory Imagery The imagery produced by the use of words that appeal to the sense of smell, as in odorous,
fragrant, and stinks
Gustatory Imagery The imagery produced by the use of words that appeal to the sense of taste, as in succulent,
sour, and flavorful
Tactile Imagery The imagery produced by the use of words that appeal to the sense of touch, as in slimy,
greasy, and stiff
Kinesthetic Imagery The imagery produced by the use of words that appeal to the sense of movement, as in
galloping, squinting, and pirouette
Thermal Imagery The imagery produced by the use of words that appeal to the sense of heat, as in lukewarm,
frigid, and steamy
Diction
Diction simply means word choice. To express his ideas effectively, a writer chooses the words from an inventory
of words at his disposal. Thus, he whose vocabulary is limited grope for the right words to complete his paper. He has to
use a dictionary or thesaurus to facilitate his creative writing. Below is a table showing generic word (left side0 and their
corresponding specific words (right side)
Cat cheetah, puma, jaguar, lynx, lion, tiger, bobcat, tomcat,
House tenement, apartment, condominium, bungalow, mansion, palace
Attach clip, paste, glue, staple, nail, tack, tie, tape, band, screw, weld
Manufacturer/Producer baker, confectioner, milliner, haberdasher, publisher, filmmaker
Writer poet, fictionist, novelist, essayist, playwright, fabulist, sonneteer
Artist Painter, sculptor, architect, musician, actor, dancer, designer
Professional Doctor, lawyer, teacher, engineer, marine, officer, nurse, midwife
Man/Male Mr. Bean, Dr. Jones, chairman, captain, lad, king, prince, rajah
Woman/ Female Mrs. Jones, Ms. Ganda, chairwoman, lass, queen, princess
Figure of Speech
Figures of speech constitute a rhetorical or literary device that departs from the literal meaning of an idea. They
may be employed to make the articulation of an idea. They may be employed to make the articulation of an otherwise
familiar idea more vivid and more colorful. Among the figures of speech are:
1. Simile—indirect comparison of ideas using like or as
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Example: Mr. Mayamot is like a hungry tiger when he gets furious.

2. Metaphor—more direct than simile
Example: When he gets furious, Mr. Mayamot is one hungry tiger.
3. Personification—using human attributes in describing nonhuman or inanimate objects
Example: The country wants us to perform our civic duties.
4. Parallelism—use of the same grammatical structure
Example: Peace can only be achieved through dedication, peace can only be achieved through diligence, peace can
only be achieved through fidelity to the rule of law.
5. Apostrophe—addressing a person who is either dead or absent when the utterance is made
Example: Mabini, Bonifacio, Rizal, let your guiding spirits influence our leaders in this time of great crisis
6. Metonymy—substitution of a word/phrase for an idea to which it is closely related (say, an author for his/her works)
Example: I cannot help crying when I read Carlos Bulosan (a Filipino expatriate writer).
7. Allusion—comparison that involves making references to a famous fictional or historical figure, event or idea
Example: Only five-year-old, this prodigy, this Mozart has composed at least a dozen short piano pieces and performed in
the Philippine musical Center.
8. Rhetorical Question—A question that is not meant to be answered because the answer is obvious
Example: Has information technology advanced slowly or by leaps and bounds?
9. Hyperbole—use of exaggeration to emphasize an idea
Example: I was so hungry I could eat a hundred cups of rice
10. Synecdoche- the “part” to represent the “whole”
Example: Ka Herming was the brains and the heart of the movement during those dark days of the dictatorship.
11. Oxymoron- Juxtaposition (placing side by side) of two contrasting words
Example: Sound of silence.
12. Irony- A statement of one idea, the opposite of which is meant
Example: For Brutus is an honorable man.
13. Alliteration- Repetition of the initial letter or sound in a succession of words
Example: Pedro Paterno picked a pack of pad paper.
14. Onomatopoeia- Use of word to indicate a sound
Example: In the field, birds chirp, cows moo, dogs bark, cats’ meow, snakes hiss.
15. Assonance- Repetition of the vowel sound (not necessarily the initial sound) in a succession of words
Example: Haste makes waste.
16. Consonance- Repetition of the consonant sound (not necessarily the initial sound) in a succession of words.
Example: Ninety-nine nannies renewed their contracts.
ESSENTIAL LEARNING
 The word “creative” is synonyms with inventive, imaginative, productive, and characterized by expressiveness and
originality.
 Creative writing is invented writing, writing based on one’s imagination, writing produced with expressiveness,
writing that is original.
 Creative writing is most popular understood to be writing that comes from the imagination, writing that is ‘not
true.’
 Creative writing is the very fine art of making things up, in the most attractive, apt, and convincing way possible. It
is the telling of lies in order to reveal illuminating and dark truths about the world and our place in it.
 Creative writer is one who writes a poem, short story, novel, or play.
 Poets, short story writers’ novelists, and playwrights are creative writers, that is, if they produce literary pieces
based on their imagination, with an inventiveness, expressiveness, and originality.
 Creative writing is fiction-poetry, short stories, plays, and novels-and is most different from technical writing.
 The opening paragraph and the title are the first impressions the reader has of your story. They should capture the
reader’s attention. Any word types can be used for sentence beginnings. They will add sparkle and interest to your
story writing. Thus, use variety in sentence beginnings.
 Using all the senses...
 Sight- Many students rely heavily on what is seen. This is important, as sight is one of our most important
senses when developing a story. However, it is not the only sense with which we can take in information.
 What do you feel? Using the sense of touch can add impact to your story.
 What do you hear? Using the sense of hearing can add dramatically to your story.
 What do you smell? Using the sense of smell can add to the atmosphere of your story.
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 In using the language in creative writing, showing is a must rather than telling. Many readers try to tell the reader
too much and often too quickly. It also helps to arouse the reader’s interest if you don’t tell them everything at
once.
 Metaphors and similes are two of the main tools of figurative language. They should be used with care. Sometimes
a single word can act as a metaphor.
 Similes do not always have to be at the end of the sentence.
 Personification and hyperbole can add impact. Personification is giving human qualities to non-human things and
hyperbole is exaggeration for effect.
 Let you create your atmosphere to the reader. It is the mood or feelings a story creates in the reader’s mind.
 Value AIDA in your creative creating journey. It means Attention, Interest, Desire, and Action. “Giving
ATTENTION while reading is in progress and when you are reading something, make you have INTEREST on
it. DESIRE will help you travel around the world and you cannot be successful if you don’t put reading into
ACTION. “So, in ultimate sense, you have to read, read and read and after reading, you need to write, write and
write.
 Your heart speaks for your CREATIVITY in WRITING keep on reading the great mysteries of the past.
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Activity 2: PERFORMANCE TASK

Instruction: On a long bond paper, mount an old photograph of a family with your
childhood picture. Write a descriptive paragraph where FOS, vignettes can be found.
Picture Description rubric

Criteria Proficient Nearly Proficient Attempted Proficiency
(8-10 pts) (5-7pts) (0-4pts)
Clarity All ideas are expressed Some ideas are expressed Many ideas are confusing.
clearly. clearly.
Vividness All ideas are articulated Some ideas are articulated The manner in which ideas
convincingly. convincingly. are articulated is not
convincing enough.
Organization All ideas are presented in an Details mostly evince a sense Details are not organized
organized way. of organization. . properly.
Correctness Grammar, Syntax, and Grammar, syntax, and The composition is riddled
mechanics are correct, with mechanics are largely with errors (six or more).
just one or two errors. correct, with three to five
errors.
Write your answer on a long bond paper.

I. True or False. Write CREATIVE if the statement is correct and NON-CREATIVE if it is wrong.
_______1. The writer uses many literary techniques to capture the reader’s attention.
_______2. Great writing is the poem that comforts you when your times are rough.
_______3. Many good stories draw lightly on the experience of the reader.
_______4. Writers write to earn money.
_______5. Technical writing is a form of creative writing.
II. Identification
_______6. The purpose of this type of writing is to entertain and give aesthetic pleasure.
_______7. This genre of creative writing uses literary styles and techniques to create factually correct
narratives.
_______8. A genre of creative writing which often employs rhyme and meter.
_______9. It is the key to creative writing.
_______10. This is the specialized language of a particular group or profession.
III. Multiple Choice. Choose and write the letter of your choice.
_______11. In this type of writing, you can use idioms, colloquial, or slang as long as you know that
your audience would understand them.
A. Technical Writings B. Creative Writing
C. Academic Writing D. Literary Writing
_______12. You need to stick to the facts and to write in a straightforward manner in writing this type
of writing.
A. Technical Writings B. Creative Writing
C. Academic Writing D. Literary Writing
_______13. “Palawan is like paradise”, is an example of what figure of speech?
A. Personification B. Synecdoche C. Allusion D. Metonymy
_______14. “Pedro Paterno picked a pack of pad paper”, is an example of what figure of speech?
A. Alliteration B. Consonance C. Allusion D. Metonymy
_______15. What is alliteration?
A. Words that attempt to imitate sounds
_______16. Which of the following is not a branch of creative writing?
A. Fiction B. Thesis C. Poetry D. Essay
_______17. Which of the following best describes journalism?
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A. The study of creating news articles and opinion articles which form an informed citizenry.
B. A field of mass communication which is aimed at providing the citizens with information which will
make them free and self-governing.
C. It is a field of study which involves gathering and delivering information to the public.
D. None of the above.
________18. A word often used to describe categories or types of written text is called ____.
A. Writings B. poem C. letters D. Genre
________19. It is any form of writing which is written with the creativity of mind: fiction writing, poetry
writing, creative nonfiction writing and more. The purpose is to express something,
whether it be feelings, thoughts, or emotions.
A. Academic Writing B. Creative Writing C. Technical Writing D. Thesis
________20. What is onomatopoeia?
A. Words that attempt to imitate sounds.
END of Prelim Exam Coverage

Good Luck for the Prelim Exam
Fill your paper with the breathings of your heart. – William Wordworth
End of the Lesson
NOTRE DAME OF SALAMAN COLLEGE

INC.
(B.E.S.T)
Amare Est Servire
STUDENT SELF-DIRECTED LEARNING AND ASSESSMENT

CREATIVE WRITING
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HUMSS Strand
WEEK 5-6
CONTENT STANDARD:
The learners have an understanding of poetry as a genre and how to analyze its elements and
techniques.
The learners shall be able to produce short, well-crafted poem.
MOST ESSENTIAL LEARNING COMPETENCIES:
 Identify the various elements, techniques, and literary devices in poetry
 Determined specific forms and conventions of poetry
 Use selected elements of poetry in short exercises
 Explore innovative techniques in writing poetry
 Write a short poem applying the various elements, techniques, and literary devices
UNIT 2- READING AND WRITING POETRY

 Copy the format of the given activities then answer it in a long bond paper.
 Parts of answering these activities are the instructions, so you must follow all the given instructions.
What is Poetry?
Poetry is derived from the Greek word “poiesis” which literary translates to “a
making or creating,” The implication is important: poetry is made and the
poet is the maker. The word made suggests materials; the word maker suggests
effort.
Poetry is a literary art where the evocative and aesthetic qualities of a language
are brought out in lieu, or together with the language’s apparent, meaning. It is
writing the communicate intensely and intimately through and beyond language,
using rhythm, sound, style, and meaning. It consists largely of oral or literary works in which language is used
in a manner that felt by its user and audience to differ from ordinary prose. Poems frequently rely for their
effect on imagery, word association, and the musical qualities of the language used.
Poetry might be defined, initially, as a kind of language that says more and says it more intensely than
ordinary language does. A poem is created when the poet composes it; it is re-created each time it is read with
understanding. Before we appreciate a poem, we must know first how to read. It will not difficult if we
remember five things about poetry.
1. Poetry is concerned thought. A poem stays much in little; therefore, we should try to anticipate that
concentration. We must focus our attention on the thought and not hurry fast the idea.
2. Poetry is a kind of music. A poem has a tune of its own. In reading aloud we should be careful not
so spoil the music by using a high-pitched tone or a sing-s0ng voice. Follow the beat naturally; give it
full value, but do not force it.
3. Poetry expresses all the senses. A poem communicates thoughts by the poet’s choice of words;
therefore, to extract full meaning from the words we should listen with all our faculties.
4. Poetry answers our demand for rhythm. A poem beats time simply and strongly; therefore, we
need only respond to it with our own natural rhythm.
5. Poetry is observation plus imagination. The poet has written under the spell of emotional and
intellectual excitement. He has been seized by some mood or the force of some incident, and there has
been conceived in him this living thing, this order out of chaos: a poem.
Poetry vs. Prose

According to the English Romantic poet and critic Samuel Taylor Coleridge, “Prose consists
of words in their best order. Poetry consists of the best word in the best order.” The primary
difference between poetry and prose is concreteness. A single word of poetry says far more than a single
word of prose. That’s because the language of poetry in poetry resonates worlds of the meaning.
Activity 1:
Can you distinguish any other differences between these two genres of writing? Copy the format below
and differentiate poetry and prose. (Not necessarily to submit the answer.)
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POETRY PROSE
Elements of Poetry
It is useful when examining poetry to be armed with a certain knowledge of the formal elements of poetry.
The elements of poetry are a set of devices used to make a poem. Exploring these formal elements helps us
to comprehend more deeply a poem’s meaning and the nuances that enhance that meaning. This kind of formal
close reading of the text is essential to any analysis of literature.
Most good poems contain these elements in various forms. The basic elements of poetry include the
speaker, audience, content, theme, shape, and form, tone, imagery, diction, figure of speech,
and atmosphere.
Activity 2: CW Challenge1: Search, Listen and Explore!

Materials: Audio/Video (Search and download)
 Sylvias Plath’s “Daddy”
 Anne Sexton’s “The Rowing Endeth”
 T.S Eliot’s “The Love Song of J. Alfred Pruforck”
Procedure:
1. Listen to the voice with the help of your companion at home, you must try to determine who is speaking
in each of the poem, the tone of his/her voice, the mood he/she evokes on the part of the readers, and the
general atmosphere of the literary piece.
2. In a paragraph or two, write down your feelings upon listening to their voices. (Separate paper will be
used.)
3. Draw the table and fill it demonstrating what you think the poem’s tone is. Choose two poems.
Title of the poem and Word/ Phrase from the Suggest Tone Connotation: Positive Negative,
author Poem or Neutral
Process Question: How does one determine tone and what are the techniques used by writers in the creation of
one? (Not necessarily to submit the answer.)
You may refer in your textbook on pages 37-41 for additional inputs about tone.
KEY CONCEPTS:
A. Speaker/Persona: The speaking voice of the Poem
The speaker is the created narrative voice of the poem, i.e., the reader is supposed to imagine
talking or speaking in the poem. The poet reveals the identity of the speaker in various ways. This
speaker is the persona whose voice the reader hears in his or her inner ear.
B. Audience
The audience in the poem is the person or people to whom the speaker is speaking. Identifying
the audience within a poem helps you understand the poem better.
C. Content
The content of the poem is the subject or the idea or the thing that the poem concerns or
represents. Poetry often tells a story, describes a scene, event, or feeling or otherwise comments on the
human predicament.
D. Theme
The theme of the poem relates to the general idea or ideas continuously developed throughout
the poem. It is a thought or idea the poet represents to the reader that may be deep, difficult to
understand, or even moralistic.
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E. Structure
The structure used in poems varies with different types of poetry. Some structural elements
include the line and stanza. Poets combine the use of language and a specific structure to create
imaginative and creative work.
F. Shape and Form
Basically, the actual shape of poems can vary dramatically from poem. Shape is
one of the main things that separate prose and poetry. Poetry can take on many formats,
but one of the most inventive forms is for the poem to take on the shape of its subject.
A form is a pattern of making the poem. Some poems come with rules about the
number of lines, line length, rhyme schemes, meter and refrain.
G. Tone: The attitude of the Poet towards the Audience
The tone of a poem is the is the attitude you feel in it-the writer’s attitude toward
the audience.
H.Imagery
Imagery refers to the “pictures” which we perceive with our mind’s eyes, ears, nose, tongue,
skin, and through which we experience the “duplicate world” created by poetic language. Imagery
evokes the meaning and truth of human experiences not in abstract terms, as in philosophy, but in more
perceptible and tangible forms. This is a device by which the poet makes his meaning strong, clear and
sure.
I. Diction
Poetic diction is a term used to refer to the linguistic style, vocabulary, and the metaphors usen
in the writing of poetry.
J. Figure of Speech
Figure of Speech is a type of that varies from the norms of literal language, in which words
mean exactly what they say for the sake of comparison emphasis, clarity, or freshness.
K. Atmosphere: the dominant emotional aura of the poem
In literature, atmosphere refers to the dominant aura or general feeling created in the readers or
audience by a work at any given point. It describes the overall feelings or emotions experienced by the
readers or audience.
Activity 3
Writing Exercise
Write a short love poem where you compare the

experience of love or the beloved person to a concrete object
using it as a simile or a metaphor. The more specific the details
of your love poem the better.
Activity 4: More Than a Feeling!
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Questions to Ponder: What is the strongest emotion have you experienced? Is it anger, happiness, or fear? Have
you experienced something you could not describe because it was a mix of different things? Often, we have
emotions we are not so sure how to label or name; and poetry, to a certain extent, helps in fleshing out or
putting into words that feeling.
Take a look at the following ways we express emotions. What do you notice about them? Do they encapsulate
what you really want to say? In one to two sentences, restate orally the following in your own words
without using the generic adjective for that emotion. See how else you can express yourself.
I am in love. I feel anxious
I’m excited! I’m feeling happy.
I am hopeful.
I am handsome/beautiful.
Process Questions:
1. What is poem?
2. Is it mere self-expression? How does poetry put into words and translate experience?
3. How does it thoughtfully recreate emotion?
You may refer in your textbook on pages 50-52 for the salient points and additional inputs about Poetry, its
Definition, Elements and Philippine Poetry in English.

(B.E.S.T)
Amare Est Servire

CREATIVE WRITING
HUMSS Strand
WEEK 7-8
CONTENT STANDARD:
techniques.
 Identify the various elements, techniques, and literary devices in poetry
 Determined specific forms and conventions of poetry
 Use selected elements of poetry in short exercises
 Explore innovative techniques in writing poetry
 Write a short poem applying the various elements, techniques, and literary devices
UNIT 2- READING AND WRITING POETRY

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Genres of Poetry
Poetry can be classified into three genres:
Narrative Poetry
Lyric Poetry
Dramatic Poetry
A. Narrative Poetry
It is a form of poem that tells a series of events using poetic devices such as rhythm, rhyme,
compact language, and attention to sound. In other words, narrative poetry tells a story, but it does with
poetic flair. Character, setting, conflict, and plot are some elements of narrative poetry that are
important.
Examples of narrative poem includes:
1. Epic
 Epic is a long unified narrative poem, recounting in dignified language the adventures of a
warrior, a king, or a god, the whole embodying the religious philosophical beliefs, the moral
code, customs, traditions, manners, attitudes, sciences, folklore, and culture of the people or
country from which it came.
 Two of the most famous epic poems are the Iliad and Odyssey by Homer, which tell about
the story of Trojan War and the adventures of Odysseus on his voyage home after the war.
Other examples from western literature include, Virgil’s Aeneid, and Milton’s Paradise
Lost.
2. Metrical Romance
 A metrical romance recounts the quest undertaken by a single knight in order to gain a lady’s
favor. Frequently, its central interest is courtly love, together with tournaments fought and
dragons and monster slain for the damsel’s sake. It stresses the chivalric ideals of courage,
loyalty, honor, mercifulness to an opponent, and exquisite and manners; and it delights in
wonders and marvels.
3. Metrical Tale
 A metrical tale is a simple, straightforward story verse. It narrates strange happenings in s
direct manner, without detailed descriptions of character.
 Petronius’ “The Widow of Ephesus” is an example.
4. Ballad
 A ballad is a narrative poem which is meant to be sung, usually composed in ballad stanza.
Although some ballads (literary ballad) are carefully crafted poems written by literate authors
and meant to be read silently, the folk ballad (or popular ballad or traditional ballad) is
derived from the oral tradition.
 “The Rime of the Ancient Mariner” by Samuel Taylor Coleridge is an example of ballad. All
stanzas end with the same one-line refrain.
Activity 1:
Creative writing Challenge: Narrative Poems
Use this chart below to define the different types of narrative poems.
Type of Narrative Meaning Famous Examples
1.
2.
3.
4.
B. Lyric Poetry
In the most common use of term, a lyric is any fairly short poem, consisting of the utterance by a
single speaker, who expresses a state of mind or process of perception though and feeling.
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It is generally considered the most intense genre of poetry, the form the honors its musical
origins. The term Lyric comes from the Greek word lyre a stringed instrument similar to a guitar.
Examples of lyric poems include:
1. Ode
 An ode is a dignified and elaborately structure lyric poem praising and glorifying an
individual, commemorating an event, or describing nature intellectually rather than
emotionally. Odes originally were songs performed to the accompaniment of a musical
instrument.
2. Elegy
 An elegy is a lyric poem, written in elegiac couplets, that expresses sorrow or lamentation,
usually for one who has died. This type of work stemmed out of a Greek word known as
elegus, a song of mourning or lamentation that is accompanied by the lyre.
3. Sonnet
 A sonnet is a short poem with fourteen lines, usually written in iambic pentameter
4. Song
 A song is as short lyric or narrative text set to music.
5. Simple Lyric
 A simple lyric is a short poem expressing the poet’s thought feeling or emotion.
Activity 2:
Creative writing Challenge: Lyric Poems
Use this chart below to define the different types of lyric poems.
Type of Lyric Poem Meaning Famous Examples
1.Ode
2.Elegy
3.Sonnet
4.Song
5.Simple Lyric
C. Dramatic Poetry
Dramatic poetry is any poetry that uses discourse of the characters involved to tell story or
portray a situation. It involves the technique of drama, and it tells story. Dramatic poetry is typically
meant to be performed for an audience.
Examples of dramatic poetry include:
1. Dramatic Monologue
 A dramatic monologue is a literary device that is used when a character reveals his or her
innermost thoughts and feelings, those that are hidden throughout the course of the story line,
through a poem or a speech.
 In monologue a character usually makes a speech in the presence of the other characters.
2. Soliloquy
 A soliloquy is the act of speaking while alone, especially when used as a theatrical device
that allows a character’s thoughts and ideas to be conveyed to the audience
 In soliloquy the character or speaker speaks for himself.
Activity 3: Creative writing Challenge: Dramatic Poems

Use this chart below to define the different types of dramatic poems.
Type of Dramatic Poetry Meaning Famous Examples
1.Dramatic Monologue
2. Soliloquy
Activity 4: CW Challenge: Transform into Art

Many words for feelings have seeped into common usage in the 21 st century. Terms such as ‘feels’ or “friend
zoned” have become commonplace. With your mother/father/siblings, choose one among the following words
and collaborate on a work that will express this term without naming it, but if you are unsure what the word
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means, you can google it. You may do a visual artwork like painting or drawing, or a song. After this, asses how
your chosen format is similar or different from poetry.
Process Question: What do you think can do that the other forms cannot?
Share to the class your experience through journal writing and present the project of your chosen artwork. Let
us discover how you and your classmates transformed their feelings into art. Use short bond paper. (Rubrics
will be given in your GC/CW FB Closed Group.)
1. Fail
2. Winning
3. ROFL
4. EMO
5. Feels
6. Mental
Key Concepts:
Be Familiar of Western Poetic Forms: Sonnet, Ode, Elegy, Villanelle
There are many types and forms of poetry. In ancient times, poetry has been traditionally classified into
three categories or genres based on their most dominant rhetorical strategies: narrative poetry, dramatic
poetry, and lyrical poetry.
Narrative poetry intends to tell a story through verses. A narrative poem can tell a very short chronicle
like in a ballad, a moderately lengthy narrative like in a metrical tale or a metrical romance, or an extremely
stretched out yarn like in an epic.
Dramatic poetry, on the other hand, in its original context is drama written in verse that is meant to be
spoken or chanted, like the Greek tragedies. In more modern usage, the literary term refers to certain poems (the
dramatic monologue and the soliloquy) whose main characteristic is their exploitation of dramatic situation.
Lyric poetry, in contrast, conveys the extremely personal emotions, powerful feelings or nostalgic
sentiments of the persona (the speaking voice of the poem). In Ancient Greece lyrical poetry refers to the poem
that are meant to be recited to the accompaniment of the lyre, a chordophone or stringed musical instrument.
Lyrical poems are characterized by their brevity, intensity, and musicality.
Sonnet
The Sonnet is a fixed lyrical form of poetry composed of fourteen lines that follows a certain set of
pattern or rhyme scheme. There are two major types of sonnet whose histories are intertwined but whose
respective developments are quite different: the Italian or Petrarchan sonnet, and the English or Shakespearean
sonnet. The sonnet is probably the most popular and well- known of the western fixed forms of poetry.
The sonnet first emerged in Italy probably in the 13 th century. Francesco Petrarca (better known as
Petrarch) in the 14th century elevated it to the highest level of its Italian perfection.
The Italian or Petrarchan form of sonnet is distinguished by its division into the octave (octet) and
sestet (sextet): the octave rhyming abbaabba and the sestet cdecde, cdcdcd, or cdedce. The octave
states a problem, asks a question, or expresses an emotional tension; while the sestet resolves the problem,
answer the question, or relieves the tension. The Italian or Petrarchan sonnet is usually made up of iambic
hexameters or six pairs of iambs. Iambic hexameters are also known aa Alexandrine lines.
The English or Shakespearean form of the (each with a rhyme is typically has four divisions: three
quatrains (each have a rhyme scheme of its own, usually rhyming line that alternate), and a final or concluding
couplet. The usual rhyme of English or Shakespearean sonnet is ababa cdcd efef gg.
Ode
The ode is a lyrical form of poetry that is exalted both in terms of tone and subject matter. As a literary
form it is characterized by solemnity, dignity and gallantry, as well as emotional intensity powerful imagination
and vivid imagery. The main intention of the ode is to elevate its subject matter.
Elegy
The elegy a lyrical form of poetry that laments the demise of a person, usually someone important, or a
contemplation of the phenomena of death itself? The elegy usually provides the surrounding circumstances of
passing away of a love one or a special individual, and the effects of the tremendous loss on the persona or
speaking voice. Elegy unlike the sonnet or the villanelle, is not a metrical form, and does not follow any
required set pattern or rhyme scheme, or even a particular cadence or rhythm.
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Villanelle
The villanelle is a fixed lyrical poem composed of nineteen lines that follows a certain set pattern or
rhyme scheme. The first five stanzas of the villanelle are made up of tercets (each stanza of three line each),
while the final stanza is made up of quatrain (or four lines). The first line of the first stanza is repeated as the
last line of the second and fourth stanzas. These two lines (which serve as the refrain of the villanelle) follow
each other to become the penultimate (or second-to-the-last) and the ultimate (or last) lines of the poem,
respectively. The rhyme scheme of the villanelle is aba aba aba aba aba abaa, and the rhymes are repeated
according to the refrains.
The Eastern Poetic Forms: Haiku, Tanka, Tanaga, Diona

Before you are introduced to these two poetic traditions, read first the short poem below for a taste of
poetry originally written in English that is heavily influenced by Japanese poetry
Japanese Poetry
Haiku
(light verse) is a traditional Japanese fixed poetic from composed of three unrhymed lines comprising 17
syllables. It is a three-line poem having 5-7-5 syllables count. Historically it involved during the 17th
century from the hokku or opening of a renga (linked verse). By convention, haiku contains three
sections, a kereji or cutting word, usually located at the end of one of the poem’s three sections, and a
kigo or a word that indicates the season of the year or the time of the story.
 The three most famous practitioners of haiku are Matsuo Basha, Yusa Buson, and
Kobayashi Issa, all of whom belong to the Edo Period (1603-1868)
Tanka
(short song, as opposed to choka or long song) is a Japanese fixed poem form composed of five unrhymed
lines comprising thirty-one syllables. The first and third lines contain five syllables each, while second,
fourth and fifth lines contain seven lines a piece, or 5-7-5-7-7. It is longer than the haiku. It provides a
more complete picture of an event or a mood than the haiku.
 It is also referred to as waka, which is the generic term for Japanese song, as opposed to
kanshi, a poem written by a Japanese poet in classical Chinese.
Tagalog Poetry
Tanaga
Is an indigenous or native Tagalog poetic form. It is composed of four heptasyllabic lines or four lines
containing seven syllables each. It is made up of two couplets that have a rhyme scheme aabb. The
strength of tanaga is to be found in its central image or controlling metaphor. According to Vocabulario
de la lengua Tagala, this metaphor which Tagalog people refer to as talinghaga is closely associate with,
mystery (itinaling hiwaga), a figurative language (matalinghaga), and ambiguity.
Here is an example of a tanaga in its original Tagalog archaic orthography followed by its modern
Filipino rendition and its contemporary translation by Jardine Davies:
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Diona
The diona is another indigenous or native Tagalog fixed poetic form. It is composed of three octosyllabic
lines with a monorhyme or three lines containing eight syllables each that all rhyme with one another.
Since it is made up three lines, the diona has been labelled by some Filipino literary enthusiast as the
Pinoy haiku. Like other traditional Tagalog songs, the diona was originally sung rather than recited.
Diona is then known as domestic song which could either be a courting song or wedding song.
Noceda and Sanlucar have preserved the diona below which pertains to marriage in their Vocabulario:
END of Midterm Exam Coverage

Good Luck for the Midterm Exam
You don’t write because you want to say something. You write because you have something to say.
-F. Scott Fitzgerald
End of the Lesson

(B.E.S.T)
Amare Est Servire
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CREATIVE WRITING
HUMSS Strand
WEEK 9-12
CONTENT STANDARD:
techniques.
 Identify the various elements, techniques, and literary devices in fiction
 Determine various modes of fiction;
 Write journal entries and other short exercises exploring key elements of fiction
 Write a short scene applying the various elements, techniques, and literary devices.
UNIT 3- READING AND WRITING FICTION

Chapter Outline:
1. What is Fiction?
2. Some Quotes about Fiction
3. Types of Prose Fiction
4. Forerunners of the Modern Short Stories
5. Types of Modern Short Stories
6. The Formal Elements of Fiction
7. Literary Devices
8. Modernism vs. Postmodernism
9. Postmodern Literary Techniques
10. Reading Fiction
1. What is Fiction?
Fiction is a general term used to describe an imaginative work of prose, either a novel short story, or
novella. A work of fiction is a creation of the writer s imagination. It is an imagined story, usually written down,
that the author tells in ordinary, natural language. It chiefly uses an array of narrative techniques and has a wide
range in terms of length. It deals, in part or in whole, with information or events that are not factual, but rather,
invented and imaginary -that is, made up by the author.
Examples of works of prose fiction include novels, short stories, novelettes, tables fairy tales, legends,
myths, etc. but it now also encompasses films, comic books, and video games
Ibsen's Nora is fictional, a "make-believe" character in a play, as are Hamlet and Othello.
Characters like Robert Browning's Duke and Duchess from his poem "My Last Duchess" are fictional as
well, though they may be based on actual historical individual.
And, of course, characters in stories and novels are fictional, though they, too, may be based, in some
way, on real people. The important thing to remember is that writers embellish and embroider and alter actual
life when they use real life as the basis for their work. They fictionalize facts, and deviate from real-lite
situations as they "make things up.”
2. Some Quotes about Fiction

1. "That's what fiction is for. It's for getting at the truth when the truth isn't sufficient for the truth." -Tim
O'Brien
2. "Fiction is the lie through which we tell the truth"- Albert Camus
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3. "Fiction is art and art is the triumph over chaos.. to celebrate a world that lies spread out around us
like a bewildering and stupendous dream. -John Cheever
4. "If you will practice being fictional for a while, you will understand that fictional characters are
sometimes more real than people with bodies and heartbeats."- Richard Bach
5. "Fiction was invented the day Jonah arrived home and told his wife that he was three days late because
he had been swallowed by a whale."- Gabriel García Márquez
6. "Sometimes fiction is more easily understood than true events. Reality is often pathetic." -Young-Ha
Kim
7. "Fiction is the only way to redeem the formlessness of life" Martin Amis
8. “Fiction is the truth inside the lie.” - Stephen King
3. Types of Prose Fiction
The two main types of fiction are literary and commercial. Commercial fiction attracts a broad
audience and may also fall into any subgenre, like mystery, romance, legal thriller, western, science fiction, and
so on.
Literary fiction, on the other hand, tends to appeal to a smaller, more intellectual adventurous
audience. What sets literary fiction apart, however, is the notable qualities it contains excellent writing,
originality of though, and style -that raise it above the level ordinary written works.
Looking at form or style is another way to categorize prose fiction. Another wayis to look at their
length:
Novel: A work of 50,000 words or more (about 170+ pages
Novella: A work of at least 17,500 words but under 50,000 words. (60-170 pages) Joseph
Conrad's Heart of Darkness (1899) is an example of a novella.
Short Story: A work of at least 2,000 words but under 7,500 words (5-25 pages).
The boundary between a long short story and a novella is vague. ("Fiction – Wikipedia 2017)
A. Novel
B. Novella
C. The Short Story
A. Novel
E.M. Forster in Aspects of the Novel cites the definition of a Frenchman named Abel
Chevalley: "a fiction in prose of a certain extent" and adds that he defines "extent" as over
50,000 words. The novel is one form of an extended fictional prose narrative. It differs from
allegory (which functions to teach some sort of moral lesson) and romance (with its
emphasis on spectacular and exciting events designed to entertain) in its emphasis on
character development.
The novel, however, arises from the desire to depict and interpret human character. The reader of the
novel is both entertained and aided in a deeper perception of life's problems. The novel deals with a human
character in a social situation, man as a
social being. The novel places more emphasis on character, especially one-well rounded character, than on plot.
A Novel is a work of 50,000 words or more (about 170+ pages).
Here are some types/ kinds of novel:
1. Realistic Novel 18. Novel of Incident
2. Picaresque Novel 19. Novel of Manners
3. Historical Novel 20. Novel of the Soil
4Epistolary Novel 21. Utopian Novel
5. Bildungsroman 22. Dystopian Novel
6. Gothic Novel 23. Graphic Novel
7. Autobiographical Novel 24. Science Fiction (Sci-Fi) Novel
8. Detective Fiction 25. Pulp Fiction
9. International Novel 26. Erotic Novel
10. Psychological Novel 27. Roman-fleuve
11. Political Novel 28. Anti-Novel
12. Sociological Novel 29. Interactive Novel
13. Romantic Novel 30. Fantasy Novel
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14. Roman á clef 31. Children's Novel

15. Dime Novel 32. Mystery Novel
16. Hypertext Novel 33. Western Novel
17. Novel of Sensibility 34. Horror Novel
1. Realistic Novel (Leo Tolstoy)

A type of novel that emphasizes truthful representation or the actual. The characters in realistic novel
interact with other characters and undergo plausible and everyday experiences.
Notable examples include Leo Tolstoy's War and Peace, Theodore Dreiser's An American
Tragedy, Jay Asher's Thirteen Reasons Why, and John Green's Looking for Alaska.
2. Picaresque Novel (Henry Fielding)

A chronicle, usually autobiographical, presenting the life story of a rascal of low degree engaged in
menial tasks and making his living more through his wits than his industry. The picaresque novel tends to be
episodic and structureless. The picaro, or rogue through various pranks and predicaments and by his
association with people of varying degree, affords the author an opportunity for satire of the social classes.
Henry Fielding's The History of Tom Jones, A Foundling is Henry Fielding Picaresque novel, as is
Daniel Defoe's Moll Flanders. The first significant picaresque novel in English is The Unfortunate
Traveller: The Life of lack Wilton (1594) by Thomas Nash. A more recent example of a picaresque hero is
Ignatius P. Riley of John Kennedy 1oole s A Confederacy of Dunces.
3. Historical Novel (Robert Graves)

A novel that reconstructs a past age.
Scot, Thackeray, Dumas, Hug0, Tolstoy, and Cooper are practitioners of this novel form. More
recently, historical novels have been attempted by Robert Graves, Gore Vidal, Norman Mailer, E.L Doctorow,
and William Kennedy.
4. Epistolary Novel (Samuel Richardson)

A novel in which the narrative is carried forward by letters written by one or more of the characters.
Samuel Richardson's Pamela, Fanny Burney's Evelina Choderlos de Laclos's Dangerous Liaisons,
Alice Walker's The Color Purple, John O’Hara's Pal Joey and Modesto de Castro's Urbana at Felisa are
notable examples of the epistolary novel.
5. Bildungsroman (Thomas Mann)

A novel that deals with the development of a young person, usually adolescence to maturity. It is
frequently autobiographical.
Candide's Voltaire, Charles Dickens's David Copperfield, Thomas Mann's The Magic Mountain,
J.K. Rowling's Harry Potter, Haruki Murakami's Norwegian Wood, Samuel Butler's The Way of All
Flesh and James Joyce's A Portrait of the Artist as a Young Man are standard examples of
bildungsroman.
6. Gothic Novel (Daphne du Maurier)

A novel in which magic, mystery, and chivalry are the chief characteristics. Horrors abound: One may
expect a suit of armor suddenly come to life among ghosts, clanking chains, and charnel houses.
Horace Walpole's The Castle of Otranto, Anne Radcliffe’s The Mysteries of Udolpho, Mary
Wollstonecraft Shelley's Frankenstein, and Daphne du Maurier's Rebecca are significant
examples of gothic novels. Daphne
7.Autobiographical Novel (D.H. Lawrence)

A novel based on the life of the author. Novels can on occasion be autobiography in the guise of fiction.
Examples are those of Thomas Wolfe and in Charles Dickens's Great Expectations, D. H. Lawrence's Sons
and Lovers, Sylvia Plath’s The Bell Jar. and James Joyce's A Portrait of the Artist as a Young Man.
8. Detective Fiction (Ian Fleming)
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A subgenre of crime fiction and mystery fiction in which an investigator or a detective-either professional or
amateur investigates a crime, often murder.
This genre includes the great espionage writers, including John Le Carre, Len Deighton, Ian Fleming, Clive
Cussler, and Frederick Forsythe. It also includes the police procedurals of Patricia Cornwell, Tony Hillerman, and
Lawrence Sanders, as well as the courtroom bestsellers of Scott Turow, Richard North Patterson, Steve Martini, and John
Grisham, and the military thrillers of Tom Clancy and Stephen Koontz.
9. International Novel (Henry James)

A novel in which one important spring of conflict is national difference, especially among characters who must
travel.
Many of Scott's historical novel involve such conflict, but the most brilliant exploitation of the mode has been in
the novels of Henry James, such as The Americans and The Golden Bowl. Many novels of Maugham Lawrence
Huxley, Hemingway, and Fitzgerald have to do with international themes.
10. Psychological Novel (Elizabeth Gaskell)

Prose fiction that places unusual emphasis on interior characterization and on the motives, circumstances, and
internal action that spring from, and develop external action. The psychological novel, not content to state what happens,
goes on to explain the why of the action.
The term was first importantly applied to a group of novelists in the middle of the action 19 th century of whom
Elizabeth Gaskell, George Eliot, and George Meredith were the chief. The modem psychological novel may at one
extreme record the inner experience of characters as reported by the author, as Henry James tends to do, or at the other
extreme utilize he interior monologue to articulate the nonverbalized and subconscious life of a character, as in some of
the work of James Joyce, Virginia Woolf, and William Faulkner.
11. Political Novel (Robert Penn)

A novel that deals with aspects of political life and in which these aspects are essential ingredients of the work.
Such works as Robert Penn Warren's All the Kings Men, John Passos's District of Columbia, Joyce Cary's
Chester Nimmo, CP. Snow's Strangers and Brothers, and Ninotchka Rosca's State of War are political novels.
12. Sociological Novel

A form of the problem novel that concentrates on the nature, function, and effect of the society in which the
characters live. Usually, the sociological novel presents a thesis as a resolution to a social problem, but it is by no means
always a propaganda novel.
Dickens's Hard Times, Eliot's Middlemarch, Stowe's Uncle Tom's Cabin, Steinbeck's The Grapes of
Wrath, Caldwell's Tobacco Road and Rizal's Noli Me Tangere are novels whose central issues are sociological.
13. Romantic Novel

A novel marked by strong interest in action, with episodes often based on love, adventure, and combat. It is often
set in the historical past with a plot that emphasizes adventure and an atmosphere removed from reality. The characters in
a prose romance are either sharply drawn as villains or heroes, masters or victims; while the protagonist is isolated from
the society.
First-class romance writers include Jude Deveraux, Victoria Holt Judith McNaught, Daphne Du Maurier, Jennifer
Greene, and Nora Roberts.
14. Roman á clef (Aldous Huxley)

A novel in which actual persons are presented under the guise of fiction. Notable examples have been W.
Somerset Maugham’s Cakes and Ales, Aldous Huxley's Point Counter Point, Ernest Hemingway's The Sun Also
Rises, Truman Capote's Answered Prayers, Carrie Fisher's Postcard from the Edge, and Prayers, and almost all of
Jack Kerouac's novels
15. Dime Novel (Prentiss Ingraham)

Short works of fiction, usually focused on the dramatic exploits of a single heroic character. As evidenced by their
name, dime novels were sold for a dime (sometimes a nickel or penny dreadful), and featured colorful cover illustrations.
They were bound in paper, making them light, portable, and somewhat ephemeral. Dime novels are, at least in spirit, the
antecedent of today's mass market paperbacks, comic books, and even television shows and movies based on the dime
novel genres.
Adventures of Buffalo Bill from Boyhood to Manhood falls under this category.
16. Hypertext Novel (Mark Z. Danielewski)
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A genre of electronic literature, characterized by the use of hypertext links which provide a new context for non-
linearity in literature and reader interaction. The reader typically chooses links to move from one node of text to the next,
and in this fashion arranges a story from a deeper pool of potential stories. Its spirit can also be seen in interactive fiction.
Mark Z. Danielewski's House of Leaves, Enrique Jardiel Poncela's La Tournée de Dios, Jorge Luis Borges's The
Garden of Mark Z. Danielewski’s Forking Paths, and Julio Cortázar's Rayuela (translated as Hopscotch) may be classified
as hypertext novels.
17. Novel of Sensibility

The novel of sensibility or the sentimental novel 1s an 18th-century literary genre which celebrates the emotional
and intellectual concepts of sentiment, sentimentalism, and sensibility. ` Samuel Richardson's Pamela, or Virtue
Rewarded sensibility. or Virtue Rewarded Laurence Sterne's Tristram Shandy, Oliver Goldsmith's The Vicar of
Wakefield, and Henry Mackenzie's The Man of Feeling are major examples of novels of sensibility.
18. Novel of Incident

A term for a novel in which episodic action dominates, and plot and characters are subordinate. The structure is
loose and emphasis is on thrilling incident rather than on characterization or suspense.
Defoe’s Robinson Crusoe and duma’s Three Musketeers are examples of novels of incident.
19. Novel of Manners

A novel dominated by social customs, manners, conventions, and habits of a definite social class. In the true novel
of manners, the mores of a specified group, described in detail and with great accuracy, become powerful controls over
characters.
The novels of Jane Austen, Edith Wharton, and John P. Marquand are novels of manners.
20. Novel of the Soil

A special kind of regionalism in the novel, in which the lives of people struggling for existence in remote rural
sections are starkly portrayed.
Examples are Ellen Glasgow's Barren Ground, O.E. Rolvaag's Giants of the Earth, Elizabeth Madox
Robert's Time of Man, and Pearl S. Buck's The Good Earth.
B. Novella
A novella is a written, fictional, prose narrative normally longer than a short story but shorter than a
novel. The English word "novella' is derived from the Italian word "novella," feminine of "novella," which
means new. The novella is a common literary genre in several European languages. As a literary genre, the
novella's origin lay in the early Renaissance literary work of the Italians and the French. As the etymology
suggests novellas originally were news of town and country life worth repeating for amusement and edification.
C. The Short Story

According to the English fictionist William Somerset Maugham, the short story is "a piece of fiction
dealing with a single incident that can be read at a sitting. It is original. It must sparkle,
excite or impress; it must have unity of effect and it must move in an even line from its exposition up to its
close."
A short story can be a fable or a parable, real or fantasy, a true presentation or a parody, sentimental or
sarcastic, serious in intent or a light-hearted diversion-it can be any of these, but to be memorable it must catch
the eternal in casual, invest a moment with the immensity of time.
A Short story is a work of at least 2,000 words but under7,500 words (5-25 pages). The boundary
between a long short story and a novella is vague.
("Fiction Wikipedia," 2017)
What Makes a Good Short Story?

 A short story is a piece of prose fiction which can be read at a single sitting.
 It ought to combine matter-of-fact description with poetic atmosphere.
 It ought to present a unified impression of temper, tone, color, and effect.
 It mostly shows a decisive moment of life.
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 There is often little action, hardly any character development, but we get a snapshot of life.
 lts plot is not very complex (in contrast to the novel), but it creates a unified impression and leaves us
with a vivid sensation rather than a number of remembered facts.
 There is a close connection between the short story and the poem as there is both unique union of idea
and structure.
4. Forerunners of the Modern Short Stories

Before the 19th century the short story was not generally regarded as a distinct literary form. But
although in this sense it may seem to be a uniquely modern genre the fact is that short prose fiction is nearly as
old as language itself. Throughout history the humankind has enjoyed various types of brief narratives: jests,
anecdotes, studied digressions, short allegorical romances, moralizing fairy tales, short myths, and abbreviated
historical legends. None of these constitutes a short story as it has been defined since the 19th century, but they
do make up a large part of the milieu from which the modern short story emerged. (Encyclopedia Britannica,
2017)
Here are some of the forerunners of the modern short stories:
A. Myths E. Folktales
B. Fables F. Fairy Tales
C. Parables G. Legends
D. Allegories H. Romances
A. Myths
A myth may be broadly defined as a narrative that through many retellings has become an accepted
tradition in a society. Myths are tales involving the gods of old. They may deal with a conflict among the gods
themselves, or ways in which the gods would reveal themselves as unique characters unto the lowly creatures of
the Earth, including, of course, man. Myths exist in almost all cultures. They typically date from a time before
the introduction of writing, when they were passed orally from one generation to the next. Myths deal with
basic questions about the nature of the world and human experience, and because of their all-encompassing
nature, myths can illuminate many aspects of a culture
Famous examples of Myths are found in Greek Mythology:
1. Aphrodite and the Trojan War
2. Apollo and Cassandra
3. Apollo's Oracle and Delphi
4. Daedalus and lcarus
5. Demeter and Persephone
6. Eros and Psyche
7. Hades and the River Styx
8. Hermes and Apollo
9. Jason and the Golden Fleece
10. King Midas and The Minotaur
B. Fables
The fable is a short literary composition in prose or verse They cautionary or moral truth. The moral is
usually summed up at the end of the story, which would generally tells of conflict among animals that are given
the attributes of human beings.
The fable differs from the parable, also a short narrative designed to convey are the moral truth, in that
the fable is concerned with the impossible and improbable, whereas the parable always deals with possible
events.
Both fables and parables are forms of allegory.
Generally, fables are short narratives that revolve around particular moral lessons. Animals are the
heroes in most fables. They are made to stand for certain traits of the human race, and to teach the ways of the
world through vivid characterization and lively interaction.
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The famous examples of Fables are:

1. Bee-Keeper and the Bees -While a beekeeper was away, someone stole the honey. When the bees
returned, they started stinging the keeper. He called them ungrateful because they let someone steal the
honey and then attacked person who looked after them. The moral is, Things are not always what they
seem."
2 The Ants and the Grasshopper-The ants saved food for the winter and the grasshopper did not. The
moral is “It is best to prepare for the days of necessity.”
3. The Ass and the Grasshopper - An ass heard grasshoppers chirping and wanted to do the same. He
asked what kind of food they ate to be able to sing so beautifully. They said they ate dew. The ass ate
only dew and soon died. The moral is, "One person's meal is another's poison."
4. The Ass in the Lion's Skin -The ass put on a lion's skin and walked into the town. All were
frightened of him until he brayed, revealing himself. The moral is "When you talk too much, you can
reveal too much."
5. The Bundle of Sticks - On his deathbed, an old man had servants bring in a bundle of sticks. He told
his sons to break the bundle and none could. He then asked them to untie the bundle, each lake a stick
and break it. They did that easily. The moral is "Union gives strength."
C. Parable
A parable is a short, fictious narrative, designed to illuminate a spiritual truth, it has been used
similarly by later writers to convey a moral point.
The famous examples of Parables are :
1. Parable of the Good Samaritan - Luke 10:25-37
2. Parable of the Good Shepherd - John 10:1-5 and 11-18
3. Parable of the Great Banquet - Luke 14:16-24
4. Parable of the Growing Seed - Mark 4:26-29
5. Parable of the Hidden Treasure - Matthew 13:44
D.Allegories
An allegory is a fictional literary narrative or artistic expression that conveys a symbolic meaning
parallel to but distinct from, and more important than, the literal meaning. Related forms are the fable and the
parable, which are didactic, comparatively short, and simple allegories.
Here are some examples of allegory in literature:
1. Animal Farm by George Orwell is a political allegory of events in Russia and Communism.
2. Faerie Queene by Edmund Spenser is a religious moral allegory where characters represent
virtues and vices.
3. Pilgrim Progress by John Bunyan is a spiritual allegory about a spiritual journey. The name of
the central character, Pilgrim, epitomizes the book's allegorical nature
4. The Lion, the Witch, and the Wardrobe by Cs. Lewis is a religious allegory with Aslan as Christ
and Edmund as Judas.
5. The Lord of the Flies by William Golding has many allegories about society, morality and
religion, to name a few.
E. Folktales
Folktales are generic of various kinds of narrative prose literature found in the oral traditions of the
world. One of the many forms of folklore, folktales are heard and remembered, and they are subject to various
alterations in the course of retellings. As they are diffused (transmitted through a culture), some folktales may
pass in and out of written literature
and some stories of literary origin may cross over into oral tradition. Nevertheless, an essential trait of folktales-
and all folk literature-is their diffusion, and their passage from one generation to another, by word of mouth.
Examples of Filipino Folktales are:
1. Aponibolinayen and the Sun
2. Bulanawan and Aguio
3. Dogedog
4. Gawigawen of Adasen
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5. How Children Became Monkeys

6. How the First Head Was Taken
7. How the Moon and Stars Came to Be
8. How the Tinguian Learned to Plant
9. Juan Gathers Guavas
10. Lumawig on Earth
F. Fairy Tale
A fairy tale is a simple narrative dealing with supernatural beings (such as fairies, magicians, ogres, or
dragons) that is typically of folk origin and written or told for the amusement of children. It contains
supernatural or obviously improbable events, scenes, and personages and often having a whimsical, satirical, or
moralistic character.
Famous examples of Fairy Tales are:
1. Cinderella
2. 2 Elves and the Shoemaker
3. Emperor's New Clothes
4. Frog-Prince
5. The Gingerbread Man
6. Goldilocks and the Three Bears
7. Hansel and Gretel
8. 6, Jack and the Bean Stalk
9. Little Red Riding Hood
10. The Pied Piper of Hamelin
G. Legends
A legend is a traditional narrative or collection of related narratives, popularity regarded as historically
factual but actually a mixture of fact and fiction.
The Medieval Latin word legenda means "things tor reading" During certain services of the early
Christian church, legenda, or lives of the saints, were read aloud legend is set in a specific place at a specific
time; the subject is often a heroic historical personage. A legend differs from a myth by portraying a human
hero rather than one who is a god. Legends, originally oral, have been developed into literary masterpieces.
Best-known legends are:
1. Atlantis
2. Bloody Mary
3. El Dorado
4. Faust
5. King Arthur
6. Lady Godiva
7. Prester John
8. Robin Hood
9. The Flying Dutchman
10. The Fountain of Youth
11. The Gordian Knot
12. Yamashita's Treasures
H. Romances
A romance is a literary genre popular in the Middle Ages (5th century to 15th century), dealing, in
verse or prose, with legendary, supernatural, or amorous subjects and characters. The name refers to Romance
languages and originally denoted any lengthy composition in one of those languages. Later the term was applied
to tales specifically concerned with knights, chivalry, and courtly love. The romance and the epic are similar
forms, but epics tend to be longer and less concerned with courtly love.
5. Types of Modern Short Stories
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Now that we know generally what a short story is, we can discuss the different types of contemporary
short stories This is by no means a comprehensive list, since short stories come in a wide variety of lengths and
styles.
But this is a list of the most common.
A. Anecdote
B. Drabble
C. Feghoot
D. Flash Fiction
A. Anecdote
A short account of something interesting and amusing, which usually tells a story about a real person
and/or incident. Often, anecdotes are used to illustrate or support a point in an essay, article, or chapter. They
are very short, but have no specific limits.
A very famous anecdote in literature is from Swann's Way of Marcel Proust's In Search of Lost Time
novels, when he recalls a specific time that he ate a madeleine cookie.
Below is a small selection from this memory:
Many years had elapsed during which nothing of Combray, save what was comprised in the
theatre and the drama of my going to bed there, had any existence for me, when one day in winter, as I
came home, my mother, seeing that I was cold, offered me some tea, a thing I did not ordinarily take. I
declined at first, and then, for no particular reason, changed my mind. She sent out for one of those
short, plump little cakes called petites madeleines,' which look as though they had been molded in the
fluted scallop of a pilgrim's shell.
Proust uses this anecdote in part of an ongoing discussion on memory and remembrance of the past. For
him, this particular childhood moment represents one of his strongest and most intense memories, particularly
of those tied to senses. (Roan, 2014)
B. Drabble
An exceptionally short piece of fiction, usually of exactly 100 words in length-not including the title.
The purpose of a drabble is extreme brevity and to test an author’s skill at expressing himself-herself
meaningfully and interestingly in a very confined space.
Published science fiction writers who have written drabbles include Brian Aldiss and Gene Wolfe (both
of whom contributed to “The Drabble Project) and Lois McMaster Buiold (whose novel Cryoburn finishes with
a sequence of five drabbles, each told from the point of view of a different character).(Roan, 2014)
C. Feghoot
An interesting short story type also known as a story pun or a poetic story joke or a shaggy dog story. It
is a humorous piece ending in an atrocious pun. It can be very short, only long enough
to sufficiently illustrate the context of the piece enough to lead up to the pun. The term feghoot is derived from
Ferdinand Feghoot, the title character in a series of science fiction stories by Reginald Bretnor (1911-1992),
who wrote under the anggrammatic pen name Grendel Briarton.
"Feghoots aren't the most useful form of pun: but they can Reginald Bretnor help you end a story-a big
problem for many of us. We tell a great anecdote to our friends, get some laughs, and things are going well until
we realize we have no clue how to bring the thing to a close. What do you do? Give it a n oral? An alternative,
the Feghoot ending, summarizes your story in a way that makes laugh laugh-or even more satisfying, groan
appreciatively." (Roan, 2014)
D. Flash Fiction
A genre of fiction where all of the stories are very brief. We're talking under 100 words in some cases,
although there's no agreed-upon length for what constitutes a flash fiction story. Some stories are a single
sentence in length; others stretch on for a few hundred words. (Roan, 2014)
Flash fiction is an umbrella term used to describe any fictional work of extreme brevity, including the
Six-Word Story, 140-character stories, also known as twitterature, the dribble (50 words), the drabble (100
words), and sudden fiction (750 words). Some commentators have also suggested that some flash fiction
possesses a unique literary quality, e.g. the ability to hint at or imply a larger story. ("Flash fiction Wikipedia,"
2017)
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Here is an example of flash fiction from Padgett Powell's "A Gentleman's C":
My father, trying to finally graduate from college at sixty-two, came, by curious circumstance, to be
enrolled in an English class I taught, and I was, perhaps, a bit tougher on him than I was on the others. Hadn't he
been tougher on me than on other people's kids growing up? I gave him a hard, honest, low C. About what I felt
he'd always given me.
We had a death in the family, and my mother and I traveled to the funeral. My father stayed put to
complete his exams-it was his final term. On the way home we learned that he had received his grades, which
were low enough in the aggregate to prevent him from graduating, and reading this news on the dowdy sofa
inside the front door, he leaned over as if to rest and had a heart attack and died.
For years I had thought that the old man's passing away would not affect me, but it did.
Here is another example of flash fiction: "Sodom Gomorra" By Eliza Victoria
They found a pillar of salt outside the city limits, the shape neatly preserved. A woman caught in the
gesture of longing. Those who found her first wanted to sprinkle her on the burned earth, the trees charred
beyond naming. They then opted for practicality, and rubbed her into the flesh of gutted fish, poured her into
soup, placed her in crystal decanters on the
tables of kings.
All who tasted her wished to go back. Back where? they Eliza Victoria asked, and Home, they
whispered. No matter how dirty, no matter how black, no matter how many times the questions was asked:
How can you live here?
But this is mine, they said. This foul place. This is mine. And they wept for the streets that no
longer existed, the salt trickling down their cheeks.
6. The Formal Elements of Fiction

In the same way that a painter applies line, color, tone, perspective, texture and other elements or basic
principles of art to paint a painting, a fiction writer uses character, setting, plot, point of view, tone, style,
symbol, dialogue, theme and diction to create artistic effect in fiction. These components or building blocks of a
story are known as the formal elements of fiction. An understanding of the formal elements will increase the
reader's appreciation of any work of fiction, as well as his or her ability to share his or her readings with others.
The Formal Elements of Fiction are:

A. Character
B. Setting
C. Plot
D. Point of View
E. Tone
F. Diction
G. Style
H. Dialogue
I. Theme
A. Character
In fiction character refers to a textual representation of a human being (or occasionally another
creature). Most fiction writers agree that character development is the fiction, character refers key element in a
story's creation, and in most pieces of fiction close identification with the characters is crucial to understanding
the story. The story's protagonist is the central agent in generating its plot and this individual can embody the
story's theme key element the story's theme. The forces working against her/him (whether persons, things,
conventions of society or forces of nature) and the antagonists. Characters can be categorized as the following
depending on their level of development and the extent to which they change in the course of the story:
1. A protagonist is considered to be the main characters lead figure in a novel, play, story, or poem. It may
also be referred to as the "hero" of a work-Hamlet and Othello in the plays named after them, Gregor Samsa in
Katka's Metamorphosis, Paul in Lawrence's " Rocking Horse Winner."
2. An antagonist is a character in a story or poem who deceives, frustrates, or works again the main
character, or protagonist, in some way. The antagonist doesn't necessarily have to be a person. It could be death,
the devil, an illness, or any challenge that prevents the main character from living "happily ever after." Creon is
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Antigone's antagonist in Sophocles' play Antigone; Teiresias is the antagonist of Oedipus in Sophocles'
Oedipus the King.
3. An antihero is a protagonist who has the opposite of most of the traditional attributes of a hero. He or she
may be bewildered, ineffectual, deluded, or merely pathetic.
4. Tragic hero/tragic figure -A protagonist who comes to a bad end as a result of his own behavior,
usually caused by a specific personality disorder or character flaw.
5. A stock/ type character is a stereotyped character and is known by having one personality trait (e.g., a
mad scientist, the absent-minded professor, the cruel mother-in-law);
6. A flat character is a character who is the same sort of person at the end of a story as s/he was at the
beginning. Gollum from The Lord of the Rings is a wonderful character who is absolutely flat in that his
character is determined by his obsession with the recovery of the ring, "his precious."
7. A dynamic character is a character who, during the course of a story undergoes a permanent change in
some aspect of his/her personality outlook. In Shakespeare's Othello, Desdemona is a major character, but one
who is static, like the minor character Bianca. Othello is a major character who is dynamic, exhibiting an ability
to change.
8. A round character is a character who is complex, multi-dimensional, and convincing perhaps even
contradictory. E. M. Forster put it succinctly, “The test of a round character is whether it is capable of surprising
in a convincing way." For example, Genly Ai in The Left Hand of Darkness is one or Ursula Le Guin's
many round characters.
9. A Foil is a character who contrasts and parallels the main character in a play or story. In Hamlet, Laertes is
a foil for the main character. In Othello, and Bianca are foils for Desdemona.
Authors achieve characterization with a variety of techniques: by using the narrative voice to
describe the character, by showing the actions of the character and of those reacting to her, by revealing the
thoughts or dialogue of the character, or by showing the thoughts and dialogue of others in relation to the
character.
Characterization in literature refers to a step-by-step process wherein a character
of a story is brought to notice and then detailed upon in front of the reader.
Characterization is the means by which writers present and reveal character. Although techniques of
characterization are complex, writers typically reveal characters through their speech, dress, manner, and
actions. Readers come to understand the character Miss Emily in Faulkner's story "A Rose for Emily" through
what she says, how she lives, and what she does.
Characterization is a sort of initiation wherein the reader is introduced to the
character. The initial step is to introduce the character with a marked emergence. After the arrival his behavior
is discussed. This is followed by an insight into his thought-process. Then comes the part where the character
voices his opinions or converses with other characters in the story. The last and finalizing part is when others in
the plot respond to the character's presence.
To be submitted:
Creative Writing Challenge #1: Characterization (Week
9-10)
Fill in as many details as you can to help you create three-
dimensional characters.
CHARACTER WORKSHEET
NAME:
PHYSICAL DESCRIPTION:
AGE:
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HEIGHT AND WEIGHT:
EYES:
HAIR:
SPECIAL ABILITIES:
PERSONAL DATA
EDUCATION:
OCCUPATION:
SOCAIL CLASS:
RELIGION:
ETHNICITY:
HOBBIES:
FRIENDS:
AMBITIONS:
FAMILY
PLACE IN THE FAMILY:
IMMEDIATE FAMILY MEMBERS:

PETS:
PERSONALITY
MAIN PERSONALITY TRAIT:
DISPOSITION:
SELF-IMAGE
B. Setting
Setting is the story's time and place. The elements making up a setting are: the geographical location,
its topography, scenery, and such physical arrangements as the location of the windows and doors in a room; the
occupations and daily manner of living of the characters; the time or period in which the action takes place, for
example, period in history or season of the year and the general environment of the characters, for example,
religious, mental, moral, social, and emotional conditions.
Setting is also one of the primary ways that a fiction writer Jose Rizal establishes mood. It is often
developed with narrative description, but it may also be shown with action, dialogue, or a character's thoughts.
The stories of Sandra Cisneros are set in the American southwest in the mid to late 20th century: those
of James Joyce in Dublin, Ireland in the early 20th century, the novels of Rizal are set in the Philippines in the
late 1800s.
C.Point of View
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Point of view in fiction refers to the source and scope of the narrative voice. Point of view is vantage point
from which an author presents a story. It is the position the author presents a story. It is the position or the
standpoint from which something is observed or considered.
the first-person point of view, usually identifiable by the use of the pronoun
In the first-person point of view, usually identifiable by the use of the pronoun “I” a character in the
story does the narration. A first-person narrator may be a major and is often its protagonist. The author's choice
of point of view has a significant effect the story's voice and on the type of information given to the reader. In
first-person narration, for example, what can be shown is limited to the character's observation and thoughts,
and any skewed perceptions in the narrator will be passed on to the reader.
The rarest narrative voice in literature is the second-person point of view, in which the narrator
refers to the reader as "you," therefore making the audience member as if he or she is a character within the
story. Third-point of view occurs when the narrator does not take part in the story.
There are four types of third-person point of view.

1. In third-person omniscient, the narrative voice can render information from anywhere, including
the thoughts and feelings of any of the characters. This all-knowing perspective allows the narrator to
roam freely in the story's setting and even beyond. The Omniscient Narrator is not a character in the
story and can tell what any or all characters are thinking and feeling
2. In third-person limited, the narrative voice can relate what is in the minds of only a select few
characters (often only one, the point-of-view character).
3. The third-person objective employs a narrator who tells a story without describing any character's
thoughts, opinions, or feelings; instead, it gives an objective, unbiased point of view.
Often the narrator is self-dehumanized in order to make the narrative more neutral; this type of narrative
mode, outside of fiction, is often employed by newspaper articles, biographical documents, and scientific
journals. This point of view can be described as a "fly on the wall" or "camera lens" approach that can only
record the observable actions, but does not interpret these actions or relay what thoughts are going through the
minds of the characters.
Works of fiction that use this style put a great deal of emphasis on characters acting out their feelings in
an observable way. Internal thoughts, if expressed, are given voice through an aside or soliloquy. While this
approach does not allow the author to reveal the unexpressed thoughts and feelings of the characters, it does
allow the author to reveal information that not all or any of the characters may be aware of. It is also called the
third-person dramatic, because the narrator (like the audience of a drama) is neutral and ineffective toward the
progression of the plot--merely an uninvolved onlooker.
3. The third-person subjective is when the narrator conveys the thoughts, feelings, opinions, etc. of
one or more characters. In third-person subjective, sometimes called the "over the shoulder"
perspective, the narrator only describes events perceived information known by a character. At its
narrowest and most subjective scope, the story reads as though the viewpoint character were
narrating it. Dramatically this is very similar to the first person, in that it allows in-depth revelation
of the protagonist s personality, but it uses third-person grammar.
Creative Writing Challenge # 2: POINT OF VIEW

(Week 9-10)
Can you examine the similarities and differences among first person, second person,
and third person points of view? See page 161 of your textbook follow the format
given. Fill in the blanks with what you think is an appropriate description from the
point of the character provided.
A. Reading Activity
Read “In a Grove” by Ryunosuke Akutawaga on pages 162-168 of your Creative
Writing textbook. Answer the Discussion Questions#1, #2, #3, #4. Use separate paper
for your answer.
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D. Plot
Plot refers to the series or sequence of events that
give a story its meaning and effect. In most stories, these
events arise out of conflict experienced by the main
character. The conflict may come from something external
or it may stem from an internal issue. As the character
makes choices and tries to resolve the problem, the story's
action is shaped and plot is generated. The plot is built
around a series of events that take place within a definite
period. It is what happens to the characters. No rules exist
for the order in which the events are presented. In some
stories, the author structures the entire plot
chronologically, with the first event followed by the second, third, and so on, like beads on a rosary.
In traditional literary terms, a unified plot includes an exposition, a rising action, a climax, a falling
action and a dénouement or resolution or conclusion.
According to Freytag, a drama is divided into five parts, or acts which some refer to as a dramatic arc:
exposition, rising action, climax, falling action, and dénouement. Freytag's Pyramid can help writers organize
their thoughts and ideas when describing the main problem of the drama, the rising action, the climax and the
falling action.
Although Freytag's analysis of dramatic structure is based on five-act plays, it can be applied to short
stories and novels as well, making dramatic structure a literary element.
1. Exposition
Exposition is the introductory material that creates the tone, gives the setting, introduces the characters,
and supplies other facts necessary to understanding a work of literature.
Ibsen's A Doll's House, for instance, begins with a conversation between before the two central
characters, a dialogue that fills the audience in on events that occurred before the action of the play begins, but
which are important in the development of its plot.
2. Rising Action
Rising Action is the second section of the typical Plot, in which the Main Character begins to grapple
with the story's main conflict; the rising action contains several events which usually are arranged in an order of
increasing importance.
3. Climax
Climax is a rhetorical term for a rising order of importance in the ideas expressed... In large
compositions-the essay, the short story, the drama, or the novel-the climax is the point of highest interest, where
the reader makes the greatest emotional response. In dramatic structure climax designates the turning point in
the action, the crisis at which the rising action reverses and becomes the falling action.
The climax of John Updike's "A&P," for example, occurs John Updike when Sammy quits his job as a
cashier.
4. Falling Action
Falling Action is the part of the Plot after the Climax, containing events caused by the climax and
contributing to the Resolution.
The falling action of Othello begins after Othello realizes that lago is responsible for plotting against
him by spurring him on to murder his wife, Desdemona.
5. Dénouement or Resolution
Dénouement or Resolution is the final unraveling of a plot; the living solution or mystery; an
explanation or outcome. Dénouement implies an ingenious untying of the knot of an intrigue, involving not only
a satisfactory outcome of the main situation but an explanation of all the secrets and misunderstandings
connected with the plot complication.
The denouement of Hamlet takes place after the catastrophe, with the stage littered with corpses.
During the denouement Fortinbras makes an entrance and a speech, and Horatio speaks his sweet lines in praise
of Hamlet.
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However, many other stories are told with flashback techniques in which plot events from earlier times
interrupt the story's present events. All stories are unique, and in one sense there are as many plots as there are
stories.
Creative Writing Challenge # 3: Write A Scene!

(Week 11-12)
Form the list below, choose two characters, a setting, and a situation. The develop a scene
composed of dialogues. Write your dialogue on a short bond paper. Use your own
handwriting.
Characters:
 A student failing in many subjects
 A middle age woman who is in love with a man in his twenties.
 A man who doesn’t believe in God
 An alien disguised as a human being
Setting:
 At the train station like LRT or MRT
 Outside a church on a Sunday morning
 In a crowded mall
 In a park on a rainy day
Situation:
 Character A has discovered Characters B’s deep dark secret.
 The two characters see each other many years.
 Character A discover that Character B has been lying for a long time.
(RUBRICS FOR DIALOGUE STORY WILL BE POSTED IN YOUR GC/ CW FB CLOSED
GROUP)
E. Tone
Tone refers to the mood or attitude that the author creates toward the story's subject matter and its
audience. It is the way an author communicates a feeling or attitude toward the subject he is writing about. To
determine tone, you have to consider diction and syntax, the grammatical structure of the sentence. You also
have to consider which details are included and which are left out.
For instance, if the author is listing reasons and answering likely objections in advance, the is
argumentative or persuasive. If the poet goes on and on about the snowy, picture-perfect holidays of childhood,
nostalgia is a good bet.
When you're determining tone, "hear" the poem in your head. Put yourself in the author's shoes and
imagine what she feels. Examine the language closely, and bring your
own experience to the poem.
F. Diction
Diction is the writer's choice of words. The author chooses each word carefully so that both its meaning
and sound contribute to the tone and feeling of the literary work. The author must consider a word's denotation-
its definition according to the dictionary and its connotation-the emotions, thoughts and ideas associated with
and evoked by the word.
A work's diction forms one of its centrally important literary elements, as writers use words to convey
action, reveal character, imply attitudes, identify themes, and suggest values. We can speak of the diction
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particular to a character, as in lago's and Desdemona's very different ways of speaking in Othello. We can also
refer to a poet's diction as represented over the body of his or her work, as in Donne's or Hughes's diction.
G. Style
Style in fiction refers to the language conventions used to construct the story. A fiction writer can
manipulate diction, sentence structure, phrasing, dialogue, and other aspects of language to create style.
Thus, a story's style could be described as richly detailed, flowing, and barely controlled or sparing and
minimalist to reflect the simple sentence structures and low range of vocabulary. Predominant styles change
through time, therefore the time period in which fiction was written often influences its style.
Style is the manner of expression of a particular writer, produced by choice of words, grammatical
structures, use of literary devices, and all the possible parts of language use. Style is the way a writer uses words
to create literature. It is difficult to enjoy a story's characters or plot without enjoying the author s style. The
style of an author is as important as what he is trying to say.
H. Dialogue
Dialogue is a literary and theatrical form consisting of a written or spoken conversational exchange
between two or more ("dia" means through or across) people.
It is the conversation between characters in a narrative. It is the lines or passages in drama which are
intended to be spoken.
In fiction, dialogue is typically enclosed within quotation marks. In plays, characters' speech is preceded
by their names.
Functions of Dialogue
1. It moves the action along in a work and it also helps to characterize the personality of the speakers,
which vary depending on their nationalities, jobs,
2. It also gives literature a more natural, conversational flow, which makes it social classes and
educations more readable and enjoyable.
3. By showcasing human interaction, dialogue prevents literature from being nothing more than a list of
descriptions and actions.
4. Dialogue varies in structure and tone depending on the people participating
in the conversation and the mood that the author is trying to maintain in his or her writing.
In great fiction, dialogue is not intuitive, and it does not come naturally to writers. Most importantly, for
effective dialogue in fiction, authors cannot simply describe a dialogue from real experience or from an
imagined scene.
Basically, dialogue is always created for a purpose of story development, therefore, it cannot function as
a taped recording of reality; and it must be stripped of nuances that may not be true to the story or confuse the
reader.
I. Theme
Theme is the meaning or concept we are left with after reading a piece of fiction. It can be a revelation of
human character or it may be stated briefly or at great length. It develops from the interplay of character and
plot. A theme is the central and unifying concept of the story. It must adhere to the following requirements:
1. must account for all the major details of the story.
2. It must not be contradicted by any detail of the story.
3. It must not rely on supposed facts-facts not actually stated or clearly implied
by the story.
A theme is not the "moral" of the story. A theme is the author's way of communicating and sharing
ideas, perceptions, and feelings with readers, and it may be directly stated in the text, or it may only be implied.
Another creative way to generate story ideas is the “story triangle.” The story triangle helps you describe
characters, events, and problems.
Activity 4: Follow these directions:
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Name of Character:
Two words describing the main character:
Three words describing the setting:
Four words describing the main problem:
Five words describing the first problem
Six words describing the second problem:
Seven words describing the third problem:
Eight words describing the solution:
1. __________
2.__________ __________
3.__________ __________ __________
4.__________ __________ __________ __________
5.__________ __________ __________ __________ __________
6.__________ __________ __________ __________ __________ __________
7. ___________ __________ __________ __________ __________ __________ __________
8. __________ __________ __________ __________ __________ __________ __________ ___________
End of the lesson on Reading and Writing Fiction.
END of Prefinal Exam Coverage

Good Luck for the Prefinal Exam
Congratulations! You have done well, creative writers of the 21st century.
Keep on having fun in learning AESTHETIC, VALUE of life-changing subject,
Creative Writing!

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(B.E.S.T)
Amare Est Servire

CREATIVE WRITING
HUMSS Strand
WEEK 13-16
CONTENT STANDARD:
techniques.
 Identify the various elements, techniques, and literary devices in drama:
 Understand intertextuality as a technique of drama
 Conceptualize a character/setting/plot for a one- act play,
 Explore different staging modalities vis-à-vis envisioning the script
 Write short exercises involving character, dialogue, plot, and other elements of drama
UNIT 4- READING AND WRITING DRAMA

Chapter Outline:
1. What is Drama?
2. Some Quotes on Drama
3. Types of Drama
4. Elements of Drama
5. Techniques and Literary Devices
6. Theater Spaces
7. Writing a One-Act Play by Jason Caldwell
8. How to Write a 10-Minute Play by Sam Graber
What is Drama?
Drama is a literary work, which is meant to be performed on stage.
It comes from Greek word dran meaning "to do" or "to act." A play is a
story acted out. It shows people going through some eventful period in their lives
seriously or humorously. The speech and action of a play recreate the flow of
human life. A play comes fully to life only on the stage.
On the stage, it combines many arts-those of the author, director, actor,
designer, and others. Dramatic performance involves an intricate process of rehearsal based upon imagery
inherent in the dramatic text. A playwright first invents a drama out of mental imagery. The dramatic text
presents the drama as a range of verbal imagery. The language of drama can range between great extremes: on
the one hand, an intensely theatrical and ritualistic manner; and on the other, an almost exact reproduction of
real life.
Some Quotes on Drama
One of the greatest things drama can do, at its best, is to redefine the words we use every day such as love,
home, family, loyalty and envy. Tragedy need not be a downer.
- Ben Kingsley
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Drama is very important in life: You have to come on with a bang. You never want to go out with a whimper.
Everything can have drama if it's done right. Even a pancake. -Julia Child
Drama can be an addiction. It's so, so sneaky. Jealousy-all those things can really send you in a lot of different
crazy directions. - Christian Slater
Types of Drama
The drama elements that dominate the play will largely determine the type of play it is to be. If the
material in of a serious nature, it will be either a tragedy or melodrama; if it is to be treated in a lighter vein,
even though the subject itself is as a serious one it may be a comedy or a farce. The very "requirements" that are
here listed for each of the four types are arbitrary and may change with the years. Though they may even now
be debated, they have been derived from what is generally considered as the best of our dramatic literature in
the various types.
There are many types of Drama. Here is a hon-exhaustive list with a simple explanation of each:
A. Tragedy
B. Melodrama
C. Comedy
D. Farce
E. Fantasy
F. Musical Drama
G. Tragicomedy
A. Tragedy
Tragedy is a drama in which a character (usually a good and noble person of high rank) is brought to a
disastrous end in his or her confrontation with a superior force (fortune, the gods, social forces, universal
values), but also comes to understand the meaning of his or her deeds and to accept an appropriate punishment.
Often the protagonist's downfall is a direct result of a fatal flaw in his or her character.
Requirements of Tragedy:
1. The play must concern a serious subject.
2. The leading character must be a great figure or one that is representative of a class.
He must represent more than an individual.
4. The incidents must be absolutely honest and without the element of coincidence or chance. What
should happen must happen.
5. The basic emotions are those of pity and fear, pity for the protagonist in his suffering,
and fear that the same fate might come to us.
6. In the final analysis the protagonist must meet defeat, but before that defeat must
come enlightenment or the catharsis of Aristotle.
Sophocles' mythical and immortal drama, Oedipus Rex, is thought to be his best classical tragedy.
Aristotle has adjudged this play as one of the greatest examples of tragic drama in his book, Poetics by giving
following reasons:
a. The play arouses emotions of pity and fear, and achieves the tragic katharsis
b. It shows the downfall of an extraordinary man of high rank, Oedipus
c. The central character suffers due to his tragic error called hamartia, as he murders his real father, Laius,
and then marries his real mother, Jocasta.
d. Hubris is the cause of Oedipus’ downfall.
Here are the Top 10 Best Tragedies according to Adrian Poole, a reader in English and Comparative
Literature at the University of Cambridge:
1. The Oresteia by Aeschylus (5th century BC)
2. Antigone by Sophocles (5th century BC)
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3. Bacchae by Euripides (5th century B)

4. Hamlet by William Shakespeare (?1599-1601)
5. King Lear by William Shakespeare (?1604-1605)
6. Samson Agonistes by John Milton (1671) Aeschylus
7. Phaedra by Jean Racine (1677)
8. Tristan und Isolde by Richard Wagner (1856-1859)
9. Blood Wedding by Frederico Garcia Lorca (1933)
10. Not I by Samuel Beckett (1973)
Note: Do READ and BE INFORMED on the details of Parts of Dram, Writing

Scenes and Acts, and Drama on the Page, pages 231-234, 245-247.
B. Melodrama
Melodrama is a term applied to any literary work that relies on implausible events and sensational
action for its effect. The conflicts in melodramas typically arise out of plot rather than characterization; often a
virtuous individual must somehow confront and overcome a wicked oppressor. Usually, a melodramatic story
ends happily, with the protagonist defeating the antagonist at the last possible. Thus, melodramas entertain the
reader or audience with exciting action while still conforming to a traditional sense of justice,
Requirements of Melodrama:
1. It treats of a serious subject.
2. The characters are more loosely drawn than in tragedy, and this makes it easier for
the audience to identify itself with the characters, thus creating a stronger emphatic
response.
3. Whereas tragedy must be absolutely honest, the element of chance enters into
stronger empathic response the melodrama. It is episodic and the most exciting
incidents possible are brought into the play.
4. There may be an emotion of pity, but it borders on sentimentality. Fear may be
evident, but it is of a more temporary or surface type.
5. There is no real enlightenment even in defeat, and in most instances the protagonist
does win his battle.
The Heiress is based on Henry James' novel the Washington Square shows an ungraceful and homely
daughter of a domineering and rich doctor falling in love with a young man, Morris Townsend wishes to elope
with him, but he leaves her in lurch. The author creates melodrama towards the end, when Catherine teaches a
lesson to Morris and leaves him instead.
Some best examples of melodrama include:
1. Dion Boucicaulťs Corsican Brothers (1852), The Octoroon (1859)
2. Harriet Beecher Stowe's Uncle Tom's Cabin (1852)
C. Comedy
The word comedy originated from the Greek “komos” which means "a revel or celebration." This may
have been due to the festivities that the Greeks celebrated to rejoice the coming of spring and to ritual
presentations in praise of Dionysius, the god of wine and fertility. The term comedy is encompassing to mean
either a classification of an entire play, a comic situation, or a character in a play.
Comedy is divided into two varieties - "high" and "low." High comedy relies more on wit and wordplay
than on physical action for its humor. It attempts to lecture on the pretensions and hypocrisy of human behavior.
An example of this is the comedy of manners, a funny satire about the misgivings and misappropriations of the
elite society.
Low comedy places greater emphasis on physical action and visual gags, and its visual
and verbal jokes do not require high intellect to be appreciated. Classic examples of this are the burlesque (a
parody or travesty of another play), commedia dell'arte (a theater popularized by comedians who traversed
from town to town in country fairs and marketplace) and slapstick comedy (a farce that involves pie-throwing,
head-swatting, and other violent actions intended to be humorous.
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Comedy is a work intended to interest, involve, and amuse the reader or audience, in which no terrible
disaster occurs and that ends happily for the main characters. High comedy refers to verbal wit, such as puns,
whereas low comedy is generally associated with physical action and is less intellectual. Romantic comedy
involves a love affair that meets with various obstacles (like disapproving parents, mistaken identities,
deceptions, or other sorts of misunderstandings) but overcomes them to end in a blissful union.
Requirements of Comedy
A survey of the best comedies in twenty-five hundred years of theater shows that
comedy:
1. Treats its subject in a lighter vein even though the subject may be a serious one.
2. Provokes what can be defined as "thoughtful laughter."
3. It is both possible and probable;
4. It grows out of character rather than situation;
5. It is honest in its portrayal of life.
Much Ado About Nothing is the most frequently performed Shakespearian comedy. The play is
romantically funny in that love between Hero and Claudio laughable, as they never even get a single chance to
communicate on-stage until they get married. Their relationship lacks development and depth. They end up
mere caricatures, exemplifying what people face in life when their relationships are inters weak. Love between
Benedick and Beatrice is amusing, as initially their communications start are very sparky, and they hate each
other. However, they all of sudden make up, and start loving each other.
Here is a list of the comedies written by Shakespeare. Plays marked with an asterisk (*) are now
commonly referred to as the "romances." Plays marked with two asterisks (**) are sometimes referred to as the
"problem plays"
1. All's Well That Ends Well
2. As You Like It
3. The Comedy of Errors
4. Cymbeline*
5. Love's Labour's Lost
6. Measure for Measure**
7. The Merchant of Venice
8. The Merry Wives of Windsor
9. A Midsummer Night's Dream
10. Much Ado About Nothing
11. Pericles, Prince of Tyre*
12. The Taming of the Shrew
13. The Tempest*
14. Twelfth Night
15. The Two Gentlemen of Verona
16. The Two Noble Kinsmen*
17. The Winter's Tale*
D. Farce
Farce is a play that is characterized by broad humor, wild antics, and often slapstick, pratfalls, or other
physical humor.
Requirements of Farce:
The qualities of farce which have been most constant through the ages show that:
1. It has as its object riotous laughter and escape;
2. It asks the audience to accept certain improbabilities, but from that point proceeds
in a life-like manner;
3. It is dominated by situation rather than character, and calls for little or no thought;
4. It must move very rapidly in an episodic manner, and is believable only for the
moment.
Oscar Wilde's play, The Importance of Being Earnest is a very popular example of Victorian farce. In
this play, a man uses two Oscar Wilde identities; one as a serious person Jack (his actual name) that he uses for
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Cesily, his ward, and as a rogue named Ernest for his beloved woman, Gwendolyn. Unluckily, Gwendolyn
loves him partially because she loves the
name Ernest. It is when Jack and Earnest must come on-stage together for Cesily, then Algernon comes in to
play Earnest' role, and ward immediately falls in love with another Ernest. Thus, two young women think that
they love the same man-an occurrence that amuses the audience.
Well-known examples of farce are:
1. "Noises Off" by Michael Frayn
2 "Lend me a tenor" by Ken Ludwig
3. "Leading Ladies" by Ken Ludwig
4. "Moon over Buffalo" by Ken Ludwig
5. “A Flea in Her Ear" by Georges Feydeau
6. "Don't Dress for Dinner" by Marc Camoletti
7. "Rumors" by Neil Simon
8. "What the Butler Saw" by Joe Orton
9. "Is He Dead?" by Mark Twain
10. "Caught on the Net" by Ray Conney
11. "Run for your Wives" by Ray Conney
12. "Cash on Delivery" by Michael Cooney
E. Fantasy
Fantasy is a completely fictional work where characters virtually display supernatural skills. It's more
appealing to children as fairies, angels, superheroes, or other fantastic creatures are embedded in the plot. Use
of magic, pseudoscience, horror, and spooky themes through various kinds of technical devices create a perfect
world of fantasy. This modern version of drama incorporates a great deal of special effects.
The Lion, The Witch and the Wardrobe by C.S. Lewis is a good example. Many artistic mediums have
brought the world of Narnia to life. Literature, radio, television, animation, and film have each interpreted C.S.
Lewis' work. Yet the stage play adaptation of this fantasy classic possesses. immense charm and sincerity.
(ThoughtCo., 2017)
The Hobbit, adapted by Edward Mast, is a prequel to Lord of the Rings. It captures the essence of this
magical quest-though it does skip a few parts of the book. J.R.R. Tolkien spins the wondrous tale of Bilbo
Baggins, the unlikely hero who learns that there is more C to life than relaxing in the Shire. The stage play is
simple enough that it could be performed by junior high students. Yet, the themes are sophisticated enough to
warrant a professional production. (ThoughtCo., 2017)
Another example is The Reluctant Dragon by Mary Hall Surface. So many fantasy stories end with a
dragon being slain. Imaginary-animal activists will be happy to know that at least one show is sympathetic to
the plight of these endangered magical beasts. Though a tale of fantasy, this version by Mary Hall Surface
teaches a valuable lesson the dangers of prejudice. (ThoughtCo., 2017)
Tuck Everlasting is an Mark Frattaroli's adaptation of Natalie Babbitt's novel. Not all fantasies contain
wizards and monsters. Some of the best imaginary tales present a single magical element. In the case of Tuck
Everlasting, a family drinks from a supernatural spring and attains eternal life, for better or for worse.
(ThoughtCo., 2017)
F. Musical Drama
In musical drama, the dramatists not only tell their story through acting and dialogue, nevertheless
through dance as well as music. Often the story may be comedic, though it may also involve serious subjects.
Music, melody, and dance play a significant role in a musical drama. The music should be in sync with the
actions and the performer often uses dance as a means of self-expression. The stage is equipped with a band of
the orchestra, well-rehearsed with the plot and use of music. Musical drama became popular as opera, which is
still considered to be intensely sensuous.
G. Tragicomedy
A tragicomedy is a literary genre that blends aspects of both tragic and comic forms. Most often seen in
dramatic literature, the term can variously describe either a tragic play which contains enough comic elements
to lighten the overall mood or, often, a serious play with a happy ending. It is incorporated with jokes
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throughout the story just to lighten the overall mood, or often a serious play with a happy ending. It is
incorporated with jokes throughout the story just to lighten the tone.
The Merchant of Venice by William Shakespeare is considered as one of the most popular traditional
tragicomedy examples. Though it has a comic structure, there are tragic characters such as Shylock (who is a
central character) and tragic events such as Antonio's "loss" (because he is not really dead) of life. Although the
play ends on a happy note with the union of the lovers in the story and Antonio is saved from a tragic incident,
readers are left with a taste of Shylock's sufferings. Hence, the feeling and mood of the play at the end is neither
happy nor gloomy. Though, this play has definitely a comic structure, it also has strong tragic story. Therefore,
it can be classified as a tragicomedy. (Literary Devices, 2017).
Anton Chekhov's play, The Cherry Orchard turned out to be his final play that has a combination of
comedy and tragedy in the story of an elite family which is on the verge of losing their inherited estate. As this
play is based on an inevitable social change which came with the dawn of the 20th century, it presents an end of
an aristocratic era blended with tragic and comic elements. The comic element can be seen in the behavior,
humorous aspects and
lack of responsibility of the characters. (Literary Devices, 2017)
Samuel Beckett's Waiting for Godot can also be considered as one of the great examples of
tragicomedy. There are many gestures, dialogues, actions and situations that are filled with pure comedy. All
types of musical devices have been used to create laughter. The overall atmosphere is that of a dark-comedy.
For example, Vladimir is determined not to listen to Estragon’s nightmare. However, the latter keeps pleading
with him to listen. Similarly, Estragon takes off and puts on his shoes several times while Vladimir plays with
his hat again and again. On the other hand, comedy turns into a tragedy due to the haplessness of these tramps.
Vladimir and Estragon wait for somebody who does not come, which makes them disappointed. During the
course of time, Samuel Beckett, they indulge themselves in meaningless activities. (Literary Devices,2017)
The Caretaker written by Harold Pinter is mixed with two modes; tragedy and comedy and is a fine
modern example of tragicomedy. The comic elements come out in the monologues of Mick and Davies, and
even the interactions between characters sometimes approach farce. Davies' repetition, confusion and deceive
brothers makes the. play comic. However, the tragic element appears in the climatic monologue of Anton
regarding his shock treatments at the end of the play and in "that place", although, its ending is somewhat
ambiguous. (Literary Devices,2017)
Take Note!
 Successful plays usually begin in medias res, meaning “right in the middle of the action.”
Do these!
 Read the excerpt samples of Drama- Oedipus the King (pages 225-230) and Pygmalion
(pages 235-244).
 Read the text/details of Writing in Scenes and Acts on pages 245-247 of your CW
textbook.
Other details you may read and study: Putting the Drama on the Pages-page 258
Sounding out the Dialogue- page 258
A Final Note on Drafting and Revising Drama-page 259
Elements of Drama
The elements of drama are similar to other forms of fiction you've learned such as, novels and short
stories, but in drama, actors play the parts of characters and tell the story through their interpretation of the
playwright's dramatic work.
Like novels and short stories, plays follow a defined format. For example, you've learned that short
stories are of a specific length, and deal with one main character, conflict, and setting. Plays follow an equally
specific set of conventions. These conventions bring up some drama-specific concepts and terms.
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Aristotle's Six Elements of Drama

Aristotle described what theatre, especially Tragedy, should contain and how it should be composed. His
famous six elements have retained their importance through time, and only in our contemporary society have
theatre practitioners begun to question whether or not they always apply.
However, these six elements are still the most widely known and used evaluative tools and general rules
for artistic Aristotle theatre performances. His thoughts still reign supreme, despite current undermining by
some contemporary scholars and theatre practitioners. (“Huh? Theatre? The Basics! (Part 2)- Free Online
Course Materials- USU OpenCourseWare,"2017)
Aristotle identifies tragedy as the most refined version of poetry dealing with lofty matters and comedy
as the most refined version of poetry dealing with lofty matters dealing with base matters.
According to Aristotle, tragedy came from the efforts of poets to present me a nobler, or "better than
they are in real life. Comedy, on the other hand, shows a lower ’type’ or of person, and reveals humans to be
worse than they are in average.
A tragedy, according to Aristotle consists of six component parts, which are listed here in order from
most important to least important: plot, character, thought, diction, melody, and spectacle.
1. Plot-Plot refers to the "structure of incidents" or actions that happen in drama or play.
It is the basic storyline. The key elements of the plot are reversals, recognition, and
suffering. Actions should be logical and follow naturally from actions that precede
them.
2. Character - Characters refers to the people portrayed by the actors in the play. It is
the characters who move the action or plot forward.
3. Thought - Refers to the theme or the main idea of the drama or play.
4. Diction (Lexis)- Refers to the dialogues of the characters. These are the words written
by the playwright and spoken by the characters in the play.
5. Music/ Melody/ Rhythm - While music is often featured in drama, in this case Aristotle
was referring to the rhythm of the actors' voices as they speak. Take note, also, that in Greek drama,
there is a chorus.
6. Spectacle (Opsis) - Spectacle refers to the visual elements of a play: make-up, props,
sets, costumes, special effects, etc. Spectacle refers to everything that the audience
sees as they watch the drama unfold onstage. Aristotle calls spectacle the "least
artistic" element of tragedy, and the "least connected with the work of the poet
(playwright).
A. Plot and Conflict

Plot, in drama as in fiction, is an ordered chain of physical, emotional or intellectual events that ties the
action together. It is a planned sequence of interrelated begins in a state of imbalance, grows out of conflict,
reaches a peak of complication, and resolves into some new situation. (Repository, 2017)
For Aristotle, plot is 'the soul of tragedy, because action is paramount to the significance of a drama, and
all other elements are subsidiary. A plot must have a middle, and end; it must also be universal in significance,
have a determinate structure, and maintain a unity of theme and purpose . ("Aristotle’s Poetics Summary GradeSaver,”
2017)
According to Aristotle, a well-formed plot must have a beginning, which is no necessary consequence of
any previous action; a middle, which follows logically from beginning: and an end, which follows logically tom
the middle and from which no further action necessarily follows. The plot should be unified, meaning that every
element of the plot should tie in to the rest of the plot, leaving no loose ends. This kind of unity allows tragedy
to express universal themes powerfully, which makes it superior to history, which can only talk about particular
events.
It is, of course, easy to oversimplify the idea of plot in a play. Dramatic plots are often more complicated
than a single movement toward a single solution or resolution. Some plays have double plots two different but
related lines of action going on at the same time. Other plays offer a main plot, together with a subplot that
comments, either directly or indirectly, on the main plot. (The story of Rosencrantz and Guildenstern forms a
subplot with the overall plot of Hamlet.)
The mainspring of plot in a play is conflict, which can be physical, psychological, social or all three. It
can involve a character's struggle against another person, against the environment, or against himself or herself.
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Most commonly, the conflict in a play is a combination of these general types. Conflict in drama can be
more explicit than in prose fiction because we actually see the clash of wills and characters on stage or on the
page.
According to Aristotle, plot also must contain elements of astonishment, reversal (peripeteia),
recognition, and suffering. Reversal is an ironic twist or change by which the main action of the story comes
full-circle. Recognition, meanwhile, is the change from ignorance to knowledge, usually involving people
coming to understand one another true identities. Suffering is a destructive or painful action, which is often the
result of a reversal or recognition. All three elements coalesce to create "catharsis," which is the engenderment
of fear and pity in the audience: pity for the tragic hero's plight, and fear that his fate might befall us.
For Aristotle. episodic plots are bad because there is no necessity to the sequence of events. The best
kind of plot contains surprises, but surprises that, in retrospect, n
logically into the sequence of events. The best kinds of surprises are brought about by peripeteia, or reversal of
fortune, and anagnorisis, or discovery. A good plot progress like a knot that is tied up with increasingly greater
complexity until the moment peripeteia, at which point the knot is gradually untied until it reaches a completely
unknotted conclusion. ("SparkNotes: Aristotle (384-322 B.C.): Poetics," 2017)
In a classic full-length play, sometimes also called a regular play (a play conforming to rule), we may
trace a five-stage plot structure exposition, complication crisis or climax, catastrophe, and resolution.
1. Freytag's Pyramid
The German critic Gustav Freytag (1816-1895) compares this pattern to a pyramid in which the rising
action (exposition and complication) leads up to the point of crisis climax and is followed by the falling action
(the catastrophe and resolution).
A diagram of the structure of a five-act tragedy, given by Gustav Freytag in Technik des Dramas (1863)
This pyramid has been widely accepted as a heuristic means of getting at the structure of many kinds of
fiction in addition to drama.
In the first of these stages, the exposition the audience receives the essential background information; we
are introduced to the characters, the situation, and the conflicts.
In the second stage, the complication, the conflicts grow Gustav Freytag heated and the plot becomes
more involved. As the complication develops, the situation becomes more and more tightly knotted, leading to
the most excruciating part of the play the crisis or climax
In this stage the hero or heroine faces an agonizing decision, and almost simultaneously chooses a
course of action (for better or worse) that determines the outcome.
The pyramid begins its downward slope, the catastrophe. The catastrophe (not to be confused with our
modern use of the term to mean "disaster") is the moment of revelation when all the pieces fall into place. It is
often caused by the discovery of certain information or events that have been unknown to most of the characters
up to that instant.
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During the final stage, the resolution, conflicts are resolved, lives are straightened out or resolved.
2. The Unities
According to Aristotle, a play should be limited to a specific time, place, and story. The line. The events
of the plot should occur within a twenty-tour hour period, should occur within
a given geographic locale, and should tell a single story.
Aristotle argued that Sophocles' Oedipus the King was the perfect play for embodying the unities.
B. Characters/ Dramatis Personae

A character is a person created by the playwright to carry the action, language, ideas, and emotion of the
play.
According to Aristotle, the playwright should aim for four things when creating a character. First, the
hero must be 'good' and thus manifest moral purpose in his speech. Second, the hero must have propriety, or
'manly valor.' Thirdly, the hero must be 'true to life.' And finally, the hero must be consistent.
Dramatis Personae is Latin for the characters or persons in a play. Included among the dramatis
personae of Arthur Miller's Death of a Salesman are Willy Loman, the salesman, his wife Linda, and his sons
Biff and Happy.
1. Types of Characters
Many of the types of characters that populate prose fiction are also found in drama. In drama as in
fiction, for instance, we find both round and flat characters.
A round character undergoes a change or development as the play progresses.
On the other hand, a flat character, is undeveloped, even though he or she may be interesting, vital, and
amusing.
As in fiction, dramatic characters can also be considered static that is fixed and unchanging or dynamic
that is, growing and developing.
Because drama depends on conflict as fully as fiction does, we also find protagonists and antagonists in
plays. The protagonist is usually the central character in the action. The antagonist opposes the protagonist and
is often the villain.
Dramatic characters may be realistic, nonrealistic, symbolic, and stereotyped, or stock.
Realistic characters are normally accurate imitations of individualized men and women; they are given
backgrounds, personalities, desires, motivations, and thoughts.
Nonrealistic characters are usually stripped of such individualizing touches, they are often
underdeveloped and symbolic. Symbolic characters represent an idea, a way of life, moral value or some other
abstraction.
The major difference between characters in fiction or poetry and characters drama is the way they are
unfolded. Playwrights do not have the fiction writer's freedom to tell us directly about a character. We learn
about characters in plays by paying attention to their words and actions by listening to what other characters say
about them, and by watching what other characters do to them.
2. Symbolism and Allegory
As in fiction and poetry, dramatic symbols represent meaning or significance beyond the intrinsic
identity of the symbol itself. Symbols in drama can be persons, settings, objects, actions, situations, or
statements.
Playwrights have access to both universal and private symbols. Universal symbols such as crosses, flags,
snakes, flowers are generally understood by the audience or reader regardless of the context in which they
appear. Private symbols develop their impact only within the context of a specific play or even a particular
scene. We often don't realize that such objects or actions are symbolic when they first occur; they acquire
symbolic meaning
through context and continued action.
A play may be found to offer consistent and sustained symbols that refer to general human experiences
that play may be considered an allegory, and may be read allegorically.
C. Thought/ Subject/ Theme
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In Aristotle's Poetics, thought refers to the theme or the main idea of the drama or play. Although most
playwrights are not primarily concerned to persuade or propagandize
their audience, they do write their plays with a design to dramatize ideas about the human condition. The
aspects of humanity a playwright explores constitute the play's subject. Plays may thus be about love, religion,
hatred, war, ambition, death, envy or anything else that is part of the human condition.
The ideas that the play dramatizes about its subject make up the play's theme or meaning. Thus, a play
might explore the idea that love will always find a way or that marriage can be destructive, that pride always
leads to disaster, or that grief can be conquered through strength and a commitment to life. The theme is the end
result of all the other elements of drama, it is one of the things we are left to think about after we have read a
play or seen a production.
As a result, we must pay careful attention to the words, actions, and attitudes of the characters.
Frequently, the protagonist and his or her conflicts embody much of the meaning. Since theme is created and
conveyed through all the other elements of drama, it is often difficult to isolate and identify. Even short plays
may have complex themes. Full length plays may contain even more thematic strands. Some plays may even
explore contradictory themes, thus complicating analysis still further.
D. Diction/ Dialogue/ Language/ Point-of-View

Dialogue is the conversation between characters in a drama or narrative. It is the lines or passages in the
story which are intended to be spoken.
1. Functions of Dialogue
a. It moves the action along in a work and it also helps to characterize personality of
the speakers, which vary depending on their nationalities social classes, and
educations.
b. It also gives literature a more natural, conversational flow, which makes more
readable and enjoyable. By showcasing human interaction, dialogue prevents
literature from being nothing more than a list of descriptions and actions.
c. Dialogue varies in structure and tone depending on the people participating in the
conversation and the mood that the author is trying to maintain in his or her writing
Most of what we learn about characters, relationships, and conflict is conveyed through dramatic
language. Characters tell us what they think, hope, fear and desire Their dialogue may reflect the details of their
lives or their deepest thoughts about life and death. Their words must fit the circumstances, the time, and the
place of the play. The fitting of language to dramatic circumstances is called decorum.
The words and rhetorical devices of a play delineate character, emotion and theme, much as they do in
fiction and poetry. Dramatists may also employ accents dialects, idiom and jargon and clichés to indicate
character traits.
In short playwrights may use any and all stylistic and rhetorical devices of language as they bring
character, emotion, conflict, and ideas to their plays.
2. Point of View and Perspective

Point of view in drama is strikingly different from the comparable element in
fiction and poetry.
Playwrights employ the dramatic point of view in which we receive only the information contained in
the speeches and actions. The key to the dramatic point of view is that the playwright gives us the objective raw
materials the action and the words but arranges them in such a way that we ourselves must draw all the
conclusions.
Within these limits playwrights do have techniques to lead an audience to **
things from a specific character's perspective.
Another commonly used device is the soliloquy, in which the hero or villain reveals his or her thoughts
directly to the audience.
The soliloquies of sixteenth and seventeenth century plays are common techniques for revealing the
thoughts and emotions of characters.
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In the twentieth century, soliloquies have again become an important element experimental and
nonrealistic drama.
Another device, called the aside, allows a character to address brief remarks audience or to another
character which the other characters do not hear
E. Music/ Melody/ Rhythm/ Performance Elements

When Aristotle wrote his Poetics and outlined his six elements of drama, near all plays had music.
Either the actors sang many of their lines, or they acted with musical accompaniment But Aristotle was not only
referring to music that is featured in drama. Aristotle was also referring to the rhythm of the actors’ voices as
they speak.
In today's theatre, there is sometimes a music soundtrack but Aristotle's element of music is now said to
be the sound elements of a play, including the delivery of lines of the actors and the accompanying acting.
So under this category, we include the delivery of lines of the actors and the things that go with it.
1. Actors Performance on Stage
1. Acting refers to the use of face, body, and voice to portray character
Character motivation -Refers to the reason or reasons for a character's behavior an incentive or
inducement for further action for a character.
Character analysis- Refers to the process of examining how the elements of drama literary, technical,
and performance - are used.
Empathy - Refers to the capacity of the actor/s to relate to the feelings of another
2. Speaking refers to the mode of expression or delivery of lines.

Breath control -Refers to the proper use of the lungs and diaphragm muscle for maximum capacity and
efficiency of breath for speaking
Vocal expression - Refers to how an actor uses his or her voice to convey character.
Inflection - Refers to the change in pitch or loudness of the voice.
Projection - Refers to how well the voice carries to the audience
Speaking style - Refers to the mode of expression or delivery of lines
Diction - Refers to the selection and pronunciation of words, clarity of speech
3. Nonverbal expressions:
Gestures- Refers to any movement of the actor's head, shoulder, arm. hand., leg or foot
to convey meaning and reveal character
Facial expression- Refers to the facial and vocal aspects used by an actor to convey mood, feeling or
personality
Gesture is used to reveal character, and may include facial expressions as well as movements of other
parts of an actor's body. Sometimes a playwright will be very explicit about both bodily and facial gestures,
providing detailed instructions in the play's stage directions.
George Bernard Shaw's Arms and the Man includes such stage directions.
2. Tone and Atmosphere

Tone in drama as in other literature, signifies the way moods and attitudes are created and presented.
In plays, tone may be conveyed directly to the spectator through voice and through the stage gestures
that accompany dialogue, such as rolling one's eyes, throwing up one's hands, shaking one's head, jumping for
joy, and staggering backward in grief. Even silence can be an effective device for creating tone and mood.
Whereas voice and movement establish tone on the stage, we have no such exacting guides while
reading a play. Sometimes, a playwright indicates the tone of specific lines through stage directions such as
whining, vaguely, impatiently and mocking. These are cues to tone designed for the actors, but which also help
readers. When such directions are lacking. the diction, tempo, imagery, and context all become clues to the tone
of specific speeches and whole plays.
Tone may create an atmosphere or mood that dominates a play. In the determination of tone, it is
important to distinguish between the tone of an individual character and the playwright's tone that shapes our
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total response to the play. Specific characters may be sincere, sarcastic, and joyful or resigned, but the entire
drama may reflect only one or even none of these tones.
One of the most common methods employed by playwrights to control the tone of the play is dramatic
irony. This type of situational (as opposed to verbal) irony may be created in any circumstance where the
audience knows more than the others.
E. Spectacle (Opsis)/ Visual and Technical Elements/ Mise-en-scene

Opsis is the Greek word for spectacle in the theatre and performance. Its first use has been traced back to
Aristotle's Poetics. In Theories of the Theatre by Marvin Carlson, the word Opsis is replaced with the English
equivalent "spectacle," It is now taken up by theatre critics, historians, and theorists to describe the mise en
scène of a performance or theatrical event. ("Opsis," 2017)
Under this category, we can discuss everything that is seen onstage including all the technical elements:
1. Costumes
Costumes refer to the clothing and accessories worn by actors to portray character and period.
2. Makeup
Refers to facial and bodily make-up, wigs prosthetics and body paint used transform an actor into a
character.
3.Props
Short for properties, it refers to any article, excepts of a dramatic production, any moveable object that
appears on stage during a performance, from a telephone to a train.
The Christmas tree in A Doll's House and Laura's collection of glass animals in The Glass Menagerie
are examples.
4. Scenes/ Scenery/ Set
Scene is a traditional segment in a play. Scenes are used to indicate (1) a change intime (2) a change in
location (3) provides a jump from one subplot to another. (4) introduces new characters (5) rearrange the actors
on the stage. Traditionally plays are composed of acts, broken down into scenes.
Scenery or set refers to the theatrical equipment, such as curtains, flats, backdrops or platforms, used in
a dramatic production to communicate environment.
In the text of a play, the setting is usually described in the opening stage directions. Its function is to
establish the play in a specific time and place, and it may also determine the play's level of reality. In a
production, the scenery is the first thing we see on the stage and it brings the written directions to life through
the backdrops, furnishings props and lighting.
Like characters, the setting may be realistic or nonrealistic. A realistic setting requires extensive scenery
and stage furniture, for the object is to create as real an environment as possible. Often such scenery is produced
in a unit set a series of platforms, characters, rooms, stairs, and exits that form the locations for all the play's
actions.
Many full-length plays also continue the action to a single setting and a limited time. Other longer plays
may extend time while being set in the same location. Some full-length plays change settings frequently just as
they also stretch out time.
S. Staging/ Stage Direction

A playwright's descriptive or interpretive comments that provide readers (and actors) with information
about the dialogue, setting, and action of a play, including the position of actors on stage, the scenic
background, the props and costumes, and the lighting and sound effects.
Modern playwrights, including lbsen, Shaw, Miler, and Williams tend to includes substantial stage
directions, while earlier playwrights typically used them more sparsely implicitly, or not at all.
Tennessee Williams describes these in his detailed stage directions for The Glass Menagerie and also in
his production notes for the play.
6. Lights/ Lighting/ Light Effects

Refers to the placement, intensity, and color of lights to help communicate environment, mood, or
feeling.
The intensity, direction, and quality of lighting can influence an audience's understanding of characters,
actions, themes and mood. Light (and shade) can emphasize texture, shape, distance, mood, time of day or
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night, season, glamour; it affects the way colors are rendered, both in terms of hue and depth, and can focus
attention on particular elements of the composition. Highlights, for example, call attention to shapes and
textures, while shadows often conceal things, creating a sense of mystery or fear. For this reason, lighting must
be thoroughly planned in advance to ensure its desired effect on an audience. "Mise-en-scène," 2017)
7. Sound/ Sound Effects

The effects an audience hears during performance to communicate character, context, or environment.
Let's take some examples on spectacle: In the musical Phantom of the Opera, the phantom rows his boat
through a maze of floating candles. The boat actually lifts off of the stage and moves through a bunch of
candles.
In the musical The Lion King, a vision in the sky of Mufasa, the protagonist's dead father, suddenly
becomes a flock of birds that fly away.
In the musical Miss Saigon, an actual helicopter lands on the stage. ("Huh? Theatre? The Basics! (Part 2)-
Free Online Course Materials USU OpenCourseWare"2017)
5. Techniques and Literary Devices

Playwrights use a variety of techniques and literary devices. Aside from the techniques and devices
which were already discussed in poetry and fiction, here are additional techniques and devices used in drama.
A. Aside D. Dramatic Irony
B. Soliloquy E. Act
C. Monologue F. Fourth Wall
A. Aside
Words spoken by an actor directly to the audience, but not "heard" by the other characters on stage
during a play.
In William Shakespeare's Othello, lago voices his inner thoughts a number of times as "aside for the
audience.
B. Soliloquy
A speech in a play that is meant to be heard by the audience but not by other characters on the stage. If
there are no other characters present, the soliloquy represents the character thinking aloud.
Hamlet's "To be or not to be" speech is an example.
C. Monologue
A speech by a single character without another character's response. The character
however, is speaking to someone else or even a group of people.
Examples: Shakespeare's plays abound with characters talking with no one responding. A clear example
of how a monologue addresses someone occurs when Henry V delivers his speech to the English camp in the
Saint Crispin's Day speech. He wants to inspire the soldiers to fight even though they are outnumbered. This is a
monologue because (a) he alone speaks (b) he is addressing other characters.
Activity 1: BRIDGING THE GAP

Pick a character from a short poem. The write a one-minute monologue from the point of view of that character,
which you will perform live in class closed group. Props and costumes may be used for maximum effect.
D. Dramatic Irony
A device in which a character holds a position or has an expectation reversed or fulfilled in a way that
the character did not expect but that the audience or readers have anticipated because their knowledge of events
or individuals is more complete than the character's.
In Shakespeare's Othello, Othello blames Desdemona for cheating on him. The
audience knows that she is faithful and lago deceives him.
E. Act
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A major division in a play. An act can be sub-divided into scenes. Greek plays were not divided into
acts. The five-act structure was originally introduced in Roman times and became the convention in
Shakespeare's period. In the 19th century this was reduced to four acts and 20th century drama tends to favor
three acts.
F. Fourth Wall
The imaginary wall of the box theater setting, supposedly removed to allow the audience to see the
action.
The fourth wall is especially common in modern and contemporary plays such as Lorraine Hansberry's
A Raisin in the Sun, Wendy Wasserstein's Tender Offer, and August Wilson's Fences.
6. Theatre Spaces
Not every theatre space is the same, and it pays to be aware of the types of space in which your play
might be produced. Often plays work better in some spaces than others Keeping in mind that many theater
spaces are hybrids, here are the basics
A. Proscenium
Effectively, the actors perform with the audience sitting in front of them. Either the stage is raised above
the level of the audience (for example, in many high schools) or the seats in the "house” are raked (in other
words, the farther away from the stage your seat is, the higher up you get). Most theaters-everything from
Broadway to high schools-are prosceniums.
B. Thrust
Imagine a tongue thrusting into a proscenium-style audience and you have a thrust configuration. In this
configuration, though this may not be true of the extreme upstage area, the actors will have audience on three
sides
C. In the Round
The actors are in a central playing area, and the audience surrounds them on all sides. Actors may have
to enter and exit through the aisles.
D. Traverse stage
A stage where the audience sits on two sides is called a traverse stage. Again, this type of stage is good
for creating an intimate atmosphere.
E. Black Box
A black box is a performance space that is exactly what it sounds like: a black- painted square or
rectangle. A true black box -that is, one with no fixed seating-is the ultimate in flexibility, because the theater
can configure the audience arrangement to match the staging needs of your play, rather than staging your play
around the audience.
F. Touring
A "touring" space isn't a kind of space at all, but if your show needs to tour - (e.g., schools) that means
it could be performed in anything from a giant proscenium auditorium to a densely packed classroom.
7.Writing a One-Act Play by Jason Caldwell

Although not as song a one-act play still has the sane responsibility as a traditional play. Among other
things, a one-act play should make and keep the audience engaged, and with its limited time and set options,
this can be a challenge. A one-act play is-on average-only 30 minutes long and is usually scheduled along with
two other one acts or preceding a longer play that is not long enough to stand on its own. The length of a one-
act play may seem more appealing to writers because of its relative shortness, but this could actually make
writing that much more challenging. Do not underestimate the one-act; here are a few tips to help you develop
and write your best one-act play.
Get to Know One-Act Plays

A great way to get started with writing your own one-act play is by reading and watching other one act
plays. By doing this, you can get a better understanding of how to successfully execute an entire play within a
limited amount of time. There are many one- act plays available from both renowned playwrights and up-and-
comers. Reading and watching these can help you grasp the scope of your play, as well as when and where to
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place certain characters and actions within your play to keep the pacing realistic, enjoyable, and within your
timeframe and set options.
Finding and Developing Your Leading Man (Or Woman)
Knowing who (or what) your main character is will keep your play focused. When you start to write,
figure out whose story you are telling and from what point of view. For a one-act, finding a main character
should not be too difficult because the cast is usually no more than 4-5 people. After finding your main
character, find out what his goal or purpose is. Because of the length of a one-act play, there is no time to
develop layers of complicated plot. However, it is still possible and needed to have your main character pursue
some type of goal. This way, your play will have structure and a story to follow to keep the audience involved.
Even more, every story is that much more compelling when there is conflict or obstacles. What is
standing in the way of your main character and their ultimate goal? For a one-act, it is important to get to this
obstacle or turning point sooner rather than later. Along with conflict, you should also be sure to develop your
main and supporting characters. How do these characters form obstacles for one another or how do their goals
interfere with or support the overall plot? Even in the limited time, you can still develop multi-dimensional and
complex characters.
Setting Your Scenes

When writing your one-act, it is best to keep the play to only one set and as few scenes as possible.
Again, this is because of the limited time of a one-act play. It is a good idea to keep your setting as simple as
possible because one-act plays often share a set with a completely different play, so flexibility is important.
Even with a simple setting, it is still possible to develop different scenes according to the characters' obstacles.
As a writer, your job is to figure out how to turn those obstacles into cohesive scenes.
8. How to Write a 10-Minute Play by Sam Graber

Writing a 10-Minute play is easy! All you have to do is come up with an ingenious idea, figure an
inventive and enthralling stage mechanism, employ riveting and tender characters, serve boiling hot action, and
implant sensational dialog. And get it under 10 minutes.
No problem! That's all there is to it. So, you can stop reading
Oh wait, sorry, when I wrote that it was easy, I meant hard. Challenging, Baffling, Rife with the
potential danger of turning you into a psychotic mess.
And if you thought writing a 10-Minute Play was all this…try teaching it! Last week I twice taught a
seminar on writing the 10-Minute Play. The first seminar I taught was at The Playwrights' Center. The second
session, the reprise, occurred at the Kennedy Center's American College Theater Festival. I would gauge both
sessions as not a total failure since 1) only 5 people fell asleep during my presentations, and 2) no one walked
out on me. The latter maybe because there wasn't an intermission?
Anyway, the seminar teaser copy used to entice...
The 10-Minute Play. It's not just for breakfast anymore. The short one-act is the bolt of theatrical
lightning which has become a prevalent form of theatrical expressiveness. We will explore the variations of
structure, the positing of character and the emotional impact that make up a tantalizing 10 minutes. And
beyond exploration...we will dabble with creation! So, bring an idea, a character, or a situation you've always
wanted to see on stage and prepare to weave your next 10-minute play.
From Whom the 10-Minute Play Tolls

I kicked off both seminars with the same joke regarding the tribulations of a certain playwright who
walked into a bar. The adult folks at The Playwrights' Center gave me impatient glares. The youth of America at
the theater festival session gave me grim.
impatient glares.
I am so not hip.
But I became instantly hip once I introduced the framework of the 10-Minute Play because I was right in
guessing that the attendees, probably like most of you reading a not writing the 10-Minute play in an isolated
vacuum. You’re not out there writing for your own literary satisfaction or sense of personal accomplishment.
You' re writing the 10 Minute play to get produced by theaters. And most 0-Minute plays today are getting
produced by theaters in festivals.
So, what happens in a 10-Minute play festival?
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A theater company, seeking to either expand revenue streams or grow audiences or broaden a base of
artistic contributors, will decide to produce a l0-Minute play festival. They will put out calls for scripts. They
will get inundated with submissions not unlikely totaling around 700. They will select around 1% of those
submissions tor performance. They will then get a bunch of directors to direct those selected 1o of scripts.
Those directors will cast and then spend a few rehearsals before rushing and sweating through a quick single
Cue-to-Cue run by an overworked and stressed technical director all before each individual play is rushed
onstage for a single performance. This is stereotypical of the fast and frenetic factory of theater fun that is the
10-Minute play festival.
So, what this means is...if you're out there writing a 10-NMinute play... and you want to get it produced
as a submitting playwright for an evening of multiple shorts plays...you must understand what you are writing
for. A cast of 15 with lavish set required? Chance of selection: slim. Small cast and minimal props only? You
just got closer to that 1%.
Again, if you are building your own personal repertoire, or looking to go straight to publication, or your
name is Tony Kushner and you can have staged whatever you write, then disregard. Otherwise, understand the
framework of production constraints or which you are writing. Recognize what it takes to produce a 10-Minute
play festival and the difficulty of pulling together a slate of pieces for a single night's or short run production.
Understand what an audience goes through watching a variety of short plays in back-to-back fashion.
Because you are no longer getting automatically produced in the campus festival since you paid tuition.
You are now aiming to be in the 1%.
Oh yes, I see the college kids are listening now.
KEY CONCEPTS
Dramatic Elements
A playwright s understanding structure is not complete without a sense of awareness
of the many techniques and devices dramatic elements available to create various effects
Here are a few:
1. Action - Things said or done by the characters to achieve their objectives.
2. Antagonist - The character or situation that stands in the main characters way.
3. Arc (or sometimes called spine or through-line) - This is the story line; what the
audience is wanting to find out.
4. Aside - When an actor speaks directly to the audience, however, the rest of the actors
on stage supposedly cannot hear him or her. Assumed to be truthful, the aside was
used during the Renaissance drama to let the audience know the actor s inner
feelings and in the nineteenth century to interject elements of comedy or
melodrama.
5. Backstory - Events that have taken place in the past
6. Complications - Causing conflict by introducing new characters, information or
events.
7. Conflict - The opposing objectives of the protagonist and the antagonist.
8. Deus ex machina - Once referring to the Greek practice of physically lowering a "god"
to the stage at the end of the play to solve all the problems, today it refers to a
contrived element in the plot used to resolve a problem.
9. Discovery - When the main character finally realizes the reality of the situation.
10. Double plots - Use of a subplot or second plot in the weaving in and out of the main
plot, especially evident in Elizabethan drama
I1. Dramatic conventions - The elements of a play that the audience is willing to accept
as real for the sake of the story: actors representing the characters of the story, the
stage set representing a real location in time and space, suspended time or jumps
forward or backward in time, Italians in Italy speaking in English, and other such
conventions
12. Flashbacks - Descriptions or enactments of past events for the purpose of clarifying
the situation, usually as it relates to the conflict.
13. Foreshadowing - Hints at the future that can build anticipation and tension in the
audience.
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14. Inciting incident - The event that launches the protagonist and gets the plot going.
15. In Medias Res - The first scene opening in the middle of the action.
16. Intrigue - A scheme designed by one of the characters, the success of which
depends on another character's innocence or ignorance of the situation. The usual
result is a complication in the plot.
17. Music - A mainstay of the musical drama, early tragedies had both dancing and
choral singing. Also, background music is used extensively in television, movies, and
on the stage to set the mood and tone. Music can help psychologically to establish
the setting: a classical music for a period play, native drums for Africa, Cajun music
for New Orleans, and Irish bagpipes for Ireland.
18. Monologue - When an actor delivers a speech in the presence of other characters
Who listen, but do not speak.
19. Protagonist - The main character of the story, S/he is the character with a mission or
is involved in a quest.
20. Reversal - When the main character either fails or succeeds, also called peripety.
21. Scenes - Portions of an act, sometimes triggered by the clearing of the stage for the
next "scene." Some types of scenes include relief scenes (widely used in English
drama) that allow the audience to relax briefly in the tension of the drama or to add
a sense of poignant sadness
22. Soliloquy - A speech delivered by an actor when s/he is alone, expressing thoughts.
23. Stakes - What the characters stand to gain or lose if they succeed or fail
24. Surprise- After the audience has a sense of expectation, events happen that are not
expected.
25. Suspense - Establishing caring on the part of the viewers for one or more of the
characters, then presenting events that create a sense of uncertainty concerning
what will happen to them.
26. Three units - Although not adhered to by many playwrights, French and Italian critics
of the sixteenth and seventeenth centuries believed that a play needs three unities to achieve
verisimilitude (believability): Unity of action (first suggested by Aristotle),
Activity 2: Instructions: Read Alberto Florentino’s classical play,” The World Is An Apple.” Identify the following
segments of the play.
A. Identify the elements of the play.

1. Exposition or Introduction:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
2. Conflict:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
3. Rising Action or Complication:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
4. Turning Point, Climax, or Crisis
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
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__________________________________________________________________________________________________
5. Falling Action:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
6. Denouement or Resolution:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
__________________________________________________________________________________________________
_________________________________________________________________________________________________
B. Identify the setting of the following popular movies:

1. Harry Potter and the chamber of Secrets:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
2. Diary ng Panget:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
3. Titanic:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
4. Tarzan, The Legend:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
5. Planet of the Apes:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
6. Star Wars:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
7. One More Chance:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
8. The Thing Called Tadhana:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
9. Romeo and Juliet:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
10. Mulawin:
__________________________________________________________________________________________________
__________________________________________________________________________________________________
Activity 4. FINAL TASK: Beyond the Classroom

As a final project for the CREATIVE Writing Class, you will publish your final output in our FB CLOSED
GROUP and submit the HARD COPY. Write each genre with one output.
Have your guides on writing prompts/starters for Poems, stories and Drama/Playwright
 POETRY
Camera: Take your camera for a walk and write a poem based on one of the
photographs you take.
Cravings: Write a poem about craving something
 SHORT STORY
An alien came to Earth
On Christmas Eve
 PLAYWRIGHT (one-act play)
A woman turns to be a man.
Someone who is supposed to be dead is actually alive.
Statement for students’ Final Output:

1. Please turn in your activity on the date indicated.
2. You will have an opportunity to over, edit and make corrections before turning in your final draft for a grade.
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 NDSC SHS
3. The final draft of your work will be assessed according to the following categories.
RUBRICS:
Criteria/ 2- Needs 3- Fair 4- Good 5- Awesome
Categories Improvement
Poetry Short Drama Poetry Short Drama Poetry Short Drama Poetry Short Drama
Story Story Story Story
Manuscript/
Constructing Text (Content-
adherence to the chosen topic)
Interpretation/Preparation
(Personal input and
interpretation of the topic)
Literary Devices &
Techniques Used
Style/Language
(Accuracy of Grammatical
Forms, Syntax)
Total Score
END of Final Exam Coverage

Good Luck for the Final Exam
CONGRATULATIONS, you have DONE WELL!
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NOTRE DAME OF SALAMAN COLLEGE INC.

ENHANCED STUDENT SELF-DIRECTED LEARNING AND ASSESSMENT

(Senior High School-Grade XII Academic Track)

Pre -Assessment ( self-assessment NOT to be submitted)

_______15. What is alliteration?

NOTRE DAME OF SALAMAN COLLEGE INC.

ENHANCED STUDENT SELF-DIRECTED LEARNING AND ASSESSMENT

Topic/Lesson 1 CREATIVE WRITING

CONTENT STANDARD: The learners have an understanding of imagery, diction,

TIME ALLOTMENT: 10 hours (2 weeks)

GENERAL INSTRUCTIONS FOR THE FOLLOWING ACTIVITIES:

 “Productive and imaginative”

VARIETY is the KEY to CREATIVE WRTING

“Creative Writing is considered to be any writing, fiction, poetry, or non-fiction

The World of Creative Writing

helps generate all sorts of ideas.

What is Technical Writing? Literary Writing?

Point of Contrast Technical Writing Literary Writing

1. subject Scientific/technical Non-scientific/non-technical

2. readership specific general

3. purpose Informative/ persuasive entertaining

4. language literal/denotative figurative/denotating

5. style impersonal personal

6. tone heavy/serious light/amusing

8. emotionality unemotional emotional

9. objectivity objective/neutral subjective

10. form/format formal informal

Characteristics Creative Writing Technical Writing

Purpose both entertain and share human entertaining

C. Venn Diagram (CW vs. Journalism)

-is an activity in which

D. Table (CW vs. AW)

Creative Writing Academic Writing

factual fictional, imaginative

informative, instructional, or persuasive entertaining, provocative and captivating

clear, precise and straightforward artistic, figurative, symbolic or even vague

specialized vocabulary generalized vocabulary

Characteristics Creative Writing Scientific Writing

Writer vs. Subject

Form vs. Content

Accuracy and Clarity

Format Integrated; headings not common Headings important, numerous

Genres of Creative Writing

Here are the main types of creative writing.

Activity 3: Creative Writing Challenge: What do you write?

END OF THE LESSON

NOTRE DAME OF SALAMAN COLLEGE INC.

ENHANCED STUDENT SELF-DIRECTED LEARNING AND ASSESSMENT

Topic/Lesson: Quarter 1 Imaging and the Use of Imagery (WEEK3-4)

Imaging and the Use of Imagery

Activity 1: Sensory Experience:

Imagery and Sensory Experience

Example: Mr. Mayamot is like a hungry tiger when he gets furious.

Activity 2: PERFORMANCE TASK

Picture Description rubric

Write your answer on a long bond paper.

END of Prelim Exam Coverage

NOTRE DAME OF SALAMAN COLLEGE

STUDENT SELF-DIRECTED LEARNING AND ASSESSMENT

UNIT 2- READING AND WRITING POETRY

Poetry vs. Prose

Activity 2: CW Challenge1: Search, Listen and Explore!