Creative Nonfiction

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Creative Nonfiction
Quarter 1 – Module 2: Close Reading on Creative Nonfictional Texts
First Edition, 2020

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Published by the Department of Education - Schools Division of Pasig City

Development Team of the Self-Learning Module

Writer: Jovelyn L. Espino
Editor: Maria Criselda M. Reyes
Reviewer: Rowena D. Roxas
Management Team: Ma. Evalou Concepcion A. Agustin
OIC-Schools Division Superintendent
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 Creative Nonfiction

Quarter 1
Self-Learning Module 2
Close Reading on Creative Nonfictional Texts

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Introductory Message

For the Facilitator:

Welcome to the Creative Nonfiction Self-Learning Module 2 on Close Reading

on Creative Nonfictional Texts!

This Self-Learning Module was collaboratively designed, developed and

reviewed by educators from the Schools Division Office of Pasig City headed by its
Officer-in-Charge Schools Division Superintendent, Ma. Evalou Concepcion A.
Agustin, in partnership with the City Government of Pasig through its mayor,
Honorable Victor Ma. Regis N. Sotto. The writers utilized the standards set by the K
to 12 Curriculum using the Most Essential Learning Competencies (MELC) in
developing this instructional resource.

This learning material hopes to engage the learners in guided and independent
learning activities at their own pace and time. Further, this also aims to help learners
acquire the needed 21st century skills especially the 5 Cs, namely: Communication,
Collaboration, Creativity, Critical Thinking, and Character while taking into
consideration their needs and circumstances.

In addition to the material in the main text, you will also see this box in the
body of the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this
module. You also need to keep track of the learners' progress while allowing them to
manage their own learning. Moreover, you are expected to encourage and assist the
learners as they do the tasks included in the module.

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 For the Learner:

Welcome to the Creative Nonfiction Self-Learning Module 2 on Close Reading

on Creative Nonfictional Texts!

This module was designed to provide you with fun and meaningful
opportunities for guided and independent learning at your own pace and time. You
will be enabled to process the contents of the learning material while being an active
learner.

This module has the following parts and corresponding icons:

Expectations - This points to the set of knowledge and skills

that you will learn after completing the module.

Pretest - This measures your prior knowledge about the lesson

at hand.

Recap - This part of the module provides a review of concepts

and skills that you already know about a previous lesson.

Lesson - This section discusses the topic in the module.

Activities - This is a set of activities that you need to perform.

Wrap-Up - This section summarizes the concepts and

application of the lesson.

Valuing - This part integrates a desirable moral value in the

lesson.

Posttest - This measures how much you have learned from the
entire module.

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 EXPECTATIONS

This is your self-instructional learner module in Creative Nonfiction 12. All

the activities provided in this lesson will help you learn and understand Creative
Nonfiction as you do a Close Reading on Creative Nonfictional Texts.

PRETEST

Read and analyze the following statements. Put a check mark (/) if the
statement is correct and cross mark (X) if the statement is incorrect.

_____ 1. The author of creative nonfiction has as much artistic freedom as a

fiction writer or poet might have.

_____ 2. When reading a work of Creative Nonfiction, it is important to

remember that the story is true.

_____ 3. When reading creative nonfiction, plot is the sole aspect to be

considered and analyzed.

_____ 4. Taking down notes of the basic elements of creative nonfiction must

be done in reading a creative nonfictional text.

_____ 5. To closely examine a creative nonfiction story is to determine how the

way it is written and how it influences you to get your interpretation.

RECAP
We have learned that Creative Nonfiction tells a true story in an artistic or
literary way. It has certain elements, such as descriptive imagery, setting, plot,
conflict, characters, metaphors, and other literary devices.

This genre also tells true stories Prose (usually, though sometimes poetry),
uses literary devices/is more creative and artistically-oriented than "regular"
nonfiction, often told in first person, the narrator is often the author or a persona of
the author, but not always.

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 LESSON

When reading a work of Creative Nonfiction, it is important to remember that

the story is true. This means the author does not have as much artistic freedom as
a fiction writer or poet might have, because they cannot invent events which did not
happen.

It is worthwhile, then, to pay attention to the literary devices and other artistic
choices the narrator makes. Readers would be apt to consider: what choices were
made here about what to include and what to omit? Are there repeating images or
themes? How might the historical context influence this work?

There are some critical thinking methods of analysis which will help you gain
a deeper understanding and appreciation of Creative Nonfiction texts.
Creative Nonfiction Basic Elements

When reading creative nonfiction, consider the following aspects of the text:

1. Setting - where does the story takes place? What do we know about this location?
How is it described, and to what effect?

2. Plot - what happens in the story and in what order? How does the order of the
events impact their meaning?

3. Characters - who are the people (or sometimes animals or other entities) in the
story? What kinds of characters are they? How are they characterized?

4. Figurative Language - how does the author effectively use language as an artistic
tool to render the story? What metaphors, similes, or descriptive imagery does the
author use to make the story immersive, and why?

Guided Practice

Let us try to have a close reading of the text passage below and try to take
notes of each of the above aspects, the setting, plot, characters, and figurative
language used.

“April 15th, 1802” by Dorothy Wordsworth Thursday, 15th.

It was a threatening, misty morning, but mild. We set off after dinner from
Eusemere. Mrs. Clarkson went a short way with us but turned back. The wind
was furious, and we thought we must have returned. We first rested in the large
boathouse, then under a furze bush opposite Mr. Clarkson's saw the plough going
in the field. The wind seized our breath. The lake was rough. There was a boat by
itself floating in the middle of the bay below Water Millock. We rested again in the
Water Millock Lane. The hawthorns are black and green, the birches here and
there greenish, but there is yet more of purple to be seen on the twigs. We got over
into a field to avoid some cows—people working. A few primroses by the roadside—
wood sorrel flower, the anemone, scentless violets, strawberries, and that starry,
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yellow flower which Mrs. C. calls pile wort.
 When we were in the woods beyond Gowbarrow Park we saw a few daffodils
close to the waterside. We fancied that the sea had floated the seeds ashore, and
that the little colony had so sprung up. But as we went along there were more and
yet more; and at last, under the boughs of the trees, we saw that there was a long
belt of them along the shore, about the breadth of a country turnpike road. I never
saw daffodils so beautiful. They grew among the mossy stones about and above
them; some rested their heads upon these stones, as on a pillow, for weariness;
and the rest tossed and reeled and danced, and seemed as if they verily laughed
with the wind, that blew upon them over the lake; they looked so gay, ever
glancing, ever changing. This wind blew directly over the lake to them. There was
here and there a little knot, and a few stragglers higher up; but they were so few
as not to disturb the simplicity, unity, and life of that one busy highway.

We rested again and again. The bays were stormy, and we heard the waves
at different distances, and in the middle of the water, like the sea.... All was
cheerless and gloomy, so we faced the storm. At Dobson's I was very kindly treated
by a young woman. The landlady looked sour, but it is her way.... William was
sitting by a good fire when I came downstairs. He soon made his way to the library,
piled up in a corner of the window. He brought out a volume of Enfield's Speaker,
another miscellany, and an odd volume of Congreve's plays. We had a glass of
warm rum and water. We enjoyed ourselves and wished for Mary. It rained and
blew when we went to bed.
(https://human.libretexts.org/Courses/ASCCC/Writing_and_Critical_Thinking_Through_Literature_(Ringo_and_K
ashyap)/02%3A_About_Creative_Nonfiction/2.03%3A_How_to_Read_Creative_Nonfiction)

Close Reading Analysis of the Passage

1. Setting - where does the story takes place? What do we know about this location?
How is it described, and to what effect?

The setting is established early in the short story, as a "threatening, misty

morning" in someplace called "Eusemere." The term "threatening" is interesting, as
it sets the mood with a kind of conflict in terms of the weather. It appears this is a
rural area, because there is a farmer with a "plough going in the field." Again, we
have some threatening imagery, as she states the "wind seized our breath," which
again makes the weather seem like it is a kind of personified villain. This is clearly a
very beautiful natural setting, full of various flowers like "primroses" and
"woodsorrel," violets, and so forth. While the setting feels threatening and
suffocating, the setting changes once the "gay" and dancing. The setting is then
described again in a threatening way, as "stormy," "cheerless and gloomy." The
story's setting at the end appears to be a hotel or business.

2. Plot - what happens in the story and in what order? How does the order of the
events impact their meaning?

The plot of the story is kind of simple. It appears to be chronological: it starts

with the narrator setting out on a walk from Eusemere. The conflict is that they want
to go on a walk, but the weather is "threatening." Despite this weather, they continue

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their way until they found the daffodils. The climax of the story is when they must
fight their antagonist, the wind ("so we faced the storm"), and finally arrive at what
seems to be a hotel called "Dobson's." Dorothy and William sit reading by the fire,
missed someone named Mary, and then they went to bed.

3. Characters - who are the people (or sometimes animals or other entities) in the
story? What kinds of characters are they? How are they characterized?

- Dorothy Wordsworth is the narrator. We do not get a description of her, but

we can tell that she knows a lot about botany, as she seems to be able to identify lots
of flowers. She seems to "rest" a lot on the walk. Probably the most developed of
characters (round and dynamic) because she perseveres through the stormy weather
and seems somewhat changed by the happy daffodils.

- Mrs. C. Flat and static character. We do not get a lot of information about
this character except that she calls a certain plant "pile wort."

- Wind/stormy weather. Seems to be a personified antagonist, because it is

described as "threatening" and that it "seized" their breath

- Daffodils. Personified as dancing, happy flower friends, who "rested their

heads" on stones like "pillows" and dance in the stormy weather.

- Sour landlady. Flat & static character, not a lot of description except for
being "sour."

- Young woman. Flat & static character. We just know she treated Dorothy
"kindly."

- William. Reader. Someone close to narrator. Cozy by fire.

- Mary. Someone close to narrator that apparently, they "miss."

4. Figurative Language - how does the author effectively use language as an artistic
tool to render the story? What metaphors, similes, or descriptive imagery does the
author use to make the story immersive, and why?

It is interesting how the human characters receive barely any description, but
the natural landscape is described in very specific detail. This emphasis bubbles up
in the personification of the landscape. As described in the section on setting, it
seems interesting how the weather and flowers
are personified or anthropomorphized (that is, non-human entities described with
human characteristics).

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 The weather is described as a kind of antagonist, "threatening," "cheerless and
gloomy." It even seems violent, in the sense that it "seized" the breath of Dorothy and
William.

Then the flowers are described almost like friends, reeling and dancing,
"resting their heads" from weariness that might mirror the resting that Dorothy and
William take throughout the story. They "rested, again and again." It seems as if
Dorothy is projecting her feelings onto the environment, and that the daffodils helped
her get through whatever "weariness" she might be feeling.

As the above analysis shows, even a relatively short work of literature has a
lot to analyze. This is just one interpretation among many possible interpretations.
The idea is to closely examine a story to determine how the way it is written (setting,
plot, character, figurative language) influences its meaning to you (interpretation).
There are not necessarily "right" or "wrong" answers. More so, there are answers
supported by the text and those that are not. For now, keep in mind those questions
about setting, plot, characters, and figurative language. Apply them to whatever
stories you read. Take notes as you read. This material could form the basis of your
first literary analysis essay!

ACTIVITIES

Read the following reading texts and answer the questions that follows:
Text A:

The room was silent. As she walked to the oak podium, the carpet muffed the
sound of her footsteps. Beyond the windows, there was only blue, and she
remembered her own days as an undergraduate, days when she sat, pen in hand,
far at the back of a room, filled with excitement. Now, she cleared her mind of the
other things occupying her mind, things she could not tell anyone in this room about,
things that shaped her own unwritten story. The problem that obsessed her receded
to the end of a long and distant tunnel, and what she needed to do now was the only
thing that came into focus. “Welcome to Writing Creative Nonfiction,” she said. “I’m
Tilar Mazzeo, and together we’ll be exploring what it means to write a great story.”

Text B:

The studio was oddly silent. She could see only the legs of the cameramen, hunched
over the cameras, with their empty glass camera eyes staring back at her like space
aliens. As she walked across the stage to the oak podium, the carpet muffed the
sound of her footsteps, and the spotlight blinded her for a moment. Beyond the false
windows, there was only a blue panel, meant to suggest the sky, and she remembered
her own days as an undergraduate. Her shoes hurt, and she wished she had chosen
another pair this morning. But of course, she could not say that. She put that to the

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back of her mind. “Welcome to Writing Creative Nonfiction,” she said. “I’m Tilar
Mazzeo, and together we’ll be exploring what it means to write a great story.”

Questions:

1. Which of the two reading texts can be a great example of creative nonfiction?
2. Do a close reading of your chosen text and analyze it based from the
following aspects:
a. Setting
b. Plot
c. Characters
d. Figurative Language

WRAP-UP

To wrap-up everything that we discussed in this lesson, do the 3-2-1

Important Things activity:

The three important things I learned for today’s lesson are …

1. _______________________________________________________________
2. _______________________________________________________________
3. _______________________________________________________________

The two things I realized in today’s lesson are …

1. _______________________________________________________________
2. _______________________________________________________________

The one important thing I pledge to share to others is …

1. _______________________________________________________________

VALUING

Just as how the daffodils empower Dorothy in today’s story, we must also find
ways on how to continuously protect ourselves against stress and anxiety. And one
best way is by looking at the beauty of nature.

Being in nature, or even viewing scenes of nature, reduces anger, fear, and
stress and increases pleasant feelings. Exposure to nature not only makes you feel
better emotionally, it contributes to your physical wellbeing, reducing blood
pressure, heart rate, muscle tension, and the production of stress hormones.
Expose yourself to nature, it is good to your health.

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 POSTTEST

Choose the word that will complete each statement. Write the letter of the answer on
the space before every item.

1. Setting, plot, _______ and figurative language are the basic elements needed to
consider in doing a close reading of creative nonfiction stories.
A. Characters B. Length of the text C. Truthfulness

2. In reading creative nonfiction, it is important to remember that the story is

_____.
A. A product of imagination
B. A fact-based
C. A glimpse of the future

3. Creative nonfiction authors do not have as much artistic freedom as a ______

might have.
A. Literary Journalist
B. Fiction writers or poet
C. Creative Biographers

4. As readers of creative nonfiction, it is a must to pay attention to _____ the

narrator makes in the story.
A. Literary devices B. Artistic freedom C. Both a and b

5. One of the basic elements needed in reading a creative nonfiction that shows
how the author effectively use words as an artistic tool to render the story is
_______.
A. Setting B. Plot C. Figurative Language

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 KEY TO CORRECTION

readers perception of the text.

C 5. and analysis will depend on the 5./
C 4. 2. Answers may vary. The interpretation 4./
B 3. incident/experience of the character. 3.X
B 2. every aspect of the 2./
A 1. creative words to tell and describe 1.X
1. B (The narrator effectively uses
POST TEST ACTIVITY PRETEST

References

Gutkind, Lee. "What is Creative Nonfiction?" Creative Nonfiction, 2012. Web.

https://www.creativenonfiction.org/online-reading/what-creative-nonfiction
Accessed 27 June 2020.

Ringo, Heather & Kashyap, Athena. “How to Read Creative Nonfiction”. City College
of San Francisco Sourced from ASCCC Open Educational Resources Initiative. Web.

https://human.libretexts.org/Courses/ASCCC/Writing_and_Critical_Thinking_Thr
ough_Literature_(Ringo_and_Kashyap)/02%3A_About_Creative_Nonfiction/2.03%3
A_How_to_Read_Creative_Nonfiction Accessed 26 June 2020.

Larson, Jean. “Nature Heals” University of Minnesota, 2020. Web.

https://www.takingcharge.csh.umn.edu/how-does-nature-impact-our
wellbeing#:~:text=Being%20in%20nature%2C%20or%20even,the%20production%2
0of%20stress%20hormones Accessed 26 June 2020.

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