Learning Module

Week 1 & 2 | Q3
 MODULE COVERAGE

CREATIVE
NONFICTION
Name:______________________________________________________Section:________________
_

Prepared by: Ms. Ma. Klyden Glydel P. Jauod CP #: 09267126679

Content Standards
 The learner understands the literary conventions that govern the different genres. (e.g.,
narrative convention of fiction, etc.)
 The learner understands the delineation between creative and the nonfictional elements of
creative nonfictional text
Performance Standards
 The learner clearly and coherently uses a chosen element conventionally identified with a
genre for a written output.
 The learner clearly and coherently uses multiple elements conventionally identified with a
genre for a written output.

This module has the following lessons (MELCS):

Lesson You’ll learn to: Estimated

No. Time
Analyze the theme and techniques used in a particular text
Create samples of the different literary elements based on one’s
experience (e.g. metaphor to describe an emotion)
Analyze factual/nonfictional elements (Plot, Characters, Characterization,
Point of View, Angle, Setting and Atmosphere, Symbols and Symbolisms,
Irony, Figures of speech, Dialogue, Scene, Other elements and Devices) in
1 the texts 2 weeks
Write a draft of a short piece (Fiction, Poetry, Drama, etc.) using any of the
literary conventions of genre following these pointers: 1. Choosing a topic
2. Formulating a thesis statement 3. Organizing and developing ideas 4.
Using any literary conventions of a genre 5. Ensuring that theme and
technique are effectively developed
 Creative Nonfiction and Other
QUARTER 3:
Literary Genres

LESSON 1: On Fiction Writing

EXPLORE
Traditional education tells you that literacy are classified under fiction and nonfiction- fiction
writing, being imaginative writing, and nonfiction writing, being writing which deals with
historical facts or empirical evidence.
If you follow such marking out, you will find yourself confused with the generalization.
Listed under fiction are short stories, novels, poems and plays. They are either prose or
poetry, or both.
There are gender-bending texts such that a poem can be novel-length (but no longer than
an epic). You will also find that some poems are not convoluted anymore, or they do not
appear to be, and that novels are not as stretched out as they were before. Even for a
trained eye, personal essays that have dialogues may be interpreted as fictional stories.

REFLECT UPON
How would you feel about the ever-changing rules on classifying literary pieces, which
make creative writing appear temporary and unstable?

FIRM UP

Take a look at how H. Thomas Milhorn, author of Writing Genre Fiction: A Guide to the
Craft, categorized works of fiction based on the number of words used:

Novel
A work of 50 000 words or
more or around 170 pages
Novelette Novella
A work of atleast 7500 A work of at least 17500 words but
words but under 17500 under 5000 words or 60-170 pages.
words or 25-60 pages
FICTION

Flash Fiction
Short Story
A work of fewer than 2000
A work of at least 2000
words or around five pages words but under 7500
words or 5-25 pages.
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Elements of Fiction
The basic elements of short story had been tackled many times in your Literature classes.
The major elements include:

Plot

Characters Theme
Elements
of
Fiction

Conflict Setting

DEEPEN

Read and analyze the theme and techniques in the story.

My Father Goes To Court (Carlos Bulusan)

When I was four, I lived with my mother and brothers and sisters in a small town on the island of Luzon.
Father’s farm had been destroyed in 1918 by one of our sudden Philippine floods, so several years
afterwards we all lived in the town though he preferred living in the country. We had as a next door
neighbour a very rich man, whose sons and daughters seldom came out of the house. While we boys and
girls played and sang in the sun, his children stayed inside and kept the windows closed. His house was so
tall that his children could look in the window of our house and watched us played, or slept, or ate, when
there was any food in the house to eat.

Now, this rich man’s servants were always frying and cooking something good, and the aroma of the food
was wafted down to us form the windows of the big house. We hung about and took all the wonderful
smells of the food into our beings. Sometimes, in the morning, our whole family stood outside the
windows of the rich man’s house and listened to the musical sizzling of thick strips of bacon or ham. I can
remember one afternoon when our neighbour’s servants roasted three chickens. The chickens were
young and tender and the fat that dripped into the burning coals gave off an enchanting odour. We
watched the servants turn the beautiful birds and inhaled the heavenly spirit that drifted out to us.

Some days the rich man appeared at a window and glowered down at us. He looked at us one by one, as
though he were condemning us. We were all healthy because we went out in the sun and bathed in the
cool water of the river that flowed from the mountains into the sea. Sometimes we wrestled with one
another in the house before we went to play. We were always in the best of spirits and our laughter was
contagious. Other neighbours who passed by our house often stopped in our yard and joined us in
laughter.

As time went on, the rich man’s children became thin and anaemic, while we grew even more robust and
full of life. Our faces were bright and rosy, but theirs were pale and sad. The rich man started to cough at
night; then he coughed day and night. His wife began coughing too. Then the children started to cough,

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one after the other. At night their coughing sounded like the barking of a herd of seals. We hung outside
their windows and listened to them. We wondered what happened. We knew that they were not sick
from the lack of nourishment because they were still always frying something delicious to eat.

One day the rich man appeared at a window and stood there a long time. He looked at my sisters, who
had grown fat in laughing, then at my brothers, whose arms and legs were like the molave, which is the
sturdiest tree in the Philippines. He banged down the window and ran through his house, shutting all the
windows.

From that day on, the windows of our neighbour’s house were always closed. The children did not come
out anymore. We could still hear the servants cooking in the kitchen, and no matter how tight the
windows were shut, the aroma of the food came to us in the wind and drifted gratuitously into our
house.

One morning a policeman from the presidencia came to our house with a sealed paper. The rich man had
filed a complaint against us. Father took me with him when he went to the town clerk and asked him
what it was about. He told Father the man claimed that for years we had been stealing the spirit of his
wealth and food.

When the day came for us to appear in court, father brushed his old Army uniform and borrowed a pair
of shoes from one of my brothers. We were the first to arrive. Father sat on a chair in the centre of the
courtroom. Mother occupied a chair by the door. We children sat on a long bench by the wall. Father
kept jumping up from his chair and stabbing the air with his arms, as though we were defending himself
before an imaginary jury.

The rich man arrived. He had grown old and feeble; his face was scarred with deep lines. With him was
his young lawyer. Spectators came in and almost filled the chairs. The judge entered the room and sat on
a high chair. We stood in a hurry and then sat down again.

After the courtroom preliminaries, the judge looked at the Father. “Do you have a lawyer?” he asked.

“I don’t need any lawyer, Judge,” he said.

“Proceed,” said the judge.

The rich man’s lawyer jumped up and pointed his finger at Father. “Do you or you do not agree that you
have been stealing the spirit of the complaint’s wealth and food?”

“I do not!” Father said.

“Do you or do you not agree that while the complaint’s servants cooked and fried fat legs of lamb or
young chicken breast you and your family hung outside his windows and inhaled the heavenly spirit of
the food?”

“I agree.” Father said.

“Do you or do you not agree that while the complaint and his children grew sickly and tubercular you and
your family became strong of limb and fair in complexion?”

“I agree.” Father said.

“How do you account for that?”

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Father got up and paced around, scratching his head thoughtfully. Then he said, “I would like to see the
children of complaint, Judge.”

“Bring in the children of the complaint.”

They came in shyly. The spectators covered their mouths with their hands, they were so amazed to see
the children so thin and pale. The children walked silently to a bench and sat down without looking up.
They stared at the floor and moved their hands uneasily.

Father could not say anything at first. He just stood by his chair and looked at them. Finally he said, “I
should like to cross – examine the complaint.”

“Proceed.”

“Do you claim that we stole the spirit of your wealth and became a laughing family while yours became
morose and sad?” Father said.

“Yes.”

“Do you claim that we stole the spirit of your food by hanging outside your windows when your servants
cooked it?” Father said.

“Yes.”

“Then we are going to pay you right now,” Father said. He walked over to where we children were sitting
on the bench and took my straw hat off my lap and began filling it up with centavo pieces that he took
out of his pockets. He went to Mother, who added a fistful of silver coins. My brothers threw in their
small change.

“May I walk to the room across the hall and stay there for a few minutes, Judge?” Father said.

“As you wish.”

“Thank you,” father said. He strode into the other room with the hat in his hands. It was almost full of
coins. The doors of both rooms were wide open.

“Are you ready?” Father called.

“Proceed.” The judge said.

The sweet tinkle of the coins carried beautifully in the courtroom. The spectators turned their faces
toward the sound with wonder. Father came back and stood before the complaint.

“Did you hear it?” he asked.

“Hear what?” the man asked.

“The spirit of the money when I shook this hat?” he asked.

“Yes.”

“Then you are paid,” Father said.

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The rich man opened his mouth to speak and fell to the floor without a sound. The lawyer rushed to his
aid. The judge pounded his gravel.

“Case dismissed.” He said.

Father strutted around the courtroom the judge even came down from his high chair to shake hands with
him. “By the way,” he whispered, “I had an uncle who died laughing.”

“You like to hear my family laugh, Judge?” Father asked?

“Why not?”

“Did you hear that children?” father said.

My sisters started it. The rest of us followed them soon the spectators were laughing with us, holding
their bellies and bending over the chairs. And the laughter of the judge was the loudest of all.

PROCESS QUESTIONS:
1. How will you describe the narrator in the story?
2. What technique did the author use to start the story?
3. At the courtroom, the judge said “Proceed” thrice. What does the word mean? Do you think
a person who has no knowledge of the law will use that word?
4. Where did the scene(s) take place?
5. What is the denouement or end of the story?

TRANSFER

WriteShop
Write a draft of a flash fiction (a historical fiction) on a bondpaper following these pointers.
 The topic should be something that had happened to you in real life or that you have or
heard; but change the setting to pre-Spanish times in the Philippines.
 Formulate a thesis statement.
 Organize and develop the ideas.
 Ensure that the theme and techniques are effectively developed.

LESSON 2: On Poetry Writing

EXPLORE

How is the lyre connected to the early forms of poetry?

Do poems always group into lines and stanzas? Prove your answer.

FIRM UP

You have already learned that poems consist of lines and stanzas.
Stanza- is a group of lines in a poem. The term stanza comes from the Italian word for a
room or stopping place.

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 Verses-lines in a poem
In poetry, the practice of breaking down a group of text into lines is called versification. But
you should be reminded that in the previous lesson, you have learned that literary works
have gone beyond the strict restrictions of the traditional rules of each literary genre. So, a
poem can look like a prose; a personal essay can look like a short story.
So if poems can look like prose, does a poem have that one unique characteristic that
separates it from a prose? Milosz points out that prose is made to be written, a poem is
made to be read. He also says that a poem must have a pattern of musicality or rhythm,
regardless if it has rhyme or meter or is written in free verse.

Rhythmic Patterns in Poetry

There are two rhythmic patterns in poetry: Lyrical and Breathing`
A. Lyrical Pattern
“Song: Go and catch a falling star” by John Donne
An example of lyrical poem that follows a metrical pattern derived from the lyre.
Go and catch a falling star, All strange wonders that befell thee,
Get with child a mandrake root, And swear,
Tell me where all past years are, No where
Or who cleft the devil's foot, Lives a woman true, and fair.
Teach me to hear mermaids singing,
Or to keep off envy's stinging, If thou find'st one, let me know,
And find Such a pilgrimage were sweet;
What wind Yet do not, I would not go,
Serves to advance an honest mind. Though at next door we might meet;
Though she were true, when you met her,
If thou be'st born to strange sights, And last, till you write your letter,
Things invisible to see, Yet she
Ride ten thousand days and nights, Will be
Till age snow white hairs on thee, False, ere I come, to two, or three.
Thou, when thou return'st, wilt tell me,

B. Breathing Pattern
A Piece of Coffee
from Gertrude Stein’s poetry collection Tender Buttons
A PIECE OF COFFEE.
More of double.
A place in no new table.
A single image is not splendor. Dirty is yellow. A sign of more in not mentioned. A piece of coffee is
not a detainer. The resemblance to yellow is dirtier and distincter. The clean mixture is whiter and
not coal color, never more coal color than altogether.
The sight of a reason, the same sight slighter, the sight of a simpler negative answer, the same sore
sounder, the intention to wishing, the same splendor, the same furniture.
The time to show a message is when too late and later there is no hanging in a blight.
A not torn rose-wood color. If it is not dangerous then a pleasure and more than any other if it is
cheap is not cheaper. The amusing side is that the sooner there are no fewer the more certain is the

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necessity dwindled. Supposing that the case contained rose-wood and a color. Supposing that there
was no reason for a distress and more likely for a number, supposing that there was no
astonishment, is it not necessary to mingle astonishment.
The settling of stationing cleaning is one way not to shatter scatter and scattering. The one way to
use custom is to use soap and silk for cleaning. The one way to see cotton is to have a design
concentrating the illusion and the illustration. The perfect way is to accustom the thing to have a
lining and the shape of a ribbon and to be solid, quite solid in standing and to use heaviness in
morning. It is light enough in that. It has that shape nicely. Very nicely may not be exaggerating. Very
strongly may be sincerely fainting. May be strangely flattering. May not be strange in everything.
May not be strange to.
PROSE POETRY
A prose poem is a poem in prose form.

DEEPEN

Make some research online about lyrical patterns. Describe the following patterns:
Iambic, trochaic, pyrrhic, anapaestic, dactylic and spondaic.
Think of popular poems that can serve as examples for each (Just write only 2-4 lines of the
poem).

TRANSFER

Name that Emotion

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Write a prose poem about an emotion without ever using the name of the feeling itself, or
synonyms for it.

Learning Module
Week 3 & 4 | Q3
 MODULE COVERAGE

CREATIVE
NONFICTION
Name:______________________________________________________Section:________________
_

Prepared by: Ms. Ma. Klyden Glydel P. Jauod CP #: 09267126679

This module has the following lessons (MELCS):

Lesson You’ll learn to: Estimated

No.
Time
Write a mini critique of a peer’s work based on coherence and organization of
paragraphs, development of literary elements use of factual information, and
other qualities concerning form and content
2 2 weeks
Write a draft of creative nonfiction piece based on memorable real-life experience
Revise the draft based on desirable qualities of well-written creative nonfiction

LESSON 3: Reading and Writing Creative Nonfiction

EXPLORE

Majority of the people you will encounter have not heard of the term creative nonfiction and its
acronym, CNF. This bunch include creative writers, journalists, and, surprisingly, teachers and
students of fields related to writing and research.

Read “Creative Nonfiction: A virtual conversation with Lee Gutkind” by Donna Lee Brien which you
can find the full text on http://www.textjournal.com.au/april00/gutkind.htm

Creative Nonfiction: A virtual conversation with Lee Gutkind

In order to introduce Professor Gutkind as the Keynote Speaker in the Creative Nonfiction strand
of the Writing 2000 Conference, I have constructed this (creative nonfiction) virtual interview
from our email conversation and by utilising excerpts from the author's published works.

The questions which I am sure you are always asked are:

1. How do you define Creative Nonfiction? How does this differ from traditional nonfiction
writing, from journalism and especially from the feature article?

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Ever since I began to write and to teach writing 20 years ago, people have been asking me to
define creative nonfiction. And I always refuse because, for one thing, it is an unfair and usually
provocative question. Are poets and novelists asked to define poetry and fiction? Then why must I
define creative nonfiction?
I will say how creative nonfiction differs from fiction and traditional journalism, however. Fiction,
from a literal standpoint, is not true - or at least not totally true (not so as the writer is willing to
admit) while creative nonfiction, if not completely true, is as true as the writer can make it. I am
not unaware of the foggy gray line being drawn here, but one can't be easily literal about art and
literature. The creative nonfiction writer tries to be as truthful and factual as possible. Making
things up to enhance the narrative is unacceptable. But creative nonfiction is very similar to
fiction in technique.
The creative nonfiction writer is permitted (encouraged, in fact) to take advantage of all of the
literary techniques available to fiction writers and poets. By this I mean writing in scenes, using
description, dialogue, specificity of detail, characterisation and point of view. By 'point of view' I
mean that the reader can be made to see the world through the eyes of the writer, the subject
about whom the writer is writing - or through the invisible third person objective eye.
Creative nonfiction is very story-oriented; it is narrative. That's the 'style' part - the creative part.
But then, what about the nonfiction part? We'll call that 'substance', the informational part - the
teaching and learning part. Most of the best creative nonfiction has information embedded within
story. Look at McPhee, Ackerman, Dillard (and Mailer, Hemingway, Wolfe, Talese, Ross, etc.). The
stories these writers tell are compelling, but within the story is information that enlightens a
reader. Even in the most compelling memoir (look at Angela's Ashes) there is a learning element.
McCourt not only tells a moving story, but the reader learns first hand about poverty in a unique
but universal way.
2. Do you know when the term was first used?
'Creative nonfiction' was first popularly used as an umbrella to describe this kind of work in the
application form for the National Endowment for the Arts (NEA) Creative Writing Fellowships. It
was a title which seemed to have been employed defensively to distinguish between traditional
journalism and the personal essay. (For a while, the NEA foolishly replaced creative nonfiction
with something called 'belles lettres'.) Ironically, under the NEA's guidelines (five essays published
over the previous five years in respected journals), writing by Talese, Wolfe, McPhee, et al would
probably not have qualified in any category.
3. There is the danger that the first person subjective voice can easily become narcissistic or
queasily egocentric in its self focus.
Most creative nonfiction is written in the first person. The challenge in writing nonfiction in this
way is to be intimate and revealing while reaching beyond the boundaries of self and embracing a
universal audience or message.
4. You've mentioned truth, but you have also written about nonfiction creative writers
having a permission to lie.
For a memoir about her family, a novelist and former journalist whom I know manipulated the
transition from fiction to nonfiction in such a way. When she began her book, she felt blocked by
the perceived conflict between the two, unable to comfortably employ the novelistic techniques
of scene, dialog and description. And so, in order to get started, she granted herself permission to
lie.
The author did not intend to make up facts or tell stories that weren't true, a violation of the
promise inherent in all nonfiction. But the narrow range of creative options traditionally granted
to a journalist inhibited her. Giving herself 'permission to lie' allowed three-dimensional thought
and scenic expression in a novelistic context. She did not permit her writing momentum to be
interrupted by the literal truth.
5. Would you always advocate giving work for subjects to check? Couldn't this also be
fraught with problems?

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Sending a draft of an essay or article to people about whom you have written and asking them to
review it for factual discrepancies is touchy. A writer never really knows what aspects of
conversations, ideas or incidents will touch a nerve. I am often amazed at what people actually
complain about. I was once telephoned by a heart transplant surgeon about whom I had written. I
was wary when he identified himself on the telephone and I heard the serious tone of his voice.
On the writer's life you often mention the authors you admire and whose work has influenced you
- Tom Wolfe, Jack Kerouac, Annie Dillard, Ernest Hemingway.
Most of my contemporaries have been inspired by books and writers when they were young. This
makes sense. Obviously, if you want to be a writer then, first, you will have no doubt been a
reader. Even Beethoven, who achieved his best work after he became deaf, was inspired to
compose and conduct music by the real thing. The books which have had a strong influence on
me and my writing are all of Hemingway's, but most especially his short stories. Gay Talese and
John McPhee were also inspirational, especially The Bridge and Fame and Obscurity by Talese
and The Pine Barrens and Coming into the Country by McPhee. I would also have to mention Janet
Malcolm's The Journalist and the Murderer, as well as Susan Sheehan and Marc Singer. A Fan's
Notes by Frederick Exley is brilliant, as is Brothers and Keepers by John Wideman and everything
by James Baldwin. Poetry by Robert Frost and William Merredith was very influential in my
6. Can you further characterise your students? Who are the best (creative nonfiction)
writers?
While it is true that I have taught in creative writing programs for the last two decades, my best
students are almost always students who are not writing majors exclusively - men and women
with a knowledge of, and a passion for, science, architecture or music (for example) in addition to
writing always excel. These are people with something to say, which is at the cusp of the best
creative nonfiction. All the writers I have named above as preeminent leaders in the field have
chosen to emphasise the substance of their work over the style of their presentation.
7. Does that last statement mean you think the content of creative nonfiction is its most
important element, that the substance of creative nonfiction is more central than the style
in which it is written?
Substance can mean fact, it can mean feeling, and it can mean the universal appeal of the human
spirit. This is not to say that style shouldn't be important to writers, but not at the expense of the
message and the meaning. Writing programs tend to minimise the intellectual value of the essay
or article, while maximising the presentation.
8. You speak, of course, from personal experience. How did you become a (creative
nonfiction) writer?
Before I decided to be a writer, I thought a lot about what I wanted to accomplish in my life. I
admit that I didn't know exactly what that was, but I knew two things. First, I wanted to be
understood. That is, I wanted people to be interested in my ideas and feelings generally - and
what I knew, specifically. Secondly, I wanted my ideas and experiences to make an impact on
other people - to change or influence a small part of the world, in one way or another. In order to
achieve those goals, I had to more thoroughly understand myself. And I had to learn a great deal
about how other people lived. Of course, I had a passion for writing, and I had been significantly
affected by the writers I had been reading. I thought that I would give myself a year to see
whether this was the lifestyle and the profession that would help me achieve those objectives.
At the time I was a motorcyclist, and I was travelling extensively around the country on my two-
wheeled machine. This was the subject of my first book. Since then, I have travelled through a
half-dozen different worlds in order to write books - baseball umpires, organ transplantation,
veterinary hospitals, psychiatric institutions - with the same ideas and intentions in mind. I'm not
exactly certain if I have successfully achieved even an iota of the goals I have described, but I
covet the memories and experiences of the journeys I have made.
9. Would you say you are interested in both writing and teaching to the same degree?
As a teacher, I am very committed to my students and make myself available to them whenever

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they need me - literally. But the politics of the Academy bore me. There's an awful lot of time-
wasting going on.
10. I take it that most of your students are external?
Yes, most of the students are external, most have other lives (thank goodness) and many are
more mature (30 and up). Creative nonfiction is very experiential - difficult for young people with
limited life experience and limited confidence to confront important issues. Yet, I love teaching
the introductory course to the four-course creative nonfiction sequence, revelling in the
opportunity to teach technique and to turn them on to the creative nonfiction form and
movement - getting them to learn how to think about what they are writing and what it means.
What do you say to the assertion that creativity can't be assessed? That creative

Process Questions:
1. Did the author actually interview Lee Gutkind? How was the piece formulated?
2. What elements of CNF make this piece as such?
3. What is the central theme of the piece?
4. Why is CNF different from fiction and traditional journalism?
5. Why did the author use the question-and-answer form for this CNF?

FIRM UP
Now that you have grasped the idea about creative nonfiction, you are going to study
autobiographical narrative as CNF.

These nine points clearly show that an autobiography is an example of CNF.

personal essay with autobiographical elements, the autobiographical essay is also called personal
narrative essay.

When you write an autobiographical essay, you tell a story about a particular event that had
happened to your life. It includes your thoughts, feelings, and experiences. You do not have to start
your story from your infancy.

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Because it is a personal narrative, you must be mindful about using literary elements of a narrative.
Remember that you are telling your story, not just because it happened in your life. You have to
impart an insight to your readers. Aside from the theme, the setting, characterization and dialogue
are important.

You must be mindful as well that even though your personal narrative is written in the first person,
you must not place yourself in the centerstage. You do not always have to use “I.” You can use “we.”

DEEPEN
Read “Yolanda Chronicles” by Merlie Alunan (this can be found in your group chat or you may
contact Jury Talagtag if you wish to photocopy the text) and answer the questions that follow:

1. Was the theme statement mentioned? If yes, what is it?

2. What is the setting of the narrative?
3. Is the diary form effective? Explain your answer.
4. Is there a need to put a general title and subheadings for each entry? Explain your answer.
5. Was the author able to develop characterization? Cite excerpts to prove your answer

TRANSFER
WriteShop

Write a draft of an autobiographical essay about your experiences in junior high school. Make sure
that literary elements and techniques are utilized.

a. The topic should answer the question “What life means to me?”
b. Formulate your own thesis statement which should be mentioned by the speaker or any of
the characters in the dialogue.
c. Organize and develop your ideas.
d. Ensure that the thesis and techniques are effectively developed.

Peer Review

1. Find a partner and peer-edit each other’s draft based on the following:
a. Clarity of idea
b. Appropriate choice and use of literary elements
c. Effective combination of the idea and the chosen literary elements
2. Write a mini critique of your peer’s work based on coherence and organization of
paragraphs, development of literary elements, use of factual information and other qualities
concerning form and content.

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