ENG_CMC201c-LÝ-THUYẾT_NEW_SP24

Suorce CMC201c gốc
Biên soạn và tổng hợp: Huyen Nhi Dao (FPT HCM)
Suorce Lí Thuyết môn CMC201c

(Bản suorce này chỉ bao gồm Lí thuyết tiếng Anh)

Tài liệu có 18 trang, Lí thuyết trọng tâm chiếm 9 trang
Quy ước:
- Chữ tiếng anh viết thẳng (Plot is the primary events): là phần trả lời vào bài thi
- Chữ tiếng Việt in nghiêng (cốt truyện là các sự kiện chính): là phần dịch nghĩa và giải thích lí
thuyết, các bạn không ghi vào bài làm nhé.
*Các bản suorce CMC201c trên mạng có định dạng như phần trình bày bên dưới đều là
đăng tải trái phép và không có sự đồng ý của tác giả.
*Đây là bản suorce mới được cập nhật theo từng kỳ, đã rút gọn, thay đổi, tinh chỉnh, dịch
nghĩa, từ vựng tiếng Anh đơn giản, dễ nhớ, dễ hiểu hơn, giải thích kĩ hơn, không cần học
coursera vẫn hiểu bài
* Cần chứng minh đây là tài liệu gốc, liên hệ Zalo:

MOOC 1: THE CRAFT OF PLOT (XÂY DỰNG CỐT TRUYỆN)
WHAT IS PLOT? (Cốt truyện là gì?)

"Plot is the primary events of a novel or story crafted and presented by the writer as a connected
series."
FREYTAG’S PYRAMID (đã ra thi) – Mô hình kim tự tháp Freytag

This model is often used to analyze the structure of a story or novel, consists of six main
parts:
1. Exposition (Giới thiệu): Introduce readers to the story's world and main characters,
providing necessary context and setting details.
2. Inciting Incident (Sự kiện xung đột): An event happens, changing the main
character's life and causing a problem that the story will deal with.
3. Rising Action (Sự việc leo thang): Beginning with conflict, the story progresses
through events and actions, building tension towards the climax.
4. Climax (Đỉnh điểm): This is the story's climax, where tension peaks, important events
occur, and significant changes may happen.
5. Falling Action (Suy giảm): After the climax, the story slowly resolves the situations
and consequences.
6. Resolution (Giải quyết): This is the end of the story, where all problems are solved
and the characters find solutions.
CHARACTERS + ACTION = PLOT (đã ra thi) (cấu trúc CHARACTERS + ACTION =

PLOT)
Explain this structure (giải thích cấu trúc): CHARACTERS + ACTION = PLOT
1. CHARACTERS: Five important questions for creating characters:

What do they want?
What are their weaknesses?
What can they do to surprise you?
Where are they from (both biographical and emotional background)?
Where are they going?
2. ACTION: Rising actions are challenges that blocks the main character from reaching
their goals. When they overcome each challenge, bigger challenges arise until they
can try to achieve their goal.
3. PLOT: Summarize the plot using the beginning event, a character, the problem, and
the goal
WHAT IS STRUCTURE (cấu trúc là gì)
Three Act Structure (Aristotle): (cấu trúc Three Act Structure của ông Aristotle)
The three-act structure of Aristotle, involves the beginning (setup), middle (climax), and end
(resolution) of a story.
1. Beginning: set up characters, their relationships, their wants and desires.

2. The middle, the plot reaches its climax.
3. The end, the plot is resolved.
Five Act Structure:ABDCE (Emma Mott)đã ra thi – Cấu trúc Five Act ABDCE của Emma
Mott
- A (action): taking the reader's attention, something specific and clear.
- B (background): It's the context, what was going on with characters before the story
started.
- D (development): It's the main part of your story, where the plot happens, your
characters deal with the challenges you give them..
- C (climax): This is where the big twist in your story occurs.
- E (ending): Here, we see how the characters have changed because of their journey.
- Câu hỏi: give example of a story used ABDCE structure: Câu chuyện "Cô bé quàng
khăn đỏ" (Little Red Riding Hood)
Show not tell (show don’t tell) – kỹ thuật show don’t tell
Make a reader feel that you're showing them something rather than tell them.
What is a scene? – Phân cảnh là gì?

Scenes are the basic parts of stories, showing what happens and making readers feel
emotions.
Your scenes require 5 things: (phân cảnh yêu cầu 5 điều sau đây)
1. All scenes need an action
Scenes usually start with something happening - a clear action. It's about the

character doing something specific.
2. Dialogue (diễn đạt)

Dialogue isn't just people talking. Each line should reveal more about the character
or move the story forward, or both.
3. Specific intimate details (những chi tiết thân mật cụ thể)

A scene needs personal details about yourself, your surroundings, and the people
you're writing about. Intimate details are things readers can't see on their own.
4. Inner point of view (góc nhìn bên trong), include react, reflect, reveal
- React, This means they take immediate action.
- Reflect, This means the character thinks about what they're facing and
considers their options internally.
- Reveal, This means the character shows something about themselves to help
us understand them better and predict their response to the situation.
5. All scenes must have clear beginnings and endings.

Great scenes begin with something happening and end when that something is dealt
with.
Example: (ví dụ về React, reflect và reveal)

- React: They kick down a door, they pick up a chair, they pull out a gun, etc.
- Reflect: If they kick down the door, they could break their foot or there could be
somebody there with a bar stool behind that door ready to hit them.
- Reveal: Perhaps the last time your character kicked down a door, he got shot in the
leg so this time, he's going to look for an open window.
THE ICEBERG THEORY (HEMINGWAY) – Lý thuyết tảng băng trôi của Hemingway.
The Iceberg Theory says scenes should only show a small part of what's happening to a
character, with most of their feelings and reasons kept secret.
21-point checklist for the revision process. (đã ra thi)

- 1. Spell check: typos, cutting adverbs, etc..
- 2. skip needless words.
- 3. cut places where you're doing the reader's thinking for them. If you need to tell
them something, write it again, and again, until you've shown them instead.
4, cut stage direction, belaboring the obvious, clumsy back story etc..
- 5, insure consistent character motivation.
- 6, has something happened? An action, a concrete action by the end of the first
paragraph of your story.
- 7, is my story coherent?
- 8. are there scenes clear? Are they complete scenes?
- 9. do I start each chapter in each scene with something active?
- 10, am I writing in active voice? Have I avoided passive voice and parallel
construction, using the same words over and over?

- 11, is setting working? Setting should be an integral part of your story and contribute
to our understanding of it
- 12, are my characters acting believably?
- 13, are the transitions between my paragraphs and sections clear?
- 14, does my story fit together the right way? Does it follow the five act structure?
Action, background, development, conflict and end
- 15, did I explain to the reader every risk involved for each of my characters?
- 16, did I explain to the reader the consequences of these risks?
- 17, does every story of my sentence deepen our understanding of character or
advance the plot?
- 18, is my second draft 10% shorter than my first draft?
- 19, am I ready to discard pages or entire drafts that are simply not working?
- 20, Is what you meant in your head as clear as it can be on the page?
- 21, are my readers no longer confused? (đã ra thi)
Câu hỏi: Explain the 21st point in the checklist “are my readers no longer confused?” by
answering these questions
a/ who can be your readers in feedback, give example
b/ should you select the readers that read a lot of books or those who don't read much?
why?
c/ how much of your manuscript should you give to each reader?
d/ what should you request them when given them your manuscript?
Giải:
a/ Your readers in feedback can be a diverse group of individuals, including:
Loved ones, spouses, relatives, and close friends: These are people who know you
well and can provide honest and personal feedback.
People in your writing community: This could be fellow writers on Coursera or
individuals from your local writing group. They possess a deeper understanding of
storytelling and can offer constructive criticism.
Example: You might ask your best friend and a fellow writer from your online writing group to
provide feedback on your manuscript.
b/ You should select a mix of readers who read a lot of books and those who don't read
much. Both types of readers offer valuable perspectives:
Readers who read a lot of books: They have a strong understanding of storytelling
elements, pacing, and character development. Their insights can help you refine and
enhance your manuscript.
Readers who don't read much: Their feedback can reflect how engaging your
manuscript is to a broader audience, as they represent potential readers who may
not be as familiar with literary conventions.
c/ When giving your manuscript to each reader, start by providing just a few chapters. The
exact amount will depend on the length of your manuscript, but the goal is to give them a
substantial portion to provide meaningful feedback.
d/ When giving your manuscript to readers, you should request the following:

Specific Questions: Provide two or three specific questions that guide their feedback.
For example, inquire about their thoughts on certain character actions, confusing
parts, or the structure of specific scenes.
Clear Directions: Emphasize that you want them to focus on the questions you
provided and any issues they may have noticed, rather than a general overview.
Honest and Constructive Feedback: Encourage them to provide both positive
feedback and suggestions for improvement.
Remember, the goal of this feedback process is to gather insights that will help you refine
and improve your manuscript before its final version.
MOOC 2: THE CRAFT OF CHARACTERS (XÂY DỰNG NHÂN VẬT)
To build a character: (cách xây dựng nhân vật)

- The look: Think about how the character looks using all your senses.
- Character’s inner life: Consider what the character worries and thinks about, focusing
on their desires and goals.
- Refine and develop: Use observation and empathy to refine and build the character..
To hear, see and select (muốn build được nhân vật phải nghe, nhìn và chọn lọc)
1. Observation: (quan sát)
Observation helps us understand how people look, sound, feel, and move.
Characters and the story develop from their interactions.
2. Empathy (đồng cảm)

Empathy is when we understand and feel what a character feels. We see the world
through their eyes and experience it as they do.
For example, to write a villain, you must see yourself as the villain and understand
their perspective.
Conversation's Greatest Hits (các phần hay nhất của cuộc đối thoại)
The three main goals of dialogue are: (3 mục tiêu chính của cuộc hội thoại)
1. Show character: Dialogue should reveal character's personality, emotions, and

motivations.
2. Advance the story: Dialogue should give important information that keeps readers
interested and curious about what happens next.
3. Create interesting sentences: Craft dialogue to be engaging and captivating
Tạo ra các câu văn thú vị: tạo ra cuộc đối thoại cuốn hút.
Voice of Narrator (POVs- Point of View) (đã ra thi) – POVs (góc nhìn)
Point of view (POV) in a manuscript tells us who's telling the story and how they're
connected to it. This could be the main character or the author. Voice is what experts talk
about when discussing how the story is told.

3 kinds: (có 3 loại POVs)
- the first person narrative (góc nhìn thứ nhất -tôi): the character "I" tells the story,
sharing only their own thoughts, feelings, and experiences. The reader can guess
what else is going on in the story, but the reader only ever hears from I
Example: Today I went to school to study happily.
- the limited third person, which is he or she. Only what the main character knows,
feels, and perceives can be shared.
Example: As she watched her students leave, she is afraid she can never see them
again.
- The omniscient author: The omniscient author knows everything about all the
characters and can describe their thoughts, feelings, and perceptions
Example: he had COVID-19 but didn't know it yet.
MOOC 3: THE CRAFT OF SETTING AND DESCRIPTION (xây dựng và mô tả bối cảnh)
How important is research to writers in crafting their story's setting? (đã ra thi)
(quá trình research quan trọng như thế nào với writers trong việc xây dựng bối cảnh)
Research is key for making good stories. Using details and facts makes the story real and
interesting. Writers can make their stories better by doing research.
Three Phases of Research (3 kinds of research)(đã ra thi) – 3 loại nghiên cứu chủ đề
1. Functional research: involves practical methods like libraries, databases, and
websites to find information.
2. inspirational research: This research helps you learn and compete with better writers,
boosting your skills.
3. Imaginative research (nghiên cứu sáng tạo). This is just the time that you spend
knowing and planning your story world.
What is genre (thể loại là gì)

Genres are categories of artistic works with similar styles or subjects. Genre fiction refers to
books grouped together based on shared characteristics like crime, fantasy, horror, mystery,
science fiction, romance, and more.

MOOC 4: THE CRAFT OF STYLE (XÂY DỰNG PHONG CÁCH VIẾT)
The Pyramid of Language (đã ra thi)- (kim tự tháp ngôn ngữ)
(Giải thích: kim tự tháp ngôn ngữ của ông Frank Conroy miêu tả sự phân cấp và mối liên hệ
giữa các yếu tố từ cơ bản tới phức tạp trong viết văn, nền tảng dưới đáy gồm có những gì và
những yếu tố phức tạp dần lên trên ngọn)
The Pyramid by Frank Conroy illustrates the structure and interaction between fundamental
and advanced elements in writing, from establishing clear and meaningful foundations to
generating deeper and more detailed ideas within the text.
1. Bottom of Pyramid (Đáy của Pyramid): This is the most basic part of the pyramid,
includes:
- Meaning (Ý Nghĩa): The basic meaning of each word and phrase in the text.
- Sense (Sự Hiểu Biết): clear understanding of the content and meaning of the text.
- Clarity (Sự Rõ Ràng): The clear expression that helps readers easily understand and
access the content.
- Denotation (Ý Nghĩa Trực Tiếp): The formal and direct meaning of words or phrases,
without contrast or complexity.
2. Middle of Pyramid (giữa của Pyramid) representing the development of the text through
factors such as:
- Senses Evoked (Cảm Giác Gợi Lên): Creating vivid experiences for readers by
engaging their senses: sight, sound, taste, smell, and touch.
- Voice (Giọng Điệu): The author's way of expressing feelings and opinions in the text.
- Mood (Tâm Trạng): Setting the mood in the text to affect how the reader feels.
3. Top of Pyramid (đỉnh của Pyramid) representing the complex and creative elements of
the text, including:
- Subtext (Tiểu Văn): The secret messages in the characters' actions and changes in the
story.

- Metaphor (Ẩn Dụ): Using simple language and comparisons to convey profound
meanings.
- Fancy Stuff (Những Thứ Phức Tạp): These are creative elements that make the text
more complex, using fancy words, special storytelling methods, or other artistic
techniques to leave a deep impact.
The Reader-Writer Arc (đã ra thi)
(Giải thích: nội dung phần này đề cập đến các cách mà tác giả có thể tương tác với người
đọc thông qua việc viết được trình bày bởi ông Frank Conroy sử dụng biểu đồ như hình trên
để minh họa các mức độ mà tác giả có thể tiếp cận người đọc, chia ra ba phần: Propaganda
zone, magic zone, private writing zone, kĩ hơn ở bên dưới:)
1. Writer Does Most of the Work - Propaganda Zone: The writer explains everything,
so readers don't have much room to think about the meaning themselves.
Example: Suppose you are reading a review of a movie written by a film critic. The
movie review outlines every scene, concluding that the overall theme is personal
freedom. However, it doesn't leave much room for individual interpretation or
reflection on the movie's deeper meaning.
2. Balanced Interaction - Magic Zone: The writer balances details and space for
readers to think. They create an emotional world without describing every feeling,
encouraging readers to connect with their own experiences.
Example: Imagine You're reading about a travel journey. The writer describes what
they see, hear, and feel, but doesn't explain the feelings of the people on the journey.
You feel the emotion in the writing, but you also have room to question and think
about the writer's feelings.
3. Reader Does Most of the Work - Private Writing Zone: The writer leaves gaps or
uses unclear language, so readers must fill in the blanks themselves, creating a
personal and subjective reading experience.
Example: When reading about an abstract painting, the writer only talks about the
colors, shapes, and their personal feelings. They don't explain the meaning of the
work, so you have to rely on your own knowledge and feelings to understand and
interpret it.
ĐỀ THAM KHẢO CÁC KỲ TRƯỚC

Format đề là câu 1 (lý thuyết) 4đ, câu 2 (viết văn) 6đ.
1.
Question 1: explain the five act structure (ABDCE) in course 1: the craft of plot.
Select the story that familiar with and illustrate that story with ABDCE structure
Question 2: apply all skill you’ve learned in the course to create a story minimum 800
words, either fiction or non-fiction. The story should involve the plot (beginning,
middle, end), character, setting and description and show your style
2.
Question 1: Explain the Reader-Writer Arc of Frank Conroy introduced in Course 4
"The craft of style". What are three possibilities that writers can reach readers
through their stories, according to the Reader-Writer Arc? Give an example for each
possibility.
Question 2: Set the beginning of a story in the place in which you were raised. Write
350-750 words. Let yourself go through the intense experience of remembering this
landscape, its weather, people, its joys and sorrows.
3.
Question 1: What is voice of narrator (point of view/ POV)? Explain the three POVS
mentioned in course 2.
Question 2: The aim here is to show your ability of revealing ideas or feeling through
the surfaces of physical experience.
- Write in the third person, describe a house from the point of view of a mother or
father whose daughter has just left home and married a man the mother or father
despises (dislike strongly). Don't refer to the wedding itself, or to the mother or
father's hatred (strong feeling of dislike) of the son-in-law. Focus on the house as she
or he experiences it in the wake of the daughter's departure.
- Then describe the same house from the point of view of the same mother or father-
except this time the daughter has left home to marry someone the mother or father
genuinely loves and approves of. Again, don't refer to the wedding itself, or to the
mother or father's affection for the son-in-law but on the house as she experiences it
in the wake of the daughter's departure.
The two pieces combined should total 400-750 words.
4.
Question 1:
In course 1: the craft of plot introduced the 21 points checklist for editing and revision
your manuscript. Explain the 21st point in the checklist “are my readers no longer
confused?” by answering these questions:
a/ who can be your readers in feedback, give example
b/ should you select the readers that read a lot of books or those who don't read
much? why?
c/ how much of your manuscript should you give to each reader?
d/ what should you request them when given them your manuscript?
5.
Question 1: in course 2: the craft of character introduced 3 points of view (POVs),
which are the firs person, the limited third person and the omniscient author. What is
POV? Distinguish 3 POVs and explain it.
6.
Question 1: explain the structure: CHARACTERS + ACTION = PLOT
Question 2:
- Write an active scene (an adventure, a dinner, a romance from the first
person POV no more than 350 words
- Then, take the exact same scene and write it again from omniscient POV
- Include both scene, explain what changes you discover when you shift from
one POV to the other
7.
Question 1 (4 marks): Explain the Reader-Writer Arc of Frank Conroy introduced in
Course 4 "The craft of style". What are three possibilities that writers can reach
readers through their stories, according to the Reader-Writer Arc? Give an example
for each possibility.
Question 2 (6 marks):
Set the beginning of a story in your primal landscape (the place in which you were
raised). Write 350-750 words. Let yourself go through the intense experience of
remembering this landscape, its weather, people, its joys and sorrows.
8.
Question 1 (4 marks): How important is research to writers in crafting their story's
setting? Explain three phases of research that are mentioned in video lessons of
Course 3: The Craft of Setting and Description.
Question 2 (6 marks): The aim here is to show your ability of revealing ideas or
feeling through the surfaces of physical experience. Write in the third person,
describe a house from the point of view of a mother or father whose daughter has
just left home and married a man the mother or father despises (dislike strongly).
Don't refer to the wedding itself, or to the mother or father's hatred (strong feeling of
dislike) of the son-in-law. Focus on the house as she or he experiences it in the wake

of the daughter's departure.
Then describe the same house from the point of view of the same mother or father-except this
time the daughter has left home to marry someone the mother or father genuinely loves and
approves of. Again, don't refer to the wedding itself, or to the mother or father's affection for
the son-in-law but on the house as she experiences it in the wake of the daughter's departure.
The two pieces combined should total 400-750 words.
Lưu ý cho các bạn trước khi làm bài

- Bắt đầu từ kì Spring24, CMC201c thi trên PEA
- Khi Log in vào phần mềm PEA, không được đóng phần mềm nếu chưa nộp
bài (đóng phần mềm bị 0đ)
- Mở word lên để viết bài, làm xong tạo 1 folder bỏ file word vừa làm vào folder
và nộp lên PEA
- Giao diện PEA hơi khó xài với những người mới, nếu không yên tâm, hãy
yêu cầu giám thị hướng dẫn nộp bài.
 Tắt caps lock trước khi mở phần mềm (vô phần mềm EOS không tắt được)
 Các bạn nắm kĩ lý thuyết ở những chỗ mình note “đã ra thi”. Không phải vì câu
đó có ra lại hay không (không đảm bảo, RE kì trước có ra lại nhưng kì này hem
bic). Mà là những câu mình note có những kiến thức và cấu trúc writing rất
quan trọng để các bạn áp dụng vô câu 2 viết văn, điểm vẫn rất khả quan ngay
cả khi không làm đầy đủ câu 1 (như mình đã nói viết có mở thân kết hoặc áp
dụng cấu trúc đã học thì điểm sẽ tốt hơn
 nắm kĩ lý thuyết những phần đó, nếu đề yêu cầu viết theo cấu trúc, POV, hay lý
thuyết cụ thể thì còn biết đường làm
 Đừng lan man, đề kêu gì làm đó
 Nhớ kiểm tra chính tả, viết câu cú rõ ràng
 Ôn hết đừng tủ phần nào hết nhaa
 Trong trường hợp bí quá thì viết bài có mở thân kết, hoặc viết theo cấu trúc freytag,
cấu trúc ABDCE cho dễ nè


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Suorce CMC201c gốc

Biên soạn và tổng hợp: Huyen Nhi Dao (FPT HCM)

Suorce Lí Thuyết môn CMC201c

Biên soạn và tổng hợp: Huyen Nhi Dao (FPT HCM)

* Cần chứng minh đây là tài liệu gốc, liên hệ Zalo:

Suorce CMC201c gốc

WHAT IS PLOT? (Cốt truyện là gì?)

FREYTAG’S PYRAMID (đã ra thi) – Mô hình kim tự tháp Freytag

CHARACTERS + ACTION = PLOT (đã ra thi) (cấu trúc CHARACTERS + ACTION =

1. CHARACTERS: Five important questions for creating characters:

WHAT IS STRUCTURE (cấu trúc là gì)

1. Beginning: set up characters, their relationships, their wants and desires.

What is a scene? – Phân cảnh là gì?

Suorce CMC201c gốc

2. Dialogue (diễn đạt)

3. Specific intimate details (những chi tiết thân mật cụ thể)

5. All scenes must have clear beginnings and endings.

Example: (ví dụ về React, reflect và reveal)

21-point checklist for the revision process. (đã ra thi)

Suorce CMC201c gốc

- 21, are my readers no longer confused? (đã ra thi)

Suorce CMC201c gốc

MOOC 2: THE CRAFT OF CHARACTERS (XÂY DỰNG NHÂN VẬT)

To build a character: (cách xây dựng nhân vật)

2. Empathy (đồng cảm)

1. Show character: Dialogue should reveal character's personality, emotions, and

Suorce CMC201c gốc

What is genre (thể loại là gì)

Suorce CMC201c gốc

The Pyramid of Language (đã ra thi)- (kim tự tháp ngôn ngữ)

Suorce CMC201c gốc

The Reader-Writer Arc (đã ra thi)

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Suorce CMC201c gốc

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Suorce CMC201c gốc

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