GROUP 4

MEMBERS:
HAZEL JANE NATIVIDAD
KATHLEEN PAGADUAN
NICOLE GUIMBA
BEVERLY MANGUPIT
JHARRED LOLONG
KYZEN TABIOS
JUSTINE CALOSING
ANGELICA MADRIAGA
CHARLOT DOLLENTE
FREE VERSE

• A free verse poem is a poem that doesn't rely on any particular form, meter, or rhyme
scheme, yet still conveys powerful feelings and ideas. Rather than letting a certain
structure define the poem, the poet lets the poem structure itself through the interplay of
language, sound, and literary devices.
FREE VERSE: NO RULES

• Free verse poems do not follow the rules, and have no rhyme or rhythm; but they are still
an artistic expression. They are sometimes thought to be a modern form of poetry; but,
the free verse types of poem have been around for hundreds of years
EXAMPLE

After the Sea-Ship

by Walt Whitman
After the Sea-Ship-after the whistling winds;
After the white-gray sails, taut to their spars and ropes,
Below, a myriad, myriad waves, hastening, lifting up their necks,
Tending in ceaseless flow toward the track of the ship:
Waves of the ocean, bubbling and gurgling, blithely prying,
Waves, undulating waves-liquid, uneven, emulous waves,
Toward that whirling current, laughing and buoyant, with curves,
Where the great Vessel, sailing and tacking, displaced the
surface;
RHYMING POEM

• Probably the most noticeable feature of the fixed forms is rhyme. Words rhyme when
they end in syllable that sound alike.
• The two most common kinds of rhyme in English are masculine and feminine. Masculine
rhyme occurs when the sound- alike syllables are stressed.
EXAMPLE

Jack and Jill

went up the hill

Hey diddle diddle

The cat and the fiddle
PHOTO ESSAY

• A photographic essay or photo-essay for short is a form of visual storytelling, a

way to present a narrative through a series of images. A photo essay delivers a
story using a series of photographs and brings the viewer along a narrative
journey. 
ELEMENTS OF GENRE

• Character
• Setting
• Plot
• Dialogue
CHARACTER

What is character?
Character is they are the actors in the story moving the plot line through dialogues & actions
They have two major characters
The Protagonist & antagonist
Protagonist- is the main character of the story. And someone who have personality, like Romina
and Cassy in Kadenang Ginto.
Antagonist- also a main character but in conflict with the protagonist. This maybe because of a
different attitudes, belief or goals. Lika Daniela and Marga in kadenang ginto.
CHARACTER

MINOR'S CHARACTER
Minor's character- These are the other characters in a story as important as the major
characters, but still play a large part in the story.
Characters can have a different traits Major characters usually be dynamic changing and
drawing throughout the story.
• Foil Characters- Characters that has opposite character traits from one another, meant to
help highlight of bring out another positive or negative sides. Like the step sister of
Cinderella, and Cinderella's story
CHARACTER

• Static Character- who are not change throughout the story. Their use may simply be to create or relieve
tension, or they were not meant to change. Like Fairy God mother and Cinderella story as well.
• Dynamic Character- change throughout the story. They may learn a lesson, become bad, or change in
complex ways.
• Flat Character- has one or two main traits, usually only all positive or negative. They are the opposite of a
round character.
• Round Character- that opposite of the flat character. These characters have many different traits. good and
bad, making them more interesting.
• Stock Character- these are the stereotypical character, such as the body genius, ambitious, and career person.
SETTING

• Setting is the time and place in which a story takes place.

• It includes physical locations, historical context, and cultural atmosphere.
• A well-crafted setting can create a sense of atmosphere, mood, and tone that enhances the overall storytelling
experience.
• It can also play a crucial role in a story's plot, characters, and themes.
• Sensory details and character interaction with the environment are effective ways to establish setting.
• Setting can shape character behavior, motivations, and conflicts, as well as provide symbolic meaning and
metaphorical resonance.
• In conclusion, setting is an important element of storytelling that can help immerse the reader or viewer in the world of
the story and add depth and richness to the narrative.
PLOT

• The plot tells what happens in the story. It relates the chain of events through different
stages revealed in the story arc: exposition or the beginning where the conflict is
introduced; rising action or all the actions leading to the climax, pivotal or turning point
of the story; denouement or falling action and ending or resolution.
THEME

• Theme is the central idea of a literary work which can be termed as morals, insights, or
values implied. It is not intended to preach or teach but it is something extracted from
other literary elements and techniques like the structure, plot, characters, style of
narration, patterns, and symbols. In short, it is the underlying truths and realities of life
consciously and unconsciously created by the author and realized by the readers.
DIALOGUE

• Dialogue is a written or spoken conversational exchange between two or more people,

and a literary and theatrical form that depicts such an exchange. Dialogue is the exchange
of spoken words between two or more character in a book, play or other written works.
TECHNIQUES AND LITERARY DEVICES

• Intertextuality
is the shaping of a text's meaning by another text. Intertextual figures include: allusion, quotation.
calque, plagiarism, translation, pastiche and Intertextuality is a literary device that interrelationship
between texts' and parody. creates an generates understanding in separate works ("Intertextuality",
2015). These references are made to influence that reader and add layers of related depth to a text,
based on the readers' prior knowledge and understanding. Intertextuality is a literary discourse
strategy (Gadavanij, n.d.) utilised by writers in novels, poetry, theatre and even in non-written texts
(such as performances and digital media). Examples of intertextuality are an author's borrowing and
transformation of a prior text, and a reader's referencing of one text in reading another.
• Intertextuality does not require citing or referencing punctuation (such as quotation
marks) and is often mistaken for plagiarism (Ivanic, 1998). Intertextuality can be
produced in texts using a variety of functions including allusion, quotation and
referencing (Hebel, 1989). However, intertextuality is not always intentional and can be
utilised inadvertently. As philosopher William Irwin wrote, the term "has come to have
almost as many meanings as users, from those faithful to Kristeva's original vision to
those who simply use it as a stylish way of talking about allusion and influence."
EXAMPLE

Lord of the Flies by William Golding

William Golding in his novel, Lord of the Flies, takes the story implicitly from Treasure
Island already written by Robert Louis Stevenson. However, Golding has utilized the
concept of adventures, which young boys love to use on the isolated island they were
stranded on. He, however, changes the narrative into a cautious tale, rejecting glorified
stories of Stevenson concerning exploration and swash buckling. Instead, Golding grounds
this novel in bitter realism by demonstrating negative implications of savagery and fighting
that could take control of human hearts, because characters have lost the idea of civilization.
FUNCTION OF INTERTEXTUALITY

• Majority of the writers borrow ideas from the previous works to give a layer of meanings
to their works. In fact, when readers read the new text with reflection of another literary
work, all related assumptions, effects and ideas of other text provide them a different
meaning and changes the technique of interpretation of the original piece. Since readers
take influence from other texts, and while reading new texts they sift through archives,
this device gives them relevance and clarifies their understanding of the new texts. For
writers, intertextuality allows them to open new perspectives and possibilities to construct
their story. Thus, writers may explore a particular ideology in their narrative by
discussing recent rhetoric in the original text.
DRAMATIC SCENE

• Dramatic Scene
In fiction, a scene is a unit of drama. A sequel is what follows; an aftermath. Together,
scene and sequel provide the building blocks of plot for short stories, novels, and other
forms of fiction.
• Writing of a scene
Sometimes a writer may summarize events, rather than using a scene. This is
exposition. The writer explains events quickly to get the reader to the next scene. At other
times a writer will dramatize an event using the basic elements of fiction: dialogue,
description, conflict, and suspense, among others. These scenes, told in narrative form, slow
events to "real time" and show the reader what the characters are actually doing and saying.
Using narrative scenes, a writer attempts to make the reader forget they are. reading; the
writer wants the reader to live the story.
• Viewpoint of a scene
A viewpoint exists for every scene. Each scene is observed through the thoughts and emotions of
one of the characters. That character is the point of view (POV) character. As he or she speaks and
interacts with other characters, the POV character reveals the story through their perceptions. A short
story usually has only one point of view character; the novel, however, may have several POV
characters. A novel may contain scenes in which one character serves as the POV character throughout
most of the scenes. Other characters would then serve as POV characters in the remaining scenes.[6]
Some writers struggle with using either first person or third person when creating a story. To find a
solution, a writer may rewrite a scene in each. Each person has its advantages and disadvantages. The
draft which the writer feels would be more enticing to the reader should answer the question.
• Length and setting of a scene
Length of a scene may trouble a writer. How long should a scene be? Some scenes may only be a
few pages or even a few paragraphs; other scenes may be dozens of pages long. The writer should
consider what is being focused upon in a scene to determine length. Scenes that focus on description
or exposition should be shorter. Scenes that focus on building suspense or expressing emotion should
be longer. No right solution exists to answer the question of scene length. The writer should use his
instincts.
Another question that may arise for a writer is "How many settings should be included in a
scene?" Some writers argue that an ideal scene should contain only one setting. Since fiction writing
is subjective, a scene may require several settings. The writer should keep in mind that a setting could
be portable, such as inside a car, on an escalator or on an airliner.[9] Just as with the length of a scene,
the writer again needs to use his instincts when determining how many settings to include in a scene.
• Beginning of a scene
Beginning a scene can enhance or detract from a writer's style. To capture the reader's
interest, which is the ultimate goal of creating fiction, a writer can begin a scene in medias
res. This means in the middle of things. Starting the scene in the middle of some dialogue,
such as an argument, or action, such as someone pointing a weapon at someone else, would
possibly hook the reader. If done well, description of a character or a setting can begin a
scene; however, the writer risks boring the reader if description is provided in large chunks.
A solution would be to insert description among the dialogue and action. Many ways exist
for a writer to begin a scene, but he should remember this goal: grab the reader's attention
as soon as possible.
• Ending of a scene
Ending a scene properly can make the reader want more. When a point of view
character has failed to reach a goal, the end of the scene is usually about to fall upon the
reader. Sometimes a situation gets worse for the character; sometimes the character must
consider their next course of action. The end result should be that the reader wants to see
what happens next. The writer can facilitate this by showing the character's upcoming plans
to achieve the goal.
MINI SCRIPT

Writing Your Own Script

• 1. Focus your concept. You need a center to your story. whether it's a bad guy in distress who needs rescuing or
a bad guy who needs to be vanquished. Once you have the main idea, you can develop the other elements.

• 2. Create a logical series of events. Start with a paragraph describing what happens. Identify the main character,
describe what she or he needs to do, create a few obstacles and ways to overcome them, decide on a resolution.
Don't worry if there's a generic feel to your plot at this point. Consider this sequence: male meets female; they
fall in love; they struggle to overcome forces against them; male dies nobly. Is this "King Kong" or "Romeo and
Juliet"? The answer for both: yes. How you handle the details is up to you.

• 3. Choose a structure. At this point, all you need to do is open yourself to possibilities and see where they take
you. It may be a one-act lasting twenty minutes, or a two-hour epic.
MINI SCRIPT

• 4. Write a first draft. You don't need character names at this point but you need to give characters
something to say. Let the dialogue flow based on what motivates the characters.In Edward Albee's "Who's
Afraid of Virginia Woolf?", Martha, the female lead, returns home from a party, looks around the house,
and says "Jesus H. Christ!" That was a fairly startling first line for 1962, but it got the audience's interest.
• 5. Become a ruthless editor. Even the most brilliant writers need editing, and that's often a brutal process
of ripping out words or even whole speeches, changing the sequence of events, dumping characters that
don't work. You need courage to identify and keep only the best parts of your play.
• 6. Solicit response. Finding someone who will give an informed, honest opinion isn't easy but can be
immensely useful. Try to locate writing response groups, either online or where you live. One meaning of
"revision" is being looked at by another set of eyes.
MINI SCRIPT

• 7. Take another look. With the feedback you've gotten in mind, reread the play. Look
closely and make changes to improve consistency, characterization, and remove all errors.
• 8. Believe in the play’s worth and don't give up.