creative writing znnhs

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Academic Track 11

First Semester

FIRST QUARTER

Second Semester

THIRD GRADING

HOPE 2 Quarter 3 – Module 1: Sports: A Way in Managing Stress

HOPE 2 Quarter 3 – Module 2: BADMINTON

Quarter 3 – Module 3: BASKETBALL

HOPE 2 Quarter 3 – Module 4: Table Tennis

HOPE 2 Quarter 3 – Module 5: SWIMMING

HOPE 2 Quarter 3 – Module 6:

HOPE 2 Quarter 3 – Module 7: FOOTBALL/ SOCCER

HOPE 2 Quarter 3 – Module 8: SOFTBALL

Reading and Writing Quarter 3 – Module 1: Techniques in Selecting and Organizing Information

Reading and Writing Quarter 3 – Module 2: Patterns of Written Text

Reading and Writing Quarter 3 – Module 3: PROPERTIES OF A WELL-WRITTEN TEXT

Reading and Writing Quarter 3 – Module 4: EXPLICIT AND IMPLICIT CLAIMS IN A TEXT

Reading and Writing Quarter 3 – Module 5: TYPES OF CLAIMS IN A WRITTEN TEXT

Reading and Writing Quarter 3 – Module 6: USING CONTEXT IN TEXT DEVELOPMENT

Reading and Writing Quarter 3 – Module 7: CRITICAL READING AS REASONING

Reading and Writing Quarter 3 – Module 8: Formulating Evaluative Statements

SECOND GRADING

Organization and Management Quarter 2 – Module 5 Different Controlling Methods and Techniques

Organization and Management Quarter 2 – Module 4: Analyze motivation, leadership and communication work in an organization

English Quarter 2 – Module 3: Shift in Speech Elements

General Mathematics Quarter 2 – Module 5 Stocks and Bonds

Signed off_Personality Developent11_q2_m5_Personal and Social Relationships in Middle and Late Adolescence_v3

General Mathematics Quarter 2 – Module 1: Simple Interest and Compound Interest

General Mathematics Quarter 2 – Module 2: Interest, Maturity Value, Future Value, and Present Value in Simple and Compound Interest

FIRST GRADING

Third Grading

HOPE 2Quarter 3 – Module 2: BADMINTON

HOPE 2 Quarter 3 – Module 3: BASKETBALL

Signed off_Personality Developent11_q2_m5_Personal and Social Relationships in Middle and Late Adolescence

Second semester

SHS Creative Nonfiction Module 1 - ZNNHS

Creative Nonfiction

HUMMS - Creative Non-Fiction

First Edition, 2020

Copyright © 2020

La Union Schools Division

All rights reserved. No part of this module may be reproduced in any form without

written permission from the copyright owners.

Development Team of the Module

Author: Abelardo J. Caplis

Editor: SDO La Union, Learning Resource Quality Assurance Team

Illustrator: Ernesto F. Ramos, Jr., P II

Management Team:

ATTY. Donato D. Balderas, Jr.

Schools Division Superintendent

Vivian Luz S. Pagatpatan, Ph.D

Assistant Schools Division Superintendent

German E. Flora, Ph.D, CID Chief

Virgilio C. Boado, Ph.D, EPS in Charge of LRMS

Belen C. Aquino, Ph.D, EPS in Charge of English

Michael Jason D. Morales, PDO II

Claire P. Toluyen, Librarian II

Creative Non-Fiction

The need to understand the conventions of traditional literary genres such

as fiction, poetry, drama and other forms including their elements and techniques

of writing is essential for reading and for thinking critically and creatively. These

conventions are sometimes called as “codes”. Being able to understand these codes

will be a jumpstart or springboard toward understanding all other forms or genres

of text. Crucial to reading and thinking is the considerable study on the techniques

and themes used in a particular text.

You might have encountered and learned from your previous literature class

the common conventions of literary genres (codes) which definitely refer to

elements, themes, techniques and devices used in a text. That is great! You will

need that knowledge or learning in order to attain the competencies required for

you in this module.

This section provides you content knowledge, exercises and activities so you

could analyze and interpret the theme and techniques used in a particular text.

At the end of your journey in this module, you are expected to:

1. Analyze the theme and techniques used in a particular text.

2. Interpret the theme and techniques used in a particular text.

I know that you are very eager to know about themes and

techniques used in different texts. Relax! We will get there! For you

to smoothly and easily analyze and interpret the themes and

techniques later, have a little refresher about the genres and

elements of literary texts, as reviewing them will form part of

analyzing and interpreting themes and techniques, which is the

focal competencies of this module.

From your previous classes in literature, you learned about the main divisions of literature which are prose and the poetry. Prose is divided into two: the fiction and the non-fiction. Both have their common and distinct elements and types. Below are information about the genres (focusing more on non-fiction accounts and the meaning of creative non-fiction) which will serve as your refresher so you could be able to perform all the exercises and activities in this module. Have time to study them.

Fiction Non-fiction Most Common Genres Features

Characters -People

Plot -Setting

-Conflict -Resolution

Real -People

Organization Style

Fiction Non-fiction fables, folktales,

fantasy, mystery autobiography

myth, legend newspaper article

historical fiction essay

realistic fiction documentary

drama, poetry speeches, diaries,

science fiction informational

What is Non-fiction?

Non-fiction pieces are based on facts and author’s opinions about a subject.

Non-fiction could be biographies, articles from textbooks, newspaper and

magazine articles.

The purpose of non-fiction writing is to inform and sometimes persuade.

ANALYZING TECHNIQUES & INTERPRETING THEMES

USED IN A TEXT

About Fiction and Non-fiction Kinds of Fiction and Non-fiction

The Elements of Fiction

There are eight elements of fiction

nd structure

Creative non-fiction is a genre of writing that utilizes the elements and styles of

writing fiction to artistically and aesthetically express, inform and

persuade others about facts and true life accounts.

ACTIVITY 1: Read Me! Analyze Me! Answer Me!

Directions: Read and analyze the “direct statements” below. Identify the style or technique used through the underlined and italicized portions, phrases or words. Choose your answer on the pool of words provided. Write your answer in the box at the right side.

Choose your answer in the box.

ACTIVITY 2: Read Me! Analyze Me! Answer Me!

Did you have enough review about the genres of literary text focusing more on the kinds of non-fiction and the meaning of creative non-fiction? Very good! That is crucial since you will proceed to an activity that will introduce you to the main topics of this module. Are you ready for the motivation activity on the next page? There are two sets of motivation activity waiting for you! Well, you are! That’s the spirit! Let’s do it!

1. “The flower that I cherished for six summers, the flower- so lovely and fragrant is just a dream now. I woke up one day and everything is a question as to why the flower went away. .” 2. “I cried a river when my favorite cat died. Muning is my favorite pet. We spent four years together and I can’t imagine life without her.” 3. “Being in love is like heaven. It is a feeling that is incomparable among other feelings or emotions. To be

in love is like a rainbow, full of colors, full of joy!”

4. “She looked at me with wonder and amazement. I know deep down in her minds she wants to ask me if I truly did the things. I know in her heart that she might not believe everything I said. Well, she needs to because this is the new version of me.”

5. “She has a long shiny black hair with chinky eyes and an aquiline nose. Her eyelashes are long and curly like that of Cleopatra. Her pouting lips are small, pinkish in color and it seems inviting. Her body is like that of Angel Locsin and her smile makes my heart so delighted like the angelic smile of Marian Rivera.” 6. “Sheila, see? Sally sells seashells by the seashore! She shared same sentiments with Sarah but you should not be saying the same!”

7. “The silence is deafening me. His looks blind me. He does not even say any single word. I know he figured out everything. His fully zipped mouth is so loud that it may explode anytime. I feel different. I feel terrified.”

Oxymoron Repetition Imagery Point of View Simile Hyperbole Symbolism

Directions: Read and analyze the “direct statements” below. Identify the one-word idea or message (subject or topic) of the statements by choosing your answer on the pool of words provided. Write your answer in the box at the right side.

How many correct responses did you answer? What have you observed from the two activities? What do you think is the connection of these activities with the lesson that we will discover in this module?

1. “We struggled a lot like a stray dog, with no permanent home, no refuge. We have no food to eat, not even a single penny. We drink water from the muddy lake, tastes like a rusting iron.”

2. “I have fought the good fight, I have finished the race, I have kept the faith. Now there is in store for me the crown of righteousness, which the Lord, the righteous Judge, will award to me on that day.”

3. “I have no choice but to save the child though I know my life will be at risk. I just feel it’s my duty to help those who are in need. I never regret I broke my arm, at least a life was saved and God used me as His instrument.”

4. “I don’t feel like to be her friend. She’s a highlander. She looks like my old shoes, out of the trend. I couldn’t imagine her style of clothing still exist this era. Oh my gosh! Is everything fine? Is the world okay?”

5. “I think good things will come to those who patiently wait. I also look into the beauty of each human being regardless of their culture, status and backgrounds. Lastly, I believe that everyone can change when they see inspiration whether it’s spiritual, physical, moral or emotional.”

6. “In the fell clutch of circumstances, I have not winced nor cried aloud. Under the bludgeonings of chance, my head is bloody but unbowed. Beyond this place of wrath and tears, looms but the horror of the shade. And yet, the menace of the years, finds and shall find me unafraid.”

7. “Lord, please cleanse away my soul. I know that I sin oftentimes and that I am a human with many inequities. I know that I sometimes commit sin against your will. Sometimes I cannot control and tell myself to do the right thing. I ask for your forgiveness and hope to remind me always of my promise.”

Piousness Courage Poverty Farewell Prejudice Heroism Positivity

Do you have a preliminary answer to the question of the teacher in the chat

box on the previous page? What then is the connection of activity 1 and 2 with the

lesson that you will discover in this module? That, you will find out later. Are you

ready? Read the following discussions below and discover the topics in this module.

You have learned that there are specific differences of a total fiction text and

a creative non-fiction text. Some of these are the elements, styles and techniques.

However, there are also similarities underlying between the two. Some of these are

the themes, tone, mood, point of view and some other styles and techniques

present in fictional accounts.

Creative non-fiction texts are true accounts while utilizing some of the

techniques and styles of fiction. Creativity includes the use of literary devices which

can be divided into two: literary techniques (which include the use of figurative

language) and literary elements (which include the theme). In this module, you will

discover and analyze the techniques and themes used in creative non-fiction texts.

Literary Techniques are specific, deliberate construction and use of

language to convey meaning. Oftentimes, these techniques are indirectly or

implicitly used in a text. Sometimes, readers experience difficulty in figuring out

the intended meaning because of these techniques. Unlike literary texts,

techniques are not necessarily present in all texts. However, creative non-fiction

texts utilize techniques commonly used in literary texts as part of art and aesthetic

aspect of writing. Sometimes, these techniques are used in free and formal and

informative and narrative essays.

Some of these techniques are the inclusion of figures of speech, dialogue,

imagery, kenning, symbolism, parallelism, foreshadowing, flashback, approach to

events such as deductive or inductive, employment of sounds, choice of word, humor,

representation, and form of writing and more others.

The direct statements (items) from activity 1 utilized techniques which make

the whole discourse creative and figurative. The items in activity 1 used symbolism,

figurative language, point of view, alliteration and imagery. These are called

techniques employed in writing and could possibly be used also in speaking.

On the other hand, theme refers to the central idea, subject, topic or

message of the text. Oftentimes, a narrative text, poetry and literary texts have

themes. Themes are the overall idea or message conveyed in the text. It is an

underlying belief and outlook of the author about life inside and outside him. It is

often universal. Universality means true to all- felt and experienced by all.

Some of the examples of themes are love, power, corruption, courage,

excellence, prejudice, discrimination, good versus evil, heroism, beauty,

nationalism, patriotism, positivity, poverty, piousness or religiosity, survival and

If you have noticed, activity 2 showed the themes used in the items but it

only utilized direct statements. However, based from the direct statements, it can

be noted that themes can be identified easily by feeling their contents.

Thus, the task of this module is for you to analyze the techniques and

interpret the themes in a text. For you to do it, you should at least have the

following competencies: (1) You can read text at least in a comprehension,

interpretive and critical level; (2) You should have knowledge about literary

techniques, elements forms and types; (3) You have the skill to relate experiences to

the text or vise versa; and (4) You love reading and learning. If you have all of these,

then I believe you could do better than expected!

To better facilitate your understanding about techniques and themes used in

a text, figure 2 below is presented. Have at least a little research about the literary

techniques and themes.

LITERARY TECHNIQUE It refers to a specific, deliberate construction and use of language to convey meaning. It is an artistic and an aesthetics way of writing texts.

THEME It refers to the central idea, message or subject the text want to convey. It is a revolving idea althroughout the text conveyed through significant events, elements and techniques. in writing.

LITERARY TECHNIQUES 1. figures of speech 8. sound 2. symbolism 9. humor 3. representations 10. choice of 4. kenning word 5. parallelism 11. arrangement 6. imagery foreshadowing 12. dialogue 7. flashback

THEMES 1. love 8. poverty 2. heroism 9. positivity 3. courage 10. piousness 4. power 11. religiosity 5. corruption 12. deaths 6. friendship 7. survival

Figure 3 below shows how to analyze techniques and interpret themes used in a text.

Directions: Read, analyze and enjoy a true-to-life narrative text taken from one of the best stories of True Accounts written by TIF Marcelo via Facebook and Instagram. This story is inspired by his friend named Sha.

The Diary of the Girl Dear Diary, It was a very cold winter when the breath of the light of home was taken back by the Giver of life. I was out in the dark during that time. The moon keeps on smiling but suddenly it cried. I have cried out so loud from the envelope of love and caress. At the same time, the deafening silence of the great woman cornered the four sides of the white room. Together with the men and women in white, is the pillar of home. Yes, he was left alone, just with me, with that day of tears, sorrow and melancholy. But he, knowing I am the cause of the decease of his dearly love, his flower of delight since high school of loyalty and honesty, with love and tenderness, with sacrifice and devotion, he poses that smile of inspiring and motivating love as I was going out of the school. It seems he always misses me after eight hours stay inside that highly-cost home of human knowledge and wisdom. He holds and carries me in his strong arms as he turns me once or twice around. He kisses me with his beard that tickles my thin skin. But the feeling is different. I love it.

I guess that the meaning of literary technique and themes plus the examples provided are enough for you to analyze techniques and themes used in a text. Are you ready for the next stage? Let’s explore it!

How to analyze techniques and interpret themes used in a text?

have enough

knowledge or

mastery about

literary techniques

comprehension,

interpretive and

critical level of

know how to relate

experiences to the

text or vise versa

loves reading and

Yes, he was left alone with only a piece of land inherited from his deceased parents (which was sold when I was out to light) since my mom’s family defied him for his indigence and misfortune. He was alone. He works nine or ten hours a day in that factory of not-so-popular cloth trade. His pay is just a little. However, his money is like abundant leaves. I was wondering how he pays our rent, our water, our food, my ice cream, my Barbie, my tiny thick uniform, my candies, my chocolates and my pretty toys. Sometimes, I ask the air, “Where on earth my dad get lots of money?” Isn’t it surprising? Yes it is. It is really surprising that my dad pretends to be happy though I am the cause of his heartaches when mom died. Yes he is rich because he pretends to be someone because he wants me to be happy at all times. He pretends not to be tired because he wants me to be good at school. He makes me laugh because he does not want me to be lonely. And most of all, he wants me to smile

because when I do, his pain will go away. Sometimes, he holds his stomach. I know it is empty for the whole day. How I wish that time must fly so fast so I could accompany him to bear his burdens. I knew it then. I knew that his joy is me. He sacrifices, he lies and he pretends because I am the only fruit of his sweet long love from the great woman whom I owe my life- my mom. How touching for a little girl like me with five and four years in this world! Though innocent, I feel the warm caress and tender touch, sweetest smile and eyes so bright of my dad. This is Sharina, leaving you of the greetings, “Happy Father’s Day! Love your dad unconditionally!” Activity 3: I need your basic comprehension! Read and answer me! Directions: Read the questions below and choose the correct answer from the given choices by encircling the letter of your choice. 1. What point of view was used in the text? A. First Person B. Omniscient C. Second Person 2. What does the persona refer to as the “light of home”? A. Father B. Mother C. Self 3. What happened during that cold winter as stated in the introduction part of the text? A. The mother died. B. The father left. C. The baby died. 4. What does the persona refer to as the “envelope of love and caress”? A. loving hands of the father B. the warm look of the mother C. the womb of the mother 5. How will you describe the tone of the opening or introduction part? A. Happiness B. Excitement C. Sadness 6. How does the persona describe the light of home? A. Courageous B. Great C. Weak 7. What does the persona mean when she said “home of human knowledge and wisdom”? A. Family B. Hospital C. School 8. What particular annual celebration was the letter written? A. Christmas Program B. Mother’s Day C. Father’s Day 9. Why does the father pretend to be someone else? A. He does not want his daughter to see his struggles. B. He wants to retain in his daughter’s mind that they are rich. C. He loves his daughter that he provides everything and he does not want his daughter to see him struggling.

10. Why did the author write this true account? A. to inspire people to be better on their studies B. to persuade readers to love, respect and appreciate their fathers C. to emphasize the greater value of loving mothers who bear a baby and sacrifice her life Activity 4: I need your higher level of comprehension! Read and answer me! Directions: Read and answer the questions below. Identify what is asked for each item. Choose the correct answer from the given choices in the box provided below.

Apostrophe Kenning Father Gender/Masculine Symbolism

Oxymoron Simile Narrative Personification God

_____________1. What does the writer refer to when he said, “Giver of Life”? _____________2. What does the writer refer to when he said, “Pillar of Home”? _____________3. What figure of speech is used with the statement, “His money is like abundant leaves.”? _____________4. What figure of speech is used in the statement, I ask the air, “Where on earth my dad get lots of money?” _____________5. What does the word flower symbolize from the statement, “I am the cause of the decease of his dearly love, his flower of delight.”? _____________6. What figure of speech is used in the statement, “The moon kept on smiling but suddenly it cried.”? _____________7. What Archaic Style is used in writing the text? _____________8. What technical approach is used to conceptualize the story? _____________9. What figure of speech is used in the statement, “The deafening silence of the great woman cornered the four sides of the white room.”? ____________10. What type of text is “The Diary of the Girl?

Hello!? How did you find Activity 3 and 4? These activities assess your basic and critical comprehension about the text and how the text was written by the writer. The said activities are focused on the techniques of writing. I hope you see these features during your reading and activities.

ACTIVITY 5. Look at the bigger picture of ideas and messages! Directions: There is one main theme or central idea of the narrative text aside from the other minor themes. Arrange the four themes according to how they are highlighted or emphasized in the narrative. Fill in the blanks with themes in accordance to what is asked. Choose your answer from the box provided. 1. Main Theme: _____________________

2. 1st Minor Theme: _____________________

3. 2nd Minor Theme: _______________________

4. 3rd Minor Theme: __________________________

Important Points to Remember

Love, Respect & Appreciation Poverty & Survival Happiness & Satisfaction Death & Farewell

Did you have wider and deeper understanding now about techniques and themes used in a text? The true-to-life narrative you just read is an example of creative non-fiction. It is non-fiction because it is based from true story of people where it became creative because it utilized the techniques and elements of fictional accounts. However, the focus of this module is for you to analyze techniques and interpret theme/s in a text. The Diary of a Girl is a narrative true-to-life story of Sha, the writer’s friend. From the construction of the story, it can be noted that an archaic style called KENNING was utilized. This is an old conventional styles of naming terms and words such as home of knowledge and wisdom for school, Giver of Life for God and the others. Moreover, figures of speech such as the choices in activity 3 and 4, are also utilized. The story is constructed using a first person point of view with a

melancholic or dramatic beginning. Lastly, the theme can be determined easily based from the common knowledge and plot of the story.

Directions: Read, comprehend and analyze the text below. Then do

the activities that follow.

The Truth About Filipino Old Timers Cecilia Manguerra Brainard

The very first O.T. (Filipino Old Timer) I heard about was the man who returned to Cebu to marry my mother’s friend, a spinster advanced in years. During afternoon meriendas, I overheard the development of this alliance. A crusty lady set in her ways, my mother’s friend refused to migrate to America and the newlyweds lived in her seaside town. It was a poor place which relied only on the sea’s yield and he quickly grew sick of eating fish and rice. He longed for steaks, broccoli, and asparagus; he wanted them both to go to the United States. She adamantly said no and finally he returned to America alone. I got the idea that O.T.’s were displaced human beings after seeing another O.T. in a travel agency. A quiet man with skin like stretched leather, he stood solemnly while his relatives made arrangements for his quick return to the U.S. His children had bought him a round-trip ticket from the U.S. to the Philippines and back. He had not been home in over forty years; it had been his dream to return. But after just a few days in his hometown, he became very unhappy and wanted to leave. When I was a graduate student at UCLA, I became scared when an O.T. began trailing me. I was shopping in Westwood Village, and later he even rode my

Let us dig a deeper understanding on techniques and themes by

providing you a text to read, understand and analyze. Then, do the activities

that follow on the next pages.

bus. I managed to lose him, but I sometimes wondered why he did that. That summer when I lived with my friend and her uncle, an O.T. – the one married to an ex-nun – I was also puzzled when he followed my friend and me everywhere. I would discover years later that these men, who had generally been isolated from Filipino women, took pleasure in just looking at and being with Filipinas. After seeing more of California, I made a mental picture of where these Old Timers worked – on the farms of Salinas; in the canneries of Monterey, perhaps in the Portola Sardine Factory. I imagined Temple Street before the freeways, the raunchy bars and restaurants where they hung out. I knew there were few places where these men could socialize in during the 1940s. Sometime, somewhere, I had seen a poster saying: No Dogs and No Filipinos Allowed. I created a stereotype of them, and I pitied these old men who had labored under California’s scorching sun, who were not allowed to marry white women, who

had only one another and their card games and their whisky. It was Tony who wrecked this mental picture. My husband, son, and I used to live in an apartment in Los Angeles, where Tony, an O.T., lived in one of the downstairs apartments. I felt sorry for Tony. He was a small man who wore floppy fedoras, loose coats and baggy pants. I compared him with the elderly in the Philippines who were surrounded by abundant children and grandchildren. I remembered having to kiss the hands of my grandfather and granduncles to greet them. I projected everything I knew about O.T.’s on Tony and I almost wept when I told my husband about him. My husband said Tony seemed fine, that he had seen him exit from a bar down the street. Of course, I retorted, the poor man is so miserable, he’s driven to drink. I adopted Tony as a mental relative of sorts; after all, we were both strangers in a strange land. I never spoke to him because he was a very private man who came and went without any fuss. There were, however, occasional strange sounds that came from his apartment. Once, on the way to the laundry room, I walked by his bathroom and heard what seemed to be an animal in great agony. I thought nothing of it. When Christmas came, I gave him a box of See’s candies. “I thought you’re Vietnamese married to a G.I.,” he said. The very next day he came knocking and handed me a larger box of See’s candies with an enormous red bow and plastic flowers. He didn’t say anything; he just gave me the box and left. As the months passed, Tony continued coming and going as before, and I continued entertaining this vision of him as a pathetic old man. But in the summer, I had to change my view of Tony and about O.T.’s in general.

One night there was a terrible commotion from Tony’s apartment. My husband and I peeped out our window and saw the manager with two policemen in front of Tony’s place. I was sure they had found him dead or hurt. In the morning we hurried to the manager to find out what had happened. “Oh,” she said – she was a German lady, large with red hair—“nothing to worry about. This happened before.” Our eyebrows shot up questioningly and she explained that Tony had girlfriends who sometimes moved into his apartment. “The giggling and goings-on coming from that place!” she added. Tony apparently wanted his current girlfriend to move out but she refused, thus the hassle. It took me a while to absorb her words. My husband laughed but I stood there thoroughly puzzled. I had all these ideas about Old Timers, about Tony, I had to rethink things. Now when I see Old Timers huddled over their card games, my first instinct is still a wave of sympathy, but I just think of Tony and I chuckle and wish them a good hand.

ACTIVITY 6: Analyze the Techniques and Interpret the Theme Directions: Answer the following questions. These questions will serve as your guide in writing your analysis of the techniques used and the interpretation of the theme in activity 7. 1. What does O.T’s (Filipino Old Timers) mean based from the text? 2. Read the second paragraph. How did the writer characterize the man (he)? 3. Is there an imagery used in the text? Enumerate some. 4. The word meriendas is used in the text. What do you call this choice of word by the writer? 5. What was the first impression of the persona about Filipino Old Timers? 6. Does this impression change based on the events of the story? What literary technique is used in this part?

7. Quoted speech is employed in the text. What do you call this technique? 8. Is there a flashback employed in writing? Cite it. 9. What kind of text is “The Truth About Filipino Old Timers”? 10. What character of Filipino old timers is shown in the story? 11. Enumerate the main and minor themes of the story. ACTIVITY 7: Write your analysis and interpretation! Directions: After reading the text, write your simple, yet comprehensive analysis of the techniques used and interpret the theme in the story. Your answer should be two consecutive paragraphs. Each paragraph should contain 7-10 sentences. The first paragraph should discuss first your analysis on the techniques used and the second paragraph should compose your analysis on the theme. Be guided with the given rubrics in writing your analysis and interpretation. ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________ _____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________

RUBRIC (Evaluation Criteria in Writing the Analysis and Interpretation)

Criteria 10 (Excellent)

8 (Very Good)

(relevance of the substance

to the questions or

substance is perfectly

relevant with the

question or task.

substance is relevant but with

little missed

discussion.

The substance is relevant but with noticeable

numbers of inconsistencies.

The substance is not relevant and needs to include

few contents.

The substance

written cannot be

understood and needs to include almost all content needed.

(supports only one central

idea for each paragraph)

Statements constructed

support only one central idea.

supports only one

central idea but with minimal

unwanted sentences.

supports only one central

idea but with few unwanted

do not support the central idea

and few sentences

are unwanted.

Almost all of the

statements written

does not support

the central idea of the paragraph.

Coherence (connectedness

and relatedness of

statements within the paragraph)

Sentences within the paragraph

are perfectly

related with each other.

Sentences within the paragraph are related with each other but

with minimal illogical

statements.

Sentences within the

paragraph are somehow

related with each other but few statements

are illogical.

have considerable number of

incoherence.

Almost all sentences

are not coherent with each

Correctness (grammar,

paragraphing, punctuation

mark, indention,

spelling, etc.)

are perfectly correct.

Mechanics are correct but with minimal

Mechanics are with few errors.

Mechanics are with

more and considerable

of the mechanics

incorrect or

(uniqueness and

innovativeness of writing)

The style, technique and attack

is very unique and

very innovative.

The style, technique and attack is unique

and innovative.

The style, technique and attack is a little bit unique and

innovative.

and technique of

writing needs few

innovations.

There is no

sense of creativity employed in writing.

Positive Feedbacks: Recommendations: 1. 1. 2. 2. 3. 3.

Directions: Read and analyze the questions below. Choose the letter of the correct answer. Write the letter of your choice on the space provided before the item.

___1. Which of the following ideas refers to the specific and deliberate use of language to convey meaning and is considered as a device? A. Literary Device B. Literary Technique C. Poetic License ___2. What is the central idea or message which the story or text revolves in? A. Character B. Point of View C. Theme ___3. The use of quoted speech or direct statements in the text is an example of literary technique. What specific literary technique is this? A. Conversation B. Dialogue C. Foreshadowing ___4. Which of the following items does NOT belong to the group? A. Characters B. Figures of Speech C. Symbolism ___5. Which of the following items does NOT belong to the group? A. Love B. Heroism C. Flashback ___6. What is the basic pre-requisite of analyzing techniques used in a text? A. considerable comprehension level B. knowledge about literary techniques C. both A and B ___7. What aspect is deemed necessary in order for the reader to connect and relate with the text? A. Experience B. Knowledge C. Love for Reading ___8. Why do writers use figurative language as one of the techniques in writing a text? A. It is for the purpose of art and aesthetics. B. It makes conveyance of meaning more understandable. C. It functions as the other way of expression to impress

readers. ___9. What literary technique is employed when you encounter statements in a text such as, I remember one occasion in the year 2018, during Christmas eve…? A. Flashback B. Foreshadowing C. Representation ___10. What literary technique is employed when you encounter statements in a text such as, This house if shall pass will be fruitful ‘til the end of its might…? A. Dialogue B. Parallelism C. Symbolism ___11. “I see all his stars- his stars of success!” What figure of speech is used in this statement if the star is used to replace potentials? A. Metaphor B. Metonymy C. Synecdoche ___12. “I experience a lot of heartaches from the community I belong. Because I am a black man, I was rejected by few if not some.” If this statement is part of the text, what is its theme? A. Discrimination B. Poverty C. Religiosity

Let us measure or assess what you have learned from this module! Are you ready for the test?

___13. “I know that today, you will rock it on! You will definitely get a high score in your exams! Why? Because you are great and mommy too! Good luck baby!” If this statement is part if the text, what is its theme? A. Love and support of a Mother B. The Power of Optimism C. The Importance of Love and Care ___14. Which of the following statements best shows Heroism as a theme? A. I never thought I could do that. I ran away from the killer! B. To save one’s life is not a choice. It is a duty to God and to fellowmen. I saved the boy even if I risk my life. C. Looking back to our life status before, we are compared to a stray dog with no permanent refuge, no food to eat, no any

single penny and no one dares to lend us a helping hand. ___15. A theme is not only limited to one word or phrases. It could also be a complete statement, universal and debatable. Which of the given themes passes this standard? A. Money is the root of all evil. B. Life in America is not at all a bed of roses. C. God is supreme and the greatest of all who came from nowhere.

Congratulations for accomplishing all the activities and exercises in this module! I hope you learned a lot from analyzing literary techniques and interpreting themes.

Printed Materials

Abelos, A & Co. (2007). Philippine literature: Rediscovering our regional heritage.

Mutya Publishing, Inc. : Malabon City, Metro Manila, Philippines.

Arciaga, M., Azarcon T. & Ceniza E. (2014). Literatures of the Philippines (Literature

1). Saint Louis University, Baguio City (for private use only).

Dayagbil F., Abao E. & Bacus R. (2016). Critical Reading and Writing for the Senior

High School. Lorimar Publishing Inc. : Quezon City, Metro Manila, Philippines.

Littell, M. & Co. (2008). Literature- Britain Literature. Houghton Mifflin Company.

Mamaril G. & Co. (2011). Developmental reading 1 Coursebook. Trinitas Publishing,

Inc.: Meycuayan, Bulacan, Phlippines.

Most Essential Learning Competencies- Regional Initiated. MELC #1- Code-

HUMSS_CNF11/12-Ia-3

Senior High School Curriculum Guide. Creative Non-Fiction- Learning Competency

#3- Code-HUMSS_CNF11/12-Ia-3

Torres, M. M. (1997). Moving ahead in English II. FNB Educational Inc. : Quezon

City, Phillpines.

Uychoco, M. (2015). 21st century literature in Philippines and in the world. Rex

Bookstore Inc.: Manila, Philippines.

Coconi, Angeliki (2017). What is the difference between literary techniques and elements?. https://penandthepad.com/difference-between-literary-elements-devices-8602539.html

Literary Devices, Elements & Techniques. www.rhinebeckcsd.org › moxiemanager ›

data › files

MasterClass (2019). 22 Essential literary devices and how to use them in your writing. https://www.masterclass.com/articles/22-essential-literary-devices#quiz-0 Pope, Bella Rose (2019). Literary Devices: 15 Literary Elements With Examples & Tips to Use Them. https://self-publishingschool.com/literary-devices/ TIF Marcelo (2018). The diary of a girl. True Accounts. www.facebook.com/trueaccouns/tifmarcelo/123-series 9.

SHS Creative Nonfiction Module 6 - ZNNHS

SCIENCE - ZNNHS | Official Site

Organization and Management - ZNNHS

12 - ZNNHS | Official Site

Quarter 3 Module 4 - ZNNHS

Biases and Prejudices - ZNNHS

Computer System Servicing NCII - ZNNHS

eal of artnership Creative Writing - ZNNHS

4 Investigations to Collect Data - ZNNHS

Science Grade 9 - ZNNHS

9/10 000 TLE - ZNNHS

Practical Research 2 - ZNNHS

MATHEMATICS - ZNNHS | Official Site

Arts and Crafts of MIMAROPA - ZNNHS

7/8 TLE - ZNNHS

Physical Education - ZNNHS

9/10/11/12 - ZNNHS

ArtsandCraftsofMindanao - ZNNHS | Official Site

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What Is Creative Writing? (Ultimate Guide + 20 Examples)

Creative writing begins with a blank page and the courage to fill it with the stories only you can tell.

I face this intimidating blank page daily–and I have for the better part of 20+ years.

In this guide, you’ll learn all the ins and outs of creative writing with tons of examples.

What Is Creative Writing (Long Description)?

Creative Writing is the art of using words to express ideas and emotions in imaginative ways. It encompasses various forms including novels, poetry, and plays, focusing on narrative craft, character development, and the use of literary tropes.

Table of Contents

Let’s expand on that definition a bit.

Creative writing is an art form that transcends traditional literature boundaries.

It includes professional, journalistic, academic, and technical writing. This type of writing emphasizes narrative craft, character development, and literary tropes. It also explores poetry and poetics traditions.

In essence, creative writing lets you express ideas and emotions uniquely and imaginatively.

It’s about the freedom to invent worlds, characters, and stories. These creations evoke a spectrum of emotions in readers.

Creative writing covers fiction, poetry, and everything in between.

It allows writers to express inner thoughts and feelings. Often, it reflects human experiences through a fabricated lens.

Types of Creative Writing

There are many types of creative writing that we need to explain.

Some of the most common types:

• Short stories
• Screenplays
• Flash fiction
• Creative Nonfiction

Short Stories (The Brief Escape)

Short stories are like narrative treasures.

They are compact but impactful, telling a full story within a limited word count. These tales often focus on a single character or a crucial moment.

Short stories are known for their brevity.

They deliver emotion and insight in a concise yet powerful package. This format is ideal for exploring diverse genres, themes, and characters. It leaves a lasting impression on readers.

Example: Emma discovers an old photo of her smiling grandmother. It’s a rarity. Through flashbacks, Emma learns about her grandmother’s wartime love story. She comes to understand her grandmother’s resilience and the value of joy.

Novels (The Long Journey)

Novels are extensive explorations of character, plot, and setting.

They span thousands of words, giving writers the space to create entire worlds. Novels can weave complex stories across various themes and timelines.

The length of a novel allows for deep narrative and character development.

Readers get an immersive experience.

Example: Across the Divide tells of two siblings separated in childhood. They grow up in different cultures. Their reunion highlights the strength of family bonds, despite distance and differences.

Poetry (The Soul’s Language)

Poetry expresses ideas and emotions through rhythm, sound, and word beauty.

It distills emotions and thoughts into verses. Poetry often uses metaphors, similes, and figurative language to reach the reader’s heart and mind.

Poetry ranges from structured forms, like sonnets, to free verse.

The latter breaks away from traditional formats for more expressive thought.

Example: Whispers of Dawn is a poem collection capturing morning’s quiet moments. “First Light” personifies dawn as a painter. It brings colors of hope and renewal to the world.

Plays (The Dramatic Dialogue)

Plays are meant for performance. They bring characters and conflicts to life through dialogue and action.

This format uniquely explores human relationships and societal issues.

Playwrights face the challenge of conveying setting, emotion, and plot through dialogue and directions.

Example: Echoes of Tomorrow is set in a dystopian future. Memories can be bought and sold. It follows siblings on a quest to retrieve their stolen memories. They learn the cost of living in a world where the past has a price.

Screenplays (Cinema’s Blueprint)

Screenplays outline narratives for films and TV shows.

They require an understanding of visual storytelling, pacing, and dialogue. Screenplays must fit film production constraints.

Example: The Last Light is a screenplay for a sci-fi film. Humanity’s survivors on a dying Earth seek a new planet. The story focuses on spacecraft Argo’s crew as they face mission challenges and internal dynamics.

Memoirs (The Personal Journey)

Memoirs provide insight into an author’s life, focusing on personal experiences and emotional journeys.

They differ from autobiographies by concentrating on specific themes or events.

Memoirs invite readers into the author’s world.

They share lessons learned and hardships overcome.

Example: Under the Mango Tree is a memoir by Maria Gomez. It shares her childhood memories in rural Colombia. The mango tree in their yard symbolizes home, growth, and nostalgia. Maria reflects on her journey to a new life in America.

Flash Fiction (The Quick Twist)

Flash fiction tells stories in under 1,000 words.

It’s about crafting compelling narratives concisely. Each word in flash fiction must count, often leading to a twist.

This format captures life’s vivid moments, delivering quick, impactful insights.

Example: The Last Message features an astronaut’s final Earth message as her spacecraft drifts away. In 500 words, it explores isolation, hope, and the desire to connect against all odds.

Creative Nonfiction (The Factual Tale)

Creative nonfiction combines factual accuracy with creative storytelling.

This genre covers real events, people, and places with a twist. It uses descriptive language and narrative arcs to make true stories engaging.

Creative nonfiction includes biographies, essays, and travelogues.

Example: Echoes of Everest follows the author’s Mount Everest climb. It mixes factual details with personal reflections and the history of past climbers. The narrative captures the climb’s beauty and challenges, offering an immersive experience.

Fantasy (The World Beyond)

Fantasy transports readers to magical and mythical worlds.

It explores themes like good vs. evil and heroism in unreal settings. Fantasy requires careful world-building to create believable yet fantastic realms.

Example: The Crystal of Azmar tells of a young girl destined to save her world from darkness. She learns she’s the last sorceress in a forgotten lineage. Her journey involves mastering powers, forming alliances, and uncovering ancient kingdom myths.

Science Fiction (The Future Imagined)

Science fiction delves into futuristic and scientific themes.

It questions the impact of advancements on society and individuals.

Science fiction ranges from speculative to hard sci-fi, focusing on plausible futures.

Example: When the Stars Whisper is set in a future where humanity communicates with distant galaxies. It centers on a scientist who finds an alien message. This discovery prompts a deep look at humanity’s universe role and interstellar communication.

Watch this great video that explores the question, “What is creative writing?” and “How to get started?”:

What Are the 5 Cs of Creative Writing?

The 5 Cs of creative writing are fundamental pillars.

They guide writers to produce compelling and impactful work. These principles—Clarity, Coherence, Conciseness, Creativity, and Consistency—help craft stories that engage and entertain.

They also resonate deeply with readers. Let’s explore each of these critical components.

Clarity makes your writing understandable and accessible.

It involves choosing the right words and constructing clear sentences. Your narrative should be easy to follow.

In creative writing, clarity means conveying complex ideas in a digestible and enjoyable way.

Coherence ensures your writing flows logically.

It’s crucial for maintaining the reader’s interest. Characters should develop believably, and plots should progress logically. This makes the narrative feel cohesive.

Conciseness

Conciseness is about expressing ideas succinctly.

It’s being economical with words and avoiding redundancy. This principle helps maintain pace and tension, engaging readers throughout the story.

Creativity is the heart of creative writing.

It allows writers to invent new worlds and create memorable characters. Creativity involves originality and imagination. It’s seeing the world in unique ways and sharing that vision.

Consistency

Consistency maintains a uniform tone, style, and voice.

It means being faithful to the world you’ve created. Characters should act true to their development. This builds trust with readers, making your story immersive and believable.

Is Creative Writing Easy?

Creative writing is both rewarding and challenging.

Crafting stories from your imagination involves more than just words on a page. It requires discipline and a deep understanding of language and narrative structure.

Exploring complex characters and themes is also key.

Refining and revising your work is crucial for developing your voice.

The ease of creative writing varies. Some find the freedom of expression liberating.

Others struggle with writer’s block or plot development challenges. However, practice and feedback make creative writing more fulfilling.

What Does a Creative Writer Do?

A creative writer weaves narratives that entertain, enlighten, and inspire.

Writers explore both the world they create and the emotions they wish to evoke. Their tasks are diverse, involving more than just writing.

Creative writers develop ideas, research, and plan their stories.

They create characters and outline plots with attention to detail. Drafting and revising their work is a significant part of their process. They strive for the 5 Cs of compelling writing.

Writers engage with the literary community, seeking feedback and participating in workshops.

They may navigate the publishing world with agents and editors.

Creative writers are storytellers, craftsmen, and artists. They bring narratives to life, enriching our lives and expanding our imaginations.

How to Get Started With Creative Writing?

Embarking on a creative writing journey can feel like standing at the edge of a vast and mysterious forest.

The path is not always clear, but the adventure is calling.

Here’s how to take your first steps into the world of creative writing:

• Find a time of day when your mind is most alert and creative.
• Create a comfortable writing space free from distractions.
• Use prompts to spark your imagination. They can be as simple as a word, a phrase, or an image.
• Try writing for 15-20 minutes on a prompt without editing yourself. Let the ideas flow freely.
• Reading is fuel for your writing. Explore various genres and styles.
• Pay attention to how your favorite authors construct their sentences, develop characters, and build their worlds.
• Don’t pressure yourself to write a novel right away. Begin with short stories or poems.
• Small projects can help you hone your skills and boost your confidence.
• Look for writing groups in your area or online. These communities offer support, feedback, and motivation.
• Participating in workshops or classes can also provide valuable insights into your writing.
• Understand that your first draft is just the beginning. Revising your work is where the real magic happens.
• Be open to feedback and willing to rework your pieces.
• Carry a notebook or digital recorder to jot down ideas, observations, and snippets of conversations.
• These notes can be gold mines for future writing projects.

Final Thoughts: What Is Creative Writing?

Creative writing is an invitation to explore the unknown, to give voice to the silenced, and to celebrate the human spirit in all its forms.

Check out these creative writing tools (that I highly recommend):

Read This Next:

• What Is a Prompt in Writing? (Ultimate Guide + 200 Examples)
• What Is A Personal Account In Writing? (47 Examples)
• How To Write A Fantasy Short Story (Ultimate Guide + Examples)
• How To Write A Fantasy Romance Novel [21 Tips + Examples)

Elements of Creative Writing

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

Copyright Year: 2023

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Robert Moreira, Lecturer III, University of Texas Rio Grande Valley on 3/21/24

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama. read more

Comprehensiveness rating: 4 see less

Unlike Starkey's CREATIVE WRITING: FOUR GENRES IN BRIEF, this textbook does not include a section on drama.

Content Accuracy rating: 5

As far as I can tell, content is accurate, error free and unbiased.

Relevance/Longevity rating: 5

The book is relevant and up-to-date.

Clarity rating: 5

The text is clear and easy to understand.

Consistency rating: 5

I would agree that the text is consistent in terms of terminology and framework.

Modularity rating: 5

Text is modular, yes, but I would like to see the addition of a section on dramatic writing.

Organization/Structure/Flow rating: 5

Topics are presented in logical, clear fashion.

Interface rating: 5

Navigation is good.

Grammatical Errors rating: 5

No grammatical issues that I could see.

Cultural Relevance rating: 3

I'd like to see more diverse creative writing examples.

As I stated above, textbook is good except that it does not include a section on dramatic writing.

Table of Contents

• Introduction
• Chapter One: One Great Way to Write a Short Story
• Chapter Two: Plotting
• Chapter Three: Counterpointed Plotting
• Chapter Four: Show and Tell
• Chapter Five: Characterization and Method Writing
• Chapter Six: Character and Dialouge
• Chapter Seven: Setting, Stillness, and Voice
• Chapter Eight: Point of View
• Chapter Nine: Learning the Unwritten Rules
• Chapter One: A Poetry State of Mind
• Chapter Two: The Architecture of a Poem
• Chapter Three: Sound
• Chapter Four: Inspiration and Risk
• Chapter Five: Endings and Beginnings
• Chapter Six: Figurative Language
• Chapter Seven: Forms, Forms, Forms
• Chapter Eight: Go to the Image
• Chapter Nine: The Difficult Simplicity of Short Poems and Killing Darlings

Creative Nonfiction

• Chapter One: Creative Nonfiction and the Essay
• Chapter Two: Truth and Memory, Truth in Memory
• Chapter Three: Research and History
• Chapter Four: Writing Environments
• Chapter Five: Notes on Style
• Chapter Seven: Imagery and the Senses
• Chapter Eight: Writing the Body
• Chapter Nine: Forms

Back Matter

• Contributors
• North American Review Staff

Ancillary Material

• University of Northern Iowa

About the Book

This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States. They’ve selected nearly all of the readings and examples (more than 60) from writing that has appeared in NAR pages over the years. Because they had a hand in publishing these pieces originally, their perspective as editors permeates this book. As such, they hope that even seasoned writers might gain insight into the aesthetics of the magazine as they analyze and discuss some reasons this work is so remarkable—and therefore teachable. This project was supported by NAR staff and funded via the UNI Textbook Equity Mini-Grant Program.

About the Contributors

J.D. Schraffenberger  is a professor of English at the University of Northern Iowa. He is the author of two books of poems,  Saint Joe's Passion  and  The Waxen Poor , and co-author with Martín Espada and Lauren Schmidt of  The Necessary Poetics of Atheism . His other work has appeared in  Best of Brevity ,  Best Creative Nonfiction ,  Notre Dame Review ,  Poetry East ,  Prairie Schooner , and elsewhere.

Rachel Morgan   is an instructor of English at the University of Northern Iowa. She is the author of the chapbook  Honey & Blood , Blood & Honey . Her work is included in the anthology  Fracture: Essays, Poems, and Stories on Fracking in American  and has appeared in the  Journal of American Medical Association ,  Boulevard ,  Prairie Schooner , and elsewhere.

Grant Tracey   author of three novels in the Hayden Fuller Mysteries ; the chapbook  Winsome  featuring cab driver Eddie Sands; and the story collection  Final Stanzas , is fiction editor of the  North American Review  and an English professor at the University of Northern Iowa, where he teaches film, modern drama, and creative writing. Nominated four times for a Pushcart Prize, he has published nearly fifty short stories and three previous collections. He has acted in over forty community theater productions and has published critical work on Samuel Fuller and James Cagney. He lives in Cedar Falls, Iowa.

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Creative Writing in the Natural World: A Framing

• Resources & Preparation
• Instructional Plan
• Related Resources

To promote development, detail, and focus of ideas in students' writing, it sometimes helps to start with a fun, creative writing activity that encourages what you want to see in all of their writing. In this minilesson, students practice writing detailed, sensory-rich descriptions by framing a small piece of nature and freewriting about it. From this, students can develop a variety of types of writing including poetry, short stories, science writing, reflections, and other academic genres.

Featured Resources

• Literal vs. Figurative Language Guide
• Internet access and the Flip Book Interactive

From Theory to Practice

This lesson explores figurative language comparisons formally known as simile and metaphor; however, the focus of the lesson is on students' use of their their imaginations to describe their observations in writing rather than on the official terminology for language use. In Wondrous Words: Writers and Writing in the Elementary Classroom , author Katie Wood Ray advises, "Give it [the craft element you identify in a text] a name so you can refer to it easily in the future as you study craft and as you writing your own texts"; yet the name that students use need not be the formal, "correct" name (42). The formal name of the element simply detracts from the ways that writers work. As Ray explains, "What's important is that, in seeing it and naming it for yourself, you have a new vision of what's possible when you try to write well" (42). When we do use formal names for craft elements, best practice pairs such words with students' definitions of the elements. Ray and Lisa Cleaveland say, "We are careful to use the words most writers in the world use for the important concepts of writing . . . if we embed kid-friendly explanations of what they mean...we need not shy away from the words themselves" (98). Further Reading

Common Core Standards

This resource has been aligned to the Common Core State Standards for states in which they have been adopted. If a state does not appear in the drop-down, CCSS alignments are forthcoming.

State Standards

This lesson has been aligned to standards in the following states. If a state does not appear in the drop-down, standard alignments are not currently available for that state.

NCTE/IRA National Standards for the English Language Arts

• 5. Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.
• 6. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.
• 8. Students use a variety of technological and information resources (e.g., libraries, databases, computer networks, video) to gather and synthesize information and to create and communicate knowledge.
• 11. Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.
• 12. Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information).

Materials and Technology

• A piece of loose paper, paper to take notes on, and a writing utensil (pen or pencil)

Preparation

• Scout out a good spot to take students outdoors on the school grounds, a place that preferably has grass or that feels somewhat “natural.” If such an area isn’t available, it is okay to do this activity on constructed spaces such as sidewalks, playgrounds, and even inside the classroom if absolutely necessary, but it’s best done outdoors.
• Prepare the Literal vs. Figurative Language Guide by making it into a transparency or making copies for each student.
• Test out the Flip Book Student Interactive .

Student Objectives

Students will:

• freewrite about a specific place that is framed by their piece of paper using imaginative and literal observations.
• identify nouns in their writing that they would like to focus on and develop further.
• write using specific sensory imagery and figurative language in order to accurately describe their framed “worlds.”

Session One

• Ask students to get out a loose piece of paper.
• Have them fold it in half at least once and tear or cut out the center. (Some students may want to fold it more than once in order to create an unusual shape. That’s okay.) The goal is to be left with a piece of paper with a hole in the middle of it like a frame. The frame can be of any shape or size.
• Explain that you will be taking the class outdoors and that each student will find a spot to place his or her frame. Also explain that students will pretend that what is inside the frame is the entire world, the only thing students will focus on. In their notebooks, students will freewrite about what they find in their frames. Encourage students to use their imaginations. Perhaps they’ll find a bug and write about it as a giant dinosaur or a talking creature. However they proceed, students should write as freely as possible to get as much detailed information down about their framed “worlds” as they can.
• Once students have found a place outdoors for their frames, give them ten to fifteen minutes to freewrite.
• Back inside the classroom, ask students to remind you what a noun is. Ask them why nouns are important in writing. How do they function in a sentence, for example? (One answer is that nouns help us know who or what a sentence is about. They are they focus, and they help us visualize ideas as we talk or write about them in any genre.)
• Have them read over their freewriting and underline three to five nouns that they would like to focus on.
• Collect students' freewriting to be returned in the next session.

Session Two

• Return students' freewriting from the previous session where they had finished by underlining three to five nouns to focus on.
• Ask students to list their five senses. Ask for a volunteer or two to provide one of their nouns. Use these to practice developing these nouns into fully described sensory experiences. Help students describe them using all five senses. Encourage imaginative leaps so students understand that their descriptions don’t have to be literal.
• At this point, discuss the difference between literal and figurative language, and explain that the goal is for students to describe their nouns using sensory detail and figurative language. Show students the Literal vs. Figurative Language Guide overhead or give them the handout. If the students were to write literal descriptions of their framed “worlds,” for example, they will simply write exactly what is in their frames (Grass looks green; sand feels rough; grasshoppers make a high pitched noise, etc.), but if they write figuratively, they will use their imaginations to describe their observations. This might include using similes, metaphors, hyperbole, and personification. For example, the grass looks like spiky green hair; sand is solid water; grasshoppers are fiddlers who play their legs, etc.
• Using the Flip Book Student Interactive , have students create a page for each of the three to five nouns they underlined. (Each student should complete at least three pages.) On each page, they will develop these nouns by adding sensory-rich, figurative descriptions of them in paragraph or poetry form. The goal is to describe each noun using as many of the five senses and as much figurative language as possible. Encourage students to be imaginative for this process. What might an ant sound like? How might a rock smell?
• Students may need to finish their Flip Books outside of class, or you might reserve some class time tomorrow to finish these up.
• Give students the opportunity to share their finished pieces with the class.
• Encourage students to develop their flip book pages further by illustrating them.
• Students might also use an additional page in their flip books to create a piece of writing such as a short story, poem, or reflection about the natural world. Encourage them to find connections between the nouns in their list. How might that list become one piece of writing instead of three to five separate pieces?
• Discuss ways students can use these writing techniques to improve other writing that they are doing. You might ask students to review one of their past writing assignments and underline places where they might add detail or figurative language in order to develop their ideas.

Student Assessment / Reflections

As long as students participate fully in the freewriting activity and complete at least three pages on their Flip Books, they should receive full credit for this activity. If you would like to turn the Flip Book into a graded assignment, you might require that each page include at least three sensory images and one instance of figurative language. Students might also earn credit by reading one of their pages aloud in front of the class.

• Calendar Activities
• Professional Library
• Lesson Plans
• Student Interactives

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12 CREATIVE WRITING Quarter 2 – Module 5: Writing a Scene for One-Act Play Subject Area – Grade 12 Self-Learning Module (SLM) Quarter 2 – Module 5: Writing a Scene for One-Act Play First Edition, 2020 Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines. However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties. Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this module are owned by their respective copyright holders. Every effort has been exerted to locate and seek permission to use these materials from their respective copyright owners. The publisher and authors do not represent nor claim ownership over them. Development Team of the Module Writers: Jorgie P. Haw Editors: Louie Mark G. Garvida, Imelda C. Martinez, Jerryl Jean L. Salunayan, Eliza V. Sunggay Reviewers: Helen J. Ranan, Sally A. Palomo Illustrator: Reggie D. Galindez Layout Artist: Cesar Ian S. Ranan Cover Art Designer: Ian Caesar E. Frondoza Management Team: Allan G. Farnazo, CESO IV – Regional Director Fiel Y. Almendra, CESO V – Assistant Regional Director Romelito G. Flores, CESO V - Schools Division Superintendent Mario M. Bermudez, CESO VI – Assist. Schools Division Superintendent Gilbert B. Barrera – Chief, CLMD Arturo D. Tingson Jr. – REPS, LRMS Peter Van C. Ang-ug – REPS, ADM Gerardo Magno – Subject Area Supervisor Juliet F. Lastimosa - CID Chief Sally A. Palomo - Division EPS In- Charge of LRMS Gregorio O. Ruales - Division ADM Coordinator Ronnie R. Sunggay / Helen J. Ranan – Subject Area Supervisor / Coordinator Printed in the Philippines by Department of Education – SOCCSKSARGEN Region Office Address: Telefax: E-mail Address: Regional Center, Brgy. Carpenter Hill, City of Koronadal (083) 2288825/ (083) 2281893 [email protected] 12 CREATIVE WRITING Quarter 2 – Module 5: Writing a Scene for One-Act Play Introductory Message For the facilitator: Welcome to the Creative Writing (Grade 12) Writing a Scene for One-Act Play! Self-Learning Module (SLM) on This module was collaboratively designed, developed and reviewed by educators both from public and private institutions to assist you, the teacher or facilitator in helping the learners meet the standards set by the K to 12 Curriculum while overcoming their personal, social, and economic constraints in schooling. This learning resource hopes to engage the learners into guided and independent learning activities at their own pace and time. Furthermore, this also aims to help learners acquire the needed 21st century skills 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: The lessons presented here may not be complete but you can add inputs to your students should they need your guidance. 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. Furthermore, you are expected to encourage and assist the learners as they do the tasks included in the module. 2 For the learner: Welcome to the Creative Writing (Grade 12) Self-Learning Module (SLM) on Writing a Scene for One-Act Play! The hand is one of the most symbolized part of the human body. It is often used to depict skill, action and purpose. Through our hands we may learn, create and accomplish. Hence, the hand in this learning resource signifies that you as a learner is capable and empowered to successfully achieve the relevant competencies and skills at your own pace and time. Your academic success lies in your own hands! 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 resource while being an active learner. This module has the following parts and corresponding icons: What I Need to Know This will give you an idea of the skills or competencies you are expected to learn in the module. What I Know This part includes an activity that aims to check what you already know about the lesson to take. If you get all the answers correct (100%), you may decide to skip this module. What’s In This is a brief drill or review to help you link the current lesson with the previous one. What’s New In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a poem, a problem opener, an activity or a situation. What is It This section provides a brief discussion of the lesson. This aims to help you discover and understand new concepts and skills. What’s More This comprises activities for independent practice to solidify your understanding and skills of the topic. You may check the answers to the exercises using the Answer Key at the end of the module. What I Have Learned This includes questions or blank sentence/paragraph to be filled in to process what you learned from the lesson. What I Can Do This section provides an activity which will help you transfer your new knowledge or 3 skill into real life situations or concerns. Assessment This is a task which aims to evaluate your level of mastery in achieving the learning competency. Additional Activities In this portion, another activity will be given to you to enrich your knowledge or skill of the lesson learned. This also tends retention of learned concepts. Answer Key This contains answers to all activities in the module. At the end of this module you will also find: References This is a list of all sources used in developing this module. The following are some reminders in using this module: 1. Use the module with care. Do not put unnecessary mark/s on any part of the module. Use a separate sheet of paper in answering the exercises. 2. Don’t forget to answer What I Know before moving on to the other activities included in the module. 3. Read the instruction carefully before doing each task. 4. Observe honesty and integrity in doing the tasks and checking your answers. 5. Finish the task at hand before proceeding to the next. 6. Return this module to your teacher/facilitator once you are through with it. If you encounter any difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator. Always bear in mind that you are not alone. We hope that through this material, you will experience meaningful learning and gain deep understanding of the relevant competencies. You can do it! 4 What I Need to Know This module was designed and written with you in mind. It is here to help you master the topic on Applying the various elements, techniques, and literary devices of drama by writing at least one scene for one-act play. The scope of this module permits it to be used in many different learning situations. The language used recognizes the diverse vocabulary level of students. The lessons are arranged to follow the standard sequence of the course. But the order in which you read them can be changed to correspond with the textbook you are now using. In this module, you will be able to: Write at least one scene for one-act play applying the various elements, techniques, and literary devices Specifically, you are expected to: 1. explore innovative techniques in writing a scene for one-act play; 2. analyze important elements, techniques, and literary devices of drama; 3. write a script with a scene for one-act play. 5 What I Know Before you start exploring our lesson, check first what you know about drama and its elements, techniques, and literary devices. Encircle the letter of the correct answer. 1. What element refers to the series of events in a drama? a. plot b. conflict c. characters d. rising action 2. What element refers to the struggle between opposing forces that is revealed through the character’s thoughts and actions? a. plot b. fight c. climax d. conflict 3. Who speaks to the audience when drama is performed? a. narrator b. playwright c. stage manager d. main character 4. Which of the following would be an example of a famous play? a. Anabelle Lee b. The Notebook c. Romeo and Juliet d. Iliad and Oddyssey 5. What do you call the instructions that tell the actors what they are supposed to do during acting? a. scenes b. dialogues c. teleprompters d. stage directions 6. What form of drama contains events that lead to the downfall of the main character? a. fantasy b. comedy c. tragedy d. romance 7. When a playwright gives hint at something that will happen later in the story, what technique in drama is used? a. satire b. imagery c. symbolism d. foreshadowing 8. Which of the following BEST describes a script? a. It refers to the chapter that the drama has. b. It is the struggle the characters have in the story. c. It is the instruction that the characters have to follow. d. It contains words that the characters speak and directions in a play. 6 9. What a. b. c. do dramas and stories have in common? They both have characters They both develop conflict portrayed by opposing forces. They both contain elements of plot such as exposition, rising action, climax, falling action, and resolution. d. All of the above. 10. Which of the following BEST explains the difference between drama and other kinds of fiction? a. Drama only uses monologues instead of plots. b. Drama is written to be performed by actors on stage. c. Drama has more characters than other kinds of fiction. d. Drama can have only one setting compared to other kinds of fiction which can have many settings. 11. Which of the following BEST describes a One-Act Play? a. It is a part of a full-length drama. b. It is a complete drama within one act. c. It is a drama that has only one conflict. d. It is a drama that has only one character. 12. Why are dramatic techniques used by a playwright? a. To solve conflicts or struggles present in the play. b. To emphasize the lines delivered by the characters. c. To make the plot or the flow of the story more complicated. d. To enhance the emotional, aural, and visual experiences of the audience. 13. What is the difference between monologue and dialogue? a. Dialogue has only one character speaking, while monologue has only two characters conversing. b. Dialogue has only one character speaking, while monologue has two or more characters conversing. c. Dialogue is a conversation only between two characters, while in monologue only one character is speaking. d. Dialogue is a conversation between two or more characters, while in monologue only one character is speaking. 14. Which of the following statement is NOT true for effective presentation of a drama or play? a. The writer has great responsibility of producing a good play. b. The actors and the audience have to accept the limitations of a play. c. There should be no limitations and no conventions of drama on stage. d. The success of the play depends on the cooperation among the writers, actors, producers, and audiences. 15. Which of the following is NOT an innovative technique in writing scenes for one-act play? a. Add in the stage direction after writing the actions. b. Keep the plot complicated to spark the interest of the audience. c. The hero or the protagonist needs to be more developed or focused in the play. d. Lines should point out on the theme, plot, and character development. 7 Lesson 5 Writing a Scene for OneAct Play Literature is one of the important things that represents culture and tradition or a language of the Filipino people. One genre of literature that portrays Filipino culture and tradition is drama. It is another part of literature that portrays all kinds of life’s ups and downs. It is about conflict and resolutions of conflict, about values, beliefs, and attitudes, and about people’s relationship with one another. Thus, knowing the various elements, techniques, and literary devices of drama and learning to apply them in writing are good opportunities to learn and develop. This module will let you explore the various elements, techniques, and literary devices, and learn the innovative effective ways of applying them in writing scenes for one-act play. Certainly, this will also give you chance to apply your creative imagination in writing. 8 What’s In In the previous modules, you have learned about the elements, techniques, and literary devices of drama and explored its different staging modalities in envisioning the script. Before you apply these things into writing, try to recall some concepts that you have learned from the previous lessons. Activity 1. Four–Star Drama Review Directions: In the four stars provided, write the important ideas that you have learned from the previous lessons based on the titles provided in the boxes. Elements, techniques, and literary device of drama Filipino or international drama that you know Things to remember when using intertextuality as technique Things to remember when making or organizing a play 9 Activity 2: The Truth in the Past Directions: Activate your prior knowledge about drama and its elements, techniques, and literary devices by checking whether the statement related to it is correct not. Write TRUE if the statement is correct, and FALSE if it is wrong. Write the correct answer on the blank. ____________1. Your expected audience’s interest is important in choosing a play. ____________2. A car horn, door bell, and screeching of tires are examples of sound effects in drama. ____________3. The setting of a drama presented must be adapted to the limitations of the stage area. ____________4. The dialogue need to be terse and must always be concise in order to avoid a lengthy play. ____________5. The literary elements of drama include stanza, meter, setting, plot, characters, and theme. ____________6. Plagiarism is borrowing another person’s work by giving him or her proper credit or formal citation. ____________7. In using intertextuality, it is important to cite your sources so that you will not be guilty of plagiarism. ____________8. The plot in a play is a series and sequence of events that lead the hero and the audience on the journey. ____________9. Direct quotation in intertextuality technique usually identified quotation marks and block indentions. ___________10.In a One-Act Play, characters are few in number, quickly introduced, and very limited in character development. Notes to the Teacher Dear Teachers: The lessons presented here may not be complete but you can add inputs to your students should they need your guidance. 10 What’s New You may already have a glimpse of what this module will be about and is curious of the things that you may discover and create in our lesson. Let us then start another journey by doing the next activity. Activity 3. Lights, Camera, Action! Directions: Read and deliver the lines in some famous Filipino drama of your favorite stars. Imagine how the actor or actress delivered the lines, and deliver it on your own with feelings, proper voice projection, movements, and facial expression. Observe proper blocking when you deliver it. (You may take a video of yourself delivering the lines and send it to your teacher) “My brother is not a pig. My brother is not a pig! Ang kapatid ko’y tao hindi baboy damo. Hindi baboy damo ang kapatid ko!” – Nora Aunor, Minsa’y Isang Gamu-gamo (1979) “She loved me at my worst. You had me at my best, but binalewala mo lang ang lahat…And you choose to break my heart.”– John Lloyd Cruz, One More Chance (2007) “Isang beses sa napakaraming beses na pwede akong sumuko, pero hindi ko ginawa. Pero isang beses lang din pala ang kailangan mo para sumuko, para umalis, at hindi na bumalik” – Kathryn Bernardo, The Hows of Us (2019) “I was willing to wait. Kaya lang napagod ako – napagod ang puso ko na maghintay, magtanong, magalit.”– Piolo Pascual, Starting Over Again (2014) Questions to Ponder. Kindly answer the questions based on the activity that you have done. 1. What do you think makes the lines famous, remarkable, and interesting to imitate? ___________________________________________________________________________ ___________________________________________________________________________ _________________________________________________________ 2. Which of the lines do you like most? What makes it appealing to you? Cite some techniques used in the drama. ___________________________________________________________________________ ___________________________________________________________________________ _________________________________________________________ 11 3. If you were to deliver the lines in front of the audience, do you think you will be convincing? Why or why not? ___________________________________________________________________________ ___________________________________________________________________________ _________________________________________________________ How do you find the activity? Do the lines appeal to your emotion as an audience? Do you find yourself to have the chance to become a better actor or actress? Were you able to identify the elements, techniques, and literary devices of drama in the lines presented? If so, then you can already become a writer for a play or a director of one. So, let us try to learn some techniques in writing at least a scene for one-act play. What is It Drama has become one of the effective ways of portraying life’s ups and downs or the realities of life. Most of us, Filipinos, have witnessed dramas which made us smile, laugh, angry, and even cry. A drama, or a play, is a piece of writing that is presented almost exclusively through dialogue (Jose & Larioque, 2017). Like a short story or novel, it has a setting, characters, plot, and even symbolism. However, unlike short story or novel, the play is meant to be performed in front of the audience, not read. One-Act Plays are short plays, but with complete stories. They are similar to a short story in its limitations, and there is a complete drama within one act. It is brief and one situation is presented for a single purpose and effect. There are only few characters who are quickly introduced and limitedly developed. They are plays that take place only in one place and generally take only less than an hour to present. The success of the one-act play depends on the cooperation among the writers, actors, producers, and audiences in accepting its limitations and conventions of the stage. The writer, though, has the great responsibility of producing a good play that can be worthy of performing on stage. Thus, if you will be given a chance to become a writer of at least a scene for a one-act play, it is very important that you know the innovative techniques of writing one. 12 Techniques in Writing Scenes for One-Act Play A good one-act play focuses only on one main action or problem. As a writer, you have to avoid complicated layers of plot as they may take longer time in presenting on stage. The following are some considerations and innovative techniques that you may put in mind in writing a script with scenes for one-act play. 1. Be clear with your theme. This is one of the main considerations that you may have in planning for scenes in a play. You may ask yourself some questions like: What will my play be all about? Is it about friendship? About love? About struggles, or success in life? You have to have a clear picture about the theme because the other elements like plot, characters, and settings will point to or support the theme. 2. Develop the plot simply. In a one-act play, identify only one significant event. You may develop the action first, then compose the dialogue before deciding on other elements. Keep the plot simple for a one-act play, and it should move consistently throughout the play. 3. Develop the characters. You may have a character sketch first before you bring them to life. You have to limit the characters that you have to develop. The hero or the protagonist’s characters need to be focused one or to be more developed, while the antagonist needs to be developed to show conflict which is one of the central elements in a play. Thus, you have to allow your characters to face a problem. 4. Generate the setting. The setting for one-act play will be one scene. Thus, you have to develop the scene in order for the audience to see everything about the story line. Include imagery so that the audience can imagine the setting. Make sure you describe how the lightings and the scene should look like. 13 5. Craft meaningful dialogues. The dialogues that you will create need not to be terse, but concise and meaningful. Each line must be crafted carefully. You have to make sure that the lines point out on the theme, the plot, and the characters of the protagonist. 6. Add in the stage directions after you write the action. You may write notes about how the characters should respond, what sounds to make, and what props are needed. For example, if the character should be standing near the window, talking to someone over the phone, and looking scared, you have to note it in the script. This way, the audience can see or imagine the picture of the scene and action. 7. Include other literary devices. Include some literary devices such as foreshadowing, imagery, personification, satire, and symbolism. This will help enhance emotional, aural, and visual experience of the audience. This will also underline scripts meaning. Given the techniques in writing scenes for one-act play will now give you ideas on how to start your play. Some may think that writing scenes for a play is difficult, however, if you have a clear picture of the story that you want to portray it will become easier for you to start writing. Also, with the techniques given, you will be guided on how to start and end your one-act play. In the next activity, you take time to read the sample one-act play so that you will be equipped with enough knowledge and ideas on how to write scripts and scenes for one-act play. 14 What’s More You have explored the innovative techniques in writing scenes for one-act play applying the elements and literary devices. With the additional ideas and knowledge, you are now expected to continue writing and explore your creative imagination in writing at least one scene for one-act play. The following activities are provided for you to practice writing scenes for a play. Activity 4: A Dramatic Probe Directions: Read the one-act play entitled “Oli Impan” by Alberto Florentino. Analyze the important elements, techniques, and literary devices found in the play. Answer the questions that follow. “Oli Impan” by Alberto S. Florentino Setting: The “casbah”, a squatters area in Tondo, Manila; December 20, 1958 Characters: A six-year old boy, a five-year old girl, mother (On the middle of the stage, extending from side to side, is a stone wall one and a half feet high. At left may be seen a portion of a tall edifice. At right, is a portion of the “casbah”. Beyond the stone wall, an estero (unseen) – and the sky. A five-year-old girl sits on the stone wall, her thin legs dangling in the air. Offstage there is a continuous commotion of evacuation. A woman’s voice rises above the commotion as she reprimands a child for getting in her way. A six-year-old boy appears on stage walking backwards – away from his mother, nagging offstage. The mother quiets down. The boy turns around and plays with his toy: an empty milk can pulled along the ground with a piece of string.) Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Is there a fire? (Stops playing and faces her) Huh? I said, is there a fire? There is no fire. (Continues to play) (Looks toward the street. After a pause.) I think there is no fire. (Stops playing_ I told you there’s none. There is. How do you know? Do you see any smoke? Do you hear any fireman? (resumes his play. Runs around imitating a fire engine) EEEEEEEEEEEEEEE! I like it when there is a big fire! (Worried) If there is no fire, why are they putting these things out? (pints to a pile of household belongings nearby) Because we are being thrown out. Who told you? My mother. 15 Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Who is throwing us out? (Sits on the other end of the stone wall) The government. What is a government? I don’t know. You didn’t ask your mother? I forgot to ask her. Why should the government throw us out? (Points to the compound) Because it owns this. (Enraged) But this is ours! No, it is not ours. (Insistent) It is ours! It is! It is not! (A tiny scream) It is! It is! (Loud) How do you know it is ours? We’ve always been here, haven’t we? Yes, but that doesn’t mean it is ours. (After a pause) If they throw us out, we’ll have nowhere to go. How about you? You have any place to go? None. But we will have one. (Proudly) My mother has a job. She has? Yes! What does she do? She reads hands. She reads – hands? (Looking at her hands) Why does she read hands? So she can tell what will happen tomorrow. She can do that? By reading hands? Yes, She can! (Showing him her hands) Can she read my hands? I want to know where we will stay tomorrow. She can’t read your hands. (Looks at them) Why not? They are too small… and dirty. (She quickly withdraws them and quietly wipes them on her dress) Besides… she reads only men’s hands. Only men’s hands? Why? Because they are big.. and easy to read. How does she read hands? Like she reads the comics? I don’t know. You don’t know? Don’t you watch her? My mother won’t let me. She makes me go out and play. And she closes the door. She closes the door! How can she read in the dark? I don’t know. (Proudly) But she can! Don’t you ever peep? No, I don’t. Why not? She’ll beat me up. (Commotion offstage.) What’s that? What’s happening there? (Tries to see) I don’t know. I can’t see. (Pulls her) Come out, let’s take a look! (Resisting) I can’t. Why not? My father told me to stay here. He said not to go anywhere. (Turning) Then I will go and take a look. 16 Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Boy: (Frightened) No, don’t. Stay here. Don’t leave me. Why? I’m afraid. Afraid of what? I don’t know. But how can we find out what’s happening? Let’s not find out anymore. (Restless) But I want to see. (Scampers up the stone wall) I can see from here! What do you see? (Incredulous) They are destroying our homes. (Sound of wrecking crew at work) (frightened) Who are destroying them? The men with hammers! Nobody is stopping them? Nobody. But why? Are there no policemen? There are. There are many policemen. What are they doing? What are the policemen doing? Nothing. Nothing? They are not stopping the men? No. Why not? I don’t know. (Commotion. Shouts. Curses) (Alarmed) What’s happening now? (excited throughout) A man is trying to stop the men with hammers! Now the policemen are trying to stop him. They’re running after him. But the man fights like a mad dog! (A man shouts, cursing) (Suddenly, with terror in her voice). That’s my father! (In her fright she covers her eyes with hands) Your father? Yes, he’s my father! What are they doing to him? Are they hurting him? No, they are only trying to catch him… Now they’ve caught him! They are tying his hands! What will they do to him? I don’t know. Now they are putting him in a car. A police car. (Whimpers) Father… Father… They are taking him away! (A car with siren drivers away) (Screams) FATHER! FATHER! He can’t hear you now. (Starts to cry) (Walks to and sits beside her) Why are you crying? Don’t cry please… They are going to hurt my father, aren’t they? No, they won’t hurt him. (Removes her hands from her eyes) How do you know? I just know it. (Suddenly) Come, let’s sing a song. I don’t know how to sing. I’ teach you. How? I’ll sing… and you listen. (She nods and wipes her eyes dry) (Sings) Saylenay… Olinay… Oliskam… Olisbray… 17 Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Boy: Girl: Ranyonberginmaderenchayle… Oli impan sotenderenmayle… Slipinebenlipis… Slipinebenlipis… (Smiling) That’s a pretty song. Who taught you that song? (Proudly) My mother! What does it mean? I can’t understand it. It’s about God. What’s a “God”? I don’t know. I haven’t asked my mother. But she told me God was born in a stable. What’s a stable? A place for horses. (Incredulous) He was born there? In a place for horses? Why? My mother said he had nowhere to stay. Was he poor? I don’t know. (Suddenly) I like the song. Will you sing it again? No, let’s sing it together. I told you, I don’t know how. I’ll teach you. I’ll sing it a little… and you sing after me. (She smiles and nods) (Sings) Saylenay… Saylenay… Olinay… Olinay… Oliskam… Oliskam… Olisbray… Olisbray… Ranyonberginmaderenchayle… Ranyon…(She giggles) I can’t say that! Let’s skip it. (Sings) Oli impan… n, skip that, too. (Sings) Slipinebenlipis… Slipinebenlipis… Slipinebenlipis… Slipinebenlipis… Activity 4: Analyzing Elements, Techniques and Literary Devices. Kindly answer the following questions: 1. Why does the playwright entitle his play “Oli Impan”? ___________________________________________________________________________ ___________________________________________________________________________ 2. Where and when did the story take place? How did the author describe the setting of the play? ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ 18 3. What problems or issues are faced by the characters? Do you think these problems are appropriate for the characters to handle? Explain. ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ 4. Think about the plot or the sequence of events of the play, how was it structured? ___________________________________________________________________________ ___________________________________________________________________________ ___________________________________________________________________________ Activity 5.1: A Chance to Change Directions: Given a chance to rewrite or make a twist of the play ‘Oli Impan”, what part of the story would you like to change? If you are to decide on the ending, would you like to have the same ending or you like to change the fate of the character? Explain. Answer: __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ __________________________________________________________________________________ Activity 5.2: My Heart’s Desire Directions: With your answer in Activity 5.1 as your guide, write a scene for the part of the story that you wanted to change. Craft concise and meaningful dialogue for the scene or ending that you wish to have. You may also add stage directions and literary devices to make your scene more appealing. Write your answer on a separate sheet of paper. 19 What I Have Learned Good job! You have just written a scene that your heart desires. In case you have not noticed, you have already developed your creative imagination and you skill in writing. Keep up the good work!. This time let us process what you have learned from the lesson. Activity 6: My Significant Learning Directions: Write at least three (3) sentences that expresses your significant learning about writing scenes for one-act play using the elements, techniques and literary devices. Write your answer in the shape provided. My Significant Learning 20 What I Can Do You are well appreciated for arriving at this part of the module. This only shows that you have worked hard and accomplished the activities with zeal. To apply what you have learned to real-life situations, here is another activity for you. Activity 7. You Complete Me Directions: Using the elements, techniques, and literary devices, write a script with at least one scene for one-act play. Study again some points to consider when making one-act play. You may also use the play “Oli Impan” as your guide. Be guided with the rubric provided. You may choose from the suggested topics below: a. b. c. d. COVID-19 Struggles and Successes Christmas Celebration amidst COVID-19 Experiencing both Typhoon and COVID-19 YOUR OWN CHOICE Title: ____________________________________________ Setting: __________________________________________ Charaters: _______________________________________ _______________________________________ Scene/Dialogue: 21 RUBRIC Indicators Very Good (20 pts.) Good (15 pts.) Developing (10 pts.) Elements, Techniques, & Literary Devices Presentation of the Scene/s The play has five or more elements, techniques & literary devices. Creativity The scenes contain enough creative ideas including the title. The story is related to the chosen topic and sparks the interest of the reader. The play has three to four elements, techniques, & literary devices. The presentation of the plot and ideas in the scene is organized. The reader can follow the dialogue clearly and understand the story. The scenes contain some creative ideas including the title. The story is quite related to the chosen topic and sparks the interest of the reader. The play has one to two elements, techniques, & literary devices. The presentation of the plot and ideas in the scene is not quite organized. The reader gets confused to follow the dialogue and the flow of the story. The scenes little evidence of the writer’s creative ideas. The title is there but the story is not quite related to the chosen topic and not quite sparks the interest of the reader. The presentation of the plot and ideas in the scene is well organized. The reader can follow the dialogue very clearly and understand the story. Assessment Thank you for completing the previous activities. Before moving to the last activity, try to assess what you have learned about the elements, techniques, and literary devices drama. Encircle the letter of the correct answer. 1. What element refers to the time and place of drama? a. plot b. conflict c. setting d. rising action 2. What element refers to the struggle between opposing forces that is revealed through the character’s thoughts and actions? a. plot b. fight c. climax d. conflict 3. What a. b. c. d. do you call a person who writes a drama? narrator playwright stage manager main character 22 4. Which of the following would be an example of a famous play? a. Biag ni Lam-ang b. Romeo and Juliet c. Iliad and Oddyssey d. The Monkey and the Turtle 5. What do you call the instructions that tell the actors what they are supposed to do during acting? a. scenes b. dialogues c. teleprompters d. stage directions 6. What form of drama contains discourse intended to be humorous or amusing. a. fantasy b. comedy c. tragedy d. romance 7. When a playwright uses figurative language to describe objects, actions, five senses and ideas, what technique in drama is used? a. satire b. imagery c. symbolism d. foreshadowing 8. Which of the following BEST describes a script? a. b. c. d. It It It It refers to the chapter that the drama has. is the struggle the characters have in the story. is the instruction that the characters have to follow. contains words that the characters speak and directions in a play. 9. Which of the following is NOT true about the similarities between drama and short story? a. They both have characters. b. They both have dialogues and stage directions. c. They both develop conflict portrayed by opposing forces. d. They both contain elements of plot such as exposition, rising action, climax, falling action, and resolution. 10. Which of the following does NOT explain the difference between drama and other kinds of fiction? a. Drama only uses monologues instead of plots. b. Drama contains scripts to be presented by actors. c. Drama has stage actors compared other kinds of fiction. d. Drama is written to be performed by actors on stage. 11. Which of the following BEST describes a One-Act Play? a. It is a part of a full-length drama. b. It is a complete drama within one act. c. It is a drama that has only one conflict. d. It is a drama that has only one character. 23 12. Why are dramatic techniques used by a playwright? a. To solve conflicts or struggles present in the play. b. To emphasize the lines delivered by the characters. c. To make the plot or the flow of the story more complicated. d. To enhance the emotional, aural, and visual experiences of the audience. 13. What is the difference between monologue and dialogue? a. Dialogue has only one character speaking, while monologue has only two characters conversing. b. Dialogue has only one character speaking, while monologue has two or more characters conversing. c. Dialogue is a conversation only between two characters, while in monologue only one character is speaking. d. Dialogue is a conversation between two or more characters, while in monologue only one character is speaking. 14. Which of the following is NOT an innovative technique in writing scenes for one-act play? a. Add in the stage direction after writing the actions. b. Keep the plot complicated to spark the interest of the audience. c. The hero or the protagonist needs to be more developed or focused in the play. d. Lines should point out on the theme, plot, and character development. 15. Which of the following statement is TRUE for effective presentation of a drama or play? a. The writer has the least responsibility of producing a good play. b. The actors and the audience should think differently in a play. c. There should be no limitations and no conventions of drama on stage. d. The success of the play depends on the cooperation among the writers, actors, producers, and audiences. 24 Additional Activities Congratulations for coming this far! To complete you experience, try to reflect on the things that you have learned from this module. Activity 9. Fantastic Acrostic Directions: Describe your learning and experience in answering this module by completing the *Acrostic poem using the letters of your first name. *Acrostic Poem – uses the letters in a topic word to begin each line. All lines in the poem should relate to or describe the poem. Example: J ubilant, triumphant O h, so delightful and glad. Oh, so R elaxing and fulfilling; for I have G ained something I nnovative and interesting. Well, E agerness – that’s the secret to glee. Your Acrostic here… 25 What I Know 1. a 2. d 3. d 4. c 5. d 6. c 7. d 8. d 9. d 10. b 11. b 12. d 13. d 14. c 15. b 26 What’s In 1. TRUE 2. TRUE 3. TRUE 4. FALSE 5. FALSE 6. FALSE 7. TRUE 8. TRUE 9. TRUE 10.TRUE Assessment 1. c 2. d 3. b 4. b 5. d 6. b 7. b 8. d 9. b 10. a 11. b 12. d 13. d 14. b 15. d Answer Key References Jose, L. and Larioque, R. (2017). Creative writing for senior high school. Mandaluyong City, Philippines: Books Atbp. Publishing Corp. Elements of drama. (2020, November 3). Retrieved from https://reviewgamezone. com/mc/candidate/test/?test_id=32688&title=Elements%20Of%20Drama 20Review How to write one-act play (2020, November 6). Retrieved from https:// whartoncenterassets.com/tcoh/pdfs/1819/YPF/YPF-sample-script.pdf how to write one-act play One-act play. (2020, November 3). Retrieved from http://moellerlit.weebly.com/ uploads /1/0/2/4/10248653/faustus_--_one_act_play.pdf One-act play. (2020, November 3). Retrieved from https://www.questia.com/read/ 299247/the-one-act-play-today-a-discussion-of-the-technique undefined, Contributor. (2020, November 6). How to write a one act play. penandthepad.com. Retrieved from https://penandthepad.com/write one-act-play-2123970.html 27 DISCLAIMER This Self-Learning Module (SLM) was developed by DepEd SOCCSKSARGEN with the primary objective of preparing for and addressing the new normal. Contents of this module were based on DepEd’s Most Essential Learning Competencies (MELC). This is a supplementary material to be used by all learners in Region XII in all public schools beginning SY 2020-2021. The process of LR development was observed in the production of this module. This is version 1.0. We highly encourage feedback, comments, and recommendations. For inquiries or feedback, please write or call: Department of Education – SOCCSKSARGEN Learning Resource Management System (LRMS) Regional Center, Brgy. Carpenter Hill, City of Koronadal Telefax No.: (083) 2288825/ (083) 2281893 Email Address: [email protected] 28

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Italy Writes 2024 Announces Winners of Creative Writing Contest

On May 29, JCU Writer in Residence Rachel Cantor joined the finalists of the Italy Writes 2024 Creative Writing Competition as Professor Andrew Rutt announced the winners at the online award ceremony.

Cantor shared how her experience of growing up in Rome influenced her writing and commended the students for their ability to express themselves so well in a language that is not their primary language.

Since 2011, JCU’s Italy Writes Competition has been promoting the discovery of the personal creative voice in Italian high school students whose primary language of study is not English. This year, 70 submissions were received from students representing eight high schools in Rome, Pomezia, Padula, Cerignola, Milan, and Venice.

To provide students with the opportunity to earn the  Percorsi per le Competenze Trasversali e per l’Orientamento  (PCTO) certification (a mandatory program that provides Italian high school students with practical work experience), the Italy Writes program made available to teachers a variety of resources to use as supplements to their own Creative Writing Workshops with their students. In addition to those provided by JCU’s Writing Center, resources for teachers included recorded Craft Talks on specific aspects of Creative Writing from the University of Iowa’s International Writing Program.

Special thanks go to historic external member of the panel of judges, Professor Hugh Ferrer, Associate Director of the University of Iowa’s International Writing Program, and his team for their contribution to the Resources for Teachers and Students. Recently retired, Professor Ferrer is also retiring from Italy Writes. He will now dedicate more time to his own creative writing. We sincerely appreciate all that Hugh and his colleagues at the IWP have done in favor of JCU’s Italy Writes and its mission to support Italian high school teachers and students over the years, and we wish him all the best. We look forward to continued collaboration between the IWP and Italy Writes.

Non-Fiction

• 1st place (tie) (€250 gift certificate) to India Leaci, 4th year at Liceo Scientifico Statale I. Newton in Rome, (Prof. Mary Lovaglio) for ‘Change’
• 1st place (tie) (€250 gift certificate) to Gianmarco Fedele, 5th year atLiceo ScientIfico Statale Camillo Cavour, in Rome, (Prof. Emanuela Ungaro) for ‘ The Choice Of Not Choosing_ Analysis And Awareness In History ’
• 3rd place (€100 gift certificate) to Vittoria Benincasa, 4th year atLiceo Classico/Linguistico Statale Tito Lucrezio Caro in Rome, (Prof. Serena Strianese) for ‘The Maze of Choices’

Honorable Mention to Flavia Rita Breglia, 4th year at Liceo Scientifico Carlo Pisacane in Padula (SA), (Prof. Angela Pastore) for Beyond the Veil of Time

• 1st place (€300 gift certificate) to Giacomo Palladino, 5th-year at Istituto Superiore Liceo Scientifico Carlo Pisacane in Padula, (Prof. Angela Pastore) for ‘Wintry Will’
• 2nd place (€200 gift certificate) to Eva Pizzamano, 3rd-year atConvitto Nazionale Marco Foscarini di Venezia, (Prof. Laura Galante) for ‘Knight In Camouflaged Armour’
• 3rd place (€100 gift certificate) to Elena Sofia Battisti, 4th-year atLiceo Classico/Linguistico Statale Tito Lucrezio Caro in Rome, (Prof. Serena Strianese) for ‘What Needs To Be Remembered’

Congratulations to the winners and the many students and teachers across Italy who participate in Italy Writes each year!

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The Creative Writing Breakfast Club Saturday 8th June 2024

Join writer Laurie Bolger for Creative Writing Breakfast Club, a chance to get scribbling from the comfort of your own space via Zoom.

Date and time

Refund policy, about this event.

The Creative Writing Breakfast Club as featured in Time Out is a Free Flow Creative Writing hour with writer Laurie Bolger.

This session is about letting your creativity lead the way, generating new and exciting writing in your own unique style.

During this 60 minute workshop Laurie will take you through fast paced writing exercises to boost mindfulness. All you need is a pen and paper and somewhere chilled to sit and let your imagination do it’s thing.

Laurie Bolger is a London based writer & the founder of The Creative Writing Breakfast Club. Laurie’s work has been widely anthologised & has featured at Glastonbury, TATE & Sky Arts. Laurie’s first publication Box Rooms celebrated community & her W10 roots.

Laurie was the winner of The Moth Poetry Prize & was shortlisted for The Sylvia Plath, Bridport & Forward Poetry Prize. Her latest books include Makeover & Spin celebrating the resilience of working class women, autonomy & love.

Laurie has collaborated with global brands, charities & organisations such as Google, Small Luxury Hotels of the World, Liberty, Penhaligons, Nationwide, Glastonbury, Choose Love, Mind UK, TATE & Sky Arts.

Laurie has been teaching creative workshops for over a decade bringing people together to celebrate their own unique voices & scribbles.

“ If you ever want a cosy, creative, calming place to explore writing, Laurie's workshops are perfection…My heart is so full (I know what that means now)” Breakfast Clubber 2024

"My first workshop of Laurie's & definitely won’t be my last… ideas exploding all over the shop - thank you, loved it"

Writing: Water Participant 2023

“Laurie’s workshops are a safe & at the same time dangerous place for writing..."

Writing The Seven Deadly Sins Workshop Participant 2022

"Probably the best, most productive w/s I've ever attended. Fantastic. Thank you!"

Writing The Body Participant 2023

“If I could jump inside her poems I would…I imagine it’d be lovely & warm in there” Hollie McNish

Instagram @lauriebolger_ | Twitter @lauriebolger

www.lauriebolger.com

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Department of English

M.f.a. creative writing.

English Department

Physical Address: 200 Brink Hall

Mailing Address: English Department University of Idaho 875 Perimeter Drive MS 1102 Moscow, Idaho 83844-1102

Phone: 208-885-6156

Email: [email protected]

Web: English

Thank you for your interest in the Creative Writing MFA Program at the University of Idaho: the premier fully funded, three-year MFA program in the Northwest. Situated in the panhandle of Northern Idaho in the foothills of Moscow Mountain, we offer the time and support to train in the traditions, techniques, and practice of nonfiction, poetry, and fiction. Each student graduates as the author of a manuscript of publishable quality after undertaking a rigorous process of thesis preparation and a public defense. Spring in Moscow has come to mean cherry blossoms, snowmelt in Paradise Creek, and the head-turning accomplishments of our thesis-year students. Ours is a faculty of active, working writers who relish teaching and mentorship. We invite you in the following pages to learn about us, our curriculum, our community, and the town of Moscow. If the prospect of giving yourself three years with us to develop as a writer, teacher, and editor is appealing, we look forward to reading your application.

Pure Poetry

A Decade Working in a Smelter Is Topic of Alumnus Zach Eddy’s Poems

Ancestral Recognition

The region surrounding the University of Idaho is the ancestral land of both the Coeur d’Alene and Nez Perce peoples, and its campus in Moscow sits on unceded lands guaranteed to the Nez Perce people in the 1855 Treaty with the Nez Perce. As a land grant university, the University of Idaho also benefits from endowment lands that are the ancestral homes to many of the West’s Native peoples. The Department of English and Creative Writing Program acknowledge this history and share in the communal effort to ensure that the complexities and atrocities of the past remain in our discourse and are never lost to time. We invite you to think of the traditional “land acknowledgment” statement through our MFA alum CMarie Fuhrman’s words .

Degree Requirements

Three years to write.

Regardless of where you are in your artistic career, there is nothing more precious than time. A three-year program gives you time to generate, refine, and edit a body of original work. Typically, students have a light third year, which allows for dedicated time to complete and revise the Creative Thesis. (48 manuscript pages for those working in poetry, 100 pages for those working in prose.)

Our degree requirements are designed to reflect the real-world interests of a writer. Students are encouraged to focus their studies in ways that best reflect their artistic obsessions as well as their lines of intellectual and critical inquiry. In effect, students may be as genre-focused or as multi-genre as they please. Students must remain in-residence during their degrees. Typically, one class earns you 3 credits. The MFA requires a total of 54 earned credits in the following categories.

12 Credits : Graduate-level Workshop courses in Fiction, Poetry, and/or Nonfiction. 9 Credits: Techniques and Traditions courses in Fiction, Poetry, and/or Nonfiction 3 Credits : Internships: Fugue, Confluence Lab, and/or Pedagogy 9 Credits: Literature courses 12 Credits: Elective courses 10 Credits: Thesis

Flexible Degree Path

Students are admitted to our program in one of three genres, Poetry, Fiction, or Nonfiction. By design, our degree path offers ample opportunity to take Workshop, Techniques, Traditions, and Literature courses in any genre. Our faculty work and publish in multiple genres and value the slipperiness of categorization. We encourage students to write in as broad or focused a manner as they see fit. We are not at all interested in making writers “stay in their lanes,” and we encourage students to shape their degree paths in accordance with their passions. 

What You Study

During your degree, you will take Workshop, Techniques, Traditions, and Literature courses.

Our workshop classes are small by design (typically twelve students or fewer) and taught by core and visiting MFA faculty. No two workshop experiences look alike, but what they share are faculty members committed to the artistic and intellectual passions of their workshop participants.

Techniques studios are developed and taught by core and visiting MFA faculty. These popular courses are dedicated to the granular aspects of writing, from deep study of the poetic image to the cultivation of independent inquiry in nonfiction to the raptures of research in fiction. Such courses are heavy on generative writing and experimentation, offering students a dedicated space to hone their craft in a way that is complementary to their primary work.

Traditions seminars are developed and taught by core and visiting MFA faculty. These generative writing courses bring student writing into conversation with a specific trajectory or “tradition” of literature, from life writing to outlaw literature to the history of the short story, from prosody to postwar surrealism to genre-fluidity and beyond. These seminars offer students a dynamic space to position their work within the vast and varied trajectories of literature.

Literature courses are taught by core Literature and MFA faculty. Our department boasts field-leading scholars, interdisciplinary writers and thinkers, and theory-driven practitioners who value the intersection of scholarly study, research, humanism, and creative writing.

Award-Winning Faculty

We teach our classes first and foremost as practitioners of the art. Full stop. Though our styles and interests lie at divergent points on the literary landscape, our common pursuit is to foster the artistic and intellectual growth of our students, regardless of how or why they write. We value individual talent and challenge all students to write deep into their unique passions, identities, histories, aesthetics, and intellects. We view writing not as a marketplace endeavor but as an act of human subjectivity. We’ve authored or edited several books across the genres.

Learn more about Our People .

Thesis Defense

The MFA experience culminates with each student writing and defending a creative thesis. For prose writers, theses are 100 pages of creative work; for poets, 48 pages. Though theses often take the form of an excerpt from a book-in-progress, students have flexibility when it comes to determining the shape, form, and content of their creative projects. In their final year, each student works on envisioning and revising their thesis with three committee members, a Major Professor (core MFA faculty) and two additional Readers (core UI faculty). All students offer a public thesis defense. These events are attended by MFA students, faculty, community members, and other invitees. During a thesis defense, a candidate reads from their work for thirty minutes, answers artistic and critical questions from their Major Professor and two Readers for forty-five minutes, and then answer audience questions for thirty minutes. Though formally structured and rigorous, the thesis defense is ultimately a celebration of each student’s individual talent.

The Symposium Reading Series is a longstanding student-run initiative that offers every second-year MFA candidate an opportunity to read their works-in-progress in front of peers, colleagues, and community members. This reading and Q & A event prepares students for the third-year public thesis defense. These off-campus events are fun and casual, exemplifying our community centered culture and what matters most: the work we’re all here to do.

Teaching Assistantships

All students admitted to the MFA program are fully funded through Teaching Assistantships. All Assistantships come with a full tuition waiver and a stipend, which for the current academic year is roughly $15,000. Over the course of three years, MFA students teach a mix of composition courses, sections of Introduction to Creative Writing (ENGL 290), and additional writing courses, as departmental needs arise. Students may also apply to work in the Writing Center as positions become available. When you join the MFA program at Idaho, you receive teacher training prior to the beginning of your first semester. We value the role MFA students serve within the department and consider each graduate student as a working artist and colleague. Current teaching loads for Teaching Assistants are two courses per semester. Some members of the Fugue editorial staff receive course reductions to offset the demands of editorial work. We also award a variety of competitive and need-based scholarships to help offset general living costs. In addition, we offer three outstanding graduate student fellowships: The Hemingway Fellowship, Centrum Fellowship, and Writing in the Wild Fellowship. Finally, our Graduate and Professional Student Association offers extra-departmental funding in the form of research and travel grants to qualifying students throughout the academic year.

Distinguished Visiting Writers Series

Each year, we bring a Distinguished Visiting Writer to campus. DVWs interface with our writing community through public readings, on-stage craft conversations hosted by core MFA faculty, and small seminars geared toward MFA candidates. Recent DVWs include Maggie Nelson, Roger Reeves, Luis Alberto Urrea, Brian Evenson, Kate Zambreno, Dorianne Laux, Teju Cole, Tyehimba Jess, Claire Vaye Watkins, Naomi Shihab Nye, David Shields, Rebecca Solnit, Gabrielle Calvocoressi, Susan Orlean, Natasha Tretheway, Jo Ann Beard, William Logan, Aisha Sabatini Sloan, Gabino Iglesias, and Marcus Jackson, among several others.

Fugue Journal

Established in 1990 at the University of Idaho, Fugue publishes poetry, fiction, essays, hybrid work, and visual art from established and emerging writers and artists. Fugue is managed and edited entirely by University of Idaho graduate students, with help from graduate and undergraduate readers. We take pride in the work we print, the writers we publish, and the presentation of both print and digital content. We hold an annual contest in both prose and poetry, judged by two nationally recognized writers. Past judges include Pam Houston, Dorianne Laux, Rodney Jones, Mark Doty, Rick Moody, Ellen Bryant Voigt, Jo Ann Beard, Rebecca McClanahan, Patricia Hampl, Traci Brimhall, Edan Lepucki, Tony Hoagland, Chen Chen, Aisha Sabatini Sloan, sam sax, and Leni Zumas. The journal boasts a remarkable list of past contributors, including Steve Almond, Charles Baxter, Stephen Dobyns, Denise Duhamel, Stephen Dunn, B.H. Fairchild, Nick Flynn, Terrance Hayes, Campbell McGrath, W.S. Merwin, Sharon Olds, Jim Shepard, RT Smith, Virgil Suarez, Melanie Rae Thon, Natasha Trethewey, Philip Levine, Anthony Varallo, Robert Wrigley, and Dean Young, among many others.

Academy of American Poets University Prize

The Creative Writing Program is proud to partner with the Academy of American Poets to offer an annual Academy of American Poets University Prize to a student at the University of Idaho. The prize results in a small honorarium through the Academy as well as publication of the winning poem on the Academy website. The Prize was established in 2009 with a generous grant from Karen Trujillo and Don Burnett. Many of our nation’s most esteemed and celebrated poets won their first recognition through an Academy of American Poets Prize, including Diane Ackerman, Toi Derricotte, Mark Doty, Tess Gallagher, Louise Glück, Jorie Graham, Kimiko Hahn, Joy Harjo, Robert Hass, Li-Young Lee, Gregory Orr, Sylvia Plath, Mark Strand, and Charles Wright.

Fellowships

Centrum fellowships.

Those selected as Centrum Fellows attend the summer Port Townsend Writers’ Conference free of charge. Housed in Fort Worden (which is also home to Copper Canyon Press), Centrum is a nonprofit dedicated to fostering several artistic programs throughout the year. With a focus on rigorous attention to craft, the Writers’ Conference offers five full days of morning intensives, afternoon workshops, and craft lectures to eighty participants from across the nation. The cost of the conference, which includes tuition, lodging, and meals, is covered by the scholarship. These annual scholarship are open to all MFA candidates in all genres.

Hemingway Fellowships

This fellowship offers an MFA Fiction student full course releases in their final year. The selection of the Hemingway Fellow is based solely on the quality of an applicant’s writing. Each year, applicants have their work judged blind by a noted author who remains anonymous until the selection process has been completed. Through the process of blind selection, the Hemingway Fellowship Fund fulfills its mission of giving the Fellow the time they need to complete a substantial draft of a manuscript.

Writing in the Wild

This annual fellowship gives two MFA students the opportunity to work in Idaho’s iconic wilderness areas. The fellowship fully supports one week at either the McCall Outdoor Science School (MOSS), which borders Payette Lake and Ponderosa State Park, or the Taylor Wilderness Research Station, which lies in the heart of the Frank Church River of No Return Wilderness Area. Both campuses offer year-round housing. These writing retreats allow students to concentrate solely on their writing. Because both locations often house researchers, writers will also have the opportunity to interface with foresters, geologists, biologists, and interdisciplinary scholars.

Program History

Idaho admitted its first class of seven MFA students in 1994 with a faculty of four: Mary Clearman Blew, Tina Foriyes, Ron McFarland (founder of Fugue), and Lance Olsen. From the beginning, the program was conceived as a three-year sequence of workshops and techniques classes. Along with offering concentrations in writing fiction and poetry, Idaho was one of the first in the nation to offer a full concentration in creative nonfiction. Also from its inception, Idaho not only allowed but encouraged its students to enroll in workshops outside their primary genres. Idaho has become one of the nation’s most respected three-year MFA programs, attracting both field-leading faculty and students. In addition to the founders of this program, notable distinguished faculty have included Kim Barnes, Robert Wrigley, Daniel Orozco, Joy Passanante, Tobias Wray, Brian Blanchfield, and Scott Slovic, whose collective vision, rigor, grit, and care have paved the way for future generations committed to the art of writing.

The Palouse

Situated in the foothills of Moscow Mountain amid the rolling terrain of the Palouse (the ancient silt beds unique to the region), our location in the vibrant community of Moscow, Idaho, boasts a lively and artistic local culture. Complete with independent bookstores, coffee shops, art galleries, restaurants and breweries, (not to mention a historic art house cinema, organic foods co-op, and renowned seasonal farmer’s market), Moscow is a friendly and affordable place to live. Outside of town, we’re lucky to have many opportunities for hiking, skiing, rafting, biking, camping, and general exploring—from nearby Idler’s Rest and Kamiak Butte to renowned destinations like Glacier National Park, the Snake River, the Frank Church River of No Return Wilderness Area, and Nelson, BC. As for more urban getaways, Spokane, Washington, is only a ninety-minute drive, and our regional airline, Alaska, makes daily flights to and from Seattle that run just under an hour.

For upcoming events and program news, please visit our calendar .

For more information about the MFA program, please contact us at:  [email protected]

Department of English University of Idaho 875 Perimeter Drive MS 1102 Moscow, ID 83844-1102 208-885-6156

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Creative Writing: The Craft of Plot

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There are 4 modules in this course

In this course aspiring writers will be introduced to perhaps the most elemental and often the most challenging element of story: plot. We will learn what keeps it moving, how it manipulates our feelings, expectations, and desires. We will examine the choices storytellers make to snag our imaginations, drag them into a fictional world, and keep them there. We will learn how to outline and structure a plot, discuss narrative arc, pacing and reversals and reveal the inevitable surprise: connecting the beginning, middle and end.

Plotting a Course

In this module, we'll learn essentials about plot definitions and mechanics. What is plot? How does plot shape a narrative? What makes a strong plot? How is plot different from a story? We'll also discuss how plot works in actual books you're probably familiar with, such as the Harry Potter series, how character and action equals plot, and the five key questions you should ask yourself when creating a dynamic character.

What's included

4 videos 2 readings 1 peer review

4 videos • Total 26 minutes

• What Is Plot? • 7 minutes • Preview module
• How Plot Works in Harry Potter • 8 minutes
• Character + Action = Plot • 7 minutes
• Feedback Expectations for the Specialization • 2 minutes

2 readings • Total 4 minutes

• A Note on Assignments • 1 minute
• Promo Codes • 3 minutes

1 peer review • Total 60 minutes

• The Escalator • 60 minutes

The Power of Structure

In this module we're going to learn what story structure is and how by understanding structure you can learn how to sequence the events in your plot to help maximize your own storytelling abilities.We'll talk about Freytag's pyramid, the five act structure, how that structure can be found in works of classic literature, and have a conversation about how structure and outlines can help organize the stories you want to tell.

3 videos 1 peer review

3 videos • Total 22 minutes

• What Is Structure? • 7 minutes • Preview module
• ABDCE Structure Examples from Famous Works of Literature • 7 minutes
• Visiting Writer: A Conversation with Douglas Martin • 7 minutes
• What's Up, Doc? • 60 minutes

A Scene in Motion

Scenes are the building blocks of storytelling. But what is a scene? And how does a scene move plot forward? In this module we'll learn about the difference between telling and showing, the five key elements each scene should have, offer some examples of effective scenes, and have a conversation about how setting and description can make a scene come alive.

3 videos • Total 26 minutes

• What Is a Scene? • 7 minutes • Preview module
• Examples of Effective Scenes • 8 minutes
• Shop Talk with Amity Gaige • 10 minutes
• Show, Don't Tell • 60 minutes

This modules deals with the specifics of editing and revising your work. This process of revision starts with the first draft (which will now become your second draft) and continues until the manuscript’s ready to send to an agent. Included here are a twenty-one point checklist on what to do once you have a completed first draft, and conversations about creating characters with strong motivations, and how to define language that gets rewritten vs language that gets cut.

4 videos 1 peer review

4 videos • Total 31 minutes

• Editing and Revision • 7 minutes • Preview module
• Shop Talk with Amy Bloom • 10 minutes
• Shop Talk with Salvatore Scibona • 10 minutes
• The 21st Point • 3 minutes
• The Whole Story • 60 minutes

Instructor ratings

We asked all learners to give feedback on our instructors based on the quality of their teaching style.

Wesleyan University, founded in 1831, is a diverse, energetic liberal arts community where critical thinking and practical idealism go hand in hand. With our distinctive scholar-teacher culture, creative programming, and commitment to interdisciplinary learning, Wesleyan challenges students to explore new ideas and change the world. Our graduates go on to lead and innovate in a wide variety of industries, including government, business, entertainment, and science.

Recommended if you're interested in Music and Art

Wesleyan University

Creative Writing: The Craft of Character

Creative Writing: The Craft of Setting and Description

Creative Writing: The Craft of Style

Capstone: Your Story

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Learner reviews

Showing 3 of 4750

4,750 reviews

Reviewed on Mar 11, 2019

It was a good course. It was a good grading method, I was a little opposed in the beginning but I now I understand the value of having more than a teacher read your work.

It is very much worth it.

Reviewed on Dec 7, 2020

Course is great, very clear and focused tips to improve one's writing. The peer-review is not that good and there is no instructor's evaluation and feedback. I understand that would be a lot of work.

Reviewed on Apr 23, 2018

This course really allowed me to grow as a writer. The content was adjustable for a range of levels and the assignments challenged participants to put into practice that week's lectures. Thank you.

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Narrative Writing ACTVITIES BUNDLE | Creative Story Writing PACK!

Last updated

3 June 2024

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Resources included (7)

Interactive Notebooks Narrative Writing | Purpose & Structure Creative Writing

DIFFERENTIATED Planning Templates for Narrative Creative Story Writing

Story Elements & Plot Prompt Cards or Posters for Narrative Creative Writing

Narrative Writing Prompts for Practicing Story Writing | Quick Writes

Fiction and Non Fiction Text Sorting or Matching Activity Narrative Writing

Prompt Cards or Posters Characters & Settings Narrative Writing | Creative Texts

DIFFERENTIATED Unscramble the Text activity Narrative Writing | Creative Writing

Are you looking for a way to engage your students in writing class? Specifically in narrative writing? Then this Narrative/Creative/Story Writing Activities Bundle is the perfect resource for you and your students! This bundle has resources to help your students from the planning stage all the way to the publishing stage of narrative writing including prompts, templates, worksheets and more!

2 Interactive Notebooks

6 Planning Templates PLUS a SAMPLE PLAN

3 DIFFERENTIATED Unscramble the Text activities

20 Quick Writes - Narrative Writing Practice papers!

Text type cut & paste Matching activity

28 Plot Ideas

10 Picture Prompt Cards

28 Character Ideas

28 Object Ideas

28 Setting Ideas

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