SENIOR HIGH SCHOOL

INSTRUCTIONAL MODULE
SCHOOL YEAR 2020-2021- FIRST SEMESTER

Subject Teacher: Ms. Maelbic Marie C. Biyo

Email address: maelbic.biyo@st.jude.edu.ph

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 TABLE OF CONTENTS

FIRST QUARTER

LESSON 1: Creative Writing........................................................... 4

Imaginative and Technical Writing............................ 4
Sensory Experience...................................................5

LESSON 2: Language....................................................................9
Diction........................................................................10
Accuracy...................................................................10
Precision.................................................................... 10
Concreteness.............................................................10
Appropriateness........................................................11
Different Kinds of Figurative Language. ..................11

LESSON 3: Reading and Writing Poetry......................................15

Poetry..........................................................................16
Elements of the Poetry .............................................16
Types of Poetry..........................................................16

SECOND QUARTER

LESSON 4: Reading and Writing Fiction....................................29

Introduction to Fiction.............................................29
Elements of Fiction.................................................30
Plot...........................................................................30
Character...............................................................32
Point of View......................................................... 32

Voice and Dialogue..........................................32

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Setting........................................................... 33
Thematic Elements........................................ 33

LESSON 1: Creative Writing

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I. Module Learning Competencies:
a. Differentiate imagininative writing from technical writing
b. Create a story that evokes the senses
c. Master descriptive writing by using sensory of experience

II. Discussion of Topics

Warm Up!

Activity 1:
A Word Without Words
Taking off from the premise of the “ word” immerse yourself in a constructed
reality of a world without words. What would it be like? What form of
communication would arise? Write a paragraph on this imagined situation and
compare your answers with those of your classmates. (Use your work notebook)

Wonder and Learn!

Creative Writing is an art. It is an act of self-expression that allows you to

process your sensory experience and imagination so that you can communicate
your thoughts and feelings about the human experience in a manner that is
enjoyable, engaging and enlightening.

Imaginative Writing is that Technical Writing is a form

which expresses the writer of technical communication
thoughts and feelings in a or documentation in science
creative, unique, and poetic and technology or applied
way. science that helps people
Examples: understand a product or
Poetry service.
Short Stories Examples:
Novels User Manuals
Travel Writing Summary of Experiments
Sports Writing Journal Publications
Autobiography Articles
Memoir Promotional Brochures

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 Interviews
Comics
Play scripts

Purpose: Purpose

Entertain Instruct
Educate Persuade

What Is Sensory Imagery?

Sensory imagery involves the use of descriptive language to create mental images. In literary
terms, sensory imagery is a type of imagery; the difference is that sensory imagery works by
engaging a reader’s five senses. Any description of sensory experience in writing can be
considered sensory imagery.

What Is the Purpose of Sensory Imagery in Writing?

Most writing contains some level of imagery. One reason fiction writers deal in significant
concrete detail is to permit the reader the pleasure of arriving at their own judgments and
conclusions through perceptual clues. However, writers don’t have to always resort to describing
the way things look to create mental images.

Describing how something tastes, smells, sounds, or feels—not just how it looks—makes a
passage or scene come alive. Using a combination of imagery and sensory imagery arms the
reader with as much information as possible and helps them create a more vivid mental picture of
what is happening.

Types of Sensory Imagery

1. Visual imagery engages the sense of sight. This is what you can see, and
includes visual descriptions. Physical attributes including color, size, shape, lightness and
darkness, shadows, and shade are all part of visual imagery
2. Gustatory imagery engages the sense of taste. This is what you can taste, and includes
flavors. This can include the five basic tastes—sweet, salty, bitter, sour, and umami—as well
as the textures and sensations tied to the act of eating.
3. Tactile imagery engages the sense of touch. This is what you can feel, and includes
textures and the many sensations a human being experiences when touching something.
Differences in temperature is also a part of tactile imagery.

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 4. Auditory imagery engages the sense of hearing. This is the way things sound. Literary
devices such as onomatopoeia and alliteration can help create sounds in writing.
5. Olfactory imagery engages the sense of smell. Scent is one of the most direct triggers of
memory and emotion, but can be difficult to write about. Since taste and smell are so closely
linked, you’ll sometimes find the same words (such as “sweet”) used to describe both. Simile
is common in olfactory imagery, because it allows writers to compare a particular scent to
common smells like dirt, grass, manure, or roses.
6. Kinesthetic imagery (a.k.a kinesthesia) engages the feeling of movement. This can be
similar to tactile imagery but deals more with full-body sensations, such as those experienced
during exercise. Rushing water, flapping wings, and pounding hearts are all examples of
kinesthetic imagery.

Examples of Sensory Imagery in Literature

The Yellow Wallpaper, Charlotte Perkins Gilman (1892). “The color is repellant, almost
revolting; a smouldering, unclean yellow, strangely faded by the slow-turning sunlight. It is a dull
yet lurid orange in some places, a sickly sulphur tint in others.” The descriptions of color here are
visual imagery. “Faded,” “dull,” and “lurid” are all adjectives we associate with color.
Meanwhile, “smouldering,” “unclean,” and “sickly” are unusual descriptors, since they’re
typically associated with people, not colors. By using a combination of commonplace and
unusual language to describe color, Perkins Gilman both invites us to imagine the actual color of
the wallpaper and imbues it with emotional weight, transforming this room into a symbol of the
character’s emotional frustration and oppression.

Moby Dick, Herman Mellville (1851). “The vast swells of the omnipotent sea; the surging,
hollow roar they made, as they rolled along the eight gunwales, like gigantic bowls in a boundless
bowling-green; the brief suspended agony of the boat, as it would tip for an instant on the knife-
like edge of the sharper waves, that almost seemed threatening to cut it in two; the sudden
profound dip into the watery glens and hollows; the keen spurrings and goadings to gain the top
of the opposite hill; the headlong, sled-like slide down its other side;—all these, with the cries of
the headsmen and harpooneers, and the shuddering gasps of the oarsmen, with the wondrous sight
of the ivory Pequod bearing down upon her boats with outstretched sails, like a wild hen after her
screaming brood;—all this was thrilling.” This passage uses kinesthetic imagery—surging, rolled,
tip, dip, slide, shuddering—to give the feeling of motion on a boat. Sound is also important to this
passage: we can imagine the scream of chickens, the gasps of the oarsmen, and the hollow roar of
the ocean.

A Room With a View, E.M. Forster (1908). “The hour was approaching at which the
continental breakfast begins, or rather ceases, to tell, and the ladies bought some hot chestnut
paste out of a little shop, because it looked so typical. It tasted partly of the paper in which it was
wrapped, partly of hair oil, partly of the great unknown.” By describing the taste of food with
inedible objects and concepts, Forster continues to balance the expectations of travel with its

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 realities. He also calls attention to the idea of attaching meaning to seemingly unimportant things:
here, a not-too-tasty candy takes on the weight of the great unknown.

Jane Eyre, Charlotte Brontë (1847). “I heard the rain still beating continuously on the staircase
window, and the wind howling in the grove behind the hall; I grew by degrees cold as a stone,
and then my courage sank. My habitual mood of humiliation, self-doubt, forlorn depression, fell
damp on the embers of my decaying ire.” Descriptions of temperature and moisture are tactile
imagery. In this case, the rain and Jane’s physical discomfort mirror her dark mood.

Extend Your Knowledge: How to Use Sensory Imagery in Creative Writing

https://www.masterclass.com/articles/margaret-atwoods-5-tips-for-using-sensory-imagery-
in-your-writing#how-to-use-sensory-imagery-in-creative-writing

III. Assessment of Learning

Task 1:
Venn Diagram: Imaginative Vs. Technical Writing
(Use your work notebook)

Task 2:
Look at the image below and describe it using your five senses at least once.
(Use your work notebook)

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 Task 3:
You are a writer invited to participate in a story writing contest to be judged by the
creators of any fantasy series. You are asked to submit a one page story for children, ages
7-9, about talking duck that visited your school. The story can have actual
dialogues and apply sensory of imagery. (Use your work notebook)

IV. References

Vasquez. H, & Lee. (2017). Creative Writing

DIWA Senior High School Series (2017). Creative Writing
Gasulas. L,. Mantaring Q,. Lusica.S, & Nacino.C,. (2017).Creative Writing

https://www.masterclass.com/articles/sensory-imagery-in-creative-writing#6-
different-types-of-sensory-imagery

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 https://www.google.com/search?
q=BW+picture+showing+people+eating+at+beach&tbm=isch&ved=2ahUKEwi9kP
D54P_qAhWt_TgGHRHjA0wQ2-
cCegQIABAC&oq=BW+picture+showing+people+eating+at+beach&gs_lcp=ChJtb
2JpbGUtZ3dzLXdpei1pbWcQAzoCCCk6BAgpEA06BAgpEEM6BAgpEBg6BAgA
EAM6BAgAEEM6BwgAELEDEEM6AggAOgYIABAFEB46BggAEAgQHjoECAA
QGDoECCEQCjoECB4QClC9jgJY6PUCYKn5AmgGcAB4AIABrQGIAZ8kkgEF
MzIuMTWYAQCgAQGwARjAAQE&sclient=mobile-gws-wiz-
img&ei=9WMoX_3BC6374-EPkcaP4AQ&bih=600&biw=360&client=ms-android-
huawei-rev1&prmd=ivn&hl=en-GB&hl=en-GB#imgrc=J4gz-2TRnHzt3M

LESSON 2: Language

I. Module Learning Competencies

a. Distinguish the difference between literal and figurative meaning
b. Identify the different kinds of figurative language
c. Utilize figures of speech in creative work

II. Discussion of Topics

Warm Up!

Activity 2:
Create sentences for each words in the group:
(Use your work notebook)
1. like/ appreciate / adore
2. mad/ crazy/ nuts
3. walk/ stroll/ trudge
4. remember/ recall/ reminisce
5. clothing/ apparel/ garment
6. exciting/ powerful/ dramatic

Wonder and Learn!

Diction and Accuracy

To know when to use a word, you must look up its actual dictionary
meaning or denotation. Then, it would be definitely helpful to also search
for its connotation or other concepts and feelings that the word may
invoke. This ensures that the word you chose is the best fit and
unintented meanings are avoided.

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 Recall how diction was defined to you in the past as the choice of words
and phrases in speech or writing. Forget speech for a moment; focus on
the writing part. A news article has a different diction and here are
the synonyms for diction: wording, vocabulary, terminology, phraseology,
language, and style. They will probably similar diction with professional
research papers and academic, but their diction you will know that
journalists pieces, academi tracts, or technical writing, are noncreative
writing work.

Here are some of the commonly confused words according to the

Oxford Dictionary. How is each different in meaning from the other?

 accept vs. except

 affect vs. effect
 born vs. borne
 lay vs. Lie
 weather vs. wether
 ensure vs. insure
 bough vs. bow
 complement vs. compliment

Precision
One can be accurate with word choice, but not precise. There are instances
when being precise or too specific might not be appropriate to the context
you are writing in.

Concreteness
In creative writing, concrete diction is usually preferred over a general or
abstract word choice. By evoking images and appealing to the senses,
concrete words allow the reader to be immersed in the imaginary world
and even experience what the characters are going through.
Examples:
 Audrey exhibited extreme shyness
 Audrey felt bashful
 Audrey looked sheepish

Appropriateness
A writer’s choice of words is also anchored on the first two questions one asks
before setting out to write: What is my purpose and who is my audience?
Offensive language such as curse words or politically incorrect phrases is not
used, but in literary, it use might not be entirely avoided.

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The Literal vs. The Figurative

Literal language is what we commonly use the language of

everyday communication, when we mean hand, uses of figures of speech
represent something else in some way to the trope.

Here are some examples

Commonly Used Figures of Speech

1. Simile is a figure of speech directly comparing two unlike things, often introduced with
the word like or as.
Example:
A smile as big as the sun
Literal Description Figurative Description
Rose are red. Her love is like a rose.
The bell rings at 12:00 Saved by the bell
The cat stepped out of the bag. Let the cat out of the bag.
The flowers smells sweet You are the sweetest- smelling flower.

She prays like a mantis

2. Methaphor is a figure of speech that makes an implicit, implied or hidden
comparison between two things or objects that are poles apart from each other but have
some characteristics common between them.
Example:
The planet is your playground
The Lord is my shepherd
3. Metonymy is a figure of speech in which a thing or concept is not called
by its own name, but by the name of something intimately associated with that thing or
concept.
Example:
Using “Malacañang” to refer to the president or the government
Saying “a hand” to mean “help”

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4. Synecdoche is a figure of speech in which a part of something is used to represent the
whole of something is used to represent part of it.
Examples
Sixty hands voted(Note: The part hand is used to represent the whole person.)
The country supported the president. (Note: The word country is used to refer to part of
the country, namely, most people.)
5. Personification is a figure of speech in which human characteristics are attributed to an
abstract quality, animal or inanimate object.
Example:
The flowers bathe in the sunlight and the grass reached out the sky.
6. Irony is a figure of speech in which there is a contradiction of expectation between what
is said and what is really meant.
 Verbal irony refers to a statement where the intended meaning is different from
what was stated.
Example:
Saying “thanks for the vote of support” when someone undermines you.
 Dramatic irony occurs when the audience or the reader knows more about the
events than the characters themselves.
Examples:
Girl in a horror film hides in a closet where the killer just went.
(the audience knows the killer is there, but she does not.)

In Romeo and Julie, the audience knows that Juliet is only asleep not dead but
Romeo does not and he kills himself.
 Situational irony refers to the contrast between the actual result of a situation
and what was intended or expected to happen.
Example:
The robbers stole from the police station
7. Apostrophe is a figure of speech in which the speaker directly addresses an absent or
dead person, an inanimate object, or an abstract quality as if it were present or living.
Example:
Oh, moon! You have seen everything!
8. Hyperbole is a figure of speech that uses exaggerations to create emphasis or effect; it is
not meant to be taken literally.
Example:
I told you a million times to clean your room!
9. Paradox is a figure of speech in which a statement that seems to be contradictory but
actually reveals some truth.
Example:
Killing with the kindness is the best revenge.
10. Idiomatic Expressions are groups of words whose meaning cannot be deducted from its
individual parts.

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 Example:
“Raining cats and dogs” does not mean a literal falling down of our beloved pets; it
simply means it is raining hard.
11. Euphinisms is a figure of speech used to express a mild, indirect, or vague term to
substitute for a harsh, blunt, or offensive term.
Example:
Saying “passed away” for died or “in between jobs” to mean unemployed.

Extend Your Knowledge: Importance of Figure of Speech

https://www.enotes.com/homework-help/what-importance-figures-speech-
476046#:~:text=The%20effective%20use%20of%20figures,mere%20words%2C
%20phrases%20and%20sentences.&text=Through%20the%20use%20of
%20figures,%2C%20insight%2C%20understanding%20and%20clarity.

III. Assessment of Learning

Task 4:
It has been said that a poem cannot be paraphrased for the text itself resists interpretation
and that the actual work is the only way to say it. Think along those lines when you
engage in this activity. Below is the poem by Robert Frost titled “The Most of It”
Replace each bolffaced word with a synonym and answer the following questions that
follow. (Use your work notebook)

The Most of It
Robert Frost
He thought he kept the universe alone;
For all the voice in answer he could wake
Was but the mocking echo of his own
From some tree-hidden cliff across the lake.
Some morning from the boulder-broken beach
He would cry out on life, that what it wants
Is not its own love back in copy speech,
But counter-love, original response.
And nothing ever came of what he cried
Unless it was the embodiment that crashed
In the cliff’s talus on the other side,
And then in the far distant water splashed,
But after a time allowed for it to swim,
Instead of proving human when it neared
And someone else additional to him,
As a great buck it powerfully appeared,
Pushing the crumpled water up ahead,
And landed pouring like a waterfall,

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 And stumbled through the rocks with horny tread,
And forced the underbrush—and that was all.
Questions:
1. Were there words that did not have a synonym? List them down.
2. Did the substitution feel right to you? Give at least two examples where
you left the meaning of the line has changed because of the synonym.
3. Do you subscribe to the idea that a poem cannot be paraphrased? Why or
why not?
Task 5:
Write at least ten (10) samples of literal meaning vs. Figurative meaning.
(Use your work notebook)
Task 6:
Choose one object to describe and use figurative language by describing
it. This object can be anything but a person or animal.
(Use your work notebook)

IV. References

Vasquez. H, & Lee. (2017). Creative Writing

DIWA Senior High School Series (2017). Creative Writing
Gasulas. L,. Mantaring Q,. Lusica.S, & Nacino.C,. (2017).Creative Writing

https://www.softschools.com/examples/grammar/dramatic_irony_examples/462/

https://www.google.com/amp/s/mywordinyourear.com/2018/08/12/the-most-of-it-
robert-frost-analysis/amp/

LESSON 3: Reading and Writing Poetry

I. Module Learning Competencies

a. Analyze the elements of the poem
b. Explore innovative techniques in poetry writing
c. Write a short poem applying the types of poetry
d. Apply the techniques in reading a poetry

II. Discussion of Topics

Warm Up!

Activity 3:
More Than a Feeling

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 Take a look at he following ways we express emotions. In one to two sentences, restate
the following in your own words. See how else you
can express yourself. (Use your work notebook)

 I am in love
 I feel anxious
 I’m excited!
 I’m feeling happy
 I am hopeful

Wonder and Learn!

Poetry
 A collection of words that express an emotion or idea
 Poems are literally attempts to share personal experiences and feelings
 Good poems shows images which leave the reader the sense of delight, awe and
wonder.
 Poetry requires creativity
 Poetry requires emotion
 Poetry requires an artistic quality

Purpose of Poetry: to express ideas, feelings and emotions

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 7 Common Types of Poetry

1. Haiku Poems
Traditionally, haiku poems are three-line stanzas with a 5/7/5 syllable count. This form of
poetry also focuses on the beauty and simplicity found in nature. As its popularity grew,
the 5/7/5 formula has often been broken. However, the focus remains the same – simple

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 moments in life. For more, take a look at these rules for writing haiku. Now, let’s enjoy
two short samples.

First, “Sick on a Journey” by Basho is a great example of a haiku:

Sick on a journey –

Over parched field

Dreams wander on

Next, “5 & 7 & 5” by Anselm Hollo demonstrates the 5/7/5 haiku syllable count across
three stanzas:

Night train whistles stars

Over a nation under
Mad temporal czars

Round lumps of cells grow

Up to love porridge later
Become The Supremes

Lady I lost my
Subway token we must part
It’s faster by air

2. Free Verse Poems

Free verse poems are the least defined. In fact, they’re deliberately irregular, taking on an
improvisational bent. There’s no formula, no pattern. Rather, the writer and reader must
work together to set the speed, intonation, and emotional pull. Here are two samples.

“This is Marriage” by Marianne Moore is a great example of free verse poetry:

This institution, perhaps one should say enterprise out of respect for which one says one
need not change one’s mind about a thing one has believed in, requiring public promises
of one’s intention to fulfil a private obligation: I wonder what Adam and Eve think of it
by this time, this fire-gilt steel alive with goldenness;

The format of “Little Father” by Li-Young Lee contrasts “This is Marriage”

considerably:

I buried my father in my heart.

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 Now he grows in me, my strange son,

My little root who won’t drink milk,

Little pale foot sunk in unheard-of night,

Little clock spring newly wet

In the fire,little grape, parent to the future

Wine, a son the fruit of his own son,

Little father I ransom with my life.

3. Cinquains
A cinquain is a five-line poem inspired by the Japanese haiku. There are many different
variations of cinquain including American cinquains, didactic cinquains, reverse
cinquains, butterfly cinquains and crown cinquains. Let's enjoy a sampling from the ever-
popular Edgar Allan Poe, as well as a snippet from George Herbert.

"To Helen" by Edgar Allan Poe is our first five-line poem:

Helen, thy beauty is to me

Like those Nicean barks of yore,

That gently, o'er a perfumed sea,

The weary, way-worn wanderer bore

To his own native shore.

And here we have "The World" by George Herbert:

Love built a stately house, where Fortune came,

And spinning fancies, she was heard to say

That her fine cobwebs did support the frame,

Whereas they were supported by the same;

But Wisdom quickly swept them all away.

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4. Epic Poems
An epic is a long and narrative poem that normally tells a story about a hero or an
adventure. Epics can be presented as oral or written stories. “The Iliad” and “The
Odyssey” are probably the most renowned epic poems. But, let’s take a different
direction and check out a sampling from Henry Wadsworth Longfellow, as well as Ezra
Pound.

Here’s an excerpt from the epic poem, “The Song of Hiawatha” by Henry Wadsworth
Longfellow:

By the shore of Gitchie Gumee,

By the shining Big-Sea-Water,

At the doorway of his wigwam,

In the pleasant Summer morning,

Hiawatha stood and waited.

And here’s another sampling of epic poetry, this time from “Canto I” by Ezra Pound:

And then went down to the ship,

Set keel to breakers, forth on the godly sea, and
We set up mast and sail on that swart ship,
Bore sheep aboard her, and our bodies also
Heavy with weeping, so winds from sternward
Bore us out onward with bellying canvas,
Circe’s this craft, the trim-coifed goddess.
Then sat we amidships, wind jamming the tiller,
Thus with stretched sail, we went over sea till day’s end.
Sun to his slumber, shadows o’er all the ocean,
Came we then to the bounds of deepest water,
To the Kimmerian lands, and peopled cities
Covered with close-webbed mist, unpierced ever
With glitter of sun-rays
Nor with stars stretched, nor looking back from heaven
Swartest night stretched over wretched men there.
The ocean flowing backward, came we then to the place
Aforesaid by Circe.

5. Ballad Poems

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 Ballad poems also tell a story, like epic poems do. However, ballad poetry is often based
on a legend or a folk tale. These poems may take the form of songs, or they may contain
a moral or a lesson. Let’s enjoy some beautiful imagery in the samples below.

“The Mermaid,” written by an unknown author, has its roots in folklore:

Oh the ocean waves may roll,

And the stormy winds may blow,

While we poor sailors go skipping aloft

And the land lubbers lay down below, below, below

And the land lubbers lay down below.

“The Ballad of Reading Gaol” by Oscar Wilde is another great ballad poem:

He did not wear his scarlet coat,

For blood and wine are red,
And blood and wine were on his hands
When they found him with the dead,
The poor dead woman whom he loved,
And murdered in her bed.

He walked amongst the Trial Men

In a suit of shabby grey;
A cricket cap was on his head,
And his step seemed light and gay;
But I never saw a man who looked
So wistfully at the day.

I never saw a man who looked

With such a wistful eye
Upon that little tent of blue
Which prisoners call the sky,
And at every drifting cloud that went
With sails of silver by.

6. Acrostic Poems
Acrostic poems, also known as name poems, spell out names or words with the first letter
in each line. While the author is doing this, they’re describing someone or something they
deem important. Here are two examples to illustrate the poetic form.

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 “Alexis” by Nicholas Gordon focuses on an intriguing woman he may or may not know:

Alexis seems quite shy and somewhat frail,

Leaning, like a tree averse to light,

Evasively away from her delight.

X-rays, though, reveal a sylvan sprite,

Intense as a bright bird behind her veil,

Singing to the moon throughout the night.

“A Cry For Help” by 12-year-old Samar Alkhudairi is an example of an acrostic poem

that tackles the tough issue of bullying:

Brutal beatings beyond the feeling of pain

Understanding this hurt might get me closer to being sane

Love is a myth

Life has become like a work of Stephen King

You don’t know what it’s like

I am treated like just some “thing”

Never to be kissed, comforted, or loved

Going the rest of my life never to be hugged

7. Sonnets
Although William Shakespeare sensationalized sonnets, the word, "sonetto" is actually
Italian for "a little sound or song." This form has grabbed poets by the heart for centuries.
It began as a 14-line poem written in iambic pentameter. Although flourishes have been
made over time, the general principle remains the same. Read up on Sonnet Examples to
learn more about the different types of sonnets. In the meantime, let's enjoy two great
samples:

This is a sample, "Sonnet 116," from the master himself, William Shakespeare.

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 Let me not to the marriage of true minds

Admit impediments. Love is not love

Which alters when it alteration finds,

Or bends with the remover to remove.

O no! it is an ever-fixed mark

That looks on tempests and is never shaken;

It is the start to every wand'ring

Techniques For Reading Poetry

Understand the Language

There is nothing worse than listening to a Poetry performance where the reader lacks conviction
of the piece. Belief in the message alone is not enough. Understanding the very words of the
poem is crucial. How can a performer properly interpret and express the needed emotion without
fully grasping what the text means? And if there is any doubt or confusion there is also the
chance of it appearing on the performer’s face. Thus, if there are any words which are confusing
or not understood, grab a dictionary and figure out the definition.

Read Slowly
This is true for any type of public speaking. People often rush through a speech when in front of
others due to nervousness. This is a flaw that should never enter into a Poetry piece. A competitor
should constantly remember to breath, relax, and remind themselves that what is often considered
an average pace while speaking is typically too fast. This is particularly true when speaking in
verse. The audience has to be given time to interpret and internalize, and with a form of literature
that is different than prose (familiar and similar to how people speak) slightly more time might be
required. Be vigilant and listen to the verse being delivered and ask “is this too quick?” The best
way to get timing regulated is to practice with a coach, or another set of ears, and ask for
criticism.

Find a Rhythm Through Punctuation

Every poem has a specific meter which the poet has instilled with every foot, through every line,
and in every stanza of the piece. There is a rhythm embedded within the poem that becomes
unleashed when read aloud. Poets understand the musicality of language. How words, when
carefully combined, can heighten the beauty or beastliness of a work. The secret to discovering
the poem’s rhythm is to simply read it out loud; as a poem is meant to be read. As one reads they
will take notice of punctuation. This is a natural occurrence, one we are trained for as punctuation

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is essentially rules for written language. Anyway, by adhering to every pause (periods, commas,
semi-colons, colons, line breaks, hyphen, ellipsis, etc.) and not stopping in the middle of a long
string of words, a poem’s rhythm is found. Give appropriate weight, or non-weight, to the
punctuation (such as a comma having a longer pause than perhaps an ellipsis or colon) and
rhythm will become.

Interpretation
Understanding what a poem means is critical for understanding how to read it aloud. Look at the
language, style, diction, punctuation, author’s intent, historical context and more to decipher what
the poem means. When the verse holds some message and meaning to a performer then it can be
read with some feeling. No interpretation means a shallow presentation of poetry, for how can a
reader convey emotion without knowing what the poem means?

Avoid Being Monotonously Melodic

Though poetry comes with a built in rhythm, this does not mean a reader is exempt from being
trapped in the mode of reciting in a sing-song style. Meaning: the vocal interpretation of the piece
can become predictable and void of feeling. Often, poems which rely on rhyme are the
perpetrators for creating a repeated flow. When this happens sometimes readers get caught and
find it hard to escape the monotony. Try. A Poetry selection that becomes encased with the same
tempo, tone, rhythm, etc. Becomes increasingly boring with every meter.

Awareness and eventual mastery of these elementary techniques are indispensable for becoming a
terrific Poetry reader. Obviously these are a launching point for growth. However, without
understanding these basics any potential is smothered. Learn the critical parts to Poetry to place
well, and then more depth is obtainable for an even higher level of skill and rank.

11 Tips for Writing Poetry

1. Read the work of a variety of poets. The simplest way to improve your poetry is to read
poems. You may be familiar with great poets like William Wordsworth, Walt Whitman, and
Emily Dickinson but less familiar with contemporary poets and new poems. Part of becoming a
better poet is constantly finding new poetry collections and reading contemporary literary
magazines to expose yourself to new voices. There’s no harm in revisiting your favorite poems
by great poets in an old poetry book, but part of becoming a better writer is finding new literary
journals and expanding your poetry reading to include young poets and diverse voices.
2. Experiment with a different poetic form. There are many different types of poetry
available to you. Even if there is a specific type of poem that you consider your bread and
butter, it’s worth experimenting with different poetry forms. Try writing a short poem like a
haiku. Write a longer narrative poem in free verse. Write a few quick nursery rhymes.
Playing with form can help you build your poetry writing skills and find new types of poetry
that fit your style.
3. Play with rhyme. As kids, our first exposure to poetry is through simple rhyme schemes, and
oftentimes we write our first poems with the aid of a handy rhyming dictionary. Obviously,

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 there is much more to poetry than rhyming, and rethinking how you incorporate and structure
rhyme scheme can help vary your poetry.
4. Experiment with meter. Meter describes the pattern of stressed and unstressed syllables
from line to line in a poem. Experimenting with different types of meter in your poetry can
add layers to your work and help make your poetry rhythmically interesting. Try writing
poems in iambic pentameter—as Shakespeare did—or throw in a rhyming couplet or two to
break up passages of blank verse.

5. Keep a journal. Poetry is a powerful medium when it comes to using lyrical language and
expressing poignant imagery. Keeping a journal can help you catalog particularly striking
images and thoughts as they occur to you throughout your day. Free moments can give you a
chance to brainstorm and jot down your thoughts in your poetry journal.

6. Explore new poetic devices. One of the exciting aspects of poetry is the many literary
devices and poetic techniques at your disposal. Playing with alliteration or assonance can
bring a variety of sounds to your work. Exploring extended metaphors and working in
synecdoche or metonymy can bring layers of meaning to your work. Research various poetic
devices and try incorporating new techniques into your poetry.

7. Simplify word choice. As a first-time poet, it can feel as if you have to use exclusively
abstract words and flowery language in order to write complex verse and convey deeper
meaning. The fact of the matter is that sometimes the simplest language combined with clear,
concrete images can make for a good poem. Some of the best American poets use concrete
words and simple language in order to construct poignant and affecting poetry. There’s no
need to rely on a thesaurus to find the right words for your poems. If you find yourself
overwriting, scale back your language and focus on clear and concise verse.

8. Edit. As with other forms of writing, good poetry is often found in the edit. Once you’ve
finished a draft of a poem, give yourself some time before giving it a second pass and
beginning the rewriting process.

9. Remember, there are no rules. There are no set rules in poetry. Give yourself the freedom
to explore your craft and play with meaning and form. Don’t hold yourself back or worry
about the final product. Some of your best work will come when you feel unconstrained and
free to play.

10. Start a writing group.

Starting a writing group with other poets can help you commit to the hard work of writing
and establish a consistent writing practice. A poetry writing class or group can help keep you
accountable and help you break through writer’s block. Writing groups are a great resource
for meeting other poets who can help connect you with publishing industry contacts and
literary agents.

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11. Explore other types of creative writing. Writing poems doesn’t prevent you from exploring
other forms of writing. Supplement your poetry writing with nonfiction essays and short
stories in your free time. This will help your writing stay fresh and active and can also be a
great way of adding additional writing income.

Extend Your Knowledge:

Learn about Poetry
https://www.masterclass.com/articles/poetry-101-learn-about-poetry-different-types-of-
poems-and-poetic-devices-with-examples#what-is-poetry

Other Type of Poetry

https://examples.yourdictionary.com/what-are-different-types-of-poems.html

III. Assessment of Learning

Task 7:
Rizal is also known for his poems, most of which he wrote while studying in a university
in Manila. Read and analyze the following poem of his and answer the questions that
follow. (Use your work notebook)

Education Gives Luster to Motherland

Wise education, vital breath

Inspires an enchanting virtue;
She puts the Country in the lofty seat
Of endless glory, of dazzling glow,
And just as the gentle aura’s puff
Do brighten the perfumed flower’s hue:
So education with a wise, guiding hand,
A benefactress, exalts the human band.

Man’s placid repose and earthly life

To education he dedicates
Because of her, art and science are born
Man; and as from the high mount above
The pure rivulet flows, undulates,
So education beyond measure
Gives the Country tranquility secure.

Where wise education raises a throne

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Sprightly youth are invigorated,
Who with firm stand error they subdue
And with noble ideas are exalted;
It breaks immortality’s neck,
Contemptible crime before it is halted:
It humbles barbarous nations
And it makes of savages champions.
And like the spring that nourishes
The plants, the bushes of the meads,
She goes on spilling her placid wealth,
And with kind eagerness she constantly feeds,
The river banks through which she slips,
And to beautiful nature all she concedes,
So whoever procures education wise
Until the height of honor may rise.

From her lips the waters crystalline

Gush forth without end, of divine virtue,
And prudent doctrines of her faith
The forces weak of evil subdue,
That break apart like the whitish waves
That lash upon the motionless shoreline:
And to climb the heavenly ways the people
Do learn with her noble example.

In the wretched human beings’ breast

The living flame of good she lights
The hands of criminal fierce she ties,
And fill the faithful hearts with delights,
Which seeks her secrets beneficent
And in the love for the good her breast she incites,
And it’s th’ education noble and pure
Of human life the balsam sure.

And like a rock that rises with pride

In the middle of the turbulent waves
When hurricane and fierce Notus roar
She disregards their fury and raves,
That weary of the horror great
So frightened calmly off they stave;
Such is one by wise education steered
He holds the Country’s reins unconquered.
His achievements on sapphires are engraved;

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 The Country pays him a thousand honors;
For in the noble breasts of her sons
Virtue transplanted luxuriant flow’rs;
And in the love of good e’er disposed
Will see the lords and governors
The noble people with loyal venture
Christian education always procure.

And like the golden sun of the morn

Whose rays resplendent shedding gold,
And like fair aurora of gold and red
She overspreads her colors bold;
Such true education proudly gives
The pleasure of virtue to young and old
And she enlightens out Motherland dear
As she offers endless glow and luster.

Answer the following questions

1. What is the poem all about?
2. What is Rizal’s personal view toward the poem’s topic?
3. What specific events in Rizal’s life might have influenced
him in writing the poem?
4. As a student, did this poem affect you? If not, why? If yes,
in what way?

Task 8:
Poem to the Past
Write a free verse poem to yourself at specific point in your past.
(Use your work notebook)

Task 9:
Search and read a sonnet and apply the techniques for reading poetry.

IV. References

Vasquez. H, & Lee. (2017). Creative Writing

DIWA Senior High School Series (2017). Creative Writing
Gasulas. L,. Mantaring Q,. Lusica.S, & Nacino.C,. (2017).Creative Writing

https://www.slideshare.net/mobile/Lebomosimango/introduction-to-32027335

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 https://www.bookbub.com/blog/types-of-poetry-forms

http://www.joserizal.ph/pm16.html#:~:text=Education%20Gives%20Luster%20to
%20Motherland&text=Do%20brighten%20the%20perfumed
%20flower’s,benefactress%2C%20exalts%20the%20human%20band.&text=Gives
%20the%20Country%20tranquility%20secure.

https://www.forensicscommunity.com/poetry/techniques-reading-poetry-aloud

LESSON 4: Reading and Writing Fiction

I. Module Learning Competencies

a. Understand what fiction is
b. Define the importance of a plot in writing fiction
c. Create own character profile
d. Write a short fictional narrative piece using point of view
e. Practice techniques for developing dialogue in fiction

II. Discussion of Topics

Warm Up!

Activity 4:
Here are five scenarios where you can think about what can you do if they happen to you.
Write a short description of what you might do in that scenario. It can be realistic
or as out of this world. (Use your work notebook)
 Your crush asks you on a date?
 You see someone’s bag being stolen in a restaurant?
 You hear a voice whispering strange things in your ear, but you do not see
anyone?
 You meet Big Bad Wolf?
 You find out the world is about to end and there is nothing you can do to stop it?
Activity 5:
Meet My Characters and Setting!
Think of your own characters and setting and describe them. (Use your work notebook)
Character Chart

Name of the Character Description (Personality and

Appearance)
1.
2.
3.
4.
5.
Setting 28 | P a g e
Fiction
Literature in the form of prose, especially short stories and novels, that describes imaginary
events and people.

Elements of Fiction
1. Plot – The sequence of events in a story. This usually includes the conflict of the story as well
as its resolution.
2. Characters—The individuals in a story. This include the protagonists or the main character,
and the antagonist, or the main villain of the story.
3. Point of view- The position in which the story is being told and the manner of its telling
4. Voice and dialogue- How speech is rendered in a story, either as the narrator talking to the
reader or characters talking to each other.
5. Setting- Where and when the story take place
6. Theme- What the story is trying to say about human condition

Plot

 Exposition- This is also known as the introduction. The setting, point of view, and the
main character’s situation at the beginning of the story are introduced here.
 Rising action- This is where the inciting incident occurs: the moment that starts the story
moving along, and the main character encounters more and more difficulties the along the
story he or she progresses.
 Climax- This is the pinnacle of the story, where all the events in the rising action arrive
at this point. This usually where the characters needs to make a choice that would have
long- lasting consequences.
 Falling action- Also known as the denouement or the untangling of knots in a story.

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 this is when the consequences of the choices made by the characters are finally dealt
with.
 Resolution- The ending of the story. This may be open-ended with an option to be
continued in the imagination of the reader or closed with every plot accounted for by the
end of the story.
Conflict can be classified as internal or external and subdivided into three types:
 Man vs. Himself/Hersel- An internal conflict, in which the characters struggle with
themselves regarding moral or ethical choices.
 Man vs. Man- An external conflict, in which two or more characters are up against each
other because of different motivations.
 Man vs. Nature – An external conflict, in which the characters are up against the forces
of nature or circumstances in which they have no control.

Characters

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 Presence Position Characterization Movement
Refers to how Refers to wether The manner of How far the plot of
often we see the the reader is for creating or your character
characters in the or against the portraying a moves along
story motivation of the character in a story
character
Major Protagonist Round Dynamic
are usually point Major character Characters are Characters usually
of view characters whose motivation portrayed using all exist through out
and are central to the audience three aspects of a the entire plot. A
the plot of the believes and character, change usually
story emphatizes with appearance, occurs in their
attributes and characterization
aspirations
Minor Antagonist Flat Static
Characters only Major character Characters are Usually exist only
appear in specific whose motivation portrayed using during a certain
role and are not the audience does only one or two section or plot
central to the plot not believe or aspects of a
of the story emphatize with character. They
exist to support
round characters

Point of View
 First person- Uses the pronouns “I, me, my” and variations thereof.
 Second person- Uses the pronouns “You, yours, ours”
 Third person- Uses the pronouns “he, she, it, they and variations thereof.

Voice and Dialogue

Four ways of writing dialogue:

Directed dialogue. It is the simplest kind of interlocution that can be used in literary writing.
The interaction happens directly between two people: character A and character B.

Misdirected dialogue. It looks more like natural communication between two people because the
participants don’t answer direct questions, the tone and manner of communication may vary, the
third person may interrupt their talk, etc.

Modulated conversation. This type of dialogue is a good basis for other important details, which
can increase the tension of narration or reveal some of its key aspects. Such a type of

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conversation between two characters may gradually slow into retrospection, as a way to develop
the plot, or observation, etc.

Interpolated conversation. This type of interlocution is used as an insertion. It means that the
dialogue itself can be interrupted with narrations to explain and interpret some information,
which is not given in the interaction directly because of some reasons

Setting the Scene

 Place and Space - refers to physical world inhabited by a character

 Time- historical period, kind of society and the story taking place
 Mood/ Atmosphere- combination of time and space

Thematic Elements

“Thematic elements”, or “thematic material”, is a term used by the Motion Picture Association of
America and other film ratings boards to highlight elements of a film that do not fit into the
traditional categories such as violence, sex, drug use, nudity, and language, but may also involve
some degree of objectionable content. This rating reason raises a warning to parents and
guardians to learn more about a film before they allow their children to view it.

The tools an author uses to tell a story and get his or her message across are called Thematic
Elements. Used alone or in conjunction with others, these literary terms refer to the devices which
help the author to keep the story entertaining while adding depth and meaning to the work. The
following are a list of common thematic elements used in literature.

ALLEGORY: An extended symbol that often encompasses major scenes or even the entire story,
an allegory allows the writer to reiterate prevailing theme, such as suffering, struggle and the like,
such as a tale of a journey symbolizing the main character’s entire life. For example, “A Worn
Path” by Eudora Welty is an allegory for Phoenix Jackson’s life, as well as for the experience of
African Americans in the United States (see SYMBOLISM presentation).

ANTAGONIST: Also called a “foil,” this is the character at odds with the protagonist of a story
(often labeled as the “bad guy,” but not necessarily) (see CHARACTER).

ARGUMENT: Any essay in which an opinion or stance on an issue is taken. Argument does not
refer to disagreement per se; it is the development of a logical presentation of an issue, whether
one presents both sides or just the side he or she favors.

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CHARACTER: A player in the story. It is an actor in the play. [POWERPOINT]

CONFLICT: The discord, antagonism or contention between the protagonist and his or her
fellow characters (man vs. Man), surroundings or society (man vs nature or society), or within
him or her self (man vs. Self).

CRITICAL ANALYSIS: This is a paper that requires discussion of a work from various critical
points of view, usually narrowly defined (see CRITICAL APPROACHES presentation). The
purpose is to look beyond the thematic analysis…this requires a response from the reader (see
THEMATIC APPROACHES, LITERARY ANALYSIS).

DIALOGUE: Dialogue is the words spoken by characters, usually indicated by quotation marks.
Often dialogue reveals factors in the story that were not evident in the narration (see
NARRATION), sometimes showing the truth that other factors such as narration may be hiding.

ENDING: The cease of action in a plot.

FICTION: A narrative that is not based on actual occurrences

HUBRIS: Overreaching pride in a character, usually a fatal flaw for a tragic hero in classical
plays and fiction. Hubris is often characterized in dismissal of power of society, seers of the
future, or the gods. This inevitably results in loss of power, physical strength or life.

IRONY: The discrepancy between appearance and reality, between what is and what should be,
between expectation and outcome.

LITERARY ANALYSIS: This type of critical essay is common in transfer classes and focuses
on fiction, where simple plot retelling or reviewing of story is not enough. Literary analysis
usually focuses on a thematic approach to explain the relevance of a work. It is not an evaluation
as to whether one liked or disliked a work.

METAPHOR: The description of one object by giving it the attributes of an other object that is
literally different (My love is a rose).

NARRATIVE/NARRATION: Narration (or Narrative) is the non-quoted part of the story. Who
tells the story is important, whether it is a character or not. The narrative may be all-knowing or
limited in its knowledge.

PLOT: What happens in a story. It is the series of events that make up the action. It is what the
characters do and what happens to them.

POINT OF VIEW: Who tells a story, and how a story is told.]

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First person: narrator includes him – or herself in the story. There is a reference to “I” by the
narrator, and is either an active participant or a direct observer. Usually is limited to only what he
or she knows, as he or she cannot read minds.
Third person: a person who tells the story who is not a player. Rarely makes reference to self.
Will often be privy to thoughts and intent of one or more of the characters.

PROTAGONIST: The primary or main character of a story, upon whom the author focuses most
attention. Might clearly be designated the hero or “good guy” of the story, but is not necessarily a
likable or heroic character.

SETTING: Where and when a story takes place.

SIMILE: Comparison of two unlike items using “like” or “as” (Her voice was like liquid
sunshine).

SYMBOLISM: The use of a concrete object, character or action to represent a concept or idea.

SARCASM: Spoken irony designed to make the listener feel or look bad. See IRONY
THEME: The underlying idea that runs throughout a work, often supported through symbols,
irony and/or other thematic

III. Assessment of Learning

Task 10:
Search and study about fiction stories

Task 11: Write your own fiction story by applying all the techniques

Task 12:
Check your teams for the schedule of submission of your draft

IV. References

Vasquez. H, & Lee. (2017). Creative Writing

DIWA Senior High School Series (2017). Creative Writing
Gasulas. L,. Mantaring Q,. Lusica.S, & Nacino.C,. (2017).Creative Writing

https://www.javascriptbank.com/definition-of-a-dialogue--its-types--ways-of-
writing.html

https://en.m.wikipedia.org/wiki/Thematic_elements

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http://englit.org/eiland_shared/literary/fiction.htm

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