creative writing quarter 2 module 4 pdf

Creative Writing: Quarter 2 - Module 4 The Different Orientations of Creative Writing

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NOT FOR SALE SENIOR HIGH SCHOOL

Creative Writing Quarter 2 – Module 4 The Different Orientations of Creative Writing

Department of Education ● Republic of the Philippines Creative WritingAlternative Delivery ModeQuarter 2 – Module 4: The Different Orientations of Creative WritingFirst Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any workof the Government of the Philippines. However, prior approval of the government agency oroffice 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 ofroyalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,trademarks, etc.) included in this book are owned by their respective copyright holders.Every effort has been exerted to locate and seek permission to use these materials fromtheir respective copyright owners. The publisher and authors do not represent nor claimownership over them.

Published by the Department of Education – Region X – Northern Mindanao.

Development Team of the Module

Writers and Quality Assurance Team: Rheza Mae M. Pacut Dionnita D. Paderanga Jeremy C. Subaldo

Development Team: Chairperson: Dr. Arturo B. Bayocot, CESO III Regional Director

Co-Chairpersons: Dr. Victor G. De Gracia Jr. CESO V Assistant Regional Director Jonathan S. dela Peña, PhD, CESO V Schools Division Superintendent Rowena H. Para-on, PhD Assistant Schools Division Superintendent Mala Epra B. Magnaong, Chief ES, CLMD

Members: Neil A. Improgo, PhD, EPS-LRMS; Bienvenido U. Tagolimot, Jr., PhD, EPS-ADM; Erlinda G. Dael, PhD, CID Chief; Maria Teresa M. Absin, EPS (English); Celieto B. Magsayo, LRMS Manager; Loucile L. Paclar, Librarian II; Kim Eric G. Lubguban, PDO II

Printed in the Philippines byDepartment of Education - Alternative Delivery Mode (DepEd-ADM)Office Address: Masterson Avenue, Upper Balulang, Zone 1, Cagayan de Oro City, Cagayan de Oro, Lalawigan ng Misamis OrientalTelefax: ________________________________________________E-mail Address: ________________________________________________

i SENIOR HIGH SCHOOL

This instructional material was collaboratively developed andreviewed by educators from public and private schools, colleges, and/oruniversities. We encourage teachers and other education stakeholders toemail their feedback, comments, and recommendations to the Department ofEducation at [email protected] .

We value your feedback and recommendations.

ii Department of Education ● Republic of the Philippines

iii TABLE OF CONTENTS

OVERVIEW What I Need To Know 1 Things to Remember To Get Through 1 Remember This 2

Lesson 1- Write a Craft Essay What I Need To Know 3 What I Know 3 What's New 5 What Is It 5 What's More 10 Assessment 11

Lesson 2 – Creating Online Portfolio What I Need To Know 12 What's In 12 What I Know 12 What's New 14 What Is It 14 What's More 15 Assessment 16 What I Can Do 16 Additional Activities 17

References 18

iv WHAT I NEED TO KNOW

This learning module contains the last part of creative writing. It tackles aboutthe different orientations of creative writing where learners can produce a craft essayon the personal creative process deploying a consciously selected orientation ofcreative writing. This may also further their talent to develop their practical andcreative skills in reading and writing. In this module, the learners create and design an online portfolio or groupblog on the outputs produced in poetry, fiction, scripts in a play or drama, applyingICT skills or any appropriate multimedia forms. After studying this module, the learners will be able to: 1. write a craft essay demonstrating awareness of and sensitivity to the different literary and/or sociopolitical contexts of creative writing; 2. create an online portfolio or group blog on the outputs produced in poetry, fiction, and script writing; and 3. have an understanding of the different orientations of creative writing

THINGS TO REMEMBER TO GET THROUGH GET THROUGH

To learn and benefit from this module, follow the following steps:

1. Read the module title and the module introduction to get an idea of what the module covers. Specifically, read all the sections of this module carefully. The first section tells you what this module is all about while the second section tells you of what you are expected to learn.

2. Never move on to the next page unless you have done what you are expected to do in the previous page. Before you start each lesson, read first the INSTRUCTIONS.

3. Work on the activities. Take note of the skills that each activity is helping you to develop.

4. Take the Post-Test after you are done with all the lessons and activities in the module.

1 5. Communicate with your teacher. Ask him/her about any difficulty or confusion you have encountered in this module.

6. Finally, prepare and gather all your outputs and submit them to your teacher.

7. Please write all your answers of the tests, activities, exercises, and others on your separate activity notebook.

REMEMBER THIS

The most basic skill that a good student in creative writing has is a clearunderstanding of what creative writing is all about and a thorough understanding ofthe fundamental techniques of writing short paragraphs, poetry, fiction, and drama.

GOOD LUCK AS YOU BEGIN THIS MODULE!

2 LESSON 1 WRITE A CRAFT ESSAY

Competency: Write a craft essay demonstrating awareness of and sensitivity to the different literary and/or socio-political contexts of creative writing. HUMSS_CW/MPIIc-f-23 (2 hours)

WHAT I NEED TO KNOW

At the end of this lesson, the learners are expected to: 1. define the word “essay”; and 2. describe the structure of an essay; and 3. write a craft essay creatively.

WHAT I KNOW

Instructions: Recall what you learned in the past lessons. Read and answer thefollowing statements. Write the letter of your answer in your activity notebook.

1. The setting of the short story “Footnote to Youth” is _________. a. City b. Village c. Farm d. School

2. Who is the author of the short story “Footnote to Youth”? a. Jose Rizal b. Jose Garcia Villa c. Jose Villanueva d. Juan Luna

3. It is defined as a note at the foot of the page, often used to give additionalinformation to the reader regarding certain words or phrases in the text. a. Page b. Footnote c. Bibliography d. Footer

4.Essay is a piece of writing, usually from an author’s personal point of view. a. True b. False

5. It is a thing that suggests more than its literal meaning. It uses objects to signifyanother level of meaning. a. Insight b. Moral c. Symbol d. Point-of-View

3 6. A structure of an essay where it should have a good opening paragraph. a. the Body b. the Introduction c. Conclusion d. None of the choices

7. Speeches, journalism, blogging, and free writing are examples of what type ofwriting? a. Technical writing b. Script writing c. Imaginative writing d. None of the choices

8. It is the main idea that the writer is trying to put across to the reader and it is theimportant aspect that unifies a story. a. Plot b. Setting c. Tone d. Theme

9. It is the reference to or application of a literary, media, or social “text” withinanother literary, media, or social “text”. a. Essay b. Intertextuality c. Novel c. Dialogue

10. An interruption of a work’s chronology to describe or present an incident thatoccurred prior to the main time frame of a work’s action. a. foreshadowing b. recall c. flashback d. None of the choices

11. It is used to describe differences between groups of people relating to theirpolitical beliefs, social class, etc. a. social status b. sociopolitical c. social d. political

12. A feeling of uncertainty as to the outcome of the story, and it is used to buildinterest and excitement on the part of the audience. a. conflict b. exposition c. suspense d. None of the choices

13. The structure of an essay which presents a strong argument or evidence to bemore convincing to the readers. a. the introduction b. the Body c. the conclusion d. All of the above

14. Essay writing requires knowledge in creative writing. a. True b. False

15. It is a literary device in which a writer gives an advance hint of what is to comelater in the story a. Flashback b. Foreshadowing c. Plot d. theme

4 WHAT’S NEW

Think of a current issue or a socio-political situation that is very relevant in oursociety today. Identify the most important aspect of that issue. This will be your focusas we go along with our lesson.

V WHAT IS IT

What is Essay? The word essay is defined as a piece of writing, usually from the author’spersonal point of view, on a particular subject or issue. Essays are non-fictional butoften subjective and can also include narrative.

Writing an essay means fashioning a coherent set of ideas into an argument.Because essays are essentially linear—they offer one idea at a time—they mustpresent their ideas in the order that makes most sense to a reader. Successfullystructuring an essay means attending to a reader's logic.

The focus of such an essay predicts its structure. It dictates the informationreaders need to know and the order in which they need to receive it. Thus, youressay's structure is necessarily unique to the main claim you are making.

Craft essay is done through freewriting, expressing ones ideas andinterpretations of a situation.

Here is an example of a craft essay: (you may also check on this link for moresamples of craft essay, https://appalachianreview.net/tag/craft-essay/)

Bearing Witness20 September 2019 ♦Robert Erle Barham ♦ Summer 2019 

When I was a boy, the bayou Bonne Idee flooded. I remember because my father and Iwalked on water. We had driven to the edge of our farm and discovered that the flood hadenveloped our fishing dock, and when my father crossed the wooden deck just below thebayou’s surface, I followed beside him. We moved slowly, fearing the boards might havefallen away, but with every step, the pier met our feet and buoyed us across the silty opacity.Looking back toward the bank, we stood atop the bayou with the cold spring water swirlingaround us. The incongruity was thrilling.

5 One square mile. When I think of my hometown, it seems much larger than its physical size.As with this memory of the Bonne Idee (the “good thought” that its name recalls), all of it isfamiliar, and I can map the landmarks and contours of the land—south from our farm intotown, down Oak Street, over the rise of the railroad tracks, past the churches, NewtownService Station, the Baptist cemetery and out of town across miles of farmland.

Now I live hundreds of miles away from where I grew up. My parents no longer live there,and the place is transformed in just one generation. Yet my memory is populated with itspeople and places. Like the mnemonic landscapes from classical antiquity, all of it isimmediately accessible and very real in recollection.

It’s odd how something that no longer remains—at least not as it was—can have such realityin memory. I think of my great-grandparents’ home that no longer exists, but that I rememberin totality: its dimensions, textures, rooms, and furnishings, the view from each window. Itwas full of sensory associations like the thick smell of bacon and biscuits that filled the housein the early mornings; the sting of showers on sunburned skin in their brightly coloredbathroom; the taste of watermelon with salt, the way my German-American great-grandfather prepared it, which I ate standing barefoot on their patio in the evening, theconcrete still warm from the summer sun. If I close my eyes, I can pace the floors, see thepictures on the walls, feel the carpet under my feet.

Another illustration: when I took a teaching job after graduate school, I boxed the mostvaluable books I owned—including a signed collection of poems from a friend lost to cancer,a worn Augustine biography from a favorite teacher’s student days, a book on classicalrhetoric that had wonderful marginalia in a beautiful and obscure hand—all of themcherished for one reason or another. After I mailed the package, it broke open in transit, andI arrived at my new apartment to find an empty box on my doorstep. With a feeling ofdisbelief and nausea, I knelt and ran my hand along the broken cardboard, realizing thebooks were gone.

I can still remember all the covers, the look and feel of each one, and the bookcase in mytiny grad-school library carrel where they sat until being boxed for oblivion. Sometimeswithout thinking, I will search for one of those books and then recognize, painfully, itsabsence.

The Roman rhetorician Quintilian says that the classical memory method—mentally puttingitems in familiar spaces and recalling them in sequence—comes from the power of place toprompt recollection. In a kind of reversal of Quintilian’s point, when I recall childhoodmemories, they take me to a particular place. My hometown was the setting for all myearliest experiences, the ones that Vladimir Nabokov says are sweet and strange to ponder,and like a geologic map, it was layered with memories; the terrain I knew by heart.

Some of my first recollections are from my grandparents’ house, and when I think of it, Irecall the room at the back of the house where my siblings, cousins, and I played as kids.The room had a pool table in the center, and it was lined with glass gun cases filled withrifles, shotguns, and one small pistol. My grandfather was a gunsmith, and often there wereparts strewn about, and always the smell of gun oil and cigar smoke in the air. When I wasfourteen, my grandfather gave me a shotgun, complete with a case, two silver snap caps fordry-firing, and a cleaning rod and oil. Opening the case now with its redolent contentsproduces a burst of associations—the transgressive thrill of handling my grandfather’s pistolwhen no one was around; smoking one of his cigars in the woods behind our house;crushing it out in a delirium of tobacco and guilt, with my mouth tasting like the gun room.

6 My hometown featured remarkable people, all living in proximity and accommodating oneanother’s eccentricities. When I teach Southern literature at the college where I now work,the students see the stories as strictly fictional creations—as if such people and places couldnot exist. Demographic trends suggest that rural life is much less common, which perhapsexplains their disbelief. Our college sits at the edge of a city with a metro population of half amillion, and my neighborhood alone is bigger than the town where I grew up. But as I tell thestudents, the communities that William Faulkner, Flannery O’Connor, and Eudora Weltydepict are deeply recognizable based on my experience. When we read Faulkner’s “A Rosefor Emily,” I usually start by telling them about Miss Sadie who drove around our town withonly limited eyesight. When people saw her coming, they would simply pull to the side of theroad. The comparison to Faulkner’s heroine may seem incongruous—Emily Grierson is amurderer and a necrophiliac after all—but the narrator’s sympathy is familiar.

Flannery O’Connor said that the South is not so much Christ-centered as Christ-haunted.Home’s version of this haunting certainly “cast strange shadows,” to use her phrase. Waitingto sing “Happy Birthday” at a friend’s party, all of us sweaty from skating to Starship’s“Nothing’s Gonna Stop Us Now” at the Rayville skate rink, my friends and I received animpromptu homily from one of the staff before she lit the candles: “Twelve years old—you’reat the age of accountability now: your sins are on your own head.”

In a kind of reversal of this moment when our fun was punctured by grim doctrine, my firstkiss happened at a local revival. Since the preaching went on for hours, we were mercifullyfree to play outside for portions of each service. Flushed from playing chase, Esther and Istood at either end of the music room of the church annex. I remember her Buster Brownhaircut, matted against her forehead, and the muted sounds of the revival as we stoodamidst instruments and music stands. Wordlessly, we crossed the room, kissed, and left byseparate exits.

Describing memories of her Mississippi childhood in One Writer’s Beginnings, Eudora Weltyportrayed the subjective experience of time as a “continuous thread of revelation.” In myexperience, this thread includes tragic moments as well. Our region was beset with suicides,and each self-destruction followed a terrible precedent, each one commemorated bycommunal grief and reckoning with the strange, sudden absence of a friend or familymember. No one was unaffected. Recently my parents gave me some old family movies,including footage from community events—church suppers, Christmas programs, birthdayparties—and I was struck by the people on film who are now gone, and all the familiesshaped by this horrible form of loss.When I was in graduate school, my grandfather called, and he was unusually talkative. Wespoke for nearly half an hour, and I imagined him sitting at the wooden table in their kitchenwhere my cousins, siblings, and I always sat for family meals. At the end of the conversation,we talked about the weather—sublimating only God knew what. Reflecting on ourconversation, I heard the alcohol beneath his garrulity, but not the pain. Only days later, hetook his own life.

His death remains an emphatic aspect of his life, irrepressible for those who knew him, but itobscures so much about the man—above all that he loved and was loved. When I rememberhim, I think of his diffidence, and the time he saw me and then crossed a crowded visitationroom, full of mourners for my father’s mother, just to tell me how sorry he was. It was theonly time I remember his wearing a suit.

What is the purpose of reminiscences like these, evoked as they are by place and shapedaccording to the prompts of association? Just a cursory tour of memoirs suggests that our

7 lives are so full, replete with meaning that we can’t see in the moment, and it takesretrospection to sort things out, a testament to the fullness of the present. It is bracing torecognize in the exfoliation of memories something like the truth of the thing.

But what about memoir’s risks? Reading works in this genre, one can get the impression thatan eloquent rendering of the past may obscure the very object of its attention. Despite thepower of prose to clarify, the artistry can seem vain, as if the narrative shaping, anecdotesfreighted with import, and figurative portrayals are divorced from their point of origin. Worseeven than obscuring the past is falsifying it—and doing so unwittingly. David Foster Wallacedistrusted what he called “abreactive memoirs,” works with the “unconscious andunacknowledged” agenda of glorifying their authors. Since memories are malleable and canchange in the handling, Wallace illuminates the subtle danger of narcissistic recollection.

Despite the difficulties of formal reminiscence—despite even the benefits of retrospectiveclarity—my own purpose is less about understanding. It’s something closer to bearingwitness. Home is so full of life in my memories, but I look up to find that it doesn’t quite existanymore, at least as I knew it, even as it continues to shape my understanding of thepresent. All of us are carrying a world of memories—like standing atop a bayou called BonneIdee, the taste of salty fruit and a gunroom, a first kiss during a summer revival, a belovedgrandfather sequestered by pain. My impulse to write comes from a desire to give account ofthe past, as if to hold it up to God and say, “I saw these things.”

Toward the end of the Confessions, Augustine muses on memory, a capacity that herepresents as physical locations, and he marvels at its mysterious immensity: “I run throughall these things, I fly here and there, and penetrate their working as far as I can. But I neverreach the end. So great is the power of memory, so great is the force of life in a humanbeing whose life is mortal.” His last clause is striking, a declaration of human vitalitynevertheless bounded by mortality.Today, prompted by the present—the joy I find in my son’s toddling gait, his delight inlooking at himself in the glass of our barrister bookcase, the smile of recognition when hesees me over his shoulder—I think of all the evanescent moments of his childhood. I recallthe delirium of his first summer when I rocked him outside as we both stared up through thelimbs of the giant oak tree in our yard and he slept in my arms for what seemed like hourseach day; or that second summer when he first learned hello and goodbye so that we werealways greeting and parting in different rooms of our house.

In the end, memoir is a hymn for all that I saw that is—or will be—no more. So I write toremember. ■

Parts of an Essay

Introduction The introduction guides your reader into the paper by introducing the topic. Itshould begin with a hook that catches the reader’s interest. This hook could be aquote, an analogy, a question, etc. After getting the reader’s attention, theintroduction should give some background information on the topic. The ideas withinthe introduction should be general enough for the reader to understand the mainclaim and gradually become more specific to lead into the thesis statement.

8 Thesis Statement The thesis statement concisely and clearly states the main idea or argumentof the essay, sets limits on the topic, and can indicate the organization of the essay.The thesis works as a road map for the entire essay, showing the readers what youhave to say and which main points you will use to support your ideas.

Body The body of the essay supports the main points presented in the thesis andshould be orderly. Each point is developed by one or more paragraphs andsupported with specific details. These details can include support from research andexperiences. In addition to this support, the author’s own analysis and discussion ofthe topic ties ideas together and draws conclusions that support the thesis. The bodymust present strong arguments or evidences to be more convincing.Transitions Transitions connect paragraphs to each other and to the thesis. They areused within and between paragraphs to help the paper flow from one topic to thenext. These transitions can be one or two words (“first,” “next,” “in addition,” etc.) orone or two sentences that bring the reader to the next main point. The topic sentenceof a paragraph often serves as a transition.

Conclusion The conclusion brings together all the main points of the essay. It refers backto the thesis statement and leaves readers with a final thought and sense of closureby resolving any ideas brought up in the essay. It may also address the implicationsof the argument clearly. In the conclusion, new topics or ideas that were notdeveloped in the paper should not be introduced. Again, conclusion should restatethe thesis statement and must have a closure.

Introduction

Thesis Statement

9 WHAT’S MORE

Pre-Activity: In your notebook, answer the following questions in your ownwords.

1.) Explain in three to five sentences the three (3) important parts or structure of an essay.

Note to the teacher: Have your own assessment on the above What’s More activity. Also, you may decide on the scoring of this activity. Thank you.

ACTIVITY 1 Divide the class into five (5) groups. Each group is given one marker andmanila paper. The name of the activity is carousel writing. Each group will write onesentence every time the manila paper will come to their table. The teacher will giveinstruction when to start writing the introduction, the body and the conclusion until awhole composition will be developed. The class will be writing about their feelings orexperiences on the first day of being in Grade 11.

Each group will express their ideas freely but must also observe continuity.

Note to the teacher: 1. You may give further instruction/s through a video so the learners will thoroughly understand what is being asked. 2. Give your own rubric as a guide to your students.

10 ASSESSMENT

Instruction: Write a short 150-word craft essay about a current issue or a socio-political situation that is very relevant in our society today. Refer to the idea or issueyou have in mind in the What’s New section of this module. Write your craft essaywith a title on a short bond paper in Arial size 12 font. In your creative work,demonstrate or apply awareness of and sensitivity to the different literary and /orsocio-political contexts of creative writing.

RUBRIC FOR WRITING COMPOSITION Performance Very Good Good Needs Areas 10-8 7-5 Improvement 4-1 Content Article has specific Central idea is vague; Unable to find central idea that is clearly non-supportive to the specific supporting stated in the opening topic; lacks focus details paragraph, appropriate, concrete details. Organization Article is logically Writing somewhat Central point and organized and well- digresses from the flow of article is lost; structured central idea lacks organization and continuity Research Cited research Some research of the Did little or no information, introduced topic was done but gathering of personal ideas to was inconclusive to information on the enhance article support topic; cited topic, did not cite cohesiveness information was vague information Style Writing is smooth, Sentences are varied Lacks creativity and coherent and consistent and inconsistent with focus. Unrelated central idea word choice to central idea Mechanics Written work has no Written work is Written article has errors in word selection relatively free of errors several errors in and use sentence in word selection and word selection and structure, spelling, use, sentence use. punctuation, and structure, spelling, capitalization punctuation and capitalization (some have errors)

Congratulations! You are now done with Lesson 1. Now, Let’s proceed to Lesson 2.

11 CREATING ONLINELESSON 2 PORTFOLIOCompetency: Create an online portfolio or group blog on the outputs produced inpoetry, fiction, script writing, applying ICT skills or any appropriate multimedia forms.

At the end of this lesson, you will be able to: 1. create an online portfolio (or group blog) on the outputs produced in poetry, creative fiction, and script; and 2. apply ICT skills or any appropriate multimedia forms in creating an online portfolio 3. produce a suite of poems, a full and completed short story or a script for a one-act play, with the option of staging.

4. 5. 6. WHAT’S IN

In Lesson 1, you learned about craft essay, its structure and how a subject oran issue influences the author’s point of view. Now in lesson 2, you will learn on howto create an online portfolio or a group blog where you can post your poems, yourcompleted short stories, including the written script of your play or drama.

Instruction: Read and answer each item carefully. Write the letter of youranswer in your notebook.1. It is a specific mode of fiction represented through a performance. a. poetry b. short story c. drama d. short paragraph

12 2. The narrator tells the story and is a character in the story. a. First person POV b. second person POV c. third person POV d. fourth person POV

3. It is an intensification of the conflict in a story or play. a. exposition b. rising action c. complication d. falling action

4. It is the action or sequence of events in a story. a. setting b. point of view c. plot d. theme

5. A kind of staging modality with only two sides of seats. This style of staging isalmost like a catwalk and commonly used for fashion shows. a. theater-in-rounds b. arena stage c. traverse stage d. thrust stage

6. The audience sits on all four sides of the acting area. a. arena stage b. promenade stage c. thrust stage d. end on stage

7. A type of drama in which the protagonist meets a calamitous end. a. tragedy b. comedy c. melodrama d. fantasy

8.It is a struggle between opposing forces in a story or play usually resolved by theend of the work. a. exposition b. rising action c. resolution d. conflict

9. The mode of expression or delivery of lines a. speaking style b. diction c. facial expression d. gesture

10. Any movement of the actor’s head, shoulders, arms, hand leg or foot that is doneto convey meaning. a. gesture b. facial expression c. diction d. speaking style

11. It is a genre of fiction that deals with the solution of a crime or the unravelling ofsecrets. It is anything that is kept secret or remains unexplained or unknown. a. mythology b. horror c. fantasy d. mystery

12. The “Tortoise and the Hare”, and “The Fox and the Crow” are examples of whattype of fiction? a. Science fiction b. Fables c. Historical fiction d. suspense

13. A literary work expressed in verse, measure, rhythm, sound and imaginativelanguage, and creates an emotional response to an expression, feeling or fact. a. prose b. poetry c. fiction d. Nonfiction

13 14. The Father of English drama. a. Edgar Allan Poe b. William Blake c. William Butler d. William Shakespeare

15. It is a term used to describe websites that maintain an ongoing chronicle ofinformation. a. search engine b. blog c. website d. URL

Let the students create an online portfolio where they can place all their owncreations in poetry, fiction, short stories, and script of a play or drama. This can bedone by creating a blog of their own or of their group.

What is a Blog?

A blog (a shortened version of “weblog”) is a regularly updated website or webpage, typically one run by an individual or small group, that is written in an informalor conversational style. It is a platform where a writer or a group of writers share theirviews on an individual subject. Similarly, it is a term used to describe websites thatmaintain an ongoing chronicle of information. A blog features diary-type commentaryand links to articles on other websites, usually presented as a list of entries inreverse chronological order. Blogs range from the personal to the political and canfocus on one narrow subject or a whole range of subjects.

Here are common features that a typical blog will include:

 Header with the menu or navigation bar.  Main content area with highlighted or latest blog posts.  Sidebar with social profiles, favorite content, or call-to-action.  Footer with relevant links like a disclaimer, privacy policy, contact page, etc.

14 What is the purpose of a blog?

There are many reasons to start a blog for personal use and only a handful ofstrong ones for business blogging. Without blogging, your website would remaininvisible, whereas running a blog makes you searchable and competitive. So, themain purpose of a blog is to connect you to the relevant audience. Another one is toboost your circulation and send quality leads to your website.

The more frequent and better your blog posts are, the higher the chances foryour website to get discovered and visited by your target audience. This means thata blog is an effective lead generation tool.

What is a website?

A site or website is a central location of web pages that are related andaccessed by visiting the home page of the website using a browser. For example,the Computer Hope website address URL (Uniform Resource Locator)is https://www.computerhope.com. From this home page, you could get access toany of the web pages contained on its website.

What differentiates blogs from websites?

Blogs need frequent updates. Good examples of this include a foodblog sharing meal recipes or a company writing about their industry news. Blogs alsopromote reader engagement. Readers have a chance to comment and voice theirdifferent concerns and thoughts to the community. On the other hand, websitesconsist of the content presented on static pages. Static website owners rarely updatetheir pages. Blog owners update their site with new blog posts on a regular basis.

WHAT’S MORE

Let the students do the sign-up process and let them make their own blogusing internet.

15 ASSESSMENT

Instruction: Read the statements below carefully. Choose from the choices insidethe box the correct answer to what is being asked in each item. Write your answer inyour notebook.

Website Webmail Search engine Blog Forum Chat

1. A website that is often created by an individual to keep a list of entries that interests them.

2. an area where users share thoughts, ideas, or help by posting text messages .

3. A cloud-based service provided by certain companies, and these services allow users to access their e-mail over the Internet without the need of software installation, unlike Microsoft Outlook or Thunderbird..

4. A software accessed on the Internet that searches a database of information according to the user's query.

5. It is a page or collection of pages on the World Wide Web that contains specific information which was all provided by one person or entity and traces back to a common Uniform Resource Locator (URL).

WHAT I CAN DO

Create an online portfolio or a blog where you can place all your outputs inpoetry, fiction, short stories, written script of your play or drama, and even the videoon the play or drama presentation of your group, applying ICT skills or anymultimedia forms.

16 ADDITIONAL ACTIVITIES

Look closely on the image below. Make a script based on the imagedemonstrating awareness and sensitivity to the different literary and/or socio-politicalcontexts of creative writing. The group will perform the drama on stage using yourwritten script.

https://www.freepik.com/free-photos-vectors/line”>Line vector by pch.vector – www.freepik.com</a>

You are now done with the 2 lessons for Module 4. Congratulations in completing the 4 modules in Creative Writing! Keep going!

17 REFERENCES

Internet Sources:Retrieved from URL

https://appalachianreview.net/2019/09/20/bearing-witness/https://appalachianreview.net/tag/craft-essay/https://firstsiteguide.com/what-is-blog/https://wordpress.org/support/article/introduction-to-blogging/https://writingcenter.fas.harvard.edu/pages/essay-structurehttps://www.computerhope.com/jargon/f/forum.htmhttps://www.computerhope.com/jargon/i/isp.htmhttps://www.computerhope.com/jargon/s/searengi.htmhttps://www.computerhope.com/jargon/w/webmail.htmhttps://www.computerhope.com/jargon/w/website.htmhttp://www.contentcustoms.com/blog-writing-serviceshttps://www.fastweb.com/student-life/articles/essay-tips-7-tips-on-writing-an-effective-essayhttps://www.uvu.edu/writingcenter/docs/handouts/writing_process/basicessayformat.pdfhttps://www.yourdictionary.com/websitehttps://www.youtube.com/watch?v=7gf71u-b-xo&list=PLJ3XONqz6onJ1TcEl3EueexImSrZ2Rlw0https://www.youtube.com/watch?v=dFa8BNlD0gI&list=PLJ3XONqz6onJ1TcEl3EueexImSrZ2Rlw0&index=4https://www.youtube.com/watch?v=f4Rl40Hj51U&list=PLJ3XONqz6onJ1TcEl3EueexImSrZ2Rlw0&index=5https://www.youtube.com/watch?v=SIX2ji6U8Ys&list=PLJ3XONqz6onJ1TcEl3EueexImSrZ2Rlw0&index=6https://www.youtube.com/watch?v=y1ftl-ClRbM&list=PLJ3XONqz6onJ1TcEl3EueexImSrZ2Rlw0&index=2

18 ANSWER KEY

LESSON 1WHAT I KNOW 1. C 6. B 11. B 2. B 7. C 12. C 3. B 8. D 13. B 4. A 9. B 14. A 5. C 10. C 15. B

LESSON 2WHAT I KNOW 1. C 6. A 11. D 2. A 7. A 12. B 3. C 8. D 13. B 4. C 9. A 14. D 5. C 10. A 15. B

1. BLOG 2. FORUM 3. WEBMAIL 4. SEARCH ENGINE 5. WEBSITE

19 For inquiries or feedback, please write or call:Department of Education – Alternative Delivery Mode (DepEd-ADM)

Office Address: Masterson Avenue, Upper Balulang, Zone 1, Cagayan de Oro City, Cagayan de Oro, Lalawigan ng Misamis OrientalTelefax:Email Address: 20

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SENIOR HIGH SCHOOL

Government Property NOT FOR SALE

Creative Writing

Quarter 2 – module 4, the different orientations, of creative writing.

Department of Education ● Republic of the Philippines

Development Team of the Module

Writers and Quality Assurance Team:Rheza Mae M. Pacut Dionnita D. Paderanga Jeremy C. Subaldo

Development Team: Chairperson:Dr. Arturo B. Bayocot, CESO III Regional Director

Co-Chairpersons: Dr. Victor G. De Gracia Jr. CESO V Assistant Regional Director Jonathan S. dela Peña, PhD, CESO V Schools Division Superintendent Rowena H. Para-on, PhD Assistant Schools Division Superintendent Mala Epra B. Magnaong, Chief ES, CLMD

ido U. Tagolimot, Jr., PhD, EPS-ADM; Erlinda G. Dael, PhD, CID Chief; Maria Teresa M. Absin, EPS (English); Celieto B. Magsayo, LRMS Manager; Loucile

Creative Writing Alternative Delivery Mode Quarter 2 – Module 4: The Different Orientations of Creative Writing 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., songs, stories, poems, pictures, photos, brand names, trademarks, etc.) included in this book 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.

Published by the Department of Education – Region X – Northern Mindanao.

Printed in the Philippines by Department of Education - Alternative Delivery Mode (DepEd-ADM) Office Address: Masterson Avenue, Upper Balulang, Zone 1, Cagayan de Oro City, Cagayan de Oro, Lalawigan ng Misamis Oriental Telefax: E-mail Address:

TABLE OF CONTENTS

• What I Need To Know OVERVIEW
• Things to Remember To Get Through

Remember This

• What I Need To Know Lesson 1- Write a Craft Essay

What I Know

What's more.

• What I Need To Know Lesson 2 – Creating Online Portfolio

What I Can Do

• Additional Activities

Communicate with your teacher. Ask him/her about any difficulty or confusion you have encountered in this module.

Finally, prepare and gather all your outputs and submit them to your teacher.

Please write all your answers of the tests, activities, exercises, and others on your separate activity notebook.

The most basic skill that a good student in creative writing has is a clear

understanding of what creative writing is all about and a thorough understanding of

the fundamental techniques of writing short paragraphs, poetry, fiction, and drama.

GOOD LUCK AS YOU BEGIN THIS MODULE!

LESSON 1WRITE A CRAFT ESSAY

Competency: Write a craft essay demonstrating awareness of and sensitivity to the different literary and/or socio-political contexts of creative writing. HUMSS_CW/MPIIc-f-23 (2 hours)

At the end of this lesson, the learners are expected to:

define the word “essay”; and

describe the structure of an essay; and

write a craft essay creatively.

Instructions: Recall what you learned in the past lessons. Read and answer the following statements. Write the letter of your answer in your activity notebook.

The setting of the short story “Footnote to Youth” is. a. City b. Village c. Farm d. School

Who is the author of the short story “Footnote to Youth”? a. Jose Rizal b. Jose Garcia Villa c. Jose Villanueva d. Juan Luna

It is defined as a note at the foot of the page, often used to give additional information to the reader regarding certain words or phrases in the text. a. Page b. Footnote c. Bibliography d. Footer

4 is a piece of writing, usually from an author’s personal point of view. a. True b. False

• It is a thing that suggests more than its literal meaning. It uses objects to signify another level of meaning. a. Insight b. Moral c. Symbol d. Point-of-View

Think of a current issue or a socio-political situation that is very relevant in our society today. Identify the most important aspect of that issue. This will be your focus as we go along with our lesson.

What is Essay?

The word essay is defined as a piece of writing, usually from the author’s personal point of view, on a particular subject or issue. Essays are non-fictional but often subjective and can also include narrative.

Writing an essay means fashioning a coherent set of ideas into an argument. Because essays are essentially linear—they offer one idea at a time—they must present their ideas in the order that makes most sense to a reader. Successfully structuring an essay means attending to a reader's logic.

The focus of such an essay predicts its structure. It dictates the information readers need to know and the order in which they need to receive it. Thus, your essay's structure is necessarily unique to the main claim you are making.

Craft essay is done through freewriting, expressing ones ideas and interpretations of a situation.

Here is an example of a craft essay: (you may also check on this link for more samples of craft essay, appalachianreview/tag/craft-essay/)

Bearing Witness 20 September 2019 ♦Robe rt E r l e Ba r ha m ♦ Su mm e r 201 9

When I was a boy, the bayou Bonne Idee flooded. I remember because my father and I walked on water. We had driven to the edge of our farm and discovered that the flood had enveloped our fishing dock, and when my father crossed the wooden deck just below the bayou’s surface, I followed beside him. We moved slowly, fearing the boards might have fallen away, but with every step, the pier met our feet and buoyed us across the silty opacity. Looking back toward the bank, we stood atop the bayou with the cold spring water swirling around us. The incongruity was thrilling.

One square mile. When I think of my hometown, it seems much larger than its physical size. As with this memory of the Bonne Idee (the “good thought” that its name recalls), all of it is familiar, and I can map the landmarks and contours of the land—south from our farm into town, down Oak Street, over the rise of the railroad tracks, past the churches, Newtown Service Station, the Baptist cemetery and out of town across miles of farmland.

Now I live hundreds of miles away from where I grew up. My parents no longer live there, and the place is transformed in just one generation. Yet my memory is populated with its people and places. Like the mnemonic landscapes from classical antiquity, all of it is immediately accessible and very real in recollection.

It’s odd how something that no longer remains—at least not as it was—can have such reality in memory. I think of my great-grandparents’ home that no longer exists, but that I remember in totality: its dimensions, textures, rooms, and furnishings, the view from each window. It was full of sensory associations like the thick smell of bacon and biscuits that filled the house in the early mornings; the sting of showers on sunburned skin in their brightly colored bathroom; the taste of watermelon with salt, the way my German-American great- grandfather prepared it, which I ate standing barefoot on their patio in the evening, the concrete still warm from the summer sun. If I close my eyes, I can pace the floors, see the pictures on the walls, feel the carpet under my feet.

Another illustration: when I took a teaching job after graduate school, I boxed the most valuable books I owned—including a signed collection of poems from a friend lost to cancer, a worn Augustine biography from a favorite teacher’s student days, a book on classical rhetoric that had wonderful marginalia in a beautiful and obscure hand—all of them cherished for one reason or another. After I mailed the package, it broke open in transit, and I arrived at my new apartment to find an empty box on my doorstep. With a feeling of disbelief and nausea, I knelt and ran my hand along the broken cardboard, realizing the books were gone.

I can still remember all the covers, the look and feel of each one, and the bookcase in my tiny grad-school library carrel where they sat until being boxed for oblivion. Sometimes without thinking, I will search for one of those books and then recognize, painfully, its absence.

The Roman rhetorician Quintilian says that the classical memory method—mentally putting items in familiar spaces and recalling them in sequence—comes from the power of place to prompt recollection. In a kind of reversal of Quintilian’s point, when I recall childhood memories, they take me to a particular place. My hometown was the setting for all my earliest experiences, the ones that Vladimir Nabokov says are sweet and strange to ponder, and like a geologic map, it was layered with memories; the terrain I knew by heart.

Some of my first recollections are from my grandparents’ house, and when I think of it, I recall the room at the back of the house where my siblings, cousins, and I played as kids. The room had a pool table in the center, and it was lined with glass gun cases filled with rifles, shotguns, and one small pistol. My grandfather was a gunsmith, and often there were parts strewn about, and always the smell of gun oil and cigar smoke in the air. When I was fourteen, my grandfather gave me a shotgun, complete with a case, two silver snap caps for dry-firing, and a cleaning rod and oil. Opening the case now with its redolent contents produces a burst of associations—the transgressive thrill of handling my grandfather’s pistol when no one was around; smoking one of his cigars in the woods behind our house; crushing it out in a delirium of tobacco and guilt, with my mouth tasting like the gun room.

lives are so full, replete with meaning that we can’t see in the moment, and it takes retrospection to sort things out, a testament to the fullness of the present. It is bracing to recognize in the exfoliation of memories something like the truth of the thing.

But what about memoir’s risks? Reading works in this genre, one can get the impression that an eloquent rendering of the past may obscure the very object of its attention. Despite the power of prose to clarify, the artistry can seem vain, as if the narrative shaping, anecdotes freighted with import, and figurative portrayals are divorced from their point of origin. Worse even than obscuring the past is falsifying it—and doing so unwittingly. David Foster Wallace distrusted what he called “abreactive memoirs,” works with the “unconscious and unacknowledged” agenda of glorifying their authors. Since memories are malleable and can change in the handling, Wallace illuminates the subtle danger of narcissistic recollection.

Despite the difficulties of formal reminiscence—despite even the benefits of retrospective clarity—my own purpose is less about understanding. It’s something closer to bearing witness. Home is so full of life in my memories, but I look up to find that it doesn’t quite exist anymore, at least as I knew it, even as it continues to shape my understanding of the present. All of us are carrying a world of memories—like standing atop a bayou called Bonne Idee, the taste of salty fruit and a gunroom, a first kiss during a summer revival, a beloved grandfather sequestered by pain. My impulse to write comes from a desire to give account of the past, as if to hold it up to God and say, “I saw these things.”

Toward the end of the Confessions , Augustine muses on memory, a capacity that he represents as physical locations, and he marvels at its mysterious immensity: “I run through all these things, I fly here and there, and penetrate their working as far as I can. But I never reach the end. So great is the power of memory, so great is the force of life in a human being whose life is mortal.” His last clause is striking, a declaration of human vitality nevertheless bounded by mortality. Today, prompted by the present—the joy I find in my son’s toddling gait, his delight in looking at himself in the glass of our barrister bookcase, the smile of recognition when he sees me over his shoulder—I think of all the evanescent moments of his childhood. I recall the delirium of his first summer when I rocked him outside as we both stared up through the limbs of the giant oak tree in our yard and he slept in my arms for what seemed like hours each day; or that second summer when he first learned hello and goodbye so that we were always greeting and parting in different rooms of our house.

In the end, memoir is a hymn for all that I saw that is—or will be—no more. So I write to remember. ■

Parts of an Essay

Introduction

The introduction guides your reader into the paper by introducing the topic. It should begin with a hook that catches the reader’s interest. This hook could be a quote, an analogy, a question, etc. After getting the reader’s attention, the introduction should give some background information on the topic. The ideas within the introduction should be general enough for the reader to understand the main claim and gradually become more specific to lead into the thesis statement.

Thesis Statement

The thesis statement concisely and clearly states the main idea or argument of the essay, sets limits on the topic, and can indicate the organization of the essay. The thesis works as a road map for the entire essay, showing the readers what you have to say and which main points you will use to support your ideas.

Body The body of the essay supports the main points presented in the thesis and should be orderly. Each point is developed by one or more paragraphs and supported with specific details. These details can include support from research and experiences. In addition to this support, the author’s own analysis and discussion of the topic ties ideas together and draws conclusions that support the thesis. The body must present strong arguments or evidences to be more convincing.

Transitions Transitions connect paragraphs to each other and to the thesis. They are used within and between paragraphs to help the paper flow from one topic to the next. These transitions can be one or two words (“first,” “next,” “in addition,” etc.) or one or two sentences that bring the reader to the next main point. The topic sentence of a paragraph often serves as a transition.

Conclusion The conclusion brings together all the main points of the essay. It refers back to the thesis statement and leaves readers with a final thought and sense of closure by resolving any ideas brought up in the essay. It may also address the implications of the argument clearly. In the conclusion, new topics or ideas that were not developed in the paper should not be introduced. Again, conclusion should restate the thesis statement and must have a closure.

Instruction: Write a short 150-word craft essay about a current issue or a socio- political situation that is very relevant in our society today. Refer to the idea or issue you have in mind in the What’s New section of this module. Write your craft essay with a title on a short bond paper in Arial size 12 font. In your creative work, demonstrate or apply awareness of and sensitivity to the different literary and /or socio-political contexts of creative writing.

RUBRIC FOR WRITING COMPOSITION

Performance Areas

Very Good 10-

Needs Improvement 4- Content Article has specific central idea that is clearly stated in the opening paragraph, appropriate, concrete details.

Central idea is vague; non-supportive to the topic; lacks focus

Unable to find specific supporting details

Organization Article is logically organized and well- structured

Writing somewhat digresses from the central idea

Central point and flow of article is lost; lacks organization and continuity Research Cited research information, introduced personal ideas to enhance article cohesiveness

Some research of the topic was done but was inconclusive to support topic; cited information was vague

Did little or no gathering of information on the topic, did not cite information Style Writing is smooth, coherent and consistent

Sentences are varied and inconsistent with central idea

Lacks creativity and focus. Unrelated word choice to central idea Mechanics Written work has no errors in word selection and use sentence structure, spelling, punctuation, and capitalization

Written work is relatively free of errors in word selection and use, sentence structure, spelling, punctuation and capitalization (some have errors)

Written article has several errors in word selection and use.

Congratulations! You are now done with Lesson 1. Now, Let’s proceed to Lesson 2.

CREATING ONLINE

LESSON 2PORTFOLIO

WHAT I NEED TO KNOW

6. what’s in.

Competency: Create an online portfolio or group blog on the outputs produced in poetry, fiction, script writing, applying ICT skills or any appropriate multimedia forms.

At the end of this lesson, you will be able to:

• create an online portfolio (or group blog) on the outputs produced in poetry, creative fiction, and script; and
• apply ICT skills or any appropriate multimedia forms in creating an online portfolio
• produce a suite of poems, a full and completed short story or a script for a one-act play, with the option of staging.

In Lesson 1, you learned about craft essay, its structure and how a subject or an issue influences the author’s point of view. Now in lesson 2, you will learn on how to create an online portfolio or a group blog where you can post your poems, your completed short stories, including the written script of your play or drama.

Instruction: Read and answer each item carefully. Write the letter of your answer in your notebook.

• It is a specific mode of fiction represented through a performance. a. poetry b. short story c. drama d. short paragraph

The Father of English drama. a. Edgar Allan Poe b. William Blake c. William Butler d. William Shakespeare

It is a term used to describe websites that maintain an ongoing chronicle of information. a. search engine b. blog c. website d. URL

Let the students create an online portfolio where they can place all their own creations in poetry, fiction, short stories, and script of a play or drama. This can be done by creating a blog of their own or of their group.

What is a Blog?

A blog (a shortened version of “weblog”) is a regularly updated website or web page, typically one run by an individual or small group, that is written in an informal or conversational style. It is a platform where a writer or a group of writers share their views on an individual subject. Similarly, it is a term used to describe websites that maintain an ongoing chronicle of information. A blog features diary-type commentary and links to articles on other websites, usually presented as a list of entries in reverse chronological order. Blogs range from the personal to the political and can focus on one narrow subject or a whole range of subjects.

Here are common features that a typical blog will include:

 Header with the menu or navigation bar.  Main content area with highlighted or latest blog posts.  Sidebar with social profiles, favorite content, or call-to-action.  Footer with relevant links like a disclaimer, privacy policy, contact page, etc.

What is the purpose of a blog?

There are many reasons to start a blog for personal use and only a handful of strong ones for business blogging. Without blogging, your website would remain invisible, whereas running a blog makes you searchable and competitive. So, the main purpose of a blog is to connect you to the relevant audience. Another one is to boost your circulation and send quality leads to your website.

The more frequent and better your blog posts are, the higher the chances for your website to get discovered and visited by your target audience. This means that a blog is an effective lead generation tool.

What is a website?

A site or website is a central location of web pages that are related and accessed by visiting the home page of the website using a browser. For example, the Computer Hope website address URL (Uniform Resource Locator) is computerhope. From this home page, you could get access to any of the web pages contained on its website.

What differentiates blogs from websites?

Blogs need frequent updates. Good examples of this include a food blog sharing meal recipes or a company writing about their industry news. Blogs also promote reader engagement. Readers have a chance to comment and voice their different concerns and thoughts to the community. On the other hand, websites consist of the content presented on static pages. Static website owners rarely update their pages. Blog owners update their site with new blog posts on a regular basis.

Let the students do the sign-up process and let them make their own blog using internet.

• Multiple Choice

Course : BS Accountancy (BSA12)

University : marikina polytechnic college.

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