free creative writing module for senior high school pdf

For Students
_Specialized Subjects
__Other Tracks
_Core Subjects
_Applied Subjects
For Teachers
_Teaching Materials
_School Forms

Creative writing self learning modules.

free creative writing module for senior high school pdf

Learning Area: Creative Writing Classification: Specialized Subject Track/Strand: Academic / Humanities and Social Sciences (HumSS) Type of Material: Self-Learning Modules Download Links: Creative Writing Module 1 Creative Writing Module 2

Search This Site

Catch-Up Fridays Materials for Senior High School

Trending today.

Understanding Culture, Society, and Politics Modules 1-12

DepEd ID Template for Permanent Employees (Download, Edit, Print Publisher File)

General Physics 1 Self-Learning Modules PDF Download

General Biology 1 Self Learning Modules Quarter 1

Disciplines and Ideas in the Applied Social Sciences Self-Learning Modules

DepEd Modules

K-12 Senior High School SHS modules and SHS teacher’s guides downloads

by admin · July 23, 2022

Disclosure: This post may contain affiliate links. When you buy through links on my site, I may earn a small commission. Thank you for your support.

If there’s anything we’ve learned about the Department of Education’s online resources, it is this: nothing lasts forever. The online resource that you bookmarked two years ago may have turned into a dead link. The pre-K to 12 modules that used to be accessible on the LRMDS site may have inexplicably disappeared, to say nothing of the incomplete module series on individual sites maintained by schools and school districts. Even the DepEd Commons is woefully lacking and unorganized. So, I decided to upload the SHS modules and SHS teachers guides I could find and make them available on Google Drive.

The following are links to Senior High School SHS modules and SHS teacher’s guides developed by the Department of Education, the Commission on Higher Education, and the hardworking, underpaid teachers of our land.

DepEd SHS modules and teaching guides downloads :

Note: These are all-in-one modules and teacher’s guides, not broken up into weekly/semester modules

SHS English for Academic and Professional Purposes – Reader

SHS Oral Communication in Context – Learner’s Module

SHS Oral Communication in Context – Teacher’s Manual

SHS Personal Development – Teacher’s Guide

SHS Understanding Culture, Society, and Politics – Reader

SHS Filipino sa Piling Larangan Akademik – Learner’s Material

SHS Filipino sa Piling Larangan Akademik – Teacher’s Guide

HS Filipino sa Piling Larangan Sining at Disenyo – Learner’s Material

SHS Filipino sa Piling Larangan Sining at Disenyo – Teacher’s Guide

SHS Filipino sa Piling Larangan Tech-Voc – Learner’s Material

SHS Filipino sa Piling Larangan Isports – Learner’s Material

SHS Filipino sa Piling Larangan Isports – Teacher’s Guide

SHS Cookery Module 1 of 2 – Learner’s Manual

SHS Cookery Module 2 of 2 – Learner’s Manual

SHS Cookery Module 1 of 2 – Teacher’s Guide

SHS Cookery Module 2 of 2 – Teacher’s Guide

SHS General Mathematics – Teacher’s Guide

SHS Pre-Calculus – Learner’s Material

SHS modules and teaching guides downloads from the CHED :

Basic Calculus

General Biology 1

General Biology 2

Disaster Readiness and Risk Reduction

Earth Science

General Mathematics

General Physics 1

Precalculus

Statistics and Probability

Links to more K-12 DepEd modules:

Grade 1 DepEd modules

Grade 2 DepEd modules

Grade 3 DepEd modules

Grade 4 DepEd modules

Grade 5 DepEd modules

Grade 6 DepEd modules

Grade 7 DepEd modules

Grade 8 DepEd modules:

Grade 9 DepEd modules

Grade 10 DepEd modules

DepEd Senior High School (SHS) modules

SHS teaching guides from CHED: Senior high school teaching guides

August 15, 2016

DepEd learning modules for Grades 1 to 10

August 30, 2016

Grade 6 DepEd modules and Grade 6 modules downloads

June 8, 2022

3 Responses

Pingbacks 1

Good day po. Baka po may complete modules po kau para sa filipino sa piling larangan- isports. maraming salamat po

Hello. Wala po akong nakikitang kumpletong modules. Puro kulang kulang po ang available sa Internet. Try nyo po sa DepEd Tambayan.

[…] DepEd Senior High School (SHS) modules […]

July 2022
M	T	W	T	F	S	S
	1	2	3
4	5	6	7	8	9	10
11	12	13		15	16	17
18	19	20	21	22		24
25	26	27	28	29	30	31

Ready to download Learning Materials for Senior High School students

by Hervic Grace
July 22, 2020 July 22, 2020

During this period of distance learning, one of the modalities we are trying to lean on as of the moment is the modular/printed learning materials.

The academic program for the Senior High School (SHS) students must have been a challenging path in this aspect. Being aware of the academic strands we have: Accountancy, Business, and Management (ABM), Humanities and Social Sciences (HUMSS), and Science and Technology, Engineering, and Mathematics (STEM) – every instruction and contents must be aligned and contextualized despite the challenge of distance learning.

Physical separation of the usual classroom set-up delivers us to a more independent learning strategy for the students. In facilitating lessons and lectures, workbooks and textbooks are at hand to help. Good thing about seeking for effective alternatives, modules are represented as a briefer yet easier printed material for students to follow at their own phase.

To aid us through, here are some free downloadable modules and worksheets for SHS students:

AVAILABLE SENIOR HIGH SCHOOL LEARNERS MATERIALS (Source: Negros Oriental Learning Resource Portal negorlrmds.weebly.com )

ACADEMIC – STEM Precalculus TG – DOWNLOAD Precalculus LM – DOWNLOAD

APPLIED TRACKS English for Academic & Professional Purposes – DOWNLOAD Filipino LM (Akademik) – DOWNLOAD Filipino LM (Isports) – DOWNLOAD Filipino LM (Sining) – DOWNLOAD Filipino LM (TVL) – DOWNLOAD

CORE SUBJECTS

STATISTICS AND PROBABILITY Lesson 1-01 Variation in Data – DOWNLOAD Lesson 1-02 Data Collection and Analysis – DOWNLOAD Lesson 1-03 Attachment – Rulers_metric – DOWNLOAD Lesson 1-03 The Body Mass Index – DOWNLOAD Lesson 1-04 Types of Data – DOWNLOAD Lesson 1-05 Measuring Central Tendency – DOWNLOAD Lesson 1-06 Using the Mean to Measure Central Tendency – DOWNLOAD Lesson 1-07 Measures of Variation – DOWNLOAD Lesson 1-08 More on Summary Measures and Graphs – DOWNLOAD Lesson 2-01 Probability – DOWNLOAD Lesson 2-02 Geometric Probability – DOWNLOAD Lesson 2-03 Random Variables – DOWNLOAD Practical Research 1 DOWNLOAD ORAL COMMUNICATION IN CONTEXT Oral Communication in Context LM – DOWNLOAD PERSONAL DEVELOPMENT Personal Development LM – DOWNLOAD UNDERSTANDING CULTURE, SOCIETY, AND POLITICS Understanding Culture, Society, and Politics LM – DOWNLOAD Understanding Culture, Society, and Politics (Activity Sheet) – DOWNLOAD Komunikasyon at Pananaliksik sa Wika at Kulturang Pilipino – DOWNLOAD 21st Century Literature from the Philippines and the World – DOWNLOAD Oral Communication in Context – DOWNLOAD Introduction to the Philosophy of the Human Person – DOWNLOAD Pambungad sa Pilosopiya ng Tao – DOWNLOAD Human Movement (Activity Sheet) – DOWNLOAD Organization and Management (Activity Sheet) – DOWNLOAD General Biology 1 (Activity Sheet) – DOWNLOAD

TVL TRACK Bread and Pastry Production NC II – DOWNLOAD Cookery NC II TG Part 1 – DOWNLOAD Cookery NC II TG Part 2 – DOWNLOAD Cookery NC II LM Part 1 – DOWNLOAD Cookery NC II LM Part 2 – DOWNLOAD BUSINESS MATH TG Lesson 01 – DOWNLOAD Lesson 02 – DOWNLOAD Lesson 03 – DOWNLOAD Lesson 04 – DOWNLOAD FILIPINO Ang Wika at Kulturang Filipino – DOWNLOAD Kaalaman at Kasanayang Komunikatibo sa Pagtuturo at Pagkatuto ng Filipino – DOWNLOAD Mga Uri at Pagsusuri ng Teksto – DOWNLOAD Pagdulog sa Pagtuturo ng Filipino – DOWNLOAD Paglirip sa Kurikulum – DOWNLOAD Pagsulat sa Piling Larangan – DOWNLOAD Pagtataya – DOWNLOAD Pananaliksik – DOWNLOAD Pananaliksik at Lokalisasyon – DOWNLOAD

HUMANITIES Contemporary Philippine Arts from the Regions – DOWNLOAD Contemporary Arts in the Philippines – DOWNLOAD Different Contemporary Art Techniques _ Performance Practices – DOWNLOAD Methods and Strategies in Teaching the Arts – DOWNLOAD Assessment in the Arts – DOWNLOAD Defining Contemporary Arts – DOWNLOAD Issues in Contemporary Arts – DOWNLOAD Kudyapi Master Samaon Sulaiman – DOWNLOAD National Living Treasures Guidelines GAMABA – DOWNLOAD Samaon Sulaiman – DOWNLOAD Shadowplay as an Integrative Contemporary Art form – DOWNLOAD SOCIAL SCIENCE Part 1 – DOWNLOAD Part 2 – DOWNLOAD Part 3 – DOWNLOAD

SHS Teaching Resources from Davao National High School (sites.google.com)

Entrepreneurship

The Entrepreneurial Perspective (ppt)

The New Youth Entrepreneur

Entrepreneurship Syllabus

Business Studies Grade 11

Agricultural Crop Production (Entrepreneurship)

Inside the Vault

Suggested Activities

21st Century Literature from the Philippines and the World

Understanding Culture, Society and Politics

Komunikasyon at Pananaliksik sa Wika at Kulturang Pilipino

Oral Communication in Context

Introduction to the Philosophy of the Human Person

Pambungad sa Pilosopiya ng Tao

Organization and Management

General Biology

More SHS Teaching Resources, Learning Materials, and Specialized Subjects from DEPEDLBS CLUB (depedlps.club) https://depedlps.club/teaching-materials-and-learners-materials-tgs-lms-senior-high-school-grades-11-12-with-curriculum-guides/

My Spelling Book (CVC)

July 2, 2023 July 2, 2023

Unlock the world of words with “My Spelling Book (CVC)”: A valuable tool for young learners to master spelling through interactive CVC word activities. Build phonemic awareness, enhance letter-sound correspondence, and boost vocabulary with this engaging resource. Perfect for kindergarten and first-grade students.

Short Stories for Kids: A Gateway to Imagination

June 12, 2023 June 12, 2023

Uncover the magical world of short stories for kids and their role in sparking imagination, teaching life lessons, enhancing language skills, and fostering family bonding. Dive into the importance and benefits of these captivating tales in shaping young minds.

English Reading Flashcards (Ages 3 to 6)

Boost your child’s reading skills with our English Reading Flashcards. Perfectly designed for young learners, these cards combine visual learning and phonics reinforcement to expand vocabulary, build confidence, and make learning interactive and fun.

CREATIVE NONFICTION Quarter 1 – Module 1 LITERARY GENRES: ELEMENTS and DEVICES

SENIOR HIGH SCHOOL

CREATIVE NONFICTION Quarter 1 – Module 1 LITERARY GENRES: ELEMENTS AND DEVICES

Creative Nonfiction – Senior High School Alternative Delivery Mode Quarter 1 – Module 1: Literary Genres: Elements and Devices First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any work of the Government of the Philippines . However, prior approval of the government agency or office wherein the work is created shall be necessary for exploitation of such work for profit. Such agency or office may, among other things, impose as a condition the payment of royalties.

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

Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writer: Aminah M. Sia Editor: Paterno A. Verano Reviewers: Dr. Clavel D. Salinas Marivic M. Yballe (Moderator) Illustrator: Cyril Q. Bitoon Layout Artist: Cyril Q. Bitoon Management Team: Dr. Marilyn S. Andales Schools Division Superintendent Dr. Leah B. Apao Assistant Schools Division Superintendent Dr. Ester A. Futalan Assistant Schools Division Superintendent Dr. Cartesa M. Perico Assistant Schools Division Superintendent Dr. Mary Ann P. Flores CID Chief Mr. Isaiash T. Wagas Education Program Supervisor/ LRMDS Dr. Clavel D. Salinas PSDS/ Senior High School Coordinator

Printed in the Philippines by:

Department of Education – Region VII, Division of Cebu Province

Office Address: IPHO Bldg., Sudlon, Lahug, Cebu City 6000 Cebu

Telefax: (032) 255-6405

E-mail Address: [email protected]

Quarter 1 – Module 1: LITERARY GENRES: ELEMENTS AND DEVICES

Introductory Message

For the Facilitator:

We trust that this Creative Nonfiction Alternative Delivery Mode (ADM)

Module on Literary Genres: Elements and Devices, shall help you to engage your learner in the most enriching and fun ways. The collaborative work put in by the development team has ensured that each activity does not only facilitate acquisition of 21st Century skills but shall also take into consideration the circumstances, needs and well-being of each learner, especially at this time of anguish and uncertainty. Rest assured, that we have not compromised learning through this modality but that all essential competencies are covered; the same way they will be tackled substantially in succeeding modules.

For the Learner:

Real-life stories could be as fascinating as the fairy tales and nursery rhymes from your childhood or the online and printed novels you read in the present. The characters, the setting and the action may even be more interesting if you know how to captivate your readers through escalating the thrill in a perspective that engages them; painting colorful images with metaphors or imagery as in poetry; or setting the mood and anticipation as in the dialogues in drama. The challenge is, even while integrating these elements and devices, how you do not deviate from events as they happen in reality. As you are expected to breathe life to your experiences by using literary elements and devices, Module 1 shall begin with a discussion of the different genres and the dominant literary conventions identified with each.

ii To ensure that each lesson is a full, fun and enriching experience, it is divided into the following parts:

This introduces the learner What I Need where one is at in terms of

to Know Competencies, Objectives, and Skills to prosper with in the subject matter.

What I Know This checks the learner’s perception on the lesson.

This connects the What’s In understanding on the previous topic to ideas of the present topic.

This is a start-up of the What’s New lesson thru stimulus activities that sets the mood into the

This part discusses, unlocks, What is It and guides the learners on the

This contains self – checked What’s More activities to set into the topic and develop knowledge and skills being asked.

This section enriches the What I have learning through a question / Learned activity.

This consists of an activity What I Can Do that applies the learner’s learning into day – to – day events in life.

iii This area checks the Assessment mastery / skills toward the topic.

This section contains Additional enhancement activities are given to further absorb the Activities learnings.

Answer Key This contains answers to all activities in the module.

At the end of this module, you will also find:

References This is a list of all sources used in making this module.

The following are some reminders:

1. Use the module with care. Do not put unnecessary mark (s) on any part of the module. Use a separate sheet in answering exercises.

2. Answer all activities included in the module starting with What I Know.

3. Read the instruction carefully before doing each task.

4. Observe honesty and integrity in doing the tasks and checking your

5. Finish the task at hand before proceeding to the next.

6. Return this module to your teacher/ facilitator on schedule.

If you encounter difficulty in answering the tasks in this module, do not hesitate to consult your teacher or facilitator. We hope that through this material, you will experience meaningful learning and gain deep understanding of the relevant competencies.

iv CHAPTER 1 Lesson 1: Elements of Fiction and Drama

Learning Competency:

Create samples of the different literary elements based on one’s experience. (HUMSS_CNF 11/ 12-ib-d-4)

WHAT I NEED TO KNOW

Learning objectives: At the end of the lesson, learners should be able to:

⚫ identify the elements of fiction and drama.

⚫ explain the theme and techniques used in the given selection.

⚫ use literary devices to describe one’s experiences.

WHAT I KNOW

PRE - ASSESSMENT Instructions: Encircle the letter of the correct answer. 1. What is that type of literature that is created from a writer’s imagination and often refers to short stories or narratives?

A. Fiction B. Nonfiction C. Critical Analysis 2. What type of literature uses the ordinary form of spoken and written language using sentences and paragraph instead of metrical structure?

A. Poetry B. Rhyme C. Prose 3. What element of a short story brings readers to where and when a story happens by describing the weather, a scenery, a place, season or time of day?

A. Plot B. Character C. Setting 4. To what does internal conflict refer? A. Man vs man B. Man vs nature C. man vs self 5. What type of character changes as the story unfolds? A. dynamic B. static C. flat

6. What is the exchange of spoken words in a story, play or other written works?

A. Dialogue B. Declamation C. Narration 7. What is the general feeling created in a reader from fiction or drama? A. Setting B. Theme C. Mood 8. What is that technique in drama whereby one or more performers speak directly to the audience to tell a story, give information or comment on a scene?

A. Dialogue B. Narration C. stage design 9. What pronouns hint of a 3rd Person Point of View in telling a story? A. I/ We B. You C. He/ She/ It/ They 10. Which character provides a comparison with the protagonist to highlight or emphasize the protagonist’s positive traits?

A. Foil B, Villain C. Hero

Hi! I am Teacher Lit. You might have figured out by now that drama and short stories (often referred to as fiction) are both written as prose. In this lesson let us find out more how these two magically transport us to the experiences of others.

LET’S TAKE A BLAST From ThE PAST!

Literature is a limitless library of human experiences that is divided into genres such as short stories (often referred to as fiction), poetry, drama and nonfiction. Each genre has dominant literary conventions or elements that distinguish it from all others. There are also some elements and devices used that are common among genres. In this lesson, we shall look into common elements of fiction and drama and how they differ.

“Drama, None or Both”

Instructions: Write D, if the characteristic is unique to drama; N, if it is not a characteristic of either drama or short story and B, if it is common to both genres. Write your answer on the blank provided.

____ 1. It is performed on stage.

____ 2. It follows a sequence of events: exposition, rising action, climax, falling action and denouement.

____ 3. It follows a repeated pattern of meter and rhyme.

____ 4. It is divided into acts.

____ 5. It can use foreshadowing to give a hint or warning on what would happen next in the story or flashback to present a past event for readers to understand the present.

How are you doing so far? Let us look more closely at elements of both fiction and drama.

Instructions: Read the following Cebuano folk tale and take note of details.

BACUNAWA AND THE SEVEN MOONS

Bathala was making his rounds one cool evening when the moon was all- lit up when suddenly, he again hears the sweet giggles of the six other moons he had lost one by one due to a monster ’s greedy obsession. Thanks to the heartless Bacunawa, the peace and joy that had once ruled over the earth and sky are now tainted with fear and vigilance. Then, the desperate cries of Bathala ’s people came ringing back again in his ears as if it was happening all over.

According to stories, when Bathala created the Moon, he created seven of them for each night of the week. The nights were always so bright and beautiful because of these seven “Queens” who continuously gave life to the night sky. Bacunawa, an enormous serpent that rules the seas was smitten by them. From the dark recesses of the caverns, he had gazed at them in awe as they whisked pass the cool sea; and all the more he grew desperate. ⁴ “If he could only gobble them up, and thus be their keeper forever!”

One night he flew and swallowed one of the moons and hurried back to his sojourn in a hurry. Months went by and the moon he had swallowed melted; so, he ventured yet again to get another one. He succeeded, but this too melted away. He tried again. He tried five times more. Every attempt was a success; but in all those six, each moon melted.

Meanwhile, Bathala was alerted by the disappearance of the moons. He tried to find out what had happened to them. One night, he was awakened by a deafening rolling of drums and the shouts of men and women. He woke up and saw that the last moon was being swallowed by Bacunawa and the whole earth was in chaos as it was in complete darkness. He quickly rose, grappling to get hold of his trident. ⁵It was said that out of nowhere, a far hideous beast growled and taunted Bacunawa to a duel. Bacunawa quickly let go of the last moon and went back to his cavern. Whether it was Bathala himself or one of his spontaneous creation, it is seldom is it mentioned anymore.

Today, a sole moon is left plying the skies at night. To prevent Bacunawa from swallowing up the moon, Bathala had planted a bamboo tree in its midst. It can be seen as a dark spot in the face of the moon. Bacunawa has never wavered, though. At times, he tries again to take a chance at the moon but the people have become more watchful. ⁶ Every time they hear the monster’s growl and the flicker of fire that accompanies him in flight, they would immediately sound off their drums or shout out to call the rest. It is supposed, that for as long as the bamboo tree stays, Bacunawa could not succeed in his evil scheme.

“WHAT’S THE CATCH” Instructions: Answer the following questions: A. How do you compare the personalities of Bathala and Bacunawa?

BATHALA BACUNAWA

1. What triggered Bathala’s memory of the six moons (queens) and a previous trouble caused by Bacunawa? ______

2. In the 2nd sentence of the first paragraph, was Bathala sincere in his gratitude/thankfulness towards Bacunawa? What do you think is his real feeling towards Bacunawa?______

3. In the last sentence of the 2nd paragraph, what was Bacunawa thinking to himself? ______

4. What was your reaction on the sudden introduction of the beast during the time Bacunawa was trying to grab the last moon? ______

5. In the last paragraph of the folk tale, what are hints or warnings for people of Bacunawa’s coming? ______

THE ELEMENTS OF FICTION AND DRAMA 1. Setting - place and time the story occurred; social climate; overall mood/feeling.

2. Plot - arrangement/sequence of events: ⚫ Exposition - introduction of the setting, characters and general situation in the story ⚫ Rising Action - introduction of the conflict. (Conflict could be internal or struggle between man and himself and external conflict or his struggle with other characters, nature, supernatural being or society.) ⚫ Climax - the highest point of action/ suspense ⚫ Falling Action - the aftermath of the conflict ⚫ Denouement - resolution of conflict/ conclusion of struggle

3. Character- a participant in the story. A character could be the protagonist or the hero or the one readers/audience sympathize with; the antagonist or the villain; the foil who provides comparison to the protagonist in order to highlight or emphasize his admirable traits. A character could be round/ complicated and or dynamic as he changes/transitions as the story unfolds; flat and or static as he remains the same up to the end of the story.

4. Theme - central idea or overall message that the story conveys.

5. Point of view - perspective/angle the story is told: 1st Person-writer/narrator is a participant of the action; 3rd Person - writer is an observer of the action (3rd Person Omniscient - narrator knows the thoughts and feelings of many or all characters; 3rd Person Limited - if he only knows that of one or two characters).

LITERARY DEVICES 1. Deus ex Machina - a seemingly unsolvable problem is suddenly and abruptly resolved by an unexpected and unlikely occurrence such as an introduction of a hero, a supernatural being or a miracle or unlikely hero towards the conclusion of the plot. It has its origin in Greek plays when a god is suddenly lowered to the stage to solve all problems. Example: A dolphin out of nowhere rescued the drowning baby.

2. Dialogue - a conversation or verbal exchange between two or more character Example: “I am done!” He said. “Please give me a chance,” she pleaded.

3. Flashback - the use of past events to help readers/audience understand the present or achieve dramatic effect; usually uses a trigger from an object such as a scent, a view, a song or a line. Example: As the bus got nearer to the park, she remembered her old dear aunt.

4. Foreshadowing - a hint of what is to happen later in the story; often uses objects, sound effects or music to warn of an impending danger. Example: The alarm kept ringing that day and at the right time, he came.

5. Irony - use of words to express the contrary to: what is expected to happen (Situational Irony); what is meant (Verbal Irony) and the audience being more aware of what is happening than the character (Dramatic Irony). Example: She says they were impoverished all those weeks, but she looked healthier than those who were giving out relief goods. (Situational Irony) “I cannot be any happier for the trouble you caused me.” (Verbal Irony)

6. Stream of Consciousness - expressing in words the flow of a character’s thoughts or feelings in their minds; often indicated in quotation marks. Example: “You’ll have your day with me,” she muttered to herself.

7. Local Color - use of local terms, slang or customs identifiable to a locality or region. Example: She reached out for her abaniko. Nanay never left the house without it.

Go back to the story of Bacunawa and The Seven Moons. Do you see which parts correspond to the literary devices we have discussed so far?

WhAT’S morE

“GO, FIGURE!

We are told not to judge a book by its cover or make a hasty judgment on a person on our first or rare encounters with them. In the drama series that you follow or the short stories you read, you come up with your impression or description of the characters the same way you do when reading fiction or watching drama.

Instructions: Put a check on the blank corresponding to ways one can determine a character’s traits.

___ sound effects ___ dialogue ___ writer’s description ___ character’s actions/reactions ___ another character’s description ___ stage decoration

___ character’s thoughts as revealed ___ another character’s appearance ___ a character’s appearance ___ background music ___ monologue ___ distinct/ unique behavior

WHAT I HAVE LEARNED

Instructions: Trace the plot of the folk tale, Bacunawa and the Seven Moons by filling in the following event organizer.

TITLE: ______

FALLING ACTION RISING ACTION/CONFLICT

DENOUEMENT EXPOSITION

THEME: ______

WHAT I CAN DO

Instructions: Fill in with your answer according to what is asked for in each scenario.

A. Dialogue with a friend you are advising on a problem.

She was trying so much to be audible in between sobs; wiping off the tears occasionally. “I don’t know what to do anymore,” Dina said. (write your response on the blank above.)

I told her consolingly.

B. Use local color to describe a typical family activity at home.

______C. Give an example of a verbal irony, what you usually say when angry.

Assessment # 1

Name: ______Grade & Section: ______Date: ______Score: ______A. Instructions: Encircle the correct answer. 1. The air smelled of puto and sikwate as Lola Isang waved us to the table. The highlighted terms are examples of _____. A. dialogue B. foreshadowing C. local color D. irony 2. Perseverance leads to success. This is an example of a _____ A. conflict B. theme C. climax D. exposition 3. Dianne did not take her sight at the knife lying on the table as she continued to engage the stranger in conversation. This is an example of _____ A. foreshadowing B. flashback C. dialogue D. irony 4. Most fairy tales end with “… and they live happily ever after,” which is the ___ A. exposition B. rising action C. climax D. denouement 5. He promised to wait for her and vowed eternal love. He didn’t giver her so much as a gaze on a chance meeting at the airport. This is an example of _____ A. flashback B. irony C. deus ex machina D. foreshadowing 6. To himself he muttered, “I cannot lose!” This is an example of ____ A. Iocal color B. deus ex machina C. stream of consciousnessD. irony 7. People brought their protests in the streets and the media was full of commentaries against the dictatorship. This corresponds to ____ in the setting. A. Place B. time C. season D. social condition 8. Just when hope was gone, a giant whale held the boat in balance until they were safely on calm waters. This is an example of _____ A. Iocal color B. deus ex machina C. stream of consciousness D. irony 9. The prince was skillful with his sword and does not back out of a duel; Leon, his best friend was cowardly and awkward with any weapon. Leon is the ____. A. foil B. villain C. protagonist D. antagonist 10. As she cleared his closet of all his possessions, a note she had written for him five years back dropped from one of his jackets. She smiled in between tears as memories of their first meeting overcame her. A. Flashback B. irony C. dialogue D. foreshadowing

ADDITIONAL ACTIVITY

Instructions: Inside each footstep, write the event corresponding to what could be a part of the plot in a story about one of your most significant experiences. Also provide a theme (insight/ learning) from the same experience. CLIMAX RESOLUTION

Theme: ______

Lesson 1 Pre - assessment Assessment

A 10. A 10.

B. 8. B. 8.

Assessment - Assessment Pre

monologue 5.

appearance Character’s 4.

behavior unique 8. revealed thoughts Character’s 3.

action/reaction character’s 7. description character’s Another 2.

dialogue 6. description Writer’s 1.

Figure! Go,

Both or None Drama,

Lesson 2: Elements of Poetry

⚫ explain the use of elements and devices of poetry in a given text.

⚫ illustrate the use of literary devices by describing one’s own experiences.

⚫ demonstrate critical thinking in deciphering theme and techniques used in poetry

PRE - ASSESSMENT

Instructions: A. Rearrange the jumbled letters to reveal the correct word/ term and write on the blank. (Hint: All words are related to poetry.) p-o-e-i-a-o-n-o-t-o-m-a- ______f-e-e-r v-e-s-r-e ______i-n-r-e-f-r-a ______t-h-m-r-h-y ______n-a-p-e-r-s-o ______z-a-n-s-t-a ______n-a-r-r-a-t-e-v-i ______b-o-l-e-h-y-r-e-p ______p-r-e-s-o-n-i-f-i-a-c-i-o-t-n ______g-e-r-i-m-a-y ______

B. Complete the following statements by filling in the correct word/term from the above activity.

1. A ______poem tells a story. 2. “I will hold you for a million years,” is an example of ______. 3. The pattern of stressed and unstressed syllable giving the poem a beat is called ______. 4. ______is the use of words that imitate the actual sound. 5. “A teardrop kissed your lips, and so did I” is an example of ______6. A line or group of lines repeated throughout a poem is called a ______. 7. The ______is the speaker in a poem. 8. A poem without a regular pattern of rhyme or rhythm is called ______. 9. A ______is a group of lines that form the basic metrical unit of a poem. 10. ______is the use of descriptive language that appeals to the senses: sight, smell, touch, taste or sound.

Poetry, unlike fiction or drama is structured in line and stanzas set in a melodic pattern of rhythm and rhyme. Rhythm refers to the play of stressed and unstressed syllables while rhyme is the repetition of like-sounding syllables especially at the end of lines. There are many other lyrical or sound devices that poetry relies on to achieve that pleasant or musical sound.

Poetry in its brevity uses intensified language to capture the writer’s feelings and thoughts. Lyric poems in the olden times were sung to the accompaniment of the lyre. The songs we know today are a modern counterpart of this type. Other major categories of poetry are narrative poetry which tells a story such as the ballads and epics you have previously encountered and dramatic poetry which uses techniques in drama such as dialogues and the interaction of characters.

Guess What!

Instructions: Fiction is prose. In poetry, one can count the number of lines to identify structure of a stanza or poem itself. The clue is in the first syllable or the prefix of each term. Guess the number of lines in each. Write on the blank provided.

____ 1. sestet/ sexain

____ 2. octave

____ 3. couplet

____ 4. quatrain

____ 5. tercet

____ 6. cinquain

____ 7. Septet

Instructions: Draw the same shape to enclose words that rhyme. Alternate between circle and square to separate groups of rhymes. Example, 1st group - circle; 2nd group - square; 3rd group - circle; 4th Group - square. Continue depending on the number of rhyme groups you see in the poem.

A Swing Song by William Allingham Swing, swing, Sing, sing, Here! my throne and I am king! Swing, sing, Swing, sing, Farewell, earth, for I'm on the wing!

Low, high, Here I fly, Like a bird through sunny sky; Free, free, Over the lea, Over the mountain, over the sea!

Up, down, Up and down, Which is the way to London Town? Where? Where? Up in the air, Close your eyes and now you’re there!

Soon, soon, Afternoon, Over the sunset, over the moon; Far, far, Over all bar, Sweeping on from star to star!

No, no, Low, low, Sweeping daisies with my toe. Slow, slow, To and fro, Slow--slow--slow--slow

ELEMENTS OF POETRY

Sound - accomplished by the rhyme scheme or rhyme pattern; rhythm or the pattern of stressed and unstressed beats known as the meter and lyrical devices such as onomatopoeia, alliteration, assonance, consonance or repetition. 1. Onomatopoeia - use of word that is an imitation of the actual sound Example: How they clang and clash and roar! What a horror they outpour.

2. Alliteration - same beginning consonant sound among nearby words in a line Example: Singing songs of the seaside

3. Assonance - same vowel sound among nearby words in a line. Example: when you set me free…

4. Consonance - same consonant sound usually at the end of a word but may also include words with same consonant sound at the beginning or middle. Example: the slings and arrows of outrageous fortune…

5. Repetition - repeat of same word, phrase or line Example: we few, we happy few, we band of brothers.

Tone - the overall mood/ feeling or attitude regarding the theme Example: nostalgia, sarcasm, humor, sympathy, optimism Diction - choice of words and style of expression Structure/ form - arrangement of words, lines or rhymes Rhythm - the pattern created with sound; usually by stressed and unstressed syllables. Theme - lesson/ statement about life, human nature or a subject of the poem Imagery - description of actual experience using sensory appeal: sight, smell, taste, touch or sound Example: drenched back and the sudden whisk of cold wind, reduced to naught from the pleasant smell of the tasty treat of burger buns bursting in golden cheesy goodness… suddenly I am perfectly well… Persona - the speaker in the poem or of whose perspective is expressed

What makes poetry distinct from both fiction and drama? Do you notice how poems sometimes get you into the beat or make you feel many different emotions? Let’s review some techniques and learn some others used in poetry. I am sure that you have encountered some of the devices we will be discussing.

Figurative Language - use of words separate from their literal meanings for the purpose of comparison, added appeal or color and feelings. Aside from what have already been mentioned in the previous pages, the following are more figures of speech:

1. Simile - comparing two unlike objects using like or as. Example: heart like ice

2. Metaphor - comparing two unlike object not using like or as; one object becomes or takes the characteristics of another Example: you are the song that plays softly in my heart

3. Synecdoche - refers to a part representing the whole or the whole representing its parts. Example: a need for more hands at this time of great need (people to help) The entire world mourns. (countries, nationalities)

4. Metonymy - a substitution for a word with another word associated to it or that represents it. Example: crown - monarchy heart – character

5. Symbolism - a representation of an idea Example: white - retreat/surrender black - grief rose- woman

6. Allegory - use of a number/ series of representations for abstract ideas Example: The many characters in the book, “The Little Prince” represent the many different types of human characteristics and motivation: king - superiority businessman - greed drunkard - resignation rose - vanity

7. Paradox - use of contradicting statements/ideas that are actually occurring or are true at the same time (Oxymoron - shortened paradox)

Example: The closer am bound to love with you/ The closer I am to free Meaning: One may be tied up in love or relationship with another but he/ she still feels free, referring to the overwhelming joy associated to freedom. Example: deafening silence (howling sound in one’s ears when there is deep quiet around)

8. Allusion - reference to a popular character such as in literature or politics to provide emphasis of a related idea. Example: Anyone who sees her soon forgets the Mona Lisa; it would take I know a Michelangelo and he would need the glow of dawn….(reference: the beauty of Mona Lisa, a painting by the famous painter, Leonardo da Vinci; Michelangelo, another famous painter during the Renaissance

WhAT’S morE “SING IT”

Instructions: Here are some lines from songs that use lyrical devices to appeal more to the ears. Write the letter corresponding to the device used.

____ 1.‘cause I’d die, a little each time when she cries. A. Alliteration ____ 2. what if trials of this life are your mercies B. Assonance in disguise C. Repetition ____ 3. Dive down deep into her sound; but not too D. Onomatopoeia far or you’ll get drowned E. Consonance ____ 4. Sing, sing a song, sing it loud, sing out strong ____ 5. If I were a fish in the sea, I’d wiggle my tail And giggle with glee

Let’s look at what devices are used in the

following poem. Let us also find out what message it has to help us with life.

Instructions: Read the poem below. Answer the questions that follow.

William Ernest Henley

Out of the night that covers me, Black as the pit from pole to pole, I thank whatever gods may be For my unconquerable soul.

In the fell clutch of circumstance I have not winced nor cried aloud. Under the bludgeoning of chance My head is bloody, but unbowed.

Beyond this place of wrath and tears Looms but the Horror of the shade, And yet the menace of the years Finds and shall find me unafraid.

It matters not how strait the gate, How charged with punishments the scroll, I am the master of my fate, I am the captain of my sou Stanza 1

1. To what is night compared to? ______What is common between the two? ______

1. What are words in the last two lines that have the same vowel sound (they do not have to be the same vowel letter)

______Stanza 3

1. How did the writer describe the world to be? ______Stanza 4

1. The strait gate is an allusion from a Bible verse on the way to heaven or eternal joy. What can you make out of the theme/ message of this poem that you can use in life?______

What is the overall feeling/ tone or feeling of the poem? ______

Instructions: If you were to write a poem about the picture below, what would be the message u want to convey? What tone/ general feeling will the poem have and why?

Message/ Theme: ______Tone/Overall Feeling:

Assessment # 2 Name: ______Grade & Section: ______Date: ______Score: ______Instructions. Encircle the letter of the correct answer corresponding to the element or devices in poetry used in each item. 1. You think the only people who are people are the people who look and think like you. A. symbolism B. synecdoche C. repetition D. metonymy 2. “I’d go from rags to riches, ” is an allusion to the fairy tale, ______A. Cinderella B. Shrek C. Rapunzel D. Brave 3. “Sleep, my darling. Safe and sound…” A. Onomatopoeia B. alliteration C. assonance D. rhyme 4. “Have you ever heard the wolf cry to the blue corn moon or asked the grinning bobcat why he grins?” A. Irony B. personification C. metaphor D. paradox 5. “That’s why I rely on certain certainties. Yes, some things never change,” A. Onomatopoeia B. imagery C. consonance D. rhyme 6. “It’s time to lend a hand to life, the greatest gift of all.” A. Rhyme B. repetition C. onomatopoeia D. allegory 7. “When all is lost, then all is found,” A. Allusion B. irony C. allegory D. paradox 8. A candle in the wind is a ______for life’s frailty or how it is fleeting. A. Allegory B. symbolism C. paradox D. simile 9. “What if your healing comes through pain,” A. Irony B. simile C. allusion D. allegory 10. “I am the vine, and you are the branches.” A. Simile B. metaphor C. personification D. irony

Instructions. Answer the following using given figures of speech.

1. To what object do you compare yourself to and why? Use simile or metaphor.

2. Use imagery to describe an occasion/ event that shows unity and camaraderie in your community?

3. Cite an example of an ironic situation that you see in society or the world at present.

Well done! See you in our next adventure. Let’s move forward towards writing creative nonfiction.

imagery 10. Imagery 10.

stanza 9. Personification 9.

verse free 8. Hyperbole 8.

persona 7. Narrative 7.

refrain 6. Stanza 6.

personification 5. Persona 5.

onomatopoeia 4. Rhythm 4.

rhythm 3. Refrain 3.

hyperbole 2. verse Free 2.

narrative 1. Onomatopoeia

Assessment - Pre

B 10. C 5. D 5.

A 9. B 4. C 4.

B 8. B 3. A

D 7. A 2. E

A 6. C 1. B 1.

Assessment It! Sing

Lesson 3: Elements of Creative Nonfiction

Learning Competency: Analyze factual/ nonfictional elements (Plot, Characters, Characterization, Point of View, Angle, Setting and Atmosphere, Symbols and Symbolism, Irony, Figures of Speech, Dialogue, Scene, Other Elements and Devices) in the texts.

Learning objectives: At the end of the lesson, learners should be able to: ⚫ explain the theme and other elements in a given nonfiction text. ⚫ describe how the plot is developed from beginning paragraph to the end. ⚫ Write a beginning paragraph for a plot on a significant experience in life.

Instructions: Write on the blank, the answer to the riddle. Choose from the box below.

Plot character symbolism setting dialogue Omniscient monologue conflict 2nd 3rd

1. Could be they, could be you, could be me; sometimes, who we are is what they see; how you act, react and say, that could also be the way. ______2. One says something, another talks back; Mutual understanding, we should not be in lack. ______3. Where and when and howdy; it’s the overall feel, mood or atmosphere too, dearie. ______4. Got a beginning, a middle and an end; I’m the sequence of events. _____ 5. I’m in between first and third; it’s to YOU, I reach out or haven’t you heard? ______Point of View 6. In poetry, drama and nonfiction you can use; don’t take me literally but of course I give clues; day for a beginning, black for death, dove for peace and love is red. ______7. A mere observer am I; not a part of the action, I don’t deny. I tell a story with a he, she, it and they; if you want more stories all you have to do is say. ____ Point of View 8. I am trouble, sometimes double; struggles with man, nature, self and more. When I am resolved, you gain back the peace, just like before. ______9. I talk and respond to myself in a ______10. I can be godlike; everything about you I know; that’s how I tell the story so, your flaws and strengths to the reader’s I’ll show. I’m not limited, oh no, no, no! 3rd Person ______Point of View

Creative nonfiction is not a pigment of one’s imagination. Materials and themes span from a writer’s real-life experiences: pieces and bits of his life story; his travels; his observations and more. As such, it is considered the most personal of literary genres.

As realistic as it should be, creative nonfiction uses the elements of fiction such as the plot, characters, setting, point of view and theme. It also employs figures of speech or literary devices such as imagery, simile, allusions and irony, among others to tell a colorful and heartfelt real-life story.

The very essence of creative nonfiction spells its contrast with fiction. While the latter relies on a writer’s creativity and ability to fabricate stories, creative nonfiction focuses on facts; real people, real events, real feelings and real consequences. The beginning paragraph also keeps the reader glued until the end. The concluding paragraph too, should be as interesting.

“Who, You?”

Instructions: List down three most significant events in your life; the people involved and what great impact or contribution they have on you.

What are three most Who are the people with you to help, What are the contributions of significant experiences support or cheer you up? these experiences to your life? do you have in life?

Instructions: Read the following sample of creative nonfiction and answer the questions that follow. (source:https://academichelp.net/samples/academics/essays/narrative/)

Playground Memory

In elementary school, I had many experiences that garnered memories. I was often bullied on the playground during recess because of my skinniness and height. The larger boys saw me as a target for their ego to inflate. They might have had problems at home, or were bullied themselves, and were projecting their frustrations on me. Anyways, after being locked in a locker, put headfirst into a toilet, punched and pushed around, called names, played jokes on, and other abuse, I finally had enough.

I cracked. I could not psychologically take anymore hurt and punctures to my self-esteem. A day or two after my birthday, I was on the school basketball court, shooting hoops. My mother had given me a basketball as a gift, and I was reveling in the fun of this new sport. But as expected (though I did not think about it at the time), another child started to bother me. He came up to me, and without a word, took the basketball out of my hands as I was dribbling. I was so shocked and emotionally tied to that gift that without a moment’s notice, I punched the kid in the face. I knocked him down and he immediately ran away crying. I never asked if he was playfully taking the ball from me, but I had had enough bullying in my day to react strongly to such an action.

Apparently, the boy went to the principal and reported my violence. I was called to the principal’s office during my next class and walked in with my own form of ethics. The boy had been a bully, and he deserved a repercussion. However, the principal and I did not see eye to eye, naturally. He called my mother about the incident, and she was surprised that I would do such a thing. I had always been the quiet kid, playing with toys by himself, or tagging along with other children as more of a witness than a major participant.

No one’s mother expects their child to punch someone, but it happens for certain reasons. In my case, I had been dominated by my classmates for years, and that pent-up anger and shame resulted in a violent action. From then on, I figured out that I did not need to be bullied. I could take action. I found that my anger and resentment gave me a wild strength, which was unmatched by the usual fighting powers of a calm kid. In a way, I went to the dark side (in reference to Star Wars). I found a way to combat my enemies, but not in the healthiest of avenues.

In middle school, I dug my nails into a boy’s arm and restrained him after he made several verbal attacks towards me. He was much bigger and taller than me, but my anger guided me towards illogical and throwing estimating my chances to the wind. In high school, a junior beat up my twin brother. My brother and I were both freshmen at the time. When I saw him next, I choked him and even dragged him up to a light post, where I banged his head on a metal pole. His girlfriend was watching and was terrified. I do not know exactly what I had come over me, but from that time in elementary school where I first used my fists to resolve an issue, I did not look back. I had found a solution that made me feel strong, confident, and able to take on the world. However, there was one problem: it put holes in my bedroom door, it led to unnecessary attacks on my family, and I found that the sensation of not being able to control my anger, troubling.

Thank heavens I started to meditate. By the time I was 19 years old, bullies were not a problem anymore, and I had no use for my boiling anger. When I started to meditate every day, I found that the person beyond the anger was much more agreeable to be around. I wanted to be more like that person every day. So, I continued to meditate daily, and eventually I became the person that I wanted to be. I learned that anger was a temporary solution, but I did not need to drag it on throughout the years. Now, I am much more satisfied to be peaceful inside.

Questions: 1. Upon reading the title, what did you expect the text to be about? ______2. After reading the text in its entirety, do you think the title is a fitting one and is inviting enough for readers to read on? Elaborate. ______3. How did the writer begin his text? ______How did he end it? ______4. What is the piece about? What is its plot? Exposition/ background: ______Conflict: ______Climax: ______Resolution/ Denouement: ______Theme: ______5.The writer mentioned the dark side, in reference to Star Wars which is an example of ______to mean ______. 6. Does the text read like fiction? Why do you say so? ______

ELEMENTS OF CREATIVE NONFICTION

⚫ Creative Nonfiction uses elements of fiction such as:

1. Theme - central message

2. Plot - consisting of:

Exposition-establishes setting, mood and characters

Rising action - introduces the conflict

Climax - the most suspenseful; highest action

Falling action - conflict begins to die down

Denouement - resolution; loose ends are tied up

3. Characters:

Round - complex or Flat - uncomplicated dynamic - changes as story unfolds or static - do not change as story unfolds

4. Point of View - the perspective a story is told:

1st Person - the writer is part of the action; hint - I, We

2nd Person - direct address to reader; hint: you

3rd Person - writer is an observer; could be 3rd Person omniscient - or writer is all-knowing of almost all his characters including their thoughts; limited - limited to one or two characters; or of the writer’s knowledge

5. Setting - where and when the story happened; season; the general social conditions

6. Figures of Speech - use of terms not of their literal meaning but of symbolic/ associated or representative meaning for purpose of comparison or dramatic effect

We have learned the more common figures of

speech in the first two lessons. We will know some more as we go along our journey in Creative Nonfiction. Plot Development

⚫ Catchy, clever titles help to arouse interest in readers

⚫ The key to good creative nonfiction is dramatic writing. The beginning paragraph has to captivate readers’ attention and interest. Following are some ways:

1. Vivid Description - a description of the scenery; people or event through imagery and other means.

Example: The lights were up. The entire community was wide awake and chanting his name.. Children dressed in red checkered skirts held on their saxophones tied with tiny yellow ribbons. Their hero deserved to be honored.

2. Quotation - use of a quotation to drive a message across.

Example: “This too shall pass,” his friend assured him. Although they have lost their jobs and were stuck in the city because of the quarantine and were lacking for food and other supplies, they remained grateful.

3. List - an enumeration or rundown

Example: She was suffering a terrible headache and was all sweaty. Her tiny well-shaped nose was red as mucus continue to well from her nostrils. Her eyes were red and so was the entirety of her frail body. She was sick and yet continued to work.

4. Dialogue - an exchange of conversation

Example: “I cannot possibly participate in protests,” he said. “My family has long been identified as leftists.” But his girlfriend replied, “We cannot betray the cause that we fight for, for so long. The masses need us.” The couple silently approached the raving crowd and took their placards. They were all in this together until issues were resolved.

5. Little Scene - use of an actual occurrence to drive a point.

Example: The policeman grabbed the vendor who was on his knees begging for consideration. Earlier, he was counting how many more he needed to sell to buy medicine for his sick child. Sometimes, ones call of duty is challenged by one’s humanity.

6. Anecdote - a short interesting story

Example: My mother was the most doting of housekeepers. She would plan our meals down to morning and afternoon snacks. Each was a different theme. One day, as we were going about our usual play and taunting, we were shocked by an explosion coming from the kitchen. There was silence for a while. We were waiting for mom to make a sound from there. We were all relieved when she came out with a big grin. “just a little accident,” she explained. She has always taught us to see the silver lining in all unfortunate things.

7. Question - usually a rhetorical, open-ended question requiring an explanation or thought.

Example: “How long should we suffer from injustice? Have we become so brazen that we deprive bread to our neighbor’s child?

8. Striking Statement - one that catches attention because it is unique, thought-provoking, unusual or incredulous.

Example: Mothers make the best warriors. They stand by their children no matter what and can face the most powerful of obstacles if only to secure them. Despite mounting evidence against him, his mother has vehemently belied all accusations and have successfully gained some airtime with her protests.

9. Reference to a current event that serves as the context of the action

Example: The afternoon of March 13, 2020 was when the Department of Education announced the suspension of classes due to COVID 19. Since then, the department has been working towards continued learning in alternative modes such as virtual classes, modular or through mass media. Until the availability of a vaccine, face to face on-site classes will have to wait. The safety of learners is foremost.

⚫ The end or concluding paragraph of creative nonfiction provides resolution to issues, recommendations, a summary of points and added problems or questions to ponder. As much as the beginning has to be interesting, so should the ending be.

Instructions: In at least five (5) sentences, write a vivid description of the most favorite dish/ food you enjoy with a loved one: (color, aroma/smell; texture; taste, crunch, etc.). Also describe on what occasions you usually prepare or order the dish/food.

A VIVID DESCRIPTION:

Instructions: Write a word that you can associate with the different ways to write an interesting introductory paragraph. (example: vivid description - colors)

1. Dialogue ______

2. Little scene ______

3. List ______

4. Question ______

5. Striking statement ______

6. Anecdote ______

7. Quotation ______

Instructions: Go back to the activity on Let’s Brace Up and choose one from among the three experiences you listed to make at least a 5- sentence introductory paragraph on. Choose from among the different ways discussed. ______

Assessment # 3

Name: ______Grade & Section: ______

Date: ______Score: ______

Instructions. Write the letter of the correct answer.

A. vivid description B. quotation C. dialogue D. list/enumeration E. question F. little scene G. striking statement H. reference to current event

____ 1. The frail old lady was just about to cross the street when this grim- looking traffic enforcer grabbed her to the side, lashing at her for not using the pedestrian lane. Whatever are his intentions, she had been shamed and reduced to utter stupidity. Needless to say, duty and morality clash.

____ 2. The place looked like a scene from a movie. There was utter chaos with people shouting or crying for their loved ones. There was only the overwhelming stench of death and debris from fallen roofs were all scattered on the roadside; nearby were piles of and more piles of rotten corpses. Typhoon Hayan proved just how devastating nature’s fury could be.

____ 3.“Make peace, not War.” If only world leaders would subscribe to this mantra. Life and well-being more than anything else matters. There is no victor in war, in fact. It is only a grim picture of death, of children losing their homes and families; communities scampering for safety or food crumbs.

____ 4. “If I should die soon, know that you are loved.” You are not going anywhere, father.” Still, the old man feared for his life. After all, he had been in the drug trade for a quarter of his existence. “One’s mistake will catch up with him sooner or later, son. Promise me you will grow up to be an honest, responsible man for your family” “I promise,” the son replied.

____ 5. World War III is most imminent. With America firm on its stand about preempting some more attacks on Iraq and other nearby places; thus killing Iran’s Number 2 most influential in terms of war affairs, Iran is not backing out at all on avenging its own.

____ 6. Teenage pregnancy has significant repercussions on the expectant, most often accidental mother. Having to stop schooling, giving up on teenage fun and health risks are only a few of the many issues a young mom has to contend with.

____ 7. How hard could climate change impact this generation and the next? Lobbyists have by far painted a grim picture of the effects of environment abuse and yet annihilation on the environment by human activities and greed isn’t at controllable level. The Amazon Rain forests and the Great Barrier Reef being strongholds of environmental sustainability are even in greater risk.

____ 8. Recently, we have been bombarded with news about planned US attacks and Iran’s revenge. War leaves nothing but destruction. It separates families, often resulting in many deaths among troops; grief among mothers, children and widows; and to the luckier few, lifetime torment caused by post- traumatic stress disorder (PTSD).

____ 9. How else can media entities act as watchdogs when they themselves are silenced? Although media is not impeccably noble in its role in society, it is not for one sector to decide on its fate.

____ 10. Following the full launch of the K to 12 Program with the entry of Senior High School pioneers in 2016, there are yet many issues to be resolved. Computerization, teacher-student ratio, conducive classrooms and school- industry partnership are only some of these. There is a need for sufficient budget for majority of the concerns aforementioned.

Instructions. Write an anecdote about your most embarrassing experience and how you rose up above the situation.

Good job! There is so much more to explore in Creative Nonfiction. I’m sure you’ll be a “pro” in no time.

D 10. Omniscient 10.

E 9. Monologue 9.

H 8. Conflict 8.

E 7. Person 3 7.

D 6. Symbolism 6.

G 5. Second 5.

C 4. Plot 4.

B 3. Setting 3.

A 2. Dialogue 2.

F 1. Character 1.

Assessment Assessment - Pre

40 References:

Aguila, A., Galan, R.S., Wigley, J (2017) Telling the Truth: The Art of Creative Nonfiction. Quezon City: C & E Publishing Inc. Sygaco, S. (2017) Writing Techniques in Creative Nonfiction. Quezon City: Great Books Trading Online Sources: https://www.aswangproject.com/bakunawa-and-the-seven-moons-the-original-story- with-translation-and-annotations/ https://academichelp.net/samples/academics/essays/narrative/ https://www.poetryfoundation.org/poems/51642/invictus http://www.clipartpanda.com/categories/target-clip-art-bullseye https://www.kissclipart.com/knowledge-clip-art-clipart-clip-art-e1ugtf/ https://favpng.com/png_view/food-chain-clipart-chain-hyperlink-website-clip-art- png/0JSXsTQc https://www.pinterest.ph/pin/762726886861783057/ https://www.pngkit.com/view/u2q8a9w7t4a9e6i1_png-royalty-free-download- magnifying-glass-book-clipart/ http://clipart-library.com/children-reading-books-clipart.html https://clipartlook.com/img-50734.html https://www.adazing.com/book-clipart/ https://dlpng.com/png/4523268 http://clipart-library.com/checklists-cliparts.html http://clipart-library.com/samson-cliparts.html https://www.pinterest.ph/pin/72128031506699211/ https://www.clipartmax.com/middle/m2i8i8d3A0N4K9Z5_reality-truth-clip-art-truth- clipart/ http://clipart-library.com/images-for-teachers.html https://cliparting.com/free-dragon-clipart-7407/

For inquiries and feedback, please write or call:

Department of Education, Region VII, Division of Cebu Province

(IPHO Bldg., Sudlon, Lahug, Cebu City)

Telefax (032) 255-6405

Email Address: [email protected]

Elements of Creative Writing

(3 reviews)

J.D. Schraffenberger, University of Northern Iowa

Rachel Morgan, University of Northern Iowa

Grant Tracey, University of Northern Iowa

ISBN 13: 9780915996179

Publisher: University of Northern Iowa

Language: English

Formats Available

Conditions of use.

Learn more about reviews.

Reviewed by Colin Rafferty, Professor, University of Mary Washington on 8/2/24

Comprehensiveness rating: 5 see less

Fantastically thorough. By using three different authors, one for each genre of creative writing, the textbook allows for a wider diversity of thought and theory on writing as a whole, while still providing a solid grounding in the basics of each genre. The included links to referred texts also builds in an automatic, OER-based anthology for students. Terms are not only defined clearly, but also their utility is explained--here's what assonance can actually do in a poem, rather than simply "it's repeated vowel sounds,"

Content Accuracy rating: 5

Calling the content "accurate" requires a suspension of the notion that art and writing aren't subjective; instead, it might be more useful to judge the content on the potential usefulness to students, in which case it' s quite accurate. Reading this, I often found myself nodding in agreement with the authors' suggestions for considering published work and discussing workshop material, and their prompts for generating creative writing feel full of potential. It's as error-free, if not more so, than most OER textbooks (which is to say: a few typos here and there) and a surprising number of trade publications. It's not unbiased, per se--after all, these are literary magazine editors writing the textbook and often explaining what it is about a given piece of writing that they find (or do not find) engaging and admirable--but unbiased isn't necessarily a quantity one looks for in creative writing textbooks.

Relevance/Longevity rating: 4

The thing about creative writing is that they keep making more of it, so eventually the anthology elements of this textbook will be less "look what's getting published these days" and more "look what was getting published back then," but the structure of the textbook should allow for substitution and replacement (that said, if UNI pulls funding for NAR, as too many universities are doing these days, then the bigger concern is about the archive vanishing). The more rhetorical elements of the textbook are solid, and should be useful to students and faculty for a long time.

Clarity rating: 5

Very clear, straightforward prose, and perhaps more importantly, there's a sense of each author that emerges in each section, demonstrating to students that writing, especially creative writing, comes from a person. As noted above, any technical jargon is not only explained, but also discussed, meaning that how and why one might use any particular literary technique are emphasized over simply rote memorization of terms.

Consistency rating: 4

It's consistent within each section, but the voice and approach change with each genre. This is a strength, not a weakness, and allows the textbook to avoid the one-size-fits-all approach of single-author creative writing textbooks. There are different "try this" exercises for each genre that strike me as calibrated to impress the facets of that particular genre on the student.

Modularity rating: 5

The three-part structure of the book allows teachers to start wherever they like, genre-wise. While the internal structure of each section does build upon and refer back to earlier chapters, that seems more like an advantage than a disadvantage. Honestly, there's probably enough flexibility built into the textbook that even the callbacks could be glossed over quickly enough in the classroom.

Organization/Structure/Flow rating: 5

Chapters within each genre section build upon each other, starting with basics and developing the complexity and different elements of that genre. The textbook's overall organization allows some flexibility in terms of starting with fiction, poetry, or nonfiction.

Interface rating: 4

Easy to navigate. I particularly like the way that links for the anthology work in the nonfiction section (clearly appearing at the side of the text in addition to within it) and would like to see that consistently applied throughout.

Grammatical Errors rating: 5

A few typos here and there, but you know what else generally has a few typos here and there? Expensive physical textbooks.

Cultural Relevance rating: 5

The anthology covers a diverse array of authors and cultural identities, and the textbook authors are not only conscious of their importance but also discuss how those identities affect decisions that the authors might have made, even on a formal level. If you find an underrepresented group missing, it should be easy enough to supplement this textbook with a poem/essay/story.

Very excited to use this in my Intro to CW classes--unlike other OERs that I've used for the field, this one feels like it could compete with the physical textbooks head-to-head. Other textbooks have felt more like a trade-off between content and cost.

Reviewed by Jeanne Cosmos, Adjunct Faculty, Massachusetts Bay Community College on 7/7/24

Direct language and concrete examples & Case Studies. read more

Direct language and concrete examples & Case Studies.

References to literature and writers- on track.

Relevance/Longevity rating: 5

On point for support to assist writers and creative process.

Direct language and easy to read.

First person to third person. Too informal in many areas of the text.

Units are readily accessible.

Process of creative writing and prompts- scaffold areas of learning for students.

Interface rating: 5

No issues found.

The book is accurate in this regard.

Cultural Relevance rating: 4

Always could be revised and better.

Yes. Textbook font is not academic and spacing - also not academic. A bit too primary. Suggest- Times New Roman 12- point font & a space plus - Some of the language and examples too informal and the tone of lst person would be more effective if - direct and not so 'chummy' as author references his personal recollections. Not effective.

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

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

Comprehensiveness rating: 4 see less

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

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

The book is relevant and up-to-date.

The text is clear and easy to understand.

Consistency rating: 5

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

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

Topics are presented in logical, clear fashion.

Navigation is good.

No grammatical issues that I could see.

Cultural Relevance rating: 3

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

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

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

Creative Nonfiction

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

Back Matter

Contributors
North American Review Staff

Ancillary Material

University of Northern Iowa

About the Book

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

About the Contributors

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

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

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

Contribute to this Page

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

We're Hiring!
Help Center

K to 12 BASIC EDUCATION CURRICULUM SENIOR HIGH SCHOOL – ACADEMIC TRACK

Related Papers

John Kilgore

Karen Le Rossignol

In a recent issue of TEXT, Matthew Ricketson sought to clarify the ‘boundaries between fiction and nonfiction’. In his capacity as a teacher of the creative nonfiction form he writes, ‘I have lost count of the number of times, in classes and in submitted work, that students have described a piece of nonfiction as anovel’. The confusion thus highlighted is not restricted to Ricketson’s journalism students. In our own university’s creative writing cohort, students also struggle with difficulties in melding the research methodology of the journalist with the language and form of creative writing required to produce nonfiction stories for a 21st century readership. Currently in Australia creative nonfiction is enthusiastically embraced by publishers and teaching institutions. Works of memoir proliferate in the lists of mainstream publishers, as do anthologies of the essay form. During a time of increasing competition and desire for differentiation between institutions, when graduate out...

Nonfiction, The Teaching of Writing, and the Influence of Richard Lloyd-Jones

Bruce P Ballenger

A few years ago, the M.F.A. and undergraduate creative writing programs unexpectedly left my English department, joining theater and several other programs in a new School of the Arts. The decision to leave was negotiated secretly with the president's office and stunned most department members. Among them were the rhetoric and composition faculty-myself included-who had for years staffed the creative nonfiction offerings, including the introductory undergraduate course and the graduate M.F.A. workshop. The graduate course would surely leave with the M.F.A. But what about the undergraduate class? Introduction to Creative Nonfiction was originally conceived by the rhetoric and composition faculty, who also taught-and cherished-the course. Unsurprisingly, the creative writing faculty argued that English 204 was a "creative" writing course, and therefore belonged with them as part of their new undergraduate curriculum.

Crisis Reporters, Emotions, and Technology

Johana Kotišová

The first part of the methodological chapter explains in detail how and why the style of writing bringing together empirical material and fiction, termed “creative nonfiction,” was employed, and illustrates its main functions: illustrative, allegorical, organizing, effective, and reflexive. The author also explains most of the metaphors used in the research monograph including the character of James, the fictional journalist, and argues that the book profits precisely from the intersections of the factual and fictional narratives. The second part of the chapter re-tells the ethnographic research process, following four stages: establishing the field, immersion in the research problem, disentanglement, and return to the field. Kotisova also addresses the epistemology and methodology of studying emotions, and the opportunistic, multi-sited, and participatory logic of the research design.

The WAC Clearinghouse; University Press of Colorado eBooks

College English

This article explores the genre of creative nonfiction, highlighting the largely hidden processes that influence our appraisals of it. Using a framework that builds from genre theory, this work argues that by exposing and confronting the complexity of the mechanisms by which we judge writing to be factual, we can productively intervene in debates about writing’s veracity, and more broadly, we can better understand why we tend to discount divergent views on facts.

from The Centrality of Style Edited by Mike Duncan and Star Medzerian Vanguri

Crystal N Fodrey

This chapter makes the following argument: Undergraduates studying essayistic composing—especially those at the beginner or intermediate level—can benefit from stylistic instruction just as other composition students can. Regardless of whether a creative nonfiction course is housed in composition or creative writing, style study in such courses has the potential to demystify what makes flash essays, travel memoirs, literary journalism, nature writing, and so on, different from the more traditional forms of academic writing to which they are accustomed. Teaching the importance of style analysis and production helps students new to the genre of creative nonfiction understand what it means when they are asked to write in an open, identification-seeking, literary way.

Tanya Bennett

Stacey Korson

Sheffield Maravilla

Loading Preview

Sorry, preview is currently unavailable. You can download the paper by clicking the button above.

RELATED PAPERS

Dissertation

Jennifer Manalo

Mary Soliday

LEARNing Landscapes

Mark Silverberg

William Germano , Margret Grebowicz , Christopher J. Lee

Ursula Hurley

University of New England

Julian Croft

Amy Ebersole

Cardiff University Phd Thesis

Josie Pearse

Michael Arnzen , Heidi Miller

Frances Kalu , Patricia Leavy

Journal of Literacy Research

Jill V Jeffery , Sarah Beck

Raquel Haua

English Leadership Quarterly

Ευθυμία Σταυρογιαννοπούλου , DIMITRIOS POLITIS

ACADEMIC WRITING AND BEYOND IN …

Ilana Shiloh

English: Shared Futures, English Association’s ‘Essays and Studies’ series, Vol 71

Bárbara Gallego Larrarte , Diya Gupta , Elleke Boehmer

Academia Letters

Stoycheva Katya

Qualitative Inquiry

Jerry Rosiek

Maria Lahman

Scholars International Journal of Obstetrics and Gynecology

Hamzah Abdurraheem

Introduction to Philosophy Method of Philosophizing Quarter 1 Week 5

Computer systems servicing nc ii quarter 1 – module 2/week 2-3: assessing own work and engaging in quality improvement, entrepreneurship quarter 1 — module 2 recognize a potential market, entrepreneurship quarter 1 — module 1 introduction to entrepreneurship, 21st century literature from the philippines and the world module 1: geographic, linguistic and ethnic dimensions of philippine literary history from pre-colonial to the contemporary, 21st century literature from the philippines and the world module 2: conventional and 21st century genres, 21st century literature from the philippines and the world module 3: context and text’s meaning, 21st century literature from the philippines and the world module 4: creative representation of a literary text, 21st century literature from the philippines and the world module 5: elements of a short story, 21st century literature from the philippines and the world quarter 2 – module 6: writing a close analysis and critical interpretation of literary texts applying a reading approach, 21st century literature from the philippines and the world quarter 2 – module 7: differentiating 21st century literary genres, 21st century literature from the philippines and the world quarter 2 – module 8: creative literary adaptations, 21st century literature from the philippines and the world quarter 2 – module 9: flash fiction: the plot, contemporary philippine arts from the region quarter 2 – module 1: local materials used in creating art, contemporary philippine arts from the region quarter 2 – module 1: state and non-state institutions, contemporary philippine arts from the region quarter 2 – module 2: functions and importance of education, contemporary philippine arts from the region quarter 2 – module 3: concept, characteristics and forms of stratification systems, contemporary philippine arts from the region quarter 2 – module 4: government programs and suggestions in addressing social inequalities, contemporary philippine arts from the region quarter 2 – module 6: new challenges in contemporary societies, disaster readiness and risk reduction disaster readiness and risk reduction module (pivot), disaster readiness and risk reduction module 10: hazard: its impact, identification and risk assessment, disaster readiness and risk reduction module 11: earthquake hazards and risk reduction methods, disaster readiness and risk reduction module 14: interpret earthquake hazard map, disaster readiness and risk reduction module 16: signs of impending volcanic eruption, disaster readiness and risk reduction module 1: basic concept of disaster and disaster risk, disaster readiness and risk reduction module 2: risk factors underlying disasters, disaster readiness and risk reduction module 3: disasters and its effects, disaster readiness and risk reduction module 4: disasters from different perspectives, disaster readiness and risk reduction module 5: vulnerability, disaster readiness and risk reduction module 6: vulnerability in disaster, disaster readiness and risk reduction module 7: vulnerabilities of different elements exposed to hazards, disaster readiness and risk reduction module 8: effects of hazard, exposure and vulnerability to disaster risks, disaster readiness and risk reduction module 9: hazard and its types, disaster readiness and risk reduction quarter 2 – module 10: fire hazards: concepts and causes, disaster readiness and risk reduction quarter 2 – module 11: fire hazards and related concepts, disaster readiness and risk reduction quarter 2 – module 12: response procedure during a fire incident, disaster readiness and risk reduction quarter 2 – module 13: fire emergency and evacuation plan, disaster readiness and risk reduction quarter 2 – module 14: key concepts, principles and elements of drr, disaster readiness and risk reduction quarter 2 – module 17: community preparedness plan, disaster readiness and risk reduction quarter 2 – module 18: survival kits and materials, disaster readiness and risk reduction quarter 2 – module 1: geological hazards, disaster readiness and risk reduction quarter 2 – module 2: causes of other related geological hazards, disaster readiness and risk reduction quarter 2 – module 3: signs of other related geological hazards, disaster readiness and risk reduction quarter 2 – module 4: interpretation of geological maps, disaster readiness and risk reduction quarter 2 – module 5: mitigation strategies: a prevention to loss of lives and properties, disaster readiness and risk reduction quarter 2 – module 6: hydrometeorological hazards, disaster readiness and risk reduction quarter 2 – module 7: hydrometeorological hazards, disaster readiness and risk reduction quarter 2 – module 8: monitoring tools for hydrometeorological hazards, disaster readiness and risk reduction quarter 2 – module 9 the elements of fire triangle, disaster readiness and risk reduction quarter 2: module 15 recognize the importance of drr on one’s life, disaster readiness and risk reductionquarter 2 – module 19: policies of drrm - the philippine drrm law ra 10121 and its implementing rules and regulations, earth and life science earth and life science (pivot), earth and life science module 10: movements of plates and formation of folds and faults, earth and life science module 11: formation of rock layers, earth and life science module 12: relative and absolute dating, earth and life science module 13: geologic time scale: relative and absolute dating, earth and life science module 14: geologic timeline, earth and life science module 15: geologic processes and hazards, earth and life science module 16: geologic processes and hazards, earth and life science module 17: geologic processes and hazards, earth and life science module 18: hydrometeorological phenomena and hazards, earth and life science module 19: marine and coastal processes, earth and life science module 1: origin and structure of the earth (planet earth), earth and life science module 20 mitigation to coastal processes and hazards, earth and life science module 2: origin and structure of the earth (the subsystem), earth and life science module 3: minerals, earth and life science module 4: rocks, earth and life science module 5: exogenic processes, earth and life science module 6: the earth’s internal heat, earth and life science module 7: magmatism, earth and life science module 8: changes in mineral components and texture of rocks (metamorphism), earth and life science module 9: igneous rocks: how are they formed, earth and life science quarter 2 – module 21: evolving concept of life based on emerging pieces of evidence, earth and life science quarter 2 – module 22: unifying themes in the study of life, earth and life science quarter 2 – module 23: perpetuation of life, earth and life science quarter 2 – module 24: genetic engineering, earth and life science quarter 2 – module 25: benefits of genetically modified organisms, earth and life science quarter 2 – module 26: organ systems of representative animals, earth and life science quarter 2 – module 27: organ systems of representative animals, earth and life science quarter 2 – module 28: the process of evolution, earth and life science quarter 2 – module 29: the process of evolution, earth science (pivot module), earth science module 4: classification of rocks, earth science module 5: important minerals to society, earth science module 6: ore minerals: how they are found, mined, and processed for human use, earth science module 7: formation of fossil fuels, earth science quarter 2 – module 10: different methods of determining the age of stratified rocks, earth science quarter 2 – module 11: relative and absolute dating, earth science quarter 2 – module 12: describe how index fossils (also known as guide fossils) are used to define and identify subdivisions of the geologic time scale, earth science quarter 2 – module 13: the history of earth, earth science quarter 2 – module 1: weathering, earth science quarter 2 – module 2: earth’s internal heat sources, earth science quarter 2 – module 3: endogenic processes: plutonism and volcanism, earth science quarter 2 – module 4: metamorphism, earth science quarter 2 – module 6: seafloor spreading, earth science quarter 2 – module 8: movement of plates, earth science quarter 2 – module 9: how layers of rocks (stratified rocks) are formed, earth science quarter 2 – week 4: structure and evolution of ocean basins, earth science quarter 2 –module 5 rock behaviors under stress, general mathematics module 10: solving real-life problems involving rational functions, equations, and inequalities, general mathematics module 11: one-to-one functions, general mathematics module 12: the inverse of one-to-one functions, general mathematics module 14: domain and range of inverse functions, general mathematics module 15: solving real-life problems involving inverse functions, general mathematics module 17: exponential functions, equations and inequalities, general mathematics module 18: solving exponential equations and inequalities, general mathematics module 1: functions, general mathematics module 20: domain and range of exponential functions, general mathematics module 26: domain and range of logarithmic functions, general mathematics module 27: intercepts, zeroes and asymptotes of logarithmic functions, general mathematics module 28: solving real-life problems involving logarithmic functions, equations and inequalities, general mathematics module 2: evaluating functions, general mathematics module 3: operations on functions, general mathematics module 4: solving real- life problems involving functions, general mathematics module 5: rational functions, equations and inequalities, general mathematics module 6: solving rational equations and inequalities, general mathematics module 7: representations of rational functions, general mathematics module 8: the domain and range of a rational functions, general mathematics module 9: intercepts, zeroes and asymptotes of rational functions, general mathematics pivot module in general mathematics, general mathematics quarter 2 – module 10: market indices for stocks and bonds, general mathematics quarter 2 – module 11: business and consumer loans, general mathematics quarter 2 – module 12: solving problems on business and consumer loans, general mathematics quarter 2 – module 13: propositions, general mathematics quarter 2 – module 14: simple and compound propositions, general mathematics quarter 2 – module 15: logical operators, general mathematics quarter 2 – module 16: truth values of propositions, general mathematics quarter 2 – module 17: logical equivalence and conditional propositions, general mathematics quarter 2 – module 18: tautologies and fallacies, general mathematics quarter 2 – module 19: validity of categorical syllogisms, general mathematics quarter 2 – module 1: simple and compound interests, general mathematics quarter 2 – module 20: valid arguments and fallacies, general mathematics quarter 2 – module 2: interest, maturity, future, and present values in simple and compound interests, general mathematics quarter 2 – module 3: solving problems involving simple and compound interest, general mathematics quarter 2 – module 4: simple and general annuities, general mathematics quarter 2 – module 5: future and present values of simple and general annuities, general mathematics quarter 2 – module 6: fair market value of a cash flow, general mathematics quarter 2 – module 7: deferred annuity, general mathematics quarter 2 – module 8: stocks and bonds, general mathematics quarter 2 – module 9: different markets for stocks and bonds, introduction to philosophy of the human person doing philosophy, introduction to philosophy of the human person module 2.1: methods of philosophizing, introduction to philosophy of the human person module 2.2 methods of philosophizing, introduction to philosophy of the human person module 3: the human person as an embodied spirit, introduction to philosophy of the human person module 4: the human person in the environment, introduction to philosophy of the human person quarter 2 – module 1: freedom and responsibility, introduction to philosophy of the human person quarter 2 – module 2: intersubjectivity, introduction to philosophy of the human person quarter 2 – module 3: human person and society, introduction to philosophy of the human person quarter 2 – module 4: human person and death, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan – modyul 1: wika sa panayam at balita sa radyo at telebisyon, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan–modyul 13: pagsusuri sa pananaliksik, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan–modyul 2: sitwasyong pangwika sa social media, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan–modyul 3: sitwasyong pangwika sa pelikula at dula, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan–modyul 4: sitwasyong pangwika sa larangan ng edukasyon, pamahalaan, at kalakalan, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan–modyul 5: sitwasyong pangwika sa panahon ng modernisasyon, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan–modyul 6: rehistro at barayti ng wika, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan–modyul 7: pagsusuri ng mga teksto gámit ang social media, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan–modyul 8: wika sa konteksto ng radyo at telebisyon, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan–modyul 9: kakayahang lingguwistiko, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan— modyul 10: kakayahang komunikatibo ng mga filipino, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan— modyul 11: kakayahang pragmatiko, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan— modyul 14: hakbang sa pagsulat ng pananaliksik, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan— modyul 15: pag-uugnay ng mga ideya, komunikasyon at pananaliksik sa wika at kulturang pilipino ikalawang markahan—modyul 16: pagsulat ng panimulang pananaliksik, komunikasyon at pananaliksik sa wika at kulturang pilipino kalawang markahan— modyul 12: pagsulat ng kritikal na sanaysay, komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 1-wika (kahulugan at kabuluhan ng wika), komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 10: pagtalakay ng iba’t ibang indibidwal ukol sa wikang pambansa, komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 11: pananaw ng iba’t ibang awtor sa wikang pambansa, komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 12: sanaysay, komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 13: sanhi at bunga, komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 2: konseptong pangwika (wikang pambansa, wikang opisyal, wikang panturo, at multilingguwalismo), komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 3: konseptong pangwika (homogenous at heterogenous na wika), komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 4: konseptong pangwika (rehistro/barayti ng wika, lingguwistikong komunidad), komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 5: mga konseptong pangwika, komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 6: gamit ng wika sa lipunan (instrumental at regulatori), komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 7: gamit ng wika sa lipunan (pasalita), komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 8: paraan ng paggamit ng wika sa lipunan, komunikasyon at pananaliksik sa wika at kulturang pilipino modyul 9: kasaysayan ng wikang pambansa, media and information literacy grade 12 (pivot), media and information literacy quarter 2 – module 1: the power of media and information, media and information literacy quarter 2 – module 2: current and future trends in media and information, media and information literacy quarter 2 – module 3: implications of media and information, media and information literacy quarter 2 – module 4: text and visual dimensions of information and media, media and information literacy quarter 2 – module 5: audio and motion dimensions of information and media, media and information literacy quarter 2 – module 6: manipulative and multimedia dimensions of information and media, media and information literacy quarter 2 – module 7: producing multimedia content, media and information literacy quarter 2 – module 8: evaluating multimedia, media and information literacy quarter 2 – module 9: creative content creation, oral communication in context module 1-functions, nature and process of communication, oral communication in context module 2: communication models, oral communication in context module 3: strategies to avoid communication breakdown, oral communication in context module 5: types of speech context, oral communication in context module 6: types of speeches and speech style, oral communication in context module 7: types of speech act, oral communication in context oral communication in context (pivot), oral communication in context quarter 2 – module 1: types of communicative strategy, oral communication in context quarter 2 – module 2: understanding speech context, speech style, speech act and communicative strategy, oral communication in context quarter 2 – module 3: principles of effective speech writing and delivery, pagbasa at pagsusuri ng iba’t ibang teksto tungo sa pananaliksik (pivot), pagbasa at pagsusuri ng iba’t ibang teksto tungo sa pananaliksik ikaapat na markahan–modyul 2: pagbibigay-kahulugan sa mga konseptong kaugnay ng pananaliksik, pagbasa at pagsusuri ng iba’t ibang teksto tungo sa pananaliksik ikaapat na markahan–modyul 3: proseso sa pagsulat ng pananaliksik, pagbasa at pagsusuri ng iba’t ibang teksto tungo sa pananaliksik ikaapat na markahan–modyul 4: lohikal at ugnayan ng mga idea sa pagsulat ng pananaliksik, pagbasa at pagsusuri ng iba’t ibang teksto tungo sa pananaliksik ikaapat na markahan–modyul 5: pagbuo ng isang maikling pananaliksik sa mga napapanahong isyu, pagbasa at pagsusuri ng iba’t ibang teksto tungo sa pananaliksik ikaapat na markahan—modyul 1: pagsusuri ng ilang halimbawang pananaliksik sa filipino batay sa layunin, gamit, metodo, at etika ng pananaliksik, personal development (pivot), personal development module 25: plan on how to make the family members firmer and gentler with each other, personal development quarter 2 – module 17: teen-age relationships including the acceptable and unacceptable expressions of attractions, personal development quarter 2 – module 18: personal relationship – attraction, love, and commitment, personal development quarter 2 – module 19: becoming responsible in personal relationships, personal development quarter 2 – module 21: social influence, personal development quarter 2 – module 22: conduct a mini-survey on filipino relationships (family, school, and community), personal development quarter 2 – module 23: family structures and legacies, personal development quarter 2 – module 24: make a genogram and trace certain physical, personality, or behavioral attributes through generations, personal development quarter 2 – module 26: factors influence career planning and decision making, personal development quarter 2 – module 27: career options based on career development concepts and personal life goals, personal development quarter 2 – module 28: identifying career option leading to attaining one’s personal goal, personal development quarter 2 – module 29: factors in personal development: guide in making important career decisions, personal development quarter 2 – module 30: importance of personal development in making a career decision, personal development quarter 2 – module 31 creative visualization of personal development through the various stages that you went through, personal development quarter 2 – module:20 various roles of different individuals in society and how they can influence people through their leadership or followership, physical science module 1-formation of heavy elements, physical science module 10: limiting reactants and the amount of products formed, physical science module 11: how energy is produced and managed, physical science module 12: active ingredient(s) of cleaning products used at home, physical science module 13: use of the other ingredients in cleaning agents, physical science module 2: concept of atomic number led to the synthesis of new elements in the laboratory, physical science module 3: polarity of molecules, physical science module 4: polarity of molecules and its properties, physical science module 5: general types of intermolecular forces, physical science module 6: effects of intermolecular forces on properties of substances, physical science module 7: biological macromolecules, physical science module 8: collision theory and chemical reaction rate, physical science module 9: catalyst, physical science physical science (pivot), physical science quarter 2 – module 1 ancient astronomy, physical science quarter 2 – module 10 the wave nature of light, physical science quarter 2 – module 11 various light phenomena, physical science quarter 2 – module 12 radio waves, physical science quarter 2 – module 13: special theory of relativity, physical science quarter 2 – module 14: the consequences of the postulates of special relativity theory, physical science quarter 2 – module 15 general theory of relativity, physical science quarter 2 – module 16 how the speeds and distances of far-off objects are estimated (e.g., doppler effect and cosmic distance ladder), physical science quarter 2 – module 17:how we know that we live in an expanding universe, physical science quarter 2 – module 2: examples of astronomical phenomena before the advent of telescopes, physical science quarter 2 – module 3 modern astronomy, physical science quarter 2 – module 4 the aristotelian and galilean conceptions of vertical, horizontal, and projectile motions, physical science quarter 2 – module 5 how galileo inferred that objects in vacuum fall in uniform acceleration, physical science quarter 2 – module 6 understanding newton’s first law of motion, physical science quarter 2 – module 7: propagation of light, physical science quarter 2 – module 8: photon concept and its practical application, physical science quarter 2 – module 9 dual nature of electrons, reading and writing skills pivot-module, reading and writing skills quarter 4 – module 4: hypertext and intertext, reading and writing skills quarter 4 – module 5: critical reading as reasoning, reading and writing skills quarter 4 – module 6: formulating evaluative statements, reading and writing skills quarter 4 – module 7: determining textual evidence, reading and writing skills quarter 4 – module 8: composing academic writing, reading and writing skills quarter 4 – module 9: composing professional correspondence, statistics and probability module 10: identifying appropriate test statistic involving population proportion, statistics and probability module 11: identifying appropriate rejection region involving population proportion, statistics and probability module 12: computing test statistic value involving population proportion, statistics and probability module 13: drawing conclusions about population proportion based on test statistic value and rejection region, statistics and probability module 14: solving problems involving test of hypothesis on population proportion, statistics and probability module 15: illustrating the nature of bivariate data, statistics and probability module 16: constructing a scatter plot, statistics and probability module 17: describing the shape (form), trend (direction), and variation ( strength) based on a scatter plot, statistics and probability module 18: calculating the pearson’s sample correlation coefficient, statistics and probability module 19: solving problems involving correlation analysis, statistics and probability module 1: testing hypothesis, statistics and probability module 20: identifying dependent and independent variables, statistics and probability module 2: identifying parameters for testing in given real-life problems, statistics and probability module 3: formulating appropriate null and alternative hypotheses on a population mean, statistics and probability module 4: identifying appropriate test statistics involving population mean, statistics and probability module 5: identifying the appropriate rejection region for a given level of significance, statistics and probability module 6: computing test statistic on population mean, statistics and probability module 7: drawing conclusion about population mean based on test statistic value and critical region, statistics and probability module 8: solving problems involving test of hypothesis on population mean, statistics and probability module 9: formulating appropriate null and alternative hypotheses on a population proportion, statistics and probability pivot-module, understanding culture, society and politics (pivot), understanding culture, society and politics quarter 2 – module 1: state and non-state institutions, understanding culture, society and politics quarter 2 – module 2: functions and importance of education, understanding culture, society and politics quarter 2 – module 3: concept, characteristics and forms of stratification systems, understanding culture, society and politics quarter 2 – module 4: government programs and suggestions in addressing social inequalities, understanding culture, society and politics quarter 2 – module 6: new challenges in contemporary societies.

No category

Creative Writing Module 1 Student's Copy

Add this document to collection(s)

You can add this document to your study collection(s)

Add this document to saved

You can add this document to your saved list

Suggest us how to improve StudyLib

(For complaints, use another form )

Input it if you want to receive answer

Best Distance Learning Tool
Free EdtechTools
_Create Interactive Content
_Remote Desktop Apps
_Randomizer/Spinner
_Video Maker/Editor
_Best URL Shortener
_Texbook Online
Featured Post
DepED Latest News
DepEd New RPMS Tools 2021
DepEd QUARTER 3 SLMs

DepEd ALL Subject SHS e-SLMs | Ready-to-print Modules School Year 2021-2022 | Download Now

21ST CENTURY LITERATURE FROM THE PHILIPPINES AND THE WORLD
CONTEMPORARY PHILIPPINE ARTS FROM THE REGIONS
DISASTER READINESS AND RISK REDUCTION
EARTH SCIENCE FOR STEM
EARTH AND LIFE SCIENCE
GENERAL MATHEMATICS
KOMUNIKASYON AT PANANALIKSIK SA WIKA AT KULTURANG PILIPINO
ORAL COMMUNICATION IN CONTEXT
PANSARILING KAUNLARAN
HEALTH OPTIMIZING PHYSICAL EDUCATION
PERSONAL DEVELOPMENT
PHYSICAL SCIENCE
UNDERSTANDING CULTURE, SOCIETY, AND POLITICS
SENIOR HIGH SCHOOL (APPLIED SUBJECTS)
ENGLISH FOR ACADEMIC AND PROFESSIONAL PURPOSES
EMPOWERMENT TECHNOLOGIES
ENTREPRENEURSHIP
FILIPINO SA PILING LARANG - AKADEMIK
FILIPINO SA PILING LARANG - ISPORTS
FILIPINO SA PILING LARANG - TVL
INQUIRIES, INVESTIGATION, AND IMMERSION
PRACTICAL RESEARCH 1
PRACTICAL RESEARCH 2

SLMs for Quarter 1 - Quarter 4 - [Available for Download]

Free 15 CPD Units Master Class on Deaigning MATATAG-Ready Math and Science Classes for Grades 1, 4 and 7 | Register Now!

DBM approved the release of Salary Differential and Incentives to all government employees!

Free Educational Tools

SHS SLM Quarter 2 – DepEd Self Learning Modules Free Download

April 1, 2021
Self Learning Modules

This post is a compilation of DepEd self learning modules for Senior High School – SHS SLM Quarter 2, for the school year 2020-2021.

Since face-to-face classes aren’t yet permitted, students and teachers will introduce learning in which the combination of the different distance learning modalities such as printed modules, offline digital modules, online, and TV and radio-based teaching will be used until face-to-face classes formally begins.

DOWNLOAD: Weekly Home Learning Plan Compilation for All Grades

In accordance, DepEd had been uploading self learning modules for teachers and student to use in their distance learning.

SHS SLM Quarter 2 – DepEd Self Learning Modules

Shs – applied subjects.

SHS SLM Quarter 2 – EAPP
SHS SLM Quarter 2 – Entrepreneurship
SHS SLM Quarter 2 – Empowerment Technologies
SHS SLM Quarter 2 – Creative Writing
SHS SLM Quarter 2 – Practical Research 1
SHS SLM Quarter 2 – Inquiries, Investigations and Immersion

SHS – Core Subjects

Pagbasa at Pagsusuri ng Iba’t ibang Teksto Tungo sa Pananaliksik
Media and Information Literacy
Disaster Readiness and Risk Reduction
Earth and Life Science
Earth Science
Understanding Culture, Society and Politics
Reading and Writing Skills
Personal Development
21st Century Literature from the Philippines and the World
Physical Science
Statistics and Probability
Introduction to Philosophy of the Human Person
Komunikasyon at Pananaliksik sa Wika at Kulturang Pilipino
Oral Communication in Context
General Mathematics
Contemporary Philippine Arts from the Region

SHS – Specialized Subjects

SHS SLM Quarter 2 – HUMSS
SHS SLM Quarter 2 – TVL-ICT
SHS SLM Quarter 2 – TVL-EIM
SHS SLM Quarter 2 – TVL-Tour Guiding
SHS SLM Quarter 2 – ABM
SHS SLM Quarter 2 – STEM
SHS SLM Quarter 2 – TVL-Automotive Servicing
SHS SLM Quarter 2 – Sports Track – Health Optimizing Physical Education

Note: You will be redirected to the official DepEd Commons website to be able to download the modules. Also note that you need to enter your information to be able to access commons.deped.gov.ph

Disclaimer: This post is created for information, education and dissemination purposes only, NO copyright infringement intended, for more questions and inquiries contact us through our Facebook page, @teachertayo .

DOWNLOAD MORE:

SLM Quarter 1
SLM Quarter 3
SLM Quarter 4
Discover More
Read Interesting Articles

Frequently Asked Questions on DepEd Learning Delivery Modalities for School Year 2020-2021

What is Distance Learning?

This refers to a learning delivery modality where learning takes place between the teacher and the learners who are geographically remote from each other during instruction.

What is Modular Distance Learning?

Learning is in the form of individualized instruction that allows learners to use self-learning modules (SLMs) in print or digital format/electronic copy, whichever is applicable in the context of the learner and other learning resources like Learner’s Materials, textbooks, activity sheets, study guides and other study materials.

What is Online Distance Learning?

It features the teacher facilitating learning and engaging learners’ active participation using various technologies accessed through the internet while they are geographically remote from each other during instruction.

What is Home Schooling?

It is an alternative delivery mode (ADM) that aims to provide learners with equal access to quality basic education through a home-based environment to be facilitated by qualified parents, guardians or tutors who have undergone relevant training.

What is Blended Learning?

This refers to a learning modality that allows for a combination of face to face and online distance learning (ODL), face-to-face and modular distance learning (MDL), face-to-face and TV/Radio-based Instruction (RBI), and face-to-face learning and a combination with two or more types of distance learning.

What is Traditional Face-to-Face Learning?

This refers to a learning delivery modality where the students and the teacher are both physically present in the classroom, and there are opportunities for active engagement, immediate feedback, and socio-emotional development of learners.

What is Alternative Delivery Modes (ADM)?

Alternative Delivery Modes (ADM) are tried and tested alternative modalities of education delivery within the confines of the formal system that allow schools to deliver quality education to marginalized students and those at risk of dropping out in order to help them overcome personal, social and economic constraints in their schooling.

Source/Reference: commons.deped.gov.ph

What is Teacher Tayo?

Teacher Tayo is an online website with the domain, www.teachertayo.com, created to help provide downloadables to teachers and to inform them of the latest news and happening regarding education. Teacher Tayo aims to be the number one source of free downloadable teacher’s materials in hopes to lessen the workload of our teachers.

Basic Troubleshooting

If the download link is not working properly you may be loading an old cache of the page. To solve the problem please refresh the page by PRESSING F5 . Shall you need further assistance? Please email us at [email protected] .

Teacher Tayo Community

LIKE our Facebook PAGE and SHARE this post to your timeline to help our fellow teachers who need these materials. JOIN! our growing community and fellowship with thousands of teachers all around the country. Teacher Tayo is not just a mere site it’s a movement towards a better Philippines.

CreativeWriting12 Q1 Mod1 Fundamentals-Of-Creative-Writing v5
writing that you submit as a school requirement. Creative writing is a form of artistic expression that draws on the imagination. to convey meaning through the use of imagery, narrative, and drama. This genre. includes poetry, fiction (novels, short stories), scripts, screenplays, and creative nonfiction.
PDF K to 12 BASIC EDUCATION CURRICULUM SENIOR HIGH SCHOOL ACADEMIC TRACK
SENIOR HIGH SCHOOL - ACADEMIC TRACK K to 12 Senior High School Humanities and Social Sciences Strand - Creative Writing/Malikhaing Pagsulat May 2016 Page 2 of 9 CONTENT CONTENT STANDARD PERFORMANCE STANDARD LEARNING COMPETENCY CODE sonnet) -rhyme and meter -metaphor b.2. Free verse -the line and line break -enjambments -metaphor c.
CreativeWriting12 Q1 Module-1
CreativeWriting12_Q1_Module-1 (1) - Free download as PDF File (.pdf), Text File (.txt) or read online for free. This module introduces Grade 12 learners to creative writing techniques. It will help develop their creative and practical reading and writing skills through exploring imagery, diction, figures of speech, and drawing from personal experiences.
Creative Writing Self Learning Modules
Creative Writing Module 2. Tags. Academic Strand Creative Writing HUMSS Learning ... Catch-Up Fridays Materials for Senior High School. 5:07 PM. Trending Today Understanding Culture, Society, and Politics Modules 1-12 ... 4:08 PM. General Physics 1 Self-Learning Modules PDF Download. 7:08 AM. General Biology 1 Self Learning Modules Quarter 1. 7 ...
K-12 Senior High School SHS modules and SHS teacher ...
DepEd SHS modules and teaching guides downloads : Note: These are all-in-one modules and teacher's guides, not broken up into weekly/semester modules. SHS English for Academic and Professional Purposes - Reader. SHS Oral Communication in Context - Learner's Module. SHS Oral Communication in Context - Teacher's Manual.
PDF Creative Writing Teach Yourself to Write and Tell a Good Story
ourself to becom. a good writer are:1. Write, write, write2. ead, read, readThe more you write, the more you will improve. Don't wait for inspiration to strike, don't aspire to writing, do. 't be embarrassed if you're not as good as you want to be. Just sit down, and, as Orson Scott Card says, "writ.
Creative Writing Module Quarter 1 1
Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module. This module was collaboratively designed, developed and reviewed by educators both from public and private institutions to as sist you, the teacher or facilitator in helping the learners meet the standards set by the K to 12 Curriculum while overcoming their personal ...
Creative Writing Module 1
Creative Writing Module 1 - Free download as PDF File (.pdf), Text File (.txt) or read online for free. This document provides an overview of the creative writing module for a senior high school class. It includes definitions of creative writing, examples of creative writing types and categories, and lessons on imaginative writing versus technical writing, using sensory experiences, and ...
Ready to download Learning Materials for Senior High School students
To aid us through, here are some free downloadable modules and worksheets for SHS students: AVAILABLE SENIOR HIGH SCHOOL LEARNERS MATERIALS. (Source: Negros Oriental Learning Resource Portal negorlrmds.weebly.com) ACADEMIC - STEM. Precalculus TG - DOWNLOAD. Precalculus LM - DOWNLOAD. APPLIED TRACKS.
CREATIVE WRITING Module
CREATIVE WRITING module - Free download as Word Doc (.doc / .docx), PDF File (.pdf), Text File (.txt) or read online for free. This document provides information about a learning module on creative writing for senior high school students. It aims to develop reading and writing skills through examining techniques like imagery, diction, and figures of speech.
CREATIVE NONFICTION Quarter 1
Department of Education, Region VII, Division of Cebu Province. (IPHO Bldg., Sudlon, Lahug, Cebu City) Telefax (032) 255-6405. Email Address: [email protected]. 42. SENIOR HIGH SCHOOL CREATIVE NONFICTION Quarter 1 - Module 1 LITERARY GENRES: ELEMENTS AND DEVICES Creative Nonfiction - Senior High School.
Elements of Creative Writing
This free and open access textbook introduces new writers to some basic elements of the craft of creative writing in the genres of fiction, poetry, and creative nonfiction. The authors—Rachel Morgan, Jeremy Schraffenberger, and Grant Tracey—are editors of the North American Review, the oldest and one of the most well-regarded literary magazines in the United States. They've selected ...
Creative Writing Module for Senior High School Students ...
1| MODULE: CREATIVE WRITING CREATIVE WRITING Document: Module 1/ Week 1 Grade Level: Senior High School Grade 12 Teacher: Mr. Michael AS. Enaje Hi there Senior High School, grade 12 students, Welcome to our humble institution this academic year 2020 - 2021.
Creative Writing Module 1 Lessons 1,2, and 3
For writing creatively senior high school creative writing quarter module imagery, diction, figures of speech in writing sense experiences creative writing. Skip to document. University; High School; ... This is of free to use but not to own the module. Use the module with care. Do not put unnecessary mark/s on any part of the module.
QUARTER 1 MODULE 1 (Creative Writing)
QUARTER 1 MODULE 1 (Creative Writing) - Free download as PDF File (.pdf), Text File (.txt) or read online for free. MELC Based SLM for Senior High School
K to 12 BASIC EDUCATION CURRICULUM SENIOR HIGH SCHOOL
Download Free PDF. K to 12 BASIC EDUCATION CURRICULUM SENIOR HIGH SCHOOL - ACADEMIC TRACK. ... In our own university's creative writing cohort, students also struggle with difficulties in melding the research methodology of the journalist with the language and form of creative writing required to produce nonfiction stories for a 21st ...
SHS Modules
Senior High School (SHS) Modules Online ... 21st Century Literature from the Philippines and the World Module 4: Creative Representation of a Literary Text. ... Module 6: Writing a Close Analysis and Critical Interpretation of Literary Texts Applying a Reading Approach. 21st Century Literature from the Philippines and the World Quarter 2 ...
Creative Writing Module 1 Student's Copy
creative skills in reading and writing. It is a module that introduces the students to the. basic techniques of writing fiction, poetry and drama. imagery, diction, figures of speech, and specific experiences. 1. Read the module title and the module introduction to get an idea of what the. module covers.
DepEd ALL Subject SHS e-SLMs
In this post we are sharing with you all available subjects for Senior High School Electronic-Self Learning Modules or Ready to Print Modules from the DepEd Central Office for the School Year 2021-2022. The School Year 2021-2022, opening of classes will be on September 13, 2021 so, teachers will be busy again preparing, printing, sorting ...
Creative Writing: Module 3 Contents/ Lessons
This document outlines the contents and lessons for a senior high school creative writing module. It discusses elements of experimental genres like typography and genre-crossing texts. It also covers techniques like tone, allusion, diction, epigraphs, euphemism, foreshadowing, imagery, metaphor, personification, simile, and onomatopoeia. Students will complete activities by writing a genre ...
PDF K to 12 BASIC EDUCATION CURRICULUM SENIOR HIGH SCHOOL ACADEMIC TRACK
K to 12 BASIC EDUCATION CURRICULUM SENIOR HIGH SCHOOL - ACADEMIC TRACK K to 12 Senior High School Humanities and Social Sciences Strand - Creative Nonfiction February 2014 Page 5 of 7 literary elements - refers to particular identifiable characteristics of a whole text. They are not "used", per se, by authors; they represent the elements of storytelling
SHS SLM Quarter 2
This post is a compilation of DepEd self learning modules for Senior High School - SHS SLM Quarter 2, for the school year 2020-2021. Since face-to-face classes aren't yet permitted, students and teachers will introduce learning in which the combination of the different distance learning modalities such as printed modules, offline digital modules, online, and TV and radio-based teaching ...
Creative Writing Module 1
Creative Writing Module 1_Intro to Creative Writing - Free download as Word Doc (.doc / .docx), PDF File (.pdf), Text File (.txt) or read online for free. This document provides an overview of an introduction to creative writing lesson. It discusses the basics of creative writing, including how creative writing differs from other types of writing by emphasizing stirring emotions rather than ...