Name: ____________________________________________ Section: Grade 11-___________

TECHNICAL/ACADEMIC WRITING AND CREATIVE WRITING

Writing can be grouped into five basic types:

1. Technical writing conveys specific information about a technical subject to a specific audience for a
specific purpose.

Examples: user manuals, software installation guide, company documents, annual reports, business letters and
plans, abstracts, brochures, handbooks, articles for technical journals or books, memoranda and proposals.

2. Creative Writing refers to short stories, plays, and novels—different from technical writing. The
writer expresses feelings and emotions instead of just presenting the facts. Any writing that expresses
free thinking falls into the category of creative writing.
3. Expressive writing is a subjective response to a personal experience—journals and diaries—
whereas technical writing might be objective observations of a work-related experience or research.
The writer is the audience himself/herself.
4. Expository Writing “exposes” a topic analytically and objectively, such as news reports. The
paragraph gives information, explaining a subject, gives directions, or show how something happens.
In expository writing, linking words like first, second, then, and finally are used to help readers follow
ideas.
5. Persuasive Writing depends on emotional appeal. Its goal is to change attitudes or motivate to
action.

Technical Writing Creative Writing

Purpose To inform, instruct, and To entertain and captivate the interest
educate the users. of the audience.

Audience Specific General/Generic

Language Formal, academic, standard- Informal, artistic, creative, fictional
driven
Writing Clear, accurate, and up to the Clear and reflects the thoughts of the
Style mark writer. Emphasis is on beauty over
utility
Format Format-driven Writer-specific (the style and format
depends on the writer)
Organization Systematical and sequential Arbitrary and may not be systematic

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Tone Objective Subjective

IMAGERY

 Descriptive details (using your five senses) that are necessary to make your writing clear.
 Helps generate a specific mood or emotion about people, places, and circumstances.
 The use of imagery appeals to how you see, hear, smell, taste, touch, and feel the things that you are
writing about.

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Using your Five Senses

1. Sense of Sight (Visual) - A picture in words; something that is concrete or can be seen.
Example: Broken hulahoops, hollow blocks, and tires are crowded atop a thatched roof.

2. Sense of Hearing (Auditory) - Something that you can hear through your mind’s ears.
Example: The pattering of the rain against the window pane.
The screeching wheels of reckless taxi cabs and vehicles plagued my ears.

3. Sense of Smell (Olfactory)- Something that you can hear through your mind’s nose.
Example: The aroma of the freshly-brewed Colombian coffee wafted into the entire room.

4. Sense of Taste (Gustatory)- Something that you can hear through your mind’s tongue.
Example: Mouth-watering ripe mangoes, tender melons, and luscious cherries are served on a tray.

5. Sense of Touch (Tactile)- Something that you can hear through your mind’s skin.
Example: The soft velvety feel of silk and satin caressed my skin.
Showing vs. Telling

Instead of just telling your readers about something, use sensory words to show them.

Example:

Plain Description: Yesterday morning, while I ate my oatmeal, I can smell the scent of the coffee.
Using Imagery: Yesterday in a drizzling morning, while I slowly ate my warm and banana-flavored oatmeal, I
can smell the scent of the newly brewed coffee from our stainless coffee maker.

Is Imagery Important?

• Your images and feelings for a particular thing are different from anyone else’s images and feelings.
• Some of the images and feelings you have for a particular story are shared with all the readers.
• The shared images make the story universal; the individual images makes the story personal.

DICTION
0 is an author’s choice of words
0 The effective use of words

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Like a good closet of clothes, a skillful author selects the appropriate “verbal wardrobe”:

0 to fit the occasion or situation

0 to reach the audience
0 to achieve the purpose

TIPS in Writing a Good Diction

1. Use strong and exact verbs.

 Sentences also become more effective when verbs in the active voice are employed instead of
verbs in the passive voice.
 An active voice helps the subject of the sentence perform a definite action while passive voice
receives the action performed on it.
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  In an active voice, the sentence become more forceful.
Passive Voice Active Voice
The sun was covered by big, lonely Big, lonely clouds covered the sun.
clouds.
This year’s exam was failed by ten Grade Ten Grade 11 students failed this year’s
11 students. exam.

2. Use specific words.

 You can improve your diction and consequently get your readers’ interest if you use specific
words to convey meaning.
 This will sharpen your description and make it vivid (clear).
 A thesaurus can help you find synonyms or words that share the same meaning.
Examples:
 LOOK- watch, glares, gaze, ogle, observe, glance, scrutinize
 BOAT- ship, craft, yacht, raft, kayak, vessel, ferry, canoe

3. Use a specific color

Using brown or blue is too general. Check other layers or shades of the color.
 BROWN- Cream, tan, mahogany, chestnut, chocolate, khaki, bronze, rust, burnt sienna
 BLUE- Pacific blue, royal blue, turquoise, aqua marine, baby blue, sky blue, midnight blue
 RED- Scarlet, crimson, strawberry, chili red, bloody, maroon, rusty red, ruby, cherry red
 GREEN- forest green, olive, blue green, sea green, emerald, yellow green, moss green
 WHITE- dirty white, off-white, powder white, snow, ivory, milk, vanilla, corn silk, flesh

4. Avoid clichés.
 Over-used terms/phrases.
 Clichés like “raining cats and dogs” and “so hungry I could eat a horse” are worn-out
expressions that hardly add anything to your work.
 They make your statements weak and boring.

5. Avoid redundancy.
Do not use words that merely repeat the ideas already expressed in the sentence.
These words only slow down the narrative because they state what is already obvious.
Examples:
 more prettier  past history
 actual experience  repeat again

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 difficult problem  unexpected surprise
 final outcome  written down
 free gift

6. Avoid wordiness.
 Whenever possible, write simple sentences.
 Do not make your sentence lengthy and contrived.

Wordy Concise
To reach our goal, we need suggestion that To reach our goal, we need fresh and effective
are fresh and at the same time effective. ideas.
His friend is the adviser, and he is a former His friend is both an adviser and a former president
president of this club. of this club.
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 POETRY

 A collection of words that express an emotion or idea.

 Poems are literary attempt to share personal experiences and feelings.
 Good poems show images which leave the reader the sense of delight, awe, and wonder.

“Poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in
tranquility.” –William Wordsworth
“Poetry is not a turning loose of emotion, but an escape from emotion; it is not the expression of
personality, but an escape from personality.” –T.S. Eliot
Poetry as a literary genre has both visual and auditory components. An emotional and imaginative
discourse in metrical form—that is, the representation of experiences or ideas with special reference to their
emotional significance, in language characterized by imagery and rhythmic sound.” –Encyclopedia Americana
Poetry is similar to painting and sculpture because of its use of imagery, symbolism, simile and metaphor,
and other kinds of tropes, which creates in the reader’s mind concrete objects and pictures.

Tone, Mood and Atmosphere

Persona: The Speaking Voice of the Poem

 Since poetry is basically a verbal speech, every poem has an assumed speaker who is the source of
the spoken word.
 This speaker is the persona who voice the reader hears in his or her inner ear.
 The persona who speaks in the poem and the poet who wrote it are not necessarily the same person,
since a poet can choose to wear different masks to match each and every occasion.

Tone

 The intellectual and emotional attitudes of the poet towards his or her intended audience.
 The writer’s attitude towards the subject of the piece, the audience, and self.
 The way feelings are expressed.
 Conveyed through the use of:
-diction (the author’s choice of words)
-point of view (the author’s view and how it affects his/her writing)

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-syntax (the arrangement of words to create sentences)
-author’s level of formality (how formal or informal the piece is)
 Important Tone Words
1. Accusatory: charging the wrong doing
2. Bitter: exhibiting strong animosity as a result of pain or grief
3. Critical: finding fault
4. Earnest: intense, a sincere state of mind
5. Intimate: very familiar
6. Matter-of-Fact: Accepting of conditions; not fanciful or emotional
7. Optimistic: hopeful; cheerful
8. Reverent: treating a subject with honor and respect
9. Reflective: illustrating innermost thoughts and emotions
10. Sarcastic: sneering, caustic
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 11. Sincere: Without deceit or pretense; genuine
12. Solemn: deeply earnest, tending toward sad reflection

Examples:

“I’d rather stay here and wait, than go into that dark room.”

“I called my friend at their house, her brother said she’s not home, but I heard her voice in the
background.”

Mood
 Emotion evoked by a text
 Writers use many devices to create mood in a text:
o Dialogue (language between the characters)
o Setting (where and when the story takes place, who the characters are)
o Plot (the rise and fall of actions and events throughout the piece)
 The feeling created for the reader by a text
 You can recognize the mood by the words and details an author includes.
 The following are examples of moods that a text can cause the reader to feel:
o Suspense, lonely, happy, angry, anxious, tense, suspicious, excited, depressed, scared,
disgusted

Examples:

 The night was dark and gloomy.

 The man kicked
Are the TWO (tone and mood) the SAME?
 Tone and mood can be confusing.
 Remember:
 Tone simply refers to HOW the author/the author’s characters feel towards the
subject. You will know what the author’s tone is implying by the words he use.
 Mood refers to the feeling of the atmosphere the author is describing. It is what makes you
feel when you read his writings. You can read a sentence, and feel sad, happy, angry, etc.

Atmosphere: The Dominant Emotional Aura of the Poem

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 The over-all feelings or emotions experienced by the readers or audience.
 The purpose of establishing atmosphere is to create an emotional effect.
 It is the feeling of an environment, as constructed by a writer’s description of the environment and
objects within that setting.

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 Rhymes and Rhyme Schemes

Rhyme refers to the repetitive occurrence of identical or similar sounding words usually found at the
end of lines in poems or songs.

Different Types of Rhymes

Based on the position of the rhyming words in the lines, there are three types of rhymes:

A. End Rhyme
 occurs between words at the end of lines and is the most common type of rhyme in classical
and traditional poetry
 basis of rhyme schemes in fixed forms of poetry like the sonnet or the villanelle

Example:

First, A Poem Must be Magical (J. G. Villa)

First, a poem must be magical,

Then musical as a sea gull.
It must be a brightness moving
And hold secret a bird’s flowering.
It must be slender as a bell,
And it must hold fire as well.

B. Internal Rhyme
 Occurs at some place after the beginning but before the end of each line, or within a line
between a middle word and its end word, or even between middle words in different lines
 More common in modern and contemporary poetry

Example: In Burnham Park

I walk
with nobody to talk to
but myself.
Shadows
Of my own making
stalk me in silence,
Repeating everything

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I do.
-from Ralph Semino Galan’s “Baguio, the Return”

C. Beginning Rhyme occurs in the first syllable or first few syllables of several lines; extremely rare so
only a few examples are to be found in serious literature.

Example: Why should I have returned?

My knowledge should not fit into theirs.
I found untouched the desert of the unknown… -from W.S. Merwin’s “Noah’s Raven”

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Other Types of Rhymes

1. Slant Rhyme
 Also known as imperfect rhyme, near rhyme, oblique rhyme, off-rhyme or pararhyme.
 Usually occurs when assonance or consonance are deployed instead of true rhyme.
Example:
If love is like a bridge,
or maybe like a grudge,
and time is like a river
that kills us with a shiver,
then what have all these mornings meant
but aging into love?
-from George Wolff’s “To My Wife”

2. Eye Rhyme
 Also known as visual rhyme or printer’s rhyme
 Occurs when words appear to rhyme on the printed page because of the similarity of their
terminal letters, but do not sound the same at all when read aloud.

Example: Alas, how can I interpret my Mood?

They took away the language of my blood.

Rhyme Schemes
 Refers to the way a poet deliberately arranges the syllables of certain stanzas or entire
poems to form a set of pattern
 Essential in the shaping of a traditional poem, especially in fixed forms
 Deployed to establish balance and relieve poetic tension, manage the rhythmic flow, as
well as to emphasize important ideas.

Different Types of Rhyme Schemes

1. Alternate Rhyme
 Also known as open rhyme or cross rhyming
 Most common rhyme scheme in English poetry
 Consists in the repeated alternation of two different rhymes in a series of four or more lines that

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can be schematically diagrammed as abab

Example: To the Virgins, to Make Much of Time (Robert Herrick)

Gather ye rosebuds while ye may,

Old time is still a-flying:
And this same flower that smiles to-day
To-morrow will be dying.

The glorious lamp of heaven, the sun,

The higher he's a-getting,
The sooner will his race be run,
And nearer he's to setting.

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 That age is best which is the first,
When youth and blood are warmer;
But being spent, the worse, and worst
Times still succeed the former.

Then be not coy, but use your time,

And while ye may, go marry:
For having lost but once your prime
You may for ever tarry.

2. Enclosed Rhyme
 Also known as enclosing rhyme
 Rhyme scheme of abba, where the first and fourth lines of the quatrain rhyme, as well as the
second and third lines

Example: When I, in love with Folly and with Pride,

Denounced my God and kin with words of fire,
Transformed my clean surroundings into mire,
Destroyed my idols, threw the Cross aside,
-from Francisco B. Icasiano’s “Repentance”

3. Chain Rhyme
 Also known as interlocking rhyme or chain verse
 The poet uses the last rhyme of the previous stanza and repeats it as the first rhyme of the next
stanza
 Rhyme scheme of abab, bcbc, cdcd, dede, ff.

Example: One day I wrote her name upon the strand,

But came the waves and washéd it away:
Again I wrote it with a second hand,
But came the tide, and made my pains his prey.
"Vain man," said she, "that dost in vain assay,
A mortal thing so to immortalize;
For I myself shall like to this decay,
And eke my name be wiped out likewise."
"Not so," (quod I) "let baser things devise
To die in dust, but you shall live by fame:

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My verse your vertues rare shall eternize,
And in the heavens write your glorious name:
Where whenas death shall all the world subdue,
Our love shall live, and later life renew."

4. Monorhyme
 A rhyme scheme in which all the lines of the poem have an identical rhyme.
 Also the rhyme scheme of the traditional Tagalog fixed poetic form known as the diona

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Example: The Hardship of Accounting (Robert Frost)

Never ask of money spent,

Where the spender thinks it went.
Nobody was ever meant
To remember or invent
What he did with every cent.
5. Couplet
 Refers to a couple of lines in poetry that usually rhyme (aa) and have the same meter.

Example: So long as men can breathe or eyes can see, (a)

So long lives this and this gives life to thee. (a) -William Shakespeare’s, “Sonnet 18”

6. Triplet
 A tercet in which all three lines follow the same rhyme that can be schematically diagrammed as
aaa, bbb, ccc, and so on.

Example: Upon Julia’s Clothes (Robert Herrick)

Whenas in silks my Julia goes,

Then, then, methinks, how sweetly flows
That liquefaction of her clothes.

Next, when I cast mine eyes and see

That brave vibration each way free;
O how that glittering taketh me!

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 Three Broad Categories/Genres of Poem
1. Narrative Poetry intends to tell a story through verses.
 Can tell a very short chronicle like in a ballad
 Moderately lengthy
 Extremely stretched out yarn like in an epic.

Ballad: simple narrative verse that tells a story to be sung or recited

A. Folk Ballads: earliest form, no known author, transmitted orally, subject matter concerns everyday
life of common people
B. Literary Ballads: imitates style of folk ballad, has a single author

Epic: long, dignified narrative story about the adventures of a national hero using elevated language,
speech, and actions.

2. Dramatic Poetry
 Its original context is drama written in verse that is meant to be spoken or chanted
 Exploitation of a dramatic situation
 Drama in Western civilization has had two parallel beginnings, both related to religious
celebration: the first in Ancient Greece and the second in medieval church plays.

3. Lyrical Poetry
 Conveys the extremely personal emotions, powerful feelings or nostalgic sentiments of the
persona, typically expressed from the first-person point of view.
 In Ancient Greece, lyrical poetry referred to poems were meant to be recited to the
accompaniment of the lyre, a chordophone or stringed musical instrument.
 Characterized by its brevity, intensity, and musicality.
 Most popular of Western lyrical poetic forms are the sonnet, ode, the elegy, and the
villanelle.
 Lyric poets rely on personal experience, close relationships, and description of feelings as
their material.
 The central content of lyric poems is not the story or the interaction between characters;
instead it is about the poet's feelings and personal views.

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Western Poetic Forms: Sonnet, Ode, Elegy,
Villanelle

1. The Sonnet
 rigid fourteen-line lyric poem,
 expresses single theme or idea;
 Two types:
A. Petrarchan: Italian; Made up of octave (8 lines) and sestet/sextet (6 lines)
 Rhyme scheme [abba abba] [cdecde]
o Octave presents problem; sestet resolves it.
B. Elizabethan: Shakespearean; 3 quatrains and a couplet
o rhyming scheme of abab cdcd efef gg,
o Each quatrain presents separate development of central idea or problem. Couplet is
climax or solution. 1
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 Example: Sonnet 116 (William Shakespeare)
Let me not to the marriage of true minds (a)
Admit impediments. Love is not love (b)
Which alters when it alteration finds, (a)
Or bends with the remover to remove: (b)
O no! it is an ever-fixed mark (c)
That looks on tempests and is never shaken; (d)
It is the star to every wandering bark, (c)
Whose worth’s unknown, although his height be taken (d)
Love’s not Time’s fool, though rosy lips and cheeks (e)
Within his bending sickle’s compass come: (f)
Love alters not with his brief hours and weeks, (e)
But bears it out even to the edge of doom. (f)
If this be error and upon me proved, (g)
I never writ, nor no man ever loved. (g)

2. The Ode
 Lyrical form of poetry that is exalted both in terms of tone and subject matter.
 Characterized by solemnity, dignity and gallantry
 More on emotional intensity, powerful imagination and vivid imagery.
 Intention is to lift its subject matter, whether it be a person, an object, or an event.
 Can also give emphasis to a human quality or trait (like bravery, beauty, kindness, loyalty
or truth.)
 There is no set form for an ode.

Example: Ode to the West Wind

By Bssyhe Shelley [1st and last stanza]

I
O wild West Wind, thou breath of Autumn’s being,
Thou, from whose unseen presence the leaves dead
Are driven, like ghosts from an enchanter fleeing,

Yellow, and black, and pale, and hectic red,

Pestilence-stricken multitudes: O thou,

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Who chariotest to their dark wintry bed

The wingèd seeds, where they lie cold and low,

Each like a corpse within its grave, until
Thine azure sister of the Spring shall blow

Her clarion o’er the dreaming earth, and fill

(Driving sweet buds like flocks to feed in air)
With living hues and odours plain and hill:

Wild Spirit, which art moving everywhere;

Destroyer and Preserver; hear, O hear!
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 V
Make me thy lyre, even as the forest is:
What if my leaves are falling like its own!
The tumult of thy mighty harmonies

Will take from both a deep, autumnal tone,

Sweet though in sadness. Be thou, Spirit fierce,
My spirit! Be thou me, impetuous one!

Drive my dead thoughts over the universe

Like withered leaves to quicken a new birth!
And, by the incantation of this verse,

Scatter, as from an unextinguished hearth

Ashes and sparks, my words among mankind!
Be through my lips to unawakened Earth

The trumpet of a prophecy! O Wind,

If Winter comes, can Spring be far behind?

3. The Elegy
 Type of lyric poem of mourning, usually over death of individual;
 May also be a lament over passing of life or beauty or meditation over nature of death.
 Formal in language, solemn or melancholy in tone.
 Does not follow any required set pattern or rhyme scheme

Example: In Memoriam Paul Celan (Edward Hirsch)

Lay these words into the dead man’s grave

next to the almonds and black cherries---
tiny skulls and flowering blood-drops, eyes,
and Thou, O bitterness that pillows his head.

Lay these words on the dead man’s eyelids

like eyebrights, like medieval trumpet flowers

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that will flourish, this time, in the shade.
Let the beheaded tulips glisten with rain.

Lay these words on his drowned eyelids

like coins or stars, ancillary eyes.
Canopy the swollen sky with sunspots
while thunder addresses the ground.

Syllable by syllable, clawed and handled,

the words have united in grief.
It is the ghostly hour of lamentation,
the void’s turn, mournful and absolute.

Lay these words on the dead man’s lips 1

like burning tongs, a tongue of flame.
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 A scouring eagle wheels and shrieks.
Let God pray to us for this man.

4. The Villanelle
 A closed poetic form of 19 lines, composed of five triplets (tercet/three lines) and a
quatrain.
 The first line of the first stanza is repeated as the last line of the second and fourth stanzas
while the third line of the first stanza is repeated as the last line of the third and fifth
stanzas.
 Rhyme scheme of aba aba aba aba aba aba abaa
Example: Do Not Go Gentle into That Good Night
By Dylan Thomas

Do not go gentle into that good night.

Old age should burn and rave at close of day.
Rage, rage against the dying of the light.
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.

Good men, the last wave by, crying how bright

Their frail deeds might have danced in a green bay,
Rage, rage against the dying of the light.
Wild men who caught and sang the sun in flight,
And learn, too late, they grieved it on its way,
Do not go gentle into that good night.

Grave men, near death, who see with blinding sight

Blind eyes could blaze like meteors and be gay,
Rage, rage against the dying of the light.
And you, my father, there on the sad height,
Curse, bless, me now with your fierce tears, I pray.
Do not go gentle into that good night.

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Rage, rage against the dying of the light.
Activity 3 [Choose only ONE among the choices given.]
 If you intend to compose an English sonnet, you can start finding rhyming words in a creative manner. You
may write your personal experience of love or you can dedicate it to your dearly beloved.
 If you intend to write a villanelle, you can start by composing the first and third lines which serve as the refrain
and are the most important lines in a villanelle.
 If you intend to compose an ode, start by selecting a human quality or trait (like bravery, beauty, kindness,
loyalty, etc.) that you absolutely admire. Find a central image or controlling metaphor that will embody your
selected quality trait.
 If you intend to write an elegy, you can either compose one about the phenomenon of death in general or one
specific death that has affected you a lot. You can also concentrate on the good qualities of the dead person you
are lamenting on, and why his or her death is worth mourning for.
 One whole sheet of paper, check the details of your chosen poetic form in this hand out, make your own title
and write your name below it. WORK ON YOUR OWN. MAKE SURE YOUR PIECE WAS WRITTEN 1
ORIGINALLY BY YOURSELF. 😊
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Eastern Poetic Forms: Haiku and Tanka
(Japanese Poetry)

 The Haiku (light verse)

o A traditional Japanese fixed poetic form composed of three (3) unrhymed lines
comprising seventeen (17) syllables
o 5-7-5 pattern of syllables
o It is typically written as a single vertical line in a Japanese scroll, but when translated in
English, it usually appears three verses.
o Typically about the contemplation of nature

Examples:

A fat bee stings me Moths go flying by Ladybugs are red,

It hurts very badly but, They are very beautiful And have black spots on their wings,
I do not cry though. Fluttering around. Experts at flying.

 The Tanka (short song)

o a Japanese fixed poetic form composed of five (5) unrhymed lines comprising thirty-one
(31) syllables.
o the first (1st) and third (3rd) lines contain five (5) syllables each, while the second (2nd),
fourth (4th) and fifth (5th lines) contain seven lines apiece, or 5-7-5-7-7
o tanka has two parts: the first three lines or the upper phrase, and the last two lines or the
lower phrase
-Upper phrase: Usually contains a vivid image
-Lower phrase: Offers the poet’s ideas and insights about that image
o More often a highly personal reflection on love and other powerful emotions

Examples:

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Beautiful sunset Our dreams started here
Ablaze with colors in gold Star struck lovers believing
Giving hope beyond Nothing could go wrong—
Life’s eternal flame and bliss Now that you have gone, my life
Great is Your love my Lord God Is as empty as our bench

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4
 Tagalog Poetry
TANAGA, DALIT, DIONA
(Poetry of the Philippines)
TANAGA
 isang katutubong anyo ng tula na binubuo ng pitong pantig kada taludtod, apat na taludtod kada
saknong na may isahang tugmaan.
 Fixed poetic form:
 A quatrain (4 lines) or 2 couplets
 7 syllables (hepstasyllabic line)
 Rhyme scheme: AABB
Example:

Sa gubat na madawag
Tala’y mababanaag.
Iyon ang tanging hangad,
Buhay ma’y igagawad.
-Bannie Pearl Mas

DALIT

 isang katutubong anyo ng tula na binubuo ng walong pantig kada taludtod, apat na taludtod kada
saknong at may isahang tugmaan.
 Fixed poetic form:
 A quatrain (4 lines)
 8 syllables (octosyllabic line)
 Monorhyme (AAAA) or it could be ABAB

Examples:
Nag-aaral siyang pilit
Nang karangala’y makamit.
Buong buhay s’yang nagtiis.
Makapagtapos ang nais.

 DIONA

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 isang katutubong anyo ng tula na binubuo ng pitong pantig kada taludtod, tatlong taludtod kada
saknong at may isahang tugmaan.
 Labeled as the Pinoy haiku
 Fixed poetic form:
 3 lines (tercet)
 7 syllables (hepstasyllabic line)
 Monorhyme (AAA)
Examples:

Ang payong ko’y si inay Aanhin ang yamang Saudi,

Kapote ko si itay O yen ng Japayuki
Sa maulan kong buhay Kung wala ka sa tabi
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-Raymond Pambit -Fernando Gonzales
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Nonconventional Forms of Poetry: Free Verse, Prose Poetry, Concrete Poetry,
Performance Poetry

FREE VERSE
 A direct translation of the French phrase vers libre, which describes a specific movement in French
poetry in the late 1800s.
 The main objective is to release poetry from the bondage of the strict conventions of rhythm and
rhyme.
 Characteristics: enjambment, lineation, silhouette
 Enjambment: a term derived from the French which means “to step over or put legs across”
-the refusal to follow the usual rules of lineation
-the lines of the enjambment do not typically have a punctuation mark (comma, a colon,
a semicolon, an ellipsis, a question mark, a period or an exclamation point)
-allows the poet to let his/her ideas flow freely and more rhythmically throughout the
poem
 Lineation: denotes the length of the poetic lines in relation to the line breaks
 Silhouette: shape of the poem

PROSE POETRY
 A variation of free verse
 Embodies the contemporary poet’s yearning for a more flexible medium of expression
 Utilizes elements and attributes that are associated with both prose and poetry
 Shares with prose the characteristics of being written in sentences and paragraphs, rather than in
verse or lines and stanzas
 No fixed meters and rhyme schemes
 Focusing more on imagery and emotional intensity, rather than on narrative and character

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development

Example:

The stillborn calf lies near the fence where its mother licked the damp body, then
left it. All afternoon she has stood beside a large, white rock in the middle of the
pasture. She nuzzles it with her heavy neck and will not be lured away. This must
be her purest intelligence, to accept what she expected, something sure, intractable, the
whole focus of the afternoon’s pale light.
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CONCRETE POETRY
 A form of poetry that deploys visual and typographical effects, like shape of the words, letters or
symbols as they appear on the page as an image, in addition to or instead of the usual conventions
(like rhyme, meter, stanza division, etc.)
 The poet deploys the spacing of words, the length of lines, page orientation, and other physical
elements of writing (typography) to reflect on the poem’s subject matter or theme
 Also known as shaped verse, visual poetry or pattern poetry

Examples:

PERFORMANCE POETRY
 A post-modern art form, a hybrid genre that combines literary and dramatic elements
 The performance poet utilizes the theatrical stage as if it were the printed stage
 Has the original role of the poet as the spokesperson who delivered in verse to the people news of

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important public events and social developments, as well as the sharing of personal observations and
insights.
 Performance poetry has the actual face-to-face encounter between the poet-performer and his/her
audience, the reactions evoked by their direct encounter with one another, and the resulting
immediate community-building, which does not occur in traditional print-based poetry.
 Also known as spoken word or poetry slam

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Point of View
 Refers to the narrator in the story.
 Every story has a narrator, the teller of the story from whose eyes we look through as we read.

First person

 In this point of view, the narrator is the participant in the action

 It uses the pronoun “I” and “We” and the narrator maybe a major or minor character who tells directly
his or her own version of the events that happen.
 The narrator may be merely watching the story involving someone else unfold.

Second Person

 It is used to tell a story to another character with the word “You”

 It is mostly told in the future tense.
 A writer uses this point of view to make the readers feel that they are part of the story and that they
are characters themselves.

Third Person

 It is the most common point of view and uses the pronouns—he, she, and they.
 It employs a nonparticipant narrator who usually move from place to place to describe action and
report dialogue.
 The author takes on the role of the narrator.
 The pronouns: I, you and me only appear in dialogues.

PLOT
 Plot or plot structure is a sequence of events that “has beginning, a middle and an end.”
 It is a pattern of actions, events, and situations.
 It involves the sequence of events in a story, showing how time moves, and is linked by patterns of
cause and effect that lead to certain developments which eventually bring out the resolution.
 Plot structure gives shape to the different parts of a story just like the framing of a house or the
skeleton of the body.

Graphical representation of the development of the plot in a story.

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Exposition: The writer introduces the characters, situation, and usually, the time and place of the narrative.

Rising Action: Conflict is an event, situation or circumstance that shakes up a stable situation; it is a
struggle between two opposing forces. It propels the events of the story and raises the issues that must be
resolved.

The body of a story contains the conflict, where the rising action is built to introduce complications that are
exrternal or internal.

External conflict arises between the character and outside force.

 Man against nature: an external struggle which positions the protagonist against animal or force of
nature
 Man against man: involves stories where characters are pitted against each other
 Man against society: involves stories where man stands against a man-made institution, such as the
family, the church, universities, the government and the mass media.

Internal conflict arises within the character himself.

 Man against self: a struggle that involves the character trying to overcome his or her own nature or
make a choice between two or more paths.

Climax and Falling Action: The central moment of crisis in a plot is the climax. The point of greatest
tension which initiates the falling action of the story.

Resolution/Denouement: the final part of the plot

Denouement is a French term which refers to the untying of the knot. It makes the characters return to a
stable situation. It is a moment of insight, discovery, or revelation by which a character’s life or view of life is
greatly altered.

 A closed denouement ties p everything neatly and explains all unanswered questions the reader
might have, just like in many mystery or detective stories.
 An open denouement leaves the readers with a few thought-provoking loose ends. It is favored by
many contemporary writers who perhaps wish to show that modern life lacks the usual closures of
conventional stories.
 Some stories are simple and contain a single plot. However, there are also complex ones which
involve longer periods of time. These plots are called modular or episodic plots.

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Setting refers to the place and the time where and when an event happens. Where a story takes place is
also called a locale.

Atmosphere is created or conveyed by the words used to describe the setting; it can also be reflected by
the way the characters speak.

Theme refers to the central idea, the message a story conveys, or a generalization or an abstraction from it.

Symbol: A thing that suggests more than its literal meaning. It is a concrete thing that represents something
in abstract form.

 Writers usually want to send an important message to readers but they do not tell outright what it is.
They use objects to signify another level of meaning. This is what we know as symbol.

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