SETTINGS, FIGURATIVE LANGUAGE AND

DESCRIPTIVE IMAGERY
PLOT, SCOPE, SEQUENCE AND IN MEDIAS RES

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Self-Learning Materials Module 5 and 6

The main elements of creative nonfiction are setting, descriptive

imagery, figurative language,and plot. The overarching element or requirement that
distinguishes creative nonfiction from any other genre of writing is that while other
literary genres can spring from the imagination, creative nonfiction is, by definition,
true. As you complete the assigned readings in this chapter, keep track of the
following elements as they arise in your readings: see if you can identify each of them.
Learning these elements now will form a solid foundation for the rest of the class.

Lesson 1: Settings, Figurative Language and

Descriptive Imagery
Setting

Each story has a setting. The setting is the place where the story takes place. Usually,
an effective story establishes its setting early in the story: otherwise readers will have
a difficult time visualizing the action of the story. Below is an example of how a writer
might establish setting in a way which immerses the reader: by showing rather than
telling.

Which of the above lakes would you want to visit? Which one paints a more immersive
picture, making you feel like you are there? When writing a story, our initial instinct is
usually to make a list of chronological moments: first I did this, then I did this, then I
did that, it was neat-o. That might be factual, but it does not engage the reader or invite
them into your world. It bores the reader. Ever been stuck listening to someone tell a
story that seems like it will never end? It probably was someone telling you a story
rather than using the five senses to immerse you. In the example above, the writer
uses visual (sight), auditory (sound), olfactory (smell), tactile (touch),
or gustatory (taste) imagery to help the reader picture the setting in their mind. By the
final draft, the entire story should be compelling and richly detailed. While it's fine to
have an outline or first draft that recounts the events of the story, the final draft should
include dialogue, immersive description, plot twists, and metaphors to capture your
reader's attention as you write.
Descriptive Imagery

You have probably encountered descriptive imagery before. Basically, it is the way
the writer paints the scene, or image, in the mind of the reader. It usually involves
descriptions of one or more of the five senses: sight, sound, smell, touch, or taste. For
example, how would you describe a lemon to a person who has never seen one
before?

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Figurative Language

As a counterpart to descriptive imagery, figurative language is using language in a

surprising way to describe a literary moment. Figurative language can take the form
of metaphor, such as saying "the lemon tree was heavy with innumerable miniature
suns." Since the lemons are not actually suns, this is figurative. Figurative language
can also take the form of simile: "aunt Becky's attitude was as sour as a lemon." By
comparing an abstract concept (attitude) to an object (lemon), it imparts a
feeling/meaning in a more interesting way.

Lesson 2: Plot,Scope, Sequence and In Media Res

Plot

Plot is one of the basic elements of every story: put simply, plot refers to the actual
events that take place within the bounds of your narrative. Using our rhetorical
situation vocabulary, we can identify “plot” as the primary subject of a descriptive
personal narrative. Three related elements to consider are scope, sequence, and
pacing.

Scope
The term scope refers to the boundaries of plot. Where and when does the story begin
and end? What is its focus? What background information and details does the story
require? I often think about narrative scope as the edges of a photograph: a photo,
whether of a vast landscape or a microscopic organism, has boundaries. Those
boundaries inform the viewer’s perception.

The way we determine scope varies based on rhetorical situation, but I can say
generally that many developing writers struggle with a scope that is too broad: writers
often find it challenging to zero in on the events that drive a story and prune out
extraneous information.

Consider, as an example, how you might respond if your friend asked what you did
last weekend. If you began with, “I woke up on Saturday morning, rolled over, checked
my phone, fell back asleep, woke up, pulled my feet out from under the covers, put my
feet on the floor, stood up, stretched…” then your friend might have stopped listening
by the time you get to the really good stuff. Your scope is too broad, so you’re including
details that distract or bore your reader. Instead, focus on the most exciting or
meaningful moment(s) of your day: "I woke up face-down to the crunch of shattered
glass underneath me. When I wobbled to my feet I realized I was in a large, marble
room with large windows overlooking the flashing neon lights of the Las Vegas strip. I
had no idea how I got there!" Readers can expect this story will focus on how the
storyteller arrived in Las Vegas, and it is much more interesting than including every
single detail of the day.

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Sequence

The sequence of your plot—the order of the events—will determine your reader’s
experience. There are an infinite number of ways you might structure your story, and
the shape of your story is worth deep consideration. Although the traditional forms for
a narrative sequence are not your only options, let’s take a look at a few tried-and-true
shapes your plot might take.

Freytag's Pyramid is in the public domain

Freytag's Pyramid: Chronological

A. Exposition: Here, you’re setting the scene, introducing characters, and

preparing the reader for the journey.

B. Rising action: In this part, things start to happen. You (or your characters)
encounter conflict, set out on a journey, meet people, etc.

C. Climax: This is the peak of the action, the main showdown, the central event
toward which your story has been building.

D. Falling action: Now things start to wind down. You (or your characters) come
away from the climactic experience changed—at the very least, you are wiser
for having had that experience.

E. Resolution: Also known as dénouement, this is where all the loose ends get
tied up. The central conflict has been resolved, and everything is back to normal,
but perhaps a bit different.

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In Medias Res

While Freytag's Pyramid tends to follow a linear or chronological structure, a story that
begins in medias res begins in the middle of the action. In fact, the Latin translation for
this term most literally means "in the middle of things." This is a more exciting way to
start a story in that it grabs the readers' attention quickly.

There I was floating in the middle of the ocean, the sharks with laser beams attached
to their heads circling hungrily, the red lights bouncing off of the floating disco ball upon
which I clung to for dear life, when I thought back to the events which led to this
horrifying situation...

The best In Medias Res beginnings make the reader go "WHAT THE HECK IS GOING
ON HERE?" and want to continue reading. They will usually follow the following
inversion of Freytag's Pyramid:

C. Climax: This is the peak of the action, the main showdown, the central event
of the story where the conflict comes to a head.

A. Exposition: Here, you’re setting the scene, introducing characters, and

preparing the reader for the journey.
B. Rising action: In this part, things start to happen. You (or your characters)
encounter conflict, set out on a journey, meet people, etc.

C. Climax: the story briefly returns to the moment where it started, though
usually not in a way which is redundant (not the exact same writing or details)
D. Falling action: Now things start to wind down. You (or your characters) come
away from the climactic experience changed—at the very least, you are wiser
for having had that experience.
E. Resolution: Also known as dénouement, this is where all the loose ends get
tied up. The central conflict has been resolved, and everything is back to normal,
but perhaps a bit different.
INDIVIDUAL ASSESSMENT NO. 1
DIRECTIONS: Identify the following Elements of Creative Nonfiction.
Write your answer on the space provided before each number. After
answering, you can scan the QR code to check your own work. If the
application is not accessible in your device, the teacher will be
providing the answer keys thru online meetings.
1. the place where the story takes place
2. refers to the boundaries of plot
3. The central conflict has been resolved, and everything is back
to normal, but perhaps a bit different.
4. Here, you’re setting the scene, introducing characters, and
preparing the reader for the journey.
5. the Latin translation for this term most literally means "in the
middle of things

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 6. the actual events that take place within the bounds of your
narrative
7. In this part, things start to happen. You (or your characters)
encounter conflict, set out on a journey, meet people, etc.
8. As a counterpart to descriptive imagery.
9. it is the way the writer paints the scene, or image, in the mind
of the reader
10. Now things start to wind down. You (or your characters) come
away from the climactic experience changed—at the very least, you are wiser for
having had that experience.

INDIVIDUAL ASSESSMENT NO. 2

DIRECTIONS: Analyze the following statements. Identify each of the
definition refers the term correctly. Write a check symbol (✔) if correct.
If not, write the correct term for the definition. After answering, you can
scan the QR code to check your own work. If the application is not accessible in your
device, the teacher will be providing the answer keys thru online meetings.
1. Climax: This is the peak of the action, the main
showdown, the central event toward which your story has been building.
2. Figurative Language usually involves descriptions of
one or more of the five senses: sight, sound, smell, touch, or taste
3. Tactile means smell
4. Resolution: Also known as dénouement, this is where
all the loose ends get tied up.
5. In Medyas Res means in the middle of things

6. Figurative Language is a counterpart to descriptive

imagery
7. Plot is the actual events that take place within the
bounds of your narrative
8. Setting is the place where the story takes place
9. Scope refers to the boundaries of plot
10. Falling action Now things start to wind down. You (or
your characters) come away from the climactic experience changed—at the very least,
you are wiser for having had that experience.

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