SHS

Creative
Writing
Quarter 2

1
 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 book are owned by their
respective copyright holders. Every effort has been exerted to locate and
seek permission to use these materials from their respective copyright
owners. The publisher and authors do not represent nor claim
ownership over them.

This module was carefully examined and revised in accordance with the
standards prescribed by the DepEd Region 4A and Curriculum and Learning
Management Division CALABARZON . All parts and sections of the module are
assured not to have violated any rules stated in the Intellectual Property Rights
for learning standards.

2
 Creative Writing
Grade Twelve

Regional Office Management and Development Job S. Zape, Jr.,

Team:
Jhonathan S. Cadavido, Romyr L. Lazo, Fe M. Ong-Ongowan, Lhovie A. Cauilan,
Eugene Ray F. Santos

Schools Division Office Management Team: Rosemarie C. Blando, August F.

Jamora, Authors: Van Russel A. Robles, Paul Ian Louie D. Robles

Creative Writing
Quarter 2
PIVOT IV-A Learner’s Material
First Edition, 2020

Published by: Department of Education Region IV-A CALABARZON

Regional Director: Wilfredo E. Cabral
Assistant Regional Director: Ruth L. Fuentes

3
 Guide in Using PIVOT Learner’s Material

For the Parents/Guardian

This module aims to assist you, dear parents, guardians, or

siblings of the learners, to understand how materials and activities are
used in the new normal. It is designed to provide the information,
activities, and new learning that learners need to work on.

Activities presented in this module are based on the Most

Essential Learning Competencies (MELCs) for Creative Writing as
prescribed by the Department of Education.

Further, this learning resource hopes to engage the learners in

guided and independent learning activities at their own pace and time.
Furthermore, this also aims to help learners acquire the needed 21st
century skills while taking into consideration their needs and
circumstances.

You are expected to assist the child in the tasks and ensure the
learner’s mastery of the subject matter. Be reminded that learners
have to answer all the activities in their own notebook.

For the Learners

The module is designed to suit your needs and interests using

the IDEA instructional process. This will help you attain the
prescribed grade-level knowledge, skills, attitude, and values at your
own pace outside the normal classroom setting.

The module is composed of different types of activities that are

arranged according to graduated levels of difficulty—from simple to
complex. You are expected to answer all activities on separate
sheets of paper and submit the outputs to your respective teachers
on the time and date agreed upon.

4
 Creative Writing
Identify the various elements,
techniques, and literary devices in
drama
Creative Writing – Specialized Subject
Alternative Delivery Mode
Quarter 2 – Module 1: Identify the various elements, techniques, and literary devices in drama
First Edition, 2020

Introductory Message
For the Facilitator:

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 assist you, the teacher or
facilitator in helping the learners meet the standards set by the K to 12 Curriculum while overcoming their personal, social, and economic constraints
in schooling.

This learning resource hopes to engage the learners into guided and independent learning activities at their own pace and time. Furthermore, this also
aims to help learners acquire the needed 21st century skills while taking into consideration their needs and circumstances.

As a facilitator you are expected to orient the learners on how to use this module. You also need to keep track of the learne rs' progress while allowing
them to manage their own learning. Furthermore, you are expected to encourage and assist the learners as they do the tasks included in the module.

For the Learner:

Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.

The hand is one of the most symbolized part of the human body. It is often used to depict skill, action and purpose. Through our hands we may learn,
create, and accomplish. Hence, the hand in this learning resource signifies that you as a learner is capable and empowered to successfully achieve the
relevant competencies and skills at your own pace and time. Your academic success lies in your own hands!

This module was designed to provide you with fun and meaningful opportunities for guided and independent learning at your own pace and time. You
will be enabled to process the contents of the learning resource while being an active learner.

This module has the following parts and corresponding icons:

What I Need to Know

This will give you an idea of the skills or competencies you are expected to learn in the module.

What I Know
This part includes an activity that aims to check what you already know about the lesson to take. If
you get all the answers correct (100%), you may decide to skip this module.

What’s In
This is a brief drill or review to help you link the current lesson with the previous one.

What’s New
In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a situation.

What is It
This section provides a brief discussion of the lesson. This aims to help you discover and understand
new concepts and skills.

What’s More
This comprises activities for independent practice to solidify your understanding and skills of the
topic. You may check the answers to the exercises using the Answer Key at the end of the module.

What I Have Learned

This includes questions or blank sentence/paragraph to be filled in to process what you learned from
the lesson.

What I Can Do
This section provides an activity which will help you transfer your new knowledge or skill into real
life situations or concerns.

5
 Week

1
What I Need to Know
This lesson was designed and written with you in mind. It is here to help you
master the various elements, techniques, and literary devices in drama. The scope
of this module permits it to be used in many different learning situations.
1
In this lesson, you will be learning the essential components such as its
characteristics, sensory experiences, and languages such as imagery and figures of
speech. I will also show sample works of well-known local and foreign writers.
At the end of this lesson, you will be producing short paragraphs or vignettes
using imagery, diction, figures of speech, and specific experiences.

After going through this lesson, you are expected to:

1. Identify the various elements, techniques, and literary devices in drama

What I Know
Directions: Read the statements carefully. Identify what is being defined in each number. Choose
the letter of the correct answer in the box. Write your answers on your answer sheet. This is just a
pretest. Your score on this part will not be graded.

A. Characters B. Theme C. Plot D. Music

E. Dialog F. Setting G. Performance H. Visual Elements
I. Symbols J. Direction K. Stagecraft L. Mood
1. This refers to a person or individual in the drama that may have defined
personal qualities and/or histories.
2. This refers to the words used, the accent, tone, pattern of speech, and even the
pauses in speech, say a lot about the character and help reveal not just his
personality, but also his social status, past, and family background as given by
the play.
3. This pertains to the message that the play gives to the audience.
4. This pertains to the order of events occurring in a play, exposing the past or
background of the main and other characters, and the point of conflict, then
proceeds to giving the central theme or climax.
5. This refers to the time and place where a story is set is one of its important
parts.
6. This includes what the character wears and how the character carries himself
on stage.
7. This includes the use of sounds and rhythm in dialogs as well as music
compositions that are used in the plays.
8. This deals with the scenes, costumes, and special effects used in it.
9. This defines how the play is presented to the audiences. The use and
organization of stage properties and the overall setting of a play.
10. These are often used to give hints of the future events in the story as these
complement the other elements of a scene and make it more effective.

6
 What’s In
Learning Task 1: Arrange to Know

Directions: Arrange the jumbled letter to identify the words that are relevant
to our topic. Definitions will help you to determine the hidden words. Write your
answers on your answer sheet.

a person or individual in the drama that may have defined

CAHCARSERT
personal qualities and/or histories.
words used, the accent, tone, pattern of speech, and even the
pauses in speech, say a lot about the character and help
GDILOA
reveal not just his personality, but also his social status, past,
and family background as given by the play.
defines how the play is presented to the audiences. The use
CFRTASGETA and organization of stage properties and the overall setting of
a play.
TLOP the message that the play gives to the audience.
the use of sounds and rhythm in dialogs as well as music
SGSON
compositions that are used in the plays.
is an essential constituent of a play as it constitutes the
TOINRETCID
story’s framework.

What’s New
Learning Task 2: Use me to create
Directions: Using the formed words from the previous learning task, create two
sentences that will present your idea about the topic. Also, write your questions that
will be answered after taking the lesson. Do this on your paper.
Your sentences Your Questions

What is It
In this part of your journey, we provide something for you to deepen your
understanding about the various elements, techniques, and literary devices in drama
Please continue reading with comprehension as you discover further
knowledge that will help you out in your quest on the remaining phases of this
lesson.

What is Drama?

-Drama in literature refers to the performance of written dialogue and stage

action. It’s a literary genre that allows actors to act out a writer’s words directly to
an audience.

7
 - It is a composition in prose or verse presenting in dialogue or pantomime a
story involving conflict or contrast of character, especially one intended to be acted
on the stage
- It is a mode of fictional representation through dialogue and performance.
It is one of the literary genres, which is an imitation of some action. Drama is also a
type of a play written for theater, television, radio, and film.

Different Types of Literary Drama

Comedies are usually humorous plays which uses clever wordplay or turns
of phrase.

Farce is a comic dramatic work using buffoonery and horseplay and typically
including crude characterization and ludicrously improbable situations.

Melodrama is a dramatic work wherein the plot, which is typically sensational

and designed to appeal strongly to the emotions, takes precedence over detailed
characterization. Melodramas typically concentrate on dialogue, which is often
bombastic or excessively sentimental, rather than action.

Musical drama is an opera in which the musical and dramatic elements are
equally important; the music is appropriate to the action. opera - a drama set to
music; consists of singing with orchestral accompaniment and an orchestral
overture and interludes.

Tragedy is a genre of story in which a hero is brought down by his/her own

flaws, usually by ordinary human flaws – flaws like greed, over-ambition, or even
an excess of love, honor, or loyalty.

Tragicomedy is a literary genre that blends aspects of both tragic and comic
forms. Most often seen in dramatic literature, the term can describe either a tragic
play which contains enough comic elements to lighten the overall mood or a serious
play with a happy ending

Elements of Drama
In literature, drama is the specific mode of fiction represented in
performance. The story progresses through interactions between its characters and
ends with a message for the audience.

The six Aristotelian elements of drama are the plot, character, thought,
diction, spectacle, and song.

Plot Character Thought

Diction Spectacle Song
Plot refers to the order of events occurring in a play make its plot. Essentially,
the plot is the story that the play narrates. The entertainment value of a play depends
largely on the sequence of events in the story.

Most stories have a beginning, middle and an end. However, your drama
doesn’t have to run in this linear order. Some work is non-linear in structure.

8
 At the most basic level, there are five primary elements of plot: exposition,
rising action, climax, falling action, and resolution. This is also referred to as
dramatic structure, as it originated from plays.

A linear plot consists of a series of events that have a clear beginning, middle
and end. The story unfolds in a chronological order, which means they are told in
the order they happened. The structure shown above is an example of a linear plot.

A nonlinear plots describe events out of chronological order. Present events

may be interrupted to describe past situations, or a story may start at the middle or
end instead of the beginning. In nonlinear plots, authors may employ different
literary techniques to tell their stories. Some common techniques include flashback,
foreshadowing, subplots, and parallel plots.

Characters refers a person or individual in the drama that may have defined
personal qualities and/or histories.
Most writers have an inherent understanding of how to categorize their
characters based on classic, “comic book-style” labels: heroes, villains, sidekicks,
etc.
There are many ways to categorize main characters: protagonist or antagonist,
dynamic or static character, and round or flat characters. A character can also often
fit into more than one category or move through categories.

PROTAGONIST ANTAGONIST

A protagonist is a main character who generates the action of a story and

engages the reader's interest and empathy. The protagonist is often the hero or
heroine.
An antagonist is a character who opposes the protagonist.

DYNAMIC STATIC

A dynamic character is one who goes through some sort of change; they show
character development. A protagonist is usually a dynamic character.
A static character refers to those who do not change throughout the course
of the story. They serve to show contrast to dynamic ones, refusing to grow and
remaining in one place or mentality.

FLAT ROUND

9
 A flat character refers to the two-dimensional in that they are relatively
uncomplicated and do not change throughout the course of a work.
A round character is complex and undergo development, sometimes
sufficiently to surprise the reader.

Thought or called to be the theme refers to its central idea. It can either be
clearly stated through dialog or action, or can be inferred after watching the entire
performance. The theme is the philosophy that forms the base of the story or a moral
lesson that the characters learn.
Plays may often be written about an idea, but the playwright will probably
focus more on plot and character to get idea across, plays are seldom about an idea.

Some general themes in play are:

Conflict between Conflict between Conflict between

two individuals man and a the man and
supernatural power himself

Diction is the language used to depart information, reveal characters,

characterize, direct attention, reveal themes and ideas, establish mood / tone,
establish tempo / rhythm appropriate to character.
Diction pertains to the words used, the accent, tone, pattern of speech, and
even the pauses in speech, say a lot about the character and help reveal not just his
personality, but also his social status, past, and family background as given by the
play. Monologues and soliloquies that are speeches given to oneself or to other
characters help put forward points that would have been difficult to express through
dialogs.
There are various forms of dialogs which are:

SOLILOQUY ASIDE
an act of speaking one's thoughts aloud when by Asides are shorter than soliloquies, usually
oneself or regardless of any hearers, especially only one or two lines.
by a character in a play.
MONOLOGUE DIALOGUE
refers to a speech delivered by a character in refers to a conversation between two or more
order to express his thoughts and feelings to characters in a work of literature.
other characters or the audience.

Spectacle is the most immediate element which is appropriate and distinctive

in a play. This refers to the visual elements of a play: sets, costumes, special effects,
etc. Spectacle is everything that the audience sees as they watch the play.
Spectacle refers to the visual elements which leads to performance as this
defines how the play is presented to the audiences. The use and organization of
stage properties and the overall setting of a play.
Songs refers to the sound of the dialog, etc. musicality, rhythm, pace, etc.
which helps establish mood, characterize, lend variety, pleasurable.

10
 This element includes the use of sounds and rhythm in dialogs as well as
music compositions that are used in the plays. The background score, the songs,
and the sound effects used should complement the situation and the characters in
it. The right kind of sound effects or music, if placed at the right points in the story,
act as a great supplement to the high and low points in the play. The music and the
lyrics should go well with the play’s theme. If the scenes are accompanied by pieces
of music, they become more effective on the audiences.

The structure of the story comprises the way in which it is dramatized. How
well the actors play their roles and the story’s framework constitute the structure of
drama. Direction is an essential constituent of a play. A well-directed story is more
effective. Stagecraft defines how the play is presented to the audiences. The use and
organization of stage properties and the overall setting of a play are a part of
stagecraft, which is a key element of drama.

Symbols are often used to give hints of the future events in the story. They
complement the other elements of a scene and make it more effective.

Techniques in Drama

In play, even if you’re a natural performer who can cry on command and
memorize lines, you’ll need to learn the following fundamental drama techniques to
really master the art of acting. The following are the techniques in drama.

Body, in drama character is conveyed through posture, gesture and facial

expression. In this way the audience can instantly identify with a character type or
understand a situation without a word being spoken
Space, in drama, the positioning of objects and bodies on the stage and the
relationship between them are vital means of making meaning.
Grouping Levels, Pathways and Personal Space are all important aspects of
space.
Voice pertains on how actors speak their lines instantly identify personality
and emotion.
Volume, pitch, pausing intonation, pace and accent can all influence audience
understanding of a character and the tension of the scene.
Movement refers to the use of timing, direction and energy to build a
sustained sequence of movement can enhance understanding of character and the
meaning of the scene.
Literary Devices in Drama

To understand the literary devices in drama, Shakespeare used many literary

devices (and also many poetic devices), below are the most important ones, most
central to his work.

Allusion is a reference to a person, place, event, usually without explicit

identification. Allusions can be references to mythology, the bible, historical events,
geography, legends, or other literary works. Authors often use allusion to establish
a tone, create an implied association, contrast two objects or people, make an
unusual juxtaposition of references, or bring the reader into a world of experience
outside the limitations of the story itself.

Dramatic device is a convention used in drama as a substitution for reality

that the audience accepts as real although they know them to be false. These

11
techniques give the audience information they could not get from straightforward
presentation of action. plays.

Dramatic irony is a literary device by which the audience’s or reader’s

understanding of events or individuals in a work surpasses that of its characters.
Dramatic irony is a form of irony that is expressed through a work’s structure: an
audience’s awareness of the situation in which a work’s characters exist differs
substantially from that of the characters’, and the words and actions of the
characters therefore take on a different—often contradictory—meaning for the
audience than they have for the work’s characters.

Monologue is a long, uninterrupted speech that is spoken in the presence of

other characters. Unlike a soliloquy a monologue is heard by other characters

Soliloquy is a speech in which a character, who is usually alone on the stage,

expresses his or her thoughts aloud. It is a very useful device, as it allows the writer
to convey a character’s most intimate thoughts and feelings directly to the audience.

Symbolism expresses some profound ideas by using a word repeatedly in

different contexts. It expresses several interlocking themes in frequent use of words,
places, characters, or objects that mean something beyond what they are on a literal
level.

What’s More
Learning Task 3: Be in Quest for Drama
Directions: Look for the words in the puzzle that can be associated to the
elements of drama. You may also put the meanings of the words that you have found.
Write your found words on your answer sheet.

S P E C T A C L E D
P A S T J R O M I I
L L P H A U L C V C
O N O G B V T O N T
T M L U J H N E A I
U N S O N G N I L O
N O I H C I D G R N
P R E T C A R A H C

12
Learning Task 4: Complete the Table
Directions: Complete the table. Supply the correct answers to complete the things to
be considered in the different techniques in drama. Write your answers on your
answer sheet.
TECHNIQUES IN DRAMA
BODY MOVEMENT VOICE SPACE
Facial expression Timing Grouping
Pacing Levels
Projection
Eye contact Dance

Learning Task 5: React with the Literary Pieces

Directions: Give your interpretation on the following statements. Reminders
the following statement use allusion. Write your interpretation on your answer
sheet.

1. Look, I’m no Mother Teresa. I’ve made my mistakes, but I’m trying.
__________________________________________________________________________________

2. Come. Be the Cleopatra to my Mark Antony.

__________________________________________________________________________________

3. As I walked through the graveyard, Beethoven’s “Symphony No. 9” played in

my head.
__________________________________________________________________________________

4. You don’t have to be William Shakespeare to write poetry.

__________________________________________________________________________________

5. Well, I’m no Hercules, but I could open that jelly jar for you.
__________________________________________________________________________________

What I Have Learned

Learning Task 6: “T-M-L Phrase
Complete the following phrases.
The Topic was about
______________________________________________________________________

It Matters because
______________________________________________________________________

I’ve Learned today that

______________________________________________________________________

13
 Assessment
Writing Time! Directions: With your learnings with the different elements,
techniques and literary devices in drama, do the outlining or planning of your story
to be written. Do this on your answer sheet.

I. Characters (Consider the kinds of characters)

II. Setting (Consider the elements of setting)
III. Plot (Identify the five parts of a plot)
IV. Theme, Tone, Subject, Motif
V. Conflict and Point of View
VI. Plot Device, Vision and Finale used in the story
VII. Symbolism:
VIII. Diction:
IX. Spectacle:
X. Song:

14
 Creative Writing
Understanding Intertextuality as a
Technique of Drama
Creative Writing – Specialized Subject
Alternative Delivery Mode
Quarter 2 – Module 2: Understanding Intertextuality as a Technique of Drama
First Edition, 2020

Introductory Message
For the Facilitator:

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 assist you, the teacher or
facilitator in helping the learners meet the standards set by the K to 12 Curriculum while overcoming their personal, social, and economic constraints in
schooling.

This learning resource hopes to engage the learners into guided and independent learning activities at their own pace and time. Furthermore, this also
aims to help learners acquire the needed 21st century skills while taking into consideration their needs and circumstances.

As a facilitator you are expected to orient the learners on how to use this module. You also need to keep track of the learners' progress while allowing them
to manage their own learning. Furthermore, you are expected to encourage and assist the learners as they do the tasks include d in the module.

For the Learner:

Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.

The hand is one of the most symbolized part of the human body. It is often used to depict skill, action and purpose. Through our hands we may learn,
create, and accomplish. Hence, the hand in this learning resource signifies that you as a learner is capable and empowered to successfully achieve the
relevant competencies and skills at your own pace and time. Your academic success lies in your own hands!

This module was designed to provide you with fun and meaningful opportunities for guided and independent learning at your own pace and time. You will
be enabled to process the contents of the learning resource while being an active learner.

This module has the following parts and corresponding icons:

What I Need to Know

This will give you an idea of the skills or competencies you are expected to learn in the module.

What I Know
This part includes an activity that aims to check what you already know about the lesson to take. If
you get all the answers correct (100%), you may decide to skip this module.

What’s In
This is a brief drill or review to help you link the current lesson with the previous one.

What’s New
In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a situation.

What is It
This section provides a brief discussion of the lesson. This aims to help you discover and understand
new concepts and skills.

What’s More
This comprises activities for independent practice to solidify your understanding and skills of the
topic. You may check the answers to the exercises using the Answer Key at the end of the module.

What I Have Learned

This includes questions or blank sentence/paragraph to be filled in to process what you learned from
the lesson.

What I Can Do
This section provides an activity which will help you transfer your new knowledge or skill into real
life situations or concerns.

15
 Week

1
What I Need to Know
This lesson was designed and written with you in mind. It is here to help you
Understand intertextuality as a technique of drama. The scope of this module
1
permits it to be used in many different learning situations.
In this lesson, you will be learning intertextuality as a technique of drama. I
will also show sample works of well-known local and foreign writers.
At the end of this lesson, you will be producing at least one scene for a one-
act play that can be staged.

After going through this lesson, you are expected to:

1. Understand intertextuality as a technique of drama

What I Know
Directions: Using a mind map, present your idea on what the terms mean and how will
you use your knowledge in writing outputs in Creative Writing. Do this on your answer
sheet.

INTER

INTER

What’s In
Learning Task 1: Identify the purpose
Directions: Knowing your writing preferences will help you be more successful
in your writing process. To determine your idiosyncratic writing preferences, answer
the following questions on your paper:

1. What is intertextuality?
2. How do I identify implicit and explicit intertextuality in a text?
3. What is the purpose of intertextuality?
4. How does intertextuality deepen our understanding of the ideas, themes and
perspectives in texts?

16
Learning Task 2: Use me to create
Directions: Using the terms from the previous learning task, create two sentences
that will present your idea about intertextuality. Also, write your questions that will
be answered after taking the lesson. Do this on your paper.

Your sentences Your Questions

What is It
In this part of your journey, we provide something for you to deepen your
understanding about intertextuality as a technique of drama.
Please continue reading with comprehension as you discover further
knowledge that will help you out in your quest on the remaining phases of this
lesson.

What is Intertextuality?

Intertextuality is a word coined by Julia Kristeva, a French linguist who has

written much on this topic. This word has a broader meaning in today′s context than
the theories she expounds in her seminal work on intertextuality which are "word,
dialogue and novel". Her notion of Intertextuality refers to the literal and effective
presence in a text of another text. ‘’A text’’, according to her, ‘’is a permutation of
texts, an Intertextuality in the space of a given text, in which several utterances,
taken from other texts, intersect and neutralize one another”

Intertextuality is the shaping of a text's meaning by another text. It is the

interconnection between similar or related works of literature that reflect and
influence an audience's interpretation of the text. Intertextuality is the relation
between texts that are inflicted by means of quotations and allusion.

When writers borrow from previous texts, their work acquires layers of
meaning. In addition, when a text is read in the light of another text, all the
assumptions and effects of the other text give a new meaning and influence the way
of interpreting the original text.

Intertextuality is when a text implicitly and explicitly refers to another text, by

using common or recognizable elements of the referenced text.

An implicit reference is when the composer alludes to another text through

ideas, symbols, genre or style.

An explicit reference is when the composer directly mentions quotes or

references another text in their work.

Different Types of Intertextuality

17
 Allusion is a subtle or indirect reference to another text, historical period or
religious belief.

Parody is an imitation of another text for satirical purpose, usually to mock.

Quotation is a direct reference to another text with an acknowledgement of

its composer.

Appropriation is a reworking or the reimagination of a well-known text to

change or extend its meaning.

Adaptation is a film, TV drama or stage play that is based on a written work.

How does Intertextuality work?

Writing and art will be intertextual whether you want them to be or not. Latent
intertextuality is inescapable! But when should you employ deliberate
intertextuality?

Deliberate intertextuality has a place both in creative writing and formal

essays. In creative writing, it’s a great way to get inspiration for stories. You can draw
on other authors’ stories and characters, or you can use other art forms to get
inspiration. Either way, when you make deliberate references to these other works
you are employing intertextuality.

A complex use of intertextuality is considered a sophisticated tool in writing.

Rather than referencing phrases from other works, a refined use of intertextuality
involves drawing upon an ideology, a concept, or even rhetoric from others. Thus,
you may explore the political ideology in your story by drawing upon the current
rhetoric in politics. Alternatively, you may use a text source and explore it further.

What’s More
Learning Task 3: Complete the Table
Directions: Complete the table. Supply ideas to complete the things to be
considered in the types of intertextuality. Write your answers on your answer sheet.
Types of Intertextuality Understanding
Allusion
Parody
Quotation

Appropriation
Adaptation

Learning Task 4: Implicit or Explicit!

Directions: Read and list down five literary pieces from the local and foreign writers
where intertextuality plays. Identify the explicit and implicit ideas used in their piece.
Write the lines or ideas where intertextuality is used. Do this on your answer sheet.

18
 Implicit Reference Explicit Reference

What I Have Learned

Learning Task 5: “T-M-L Phrase
Complete the following phrases.

The Topic was about

______________________________________________________________________

It Matters because
______________________________________________________________________

I’ve Learned today that

______________________________________________________________________

What I Can Do
Learning Task 6: Critiquing Time! Directions: Using the template below, write your
comments and observations on the intertextuality used in each literary pieces.
Answer the following questions. Write your answers on your answer sheet.
Watch/ listen to song of Katy perry entitled “Roar” and answer the following
questions
1. What is the song is about?
__________________________________________________________________________________
2. What does the line “eye of the tiger” mean in Perry’s song?
__________________________________________________________________________________
Watch/ listen to Survivor’s 1980s music video “Eye of the Tiger” and answer
the following questions
1. How does this video inform your understanding of Katy Perry’s song Roar?
__________________________________________________________________________________
2. In what ways does this song change your understanding of Katy Perry’s song?
__________________________________________________________________________________

19
 Creative Writing
Conceptualizing
character/setting/plot for a one-act
play
Creative Writing – Specialized Subject
Alternative Delivery Mode
Quarter 2 – Module 3: Conceptualizing character/setting/plot for a one-act play
First Edition, 2020

Introductory Message
For the Facilitator:

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, social, and economic constraints in
schooling.

This learning resource hopes to engage the learners into guided and independent learning activities at their own pace and time. Furthermore, this also
aims to help learners acquire the needed 21st century skills while taking into consideration their needs and circumstances.

As a facilitator you are expected to orient the learners on how to use this module. You also need to keep track of the learners' progress while allowing them
to manage their own learning. Furthermore, you are expected to encourage and assist the learners as they do the tasks included in the module.

For the Learner:

Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.

The hand is one of the most symbolized part of the human body. It is often used to depict skill, action and purpose. Through our hands we may learn,
create, and accomplish. Hence, the hand in this learning resource signifies that you as a learner is capable and empowered to successfully achieve the
relevant competencies and skills at your own pace and time. Your academic success lies in your own hands!

This module was designed to provide you with fun and meaningful opportunities for guided and independent learning at your own pace and time. You will
be enabled to process the contents of the learning resource while being an active learner.

This module has the following parts and corresponding icons:

What I Need to Know

This will give you an idea of the skills or competencies you are expected to learn in the module.

What I Know
This part includes an activity that aims to check what you already know about the lesson to take. If
you get all the answers correct (100%), you may decide to skip this module.

What’s In
This is a brief drill or review to help you link the current lesson with the previous one.

What’s New
In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a situation.

What is It
This section provides a brief discussion of the lesson. This aims to help you discover and understand
new concepts and skills.

What’s More
This comprises activities for independent practice to solidify your understanding and skills of the
topic. You may check the answers to the exercises using the Answer Key at the end of the module.

What I Have Learned

This includes questions or blank sentence/paragraph to be filled in to process what you learned from
the lesson.

What I Can Do
This section provides an activity which will help you transfer your new knowledge or skill into real
life situations or concerns.

20
 Week

2
1
This lesson was designed and written with you in mind. It is here to help you
conceptualize a character/setting/plot for a one-act play. The scope of this module
permits it to be used in many different learning situations.
In this lesson, you will be learning a character/setting/plot for a one-act play.
I will also show sample works of well-known local and foreign writers.
At the end of this lesson, you will be producing at least one scene for a one-
act play that can be staged.

After going through this lesson, you are expected to:

1. Conceptualize a character/setting/plot for a one-act play

What I Know
Directions: Read the statements carefully. Identify if the statement is TRUE or FALSE.
Write your answers on your answer sheet.

1. Characters in the play are individuals that don’t do the action in the story.
2. Setting refers to the time and location in which a story takes place is called the setting.
3. The plot is the logical arrangement of events in a story or play.
4. Protagonist is the chief figure who struggles against opposing forces.
5. Antagonist is the force, most often another character, that opposes the
protagonist.
6. The author does not make explicit/outright statements or explanations about the
characters
7. A linear plot begins at a certain point, moves through a series of events to a climax
and then ends up at another point.
8. Modular Plot is often used to mimic the structure and recall of human memory
but has been applied for other reasons as well.
9. Episodic Plot is made up of a series of chapters or stories linked together by the
same character, place, or theme but held apart by their individual plot, purpose, and
subtext.
10. There is a singular aspect to consider in a story's setting.

Learning Task 1: Arrange to Know

Directions: Arrange the jumbled letter to identify the words that are relevant
to our topic. Definitions will help you to determine the hidden words. Write your
answers on your answer sheet.

People who take part in the story who do the action in

TERSCHARAC the story and represent of a person in the story

TTSEING The time and location in which a story takes place

The plot is the logical arrangement of events in a story

or play. The plot is a organized. logical series of events
LOPT
having a beginning, middle, and end.

21
 usually consisting mostly of dialogue between
YLAY characters and intended for theatrical performance
rather than just reading.

What’s New
Learning Task 2: Use me to create
Directions: Using the formed words from the previous learning task, create two
sentences that will present your idea about the topic. Also, write your questions that
will be answered after taking the lesson. Do this on your paper.
Your sentences Your Questions

Learning Task 3: Connect the Terms

Directions: Connect the three terms in the word Play using a graphic
organizer.
Write your answer in your answer sheet.

CHARACTERS

CHARACTERS

CHARACTERS

22
 What is It
In this part of your journey, we provide something for you to deepen your
understanding about a character/setting/plot for a one-act play.
Please continue reading with comprehension as you discover further
knowledge that will help you out in your quest on the remaining phases of this
lesson.

Nature of a one-act play

A one-act play is a play that has only one act, as distinct from plays that occur
over several acts. One-act plays may consist of one or more scenes. In recent years,
the 10-minute play known as "flash drama" has emerged as a popular sub-genre of
the one-act play, especially in writing competitions. The origin of the one-act play
may be traced to the very beginning of drama: in ancient Greece, Cyclops, a satyr
play byEuripides, is an early example.

The One-Act Play, very popular in the 20th century, is regarded by many as a
modern product. But this is far from the truth. One-Act Plays were written and staged
throughout the 18th and the 19th centuries, as “The Curtain Raisers” or “The After
Pieces”.

The one-act play is to the full-length play what the short story is to the novel.
Percival Wilde defines the one-act play as “an orderly representation of life, arousing
emotion in an audience” (Wilde 41). Bernard Grebanier provides this definition: “A
one-act play is an elaboration of a single, significant incident” (Grebanier 172).
Because the playing time of a one-act is about twenty to sixty minutes, the playwright
has the challenge of creating an engaging plot, enticing characters, and resolution to
the conflict in a relatively short amount of time.

A one-act play must have the following characteristics and components:

The story must revolve around, or focus on one event.
The action of the play should move fairly quickly. There is no time to have a
lengthy introduction. Introduce characters and conflict fairly early on in the action
of the play.
The characters should be limited to two to seven, with one clear main
character.
Make your characters believable, but interesting!
Create a setting that is realistic in regards to the characters and plot. The
setting can be very detailed or discussed minimally, always in italics.
The playing time or read-through time of the play should be between twenty
and sixty minutes.
The play should be entertaining and engaging, with some element of suspense.
The play's form should follow the standard design:

Characters in one- act play

A play presents us directly with scenes which are based on people’s actions
and interactions, characters play a dominant role in this genre and therefore
deserve close attention. The characters in plays can generally be divided into major
characters and minor characters, depending on how important they are for the
plot. A good indicator as to whether a character is major or minor is the amount of

23
time and speech as well as presence on stage he or she is allocated. In play,
characters can be:
Protagonist – the chief figure who struggles against opposing forces
Antagonist – the force, most often another character, that opposes the
protagonist
Dynamic Character – one whose attitudes and values are affected by the
events in the story
Flat Character – a character having only a single trait or quality
Round Character – a multi-dimensional or a complex character
Static Character – one whose personality, attitudes, and beliefs remain fixed,
no matter what kinds of situations he encounters

Sometimes the quality of characters can also depend on the subgenre to

which a play belongs because genres traditionally follow certain conventions even
as far as the dramatis personae, i.e., the dramatic personnel, are concerned.
According to Aristotle’s Poetics, characters in tragedies have to be of a high social
rank so that their downfall in the end can be more tragic (the higher they are, the
lower they fall), while comedies typically employ ‘lower’ characters who need not be
taken so seriously and can thus be made fun of. Since tragedies deal with difficult
conflicts and subject matters, tragic heroes are usually complex.

Setting in one- act play

Setting is an environment or surrounding in which an event or story takes
place. It may provide particular information about placement and timing.

Setting could be simply descriptive, like a lonely cottage on a mountain.

Social conditions, historical time, geographical locations, weather, immediate
surroundings, and timing are all different aspects of setting.

Two types of Setting

Backdrop setting emerges when it is not important for a story, and it could
happen in any setting. For instance, A. A. Milne’s story Winnie-the-Pooh could take
place in any type of setting.

Integral Setting is when the place and time influences the theme,
character, and action of a story. This type of setting controls the characters. By
confining a certain character to a particular setting, the writer defines the
character. Beatrix Potter’s short story The Tail of Peter Rabbit is an example of
integral setting, in which the behavior of Peter becomes an integral part of the
setting. Another good example of this type of setting can be seen in E. B. White’s
novel Charlotte’s Web.

Plot in one- act play

The plot is the logical arrangement of events in a story or play. The plot is a
organized. logical series of events having a beginning, middle, and end.

24
Kinds of Plot
In literature, a linear plot begins at a certain point, moves through a series
of events to a climax and then ends up at another point.
Also known as the plot structure of Aristotle, it is possible to represent a
linear plot line with the drawing of an arc.
The primary advantage of using a linear plot is that the reader knows, or at
least has an idea, of where the plot goes next, and the reader is guaranteed to get a
beginning and ending.
a) Introduction - The beginning of the story where the characters and the
setting is revealed.
b) Rising Action - This is where the events in the story become complicated
and the conflict in the story is revealed (events between the introduction and climax).
c) Climax - This is the highest point of interest and the turning point of the
story. The reader wonders what will happen next; will the conflict be resolved or not?
d) Falling action - The events and complications begin to resolve
themselves. The reader knows what has happened next and if the conflict was
resolved or not (events between climax and denouement).
e) Denouement - This is the final outcome or untangling of events in the story.

Modular Plot is a nonlinear narrative, disjointed narrative or disrupted narrative

is a narrative technique, sometimes used in literature, film, hypertext websites and
other narratives, where events are portrayed, for example out of chronological order,
or in other ways where the narrative does not follow the direct causality pattern of
the events featured, such as parallel distinctive plot lines, dream immersions or
narrating another story inside the main plot-line. It is often used to mimic the
structure and recall of human memory, but has been applied for other reasons as
well.
It is a story that does not follow a linear narrative. That is, it doesn’t move in
a chronological order, instead jumping around within the story or between different
stories. Sometimes, the different sections don’t even feature the same characters or
world. Instead, they are united by thematic meaning.

Episodic Plot is made up of a series of chapters or stories linked together by

the same character, place, or theme but held apart by their individual plot,
purpose, and subtext.

Learning Task 4: Very Short Story Time

Directions: Read the short stories with understanding. Use the table below to
determine the parts of the plot in each story and write your answers on your answer
sheet.

25
 Elements The Fly
1. Plot
Exposition
Rising Action
Climax
Falling Action
Denouement
2. Characters
3. Setting

The Fly
by Katherine Mansfield

Published in 1922, The Fly is often heralded as one of Katherine Mansfield's

finest short stories. But it does not reward lazy readers! Your enjoyment of this story
depends on how well you read the story. So please take your time and read it with
careful attention. Readers will wish to contemplate the symbolism of the fly, and notice
that the ending of the story plays on one of Woodfield's problems mentioned near the
story's beginning. Featured in WWI Literature

" Y'ARE very snug in here," piped old Mr. Woodifield, and he peered out of the
great, green leather armchair by his friend the boss's desk as a baby peers out of its
pram. His talk was over; it was time for him to be off. But he did not want to go.
Since he had retired, since his... stroke, the wife and the girls kept him boxed up in
the house every day of the week except Tuesday. On Tuesday he was dressed and
brushed and allowed to cut back to the City for the day. Though what he did there
the wife and girls couldn't imagine. Made a nuisance of himself to his friends, they
supposed ... Well, perhaps so. All the same, we cling to our last pleasures as the tree
clings to its last leaves. So there sat old Woodifield, smoking a cigar and staring
almost greedily at the boss, who rolled in his office chair, stout, rosy, five years older
than he, and still going strong, still at the helm. It did one good to see him. Wistfully,
admiringly, the old voice added, " It's snug in here, upon my word ! "

" Yes, it's comfortable enough," agreed the boss, and he flipped the Financial
Times with a paper-knife. As a matter of fact he was proud of his room ; he liked to
have it admired, especially by old Woodifield. It gave him a feeling of deep, solid
satisfaction to be planted there in the midst of it in full view of that frail old figure in
the muffler.

" I've had it done up lately," he explained, as he had explained for the past—
how many ?— weeks. " New carpet," and he pointed to the bright red carpet with a
pattern of large white rings. " New furniture," and he nodded towards the massive
bookcase and the table with legs like twisted treacle. " Electric heating ! " He waved
almost exultantly towards the five transparent, pearly sausages glowing so softly in
the tilted copper pan.

But he did not draw old Woodifield's attention to the photograph over the table
of a grave-looking boy in uniform standing in one of those spectral photographers'
parks with photographers' storm-clouds behind him. It was not new. It had been
there for over six years.

26
 " There was something I wanted to tell you," said old Woodifield, and his eyes
grew dim remembering. " Now what was it ? I had it in my mind when I started out
this morning." His hands began to tremble, and patches of red showed above his
beard.

Poor old chap, he's on his last pins, thought the boss. And, feeling kindly, he
winked at the old man, and said jokingly, " I tell you what. I've got a little drop of
something here that'll do you good before you go out into the cold again. It's beautiful
stuff. It wouldn't hurt a child." He took a key off his watch-chain, unlocked a
cupboard below his desk, and drew forth a dark, squat bottle. " That's the medicine,"
said he. " And the man from whom I got it told me on the strict Q.T. it came from the
cellars at Windsor Cassel."

Old Woodifield's mouth fell open at the sight. He couldn't have looked more
surprised if the boss had produced a rabbit.

" It's whisky, ain't it ? " he piped, feebly.

The boss turned the bottle and lovingly showed him the label. Whisky it was.

" D'you know," said he, peering up at the boss wonderingly, " they won't let
me touch it at home." And he looked as though he was going to cry.

" Ah, that's where we know a bit more than the ladies," cried the boss,
swooping across for two tumblers that stood on the table with the water-bottle, and
pouring a generous finger into each. " Drink it down. It'll do you good. And don't put
any water with it. It's sacrilege to tamper with stuff like this. Ah ! " He tossed off his,
pulled out his handkerchief, hastily wiped his moustaches, and cocked an eye at old
Woodifield, who was rolling his in his chaps.

The old man swallowed, was silent a moment, and then said faintly, " It's nutty
!"

But it warmed him ; it crept into his chill old brain—he remembered.

" That was it," he said, heaving himself out of his chair. " I thought you'd like
to know. The girls were in Belgium last week having a look at poor Reggie's grave,
and they happened to come across your boy's. They're quite near each other, it
seems."

Old Woodifield paused, but the boss made no reply. Only a quiver in his eyelids
showed that he heard.

" The girls were delighted with the way the place is kept," piped the old voice.
" Beautifully looked after. Couldn't be better if they were at home. You've not been
across, have yer ? "

" No, no ! " For various reasons the boss had not been across.

" There's miles of it," quavered old Woodifield, " and it's all as neat as a garden.
Flowers growing on all the graves. Nice broad paths." It was plain from his voice how
much he liked a nice broad path.

27
 The pause came again. Then the old man brightened wonderfully.

" D'you know what the hotel made the girls pay for a pot of jam ? " he piped. "
Ten - francs! Robbery, I call it. It was a little pot, so Gertrude says, no bigger than a
half-crown. And she hadn't taken more than a spoonful when they charged her ten
francs. Gertrude brought the pot away with her to teach 'em a lesson. Quite right,
too ; it's trading on our feelings. They think because we're over there having a look
round we're ready to pay anything. That's what it is." And he turned towards the
door.

" Quite right, quite right! " cried the boss, though what was quite right he
hadn't the least idea. He came round by his desk, followed the shuffling footsteps to
the door, and saw the old fellow out. Woodifield was gone.

For a long moment the boss stayed, staring at nothing, while the grey-haired
office messenger, watching him, dodged in and out of his cubby hole like a dog that
expects to be taken for a run. Then : " I'll see nobody for half an hour, Macey," said
the boss. " Understand ? Nobody at all."

" Very good, sir."

The door shut, the firm heavy steps recrossed the bright carpet, the fat body
plumped down in the spring chair, and leaning forward, the boss covered his face
with his hands. He wanted, he intended, he had arranged to weep...

It had been a terrible shock to him when old Woodifield sprang that remark
upon him about the boy's grave. It was exactly as though the earth had opened and
he had seen the boy lying there with Woodifield's girls staring down at him. For it
was strange. Although over six years had passed away, the boss never thought of the
boy except as lying unchanged, unblemished in his uniform, asleep for ever. " My
son ! " groaned the boss. But no tears came yet. In the past, in the first months and
even years after the boy's death, he had only to say those words to be overcome by
such grief that nothing short of a violent fit of weeping could relieve him. Time, he
had declared then, he had told everybody, could make no difference. Other men
perhaps might recover, might live their loss down, but not he. How was it possible ?
His boy was an only son. Ever since his birth the boss had worked at building up
this business for him ; it had no other meaning if it was not for the boy. Life itself
had come to have no other meaning. How on earth could he have slaved, denied
himself, kept going all those years without the promise for ever before him of the
boy's stepping into his shoes and carrying on where he left off ?

And that promise had been so near being fulfilled. The boy had been in the
office learning the ropes for a year before the war. Every morning they had started
off together ; they had come back by the same train. And what congratulations he
had received as the boy's father ! No wonder ; he had taken to it marvellously. As to
his popularity with the staff, every man jack of them down to old Macey couldn't
make enough of the boy. And he wasn't in the least spoilt. No, he was just his bright,
natural self, with the right word for everybody, with that boyish look and his habit of
saying, " Simply splendid ! "

But all that was over and done with as though it never had been. The day had
come when Macey had handed him the telegram that brought the whole place

28
crashing about his head. " Deeply regret to inform you ..." And he had left the office
a broken man, with his life in ruins.

Six years ago, six years ... How quickly time passed ! It might have happened
yesterday. The boss took his hands from his face ; he was puzzled. Something seemed
to be wrong with him. He wasn't feeling as he wanted to feel. He decided to get up
and have a look at the boy's photograph. But it wasn't a favourite photograph of his;
the expression was unnatural. It was cold, even stern-looking. The boy had never
looked like that.

At that moment the boss noticed that a fly had fallen into his broad inkpot,
and was trying feebly but desperately to clamber out again. Help ! help ! said those
struggling legs. But the sides of the inkpot were wet and slippery ; it fell back again
and began to swim. The boss took up a pen, picked the fly out of the ink, and shook
it on to a piece of blotting-paper. For a fraction of a second it lay still on the dark
patch that oozed round it. Then the front legs waved, took hold, and, pulling its
small, sodden body up it began the immense task of cleaning the ink from its wings.
Over and under, over and under, went a leg along a wing, as the stone goes over and
under the scythe. Then there was a pause, while the fly, seeming to stand on the tips
of its toes, tried to expand first one wing and then the other. It succeeded at last,
and, sitting down, it began, like a minute cat, to clean its face. Now one could imagine
that the little front legs rubbed against each other lightly, joyfully. The horrible
danger was over ; it had escaped ; it was ready for life again.

But just then the boss had an idea. He plunged his pen back into the ink,
leaned his thick wrist on the blotting paper, and as the fly tried its wings down came
a great heavy blot. What would it make of that ? What indeed ! The little beggar
seemed absolutely cowed, stunned, and afraid to move because of what would
happen next. But then, as if painfully, it dragged itself forward. The front legs waved,
caught hold, and, more slowly this time, the task began from the beginning.

He's a plucky little devil, thought the boss, and he felt a real admiration for
the fly's courage. That was the way to tackle things ; that was the right spirit. Never
say die ; it was only a question of ... But the fly had again finished its laborious task,
and the boss had just time to refill his pen, to shake fair and square on the new-
cleaned body yet another dark drop. What about it this time ? A painful moment of
suspense followed. But behold, the front legs were again waving ; the boss felt a rush
of relief. He leaned over the fly and said to it tenderly, " You artful little b . . ." And
he actually had the brilliant notion of breathing on it to help the drying process. All
the same, there was something timid and weak about its efforts now, and the boss
decided that this time should be the last, as he dipped the pen deep into the inkpot.

It was. The last blot fell on the soaked blotting-paper, and the draggled fly lay
in it and did not stir. The back legs were stuck to the body; the front legs were not to
be seen.

" Come on," said the boss. " Look sharp ! " And he stirred it with his pen—in
vain. Nothing happened or was likely to happen. The fly was dead.

The boss lifted the corpse on the end of the paper-knife and flung it into the
waste-paper basket. But such a grinding feeling of wretchedness seized him that he
felt positively frightened. He started forward and pressed the bell for Macey.

29
 " Bring me some fresh blotting-paper," he said, sternly, " and look sharp about
it." And while the old dog padded away he fell to wondering what it was he had been
thinking about before. What was it ? It was... He took out his handkerchief and
passed it inside his collar. For the life of him he could not remember.

Learning Task 5: Take Time

Directions: Using the literary text in Learning Task 4. Answe the following questions.
Write your answers on your answer sheet.

1. What is the dynamic between Mr. Woodifield and the boss at the start of "The
Fly," and how does that dynamic evolve throughout the story?
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________

2. What do you think "The Fly" represents?

__________________________________________________________________________________
__________________________________________________________________________________

What I Have Learned

Learning Task 6: “T-M-L Phrase
Complete the following phrases.
The Topic was about
______________________________________________________________________

It Matters because
______________________________________________________________________

I’ve Learned today that

______________________________________________________________________

Assessment
Writing Time! Directions: With your learnings with \ a character/setting/plot for a one-
act play, do the outlining or planning of your story to be written. Do this on your
answer sheet.

I. Characters (Consider the kinds of characters)

II. Setting (Consider the elements of setting)
III. Plot (Identify the five parts of a plot)

30
 Creative Writing
Writing one scene for one-act play
applying the various elements,
techniques and literary devices
Creative Writing – Specialized Subject
Alternative Delivery Mode
Quarter 2 – Module 4: Writing one scene for one-act play applying the various elements, techniques and literary
devices
First Edition, 2020

Introductory Message
For the Facilitator:

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, social, and economic constraints in
schooling.

This learning resource hopes to engage the learners into guided and independent learning activities at their own pace and time. Furthermore, this also
aims to help learners acquire the needed 21st century skills while taking into consideration their needs and circumstances.

As a facilitator you are expected to orient the learners on how to use this module. You also need to keep track of the learners' progress while allowing them
to manage their own learning. Furthermore, you are expected to encourage and assist the learners as they do the tasks included in the module.

For the Learner:

Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.

The hand is one of the most symbolized part of the human body. It is often used to depict skill, action and purpose. Through our hands we may learn,
create, and accomplish. Hence, the hand in this learning resource signifies that you as a learner is capable and empowered to successfully achieve the
relevant competencies and skills at your own pace and time. Your academic success lies in your own hands!

This module was designed to provide you with fun and meaningful opportunities for guided and independent learning at your own pace and time. You will
be enabled to process the contents of the learning resource while being an active learner.

This module has the following parts and corresponding icons:

What I Need to Know

This will give you an idea of the skills or competencies you are expected to learn in the module.

What I Know
This part includes an activity that aims to check what you already know about the lesson to take. If
you get all the answers correct (100%), you may decide to skip this module.

What’s In
This is a brief drill or review to help you link the current lesson with the previous one.

What’s New
In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a situation.

What is It
This section provides a brief discussion of the lesson. This aims to help you discover and understand
new concepts and skills.

What’s More
This comprises activities for independent practice to solidify your understanding and skills of the
topic. You may check the answers to the exercises using the Answer Key at the end of the module.

What I Have Learned

This includes questions or blank sentence/paragraph to be filled in to process what you learned from
the lesson.

What I Can Do
This section provides an activity which will help you transfer your new knowledge or skill into real
life situations or concerns.

31
 Weeks

3-4
This lesson was designed and written with you in mind. It is here to help you
explore different staging modalities vis-à-vis envisioning the script. The scope of this
module permits it to be used in many different learning situations.
In this lesson, you will be learning the different staging modalities vis-à-vis
1
envisioning the script. I will also show sample works of well-known local and foreign
writers.
At the end of this lesson, you will be producing at least one scene for a one-
act play that can be staged.

After going through this lesson, you are expected to:

1. identify the different staging modalities
2. determine which stage modality is appropriate in a certain script; and
3. explore different staging modalities vis-à-vis envisioning the script
4. write one scene for one-act play applying the various elements,
techniques and literary devices.

What I Know
Directions: Read the statements carefully. Identify what is being defined in each number. Choose
the letter of the correct answer in the box. Write your answers on your answer sheet. This is just a
pretest. Your score on this part will not be graded.

A. Traverse B. Staging C. End Stage D. Proscenium

E. Thrust F. Arena G. Setting H. Flexible
I. Stage J. Characters K. Plot L. Theme

1. It refers to the performance of a drama or play in a stage.

2. It is the area where the actors perform, and it is usually a raised platform.
3. It is characterized by a central stage surrounded by audience on all sides.
4. It is a type of staging modality wherein the audience are sitting on the sides of the
stage, facing each other just like in a fashion catwalk.
5. It is known as picture frame stage since the audience sits in rows facing the stage
and they could watch the play as it would regard a large moving picture in a frame
just like in cinemas.
6.It is known by its arrangement which consists of being surrounded by audience on
three sides.
7. It is a type of stage which the audience is located only on the front of the stage
and doesn’t extend around it.
8. It is called a “Black Box” theatre.
9. It refers to the individuals that do the action in the story.
10. It refers to the time and location in which a story takes place.

32
Learning Task 1: Arrange to Know

Directions: Arrange the jumbled letter to identify the words that are relevant
to our topic. Definitions will help you to determine the hidden words. Write your
answers on your answer sheet.

It is known as picture frame stage since the audience sits

NIUMCESORP in rows facing the stage and they could watch the play as it
would regard a large moving picture in a frame just like in
cinemas
It is a type of stage which the audience is located only on
DEN
the front of the stage and doesn’t extend around it
It is known by its arrangement which consists of being
TUHRTS
surrounded by audience on three sides
It is characterized by a central stage surrounded by
NAREA
audience on all sides
It is a type of staging modality wherein the audience are
VSERERAT sitting on the sides of the stage, facing each other just like
in a fashion catwalk.
FLEBLEIX Sometimes called a “Black Box” theatre

What’s New
Learning Task 2: Use me to create
Directions: Using the formed words from the previous learning task, create two
sentences that will present your idea about the topic. Also, write your questions that
will be answered after taking the lesson. Do this on your paper.
Your sentences Your Questions

Learning Task 3: Compare the Stage

Directions: Observe the similarities and differences of the pictures below. Write
your
answers using the four-circle Venn Diagram. Write your answers in your notebook.

33
 Four-circle Venn Diagram

What is It
In this part of your journey, we provide something for you to deepen your
understanding about the different staging modalities vis-à-vis envisioning the script
Please continue reading with comprehension as you discover further knowledge that
will help you out in your quest on the remaining phases of this lesson.

Drama, just like the other genres, has undergone significant changes in its
historical development. This is partly attributable to the fact that stage types
have also changed and have thus required different forms of acting.
Throughout the history of drama, the architecture of stages has influenced
the style of drama and vice versa. Today, these are some of the basic types of
theater stages.
What is Staging?

Staging refers to the performance of a drama or play in a stage. The

stage is the area where the actors perform, and it is usually a raised platform.
It is essential to understand how to explore different staging modalities vis-a-

34
vis envisioning the script because these give great impact to the performance.
Thus, the mode of the stage must be fit to the script or kind of drama or play.

Staging is the position of the acting area in relation to the audience. The
Acting area is the part of the available space occupied by the set and used by
the actors when acting.

Types of Staging Modalities

A proscenium is the stage of the nineteenth and twentieth centuries. It

is also known as picture frame stage since the audience sits in rows facing
the stage and they could watch the play as it would regard a large moving
picture in a frame just like in cinemas. This is considered as the traditional.
It is a type of staging wherein a curtain underlines the division of the actors
and the audience. In this type of modality, the stage is illuminated during the
performance while the audience remained dark. The audience are not
disturbed during the play which makes this staging modality successful in
giving real-life illusions during the performance.

It can be said that it’s a “window” that frames the play taking place on
the stage. This type of stage, gives everyone in the audience a good view
because the performers need only focus on one direction rather than
continually moving around the stage to give a good view from all sides.

A proscenium theatre arrangement also simplifies the hiding and

obscuring of objects from the audience’s view (sets, performers not currently
performing, and theatre technology). Anything that is not meant to be seen is
simply placed outside the “window” created by the proscenium arch, either in
the wings or in the fly space above the stage.

A traverse stage is a form of theatrical in which the audience is

predominantly on two sides of the stage, facing towards each other. The stage
is also commonly known as an 'alley' or 'corridor stage'.

35
 It is a type of staging modality wherein the audience are sitting on the
sides of the stage, facing each other just like in a fashion catwalk. This type
is appropriate for confrontation scenes but needs dynamic fast-paced
entrances.

A thrust theatre stage is known by its arrangement which consists of

being surrounded by audience on three sides. The Fourth side serves as the
background.
Often the playing area is of square or rectangular shape, usually raised
and surrounded by raked seating.

An End stage is the same as the Thrust stage but in this case the
audience is located only on the front of the stage and doesn’t extend around
it. “Backstage” is behind the background wall. There is no real wing space to
the sides, although there may be entrances there. An example of a modern
end is a music hall, where the background walls surround the playing space
on three sides. Like a thrust stage, scenery primarily background.

36
 An Arena stage is characterized by a central stage surrounded by
audience on all sides. The stage area is also often raised to improve sightlines.

Flexible theatre also called as a “Black Box” theatre, these are often
big empty boxes painted black inside. Stage and seating not fixed. Instead,
each can be altered to suit the needs of the play or the whim of the director.

Considerations in writing a one-act play

The following steps in writing a one-act play is published at

penandthepad.com by (Contributor 2018):

1. Choose a subject to cover in a brief one act play. A short story works
best. Remember to give the one act play the necessary plot, action and
characters to make it a complete story. Research other one act plays
(http://www.one-act-plays.com/) to get ideas and inspiration for yours.

2. Develop the action first, then compose the dialog before you decide
anything else. Keep the plot simple for a one act play and it should move
consistently throughout the play.

3. Develop the characters. Write out a character sketch beforehand to help

you flesh out your characters and bring them to life. Give your characters a
motive in life (or lack thereof) and up the stakes by making them face a
problem. This is central to any story.

4. Generate the setting. The setting for a one act play will be one scene,
but you have to still develop the scene so the audience sees everything about
the story line. Include as many of the five senses as you can. Lighting helps
the setting. Make sure you write in notes about how the lighting should look.

5. Add in the stage directions after you write the action. Write notes about
how each character should respond and what props you'll need. For example,
if the characters should be facing another direction and talking to another
character, note it in the script.

6. Find performers that fit each part.

37
7. Make copies of the play for each cast member. Save the document in
case you need extra copies. Give copies of the one act play to each member of
the stage and prop handling too.

8. Practice the play. Ask for feedback from all the people involved in the
play.

Learning Task 4: Very Short Story Time

Directions: Read and analyze again the given sample of one-act play script. Answer
the questions below:
1. Determine the staging modality that is suitable for the script. Explain
your answer
2. Identify the (a) elements, (b) techniques and (c) literary devices found in
the
Literary piece.
50

The Phone
A One-Act Play by Irene Lau

For those who miss the little things in life

And those who talk as if they haven’t

Setting: Two public telephone booths stand alongside Nathan Road, one of the
busiest roads in Hong Kong. On one of the booths is a sign saying ‘Out of
Order’.

Lights on. The booths are unoccupied. A Filipino MAID enters with a plastic
bag of coins. She wears a sweater and an ankle-long dress of dark colours.
She approaches the booth, places the little plastic bag on top of the telephone
and starts her long-distance call.

MAID
Maligayang…

She continues her chitchat in Tagalog when HUSBAND enters and queues up
after her. He frowns as he sees MAID talking non-stop adding coins one by
one. He checks his pager again and stamps his feet in impatience.He strolls
to and fro between the kiosks and stares at the out-of-order sign on the other
telephone booth. He tries that phone, and soon puts down the handset
roughly. After some time, MAID leaves. HUSBAND hurries to make the phone
call.

HUSBAND
Yes, Ling, it’s me. Oh, what’s the matter? You left an urgent message… Oh,
I’m on my way back! I had a meeting – you knew about it already. What?
Where am I? I’m in the street!… Why late? Oh one of those Filipinos was

38
making a damn long distance call . . . (raising his voice) Cheating you! My
god… oh my god… certainly not. . . (he pauses for several seconds) Don’t holler
like that!

GIRLFRIEND and BOYFRIEND enter, walking hand in hand. They wait behind
HUSBAND for the phone. They whisper to each other.

HUSBAND
I say – I’m not… Hey, don’t roar at me again! I told you – I’m not hiding
anything! (he notices the couple queueing behind him and lowers his voice)
Don’t have such an imagination! I say . . . (he pauses for a few seconds) We’ll
talk when I’m back, all right? . . . What do you want? Somebody’s waiting for
the phone… Okay, okay… be back in half an hour, alright?

HUSBAND hangs up the phone, sighs deeply and leaves. BOYFRIEND smiles
at GIRLFRIEND

BOYFRIEND
Hope you don’t do that to me after we’re married.

GIRLFRIEND (punching his arm)

What idiot would promise to be your wife? Shhh, keep your voice down. (she
dials a number). Well Mom, yes… I’m leaving school now . . . yes . . . coming
back. Where am I? Hm… Hennessy Road. Yes, I’m in Causeway Bay…about
to take the MTR. Yes, of course I’m alone.

BOYFRIEND (laughs secretly and speaks softly)

Ha! You liar . . .

GIRLFRIEND (puts her hand across his mouth and shakes her head)
Alright, I’ll be quick, right . .. I’ll be careful . . . yes . . . bye Mom. (she hangs
up and turns to BOYFRIEND) I told you to shut up. What if my mom heard
your voice!

BOYFRIEND (jokingly)
Ha! How could she? I can’t even hear what I’m saying!

GIRLFRIEND (angrily)
You – are – just- making – excuses!!

She turns and leaves.

BOYFRIEND (chases after her)

Oh, wait a second, darling…

BOYFRIEND leaves at the same time that HOUSEWIFE and MAN enter from
separate directions. MAN bumps into BOYFRIEND, who gives him an angry
look in return. HOUSEWIFE takes advantage of the situation and rushes
toward the public telephone.

39
HOUSEWIFE
Hi, Mrs Wong. You know how I managed to phone you so quickly? . . . No, no
. . . I didn’t jump the queue… Ha, I can run faster than a man… ha, that’s
right.

She glances back. MAN waits for her and gives and her and annoyed look.
HOUSEWIFE turns back, slowly.

HOUSEWIFE
Ha ha… that’s it. Ha… right. He’s stupid… Ah yes, the shop, right at the
corner, remember? Yes, the earrings and necklaces are on sale! Ask your
husband to go with you . . . Ha, that’s true . . . Then ask his money to go . . .

MAN clears his throat repeatedly

HOUSEWIFE
Oh… is it? I must try that… You’ll go with me, won’t you? How about
tomorrow… yes, afternoon tea. The usual restaurant. Today? That’s great…
You bought the new currency? Ha, me too! What’s the name? Europe New
Union?. . . I can’t remember, either.

MAN makes louder sounds. The HOUSEWIFE looks at him with a victorious
smile, and turns again. She laughs into the phone

HOUSEWIFE
Your guess is correct! Absolutely. . . Oh . . . did you hear the “beep”? We’ve
talked five minutes already! Got to go. . . ha. . . yes. . . or I’ll be cut off, you
know. . . okay, see you later.

HOUSEWIFE leaves. MAN lifts the phone, holds the receiver between his chin
and shoulder and then searches in his pocket for coins. He frowns and pulls
out a small leather change purse and searches inside it.

MAN
Oh shit! God damn it!

MAN kicks the kiosk hard. Another YOUNG MAN enters. He picks up the
phone after MAN leaves.

YOUNG MAN (in an annoyed tone)

You hung up the phone before I could finish! I know I’ve said something
wrong, but you’ve got to respect me! (he holds the phone away from his ear
and listens for twenty seconds) Okay, I know, I’m wrong again!… Yes I know…
I shouldn’t have shouted… Jessie, come on. Please don’t cry… okay? Please…
I’ll come pick you up… No? Oh no… please… don’t be angry with me… I’m
sorry for that…

40
MAD MAN and GIRL enter one after the other. YOUNG MAN notices them
waiting behind him

YOUNG MAN
There’s a lot of people waiting. I’ll pick you up then . . .(raising voice) What?…
It’s not on purpose! I’m not telling lies! There’re already two people queuing
up . . . (lowering his voice) Okay, okay. . . Jessie?. . . Jessie! Hello? . . . Are
you there? Oh. . . Shit! (speaking to himself) Hung up again!

YOUNG MAN leaves

MAD MAN enters the booth and presses the numbers without inserting any
coins. GIRL watches in disgust and steps back.

MAD MAN
Hello… Yes… This is Pizza Hut… No, it’s the Mongkok Police Station. Who are
you?. . .(smiles to himself) From heaven? You’re in heaven? Have you seen my
wife and children? They’ve all gone to heaven! No… no? (laughs bitterly)
They’re all nice and kind.. . . They should be in heaven, unlike me . . . (he
pauses a while)I’d only go to hell . . . that’s why they jumped. . .

(GIRL looks scared, her eyes wide open. MAD MAN is murmuring too quietly
to hear)

MAD MAN (shouts suddenly)

Oh!! I won’t talk to you! You’re cheating me!

MAD MAN drops the phone and runs away. GIRL watches MAD MAN leave.
She picks up the phone and examines it for a few seconds.

GIRL (speaking softly)

Hello! Jimmy? Oh. . . I’m in Tsim Sha Tsui, yes, Nathan Road… Oh, you know
what – I just saw met a cuckoo… you know, that kind of man… He’s really
insane… He was talking on the phone. . . yes, before me. . . with nobody! He
looks like a beggar. . . yes of course, and smells. I’m so. . . frightened. . . Yes,
I know. . . I know you’re here. . . “there’s nothing I fear”. . .(she sings a few
lines of “My heart will go on”, theme song of the movie Titanic)

Two boys enter, separately. They are followed by a family of three: DADDY,
MOMMY and SON

GIRL
Oh honey. . . I miss you too. . . What’re you doing? Oh, writing poems! You
great writer! . . . That’s for me? Oh. . . no, I wouldn’t believe it . . . What did
you have for lunch? . . . Basically nothing? Oh . . . How could you. . . ? I’ll
look after you next time . . . (She blows a kiss)

I miss you darling. I’ll phone you soon . . . as I come home, okay? . . . Bye.

41
GIRL leaves, humming the song she has just sung.

BOY1 (watching GIRL)

Oh, what a bitch! (he picks up the phone) Mom, yes, it’s Ming. I’m not coming
home for supper. Yes. . . I’ll be late. . . Yes. . . no. . . no. . . yes. . . Bye!

BOY1 hangs up the phone and leaves. BOY2 picks up the phone.

BOY2
Hello John. Yes, Samuel. I need the past paper of Economics. . . which year?
What do you have?. . . hm. . . 95-96 please. Yes, only the MC part. Could you
photocopy it for me? Thanks!… Oh? Chemistry?… Yes. . . I have that. . . but
the answer is at home. Yes, I’m at Nathan Road something. (he nods) Alright,
I’ll phone you at home. You try it first, it’s tricky. . . and yes, cool.

BOY2 hangs up the phone. DADDY picks its it up.

DADDY (inserting the coin)

Mommy, what’s the number?

MOMMY (grins)
You always forgot. . . 23423411.

DADDY
Hi, it’s Herbert, Father. We’re coming for dinner. Yes… No problem, your
favourite beer, right? Fine, I’ll get it… Jane? She’s here… of course she’s here.

DADDY gives MOMMY the phone

MOMMY
What’s that, dad? Yes, we’ll come back early. . . Oh. . . don’t tell me to buy or
bring you anything – tell Herbert. . . Ha. . . I’m not spoiled. I used to be like
that!. . . Talk to Billy? We’re in the street. . . you’re stirring things up. . .
Alright, okay. . .

MOMMY passes the receiver to SON, about three. And she uses her eyes to
indicate that DADDY should insert another coin

SON
Grandad! Yea. . . Bill . . . Billy. Billy learns a song, shall I sing to you?

SON sings ‘Row, row, row your boat’, but the words are difficult to recognize.
MOMMY takes back the phone.

MOMMY
Alright Dad, we’ll talk when we get there. Bye.

The three leave and YOUNG MAN enters.

42
YOUNG MAN
Oh Jessie, don’t hang up on me again this time. Listen to me first . . . I
apologize. . . But it’s really very hard to find a phone here. . . I will.. . . May I
pick you up somewhere?. . . Oh please don’t . . . oh. . . no. . .(raising voice)I’ve
done all I can! What else do you want? (silence for several seconds). . . Hello?
Hello? Jessie? (He throws down the reciever and leaves)

The two telephone booths stand still on the stage. The receiver of the phone
that is not out of order swings. It soon stops and hangs motionless

VOICE (off stage)

Hello? Hello? What’re you talking about?.

~Irene Lau Oi-yan (Hong Kong)

What I Have Learned

Learning Task 4: “T-M-L Phrase
Complete the following phrases.
The Topic was about
______________________________________________________________________

It Matters because
______________________________________________________________________

I’ve Learned today that

______________________________________________________________________

Assessment
Writing Time! Directions: Write at least one scene for one-act play applying the
various elements, techniques, and literary devices. You need to identify the type of
stage you are about to use in your crafted one-act play. Do this on your answer sheet.
I. Characters (Consider the kinds of characters)
II. Setting (Consider the elements of setting)
III. Plot (Identify the five parts of a plot)
IV. Theme, Tone, Subject, Motif
V. Conflict and Point of View
VI. Plot Device, Vision and Finale used in the story
VII. Stage

43
 Creative Writing
Write a craft essay demonstrating
awareness of and sensitivity to the
different literary and/or socio-
political contexts of creative writing
Creative Writing – Specialized Subject
Alternative Delivery Mode
Quarter 2 – Module 6: write a craft essay demonstrating awareness of and sensitivity to the different literary and/or socio-
political contexts of creative writing
First Edition, 2020

Introductory Message
For the Facilitator:

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 assist you, the teacher or
facilitator in helping the learners meet the standards set by the K to 12 Curriculum while overcoming their personal, social, and economic constraints in
schooling.

This learning resource hopes to engage the learners into guided and independent learning activities at their own pace and time. Furthermore, this also
aims to help learners acquire the needed 21st century skills while taking into consideration their needs and circumstances.

As a facilitator you are expected to orient the learners on how to use this module. You also need to keep track of the learners' progress while allowing them
to manage their own learning. Furthermore, you are expected to encourage and assist the learners as they do the tasks included in the module.

For the Learner:

Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.

The hand is one of the most symbolized part of the human body. It is often used to depict skill, action and purpose. Through our hands we may learn,
create, and accomplish. Hence, the hand in this learning resource signifies that you as a learner is capable and empowered to successfully achieve the
relevant competencies and skills at your own pace and time. Your academic success lies in your own hands!

This module was designed to provide you with fun and meaningful opportunities for guided and independent learning at your own pace and time. You will
be enabled to process the contents of the learning resource while being an active learner.

This module has the following parts and corresponding icons:

What I Need to Know

This will give you an idea of the skills or competencies you are expected to learn in the module.

What I Know
This part includes an activity that aims to check what you already know about the lesson to take. If
you get all the answers correct (100%), you may decide to skip this module.

What’s In
This is a brief drill or review to help you link the current lesson with the previous one.

What’s New
In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a situation.

What is It
This section provides a brief discussion of the lesson. This aims to help you discover and understand
new concepts and skills.

What’s More
This comprises activities for independent practice to solidify your understanding and skills of the
topic. You may check the answers to the exercises using the Answer Key at the end of the module.

What I Have Learned

This includes questions or blank sentence/paragraph to be filled in to process what you learned from
the lesson.

What I Can Do
This section provides an activity which will help you transfer your new knowledge or skill into real
life situations or concerns.

44
 Weeks

5-6
What I Need to Know
This module was designed and written with you in mind. It is here to help you to write an
essay demonstrating awareness of and sensitivity to the different literary and/or socio-
1
political contexts of creative writing. The scope of this module permits it to be used in many
different learning situations.
In this module, you will encounter sample works of well-known local and foreign writers.
At the end of this module, you will be producing a short, well-crafted journal entries or short
compositions.

After going through this module, you are expected to:

1. Write a craft essay demonstrating awareness of and sensitivity to the

different literary and/or socio-political contexts of creative writing
(HUMSS_CW/MPlg-i-13)
2. use some of the learned elements, techniques in writing an essay.
3. appreciate literary pieces written by local and foreign writers.

What I Know
Directions: Supply the correct letters to form the words. After creating the words, try to define
them. Write your answers on your answer sheet.

1. ___ E ___ C R ___ P T ___ V E

2. E ___ P O ___ I T ___ R ___
3. ___ R G ___ M ___ N T ___ T ___ V ____
4. N ___ R ___ ___ T ___ ___ E
5. E ___ ___ A ___

What’s In
Learning Task 1: Recall the Format

Directions: Checking your understanding in writing an essay, let us try to answer the
following questions on your answer sheet.

1. What is an essay?
2. What is the minimum number of paragraphs in essay?
3. How do you divide the parts of your essay?
4. How do you do paragraphing?
5. How do you start your essay?
6. How do you deliver your thoughts about the topic?
7. How do you end your essay?
8. How do you create the title of your essay?
9. Where do you see essays? What are the common topics?
The following questions that you have answered determined on how you write your
essay about a topic. In this lesson, you will be learning some of the tips in writing an essay
about a topic demonstrating awareness of and sensitivity to the different literary and/or
socio-political contexts

45
 What’s New
Learning Task 2: Read and Say Something!
Directions: Read the text below. Tell something about the text based on the provided
concerns. Write your answers on your paper.

I know the feeling that my heart is being ripped out shall pass, yes, I know that. I know that
the more time goes by, the more my heart will let go. But my heart does not know that. All it
knows is, it’s being ripped into pieces.

And it reaches out at the slightest chance that there will be no need of this goodbye. It beats
harder at the slimmest glimpse of hope. But this goodbye comes, and it tugs and it tugs hard.
It is unforgiving, it is relentless. This goodbye is a savage.

It knocks at the door waiting for an answer and the heart beats harder. I open the door
knowing the pain will come and it does; Shooting pain, unbearable pain. I walk through the
door and the searing pain, once the heart has lost hope, cuts deep to the bone. The heart
races, fearful like a child lost without the parent.
I must keep walking, walking away from this goodbye, never look back for the heart which is
still hopeful. The heart is pulling me back, begging, reckoning with the mind. My heart tells
me, this can’t be, no… We can do away with this goodbye… We must go back but I keep
walking with each step, the heart beats harder. It cries out one more time… No! Please, no!
And yet, I keep on walking.

So, I want to go back and resist this goodbye, But I must not. I keep walking, My heart is
dragging on the ground now, digging into the ground, crying! I keep on walking because I
need to continue walking. Despite the tiredness of what happened between us, I need to go
on and continue.

I have a very long way to walk because it was a long journey, away from this goodbye, to the
place where the heart will ever feel safe once again. It has been a decade, we have been in
separated ways, but still Saying goodbye to you, Tubbtian is a savage thing.

Theme:

Main Topic of the Essay:

Introduction:
Discussions on the Body:
Second Paragraph:
Third Paragraph:
Fourth Paragraph:
Conclusion:
Target Audience:
Diction:

46
 What is It
In this part of your journey, we provide something for you to deepen your
understanding about writing process of an essay. This will help you to utilize your
understandings in writing your essay as the final requirement in this module.

Please continue reading with comprehension as you discover further knowledge that
will help you out in your quest on the remaining phases of this lesson.

Essay

An essay is a "short formal piece of writing dealing with a single subject". It is normally
composed to attempt to convince the readers utilizing chosen research proof. By and large, a
scholastic paper has three sections:

An introduction that gives the reader an overview of the ideas that the author would like to
include in the text.
A body, or middle section, that provides evidence used to strengthen the claims and
encourage the readers to accept the writer's point of view
A conclusion that provides the summary of the content and findings of the essay

A good place to start thinking about essays is to better understand the types of essays that
most of your assignments in high-school, and college or university will fit into. The following
are the four main categories of essays:

• Expository Essays;
• Descriptive Essays;
• Narrative Essays; and
• Argumentative Essays.

The Expository Essay

The expository essay is a genre of essay that requires the understudy to research a thought,
assess proof, clarify the thought, and put forward a contention worried that thought in a
reasonable and brief way. This can be cultivated through correlation and differentiation,
definition, model, the examination of circumstances and logical results, and so on.

The purpose of an expository essay is to describe or explain a specific topic. It:

• Uses factual information
• Is written from the third-person point of view
• Does not require a strong, formal argument

Points to remember in writing an expository writing

• A clear, brief, and established thesis statement that occurs in the first paragraph of
the essay.
• Clear and sensible advances between the presentation, body, and end.
• Advances are the mortar that holds the establishment of the paper together.
• Body paragraphs that include supporting evidences

• Support of the claims must be factual, logical, statistical, or anecdotal.

• Creativity may be used in writing an essay. Remember, though you may not be
crafting the next great novel, you are attempting to leave a lasting impression on the
people evaluating your essay.
• A conclusion that shall not restate the position stated, but to wrap up in light of the
evidence presented.

47
The five-paragraph Essay
Usually, in writing an essay, a common writing procedure of expository essay is the five-
paragraph approach. The essay which sounds straightforward, that is because of factual
presentation of the claims and ideas. The method consists of:
• an introductory paragraph
• three evidentiary body paragraphs
• a conclusion

Descriptive Essay
The descriptive essay is a type of essay that lets the writer to describe the chosen topic or
subject like object, person, place, experience, emotion, situation, etc. This genre persuades
the student’s ways in to creating a written piece of a particular part of his/her life. The genre
adheres for an artistic freedom of describing the topic using imageries and other literary
techniques. The goal of which is to paint an image that is vivid and moving in the mind of the
reader.

Guidelines in Writing a Descriptive Essay

• Jot some essential information.

If your teacher asks you to describe your favorite Filipino delicacies, jotting down the details
and examples before describing may let you to be organized in your writings.

• Choose clear and common vocabularies.

Choosing the words carefully, particularly for their relevancy in relation to that which you
are intending to describe, is important to let your readers understand your concept.

• Choose vivid language by using imageries.

Use imageries and other literary devices in describing your topic. The use of 5 senses such
as the visual, auditory, olfactory, gustatory, tactile and kinesthetic will be a great way to
describe your subject.

• Leave the reader with a clear impression.

Evoke a strong sense of familiarity and appreciation to the reader about your concept. See to
it that the readers can clearly imagine the things that you are describing.

• Organize your inputs

It is anything but difficult to fall into a muddled meandering aimlessly of feelings and faculties
when composing a distinct paper. In any case, you should endeavor to introduce a sorted out
and legitimate portrayal if the reader is to left the paper having gained a pertinent feeling of
what it is you are endeavoring to depict.

Narrative Essay
This essay most of the time deals with an essay which tells a story. These essays are often
anecdotal, experiential, and personal which allow the writer to express themselves in a
creative and, quite often, moving ways.

Guidelines in writing a narrative essay.

• Include all the parts of the story.

In this essay, it is important to include the introduction, plot, characters, setting, climax, and
conclusion of the chosen topic or event to be narrated.

• Provide the purpose of your narrative.

The writer must clearly state the purpose of writing or narrating the scenario. Is the purpose
to inform the reader, entertain with the story.

48
 • Use a clear point of view.
It is very basic for story papers to be composed from the stance of the creator;
notwithstanding, this isn't the sole viewpoint to be thought of. Inventiveness in story papers
regularly shows itself as authorial viewpoint. The use of First Person POV is not necessary
but it is suggested.

• Use understandable language for your audience.

Narrative Essays are successful when the language is cautiously, especially, and shrewdly
picked. Utilize explicit language to bring out explicit feelings and faculties in the reader.

• Organize your inputs

Have a clear introduction that sets the tone for the remainder of the essay. Do not leave the
reader guessing about the purpose of your narrative. Remember, you are in control of the
essay, so guide it where you desire.

Argumentative Essay
The argumentative essay is a genre of writing that requires the writer to present ideas which
aims to investigate a topic, collect, generate, and evaluate evidences, and presents a stand
on the topic in a concise manner.

It tasks commonly call for broad examination of writing or recently distributed material.
Argumentative may likewise require exact exploration where the understudy gathers
information through meetings, reviews, perceptions, or examinations. It permits the
understudy to find out about the subject and to comprehend various perspectives with
respect to the theme so she/he may pick a position and backing it with the proof gathered
during research. Notwithstanding the sum or sort of exploration included, argumentative
must build up an unmistakable proposition and follow sound thinking.

The structure of the argumentative essay is held together by the following.

• First Paragraph must present a clear, concise, and defined thesis statement.
Setting the context by recalling the topic in a general way. The writer should enlighten the
readers on the importance of reading the text. Lastly, writers should provide the thesis
statement. It is important that it is appropriately specified.

• Paragraphs and parts of the essay must have clear and logical transitions.
Transitions are the concrete way to establish the ideas of the paper together. Without
legitimate movement of thought, the reader can't follow the paper's contention, and the
structure will crumple. Transitions should wrap up the idea from the previous section and
introduce the idea that is to follow in the next section.

• Body paragraphs must have evidences to support the claims.

Providing evidences are important for each argument that you are presenting. Readers must
be encouraged on your positions. With evidences, these may encourage the readers to be on
your stand with your arguments.

• Conclusion lets the readers decide at the end of your article.

Leaving the decision-making task shall be the test for the readers after reading the text. Your
conclusion may use a question or a wrap up statement leading the readers to decide on the
issue.

Questions to Ponder: Among the types of essay presented, which is/are

interesting to you? What are your reasons why do you like the type/s? Have you read
some examples for each essay type?

49
Here is an example of an outline that will help you to write your essay. Outlining helps you
to be organized and systematic in writing your essay. It will also help you to attain conrguency
and coherence of your text.

Using the Standard Essay Outline

1) Thesis Statement
A. Supporting Argument/Idea #1
B. Supporting Argument/Idea #2
C. Supporting Argument/Idea #3
D. Conclusion/Transitional Device

2) Topic Sentence for Supporting Idea #1

A.
B.
C.
D. Conclusion/Transitional Device

3) Topic Sentence for Supporting Idea #2

A.
B.
C.
D. Conclusion/Transitional Device

4) Topic Sentence for Supporting Idea #3

A.
B.
C.
D. Conclusion/Transitional Device

5) Conclusion/Restatement of Thesis
A.
B.
C.
D. Strong Concluding Sentence

What’s More
Learning Task 3: What is your type?
Directions: I. Read the excerpts of the essays. Identify their essay type. Write your answers
on your answer sheet.

1. As I struggle to finish this piece on April 17, 2020 the Philippines has so far
recorded 5,660 Covid-19 positive cases, 362 deaths, and 435 recoveries,
topping the volume of positive cases amongst other Southeast Asian Countries
over Malaysia, Indonesia, and Singapore. It has been a month since March
15, the start of the lockdown in Metro Manila and the rest of Luzon to contain
the spread of the virus. A month earlier, on February 13, at the University of
the Philippines Diliman where I teach, classes were suspended and employees
were advised to stay home. (Solidarity and sharing in an unequal society:
Covid-19 in the Philippines, Filomin Gutierrez)

50
2. I always thought of myself as a different kind of student. I did not have the
same academic prowess as other people have, but what I had was a great
appreciation for everything people do for the community. Florence Nightingale
may have died, but she feels more alive than ever. I believe the very attribute
of SDG #4 Quality Education is not measured in high grades, but seen
through the actions of people. (What young people can learn from Florence
Nightingale, hcwhasia)
3. The question of how to reopen our societies in the wake of the pandemic
caused by the novel coronavirus poses special questions for social
researchers, beyond those of the immediate and difficult task at hand. For
scholars, the question is not only, what is society to become after the Covid-
19 pandemic? But how do the social conditions exposed, exacerbated, and
created by the novel coronavirus demand that we substantively rethink our
ideas of society and, therefore, some of the prevailing assumptions, methods,
and theories of social science? (Society after Pandemic, Alondra Nelson)
4. As online learning becomes more common and more and more resources are
converted to digital form, some people have suggested that public libraries
should be shut down and, in their place, everyone should be given an iPad
with an e-reader subscription.
5. The concert of my favorite band, Coldplay. Listening and seeing my favorite
singers on that cold night was awesome because I had never seen them. I
remember myself arriving at the MMRDA Grounds in Mumbai at 6 o’clock.
The line to get into the concert was longer than I thought it would be. As we
were walking to get closer to the access area I could listen to people talking
about their likes and dislikes concerning the famous and controversial rock
bands. At that time, the weather was nice. It was neither warm nor cold; it
was just perfect for a concert night with friends. On the street, there were
some people selling black t-shirts, big posters and some snacks which smelled
delicious and looked awesome in people's eyes. Then, we started getting closer
to the concert stage.
6. The first difference between Harry and Draco is their upbringing. Harry was
raised by Muggles (non-magical people), while Draco comes from an elite
wizarding family that hates Muggles. When the boys meet for the first time,
Draco talks about whether Muggle-born wizards should even attend Hogwarts
School of Witchcraft and Wizardry:
"I really don't think they should let the other sort in, do you? They're just not
the same, they've never been brought up to know our ways. Some of them
have never even heard of Hogwarts until they get the letter, imagine. I think
they should keep it in the old wizarding families." (Rowling 61)
7. End of School Year Rites have been annual celebrations which are not so
much an ending but a new beginning. For grade school students, graduation
is the beginning of their adolescent adventures as they let go of their parents’
embrace and test their wings in high school. For high school students,
graduation is the beginning of their journey to self-discovery as they unravel
what it is that they really want out of life in college.
However, due to the current situation brought by COVID-19 Pandemic, the
Department of Education maintains that graduation and moving up rites that
require face-to-face interaction shall be postponed until further notice.

51
Learning Task 4: Go back with the Third!

Directions: Go back with the previous learning tasks. Using the given parts of the essays,
try to supply the information about the essays dealing with the following elements. Do this
on your answer sheet.

Essay 1:

I. Topic:
II. Part of the Essay:
III. Diction:
IV. Point of View:
V. Possible Title:

Learning Task 5: Read and Give

Directions: Read the essay below. Using the template, supply the essential information. Do
this on your answer sheet.

by Lisa Barlow
Education is an important medium of acquiring essential knowledge and skills. It is more
than just learning from books. It is an effort of the older generation to transfer their life
wisdom to their offspring. Our world is constantly changing and developing so it is very
important to teach and bring up intelligent people who could understand the problems of
modern society and solve them in a proper way.

It is said that education is not preparation for life; education is life itself. So, why is it
extremely important to get a proper education?

Education plays a vital role in shaping successful people. It gives us the opportunity to
become a productive member of a civilized society by acquiring all the necessary skills. We
learn how to meet challenges and overcome obstacles. We learn how to become an integrated
personality and maintain the perpetuation of our culture. People learn basic norms, rules,
regulations, and values of society through education. Moreover, high quality education
enables us to lead a successful life, enhances our intelligence, skills, knowledge, and brings
positive changes in our life.
Education lays the foundation stone for our future. An illiterate person can find it very
difficult to cope with some aspects of life. Education expands our vision and creates
awareness. It helps us develop a disciplined life and provides us with better earning
opportunities. It enables us to know the world beyond our own surroundings. Education is
also a prerequisite of the prosperity and modernization of any country.

Modern education is liberal, open, and exoteric. It is the premise of progress, in every family
and in every society. It teaches people to reason. It is based on the humanism, freedom,
equality, democracy, and human rights. The content of education keeps pace with the needs
of modern society and is a mirror of its goals, values, and priorities. The present industrial
society has opened up a plenty of occupations which require people with specialized skills
and knowledge. So, education is a necessary means of eradicating the unemployment
problem. It is able to reduce poverty in a number of ways. But we have to remember that
there is a great need for the growth of the vocational education so that every person could
pursue a fulfilling career that ensures a satisfied life.

52
Education is definitely important in one`s life. A gift of knowledge can bring us to the top of
our dreams. It leads us to the right path and gives us a chance to have a wonderful life.
Education makes people capable of doing new interesting things that can go a long way to
improving human living conditions and standards. Our whole life is the process of learning
and gaining new useful knowledge. We should always remember that getting a good education
is imperative in today`s society as it is a foundation of our successful future. Our education
is really worth investment. Only if you believe and work hard you can achieve anything.

I. Topic:
II. Diction:
III. Point of View:
IV. Target Audience:
Thesis Statement
A. Supporting Argument/Idea #1
B. Supporting Argument/Idea #2
C. Supporting Argument/Idea #3
Main topic for each paragraph of the essay body.
Conclusion/Transitional Device

What I Have Learned

Learning Task 6: “T-M-L Phrase
Complete the following phrases.

The Topic was about

______________________________________________________________________

It Matters because
______________________________________________________________________

I’ve Learned today that

______________________________________________________________________

What I Can Do
Learning Task 7: Be Inspired by Reading (to be done for two weeks)

Directions: Read some of the existing essays in various resources. It may be found in the
internet, existing literature books, newspapers and other reading materials or even your own
created essays before. Appreciate the structures used by the author for you to use it in
accomplishing the next learning task.
Learning Task 8: Outline by using the elements (To be submitted next week)
Directions: With your learnings with the different types and steps in essay wriitng, Do the
outlining or planning of your essay to be written. Do this on your answer sheet.

I. Topic:
II. Diction:
III. Point of View:
IV. Target Audience:

53
1) Thesis Statement
A. Supporting Argument/Idea #1
B. Supporting Argument/Idea #2
C. Supporting Argument/Idea #3
D. Conclusion/Transitional Device

2) Topic Sentence for Supporting Idea #1

A.
B.
C.
D. Conclusion/Transitional Device

3) Topic Sentence for Supporting Idea #2

A.
B.
C.
D. Conclusion/Transitional Device

4) Topic Sentence for Supporting Idea #3

A.
B.
C.
D. Conclusion/Transitional Device

5) Conclusion/Restatement of Thesis
A.
B.
C.
D. Strong Concluding Sentence

Assessment
Writing Time! Directions: Write one essay demonstrating awareness of and sensitivity to the
different literary and/or socio-political contexts of creative writing considering your created
outline. You have the freedom to choose and utilize any of the elements, types, and other
essential topics about essay. Do this output in a yellow paper. You will be guided by the
rubrics in grading your outputs.

Note: This will be submitted next week.

You have two weeks to create your output.

54
 ESSAY WRITING RUBRICS
4 / 2 / NEEDS 1 /
5 / 3 /
VERY IMPROVEM UNACCEPTA
EXCELLE AVERAGE
GOOD ENT BLE
NT

This paper This The writer is Topic is not As yet, the

is clear and paper is beginning to well-defined paper has no
focused. It mostly define the and/or there clear sense of
holds the focused, topic, even are too many purpose or
reader's and has though topics. central theme.
attention. some development To extract
Ideas Relevant good is still basic meaning from
details and details or general. the text, the
quotes and reader must
enrich the quotes. make inferences
central based on
theme. sketchy or
missing details.

The Paper The Sentences The writing

organization (and organizationa within lacks a clear
enhances paragrap l structure is paragraphs sense of
and hs) are strong make sense, direction. Ideas,
showcases mostly enough to but the order of details, or
the central organized move the paragraphs events seem
idea or , in order, reader does not. strung together
theme. The and through the in a loose or
Organizati
order, makes text without random fashion;
on
structure of sense to too much there is no
information the confusion. identifiable
is reader. internal
compelling structure.
and moves
the reader
through the
text.

The writing The The text The text seems The reader has
has an easy writing hums along choppy and is to practice quite
flow, mostly with a steady not easy to a bit in order to
rhythm, and flows, beat, but read orally. give this paper a
cadence. and tends to be fair interpretive
Sentences usually more reading.
are well invites businesslike
Sentence
built, with oral than
Fluency
strong and reading. musical,
varied more
structure mechanical
that invites than fluid.
expressive
oral
reading.

55
 The writer The write The writer The writer Errors in
demonstrate understa shows seems to have spelling,
s a good nds good reasonable made little punctuation,
grasp of writing control over effort to use capitalization,
standard conventio a limited conventions: usage, and
writing ns and range of spelling, grammar
conventions usually standard punctuation, and/or
(e.g., uses writing capitalization, paragraphing
spelling, them conventions. usage, repeatedly
punctuation correctly. Conventions grammar distract the
Conventio , Paper is are and/or reader and
ns capitalizatio easily sometimes paragraphing make the text
n, grammar, read and handled well have multiple difficult to read.
usage, errors are and enhance errors.
paragraphin rare; readability;
g) and uses minor at other
conventions touch- times, errors
effectively to ups are
enhance would get distracting
readability. this piece and impair
ready to readability.
publish.

The form The The writer's The writer's The reader

and format message is message is receives a
presentatio only has understand only garbled
n of the a few able in this understandab message due
text mistake format. le to problems
enhances s and is occasionally, relating to the
the ability generall and paper is presentation of
Presentat for the y easy to messily the text, and is
ion reader to read and written. not typed.
understan pleasing
d and to the
connect eye.
with the
message. It
is pleasing
to the eye.

56
 Creative Writing
Create an online portfolio the
outputs produced: poetry, fiction,
script, etc. applying ICT skills/any
appropriate multimedia forms
Creative Writing – Specialized Subject
Alternative Delivery Mode
Quarter 2 – Module 7: Create an online portfolio the outputs produced: poetry, fiction, script, etc. applying ICT skills/any
appropriate multimedia forms
First Edition, 2020

Introductory Message
For the Facilitator:

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 assist you, the teacher or facilitator
in helping the learners meet the standards set by the K to 12 Curriculum while overcoming their personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and independent learning activities at their own pace and time. Furthermore, this also aims to
help learners acquire the needed 21st century skills while taking into consideration their needs and circumstances.

As a facilitator you are expected to orient the learners on how to use this module. You also need to keep track of the learners' progress while allowing them to
manage their own learning. Furthermore, you are expected to encourage and assist the learners as they do the tasks included in the module.

For the Learner:

Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module.

The hand is one of the most symbolized part of the human body. It is often used to depict skill, action and purpose. Through our hands we may learn, create,
and accomplish. Hence, the hand in this learning resource signifies that you as a learner is capable and empowered to successfully achieve the relevant
competencies and skills at your own pace and time. Your academic success lies in your own hands!

This module was designed to provide you with fun and meaningful opportunities for guided and independent learning at your own pace and time. You will be
enabled to process the contents of the learning resource while being an active learner.

This module has the following parts and corresponding icons:

What I Need to Know

This will give you an idea of the skills or competencies you are expected to learn in the module.

What I Know
This part includes an activity that aims to check what you already know about the lesson to take. If
you get all the answers correct (100%), you may decide to skip this module.

What’s In
This is a brief drill or review to help you link the current lesson with the previous one.

What’s New
In this portion, the new lesson will be introduced to you in various ways such as a story, a song, a
poem, a problem opener, an activity or a situation.

What is It
This section provides a brief discussion of the lesson. This aims to help you discover and understand
new concepts and skills.

What’s More
This comprises activities for independent practice to solidify your understanding and skills of the
topic. You may check the answers to the exercises using the Answer Key at the end of the module.

What I Have Learned

This includes questions or blank sentence/paragraph to be filled in to process what you learned from
the lesson.

What I Can Do
This section provides an activity which will help you transfer your new knowledge or skill into real
life situations or concerns.

57
 Weeks

7-8
What I Need to Know
This module was designed and written with you in mind. It is here to help you to create your
online portfolio of the outputs that you have produced in the previous lessons. The scope of this
1
module permits it to be used in many different learning situations.
In this module, you will be learning the steps in creating your online portfolio. I will also show
sample works of well-known local and foreign writers.

At the end of this module, you will be producing a creating an online portfolio of the outputs that
you have produced. This will be by group for you to collaborate with your classmates.

After going through this module, you are expected to:

4. create an online portfolio the outputs produced: poetry, fiction, script, etc.
applying ICT skills/any appropriate multimedia forms
5. utilize the produced literary pieces in the previous lessons.
6. appreciate literary pieces written by local and foreign writers.

What I Know
Directions: Using the graphic organizer, present what have you known about BLOG. You may give
your understanding, examples, types and other information about the topic. Do this on your answer
sheet.

BLOG

58
 What’s In
Learning Task 1: Name the Logo

Directions: Look at the following logos below. Identify the name of each logo by choosing the
answers from the pool of names. Do this on your answer sheet.

1 2 3 4

5 6 7

9 10
8

Choices:
Wattpad Adobe Spark Facebook Blogger
Tumblr Wix LiveJournal Wordpress
Weebly Twitter

What’s New
Learning Task 2: Say Something!
Directions: Using the logos that you have determined, tell something about the purposes of these
names. Write your discussions on your answer sheet.

Have you encountered these names?

Where do you see them?
What are their contents?
How can you relate them in our subject?

59
 What is It
In this part of your journey, we provide something for you to deepen your understanding
about blogging and how to use it as a platform in creating your online portfolio. This will help
you to utilize your understandings in creating your online portfolio.
Please continue reading with comprehension as you discover further knowledge that will
help you out in your quest on the remaining phases of this lesson.

Definition and Elements of a Blog

Blogging is a collection of skills that one needs to run and supervise a blog. This entails
equipping a web page with tools to make the process of writing, posting, linking, and sharing
content easier on the internet.

Blog structure

The appearance of blogs has changed over time, and these days blogs include a wide
variety of items and widgets. However, most blogs still include some standard features and
structure.

STRUCTURE OF A BLOG

HEADER
with the menu of the contents and navigation bar

SIDEBARS
may present social
MAIN CONTENT profiles, favorite
With highlighted or latest blogs posted contents or
on the site advertisements
and
announcements

FOOTER
with related links like privacy policy, sources, contact page,
disclaimer etc.

Questions: Have you browsed any blogsites? What was that all about? Can you recall
the components of this site?

60
COMMON BLOG PLATFORMS

1. Facebook used as a blog platform

👉 Best for…people who are fan of using social media as a platform in sharing their experiences,
promoting something like events, products and even highlighting important events of their lives.

Facebook Notes is easy to use. To enable Facebook Notes on your Facebook business page, go to
‘settings’, click on ‘edit page’ and add the ‘Notes tab’. To create a post, click on the ‘Write a Note’
tab, and start typing your content. The FB Notes text editor has basic formatting features such
as highlight text, creating hyperlinks and adding bullet points. You can also upload a cover photo
for your blog post.

Sample Window of a Facebook Notes

2. Twitter used as a blog platform

👉 Best for…people who are fan of using social media as a platform in sharing their experiences,
promoting something like events, products and even highlighting important events of their lives.
Twitter is a service for people to communicate and stay connected through the exchange of quick,
frequent messages. It's an online social networking and micro blogging service that enables users
to send and read short 140 character text messages, called "tweets".
Sample Window of a Twitter Blog

61
3. Wattpad

Wattpad is a website and app for writers to publish new user-generated stories.

👉 Best for… people who aim to create social communities around stories for both amateur and
established writers.

The platform claims to have an audience of more than 80 million users, who can directly interact
with the writers and share their opinions with fellow readers. Although available in over 50
languages, 77% of its content is written in English.

A number of Wattpad users are translating stories to continue to build the platform.

Sample Window of Wattpad

Lastly, public high schools are now competing in Online Publishing which is one of the categories
in Campus Journalism whereas Adobe Spark is being used as a software in creating online
newspapers and outputs. Adobe Spark can be used to layout your blogsite like in Adobe Blog. A
particular url or link will be created in each webpage.
In this lesson, Adbe Spark will be highlighted since the platform that you will be using in creating
your online portfolio is Adone Spark.

Adobe Spark is an integrated suite of media creation applications for mobile and web developed
by Adobe Systems. It comprises three separate design apps: Spark Page, Spark Post, and Spark
Video.

The three design apps allow users to create and design visual content that can be used for
businesses, education, social media, etc.

The Spark Gallery highlights different projects made by people using the application. Users may
import/search pictures using any of the three applications, with only images tagged with the
Creative Commons license being available with the search tool.

62
Questions: Among the blogsites, which do you mostly visit? Why do you visit it? Have
you created some blogs in these blogsites?

Sample Window of Adobe Spark

Why try Spark Page?

Sometimes, you don't need a traditional website to get your message across. Adobe Spark Page
is ideal for projects that don't require more than one page, such as portfolios, resumes,
presentations, blog posts and photo galleries. For businesses, a Spark Page can showcase a
product catalog, advertise a special offer, or act as a weekly or monthly newsletter.

No matter what you create with Spark, you can do so without spending a penny - or knowing
how to make a web page. Originally designed as mobile iOS apps, Page and its companions, Post
and Video, are now available on the web from a single account, so that all the Spark tools can
be used on any device you like. What's more, Adobe hosts Spark Page, so you don't need to sign
up for web hosting to put your pages in front of the world.

63
How to create a webpage using Adobe Spark

Create an account
Sign up for a free Adobe Spark account online at spark.adobe.com or download the free Spark
Page app from the app store. Because your work automatically syncs across device, you can get
started on the web and iterate on-the-go or vice-versa.
Pick a theme

Using Spark Page, choose a theme from the “Themes” gallery in the upper right corner to set
fonts and styles that will completely transform the look and feel of your content. Don't like your
choice? You can change it at any time by simply selecting another theme.
Choose beautiful images to use

Add your own images from your hard drive, Dropbox, or Lightroom account or choose from
thousands of royalty-free photos we provide for you by searching in the right column.
Add different elements to your webpage

On your new Page, click the plus sign and choose from the options offered to add text, buttons,
images or videos. Continue to add elements with just a couple clicks to quickly build your site
as you scroll. Click Preview to see your work before it's live.

Share your page

When your page is complete, click “Share” to get a new, unique URL. Your page is now ready to
be shared across social media platforms, emailed or added to newsletters and other publications.
The Share tool can also generate a snippet of code that allows you to embed your new page into
an existing website by pasting the code into your site files.

Design tools for everyone

With professional templates, customizable features, and instant responsive design, Spark Page
just may be the best web page builder you've never heard of - a fast and easy tool that anyone
can use. Spark Page offers a variety of features to make your content look its best no matter
where it’s viewed. Spark's design tools are based on the essential features of Adobe's professional
tools like Photoshop and Illustrator, but you don't need to know how to use them or any other
dedicated design software.
For personal pages or business needs, Spark's easy-to-use tools and support from Adobe make
it the best web page creator on the web. Whatever story you want to tell, there's a Page for that.

Questions: Have you tried to visit some examples of webpage made using Adobe Spark?
How does the webpage look like? You may watch the steps in creating a webpage using
this link

How to Use Adobe Spark - Beginner's Tutorial

https://www.youtube.com/watch?v=3zH5LNt8dH8

64
 What’s More
Learning Task 3: Appreciate the Spark
Directions: In this learning task, you will be needing a data connection to access the links of
Adobe Spark. Using the provided links, read the contents of the webpages as online portfolio in
Creative Writing.
Links:

The Erudites

https://spark.adobe.com/page/Z6Z0sE2H0280u/?fbclid=IwAR0zUu_-UvQOswLfaeAmbMVbb9HHPI5atoNV7ia-
0vrg4LvsnCYfumJ0v7I

The Abnegation

https://spark.adobe.com/page/5vndVgVV4Czua/?fbclid=IwAR3LbjZNnR1CAIaWnb613LGCdkr6STlGDFSOSv2shQImt
kXgbdyczKb1P30

The Dauntless

https://spark.adobe.com/page/W8IHEy3Exe02s/?fbclid=IwAR3LbjZNnR1CAIaWnb613LGCdkr6STlGDFSOSv2shQImt
kXgbdyczKb1P30

The Candor

https://spark.adobe.com/page/YMTEhpmrakEgi/?fbclid=IwAR2niAiWg3rqImyV3p-2s-
ieu0DYC6ksyfoZMM9l5luxWevVzvNlJLyncBs

The Amity

https://spark.adobe.com/page/AZXAFJPmDLjLC/?fbclid=IwAR1cVvqo6Mn4A41jorB14yllZvB5UtW9nfboEqv-
uksPKlYA-u66z0hhUiY

Learning Task 4: Review the Spark

Directions: Go back with your previous learning task. Using the table below, give some comments
on the online portfolios presented. Do this on your notebook.

Say something Say something Say something

Group Name about the about the about the
Content Aesthetics Format
Erudites
Abnegation
Dauntless
Candor
Amity

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 What I Have Learned
Learning Task 5: “T-M-L Phrase
Complete the following phrases.

The Topic was about

______________________________________________________________________

It Matters because
______________________________________________________________________

I’ve Learned today that

______________________________________________________________________
What I Can Do
Learning Task 6: Be Inspired by Reading (to be done for two weeks)
Directions: Go back with the provided Adobe Spark links of the online portfolios. If you can still
search for other examples, you may still use it. Appreciate the elements used by the creators for
you to be inspired in making your own online portfolio.
Learning Task 7: Let’s Ready Sparkmates! (To be submitted next week)
Directions: With your learnings with the different steps in creating your online portfolio using
Adobe Spark, Look for your Sparkmates (groupmates). Your group must have a group name with
a maximum of 10 members. Do the review of your previous written literary outputs from the first
up to the last lesson in Creative Writing. Discuss what should be included in your online
portfolio. Each member shall have a minimum of two contributions of literary outputs. Do the
learning task on your answer sheet using the table below.
Group Name:
Leader:
Members:
Name of the Total Number Number of Titles of the Genres
Member of Literary Output Literary Outputs
Outputs Contribution

Student A 5 2 You’re Still my S Poem

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 Assessment
Creating Time! Directions: Considering the accomplished outline and the criteria, create you
online portfolio using Adobe Spark. You may be creative in making your webpages. Note: This
will be submitted next week. You have two weeks to create your output.

Guidelines in making your Online Portfolio using Adobe Spark

1. The group must have a group name with a maximum of ten (10) members.
2. Create the title of your webpages. Be Creative with your title and taglines.
Example: Dauntless: Ink runs in our veins
3. Using your inventory, plot your literary outputs on their sequences to your
webpages.
4. Use the following elements below:

For your Title webpage

• Title of the Webpage of the group
• Group Photo with description of the group
(description can be an essay or a poem)
• Name of the Members
Note: Names of members must be linked to their respective pages
Credits, Acknowledgement, and references
For the page of each member
• Cover photo of your webpage
• Group photo
• Name of the member
• Photo of the member
• Autobiography (It may be in a prolepsis form (10 years from now))
• 2 chosen literary outputs with related pics
• (can be downloaded or original photo)
• Credits and Home button
5. Generate the link of your online portfolio and send it to your subject teacher after
two weeks.

ONLINE/DIGITAL PORTFOLIO RUBRICS

Criteria Unsatisfactory Emerging (2) Proficient (3) Exemplary (4) Rating
(1)

Selection of The artifacts Some of the Most artifacts All artifacts and
Artifacts and work artifacts and and work work samples are
samples do not work samples samples are clearly and
relate to the are related to related to the directly related to
purpose of the the purpose of purpose of the the purpose of the
eportfolio. the eportfolio. eportfolio. eportfolio. A wide
variety of artifacts
is included.

67
Descriptive No artifacts are Some of the Most of the All artifacts are
Text accompanied artifacts are artifacts are accompanied by a
by a caption accompanied accompanied caption that
that clearly by a caption by a caption clearly explains
explains the that clearly that clearly the importance of
importance of explains the explains the the item including
the item importance of importance of title, author, and
including title, the item the item work date.
author, and including title, including title,
date. author, and author, and
date. date.

Citations No images, Some of the Most images, All images, media

media or text images, media media or text or text created by
created by or text created created by others are cited
others are cited by others are others are with accurate,
with accurate, not cited with cited with properly
properly accurate, accurate, formatted
formatted properly properly citations.
citations. formatted formatted
citations. citations.

Navigation The navigation The The The navigation

links are navigation navigation links are intuitive.
confusing, and links are links generally The various parts
it is difficult to somewhat function well, of the portfolio are
locate artifacts confusing, but it is not labeled, clearly
and move to and it is often always clear organized and
related pages or unclear how how to locate allow the reader
a different to locate an an artifact or to easily locate an
section. There artifact or move to artifact and move
are significant move to related pages to related pages or
problems with related pages or different a different section.
pages or a different section. Most All pages connect
connecting to section. Some of the pages to the navigation
preceding pages of the pages connect to the menu, and all
or the connect to the navigation external links
navigation navigation menu. Most of connect to the
menu. Many of menu, but in the external appropriate
the external other places links connect website or file.
links do not the links do to the
connect to the not connect to appropriate
appropriate preceding website or file.
website or file. pages or to
the navigation
menu. Some
of the external
links do not
connect to the
appropriate
website or file.

68
Usability and The eportfolio is The portfolio The eportfolio The eportfolio is
Accessibility: difficult to read is often is generally easy to read.
Text due to difficult to easy to read. Fonts and type
Elements, inappropriate read due to Fonts and size vary
Layout, and use of fonts, inappropriate type size vary appropriately for
Color type size for use of fonts appropriately headings, sub-
headings, sub- and type size for headings, headings and text.
headings and for headings, sub-headings
text and font sub-headings, and text.
styles (italic, text or long
bold, paragraphs.
underline).

Lack of Inconsistent In general, Use of headings,

paragraphing use of font use of sub-headings and
impedes styles (italic, headings, paragraphs
scanning bold, sub-headings promotes easy
underline) and scanning.
distracts the paragraphs
reader. promotes easy
scanning.

Many Some Use of font Use of font styles

formatting tools formatting styles (italic, (italic, bold,
are under or tools are bold, underline) is
over-utilized under or over- underline) is consistent and
and decrease utilized and generally improves
the reader decrease the consis-tent. readability.
accessibility to readers'
the content. accessi-bility
to the content.

Horizontal and Horizontal Horizontal Horizontal and

vertical white and vertical and vertical vertical white
space white space white space space alignment
alignment are alignment are alignment are are used
used inappro- sometimes generally used appropriately to
priately, and used inappro- appropriately organize content.
the content priately to to organize
appears organize content.
disorganized content.
and cluttered.

Color of Color of Color of Color of

background, background, background, background,
fonts, and links fonts, and fonts, and fonts, and links
decrease the links generally links generally enhance the
readability of enhance the enhance the readability and
the text, are read-ability of read-ability of aesthetic quality,
distracting and the text, and the text, and and are used
used are generally are generally consistently
inconsistently used used throughout the
throughout the consistently consistently eportfolio.
eportfolio. throughout throughout
the eportfolio. the eportfolio.

69
Writing There are more There are four There are a There are no
Conventions than six errors or more errors few errors in errors in
in grammar, in grammar, grammar, grammar,
capitalization, capitalization, capitalization, capitalization,
punctuation, punctuation, punctuation, punctuation, and
and spelling and spelling and spelling. spelling.
requiring major requiring These require
editing and editing and minor editing
revision. revision. and revision.

Multimedia The graphic Some of the Most of the All of the

Elements elements or graphic graphic photographs,
(Optional) multimedia do elements and elements and concept maps,
not contribute multimedia do multimedia spreadsheets,
to not contribute contribute to graphics, audio
understanding to understanding and/or video files
concepts, ideas understanding concepts, effectively
and concepts, ideas and enhance
relationships. ideas and relationships, understanding of
The relationships. enhance the concepts, ideas
inappropriate written and relationships,
use of material and create interest,
multimedia create and are
detracts from interest. appropriate for
the content. the chosen
purpose.

The graphics do Some of the Most of the Accessibility

not include graphics graphics requirements
alternate text in include include using alternate
web-based alternate text alternate text text for graphics
portfolios. in web-based in web-based are included in
portfolios. portfolios. web-based
portfolios.

Audio and/or A few of the Most of the All audio and/or

video artifacts audio and/or audio and/or video artifacts are
are not edited video artifacts video artifacts edited with proper
or exhibit are edited are edited voice projection,
inconsistent with with proper appropriate
clarity or sound inconsistent voice language, and
(too loud/too clarity or projection, clear delivery.
soft/garbled). sound (too appropriate
loud/too language, and
soft/garbled). clear delivery.
TOTAL

70
References
https://firstsiteguide.com/what-is-blog/
https://themeisle.com/blog/best-free-blogging-sites/
https://spark.adobe.com/images/Adobe%20Spark%20Edu%20Guide.pdf
https://www.youtube.com/watch?v=3zH5LNt8dH8
https://spark.adobe.com/page/Z6Z0sE2H0280u/?fbclid=IwAR0zUu_-
UvQOswLfaeAmbMVbb9HHPI5atoNV7ia-0vrg4LvsnCYfumJ0v7I
https://spark.adobe.com/page/5vndVgVV4Czua/?fbclid=IwAR3LbjZNnR1CAIaWnb61
3LGCdkr6STlGDFSOSv2shQImtkXgbdyczKb1P30
https://spark.adobe.com/page/W8IHEy3Exe02s/?fbclid=IwAR3LbjZNnR1CAIaWnb61
3LGCdkr6STlGDFSOSv2shQImtkXgbdyczKb1P30
https://spark.adobe.com/page/YMTEhpmrakEgi/?fbclid=IwAR2niAiWg3rqImyV3p-2s-
ieu0DYC6ksyfoZMM9l5luxWevVzvNlJLyncBs
https://spark.adobe.com/page/tVjgspb1zgZ9b/?fbclid=IwAR052drhZqOQdTUNrAeVO
VuF2WIA5dxgEZbBX-oJV00wanGNckapiGphS2Y
https://spark.adobe.com/page/AZXAFJPmDLjLC/?fbclid=IwAR1cVvqo6Mn4A41jorB1
4yllZvB5UtW9nfboEqv-uksPKlYA-u66z0hhUiY
https://www2.uwstout.edu/content/profdev/rubrics/eportfoliorubric.html
https://aso-resources.une.edu.au/academic-writing-course/sample-essay/
https://owl.purdue.edu/owl/general_writing/academic_writing/essay_writing/exposit
ory_essays.html
https://bowvalleycollege.libguides.com/c.php?g=10222&p=2214622
https://www.opendemocracy.net/en/democraciaabierta/solidarity-and-sharing-
unequal-society-covid-19-philippines/
https://noharm-asia.org/lessonsfromflorencenightingale
https://items.ssrc.org/covid-19-and-the-social-sciences/society-after-pandemic/
https://blog.prepscholar.com/argumentative-essay-examples
https://www.5staressays.com/blog/example-of-descriptive-essay/descriptive-essay-
example-about-an-event.pdf
https://buyessayfriend.com/essay-on-education
https://www.uen.org/rubric/previewRubric.html?id=20123

71
Answer Key
Week 1 Lesson 1
Pre- assessment: 1. a 2. e 3. b 4. c 5. f 6. g 7. d 8. h 9. k 10. I
Learning Task 2: Answers may vary
Learning Task 3: 1. Plot 2. Characters3. Thought 4.Diction 5. Spectacle 6. Song
Learning Task 4: Body- Posture, Gesture Movement- Direction, Energy
Voice- Volume, Accent Space- Personal Space, Pathways
Learning Task 5: Answers may vary
Learning Task 6: Answers may vary
Assessment: Answers may vary
Week 1 Lesson 2
What I Know: Answers may vary
Learning Task 1: Answers may vary
Learning Task 2: Answers may vary
Learning Task 3: 1. Allusion is a subtle or indirect reference to another text, historical
period or religious belief. 2. Parody is an imitation of another text for satirical purpose,
usually to mock. 3. Quotation is a direct reference to another text with an
acknowledgement of its composer. 4. Appropriation is a reworking or the reimagination
of a well-known text to change or extend its meaning. 5. Adaptation is a film, TV drama
or stage play that is based on a written work.
Learning Task 4: Answers may vary
Learning Task 5: Answers may vary
Learning Task 6: Answers may vary

Week 2 Lesson 3
Pre- assessment: 1. False 2. True 3. True 4. True 5. True 6. False 7. True 8. True 9.
True 10. False
Learning Task 2: 1. Characters 2. Setting 3. Plot 4. Play
Learning Task 3: Answers may vary
Learning Task 4: Answers may vary
Learning Task 5: Answers may vary
Learning Task 6: Answers may vary
Assessment: Answers may vary

Weeks 3-4 Lesson 4

Pre- assessment: 1. B 2. I 3. F 4. A 5. D 6. E 7. C 8. H 9. J 10. G
Learning Task 2: 1. Proscenium 2. End 3. Thrust 4. Arena 5. Traverse 6. Flexible
Learning Task 3: Answers may vary
Learning Task 4: Answers may vary
Assessment: Answers may vary
Weeks 5-6 Lesson 5 - Answers may vary
Weeks 7-8 Lesson 6 - Answers may vary

72
Para sa mga katanungan o puna, sumulat o tumawag sa:

Department of Education Region 4A CALABARZON

Office Address: Gate 2 Karangalan Village, Cainta Rizal

Landline: 02-8682-5773 local 420/421

Email Address: [email protected]

73