Quarter 1 – Module 1:

Introduction to Literary Genres

Introductory Message
For the facilitator:
Welcome to Creative Nonfiction, a specialized subject in Humanities and Social
Sciences (HUMSS). This module is designed to provide learners with a self-learning
tool in exploring the beauty and nature of creative nonfiction.
As the facilitator, you are tasked to guide the learners in navigating the
various activities crafted in this module in the pursuit of holistic learning. In addition,
please be reminded that the activities of this module shall be answered in a separate
sheet.
Let us continuously work together in providing life-long learning to the future of
our nation-the learners of today and that no pandemic can hinder us in our quest
towards education.
For the learner:
Kudos to your hard work! Congratulations in keeping up with the challenges
in today’s new normal classroom. This self-learning module in Creative Nonfiction is
designed especially for you. The content of this module is anchored from the Most
Essential Leaning Competencies (MELC) of this subject in lined with the K to 12
Curriculum.
In this module, you will deal with different discussions and activities that will
help you deepen your understanding about Creative Nonfiction. You are expected to
hone your creative nonfiction skills as you explore the developed multifaceted tasks
included in this learning material.

Most Essential Learning Competency (MELC)

 Analyze the theme and techniques used in a particular text

(HUMSS_CNF11/12-LB-D-3).

 Create samples of the different literary elements based on one’s

experience (HUMSS_CNF11/12-LB-D-4).

 Let Us Try!

Direction: Read each question carefully and encircle the correct

answer.
1. What element in fiction or drama shows the overall message of the story?
a. plot b. setting c. character d. theme
2. What part of a plot introduces the conflict in the story or play?
a. exposition b. rising action c. climax d. falling action
3. What narrative device uses the past event to better understand the
present?
a. Flashback b. conflict c. Deus Ex Machina d. Irony
4. What narrative device provides a hint on what will happen next in the
story
a. Foreshadowing b. conflict c. Deus Ex Machina d. Conflict
5. Determine among the choices below the type of fiction that covers several
plots complications and is composed of chapters.
a. Short story b. Flash fiction c. Novella d. Novel
Let Us Study
According to Leo Gutkind, “Creative Nonfiction heightens the whole
concept of essay writing. It allows a writer to employ the diligence of a
reporter, the shifting voices and viewpoints of a novelist, the refined
wordplay of a poet and the analytical modes of an essayist.”
Carolyn Force and Philip Gerard states that the literariness of Creative
Nonfiction distinguishes it from deadline reportage, daily journalism,
academic criticism, and critical biography. It is story telling of a very high
order through the revelation of character and the suspense of plot, the
subtle braiding of themes and resonance, memory and imaginative research,
precise and original language.
This definition certainly makes creative nonfiction the most exciting
and the most widespread genre in the literary world today.
Example:
(1)On July 15, Rivermaya will have a concert at the Araneta Coliseum.
The band has just arrived from a successful tour in China and Indonesia.
Tickets for the concert are selling quickly. (Ordinary news)
While the said news is factual and true, it appears dull and lacks
interesting details. By using the genre of creative nonfiction, this new can be
transformed into a more interesting piece of information.
(2) Fans of Philippine musical band Rivermaya are in for a real thrill. On
July 15, their idol, fresh from their sold-out tour in China and Indonesia, will
be at the Araneta Coliseum for a single concert. Marie Andrada, 18, a
Communication Arts major in UST, says this one concert she would rather die
for than miss. Judging from tickets sales so far, at least 10,000 other people
agree with her.
Because of the addition of some fascinating details, the second
example is a more interesting paragraph than the first. Another example is
given below.
Example 1
Now that we understand more
about global warming, we need to
make our children realize how
important it is for them to do their
part in protecting the environment.
Examples are saving electricity and
water, using paper bags, and
recycling paper.

Example 2

Global warming is a reality.

And it is here. Now that we have
finally understood this, we have no
more excuses for inaction. Let us
begin with our children. Let us
make them aware that the
environment is also their responsibility.

The two improve examples above are illustrations of creative

nonfiction. Creative nonfiction combines the validity of facts and imaginative
stance of storytelling.
The word “creative” in creative nonfiction refers to the use of literary
craft in the writing of nonfiction-to produce factually accurate essays or
narrative about actual events and people in a compelling and interesting
way.
According to Leo Gutkind, a text can be classified as creative
nonfiction when the writer “communicate information just like a reporter,
but shape in a way that reads like fiction.”

LESSON1: Understanding the Genres of Fiction and Drama

You already have learned about fiction and drama in your creative
writing class, however, as a form of review, let’s refresh our memory with
some terms.
Fiction: defined as “a series of imagined facts which illustrates truths about
human life.” It is commonly called “stories,” and can either be short
(short story) or rather long (novella or novel).
Drama: also uses the traditional conventions of fiction but has an additionaldistinctive
characteristics of being performed and mounted on stage.

Comparison and Contrast of the Conventions

and Devices between Fiction and Drama

1. Fiction is generally classified as a short story or novel.

 Short story- a brief artistic prose form that centers on a single main incident and intends to
produce a single dominant impression.

 Novel- an extensive prose or narratives that contains chapters and

interludes.Plays (drama), however, are generally classified into acts or major divisions.

 One-act play- has one unit of time, one unit of place, and one unit of action and play

 Three-act –play- showcases a longer exposition of the theme and conflict.

2. All stories must have a point of view. Point of view is the vantage point or the angle from
which the readers can see how the story unfolds. It can be told from the perspective of a narrator,
a main supporting character, or an observer. It can also come from an omniscient (all-knowing)
being.
Drama also employs point of view but this is not apparent and evident ina play. What is visible is
the interplay of dialogue between and among the characters. This component that moves the
action of the play. A dialogue is what the viewers see and hear in a performance and these are the
words uttered by the characters in a dramatic play.
3. The development of plot in both fiction and drama has a pattern.
Generally, it contains the following:
Exposition
Introduces the characters and dramatic situation of thestory or play
Rising Action
Introduces the conflict of the story or play
Climax
Introduces the central movement of crisis that defines the conflict
Falling Action
Introduces the aftermath of conflict (whether it is resolved or not)
Resolution/ denouement
Introduces the moment of insight, discovery, or revelationof the character after the falling action.
More popular and modern types of fiction and drama divides the plotinto three general parts: the
beginning, the middle, and the end.

Narrative Devices
1 Foreshadowing
I used in fiction and drama as a guide or hint at whatis to happen next in the story.
2 Irony
is also used both in fiction and drama when words that are uttered, either by the author or
characters in the story, are opposite of what they really mean. The intention here is to present a
difference between what is imagined will happen and what actually happens.
3 Flashback
is employed by the author or playwright through the use of past events that will help the readers
understand the present. This is generally utilized to achieve a dramatic effect or impact on the
readers and audiences.
4 A conflict
is both present in fiction and drama. It provides and showcases the opposing objectives of the
protagonist and the antagonist, or inside the protagonist.
5 The use of deus ex machina
in both fiction and drama was once a noble strategy. Today, it is a sign of weakness in the
written work. Once referring to the Greek practice of physically lowering a “god” to
the stage at the end of the play to solve all the problems, today it refers
to a contrived element in the plot to solve a problem.

LESSON2: Understanding the Genre of POETRY

The language of poetry is quite different from the language of prose (fiction and drama). Poetry
uses a more intensified, focused, and intricate language than prose.
In ancient times and periods, poetry was the language of people. So poetry developed way before
prose did.
Poetry is always characterized according to the following:
1 Poetry attempts to achieve beauty.
2 Poetry is imaginative, or makes use of strength of imagination.
3 Poetry is musical, melodic, and rhythmical.
4 Poetry is makes use of language that is metaphorical or symbolic, not
direct.
5 Poetry is more concentrated than prose.
6 Poetry makes use of brevity and conciseness.

Poetry is categorized into different forms- from the ancient epic to the specific limerick-but
generally there are about three major categories of poetry: narrative, lyric, and dramatic.
Narrative poems
Short and simple while others are long and complex. Epics like Iliad, ballads like Lord Randall,
and prose poems like the metrical romance of King Arthur fall under this category.
Dramatic poems
Employ dramatic form or elements of dramatic technique such as dialogues or characters, instead
of just a single speaker or persona. Eliot’s The Long Song of J. Alfred Prufrock is a typical
example of this.
Lyric poems
Brief in structure and subjective in expressing the thoughtsand emotions of the persona, the
speaker of the poem. Originally written to be sung to the accompaniment of a lyre (hence, the
term), the words in these poems could be lyrics which are strongly melodic. Songs, sonnets,
haikus, odes, elegies, and pastoral poems are examples of this.

Understanding the Elements and Conventions of Poetry

Since poetry makes use of intensified and exulted language, its elements are quite different from
plays and stories.
Imagery. The use of images in a constant in poetry. It is the essential representation of an
experience or object that is perceived through the sense. It is presented in language in a way that
we can see, smell, hear, taste, touch, or feel is as our imagination allows.
Figurative language. Figures of speech are devices that help beautify or make the language
more poetic than it already is. The most commonly used figures of speech are simile, metaphor,
personification, and onomatopoeia.
Sound. Poetry is as much an oral as it is a visual form; therefore, it is meant to be recited and
real aloud. A poem should be read aloud to reveal its true merits. The rhyme scheme and the
meter that poem employs add to the sound of the poem.
Persona. The speaker of the poem is not necessarily the poet. It many cases, poets create a
persona (a word that comes from Latin which means “mask”) who speaks the poem in the first
person. Since the poem does not have characters, it is the persona and his or her perspective
where we are able to perceive his/her experience.
LESSON3: Using Elements as Techniques to develop Themes
The theme refers to the central idea, the thesis, the message a story conveys, or a generalization
or an abstraction from it. Theme is not necessarily the moral or message of the story; it may be
simply what the story is all about.
An article co-authored by Grant Faulkner (2020) states that a theme in writing is the underlying
idea behind an article or story that unifies its words into a coherent whole. The theme has been
called the “muscle” or the"vehicle" of a story. A theme can be stated in one of two ways. It can
be made explicitly, usually in business correspondence, technical writing, and editorials. It can
also be made implicitly, usually in short stories, novels, and movie scripts.
In this case, the theme often emerges as the moral of the story.A strong, well-defined theme
enables the reader to see the deeper meaning in your story and the intention behind your own
motivation for writing it. While the structure and purpose of writing fiction and non-fiction
differ, there are techniques common to both forms of writing, as described by Faulkner (2020)
below.
Preparing to Develop Your Theme
Understand the difference between "subject" and "theme." "Subject" is a more general term than
"theme." In non-fiction, the subject is a general topic of interest, while in fiction, the subject is
some aspect of the human condition explored within the work. A theme is an explicit or implicit
statement about the subject.

 As a non-fiction example, a white paper could have as its subject be the improvement of
the security of the cargo transportation supply chain. Its theme would be the forms of
business data and means to access it that could provide those improvements.

 As a fiction example, the Hans Christian Anderson story, "The Ugly Duckling," has a subject
of alienation in that the main character is depicted as different from his peers. The themes,
however, are themes of failure to fit in, as well as self-discovery as the "duckling" grows up to
discover he was actually a swan.
Identify the purpose of your writing.
The purpose behind your writing will shape how you develop your theme in the piece. There are
numerous purposes as to why someone writes. Your writing may serve any of these purposes (or
any combination thereof):

 Documenting or recording an event or information

 Reflection on an idea

 Demonstration of knowledge

 Summary of information

 Explanation of an idea

 Analysis of a problem

 Persuasion

 Theorization that speculates or seeks to explain an issue

 Entertainment

Identify your audience. Understanding who your audience is lets you determine which themes
are appropriate to your audience. This will also help you identify how best to present those
themes to your audience. You can determine what themes are appropriate to your audience by
realistically assessing how much knowledge and experience the audience has.

 For example, in a business marketing letter, your audience will be prospective customers. Your
purpose is to inform or persuade them to buy, and your theme might be to show them how your
product will meet their needs. You may include statements of needs your customer will identify
with, and then follow each statement with a short paragraph about how your product relates to
that need.
Dr. Seuss wrote books for young children, requiring him to use a limited vocabulary. His "The
Star-Bellied Sneetches" had a theme of learning to accept differences. In the story, the Sneetches
learn to accept differences after applying and removing their belly stars so many times that they
no longer remember their original appearances. In telling the story, Seuss used short words, made
up words, and wrote in a distinctive rhyming cadence that made his words. This helps the reader
recognize and remember the lessons behind them.
Consider the length of what you're writing.
Longer works, such as novels or memoirs, permit the inclusion of other themes subordinate to
the primary theme of your work. In contrast, shorter works, such as short stories or editorials,
usually have room to address only a single theme, although they may give passing reference to
supporting ideas.

Defining Your Theme

1. Make an outline of your story.
Most stories start with a kernel of an idea. This may hint at the theme of your story, or the theme
may emerge through the development of the story. If you have an idea for a story, it will be
helpful to sketch out the story. Then you can start to determine the different directions it can take.
This then points to potential themes that you can focus on. Outline your story, listing the
characters and setting out the order of events that will happen in the story.
2.Brainstorm ideas that can represent your theme.
Once you’ve identified a theme for your story, you can start to think about ways in which to
represent that theme. Start with a free association exercise. In this exercise, focus on your theme
– either the word or phrase (such as “family” or “environment” or “corporate greed”). Let your
mind wander and observe the thoughts, people, images and so on that enter into your mind. Write
down these thoughts and images.
Try out the technique of “mind-mapping”. In this technique, you start with a central idea and
begin to map out the ways in which the story develops. This way, you can also start to identify
how the theme weaves through the story.
3 Look into your character’s motivations. Your story’s characters are tasked with goals and
aspirations. These motivations drive your character to act certain ways. These actions often feed
into your theme.[4]

 For example, if your character is passionate about becoming a vegan, you might start to
examine themes of whether humans have the right to take control over the natural world.
 In many non-fiction pieces, such as a letter to the editor, you are the “character” and your
motivation is what will define the theme. For example, if you are writing a letter to your
congressperson about a recent oil spill in your community, your theme could be something like
the need for environmental cleanup and responsibility.
4 Think about your story’s conflict. The characters in your story are faced with a conflict that
drives the plot. This may be an event or an antagonist. When you figure out the central conflict
of your story, you may start to uncover your theme.[5]

 For example, your character’s parent committed a crime. Your character, a police officer, is
faced with a moral dilemma of whether to arrest the parent or not. Your theme could start to
emerge from this conflict.
5.Research to support your theme. Research is important in both non-fiction and fiction. In
non-fiction, you are primarily looking for facts to support your theme and the points supporting
it. In fiction, research also feeds into making your characters and the environment in which they
interact as realistic as possible.
6 Realize that you can have more than one theme. There isn’t any rule that says you can only
have one theme. You may have a dominant theme with sub-themes that strengthen and deepen
your thematic dimension.[6] For example, perhaps your dominant theme is the human impact on
the environment, and you have sub-themes of corporate greed and the breakdown of community
in modern society.
Weaving Your Theme into Your Writing
1 . Choose ways to present your theme to your reader. A solidly presented
theme will emerge through many different facets of your story. Start thinking about how your
theme will become apparent to your readers. Some of these ways include:

 Through characters’ actions, thoughts and speech

 Through symbolic use of the environment

 Through repeating ideas

 Through highlighting symbols or landmarks

 Through contrasting values

2 Use narration to present facts and details. Narration means to present

facts and details in an organized, usually chronological fashion to tell what happened and who it
happened to. Narration is used in most newspaper articles and commonly in stories told in the
first person.
3 Use description to build an image in the reader’s mind. Description is the use of words that
invoke the senses to build an image in the reader's mind of the item being described. Description
is particularly powerful in fiction as a substitute for narration. Instead of writing that a character
was angry, you describe the character as having bulging eyes, flared nostrils, and a beet-red face,
and use "thundered," "shouted," or "screamed" in place of "said" to describe the character's
voice.
4 Use the tool of comparison and contrast. Comparison is showing the similarities of two or
more things. Contrast is showing the differences between two or more things. Comparison and
contrast can be used in both fiction and non-fiction. For example, comparison and contrast was
used to describe the lifestyles of the protagonists in Mark Twain's "The Prince and the Pauper." It
can also be used for a side-by-side comparison of laptop computer features.
5 Try an analogy. A form of comparison and contrast, the analogy compares something familiar
to something unfamiliar to explain the unfamiliar item. An example of an analogy is comparing
Earth’s size in the universe as a grain of sand.
6 Incorporate symbolism into your story. Symbolism is using something to represent
something else, such as the storm gathering around Roderick Usher's house in Poe's "The Fall of
the House of Usher." This represents Usher's own disquiet after his sister's burial. Symbolism is
more common in fiction than non-fiction and requires the reader to be familiar with the symbols
you use and their intended meaning.

 Try a recurring motif to institute symbolism in your story. You might have a recurring motif or
detail of a person singing “Ave Maria” in your story.
Finalizing Your Theme
1 Get feedback. Allow lots of people read your writing. It is helpful to get other eyes on a piece
of writing so that you know whether your ideas are conveyed clearly. Ask these readers about
their impressions. See if they can identify your theme without prompting.

 Be open to the ways that other people respond to your writing. They might be able to point out
errors that you regularly make, which can help clarify and improve your writing. They might also
ask thought-provoking questions that helps you consider an angle you hadn’t previously
considered.

 Remember that this feedback is not intended to be personal; they are responding to the writing,
not to you.
2 Put away your writing for a few days. Get some distance from your writing by putting it
away for a bit. Sometimes when we write, we’re so invested in the story and shaping the words
that we lose sight of the bigger picture. Take a break from your writing by turning your focus to a
different project for a few days. Then come back to your writing and reread it.
3 Make changes to your theme. Based on your own evaluation of the piece, as well as the
feedback you’ve solicited from others, make alterations to your theme. You may recognize that,
while you thought your theme was one aspect, your readers interpreted it very differently.

 For example, perhaps you have been focusing your theme on a firefighter’s triumph over her
parents’ disapproval. But then you realize that your story is really about the firefighter’s struggle
in a male-dominated profession.

 A change to your theme might necessitate adding or deleting some passages that do not
strengthen your theme.
Common Themes in Literature
These are a just a few of the many possible literary subjects and themes. The themes about the
subjects on the list are still fairly general. As a critical writer discussing a particular literary
work, you'll need to bring your observations about theme closer to the work.
1. The Individual in Nature

a. Nature is at war with each of us and proves our vulnerability.

b. People are out of place in Nature and need technology to survive.
c. People are destroying nature and themselves with uncontrolled
technology.
2. The Individual in Society

a. Society and a person's inner nature are always at war.

b. Social influences determine a person's final destiny.
c. Social influences can only complete inclinations formed by Nature.
d. A person's identity is determined by place in society.
e. In spite of the pressure to be among people, and individual is
essentially alone and frightened.
3. An individual's Relation to the gods.

a. The god(s) are benevolent and will reward human beings for
overcoming evil and temptation.
b. The gods mock the individual and torture him or her for presuming
to be great.
c. The gods are jealous of and constantly thwarts human aspiration to
power and knowledge.
d. The gods are indifferent toward human beings and let them run
their
undetermined course.
e. There are no gods in whom people can place their faith or yearning
for meaning in the universe.
4. Human Relations

a. Marriage is a perpetual comedy bound to fail.

b. Marriage is a relationship in which each partner is supported
and enabled to grow.
c. An old man marrying a young woman is destined to be a cuckold.
d. Parents should not sacrifice all for a better life for their children.
e. There are few friends who will make extreme sacrifices.

5. Growth and Initiation

a. A boy and a girl must go through a special trial or series of trials
before maturing.
b. Manhood or womanhood is often established by an abrupt, random
crisis, sometimes at an unusually early age.
c. Aspects of childhood are retained in all of us, sometimes hindering
growth, sometimes providing the only joy in later life.
d. A person grows only in so far as he or she must face a crisis of confidence or identity.

6. Time

a. Enjoy life now, for the present moment, because we all die too soon.
b. By the time we understand life, there is too little left to live.

7. Death
a. Death is part of living, giving life its final meaning.
b. Death is the ultimate absurd joke on life.
c. There is no death, only a different plane or mode of life without
physical decay.
d. Without love, death often appears to be the only alternative to life.

8. Alienation

a. An individual is isolated from fellow human beings and foolishly

tries to bridge the gaps.
b. Through alienation comes self-knowledge.
c. Modern culture is defective because it doesn't provide group ties
which in primitive cultures make alienation virtually impossible.

Example:
The Lord of the Rings by J.R.R. Tolkien
Themes: Good vs. Evil, Courage
Thematic Statement: With courage, even the smallest among us can play a
powerful role in defeating darkness.
Pride and Prejudice by Jane Austen
Themes: Love, Class
Thematic Statement: Class divisions breed prejudices that can blind us to
happy possibilities.

Task 2
 Direction: Read and analyze the poem given below and answer the
questions that follow using your answer sheet.
Finder Loser
Ophelia Alcantara Dimalanta
More than half of my life
I spend searching for lost
objects (papers, receipts,
old letters, pills and whatever
else) and causes and the rest,
losing and finding, and losing them again, found or otherwise;
losing what I have in good
measure, finding what
I can’t almost have-
One perpetual lifetime probe,
Forever rummaging through
Bureaus and drawers and pages
Of my life’s past disarray…
And so when I finally go
keep vault unlidded for I
shall surely sit up and look
around to pursue this search,
holding on to dear life,
or to dear death, does it matter-
they are one in the proper
time but not till then,
I shall go on seeking out
lost faces and faiths in the
cold, collecting, calculating
crowd, sadly aware that later
but an unbreath away
I shall lose them all again;
as I was won’t, losing all
in this final irretrievable
lose of my death time
or perhaps, possibly, yes,
death will be kinder and oh, yes
allow me at last this
flowing final find.

1. What does the title of poem mean?

2. In the first few lines of the stanza, the persona admits that s/he
constantly loses and finds objects (papers, receipts, letters, pills, etc.), but
towards the end of the stanza, the persona admits not “finding what I
can’t almost have-one perpetual lifetime probe, of my life’s past disarray.”
What does s/he mean by this?
3. The poem makes a typical use of a figure of speech called alliteration
(cold, collecting, calculating crowd; flowing, final find). What is alliteration?
What impression is achieved in using these in this particular poem?

Task 3
Write a four-line stanza poem using this title, I Am. In this short poem, write about your thoughts
about yourself-your character, fears, and virtues. You can also write about your dreams and
aspirations.

I Am

Task 3. Say It!

To test your understanding about the conventions of drama, as discussed in our lesson, read an
excerpt from the tale of Tungkung Langit and Alunsina.
One day, Tungkung Langit told his wife that he would be away from for some time to put an end
to the chaotic disturbances in the flow of time and in the position of things. However, despite this
purpose, Alunsina sent the sea breeze to spy on Tungkung Langit. This made the latter very
angry upon knowing about it.
Immediately after his return from his trip, he called this act to her attention, saying it was
ungodly of her to be jealous, there being no other creature living in the world except the two of
them. This reproach was resented by Alunsina and a quarrel between them followed.

*Rewrite the excerpt by using dialogue. Imagine what Tungkung Langit would say to ALunsina
and how she would respond to him. Visualize the quarrel scene between the two gods and write
an imaginary dialogue below.
Narrative detail:
__________________________________________________________
___________________________________________________________________________
Tungkung Langit: _________________________________________________________
___________________________________________________________________________
Alunsina: _________________________________________________________________
___________________________________________________________________________
Tungkung Langit: _________________________________________________________
___________________________________________________________________________
Alunsina: _________________________________________________________________
___________________________________________________________________________
Tungkung Langit: _________________________________________________________
___________________________________________________________________________
Alunsina: _________________________________________________________________
___________________________________________________________________________
Tungkung Langit: _________________________________________________________
___________________________________________________________________________
Alunsina: _________________________________________________________________
________________

Task IV. Looking Back!

Directions: Write about your life experiences about the topic, “What Life Means to Me.”
Remember to apply the things that we have learned in developing a theme to a chosen written
work. Then, give a possible title for your creative nonfiction piece.
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________
_______________________________________________________________________

Task V. Read the questions below and write the correct answer on
your answer sheet.
1. What part of the plot introduces the moment of insight or revelation?
a. falling action b. climax c. exposition d. denouement
2. What narrative device is used when the author or character shows the
opposites of what they mean?
a. Flashback b. conflict c. Deus Ex Machina d. Irony
3. What narrative device refers to a contrived element in the plot used to
solve a problem?
a. Flashback b. conflict c. Deus Ex Machina d. Irony
4. What narrative device uses the past event to better understand the
present?
a. Flashback b. conflict c. Deus Ex Machina d. Irony
5. What is a series of imagined facts which illustrates truths about human
life?
a. Drama b. Fiction c. Fantasy c. Poetry
Let Us Reflect
You did a great job in completing our module! Kudos to your hard
work! Let us look back from where we have started and complete the
chart below. Let us reflect towards your journey in our module.
I thought…..
I learned that….