creative nonfiction the literary essay grade 12 pdf

SENIOR HIGH SCHOOL

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

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

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

Development Team of the Module

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

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Department of Education – Region VII, Division of Cebu Province

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

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E-mail Address: [email protected]

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

Introductory Message

For the Facilitator:

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

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

For the Learner:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The following are some reminders:

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

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

3. Read the instruction carefully before doing each task.

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

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

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

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

iv CHAPTER 1 Lesson 1: Elements of Fiction and Drama

Learning Competency:

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

WHAT I NEED TO KNOW

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

⚫ identify the elements of fiction and drama.

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

⚫ use literary devices to describe one’s experiences.

WHAT I KNOW

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

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

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

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

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

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

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

A. Foil B, Villain C. Hero

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

LET’S TAKE A BLAST From ThE PAST!

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

“Drama, None or Both”

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

____ 1. It is performed on stage.

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

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

____ 4. It is divided into acts.

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

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

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

BACUNAWA AND THE SEVEN MOONS

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

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

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

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

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

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

BATHALA BACUNAWA

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WhAT’S morE

“GO, FIGURE!

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

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

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

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

WHAT I HAVE LEARNED

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

TITLE: ______

FALLING ACTION RISING ACTION/CONFLICT

DENOUEMENT EXPOSITION

THEME: ______

WHAT I CAN DO

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

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

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

I told her consolingly.

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

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

Assessment # 1

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

ADDITIONAL ACTIVITY

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

Theme: ______

Lesson 1 Pre - assessment Assessment

A 10. A 10.

B. 8. B. 8.

Assessment - Assessment Pre

monologue 5.

appearance Character’s 4.

behavior unique 8. revealed thoughts Character’s 3.

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

dialogue 6. description Writer’s 1.

Figure! Go,

Both or None Drama,

Lesson 2: Elements of Poetry

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

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

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

PRE - ASSESSMENT

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

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

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

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

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

Guess What!

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

____ 1. sestet/ sexain

____ 2. octave

____ 3. couplet

____ 4. quatrain

____ 5. tercet

____ 6. cinquain

____ 7. Septet

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

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

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

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

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

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

ELEMENTS OF POETRY

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WhAT’S morE “SING IT”

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

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

Let’s look at what devices are used in the

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

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

William Ernest Henley

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

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

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

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

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

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

______Stanza 3

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

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

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

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

Message/ Theme: ______Tone/Overall Feeling:

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

Instructions. Answer the following using given figures of speech.

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

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

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

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

imagery 10. Imagery 10.

stanza 9. Personification 9.

verse free 8. Hyperbole 8.

persona 7. Narrative 7.

refrain 6. Stanza 6.

personification 5. Persona 5.

onomatopoeia 4. Rhythm 4.

rhythm 3. Refrain 3.

hyperbole 2. verse Free 2.

narrative 1. Onomatopoeia

Assessment - Pre

B 10. C 5. D 5.

A 9. B 4. C 4.

B 8. B 3. A

D 7. A 2. E

A 6. C 1. B 1.

Assessment It! Sing

Lesson 3: Elements of Creative Nonfiction

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

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

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

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

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

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

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

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

“Who, You?”

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

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

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

Playground Memory

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

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

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

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

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

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

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

ELEMENTS OF CREATIVE NONFICTION

⚫ Creative Nonfiction uses elements of fiction such as:

1. Theme - central message

2. Plot - consisting of:

Exposition-establishes setting, mood and characters

Rising action - introduces the conflict

Climax - the most suspenseful; highest action

Falling action - conflict begins to die down

Denouement - resolution; loose ends are tied up

3. Characters:

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

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

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

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

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

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

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

We have learned the more common figures of

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

⚫ Catchy, clever titles help to arouse interest in readers

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

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

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

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

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

3. List - an enumeration or rundown

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

4. Dialogue - an exchange of conversation

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

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

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

6. Anecdote - a short interesting story

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

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

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

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

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

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

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

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

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

A VIVID DESCRIPTION:

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

1. Dialogue ______

2. Little scene ______

3. List ______

4. Question ______

5. Striking statement ______

6. Anecdote ______

7. Quotation ______

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

Assessment # 3

Name: ______Grade & Section: ______

Date: ______Score: ______

Instructions. Write the letter of the correct answer.

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

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

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

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

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

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

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

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

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

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

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

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

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

D 10. Omniscient 10.

E 9. Monologue 9.

H 8. Conflict 8.

E 7. Person 3 7.

D 6. Symbolism 6.

G 5. Second 5.

C 4. Plot 4.

B 3. Setting 3.

A 2. Dialogue 2.

F 1. Character 1.

Assessment Assessment - Pre

40 References:

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

For inquiries and feedback, please write or call:

Department of Education, Region VII, Division of Cebu Province

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

Telefax (032) 255-6405

Email Address: [email protected]

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2: Creative Nonfiction

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• Page ID 33644

• Heather Ringo & Athena Kashyap
• City College of San Francisco via ASCCC Open Educational Resources Initiative

Learning Objectives

By the end of this chapter, students will be able to:

• define Creative Nonfiction and understand the basic features of the genre
• identify basic literary elements (such as setting, plot, character, descriptive imagery, and figurative language)
• perform basic literary analysis
• craft a personal narrative essay using the elements of Creative Nonfiction, using MLA-style formatting
• 2.1: What is Creative Nonfiction?
• 2.2: Elements of Creative Nonfiction
• 2.2: Featured Creative Nonfiction Author- Frederick Douglass
• 2.3: How to Read Creative Nonfiction
• 2.4: Adichie, Chimamanda Ngozi "The Danger of a Single Story" (2009)
• 2.4: Elements of Creative Nonfiction
• 2.5.1: Descriptive Imagery Worksheets
• 2.5.2: Creative Nonfiction Reading Discussion Questions
• 2.5.3: The Personal Narrative Essay
• 2.5: Featured Creative Nonfiction Author- Frederick Douglass
• 2.6: Douglass, Frederick. Narrative of the Life of Frederick Douglass (1845)
• 2.7: Cantú, Francisco "Bajadas" (2015)
• 2.8: Anderson, Karen "Six Short Essays" (2017)
• 2.9: Bierce, Ambrose "What I Saw of Shiloh" (1881)
• 2.10: DuBois, W.E.B. "Of Our Spiritual Strivings" from The Souls of Black Folk (1903)
• 2.11: Oomen, Anne-Marie "The Blue" (2018)
• 2.12: Plato "The Allegory of the Cave" excerpt from The Republic (360 BC)
• 2.13: Sun Tzu. The Art of War (5th Century B.C.)
• 2.14: Swift, Jonathan. "A Modest Proposal." (1729)
• 2.15: Wordsworth, Dorothy "Daffodils" entry from Grasmere journal (1802) Excerpt from Dorothy Wordsworth's journals for April 15, 1802, showing her description of daffodils related to her brother William Wordsworth poem "I Wandered Lonely as a Cloud."
• 2.16: Descriptive Imagery Worksheets
• 2.17: Creative Nonfiction Assignments, Questions, and Resources
• 2.18: The Personal Narrative Essay
• 2.19: Creative Nonfiction Reading Discussion Questions

Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Creative Nonfiction: An Overview

Welcome to the Purdue OWL

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This resource provides an introduction to creative nonfiction, including an overview of the genre and an explanation of major sub-genres.

The Creative Nonfiction (CNF) genre can be rather elusive. It is focused on story, meaning it has a narrative plot with an inciting moment, rising action, climax and denoument, just like fiction. However, nonfiction only works if the story is based in truth, an accurate retelling of the author’s life experiences. The pieces can vary greatly in length, just as fiction can; anything from a book-length autobiography to a 500-word food blog post can fall within the genre.

Additionally, the genre borrows some aspects, in terms of voice, from poetry; poets generally look for truth and write about the realities they see. While there are many exceptions to this, such as the persona poem, the nonfiction genre depends on the writer’s ability to render their voice in a realistic fashion, just as poetry so often does. Writer Richard Terrill, in comparing the two forms, writes that the voice in creative nonfiction aims “to engage the empathy” of the reader; that, much like a poet, the writer uses “personal candor” to draw the reader in.

Creative Nonfiction encompasses many different forms of prose. As an emerging form, CNF is closely entwined with fiction. Many fiction writers make the cross-over to nonfiction occasionally, if only to write essays on the craft of fiction. This can be done fairly easily, since the ability to write good prose—beautiful description, realistic characters, musical sentences—is required in both genres.

So what, then, makes the literary nonfiction genre unique?

The first key element of nonfiction—perhaps the most crucial thing— is that the genre relies on the author’s ability to retell events that actually happened. The talented CNF writer will certainly use imagination and craft to relay what has happened and tell a story, but the story must be true. You may have heard the idiom that “truth is stranger than fiction;” this is an essential part of the genre. Events—coincidences, love stories, stories of loss—that may be expected or feel clichéd in fiction can be respected when they occur in real life .

A writer of Creative Nonfiction should always be on the lookout for material that can yield an essay; the world at-large is their subject matter. Additionally, because Creative Nonfiction is focused on reality, it relies on research to render events as accurately as possible. While it’s certainly true that fiction writers also research their subjects (especially in the case of historical fiction), CNF writers must be scrupulous in their attention to detail. Their work is somewhat akin to that of a journalist, and in fact, some journalism can fall under the umbrella of CNF as well. Writer Christopher Cokinos claims, “done correctly, lived well, delivered elegantly, such research uncovers not only facts of the world, but reveals and shapes the world of the writer” (93). In addition to traditional research methods, such as interviewing subjects or conducting database searches, he relays Kate Bernheimer’s claim that “A lifetime of reading is research:” any lived experience, even one that is read, can become material for the writer.

The other key element, the thing present in all successful nonfiction, is reflection. A person could have lived the most interesting life and had experiences completely unique to them, but without context—without reflection on how this life of experiences affected the writer—the reader is left with the feeling that the writer hasn’t learned anything, that the writer hasn’t grown. We need to see how the writer has grown because a large part of nonfiction’s appeal is the lessons it offers us, the models for ways of living: that the writer can survive a difficult or strange experience and learn from it. Sean Ironman writes that while “[r]eflection, or the second ‘I,’ is taught in every nonfiction course” (43), writers often find it incredibly hard to actually include reflection in their work. He expresses his frustration that “Students are stuck on the idea—an idea that’s not entirely wrong—that readers need to think” (43), that reflecting in their work would over-explain the ideas to the reader. Not so. Instead, reflection offers “the crucial scene of the writer writing the memoir” (44), of the present-day writer who is looking back on and retelling the past. In a moment of reflection, the author steps out of the story to show a different kind of scene, in which they are sitting at their computer or with their notebook in some quiet place, looking at where they are now, versus where they were then; thinking critically about what they’ve learned. This should ideally happen in small moments, maybe single sentences, interspersed throughout the piece. Without reflection, you have a collection of scenes open for interpretation—though they might add up to nothing.

Effectiveness of Collaborative Learning in Enhancing Academic Performance in Creative Nonfiction Literary Essay Subject of Grade 12 HUMSS Students at Bestlink College of the Philippines

• Allysa Singh
• Billy Jo Ago
• Denmark Benosa
• Tricia Cerillo
• Donissa Laguna

Collaborative learning is an educational approach that involves a joint intellectual effort by students or students and teachers together. It consists of exercises and activities through which students develop their knowledge by interacting with each other, which enables individual students to combine their expertise, experience, and ability to accomplish a mutual learning goal. The researchers used qualitative and descriptive research methods as the research design. The instrument used to gather the data were survey questionnaires and related literature. The results of the study showed that engaging in collaborative learning is highly effective because it does not only help the students to grow as a group but also individually. The findings showed that the most common activity used in collaborative learning are group reporting, role-playing, travel essay, and think-pair-share. Utilizing the collaborative learning technique is highly effective in enhancing the academic performance of the Grade 12 Humanities and Social Sciences Strand students, and one of its benefits is the development of cooperation and easily understandable lessons.

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• Rosalyn Vargas, Rogelyn Bontuyan, Jonna Rose Galo, Johnjohn Pelin, Kimberly Mae Deasas, Arwin Ugto, Effects of Grammar Difficulties on Communication Skills of Grade 12 Humanities and Social Sciences Strand Students: Basis for Proposed Intervention , Ascendens Asia Singapore – Bestlink College of the Philippines Journal of Multidisciplinary Research: Vol. 2 No. 1 (2020): Ascendens Asia Singapore – Bestlink College of the Philippines Journal of Multidisciplinary Research Abstracts, Vol.2, No1, March 2020

What Is Creative Nonfiction?

By Lee Gutkind

I am often asked: “What is creative nonfiction?” Or, in some cases, “what the hell is creative nonfiction?”  The answer—or answers—can be complicated because creative nonfiction may mean different things to different people, a characteristic that makes this form so elusive and alluring.

On its very baseline creative nonfiction is a literary genre. Some people call it the fourth genre, along with poetry, fiction and drama. And it’s an umbrella term for the many different ways one can write what is called creative nonfiction. Memoir, for example, personal essay, biography, narrative history and long form narrative reportage may all fit under the creative nonfiction umbrella. Recently, as the genre has evolved, there have been offshoots to the genre like speculative nonfiction, auto(biographical) fiction, lyric essay, and the visual essay, to name only a few.

Writers who write creative nonfiction are very different in voice, orientation and purpose. But what they have in common is that they are, in one way or the other, writing true stories that provide information about a variety of subjects, enriched by relevant thoughtful ideas, personal insight, and intimacies about life and the world we live in.  And this scope and variety is exactly what makes creative nonfiction significant and, these days, so incredibly popular.

“Freedom” and “flexibility” are words I like to use when defining creative nonfiction, for the genre invites writers to push boundaries and open doors, offering them the opportunity to use all of the techniques of the fiction writer (or the poet)—dialogue, setting, description, inner point of view (seeing the world through the eyes of the person about whom they are writing)—in order to capture a reader’s attention and enlighten and intrigue them through nonfiction.

There are very few rules for writers of creative nonfiction. You can predict the future, speculate about the past, or imagine what could have happened or what someone might have been thinking, as long as you don’t violate the reader’s trust, and in the process your own credibility. There are, however, limits to the freedom and flexibility that make creative nonfiction so attractive and compelling—legal, ethical and moral issues that are challenging and, in many ways, impossible to clearly define. Freedom and flexibility—and daring—are governed by responsibility, not just to the people about whom we write, but to those who read and publish our work.

Nonfiction itself has had a bad rap in the literary world. For a long time, it was commonly believed that writing nonfiction was generally inferior to the writing of poetry and fiction. “Nonfiction is a pleasant way to walk,” Larry McMurtry once wrote, “but the novel puts one on horseback, and what cowboy, symbolic or real, would walk when he could ride?”

I remember reading this from McMurtry, who had written a great deal of nonfiction, in addition to his many novels and stories, and feeling more than a little annoyed and, at the same time, amused. He had to be joking, I thought. Or maybe he had just fallen off his horse. I pictured the comedian Rodney Dangerfield, who became rich and famous for the line “I get no respect,” which in many ways has been the story of creative nonfiction in a nutshell-up until present day.

The addition of the word “creative” to nonfiction was at first controversial, but it gradually reversed the belief that nonfiction was somehow second class, a cut below poetry and fiction. It liberated all writers, journalists especially, releasing them from longstanding rules and boundaries that had been so restrictive and inhibiting.  For novelists, poets and essayists, “creative” encouraged experimentation and offered new avenues of expression. Scientists, physicians, engineers (Atul Gawande, Hope Jahren, Siddhartha Mukherjee, Henry Petroski, to name just a very few) were intrigued by the notion of being creative and began to write true stories that humanized and revealed the behind-the-scenes intimacies of their professions.  

The interest in true stories motivated and opened doors for others who were not writers by trade to share their life experiences, finding meaning in the process and fulfillment in the connections they forged with readers.

This transition—an awakening to the potential and power of nonfiction that allowed and encouraged creativity—did not happen overnight and was not without resistance and often bitter infighting. Change was difficult for the literary, journalistic and academic communities, steeped in tradition and long resistant to new ideas, to accommodate. Indeed, the resistance in some corners far exceeded the scale of the change itself.  The change was hardly drastic and was not really, when one looks back over the history of nonfiction, much of a change at all. Writers had been writing nonfiction that was creative and imaginative for centuries, familiar and famous names you will recognize–Daniel Defoe, George Orwell, Charles Dickens and many others—for centuries. The change, the adjustment that it precipitated, had much more to do with the approach or attitude toward nonfiction rather than its content and, of course, the idea that creative and nonfiction were not mutually exclusive. That change in approach and attitude is ongoing. The scope of nonfiction today, most especially what we call creative nonfiction, continues to evolve, informing and inspiring readers with stories that are true, compelling, revealing and always surprising.

“What is Creative Nonfiction” has been adapted from Lee Gutkind’s new book, The Fine Art of Literary Fist-Fighting: How a Bunch of Rabble-Rousers, Outsiders and Ne’er-do-wells Created Creative Nonfiction,  to be published later this year by Yale University Press.

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About Lee Gutkind

Lee Gutkind is the author and editor of more than thirty books, including  You Can’t Make This Stuff Up: The Complete Guide to Writing Creative Nonfiction–from Memoir to Literary Journalism and Everything in Between ,  Almost Human: Making Robots Think, The Best Seat in Baseball: But You Have to Stand, Forever Fat: Essays by the Godfather,  and the award-winning , Many Sleepless Nights: The World of Organ Transplantation.

Lee's Latest Book

My Last Eight Thousand Days

This revealing, candid, and vivid portrait of one man’s view of aging written by the man who played a crucial role in establishing literary, narrative nonfiction in the marketplace and in the academy, examines male aging in a way we’ve not seen before.