Republic of the Philippines

Department of Education
REGION-VIII
SCHOOLS DIVISION OFFICE OF LEYTE
TABANGO SENIOR HIGH SCHOOL – STAND ALONE

LEARNING ACTIVITY SHEET NO. 2 IN

CREATIVE NON-FICTION
Week 2 August 31 – September 3, 2020

Name of Learner: ___________________________ Grade & Section: ______________Score: ___________

Student’s Contact Number:___________________

I. LEARNING COMPETENCY:
1. Analyze factual/nonfictional elements (Plot, Characters, Characterization, Point of View, Angle,
Setting and Atmosphere, Symbols and Symbolisms, Irony, Figures of speech, Dialogue, Scene,
Other elements and Devices) in the texts.
2. Write a draft of a short piece (Fiction, Poetry, Drama, etc.) using any of the literary conventions of
genre following these pointers: 1. Choosing a topic, 2. Formulating a thesis statement, 3.
Organizing and developing ideas 4. Using any literary conventions of a genre, and 5. Ensuring
that theme and technique are effectively developed.
3. Evaluate other’s draft based on: 1. clarity of idea 2. appropriate choice of literary element 3.
appropriate use of the element 4. effective combination of the idea and the chosen literary element.
4. Revise the draft of a short piece using any of the literary conventions of a genre (e.g. plot for
narrative piece).

II. BRIEF DISCUSSION OF THE LESSON

The main elements of creative nonfiction are setting, descriptive imagery, figurative

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

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

Telling Showing

My breath escaped in ragged bursts, my quadriceps burning as I crested the summit. The lake stretched
before me, aquamarine, glistening in the hot August afternoon sun. Ponderosa pines lined its shores,
I went to the lake. It was cool.
dropping their spicy-scented needles into the clear water. Despite the heat, the Montana mountain
air tasted crisp.

Source: creativecommons.org

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

Descriptive Imagery

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

Figurative Language

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

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

Plot

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

Scope

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

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

Consider, as an example, how you might respond if your friend asked what you did last weekend. If
you began with, “I woke up on Saturday morning, rolled over, checked my phone, fell back asleep,
woke up, pulled my feet out from under the covers, put my feet on the floor, stood up, stretched…”
then your friend might have stopped listening by the time you get to the really good stuff. Your scope
is too broad, so you’re including details that distract or bore your reader. Instead, focus on the most
exciting or meaningful moment(s) of your day: "I woke up face-down to the crunch of shattered glass
underneath me. When I wobbled to my feet I realized I was in a large, marble room with large

Source: creativecommons.org

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windows overlooking the flashing neon lights of the Las Vegas strip. I had no idea how I got there!"
Readers can expect this story will focus on how the storyteller arrived in Las Vegas, and it is much
more interesting than including every single detail of the day.

Sequence

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

Freytag's Pyramid: Chronological

A. Exposition: Here, you’re setting the scene, introducing characters, and preparing the reader
for the journey.

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

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

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

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

In Medias Res

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

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

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

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

A. Exposition: Here, you’re setting the scene, introducing characters, and preparing the reader for the
journey.

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

C. Climax: the story briefly returns to the moment where it started, though usually not in a way which
is redundant (not the exact same writing or details)

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

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

Nonlinear Narrative

A nonlinear narrative may be told in a series of flashbacks or vignettes. It might jump back and forth
in time. Stories about trauma are often told in this fashion. If using this plot form, be sure to make
clear to readers how/why the jumps in time are occurring. A writer might clarify jumps in time by
adding time-stamps or dates or by using symbolic images to connect different vignettes.

Pacing

While scope determines the boundaries of plot, and sequencing determines where the plot goes,
pacing determines how quickly readers move through the story. In short, it is the amount of time you
dedicate to describing each event in the story.

I include pacing with sequence because a change to one often influences the other. Put simply, pacing
refers to the speed and fluidity with which a reader moves through your story. You can play with
pacing by moving more quickly through events, or even by experimenting with sentence and
paragraph length. Consider how the “flow” of the following examples differ:

Lost in my thoughts, I shuddered as the train ground to a full stop

The train screeched to a halt. A
in the middle of an intersection. I was surprised, jarred by the
flock of pigeons took flight as the
unannounced and abrupt jerking of the car. I sought clues for our
conductor announced, “We’ll be
stop outside the window. All I saw were pigeons as startled and
stuck here for a few minutes.”
clueless as I.

Characters

A major requirement of any story is the use of characters. Characters bring life to the story. Keep in
mind that while human characters are most frequently featured in stories, sometimes there are non-
human characters in a story such as animals or even the environment itself. Consider, for example, the
ways in which the desert itself might be considered a character in "Bajadas" by Francisco Cantú.

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Characterization

Whether a story is fiction or nonfiction, writers should spend some time thinking about
characterization: the development of characters through actions, descriptions, and dialogue. Your
audience will be more engaged with and sympathetic toward your narrative if they can vividly
imagine the characters as real people.

Like setting description, characterization relies on specificity. Consider the following contrast
in character descriptions:

In addition to some of my father’s idiosyncrasies, however,

My mom is great. She is an average-
he is also one of the most kind-hearted and loving people in
sized brunette with brown eyes. She is
my life. One of his signature actions is the ‘cry-smile,’ in
very loving and supportive, and I know I
which he simultaneously cries and smiles any time he
can rely on her. She taught me
experiences a strong positive emotion (which is almost
everything I know.
daily).

How does the “cry-smile” detail enhance the characterization of the speaker’s parent?

To break it down to process, characterization can be accomplished in two ways:

a. Directly, through specific description of the character—What kind of clothes do they wear?
What do they look, smell, sound like?—or,
b. Indirectly, through the behaviors, speech, and thoughts of the character—What kind of
language, dialect, or register do they use? What is the tone, inflection, and timbre of their
voice? How does their manner of speaking reflect their attitude toward the listener? How do
their actions reflect their traits? What’s on their mind that they won’t share with the world?

Thinking through these questions will help you get a better understanding of each character (often
including yourself!). You do not need to include all the details, but they should inform your
description, dialogue, and narration.

Your most important characters should

are very detailed, requiring
be round: the added detail will help your
Round characters attentive description of their
reader better visualize, understand, and
traits and behaviors.
care about them.

Less important characters should take up

are minimally detailed, only
Flat characters less space and will therefore have less
briefly sketched or named.
detailed characterization.

Even though all of us are always

changing, some people will behave and
remain the same throughout the appear the same throughout the course of
Static characters
narrative. your story. Static characters can serve as
a reference point for dynamic characters
to show the latter’s growth.

Source: creativecommons.org
Dynamic characters noticeably change within the Most likely, you will be a dynamic
narrative, typically as a result character in your personal narrative
of the events. because such stories are centered around
an impactful experience, relationship, or

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 place. Dynamic characters learn and
grow over time, either gradually or with
an epiphany.

Point of View

The position from which your story is told will help shape your reader’s experience, the language
your narrator and characters use, and even the plot itself. You might recognize this from Dear White
People Volume 1 or Arrested Development Season 4, both Netflix TV series. Typically, each episode
in these seasons explores similar plot events, but from a different character’s perspective. Because of
their unique vantage points, characters can tell different stories about the same realities.

This is, of course, true for our lives more generally. In addition to our differences in knowledge and
experiences, we also interpret and understand events differently. In our writing, narrative position is
informed by point-of-view and the emotional valences I refer to here as tone and mood.

point-of-view (POV): the perspective from which a story is told.

 This is a grammatical phenomenon—i.e., it decides pronoun use—but, more importantly, it

impacts tone, mood, scope, voice, and plot.

Although point-of-view will influence tone and mood, we can also consider what feelings we want to
convey and inspire independently as part of our narrative position.

tone: the emotional register of the story’s language.

 What emotional state does the narrator of the story (not the author, but the speaker) seem to
be in? What emotions are you trying to imbue in your writing?

mood: the emotional register a reader experiences.

 What emotions do you want your reader to experience? Are they the same feelings you
experienced at the time?
1st person Narrator uses 1st person Can include internal monologue (motives, I tripped on the last stair,
pronouns (I/me/mine or thoughts, feelings) of the narrator. Limited preoccupied by what my sister had
us/we/ours) certainty of motives, thoughts, or feelings of said, and felt my stomach drop.
other characters.
2nd person Narrator uses 2nd person Speaks to the reader, as if the reader is the Your breath catches as you feel the
pronouns (you/you/your) protagonist OR uses apostrophe to speak to an phantom step.
absent or unidentified person O, staircase, how you keep me
awake at night.
3rd person Narrator uses 3rd person Sometimes called “close” third person. He was visibly frustrated by his
limited pronouns (he/him/his, Observes and narrates but sticks near one or sister’s nonchalance and wasn’t
she/her/hers, they/they/theirs) two characters, in contrast with 3rd person watching his step.
omniscient.
3rd person Narrator uses 3rd person Observes and narrates from an all-knowing Beneath the surface, his sister felt
omniscient pronouns (he/him/his, perspective. Can include internal monologue regretful. Why did I tell him
she/her/hers, they/they/theirs) (motives, thoughts, feelings) of all characters. that? she wondered.

A Non-Comprehensive Breakdown of POV

Source: creativecommons.org

stream-of- Narrator uses inconsistent Approximates the digressive, wandering, But now, a thousand
consciousness pronouns, or no pronouns and ungrammatical thought processes of the empty⎯where?⎯and she, with
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 at all narrator. head shake, will be
fine⎯AHH!

Typically, you will tell your story from the first-person point-of-view, but personal narratives can also
be told from a different perspective; I recommend “Comatose Dreams” to illustrate this at work. As
you’re developing and revising your writing, try to inhabit different authorial positions: What would
change if you used the third person POV instead of first person? What different meanings would your
reader find if you told this story with a different tone—bitter instead of nostalgic, proud rather than
embarrassed, sarcastic rather than genuine?

Furthermore, there are many rhetorical situations that call for different POVs. (For instance, you may
have noticed that this book uses the second-person very frequently.) So, as you evaluate which POV
will be most effective for your current rhetorical situation, bear in mind that the same choice might
inform your future writing.

Dialogue

dialogue: communication between two or more characters. For example...

"Hate to break it to you, but your story is boring."

"What? Why do you say that?" he stuttered as his face reddened.

"Because you did not include any dialogue," she laughed.

Think of the different conversations you’ve had today, with family, friends, or even classmates.
Within each of those conversations, there were likely pre-established relationships that determined
how you talked to each other: each is its own rhetorical situation. A dialogue with your friends, for
example, may be far different from one with your family. These relationships can influence tone of
voice, word choice (such as using slang, jargon, or lingo), what details we share, and even what
language we speak.

Good dialogue often demonstrates the traits of a character or the relationship of characters. From
reading or listening to how people talk to one another, we often infer the relationships they have. We
can tell if they’re having an argument or conflict, if one is experiencing some internal conflict or
trauma, if they’re friendly acquaintances or cold strangers, even how their emotional or professional
attributes align or create opposition.

Often, dialogue does more than just one thing, which makes it a challenging tool to master. When
dialogue isn’t doing more than one thing, it can feel flat or expositional, like a bad movie or TV show
where everyone is saying their feelings or explaining what just happened. For example, there is a
difference between “No thanks, I’m not hungry” and “I’ve told you, I’m not hungry.” The latter
shows frustration, and hints at a previous conversation. Exposition can have a place in dialogue, but
we should use it deliberately, with an awareness of how natural or unnatural it may sound. We should
be aware how dialogue impacts the pacing of the narrative. Dialogue can be musical and create
tempo, with either quick back and forth, or long drawn out pauses between two characters. Rhythm of
a dialogue can also tell us about the characters’ relationship and emotions.

Writing is a process, and yet many beginning writers ignore the process of writing, preferring to dive
into the art and craft of writing without much preparation. And when they finish their first draft, they
believe that it is the final version. I have done this–and it is a waste of time and results in chaos.
Source: creativecommons.org
The best way to write is to follow the process of writing. Whether you write poetry, short stories,
personal essays, articles, you first begin with an idea. Next, complete your research by gathering
relevant material, information that allows you to understand your idea. (Different forms of writing
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require different types of research.)This might involve an interview, taking a trip to the library,  doing
research on the Internet, checking your writing journal, and so forth.
Next, organize your material and read through it. Your purpose is to understand the research you ‘ve
collected. You’ll also answer two questions: 1) What are you going to write about? In other words,
what is your topic.  2) What points do you want to make about your topic? You can use this approach
to write a poem, short story, personal essay, article, and more.  You can list them or create an outline
or make a mental note.
After organizing your work, begin writing the first draft. The first draft is just a blue print, the
scaffolding, the foundation for the finished piece of writing.  The first draft is never your best work. It
is an initial attempt.
Once you write the draft, set it aside for a day or more, then take a break from the work of writing.
When you return, begin to revise your draft. You are revising to improve on your first attempt at
writing something memorable and superb. All great writers write and revise their work many times—
to make it the best they can.
In this article, I discuss how to write a first draft. The final decision on how to write a draft is yours.
Some writers follow the process; other writers just begin–without much planning or organization or
research.

Organizing Your Material

Let’s assume you have selected your idea to write about and completed your research. What’s next?
Many writers start writing. But this results in unfocused writing, and so you’re wasting time.
Unfocused writing at the draft stage can lead to mental confusion, which can stress you out.
A better way to write a first draft is to organize your material, determine what you want to say, and
then write the draft. Organizing your material enables you to create a structure. How do you do this?
At the organization stage, do the following:
 Learn your research material by reviewing your notes
 Decide what you want to write about
 Decide what points you want to make
 Decide on a possible beginning and ending

The best way to organize your work is to have a map of how to proceed or to begin the journey of
writing the draft. Essential your map is a plan for writing the draft.
Types of Writing Plans
I have learned that there are four types of plans to write the draft. In school, you are were taught to
write a formal outline. It included various sections and points to make. Each section was identified
with a roman numeral or number. Each roman numeral identified a first paragraph or section.  Under
each section heading, you identified the important points. I don’t know anyone who uses this formal
outline. I never did. It is like wearing a straight jacket and trying to write. It stifles creativity and the
discovery through writing.
Some writers begin with a list of important points to make, and then start writing. I’d call this
a impromptu or scratch outline. It is informal. You can use this approach to compose a poem, short
story, personal essay.  I have used this approach many times. (It also works for writing letters, emails,
poetry, personal essays.) The scratch outline allows you to put your thoughts on paper and allow you
to remember important points to make.

Source: creativecommons.org
Some writers use an organic approach to organizing  material. The structure is unknown. It will
be discovered by writing. You can use this method of organizing for writing a poem, short story,
essay, novel.  Essential, writers who use this approach rely on trial and error, because they don’t know
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how the story, the poem, the essay begins, develops, and ends until they start to write. Writing is an
act of discovery. The details are revealed to the writer by writing.
Many writers, especially those who write poetry and fiction begin a story without  knowing how it
will begin or end. They write a section, and then another, and another. They might begin in the
middle, with a character, conflict, setting, and so forth.  Or, they freewrite or write to discover.
Afterwards they cut and paste the various sections or parts together. Many writers use this organic
approach. It is essentially writing to discover. I don’t believe there is anything wrong with this
approach. However, it is time consuming.
Many writers prefer to create an informal plan. It provides a structure.  It includes the following:
 Beginning-Introduces what you are writing about and why it is important
 Section–related points
 Section–related points
 Section-related points
 Ending-Give the reader a sense of closure.

If you are going to write an article, opinion essay, segmented essay, lyrical essay, I should consider
using this approach.
Another approach is to create a narrative arc. If you are writing a personal-narrative essay or short
story, you’d use the narrative arc as your plan. It includes:
 Inciting incident
 Rising action-Setbacks and obstacles
 Crisis–conflict intensifies
 Climax
 Resolution

A simpler way is to identify the conflict, climax, and resolution.

If you are writing a personal essay or short story, I find that an informal plan or outline is a good way
to create structure for your writing. It  provides a map on how to begin the journey of writing the first
draft. It is a way to evoke the creative muse–and find other material in your mind to write about. You
won’t become lost or forget to write about an important point.

Required Tools for Writing the Draft

What do you require to write a draft? Ideally, you need a computer to type the draft. It should include
word-processing software, such as MS Word. You’ll be able to add, delete, copy, cut and paste, do
spell-check, and so forth. Having access to a computer also enables you to link to the Internet, where
you can conduct research, send e-mail, post to a blog or online website.
You’ll also require a notebook and one or more pens. Use the notebook to  make notes on your draft.
Perhaps an idea pops into your head as you write the draft. Perhaps, while writing the draft you
discover that you’ll need to do more research, and make note of it in your notebook.
You should also own a dictionary and thesaurus. Refer to your dictionary to check the spelling of
words and look up their meaning. Use a thesaurus to find a word with the right shade of meaning. I
suggest you also have a book of quotations. A quote can add depth and a new perspective to a piece of
writing, especially when it is a quote from a sage, philosopher, great writer.
Once you have a notebook, pen, dictionary, thesaurus, and computer, you are ready to write the draft.

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Writing the Draft
For years, I’d write a first draft by writing and revising as I wrote. I’d write a sentence, or a paragraph
or a section, then reread what I wrote. Then I’d edit and revise before moving on. But I have learned
that this approach slows down the writing process and blocks creative thinking.
A better approach is to write the entire draft without editing or revising. For instance, write the
complete poem, short story, essay–without revising.  Why? You are creating flow and tapping into
your memories and inventing by using your imagination–writing what you hear in your head. As you
write, refer to your plan. This plan guides your writing process. You might begin in the middle, at the
end, or at the start. It doesn’t matter. The important point is to get the draft down on paper.
Here are a few things to consider as you write the draft:
Beginning the Draft. Your beginning should tell the reader what you are writing about and why your
piece of writing is important to read. The beginning should also grab the reader’s attention,
compelling them to read on. A few ways you can begin: with a quote, with a question, with a
fascinating fact, with an anecdote, with a list,  in the middle of the action.
Writing the content. Your content will depend on the form and genre you are writing.  For instance,
if you are writing an opinion essay, the middle should identify your argument, share important points.
In a more formal literary journalistic essay, the middle might include several sections and points for
each section.
If you are writing a collage essay or lyrical essay, you’ll create subsections with asterisks or roman
numerals. For each section, you’ll might write a quote, anecdote, description, and so forth.
If you are writing a meditative essay, you’ll write about your main points, those that investigate your
question you are pondering.
If you are writing an opinion essay, you’ll share your argument with the reader.
If  you are writing a short story or personal essay, you’d tell the story by using a narrative arc. The
middle will include conflict, setbacks and obstacles, climax, and falling action. You might end with an
open ending, closed ending, lesson learned, epiphany.
Writing Creatively. When writing the first draft, you want to make an attempt at writing creatively.
You’ll make a first attempt at:
 Showing and telling your reader
 Writing vivid descriptions
 Writing significant details or telling details
 Writing imagery that evoke the senses.
 Use literary devices of simile and metaphor

As well, write in scenes. You write in scenes when writing a poem, fiction, and creative nonfiction.  A
scene includes:
 Setting details
 Action. Something happens
 Dialogue
 Imagery
 Vivid Descriptions

Writing the ending. You end by creating a sense of closure. Before ending, you make sure you’ve
answered all questions raised in the writing. The best ending is memorable. The writer makes one
final point that the reader can take away and ponder. For instance, many writers of creative nonfiction
end with a final quote from someone they’ve interviewed.

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Source: https://davehood59.wordpress.com/2012/11/16/the-writing-process-the-first-draft/

Revising Your Draft

Once you have written the draft, what happens? You’ll put the piece of writing away for a night, a
day, few days, or longer. Essentially, you’re take a break from writing. Taking a break enables you to
see your work from a fresh perspective. It is like relaxing after a long day at work. Taking a break will
refresh your creative spirit. When you return from your sojourn, you’ll begin revising your draft. The
purpose is  to make it better–to transform your draft into a splendid piece of writing.
Revision is about doing a macro-edit and micro-edit. A macro-edit involves revising “the big picture.”
You’ll focus on setting, characterization, plot, theme, point of view, and so forth. You might add,
delete, change the form and content of your work. If you are writing a personal essay, you might add a
scene or details or imagery. If you are writing a short story, a macro-revision involves looking at
setting, plot, character, POV, theme, and so forth.
Revision also involves a micro-editing or copyediting. It is a line-to-line edit, and involves checking
grammar, spelling, and punctuation, active or passive voice, sentence variety, word choice. To learn
more about editing, read “The Artful Edit: On the Practise of Editing Yourself by Susan Bell.
A good writer writes and revises. Read the biography of any great writing, and you’ll discover that
they created a memorable poem, short story, personal essay by relying on writing as a process.
Writing the first draft is part of the process.  Good writers know that the initial draft is never their best
work. It is just a blueprint. Ernest Hemingway revised the ending to “Farewell to Arms” 39 times.
You’ll need to revise your work to make it the best you can.  Drafting and revising creates order from
chaos. It improves on a first attempt. It polishes your work until it shines.

Source: https://davehood59.wordpress.com/2012/11/16/the-writing-process-the-first-draft/

III. ACTIVITIES

A. Describe a lemon. Put your answer in a sheet of paper.

Imagine you are describing a lemon to someone who has never seen one before. How would you
describe it using all five senses?

 Sight
 Sound
 Smell
 Touch
 Taste
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IV. ASSESSMENT (Answer in a short bond paper. Your answer will be evaluated using the Rubrics
below.)
Direction: Answer the given tasks at the back of this page.

Day 1 Day 2 Day 3 Day 4

Answer the given Answer the given Answer the given Answer the given
questions in a separate question in a separate question in a separate questions in a separate
sheet of paper. sheet of paper. sheet of paper. sheet of paper.

What is theme? What is a technique in What is a literary How will you analyze a
What are the different analyzing a text? element? text?
types of theme? What are those different Can you give examples Can you give me the
What are the techniques techniques in analyzing a of literary elements? theme of this particular
in uncovering the theme text? What are those literary text (teacher gives a
of the story? How will be those elements? certain text)?
What are the important literary techniques be What are the use of those What technique/s did you
points to remember in used accurately? different literary used while doing analysis
analyzing the theme? How are those literary elements? and come up with the said
techniques important in theme of the given text?
analyzing a text? Create a sample that
based from you own
experience in life where
you can apply any of
those literary elements.

Source: Reazon Systems, Inc. (2020)

Prepared by:

MARIA CHRISTINA B. SEREÑO, Ed. D.

Master Teacher II
09223479881/09668332371

Noted by:
ANTONIO B. DACATIMBANG, JR.
School Principal

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 13
Self-Check for the Activities:
1 .simile
2. Personification
3. hyperbole
4. metaphor
5. oxymoron
6. inference
7. dramatic irony
8. verbal irony
9. oxymoron
10. paradox
11. simile
12. foreshadowing
13. irony of the situation
14. inversion
15. none of these