12

Creative Nonfiction
Quarter 1 – Module 4:
CRITIQUING NONFICTION
English – 12-HUMSS
Alternative Delivery Mode
Quarter 1 – Module 4: Critiquing Nonfiction
First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any
work of the Government of the Philippines. However, prior approval of the
government agency or office wherein the work is created shall be necessary for
exploitation of such work for profit. Such agency or office may, among other things,
impose as a condition the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand

names, trademarks, etc.) included in this module are owned by their respective
copyright holders. Every effort has been exerted to locate and seek permission to
use these materials from their respective copyright owners. The publisher and
authors do not represent nor claim ownership over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writers: Cris Dyan R. Abarca and Shenna Marie E. Rubia
Editor: Jessie Lou L. Ecleo
Reviewer: Jessie Lou L. Ecleo
Illustrator: None
Layout Artist/Typesetter: Irish Joy M. Vera Cruz
Management Team: Senen Priscillo P. Paulin, CESO V
Fay C. Luarez, TM, Ed.D., Ph.D. Rosela R. Abiera
Nilita L. Ragay, Ed.D. Maricel S. Rasid
Adolf P. Aguilar Elmar L. Cabrera
Anna Lee A. Amores, Ed.D.

Printed in the Philippines by ________________________

Department of Education –Region VII Schools Division of Negros Oriental

Office Address: Kagawasan, Ave., Daro, Dumaguete City, Negros Oriental

Tele #: (035) 225 2376 / 541 1117
E-mail Address: [email protected]
 9

Creative
Nonfiction
Quarter 1 – Module 4:
CRITIQUING NONFICTION
Introductory Message
For the facilitator:

Welcome to the Creative Nonfiction 11/12 Alternative Delivery Mode

(ADM) Module on Critiquing Nonfiction!

This module was collaboratively designed, developed and reviewed by

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

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

In addition to the material in the main text, you will also see this box in the
body of the module:

“We are all apprentices in a craft where no

one ever becomes a master.”
Ernest Hemingway

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

ii
For the Learner:

Welcome to the Creative Nonfiction 11/12 Alternative Delivery Mode

(ADM) Module on Critiquing Nonfiction!

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

This module has the following parts and corresponding icons:

This will give you an idea of the skills or

What I Need to Know competencies you are expected to learn in
the module.

This part includes an activity that aims to

check what you already know about the
What I Know
lesson to take. If you get all the answers
correct (100%), you may decide to skip this
module.
This is a brief drill or review to help you link
What’s In the current lesson with the previous one.

In this portion, the new lesson will be

What’s New introduced to you in various ways; a story, a
song, a poem, a problem opener, an activity
or a situation.
This section provides a brief discussion of
What is It the lesson. This aims to help you discover
and understand new concepts and skills.

This comprises activities for independent

practice to solidify your understanding and
What’s More
skills of the topic. You may check the
answers to the exercises using the Answer
Key at the end of the module.
This includes questions or blank
What I Have Learned sentence/paragraph to be filled into process
what you learned from the lesson.
This section provides an activity which will
What I Can Do help you transfer your new knowledge or
skill into real life situations or concerns.
This is a task which aims to evaluate your
Assessment level of mastery in achieving the learning

iii
 competency.
In this portion, another activity will be given
Additional Activities to you to enrich your knowledge or skill of
the lesson learned.

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

developing this module.

The following are some reminders in using this module:

1. Use the module with care. Do not put unnecessary mark/s on any
part of the module. Use a separate sheet of paper in answering the
exercises.
2. Don’t forget to answer What I Know before moving on to the other
activities included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your
answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through
with it.
If you encounter any difficulty in answering the tasks in this module, do
not hesitate to consult your teacher or facilitator. Always bear in mind
that you are not alone.

We hope that through this material, you will experience meaningful

learning and gain deep understanding of the relevant competencies. You
can do it.

iv
 TABLE OF CONTENTS

CONTENT PAGES

TITLE PAGE ------------------------------------------------ i

INTRODUCTORY MESSAGE --------------------------------- ii

For the Facilitator --------------------------------- ii
For the learner ----------------------------------------- iii

WHAT I NEED TO KNOW --------------------------------- 1

Learning Competency --------------------------------- 1
Learning Objectives --------------------------------- 1

WHAT I KNOW ------------------------------------------------ 2

WHAT’S IN ------------------------------------------------ 2-3

WHAT’S NEW ------------------------------------------------ 3-4

WHAT IS IT ------------------------------------------------ 5-6

WHAT’S MORE ------------------------------------------------ 6-9

WHAT I HAVE LEARNED --------------------------------- 9

WHAT I CAN DO ---------------------------------------- 9

ASSESSMENT ------------------------------------------------ 10

ADDITIONAL ACTIVITIES -------------------------- 11

GLOSARY ------------------------------------------------ 12

ANSWER KEYS ------------------------------------------------ 13

REFERENCE LIST -------------------------------------------- 14

v
 WHAT I NEED TO KNOW

In this module, you will shape letters into words and words into
stories. Being a replica of human speech to which we “lend our ears”,
writing seeks to borrow the reader’s eyes. What the readers see is the
product of our hands. Your hands reach out a pen and paper to write. Your
hands key in letters to the computer, which has the word processor as its
most common software. Say hello to those hands. Now, let’s see the eyes
that make us read.
In deciding what words to keep or throw away, you need to learn how
to critique. This is the systematic method of examining a written word. A
French word derived from the Greek kritiké, critique means the ability to
discern the worth of something. It is a feedback and personal assessment of
what you read. It is a way of helping fellow writers improve, which is better
than being a critic.
In order for you to be guided, you need to familiarize yourself to our
competency and our objectives.

HUMSS_CNF11/12-IId-e-18- Write a mini critique of a peer’s work based on

coherence and organization of paragraphs, development of literary elements
use of factual information, and other qualities concerning form and content

At the end of this module, you are expected to:

Knowledge: Analyze and interpret a well-written creative nonfictional text

Skills: Write a mini critique of a work based on overall impression and

mechanics

Attitude: Appreciate the importance of helping fellow writers improve

through constructive critiquing.
 WHAT I KNOW

Below is a short paragraph. Can you check with “What’s Wrong” in it?
How many errors can you find? Write your answers on your notebook.

I hate wet and reiny days.

It rained a lot in 1816.... a lot - like everyday; the weather in Europe was
abnormally wet because it rained in Switzerland on 130 out of the 183 days
from April to September. If I was Mary Shelley I might decide to write a book
too. Afterall, it was the onnly thing you could do without TV or
anything. She said that she "passed the summer of 1816 in the environs of
Geneva...we occasionally amused ourselves with some German stories of
ghosts... These tales excited in us a playful desire of imitation" So,
people were stuck inside and bored. Mary Shelley decided to write a book
becuase it was so awful outside. I can totally see her point, you know? I
guess I would write a novel if there was nothing else to do.

WHAT’S IN

Below are words that can be found in the story. Identify the meaning of the
italicized words by writing the letter in your notebook.
1. A person who is viable of work can work successfully.
a. capable b. hardworking c. incapable

2. The music is rhythmically composed. A lot of people like to listen to it.

a. with rhythm b. with rhyme c. with music

3. Her performance will be evaluated, whether good or bad.

a. checked b. assessed c. monitored

4. He likes to critique the lesson in a detailed and analytical way.

a. double check b. evaluate c. feedback
5. He is a critic. He likes to give comments and feedbacks about the article.
a. a person who judges the merits of literary, artistic, or musical
works, especially one who does so professionally.
b. a person who possesses the merits of literary, artistic, or musical
works, especially one who does so professionally.
c. a person who acquires the merits of literary, artistic, or musical
works, especially one who does so professionally.

WHAT’S NEW

Read and understand the story below.

On Being a Critiquer (an excerpt)

My first experience with a critique group was over twenty years ago. It
was a unique experience, so let me tell you what happened.
I was seated with an old, musty classroom, when my Drill Sergeant
begin passing out booklets. “This is a copy of the Newest Air Defense
Artillery Manual”, he barked while rhythmically placing the books on each
desk. “You will review this document, evaluate its contents and provide
viable input for possible revisions. The words are simple, so even pea-brains
like you can understand them”.
Some poor private made the mistake of commenting that the manual
started off incorrectly and had to be completely rewritten. His critique was
met by the full facial screams of the Drill Sergeant.

“Private, the Army has spent thousands of dollars and man hours to
produce this document. Do you get my message, Soldier?”

“Obviously some of you have forgotten what I told you. You will evaluate its
content, not judge. Do I make myself clear?”

In the tradition of the military, we all shouted I unison, “Yes, Drill

Sergeant!”
Taking a deep breath, I jumped to my feet and snapped to ‘parade
rest’. “Drill Sergeant”. My voice echoed in the room. He shot me a menacing
look.

“Yes, Private Bolk?”

“I have evaluated this chapter.”

“Do you have a problem with it?” He scowled.

“Yes, Drill Sergeant”, I shouted. “Although it was a well-written technical

manual, I believed if the second and fifth paragraphs were reversed, the flow
of events would be more realistic. Also it appears to me as if the author is
attempting to show his advanced expertise with the piece of equipment by
giving a complete description of the radar set when it would best be infused
gradually in each section pertaining to the material at hand. ”

He folded his arms and began slowly nodding his head. Taking a deep
breath he looked around the room. “That, gentlemen, is a critique. Don’t just
tell me what’s wrong. Tell me how to fix it easily, and without rewriting the
entire book.”

At that point I realized the difference between a critique and a critic.

One provides input, where the other judges. Also it is necessary to point out
flaws to improve the story without trying to completely re-write it.

I found out that critiquing is an art performed in a positive manner.

When I critique, I always compliment the work by mentioning a part that
grabbed my interest. I try to make good recommendations and back them up
with reasons for the possible change. I always try to evaluate and
recommend rather than to judge. After all, I’m a critique, not a critic.

Check your understanding: Write your answers in your notebook.

1. Who are the characters in the story?

2. What was the problem of the Drill Sergeant?
3. What was the first comment about the copy of the Newest Air Defense
Artillery Manual?
4. Was the Drill Sergeant happy about it? Why?
5. What was the writer’s (Private Bolk) suggestion?
6. Was the Drill Sergeant happy about his suggestion? Why?
7. Has someone ever been a critic to you? How did you react?
8. Has someone ever been a critique to you? How did you react?
9. Have you acted like a critic to someone? How did that someone react?
10. Have you acted like a critique to someone? How did that someone
react?
11. How would you now differentiate a critic and a critique?
 WHAT IS IT

When we critique, you evaluate as a reader. As a reader, you are not a

judge to point out failings, and condemn the writer. Instead of condemning,
recommend how to make those failings a success. The aim of the critique is
to make the writing better. Opposite of this is a critic who can point out the
weakness, but not the strength. Can you be a critique?

The most important guideline for a critique is to give an honest,

constructive, and polite assessment of the writing. All comments should be
about the words written, not about the person writing them. Here are the
steps to follow when doing a thorough critique of nonfiction:
1. Overall Impressions: Evaluate the work as a reader. The critique must
consider something as a whole, rather than its details or the different
aspects of the work. Here are the lists to evaluate:

a. Content: Does it open with something that captures your attention

and makes you want to keep reading? Does the pace seem appropriate for
the type of information being covered? Can you clearly identify the subject
or main idea? Is the main idea supported by evidence, anecdotes, interviews,
viewpoints, or some other method?
b. Audience: Is it clear who the target audience is for the book,
article, or essay? Are the tone, language, and reading level appropriate for
that audience?
c. Format: Is it following standard submission guidelines for that type
of work, or is it tailored towards guidelines of a specific market? Is it
organized logically, so the reader can follow the development of the topic or
progression of the events?

2. The Mechanics: Evaluate the work for structural strengths and

weaknesses. Below are the lists to consider:

a. Structure: Were paragraphs and sentences appropriate in length

for the type of information presented? Would varying their length add
interest or adjust the pace more effectively? Does the choice of words feel
appropriate? Is the information presented in a way that the target audience
will find easy to understand? Does the conclusion summarize the main
points effectively, or bring the work to a satisfying end?
b. Grammar: Are there obvious mistakes in grammar and spelling?
Are there too many clichés in the narrative or dialog?
c. Extras: If there are sidebars, charts, graphs, pictures, or other
supporting documents, do they support the premise, theme, arguments, or
hypothesis? Are they formatted properly and annotated in the body of the
work?

WHAT’S MORE

Every written work has an argument or point to make. Your critique

must also have a point. Write a 300-word critique of the MEMOIR below
based on the elements discussed. Your critique must support the argument.
Use the argument as the main title of your critique with the title of the
memoir as the subtitle. Write this in your notebook. But before writing,
consider the rubric in giving your critique.

3
4 2 1
Features (Accomplishe
(Expert) (Capable) (Beginner)
d)
Overall  Piece is  Piece is  Piece is a  Piece has
Impressions written in an written in little bit no style
extraordinar an interesting  Gives no
y style interesting  Gives some informati
 Very style few on and
informative  Somewhat information poorly
and well- informative but poorly organize
organized and organized d
organized
The  Virtually no  Few  A number  So many
Mechanics spelling, spellings of spelling, spelling,
punctuation and punctuatio punctua-
and punctuatio n, or tion and
grammar n errors, grammatical grammatic
errors minor errors -al errors
 Ideas are grammatic  Ideas are that it
presented al errors poorly interferes
perfectly  Ideas are presented with
somewhat meanin
presented  No ideas
presented
 Memoirs of My Life and Writings (an excerpt)
by Edward Gibbon

As soon as the use of speech had prepared my infant reason for the
admission of knowledge, I was taught the arts of reading, writing, and
arithmetic. So remote is the date, so vague is the memory of their origin in
myself, that, were not the error corrected by analogy, I should be tempted to
conceive them as innate. In my childhood I was praised for the readiness
with which I could multiply and divide, by memory alone, two sums of
several figures; such praise encouraged my growing talent; and had I
persevered in this line of application, I might have acquired some fame in
mathematical studies.
After this previous institution at home, or at a day school at Putney, I
was delivered at the age of seven into the hands of Mr. John Kirkby, who
exercised about eighteen months the office of my domestic tutor. His
learning and virtue introduced him to my father; and at Putney he might
have found at least a temporary shelter, had not an act of indiscretion
driven him into the world. One day reading prayers in the parish church, he
most unluckily forgot the name of King George: his patron, a loyal subject,
dismissed him with some reluctance, and a decent reward; and how the
poor man ended his days I have never been able to learn. Mr. John Kirkby is
the author of two small volumes; the Life of Automathes (London, 1745),
and an English and Latin Grammar (London, 1746); which, as a testimony
of gratitude, he dedicated (Nov. 5th, 1745) to my father. The books are
before me: from them the pupil may judge the preceptor; and, upon the
whole, his judgment will not be unfavourable. The grammar is executed with
accuracy and skill, and I know not whether any better existed at the time in
our language: but the Life of Automathes aspires to the honours of a
philosophical fiction. It is the story of a youth, the son of a ship-wrecked
exile, who lives alone on a desert island from infancy to the age of manhood.
A hind is his nurse; he inherits a cottage, with many useful and curious
instruments; some ideas remain of the education of his two first years; some
arts are borrowed from the beavers of a neighbouring lake; some truths are
revealed in supernatural visions. With these helps, and his own industry,
Automathes becomes a self-taught though speechless philosopher, who had
investigated with success his own mind, the natural world, the abstract
sciences, and the great principles of morality and religion. The author is not
entitled to the merit of invention, since he has blended the English story of
Robinson Crusoe with the Arabian romance of Hai Ebn Yokhdan, which he
might have read in the Latin version of Pocock. In the Automathes I cannot
praise either the depth of thought or elegance of style; but the book is not
devoid of entertainment or instruction; and among several interesting
passages, I would select the discovery of fire, which produces by accidental
mischief the discovery of conscience. A man who had thought so much on
the subjects of language and education was surely no ordinary preceptor:
my childish years, and his hasty departure, prevented me from enjoying the
full benefit of his lessons; but they enlarged my knowledge of arithmetic,
and left me a clear impression of the English and Latin rudiments.
 My studies were too frequently interrupted by sickness; and after a real or
nominal residence at Kingston School of near two years, I was finally recalled (Dec.,
1747) by my mother's death, in her thirty-eighth year. I was too young to feel the
importance of my loss; and the image of her person and conversation is faintly
imprinted in my memory. The affectionate heart of my aunt, Catherine Porten,
bewailed a sister and a friend; but my poor father was inconsolable, and the
transport of grief seemed to threaten his life or his reason. I can never forget the
scene of our first interview, some weeks after the fatal event; the awful silence, the
room hung with black, the mid-day tapers, his sighs and tears; his praises of my
mother, a saint in heaven; his solemn adjuration that I would cherish her memory
and imitate her virtues; and the fervor with which he kissed and blessed me as the
sole surviving pledge of their loves. The storm of passion insensibly subsided
into calmer melancholy. At a convivial meeting of his friends, Mr. Gibbon
might affect or enjoy a gleam of cheerfulness; but his plan of happiness was
for ever destroyed: and after the loss of his companion he was left alone in a
world, of which the business and pleasures were to him irksome or insipid.
After some unsuccessful trials he renounced the tumult of London and the
hospitality of Putney, and buried himself in the rural or rather rustic
solitude of Beriton; from which, during several years, he seldom emerged.

The curiosity, which had been implanted in my infant mind, was still
alive and active; but my reason was not sufficiently informed to understand
the value, or to lament the loss, of three precious years from my entrance at
Westminster to my admission at Oxford. Instead of repining at my long and
frequent confinement to the chamber or the couch, I secretly rejoiced in
those infirmities, which delivered me from the exercises of the school, and
the society of my equals. As often as I was tolerably exempt from danger and
pain, reading, free desultory reading, was the employment and comfort of
my solitary hours. At Westminster, my aunt sought only to amuse and
indulge me; in my stations at Bath and Winchester, at Beriton and Putney, a
false compassion respected my sufferings; and I was allowed, without
controul or advice, to gratify the wanderings of an unripe taste. My
indiscriminate appetite subsided by degrees in the historic line: and since
philosophy has exploded all innate ideas and natural propensities, I must
ascribe this choice to the assiduous perusal of the Universal History, as the
octavo volumes successively appeared. This unequal work, and a treatise of
Hearne, the Ductor historicus, referred and introduced me to the Greek and
Roman historians, to as many at least as were accessible to an English
reader. All that I could find were greedily devoured, from Littlebury's lame
Herodotus, and Spelman's valuable Xenophon, to the pompous folios of
Gordon's Tacitus, and a ragged Procopius of the beginning of the last
century. The cheap acquisition of so much knowledge confirmed my dislike
to the study of languages; and I argued with Mrs. Porten, that, were I master
of Greek and Latin, I must interpret to myself in English the thoughts of the
original, and that such extemporary versions must be inferior to the
elaborate translations of professed scholars; a silly sophism, which could
not easily be confuted by a person ignorant of any other language than her
own. From the ancient I leaped to the modern world: many crude lumps of
Speed, Rapin, Mezeray, Davila, Machiavel, Father Paul, Bower, &c., I
devoured like so many novels; and I swallowed with the same voracious
appetite the descriptions of India and China, of Mexico and Peru.

_____________________________: A Critique of (Title of memoir)

By _____________________________ (Your name and date)

_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________
_________________________________________________________________________

WHAT I HAVE LEARNED

1. I have learned that ________________________________________.

2. I have realized that ________________________________________.
3. I will apply _______________________________________________.

WHAT I CAN DO

Pick a biography, autobiography, personal essay or another memoir

from the library, a bookstore, or the internet. Then write a 500-word
critique based on the following elements:
1. Overall impression
2. Mechanics

Follow the same rubric used in “What’s More”. Write the output in the
journal.
 ASSESSMENT

Identify the statement on each number. Write your answer in your

activity notebook.
1. It is the Latin word for “Critique”.
2. It means the ability to discern the worth of something.
3. It is not to judge and point out failings but to make the writing better.
4. It judges and points out the weakness of the writer.
5. It considers something as a whole than its details or the different aspects
of the written work.
6. It checks if sidebars, charts, graphs, pictures, or other supporting
documents, are formatted properly and annotated in the body of the
work.
7. It evaluates the work for structural strengths and weaknesses.
8. It checks if the paragraphs and sentences are appropriate in length for
the type of information presented.
9. It evaluates if there are obvious mistakes in grammar and spelling.
10. It assesses if the written work captures readers’ attention and makes
them want to keep reading

C. Directions: Give at least 1 situation for each type of communicative style.

1. informal – ______________________________________________________

2. casual – ______________________________________________________

3. consultative – ___________________________________________________

4. formal – _________________________________________________________

5. frozen - _________________________________________________________
 Additional Activities
Are you a good critique?

Identify Good and Bad Paragraphs

Compare the following two paragraphs. One of them exemplifies all

the elements of a well-written paragraph. The other does not. See if you can
tell which is which. Write your critique in your journal.

Paragraph 1 Paragraph 2

Establishing rural financial In addition to the challenges

systems involves identifying which inherent in developing countrywide
financial systems are appropriate for financial systems, establishing rural
the region in question. Low financial systems encompasses many
population density and difficult-to- specific challenges. For example,
reach remote areas in many with low population density and
countries translate into high difficult-to-reach remote areas in
transaction costs for financial many countries, transaction costs
institutions contemplating an entry are high. Also, limited economic
into these areas. Limited economic opportunities in many rural areas
opportunities in many rural areas result in small transactions, further
result in small transactions, further increasing overall transaction costs.
increasing overall transaction costs.
Rural financial systems offer
particular challenges that do not
seem to affect countrywide systems.
 GLOSSARY

Overall Impressions- in general, is defined as what you think overall on a

scale of 1-10. For example, 1 being the lowest and 10 being the highest.

Memoir (/ˈmɛmwɑːr/; from French: mémoire: memoria,

meaning memory or reminiscence) is any nonfiction narrative writing based
in the author's personal memories. The assertions made in the work are
thus understood to be factual. While memoir has historically been defined
as a subcategory of biography or autobiography since the late 20th century,
the genre is differentiated in form, presenting a narrowed focus. A biography
or autobiography tells the story "of a life", while a memoir often tells the
story of a particular event or time, such as touchstone moments and turning
points from the author's life. The author of a memoir may be referred to as
a memoirist or a memorialist.
Answer Key
What I Know
What’s wrong with the paragraph? (The answers below are just guides on how the learner may have stated
his/her answers.)
1. The opening sentence is not on target, and it has a spelling error.
2. The second sentence states a fact, but no cited source is provided - plagiarism!
3. The rest of the paragraph begins to discuss the topic, but not clearly enough to allow the audience to
see where you are heading.
4. The quote used does little to support the opening sentences.
5. Grammar errors and run on sentences are present as well.
What’s In
1. A
2. A
3. B
4. B
5. A
What’s New
Check your understanding
1. The writer (Private Bolk), Drill Sergeant
2. He wanted the group to review the copy of the Newest Air Defense Artillery Manual, evaluate its
contents and provide viable input for possible revisions
3. The manual started off incorrectly and had to be completely rewritten.
4. No, he was so angry with the idea.
5. Although it was a well-written technical manual, the second and fifth paragraphs should be reversed
because the flow of events would be more realistic.
6. Yes. Because the suggestion is an example of a good critique. It is telling how to fix the manual easily
without rewriting the entire book.
7. Answers may vary.
8. Answers may vary.
9. Answers may vary.
10. Answers may vary.
11. Critiquing is an art performed in a positive manner while critic is to judge
Assessment
1. kritiké
2. Critique
3. Critique
4. Critic
5. Overall impressions
6. Extras
7. Mechanics
8. Structure
9. Grammar
10. Audience
Additional Activities (Sample answers only, answers may vary)
Paragraph 1 immediately creates a misleading impression because the first sentence is not a topic sentence: it
does not summarize the paragraph’s main point. In fact, the main point is not stated until the last sentence.
By contrast, Paragraph 2 announces at the start that the main idea is about the challenges of rural financial
systems.
Also, in Paragraph 1, the sentences do not flow well. Each sentence makes a point, but there is no explicit
connection from one point to the next. This problem begins with the lack of a topic sentence and is
compounded by the lack of transition words or other guiding devices.
Paragraph 2 is much more focused. It clearly establishes that the main idea is the challenges of rural financial
systems. Then the paragraph proceeds to identify some of those challenges. All the sentences are logically
organized to support the main idea, and connector words and transitions (“for example”, “in addition”) are
used to link the sentences.
 REFERENCES

Israel, Lorna Q. Creative Nonfiction c.2017

https://www.gutenberg.org/files/6031/6031-h/6031-h.htm

https://slulibrary.saintleo.edu/c.php?g=367733&p=2485890

https://www.thoughtco.com/essay-rubric-2081367

https://thewritingplace.wordpress.com/2009/09/28/guidelines-for-
nonfiction-critiques/

https://thereadywriters.com/critiquing-non-fiction-6-points-to-note/

http://colelearning.net/rw_wb/module5/page5.html

https://en.wikipedia.org/wiki/Memoir

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