SENIOR HIGH SCHOOL

Creative Writing
( Module 6-7 )

Creativ
e Writi
ng
https://www.kindpng.com/imgv/JTwwvT-creative-writing-clipart/creative-writing-creativity-creative/

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 SENIOR HIGH SCHOOL

Creative Writing
Module 6
The Creative Work in the Literary and/or
Sociopolitical Context

Creativ
e Writi
ng
https://www.kindpng.com/imgv/JTwwvT-creative-writing-clipart/creative-writing-creativity-creative/

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 Senior High School
Division of Bohol
Department of Education • Republic of the Philippines

MODULE 6

WRITING CRAFT ESSAY

INTRODUCTORY MESSAGE
Welcome to Module 2! This module will expose you to more creative works, this
time focusing on the literary and/or sociopolitical contexts. These contexts will help
you not only to understand creative works better but also to relate them in the lives
of humanity. This module will allow you to enhance your creative writing skill
where you will be expected to produce a craft essay on your personal creative
process deploying a consciously selected orientation of creative writing.

This module has two lessons:

Lesson 1: Literary and/or Sociopolitical Context

Lesson 2: Craft Essay

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

1.evaluate the creative work in its socio-political contexts (HUMSS_CW/MPIIc-f-21);

2. write a craft essay (HUMSS_CW/MPIIc-f-23).

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Creative Writing – Grade 11/12
Alternative Delivery Mode
Module: 6 - Lesson 1: The Creative Work in the Literary and/or
Sociopolitical Context
Lesson 2: Craft Essay
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, payment of royalties.
Borrowed materials included in this module are owned by the respective
copyright holders. Effort has been exerted to locate and seek permission to use
these materials from the respective copyright owners. The publisher and author do
not represent nor claim ownership over them.

Published by the Department of Education Division of Bohol (for classroom use):

Development Team of the Module

Writer/s: Maria Riecel Socorro H. Caitom

Gorgonia R. Rabor, MA.Ed
Liwayway C. Tumanda
Ma. Gladys A. Villamor
Technical Working Group (TWG): Verbo Tuyugon
Education Program Supervisor (EPS): Pablito D. Villalon

Printed in the Philippines by:

Department of Education – Division of Bohol
Office Address: 0050 Lino Chatto Drive Barangay Cogon, Tagbilaran City,
Bohol
Telephone Nos.: (038) 412-4938; (038) 411-2544; (038) 501-7550
Telefax: (038) 501-7550
E-mail Address: [email protected]

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 Creative Writing
Module 6:
Creative Work in Literary and/or Socio-political
Context
This learning material was conspired and materialized by the
selected senior high school teachers of Bohol Division who are teaching
the subject and reviewed by the Technical Working Group (TWG) from
the department and quality assured by the division. We fortify all
teachers who are experts in this field and other education stakeholder
to email their feedback, comments, and recommendations to the …

We value your feedback and recommendations.

General Before you go further, you should

Instruction remember the following:

 do not put some markings on this Module as there are still

other students who will be using it;
 use a separate a separate sheet to keep your answer in each
activity (be sure to LABEL your work according to the Module
lessons and write the date
 each Module has a brief instruction and followed by a list of
objectives. Read them
and follow instructions carefully;
 before going over the activities, answer the PRE-TEST first then find
out how well
you did by checking your answers given in the self-assessment
activity;
 each activity must be according to the objectives of this
Module (note the skills or strategies you tried to develop); and
 after each activity, you need to go over the items which you
think you failed then take the POST TEST when you think you

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 have mastered all the activities.


Lesson Literary Works and/or Socio-

1 political Contexts

Literary works are creative writings dealing with words. The different forms
of creative writing are themselves the genres of literature. Literature is a form of
text which is created with a definite structural schema made up of definite
elements. Literature is an art that reflects the world of imagination, aesthetics, and
creative writing which are distinguished for the beauty of style or expression as in
fiction, poetry, essay, or drama, in distinction from the scientific treatises and
works which contain positive knowledge.

WHAT I NEED TO KNOW

Learning Objectives:

In this lesson, you will be able to:

1. identify the different literary/critical theories and socio-political contexts of
literature
2. evaluate the context of a literary piece according to the different critical theories.

WHAT I KNOW
Pretest

Directions: Multiple Choice: To measure your knowledge of the concepts that this
module will develop, answer the following questions. Write only the letter of your
choice.

1. What literary theory is used when a critic focuses on how the characters in a
story are created by an economic situation?
A. Marxism B. Formalism C. Reader Response D. Feminism

2. What theory focuses on its meaning by looking into the familiar structures of the
text?
A. Cultural B. Structuralism C. Gender/Queer theory D. Marxism

3. What theory claims that literary works contain intrinsic properties and the key
to understanding the text is through the text itself?
A. Formalism B. Feminism C. Marxism D. Reader Response

4. What word is similar to the meaning of ―milieu‖ in the study of literature?

A. Context B. Plot C. Conflict D. Theme

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5. What non-literary evidence can be used to establish the historicity of a story
written centuries ago?
A. Periodicals B. Websites C. Blogs D. Social media

6. In what manner do literary theories act in analyzing literary pieces?

A. Maps B. Books C. Lenses D. Imaginations

7. What literary theory also studies the members of the opposite sex and the roles
they assume and perform?
A. Cultural B. Feminist C. Marxist D. Historical

8. Which critical approach is multidisciplinary as it includes the perspectives of

humanistic disciplines such as literature, art, and social and behavior sciences?
A. Cultural B. New Historical C. Marxist D. Feminist

9. What general themes can be classified under the Cultural Approach?

A. Arranged marriages C. View of women as objects
B. Inequality in society D. Lender-borrower /rich-poor relationship

10. Which is of least interest to a literary critic using Feminism?

A. Slavery B. Inequality C. History D. Abuse

WHAT’S IN
Recapitulation

In the previous lesson, we were able to discuss the elements of drama which
includes character, setting, plot, dialogue, and other literary devices. We also
learned about intertextuality which discusses relationships between texts especially
literary ones.
With this knowledge, you were able to conceptualize a specific character,
setting, and plot for a one-act play. With this script in mind, you then envisioned
the ways of staging your one-act plays.
Our last lesson also allowed you to perform exercises involving the elements
of drama successfully.
Finally, your one-act play scripts and concepts were brought into life
through your one-act plays applying your knowledge on the elements of drama.

WHAT’S NEW

Defining Critical Approaches

What common critical approaches do we use in studying any given creative/literary
work?
Directions: Analyzing the titles of literary pieces below (without reading the text),
what do you think would be the focus in your study?
1. The Tale of Two Cities (novel) example: the social milieu/history of the two
cities
2. Black Woman ( poem) _______________________________________
3. Les Miserables (novel) _______________________________________

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 WHAT IS IT
Discussion

Theories of literature deal with how literary works are interpreted or

critically analyzed, hence literary theories are also called critical theories. These ideas
act as different lenses critics use to write and talk about art, literature and even
culture. This means that literary theories are the main criteria used in the criticism
of literary works.
Modern analysts of criticism often classify critical theories according to their
critical orientation, that is, according to where the critic or critical theorist
―locates‖ the literary work - in the nature that it copies, in the audience that it
finds, in the author, or in its own, verbal structure. M.H. Abrams (qtd. in Adams,
1971) calls these critical theories.
Critical theory refers to the study of the principles of literature, its categories,
criteria, and the like.
Different theories offer different readings and interpretations to a text. These
theories, however, seek to make our reading, and interpretation of literature richer
and more, if not more effective. They give the readers a perspective by which to
begin an understanding of literature.
It has been emphasized by our previous lessons that appreciating a creative
work, most especially works of literature, entails a skill that may be developed
through repeated experience and constant practice.
Moreover, this regular savoring of the beauty of literary works can be taken
to another level when you want to partake in the enlightening critical conversations
among your teachers and fellow students about works of literature especially the
ones that tackle issues found in your society.
To develop this skill, you must learn a few critical approaches that you can
use to interpret literature. To make sure that you will be able to use these
approaches in our succeeding lessons, we will discuss some commonly used ones
taken from the book of Habib (2008).
After each definition and description, sample questions are given as guide
questions in analyzing a piece of literature using a particular critical approach.
Finally, sample literary pieces that can be analyzed through the lens of the
previously discussed critical approach are also enumerated.

Common Critical Approaches in Analyzing Literary Pieces

A. Cultural Studies – Cultural Studies is a multi-disciplinary approach which
includes the perspectives of humanistic disciplines such as literature and art and
the social and behavioral sciences such as anthropology, economics, and
psychology.
As a critical perspective, it contests the older definition of culture and looks
not at the stable coherences of a society or a civilization’s history but its
dissensions and conflicts.

Sample Critical Questions:

1. Is the culture having complex forms? What are these forms?

2. Are there manifestations of social and political contexts found in the text in which
culture manifests itself?

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Literary pieces that can be studied using Cultural Studies include the following:
1. Blue Blood of the Big Astana by Ibrahim Jubaira
2. Surveyors of the Liguasan Marsh by Antonio Enrique
3. We Filipinos Are Mild Drinkers by Alejandro Roces

B. New Historical Perspectives– New Historical Perspective is an approachin studying

literature which provides a context or background information on how literary
works were perceived in their time. This approach also shows how literary works
reflect ideas and attitudes of the time in which they were written. A newer
approach, New Historicism, still considers the contexts of literary works but this
time emphasizes on analyzing historical documents with the same amount of
interest afforded to the literary works to be interpreted.

Sample Critical Question:

1. How do power relations reflected in the literary work manifest themselves in the
cultural practices and social institutions prevalent during the time the work was
written and published?

Literary pieces that can be studied using the New Historical Perspective/New
Historicism include the following:
1. Samboangan: The Cult of War by Antonio R. Enriquez
2. Spots on Their Wings by Antonio R. Enriquez
3. Cave and Shadows by Nick Joaquin

C. Marxist Perspective–Marxist Perspective is an approach that examines literature

for its reflections of how dominant elites exploit subordinate groups, how people
become “alienated” from each other, and how middle class values lead to the
control and suppression of the working classes. It sees literature’s value in
promoting social and economic revolution and considers the literary work as a
“product” in relation to the actual economic and social conditions that exist at the
time of the work’s composition or the time and place of the action it describes.

Literary
Samplepieces that
Critical can be studied using the Marxist Perspectives include the
Question:
following:
1.To
Progress by F. Sionel
what extent are theJose
lives of the characters influenced or determined by the
2.social,
Dhowlipolitical,
by Mahasweta Devi
and economic forces?
3. Poor Folk by I.V. Mallari D. Feminist Perspective–Feminist Perspective is an approach
that typically sees literature as an arena in which to contest for power and control
and thus an agent for social transformation. Like Historicism and Marxism, this
approach also examines the social, economic, and cultural aspects of literary works
especially for what those works reveal about the role, position, and influence of
women.
Sample Critical Question:

How are the relations between men and women, or those between members of the
opposite sex, presented in the work? What roles do men and women assume and 9
perform and with what consequence?
Socio Political Context consists of the overlapping of social and political arena in their
influence over literary text.

Kinds of Socio-Political contexts: A. Social Issues – issues concerning the national

aspect of human life B. Politics – is a prolific theme or topic in literature
C. Religion – is a deeply rooted concept and belief in humanity.

WHAT YOU WILL DO

WHAT YOU WILL DO

Directions: Identify the word being described in each number. Choose the correct
answer from the word pool.

Feminism Marxism Formalism Cultural

Historical
___________________1. This form of criticism examines how different religions,
ethnicities, class identifications, political beliefs, and views affect the ways in which
texts are created and interpreted.
____________________2. This theory strives to examine literary works in their
cultural, political, and social forces that influenced and are revealed through the
text.
____________________3.Critics believe that all information essential to the
interpretation of a work must be found within the work itself; there is no need to
bring in outside information about the history, politics, or society of the time, or
about the author’s life.
____________________4. It believes that a literary work has always a relationship to
society.
____________________5. A political form of literature that analyzes the questions of
how males and females relate to each other and the world, the repression of women
and how women are portrayed in literature.
Identifying Socio-Political Contexts In A Short Story
Unlocking of Difficulty: Before reading selection below, let us first define some
words that are used in the selection.
Kabuliwala -can be used to describe someone who comes from Kabul in
Afghanistan,
- can also be used to describe a traveling fruit salesman
śvaśur-bāṛi -The Bengali term for a father-in-law’s home

Characters:
The Narrator. - Mini's father and the story's unnamed first-person narrator and
protagonist. ...
Rahamat / The ―Kabuliwala‖ Rahamat- is a traveling fruit seller from Afghanistan,
- describe someone who comes from Kabul in Afghanistan
Mini. – five- year old daughter of the narrator
The Narrator's Wife / Mini's Mother. ...
Parvati – daughter of the Kabuliwala that remained in Afghanistan

Activity 1
Directions: Read the excerpt of the short story entitled KABULIWALA, by

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Rabindranath Tagore and THE UNSEEN WAR, by Enriquez Identify the cultural,
historical, Marxist, and feminist contexts found in it.

KABULIWALA
Rabindranath Tagore
(http://theanonymouswriter.com/wp-content/uploads/2015/07/Kabuliwala-

(Summary
The story opens with the narrator talking about his precocious five-year-old
daughter Mini, who learned how to talk within a year of being born and practically
hadn’t stopped talking since. Her mother often tells her to be quiet, but her father
prefers to let her talk, so she talks to him often.

One day while the narrator is writing, Mini starts crying out “Kabuliwallah,
Kabuliwallah!” The man she’s shouting about is an Afghan in baggy clothes,
walking along selling grapes and nuts. Mini fears him, convinced that she has
children the size of herself stashed in his bag.

But a few days later, our narrator finds the Kabuliwallah sitting with Mini, paying
close attention as she talks and talks. He has given her some grapes and
pistachios, so the narrator gives the Kabuliwallah half a rupee. Later, Mini’s mother
finds her with the half-rupee and asks where she got it, and is displeased to hear
she took money from the man.

Mini and the Kabuliwallah develop a close relationship, spending time together
every day joking around and talking. The narrator enjoys talking to the
Kabuliwallah too, asking him about his home country of Afghanistan, and all about
his travels. But Mini’s mother is alarmed by her daughter’s closeness with the man,
worrying that he might try to abduct Mini. The narrator does not agree that there is
any danger.

Every year in the middle of the month of Magh, the Kabuliwallah returns home.
Before making the trip, he goes around collecting money he is owed. But this year,
the Kabuliwallah gets in a scuffle with a man who owes him money and ends up
stabbing him. This lands him in jail for the next several years, during which Mini
grows up and starts enjoying the company of girls her age. The narrator more or
less forgets about the Kabuliwallah.

But on the day of Mini’s wedding, the Kabuliwallah appears at the narrator’s
house. Without a bag or his long hair, he is barely recognizable to the narrator, but
he eventually welcomes him in. The narrator is uneasy, thinking about how the
Kabuliwallah is the only would-be murderer he’s ever known, and tells the visitor to
leave. He complies.

But shortly after, the Kabuliwallah returns, bringing a gift of grapes and pistachios
for Mini. The narrator doesn’t tell him that it’s her wedding today, but simply
repeats that there’s an engagement at their house and he must go. But the
Kabuliwallah pulls a small piece of paper out of his coat pocket and shows it to the
narrator. It’s a handprint in ash, and he explains that he has a daughter back
home in Afghanistan, and that Mini helps him deal with the heartache of being so
far from her. The narrator is touched and gets Mini.

Mini and the Kabuliwallah have an awkward exchange during which the man
realizes that Mini has grown up, and therefore so has his own daughter. Like with

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Mini, he’ll have to reacquaint himself with his daughter. The narrator gives the
Kabuliwallah money so that he can return home to Afghanistan to see his
daughter, meaning that Mini’s wedding will lose some of the theatrics such as
electric lights and a brass band. But the wedding will be “lit by a kinder, more
gracious light.”

Context/s of Situating Literature

1. __________________________ ________________________________
2. __________________________ ________________________________

The Unseen War

An excerpt from Enriquez (1996)

That very second the first volley burst from the 80 canons of the Spanish
armada, Senor Capitan Esteban de Murga, Maestre de Campo General Felipe
Macombong, Battalion Commander Santiago the Handsomer, the guide Orancaya
Sofocan, and the musketeers, lancers, bowmen, artillery men, and foot soldiers,
sprang from waiting behind Sultan Kudarat’s stronghold.

They would have rushed up like soldiers do smelling certain victory but for
the thick bushes, thickets, woody trees, and rough land; instead they marched or
tramped quickly, fast, northeastward; the infidel Moros, however, were aware only
of the Spanish Armada facing them at the bay, not of the forces behind them on
land; which, meticulously and systematically, started burning everything in sight;
cottas, sitios, and villages of the heathen Moros.

Context/s of Situating Literature:

1._____________________________ _____________________________________
2._____________________________ _____________________________________

WHAT’S MORE
Enrichment

WHAT YOU WILL DO

WHAT YOU WILL DO

Directions: Multiple Choice: Please read the questions below and choose the letter
of your answer.

1. What era in Philippine history is shown in the following lines from Unseen War,
―That very second the first volley burst from the 80 canons of the Spanish
armada...the musketeers, lancers, bowmen, artillery men, and foot soldiers, sprang
from waiting behind Sultan Kudarat’s stronghold‖?
A. Martial Law B. Japanese era C. American regime D. Spanish conquest
2.What is meant by the line in Kabuliwala “To dispel her groundless fears.”
A. desire to teach Mini more about the world so that she won’t be so
afraid of it
B. accept everything that comes her way
C. never trust other people

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 D. be hard-headed and stubborn
3. The best interpretation of this statement found in Kabuliwala It is “a most
beautiful morning,”but the narrator is feeling a lot of “grief” over the “imminent
separation.”
A.With Mini about to leave home, the narrator is particularly emotional and
sentimental, likely thinking about their former closeness and mourning
the
fact that their relationship will never be quite like that again.
B. Mini will go abroad and never return to her homeland.
C. A very festive morning with Mini’s departure to another country.
D. The narrator is too sentimental over Mini’s departure.
4. Also known as Literature of Power
A.CreativeWriting B.CreativeNonFiction C.Criticism D. Literature
5. Referred to as the evaluation of creative writing
A. Criticism B. Creative Writing Non Fiction C. Literature D. Creative

WHAT I HAVE LEARNED

Generalization

Complete the sentence stem below. Write your answers on a separate sheet of
paper.
1. The most commonly used critical theories in literary criticism are __________
___________________________________________________________________
____________________________________________________________.
2. Socio – political contexts include___________________________________________
___________________________________________________________________ ________
3. In situating a literary piece in its context, the reader wants to give the text its
significance. The reason is________________________________________.

WHAT I CAN DO
Application

Directions: Evaluate the following poem below based on the context of the Marxist
critical theory. Choose letter only.

MASSES
By Carl Sandburg
( carl-sandburg.com/ma)

AMONG the mountains I wandered and saw blue haze and red crag and was
amazed;
On the beach where the long push under the endless tide maneuvers, I stood
silent;
Under the stars on the prairie watching the Dipper slant over the horizon's grass, I
was full of thoughts.
Great men, pageants of war and labor, soldiers and workers, mothers lifting their
children--these all Itouched, and felt the solemn thrill of them.
And then one day I got a true look at the Poor, millions of the Poor, patient and
toiling; more patient than

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 crags, tides, and stars; innumerable, patient as the
darkness of night--and all broken, humble ruins of nations.

1. What lines in the poem does the speaker express his amazement and wonder at
the sight of majestic mountains and the poor whom he considers great men as they
worked through life.
A. First two lines B. First line C. First three lines D. First four lines

2. Who are considered as ―great men‖ in the poem.

A. The Rich B. The Poor C. The Middleclass D. The Businessmen

3. What distinct quality of the poor was highlighted that the speaker in the poem
called them ―great men‖?
A. Arrogance B. Patience C. Sloth D. Greed

4. What realities of life are contrasted in the poem?

A. broken, humble ruins of nations and divine majesty of the mountains,
blue haze crags, tides of the beach and prairie under the stars.
B. Pageants of war and labor
C. Majestic mountains and blue haze and red crag
D. Soldiers, workers and mothers lifting their children

5. What does the title of the poem MASSES suggest?

A. The ―Masses‖ the lowest stratum of society that is equated with the
highest transcendent abstraction of the majesty of nature
B. The poor as harsh reality of life
C. Being poor is a great degradation
D. The masses that are referred to as the poor must be perceived with
contempt.

ASSESSMENT
Post Test

Directions: Evaluate the literary piece below by giving the context according to the
theory asked in each number. (Choose from the pool of words in the box)

Dhowli

An excerpt:(Taken from drlouisapicard.files.wordpress.com)

She thought a lot, while tending the goats alone in the woods. She thought
about everything she could remember from her childhood—going to the fair,
perched on her father’s shoulders; spending the day looking at all the shops with
their expensive things, and then coming home happy with a paisa worth of sesame
candy. Of her marital home, all she remembered where the two rooms, the days of
work at the farm of the moneylender to whom they were indebted, and her mother-
in-law making the gruel at the end of the day, for the men to eat first before the
women ate what was left over.

About her wedding she could not recall much because she must have been
very small at the time. She was sent to live with her husband when her body

14
blossomed. Her father had to take a large loan from the Misras for her wedding and
sending off, and he had to pay back the loan with his labor until he died. She
remembered nothing nice about her husband. He used to beat her. He died of a
fever. After he died, her mother-in-law asked her to stay on.

“You have to work at your mother’s place too in order to eat. Do the same here.”

Dhowli knew that much: she could spend the rest of her life there, working
all day, clad in the widow’s borderless sari, coarse and short, working every day
from sunrise to sunset either on the creditors threshing floor or as some farmers’
laborer or levelling the layer of brick pieces with a mallet making some road or
other, and then falling asleep by the side of her mother- in-law after eating
whatever was there to eat. But her husband’s elder brother came there and started
eyeing her. Her mother-in-law then turned against her and Dhowli left.

* Arranged marriages * Inequality in society

* View of women as objects

*Lender-borrower /rich-poor relationship between

Dhowli’s father and the Misras

*Physcchological awareness
Context/ s:

A = Cultural - _____________________________________________
B = Historical - _____________________________________________
C = Feminism - _____________________________________________
D = Marxism - ____________________________________________

Lesson
2
Craft Essay

WHAT I NEED TO KNOW

Learning Objectives:

In this lesson, you will be able to:

1. identify the elements of a CRAFT method

2. write a craft essay

WHAT I KNOW
Pretest

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Directions: Multiple Choice: Answer the following questions. Write only the letter of
your answer.
1. Which written work does NOT belong to creative writing?
a. Editorial b. Short Fiction c. Play d. Poetry
2. What attribute characterizes an essay as a creative output?
a. Sound devices c. Conversational tone
b. Rhythm and cadence d. Characterization
3. From what French word did the word essay come from?
a. Essai b. Esaie c. Essaye d. Eshay
4. What characterizes the language of an essay?
a. Conversational b. Formal c. Technical d. Journalistic
5. Which situation is best suited for writing a creative essay?
a. Problem-solution c. Personal experiences
b. Political issues d. Proving a theory
6. What pattern of paragraph organization arranges information according to a
progression of time either forward or backward?
a. Spatial b. Chronological c. Sequential d. Contrast
7. What holds the sentences and paragraphs of an essay together?
a. Main idea b. Topic c. Conclusion d. Introduction
8. What does the “a” in the acronym CRAFT stand for?
a. Answer b. Audience c. Argument d. Assonance
9. What type of essay express ideas and feelings?
a. Argumentative b. Expository c. Narrative d. Speculative
10. Which one is not a type of essay?
a. Figurative b. Argumentative c. Narrative d. Expository

WHAT’S IN
Recapitulation

In the previous lesson, we talked about the theories of literature which deals
with how literary works are interpreted or critically analyzed. Those critical theories
include Cultural, Historical, Feminism and Marxism.

With your knowledge, you were able to recognize and understand a literary
piece according to the different critical theories and/or socio-political context.

WHAT’S NEW

Directions: Take a look at some essay titles below. Put a check mark if these titles
can be used in fictional creative essays.

⎕ 1. My Best friend and I: Just a Like a Pair of Rainbows

⎕ 2. What Could Forever Mean in Days
⎕ 3. Why We Need Rain
⎕ 4. The Hidden Law of Economics
⎕ 5. Rising HIV Cases
⎕ 6. The 2019 Polls: The Debates
WHAT IS IT

16
 Discussion
Another genre of literature aside from poetry, drama, and short story are the
essays. The word essay came from the French word “essais” (Cantular, 2011). Have
you written an autobiography before? How about writing on your embarrassing or
unforgettable experience? Or, your new years’ resolution as soon you came back to
school from the Christmas holiday?

A craft essay is an embodied, inherited and practiced expertise in writing

that involves the style of the author using symbolisms like imagery and figurative
language as a way of expression.
It can be written by you on almost any subject reflecting your attempts to
express your experiences, ideas, and feelings about whatever topic you are writing
on. An essay may be written creatively especially the ones that are reflections of a
writer’s personal experience, feelings, and ideas. It uses ordinary, colloquial
language and is conversational in tone and style. To make an effective craft essay
let us consider the CRAFT method.
 Context what motivates the writer to write
 Role who is the speaker (author or narrator)
 Audience for whom is the writing addressed to
 Format genre/style (narrative, descriptive, expository,
persuasive)
mood (the dominant impression or emotional
atmosphere evoked by the text it could be happy,
hopeful, romantic, angry, gloomy, fearful,)
 Topic what is the writing about (subject matter)

You will use this acronym to make sure that your essay will fit the standards as a
literary genre distinct from poetry, fiction, and play.
DO

WHAT YOU WILL DO

Activity 1
Directions: Match the acronym in column A with its descriptions in column B.
A B

_____1. Context a. The type of writing produced

_____2. Role b. The situation for which you are writing
_____3. Audience c. The person or people for which you are writing
_____4. Format d. The voice of the essay
_____5. Topic e. The subject matter on which you are writing
f. what inspires the writer to write

WHAT’S MORE
Enrichment

Activity 2
Directions: Read the sample short craft essay. Answer the questions below based

17
Marriage of Two: Union of Three
Weddings are happy occasions that rejuvenate souls that true love exists.
Yet, one must know that weddings should not be grand to equate long lasting
on the elements of a CRAFT method.
1. What motivates the writer to write? 4. In what form is the essay organized?
2. Who is the speaker? 5. What is the essay all about?
3. For whom is the essay intended?

WHAT I HAVE LEARNED

Generalization

1. What is a craft essay?

________________________________________________________________________
________________________________________________________________________
2. What does each letter in the acronym CRAFT stand for?
C ________ R________ A________ F________ T________

WHAT I CAN DO
Application

Activity 3
Directions: Write a creative craft essay using the CRAFT method. (CONTENT of
your essay, your ROLE as a writer, your AUDIENCE, the FORMAT that you will
use, and the TOPIC of your essay.) Choose the best paragraph organization method
applicable. Refer to the rubric below for the grading system.

RUBRICS FOR GRADING THE ESSSAY

25 20 15 10 5

5/5 of the If 4/5 of the If only 3/5 of the If only 2/5 of the If only 1/5 of the
elements of the elements of the elements of the elements of the elements of the
CRAFT method CRAFT method CRAFT method CRAFT method CRAFT method
are clearly evident are clearly evident are clearly evident are clearly evident are clearly evident
and relevant and relevant and relevant and relevant and relevant

ASSESSMENT
Post-test

Directions: Read the following questions below and choose the best answer from
the choices. Write only the letter of your choice.
1. What critical approach relates the literary work with non-literary document
written at the same time?
a. Marxist b. Feminist c. Cultural d. New Historical
2. What element of the CRAFT method shows the writer’s interest in writing
a. context b. role c. audience d. format e. topic
3. What element of the CRAFT method includes alliteration, assonance, and
onomatopoeia? a. context b. role c. audience d. format e. topic
4. What critical approach sees literature’s value in promoting social and economic

18
revolution and social conditions that exist at the time of the work’s composition or
the time and place of the action it describes?
a. Feminist b. Marxist c. New Historical d. Cultural
5. What literary portrayal has the least socio-political context?
a. Poverty b. Heroes c. Violence d. Slavery

Bibliography:

Creative Writing/Malikhaing Pagsulat-Senior High School Alternative Delivery Mode 2020

Department of Education – Regional Office 10 Office Address: Zone 1, Upper Balulang Cagayan de Oro City 9000
10, DEPARTMENT OF EDUCATION- REGIONAL OFFICE. n.d. (accessed SEPTEMBER 02, 2020).

Angelfire. http://www.angelfire.com/ny4/rubel/kabuliwala.html. n.d.

http://www.angelfire.com/ny4/rubel/kabuliwala.html (accessed October 01, 2020).

BULUSAN, FERDINAND.
https://www.slideshare.net/ferdinandblusan/marxist-criticism- presentation. n.d. (accessed October 2, 2020).

Cantular, F. (2011). Perspectives: A world literature reader. XU Press, Cagayan de Oro City.

Casalmejc. https://www.slideshare.net/Casalmejc/creative - literary -works- and-sociopolitical-context. n.d.

Devi, M. (1990). Bardhan, K. (Ed.). (Trans.) University of California Press. Retrieved

fromhttps://drlouisapicard.files.wordpress.com/2016/01/dhowli- mahasweta-devi.pdf

Enriquez, A. (1996). The unseen war and other tales from Mindanao. Giraffe Books, Quezon City.

_________ (2006). Samboangan: The cult of war. UP Press, Quezon City.

Habib, M.A.R. "Modern Literary Criticism and THeory - A

History."https://uogbooks.files.wordpress.com/2014/10/literary-criticism-habib- pdf. n.d.
https://uogbooks.files.wordpress.com/2014/10/literary- criticism-habib.pdf (accessed October 07, 2020).

home.olemiss. http://home.olemiss.edu/-egjbp/spring97/litcrit.html. n.d.

http://home.olemiss.edu/-egjbp/spring97/litcrit.html (accessed October 06, 2020).

How my brother Leon Brought Home a Wife (n.d.). Retrieved from

http://www.seasite.niu.edu/Tagalog/Literature/Short%20Stories/Ho w%20My% 20Brother%20Leon%20Brought
%20Home%20A%20Wife.htm

https://www.google.com/search?q=spanish+and+moro+wars%2F images
&rlz=1C1CHBD_enPH707PH783&oq=spani&aqs=chrome.0.69i59l2j0j 69i57j0l
4.3142j0j4&sourceid=chrome&ie=UTF-8

htpps:www.slideshare.net/Casalmejc/creative-literary - works-and- sociopolitical-context (accessed October 03,

2020).

https://www.slideshare.net/mariaraja232/formalism-literary-theory (accessed )ctober 02, 2020).

Laminack, L. (2002). Cracking open author’s craft. Scholastic, New York, USA.

mariaraja. www.slideshare.net/mariaraja232/formalism-literary-theory. n.d.

Philbeck, K. (n.d). Analyzing writer’s craft. A PowerPoint presentation. Retrieved from

www.kellyphilbeck.com/uploads/7/4/4/8/7448814/writers_craf t.ppt

Pualsen, G. (n.d). Hatchet. Retrieved from www.https://scoyland.k12.mo.us.

Ray, K. W. (1999).Wondrous words. NCTE, Illinois, USA.

Sjursen, D. (2019). America’s “first endless” war was fought in the Philippines. The Nation. Retrieved from

https://www.google.com/search?q=spanish+and+moro+wars%2F images
&rlz=1C1CHBD_enPH707PH783&oq=spani&aqs=chrome.0.69i59l2j0j 69i57j0l
4.3142j0j4&sourceid=chrome&ie=UTF-8

19
Key to Corrections

Lesson 1
What I Know
1.a 6.c
2.b 7.b
3.a 8.a
4.a 9.a
5.a 10.c

What’s New
1. The Tale of Two Cities (novel) two cities
example: the social milieu/history of the
2. Black Woman (poem) description of a natural black woman
3. Les Miserables (novel) struggle with destiny

What You Will Do

What’s More
1. Cultural
2. Historical
3. Formalism
4. Marxism
5. Feminism

Contexts/Situating literary text Kabuliwala

Historical – temporary migration of people for business purposes
Cultural – difference in nationality

Unseen War
Context/s:
a. Cultural – Negative
b. Historical – Conflicts between the Spanish and the Filipino natives during the
Spanish conquest

What You Will Do – Enrichment

1.D – Spanish conquest
2.A
3. A
4. A – Creative Writing
5. A – Criticism

What I Can Do
Answers on Application:
1. D
2. B
3. B
4. A.
5. A

ASSESSMENT
Post Test
Answers:
Context/s:
a. Cultural – Arranged marriages

20
b. Historical – Inequality in society
c. Feminism – View of women as objects
d. Marxism – Lender-borrower /rich-poor relationship between Dhowli’s father and
the Misras - forelock and could not keep his eyes away from her...

Lesson 2

What I Know

1.a 2.c 3.a 4.a 5.c 6.b 7.a 8.b 9.b 10.a

What’s New

1.√

2.√

3.

4.√

5.

What’s More

1.b 2.e 3.b 4.c 5.d

What I Can Do

1.d 2.c 3.b 4.e 5.d

Post-test

1.d 2.b 3.b 4.c 5.c 6.d 7.b 8.b 9.b 10. a

Final exam

1.a 2.a 3.a 4.a 5.b 6.c 7.b 8.c 9.b 10.c

21
 SENIOR HIGH SCHOOL

Creative Writing
Module 7

Creat
Writi
ng
https://www.kindpng.com/imgv/JTwwvT-creative-writing-clipart/creative-writing-creativity-creative/

22
 Senior High School
Division of Bohol
Department of Education • Republic of the Philippines

MODULE 7

FINAL OUTPUT

OVERVIEW

Good day students. Welcome to Module 3 in our journey to become

creative writers! This part of the lesson introduces you to one of the newest
types in developing a literary masterpiece. In the advancement of technology
in the modern world, each learner is expected to have the 21st century
knowledge and skills to compete globally.

Living in the century where technological advancement is evident, we

could not deny ourselves from learning the new trends in the society which
some of us believe to be part of today’s culture. Internet has become a major
form of media which provides convenience in sharing information compared

23
to other form of media i.e. television, radio, etc. Through internet, people can
now access different media platforms which are for free. The advancement of
technology resulted to technology integration in the teaching and learning
process. That is why, in this module we will discover how you can creatively
make use of ICT in composing and publishing your literary masterpiece.

This module contains:

Lesson 1: Creating an Online Portfolio

After going through this module, you are expected to:

Create an online portfolio

Creative Writing – Grade 11/12

Alternative Delivery Mode
Module 7 - Lesson 1: Creating Online Portfolio
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, payment of royalties.
Borrowed materials included in this module are owned by the respective
copyright holders. Effort has been exerted to locate and seek permission to use
these materials from the respective copyright owners. The publisher and author do
not represent nor claim ownership over them.

Published by the Department of Education Division of Bohol (for classroom use):

Development Team of the Module

Writer/s: Mischelle C. Torregosa

Liwayway C. Tumanda
Technical Working Group (TWG): Verbo O. Tuyogon
Education Program Supervisor (EPS): Pablito D. Villalon

24
Printed in the Philippines by
Department of Education – Division of Bohol
Office Address: 0050 Lino Chatto Drive Barangay Cogon, Tagbilaran City,
Bohol
Telephone Nos.: (038) 412-4938; (038) 411-2544; (038) 501-7550
Telefax: (038) 501-7550
E-mail Address: [email protected]

Creative Writing
Module 7:
Creating Online Portfolio

This learning material was conspired and materialized by the

selected senior high school teachers of Bohol Division who are teaching
the subject and reviewed by the Technical Working Group (TWG) from
the department and quality assured by the division. We fortify all
teachers who are experts in this field and other education stakeholder
to email their feedback, comments, and recommendations to the …

We value your feedback and recommendations.

25
o General Instruction Before you go further, you should
remember the following:

 do not put some markings on this Module as there are still

other students who will be using it;
 use a separate sheet of paper for your answer in each activity
(be sure to LABEL your work according to the Module, lessons
and the date you work on it).
 each Module has a brief instruction and followed by a list of
objectives. Read them and follow instructions carefully
 before going over the activities, answer the PRE-TEST first then find
out how well
you did by checking your answers given in the self-assessment activity
 each activity must be according to the objectives of this
Module (note the skills or strategies you tried to develop); and
 after each activity, you need to go over the items which you
think you failed then take the POST TEST when you think you
have mastered all the activities.

Creating Online Portfolio

What I Need to Know

26
 Learning Objectives

This lesson will introduce you to the interactive use technology in

publishing your outputs. The online portfolio will serve as an interesting tool
for 21st century learners who are exposed to different social media platforms
in showcasing your writing outputs incorporating your ICT skills.
At the end of this lesson, the learner will be able to:
1. compare and contrast blog and vlog
2. create an online portfolio from the outputs produced (Quarter 1
outputs): poetry, fiction, script, etc. applying ICT skills/any
appropriate multimedia forms

WHAT I KNOW
Pretest

Directions: Let’s see how well you know about the lesson before we
discuss. Answer some of the questions below by writing T if the statement is true
and F if the statement is false.

_________ 1. Online portfolio or electronic portfolio is a collection of students’

works that can advance learning by providing a way for them to organize,
archive, and display work.
________ 2. Facebook, Instagram, Twitter, YouTube are some social media
sites where you can publish your online portfolio.
_________3. Social network etiquettes may not be followed in posting or
publishing your online portfolio.
_________ 4. A blog/ vlog could not be used as tool in publishing your
electronic portfolio.
__________5. The introductory part of your portfolio must be lengthy that will
describe every detail of your outputs.

WHAT’S IN
Recapitulation

In the previous lessons, you have learned the different genres and
orientations of creative writing such as poetry, fiction, essays, etc. The knowledge
you have gained brought out your creativity, artistry, and imagination which make
you ready to publish your outputs online.

27
 WHAT’S NEW

What is a Portfolio?
A portfolio is a compilation of materials that exemplifies your
beliefs, skills, qualifications, education, training and experiences. It provides
insight into your personality and work ethic.

WHAT IS IT
Discussion

What is an Online Portfolio?

An online portfolio is a collection of electronic evidence
assembled and managed by a user, usually on the Web. Such electronic
evidence may include input text, electronic files, images, multimedia, blog
entries, and hyperlinks.
One can regard an e-portfolio as a type of learning record that
provides actual evidence of achievement. Learning records are closely related
to the learning plan, an emerging tool which individuals, teams,
communities of interest, and organizations use to manage learning. To the
extent that a personal learning environment captures and displays a
learning record, it may also operate as an electronic portfolio.
In education, online portfolio or electronic portfolio is a
collection of students’ works that can advance learning by providing a way
for them to organize, archive, and display work. The electronic format allows
an instructor or the teacher to evaluate student portfolios via the internet,
CD-ROM, DVD, or zip disk. Electronic portfolios have become a popular
alternative to paper-based portfolios because they provide the opportunity to
review, communicate and give feedback in an asynchronous manner. In
addition, students can reflect on their work, which makes the experience of
creating the e-portfolio may be shared with a prospective employer or used
to record the achievement of program or course specific learning outcomes.
Here are some types of media forms where you can publish
your online portfolio:
Internet Media:
1. Social Networks or Websites- including Facebook, Instagram, Twitter,
YouTube, Tumblr, LinkedIn, Snapchat, Quora, Reddit, Pinterest, etc.

28
 They are user- friendly and widely used by people around the world
and one common example in these platforms is blog/vlog.
A blog is an online diary or journal located on a website. The
content of a blog typically includes texts, pictures, videos, animated
GIFs and even scans from old physical offline diaries or journals and
other hard copy documents. Since a blog can exist merely for personal
use, sharing information with an exclusive group or to engage the
public, a blog owner can set their blog for private or public access.
A vlog on the other hand stands for a video blog or video log
and refers to a type of blog where most or all of the content is in a
video format. Vlog posts consist of creating a video of yourself where
you talk on a subject such as reporting or reviewing a product or an
event. It can even serve as a way to share your artistic process or
provide a tutorial guide on a creative practice or topic. Some vloggers
even use it as a means to share new performance art or music they
have created.

2. Online forums- an online place where we can comment, message, or

discuss a topic. Forums allow us to share knowledge with other people
with the same interest. That’s why it’s regarded as the best platform to
seek support and assistance.
3. Podcast- series of audios focused on a particular topic or theme. We
can listen to them on a computer or a mobile phone. It’s a platform
that allows anyone to share their knowledge and communicate with
the world.
How to Create an Online Portfolio?
I. Get the Structure Right- every good portfolio has a surprisingly
simple structure.
1. Introduction (who you are)
2. Projects/Outputs- a showcase of your work
II. Make the Introduction Brief- As tough as this might sound, people
really don’t care much about who you are until they see what
you’re capable of (until they see your work or output). For that
reason, we want to keep the introduction brief.
Here’s a good combination: A good photo of yourself+ your name+
grade level +concise description about yourself.
III. Showcase Your Projects/Outputs- with the intro out of the way,
this is the most important section of your online portfolio.
29
 Showcase your best work. A portfolio isn’t about quantity but
quality. Start by picking the best examples of your work and
features those only.
Provide Context for each Project/Output
Make sure it is up to date
IV. Make It Clear What the Deal Is - state clear purpose or objective in
publishing your portfolio online.

WHAT I HAVE LEARNED

Generalization

1. What is an online portfolio and what advantage does it give?

________________________________________________________________________________
________________________________________________________________________________
_____________________________________________________________________________

2. The types of media forms where we can upload our works are

___________________, _____________________, __________________, ___________________

Activity 1
Directions: Using the Venn diagram, write the similarities and
differences of a Blog and Vlog.

30
 Blog Vlog

What I Can Do
Application

Directions: Now that you know the basic concepts of making an online or
electronic portfolio, this time, you are highly encouraged to create your own
Online Portfolio using any of the internet media forms such as blogging or
vlogging. Choose two different genres (poetry, fiction, essay, script, one-act
play) to publish applying ICT skills/any appropriate multimedia forms.
Select one output for each genre that u have chosen from your works in Q1.
For those who don’t have the access online, make a
Written/Printed Portfolio following the same mechanics for online
portfolio.

Please be guided of the following criteria

(Criteria for Online Portfolio)

Content (appropriate and relevant to the chosen genre) 20 pts.

Presentation (clear & comprehensive) 10 pts.
ICT skill (appropriate multi-media form and
complexity of digital technology) 20 pts.
Total 50 pts.

(Criteria for Written/Printed Portfolio)

Content (appropriate and relevant to the chosen genre) 20 pts.

Presentation (clear and comprehensive) 15 pts.
Artistry (creative, thematic concept and neat) 15 pts.
Total 50 pts.

31
Key to Correction (edit answer key at your end)

 What I Know
1. T
2. T
3. F
4. F
5. F

 What I Have Learned

1. An online portfolio is a collection of electronic evidence assembled
and managed by a user, usually on the Web
2. Social Networks
Online Forums
Podcast

32
33