BACHELOR OF SECONDARY EDUCATION MAJOR IN ENGLISH

CREATIVE WRITING COG 1

Republic of the Philippines

PANGASINAN STATE UNIVERSITY
Bayambang Campus
College of Teacher Education

Written Report in
COG 1 – CREATIVE WRITING

Submitted to
Dr. Mae Anne P. Gonzales
Instructor

Submitted by
Cardaño, Emmanuel Elbert D.
Cayabyab, Trisha Jhoneth R.
Gruspe, Danielle Kiesha M.
Laforteza, Mylene R.
Magalong, Mary Francine G.
Mones, Mike Russel M.
Versoza, Lyka Grace M.
BSED EL - II-1

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WRITTEN REPORT FOR MODULE NO. ___

JUDGING CREATIVE WRITING

MODULE OVERVIEW

Writing is more than just conveying information—it is a powerful tool for expressing
individuality, emotion, and perspective. The way a message is delivered can greatly influence its
impact. This is where the elements of writing with style and personality come into play. Style refers
to the distinctive way in which a writer uses language, incorporating elements such as tone, word
choice, sentence structure, detail, sound, rhythm, and variety. Personality, on the other hand, is the
voice that makes writing unique and engaging, allowing readers to connect with the author on a
deeper level.
Understanding these elements transforms ordinary writing into compelling communication.
However, evaluating creative writing tasks can be quite challenging as it differs significantly from the
assessment of more traditional forms of academic writing. Unlike analytical essays or research
papers, creative writing involves plenty of imagination, self-expression, and artistry, which makes
the evaluation process both subjective and complex. Therefore, in this module, you are going to
know more about judging creative writing and all the elements it encompasses. Aside from that, you
will delve on the elements realm of various elements that make up a creative writing more beautiful
and colorful.

MODULE LEARNING OBJECTIVES

At the end of the lesson, the students should be able to:

1. Define the different elements of writing with style and personality;
2. Identify and explain the key parts when judging creative writing
3. Enhance skills in judging creative writing through following the different steps of the different
elements;
4. Identify some aspects of criteria in grading creative writing tasks; and
5. Appreciate the importance of rubrics in assessing or evaluating creative writing tasks.
.
LEARNING CONTENTS

1. Elements of Writing with Style and Personality

What are the elements of style? What are the essential features of polished writing? What
traits or characteristics of language distinguish accomplished writing from merely competent
writing?

If I could teach only five elements of style, I would select these:

1. Economy of language.

 Treat every word as precious. When readers encounter writing in which every word counts,
they are more alert to its meaning and more attentive to its sound.
 You can achieve economy of language by using three techniques: Avoid wordy phrases

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(change “until such time as” to “until”), omit meaningless modifiers (change “general
consensus” to “consensus”), and prefer action verbs to nouns (change “take under
consideration” to “consider”). Each technique enables you to say the same thing in fewer
words, and – as a general rule – more concise writing is more emphatic writing.
 Concise writing doesn’t require that you make every sentence short, but that you make
every word count.

2. Precise word choice and colorful vocabulary.

 Use the best, most exact word to capture your meaning. Readers judge your style by your
adeptness and agility in matching language to thought.
 Change “His performance will affect our image” to “His carelessness will undermine our
credibility.” Convey your disapproval of meaningless modifiers by describing them not as
“qualifiers that weaken our language” but – as E. B. White does in “The Elements of Style” –
as “the leeches that infest the pond of prose, sucking the blood of words.”

3. Specific, concrete, vivid detail.

 Specific, concrete, and vivid detail is crucial in crafting writing that stands out with style and
personality. It brings writing to life by making ideas more tangible and memorable for the
reader.
 As Joseph Conrad advises, don’t tell your reader; show your reader.
 Don’t just tell your reader, “Susan works hard”; show your reader: “Last month Susan came
in at 6:00 a.m. every day to help complete the internal audit on time.” Don’t just tell your
reader, “Morale is declining”; show your reader: “This year grievances increased by 14%,
and employee turnover by 8%.”
 Precise language and vivid detail go handinhand.

4. Pleasing sound, rhythm, and variety.

 Attend to sound as well as substance. Create rhythm and emphasis by balancing the
components of your sentence, as Samuel Johnson did when he wrote, “What is written
without effort is in general read without pleasure.”
 Enliven your style by varying the length and structure of your sentences: “For particular
emphasis, follow a long sentence with a short sentence, or even a fragment. Like this.”
 It’s not just what you say, it’s how emphatically, beautifully, and memorably you say it.

5. Discernable voice, tone, or point of view.

 Write with personality. As Patricia Westheimer advises in The Executive Style Book, in all
but the most formal writing, “Write the way you speak – conversationally and naturally.”
 Change “It is imperative that we commence now” to “Let’s get started.” Change “Attached
please find your budget worksheets” to “Well, it’s your favorite time of year again.”

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 In forming an opinion of your style, your readers react to the person they perceive behind the
words – your character, personality, individuality, and sense of humor – as much as to the
words themselves.
 Now that I have identified five elements of style, you might ask, why does style matter? Why
don’t we settle for clarity and correctness?
 In its broadest sense, style is the writer’s ability to manage language in a way that produces
a desired effect and that elicits from the reader a desired response. In this way, style
enables writer and reader to connect.
 In business writing, style is the writer’s ability to create a desired impression, not only of the
writer but also of the writer’s company or organization. In business writing, style has special
significance: It conveys image. That’s why style is so important.

2. Economy of Language
What is Economy of Language in Judging Creative Writing?

 Economy of language is a theory stating that fewer words lead to greater clarity. This idea
commonly crops up in education, but it also applies to translation, marketing, and branding.
 “Less is more” when it comes to writing effectively. Concise sentences begin with carefully
selected words that are direct and to the point. Concise sentences build crisp paragraphs
that help you structure a well-written, logically organized essay.
 “If you use big words and complex sentences, some people will think you are very smart.
But, concise, focused words and sentences make your writing clearer and more effective.”
Economy of Language Explained

 Economy of language is about concisely making a point. Imagine that your ideas cost
money. You’re paying per word, and you want to save.

While you shouldn’t skip any essentials, it’s important to:

 Trim pieces down to the most vital ideas,

 Use fewer, simpler words to explain what you’re talking about, and
 Break things up in a way that makes them more approachable and consumable.

Here are some examples of words and phrases that can be shortened to make your message
clearer. Use them in your writing when appropriate.

Instead of Use
 the reason for because, since, why
 for the reason that
 due to the fact that
 owing to the fact that
 in light of the fact that
 considering the fact that
 on the grounds that
 despite the fact that although, even, though
 regardless of the fact that
 notwithstanding the fact that
 in the event that if
 if it should transpire/happen that
 under circumstances in which

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 on the occasion of when

 in a situation in which
 under circumstances in which
 as regards about
 in reference to
 with regard to
 concerning the matter of
 where . . . is concerned
must, should

 it is crucial that
 it is necessary that
 there is a need/necessity for
 it is important that
 it is incumbent upon
 cannot be avoided
 is able to can
 has the opportunity to
 is in a position to
 has the capacity for
 has the ability to
 it is possible that may, might, can, could
 there is a chance that
 it could happen that
 the possibility exists for
 prior to before, after, as
 in anticipation of
 subsequent to
 following on
 at the same time as
 simultaneously with

Avoid phrasing that places undue demands on audiences’ schedules. For instance, if your readers
have to grab their dictionaries every few paragraphs, then going through your content becomes an
ordeal. There are other ways to sound intelligent and authoritative.

What Does It Mean to Use Language Economically?

 Economy of language isn’t just about keeping it brief. If that were the case, this article would
have already concluded. Looking at the web is a good starting point for mastering economy
of language. The Nielsen Norman Group offers handy principles that demonstrate the idea.

 Sure, you might want to wow potential customers with marketing language, but most readers
and listeners don’t have time, and many outright hate ads. They’re busy, so don’t make them
wait to get the essential details. After all, most people aren’t reading the whole thing anyway.

 When creating something that you want someone else to read, make it easier to seal the
deal. By ensuring they can jump through the piece quickly, you let them dip their toes in the
water before diving in.

Economy of Language by Comparison

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 Terse phrasing can be of massive help when you’re interpreting content for new audiences.
Important details often get lost in translation.

Three-step process to make sure your crucial tidbits survive the journey:

1) Edit your content before you start the translation process. Use the economy of language
principles above to eliminate anything unneeded.

2) Communicate with your translator. Let them know how important it is to be concise. If
possible, show them examples of marketing and other content that you feel gets the job done as
briefly as possible.

3) Edit the final result to make it less repetitive. You might want to hire a second translator or a
native speaker to be your reviewer.

 Economy of language isn’t easy to maintain if you’re working in an unfamiliar language. You
might cut something out, believing that it doesn’t add value, only to discover it was critical to
the meaning. Hiring a human translator is always a smart move since they might be able to
use expressions and other stand-ins that reduce the word count.

 Remember that you don’t need a lot of text to say big things. Even though English has
around one million words, most native speakers only know 20,000 to 40,000.

This is similar to the way other languages work. For instance, in Japanese, there are somewhere in
the neighborhood of 50,000 kanji characters. To be fluent, you only need to know about 2,000.

Use Your Language Skills Economically

 No matter what language you’re working in, you can get lots done with fewer words. Being to
the point and skipping marketing fluff both improve your odds of connecting with audiences.
Create a regular content creation and translation process that leaves room for errors, edits,
and feedback. You’ll find it a lot easier to observe the economy of language rules faithfully.

3. Precise Word Choice and Colorful Vocabulary

Precise Word Choice

There are several tricks and tools that can help you find the most accurate words for your writing.

1.Focusing on Both Denotations and Connotations

Consider that the words “laid-back” and “lackadaisical” both mean “unhurried and slow-
moving.” If someone said you were a “laid-back” student, you would likely be just fine with that
comment, but if someone said you were a “lackadaisical” student, you might not like the
connotation.
Nouns, verbs, adjectives, and adverbs all have both denotations and connotations.
The denotation is the definition of a word. The connotation is the emotional sense of a word.
When you are choosing a word to use, you should first think of a word based on its denotation.
Then you should consider if the connotation fits your intent.

2. Choosing Specific and Concrete Words

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You will always give clearer information if you write with specific words rather than general
words. Look at the following example and think about how you could reword it using specific terms.
Then check out the following revision to see one possible option.

Examples
Original: The animals got out and ruined the garden produce.
Revision: The horses got out and ruined the tomatoes and cucumbers.

Another way to make your writing clearer and more interesting is to use concrete words rather than
abstract words.
Abstract words do not have physical properties. But concrete words evoke senses of taste, smell,
hearing, sight, and touch.
For example, you could say, “My shoe feels odd.” This statement does not give a sense of
why your shoe feels odd since odd is an abstract word that doesn’t suggest any physical
characteristics. Or you could say, “My shoe feels wet.” This statement gives you a sense of how
your shoe feels to the touch. It also gives a sense of how your shoe might look as well as how it
might smell.

Study this table for some additional examples of words that provide clarity to writing.

General Words Specific Words

children Lordette and Lyka

animals dogs

food Mango graham

Abstract Concrete words

Words

noise clanging and squealing

success a job I like and enough money to live comfortably

civility treating others with respect

3. Enhancing Writing with Figurative Language

Figurative language is a general term that includes writing tools such as hyperbole, idioms,
metaphors, onomatopoeia, personification, and similes. By using figurative language, you can make
your writing both more interesting and easier to understand.

Figurative Language

Hyperbole: A greatly exaggerated point.

Effect: Emphasizes the point.
Example: I must have written a thousand pages this weekend.

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Idiom: A group of words that carries a meaning other than the actual meanings of the words.
Effect: A colorful way to send a message.
Example: I think this assignment will be a piece of cake.

Metaphor: An overall comparison of two ideas or items by stating that one is the other.
Effect: Adds the connotations of one compared idea to the other compared idea.
Example: This shirt is a rag.

Onomatopoeia: A single word that sounds like the idea it is describing.

Effect: A colorful way to describe an idea while adding a sense of sound.

Example: The jazz band was known for its wailing horns and clattering drums.

Personification: Attributing human characteristics to nonhuman things.

Effect: Adds depth such as humor, drama, or interest.
Example: The spatula told me that the grill was just a little too hot today.

Simile: Using the word “like” or “as” to indicate that one item or idea resembles another
Effect: A colorful way to explain an item or idea
Example: Hanging out with you is like eating watermelon on a summer day.

4. Using Clichés Sparingly

Clichés are phrases that were once original and interesting creations but that became so
often used that they have ceased to be interesting and are now viewed as overworked. If you have
a tendency to use a cliché or see one while you are proofreading, replace it with plain language
instead.

Example:
I’m loose as a goose today.
Replace cliché: I’m very relaxed today.

A Few Common Clichés

 as fresh as a daisy
 as white as snow
 beat around the bush
 old as dirt
 sick as a dog
 sweet as apple pie
 two peas in a pod
 under the weather
 when pigs fly

5. Word Placement
Where you put a word in a sentence can alter the meaning of a sentence. The most
commonly misplaced words are modifiers, such as adverbs and adjectives. To avoid this, check
your sentences to make sure that the modifiers are describing the correct word.

Incorrect: The child was given a puppy for his birthday named Scout.
Correct: The child was given a puppy named Scout for his birthday.

In the first example, named Scout was misplaced because it appears to be describing the word
birthday, while in the second sentence, the phrase is describing the puppy.

6. Reference Materials

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The best tools for making sure you are choosing the most accurate and precise words are
the dictionary and the thesaurus, whether digital or hard copies. A dictionary provides definitions,
and a thesaurus provides synonyms and antonyms. Understanding definitions, synonyms, and
antonyms will help you find the most accurate word.

Steps for Choosing the Most Accurate and Precise Word

After writing a sentence, re-read it to check for clarity and meaning. If you come across one or more
words that have issues, take the following steps:

Step One: Check the word or words for their meaning. If you need to, use a dictionary to look up
the definition of any words you are questioning.

Step Two: Check the part of speech of any words you are questioning. The most common error
regarding parts of speech is using adjectives in place of adverbs.

Step Three: Check to see if the issue can be corrected by adjusting the placement of a word. Make
sure all modifiers are affecting the intended words.

Step Four: If you are struggling with a word that is general or that is not quite the right fit, use a
thesaurus to search for words that are more specific and that may fit better within the context.

Colorful Vocabulary

Colorful vocabulary in creative writing refers to the use of vivid, descriptive, and expressive
language that engages the reader's senses and imagination. It enhances the imagery and
emotional impact of the writing, making the text more dynamic and memorable. Here are some key
aspects of colorful vocabulary in creative writing:

1. Descriptive Adjectives and Adverbs

 Using specific and evocative adjectives and adverbs can paint a clearer picture. Instead of
saying "the car was fast," you might say "the sleek, silver sports car zoomed by like a bolt of
lightning."

2. Sensory Language
 Incorporating words that appeal to the senses—sight, sound, taste, touch, and smell—can
create a more immersive experience. For example, describing a scene with phrases like "the
sweet aroma of freshly baked bread wafted through the air" engages the reader's sense of
smell.

3. Strong Verbs
 Choosing powerful verbs can convey action more effectively. Instead of "walked," you might
use "strolled," "ambled," or "marched," each of which conveys a different nuance.

4. Alliteration and Assonance

 The repetition of consonant sounds (alliteration) or vowel sounds (assonance) can create a
musical quality in writing. For example, "the whispering winds wove through the willows" has
a rhythmic quality that enhances the imagery.

6. Unique Diction
 Selecting words that are not commonly used or that possess a particular connotation can
add depth and originality. This might include regional dialects, jargon, or even neologisms.

7. Emotional Resonance

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 Colorful vocabulary often evokes specific emotions, whether through the choice of words or
the imagery they create. Words that elicit strong feelings can make characters and situations
more relatable and impactful. For example, "As she held the worn-out teddy bear, tears
streaming down her cheeks, she felt a gush of nostalgia wash over her, reminding her of
childhood days filled with innocent dreams."

4. Specific, Concrete, Vivid Details

Specific, concrete, vivid details are crucial elements in judging creative writing. They are the

building blocks that transform abstract ideas into tangible experiences for the reader, making the

story come alive and leaving a lasting impression. By using these details, you can create a richly

textured and immersive experience for your readers, making your stories more believable,

engaging, and unforgettable.

Specific Details

Specific details avoid vague language and use precise words that paint a clear picture in the

reader's mind. Specific details are not just about creating pretty descriptions. They are about using

language to create a deeper connection with the reader and to bring your story to life.

Example:

Instead of saying “The child was excited.” You can say:

“The child’s eyes sparkled with anticipation, his small hands gripping the brightly colored balloon as

if it was a precious treasure. His lips were stretched into a wide, gap-toothed grin, and his feet

tapped a restless rhythm against the pavement.”

These details create a vivid image of the child’s excitement. The reader can almost feel the

child’s energy and enthusiasm.

Impact on Judging:

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Specific details demonstrate the writer’s attention to detail and their ability to create a clear,

engaging image. They make the story more believable and immersive.

Concrete Details

This focuses on tangible things that can be perceived by the senses—sight, sound, smell,

taste, and touch. Concrete details are essential for creating a rich and immersive reading

experience. By using them, you can bring your stories to life and connect with your readers on a

deeper level.

Example:

Instead of saying “The woman was angry”, you can write:

“Her face flushed red, veins pulsing in her neck, and her voice crackled with barely suppressed

rage.”

These details make the woman’s anger feel more real and immediate. The reader can

almost feel the heat of her anger and hear the tension in her voice.

Impact on Judging:

Concrete details bring the story to life by engaging the reader’s senses. They create a more

visceral experience and make the emotions and events feel real.

Vivid Details

This uses strong evocative language that appeal’s to the reader’s imagination and creates a

lasting impression. Vivid details go beyond simply describing something; they use strong language,

imagery, and comparisons to create a powerful impression on the reader.

Example:

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Instead of saying “The city was bustling”, you can say:

“The city pulsed with life, a symphony of honking horn, chattering voices, and the rhythmic thrum of

engines. Neon lights blazed like a thousand fireflies, casting a kaleidoscope of colors across the

crowded streets.”

These details paint a vivid picture of the city’s energy and excitement. The reader can

almost feel the buzz of activity and hear the sounds of the city.

Impact on Judging:

Vivid details demonstrate the writer’s skills in using language to create a powerful and

memorable image. They elevate the story beyond mere description and make it truly captivating.

How these Details Work Together

 Immerse the Reader: The reader feels like they are right in the scene, experiencing the

sights, sounds, smells, tastes, and textures.

 Develop Character: The details chosen to describe a character reveal their personality,

motivations, and inner world.

 Build Atmosphere: The details used to describe the setting create a specific mood and

atmosphere, enhancing the emotional impact of the story.

 Enhance the Plot: Details can foreshadow events, create suspense, or provide clues that

add depth and complexity to the plot.

5. Pleasing Sound, Rhythm, and Variety

Writing is about showing, not telling, so being able to use all five senses in a piece of writing
is a surefire way to draw your readers into the story. And that includes sound.

There are an infinite amount of words at our disposal to describe sounds in our work,
whether it’s the sound something makes or the way someone says something. Everything from
‘mumbled’, ‘spat’ and ‘whispered’ to demonstrate how a person is speaking, to ‘shattered’,
‘splintered’ and ‘cracked’ to add a visual to a sound, helps to add emotion, character and/or tension

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to dialogue and prose.

Good writers strive to create a picture in their reader’s mind so that the reader is able to see,
hear, feel and imagine the same sounds the character is hearing – including tone, volume and
intent. Through the use of effective sound writing techniques, readers should feel like they
themselves have dropped that China cup onto a wooden floor, or that they’re in the same quiet
room when the branch of a tree crashes through the window and sends glass flying in all directions.

Different Types Of Sounds

The different types of sounds that can be incorporated into writing range from pleasing and
melodic sounds, to mellow, brassy, banging or a jarringly insistent cacophony of noise.

Writers can use these types of words and descriptions to create different moods (calm,
suspense, tension, fear, overwhelm), pulling the reader into the story and heightening the
atmosphere.

Five of the most effective methods of using words and language to improve and enhance your
sounds in writing are Onomatopoeia, Alliteration, Metaphors/Similes, Hyperbole and
Assonance.

So what do these five methods mean and how can they be used effectively to describe sounds in
writing?

1. Onomatopoeia

Onomatopoeia is the use of a word to imitate natural sounds. These words sound like the
sound they are describing. Using onomatopoeia in your writing is a very effective way to add drama
and punch to your sentence, and is used especially frequently when writing for children.

EXAMPLES EXPLANATIONS

By using “crunched” and “crackled”, we are

I trod on the leaves and they crunched and pulling our reader into the sensation of the dry
crackled under my feet. and brittle leaves making such noises under the
character’s feet. We are giving the reader the
opportunity to recall how it feels to walk on dry
leaves.

The wind howled and rattled at the window Again, the use of the words “howled”
pane. and “rattled”, personifies the wind, adding a
more menacing touch to the sound of the wind
outside. There is also an animalistic element to
the word “howled” which, used in this context,
helps the reader hear the loud, imposing noise
of the wind as though it were a wild animal in
pain. Again, this heightens tension and

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atmosphere and makes the reader feel as

though they are standing in the shoes of the
character.

The words “screech” and “flapping” in this

sentence, capture the ear-piercing sound of the
bird before it flaps its wings and takes flight.
Again, like in the previous sentence, the use of
The bird let out a screech, before flapping the word “screech” carries frightening, almost
away. monstrous overtones, as we imagine the shrill
sound of the bird before flying away. The word
“flapping” (instead of simply “flying”) conjures
up the sound of the bird’s wings beating
together.

2. Alliteration

Alliteration is, put simply, when words start with the same letter and/or sound. An example of
this would be “leaping lizards”, “fabulous flamingo” and “wonderful whale watching.”

Alliteration is about the repitition of sound. It creates a rythym and gives your writing an
almost musical element. Poets very often use alliteration in their work, to enhance the sing-song
sound as the work is read aloud.

It is also a fun way of writing for children, especially with picture books that are often read
out loud.

The book Primrose, by Alex T Smith, uses alliteration really well. In this picture book we
meet Primrose, a “princess who lives in a pretty pink palace and has a pretty pink tiara, two
prancing pink ponies and a plump little pug named Percy.”

3. Metaphors, Similes and Hyperbole

When describing sounds, sometimes it helps to compare them to something else using a
simile or metaphor. Or, you may want to make an exaggerated comparison, using hyperbole to
really drive home the tone of the scene.

For instance, instead of simply saying, “She dropped the book on the floor with a bang”,
you could say, “She dropped the book on the floor with a thundering bang loud enough to
wake her dead mother next door.”

It’s dramatic, but if this is the first sentence of your novel your readers would instantly want
to know what was happening. That loud sound would make them sit up!

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4. Assonance

Assonance is the repetition of the same or similar rhyming vowel sounds within a group of
words.

Here are three examples of assonance:

EXAMPLES EXPLANATIONS

It is the “oo” sound incorporated into this

He was too cool for the new school as a sentence, which matters, not the concoction of
rule. different letters. It makes the description soft
and rhythmical.

In this example, it is the “ee” sound

being used, that gives the sentence a certain
He creeps and sleeps, like an old man in a resonance and elongates its delivery. It carries
deep trance. an almost easy, sleepy quality when said aloud,
which fits in with the description of the old man
being slow and sleepy.

It is the repeated use of the “i” in this

description, which gives the idea of the man an
almost whispering and soft sound. It is as if the
His spitting lips and jutting hips.
spitting can be heard and the idea of “jutting”
hips, is carried along by the extending sound of
the “ju.”

Assonance can give a piece of writing musicality, and emphasizes particular words or vowel
sounds that resonate with the ideas and themes in a piece of work or book.

It is a sound writing technique which is constantly used by song writers, to enscapulate

beauty, mood and atmosphere in their music. It also tends to feature heavily in poetry, where
rhythm and sound are key.

Used effectively, sound writing and descriptions can paint pictures, trigger empathy and help
the reader to get inside the mind of the book’s characters. By using effective sound writing in books,
short stories or poetry, the writer is creating an immersive world for their readers.

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Sentence Variety and Rhythm

As writers, we have the ability to lead readers through our writing by controlling our text. One of
the primary methods of directing the reader is through rhythm, which is created by sentence variety.

Rhythm

Rhythm is how writing sounds and how sentences and ideas are connected. Monotonous
writing is the absence of rhythm, as shown in the example below.

“This sentence has five words. Here are five more words. Five-word sentences are fine. But
several together become monotonous. Listen to what is happening. The writing is getting boring.
The sound of it drones. It’s like a stuck record. The ear demands some variety” (Provost).

Rhythm is what engages the reader and encourages them to keep reading. Rhythm paces
the reader, emphasizes points and ideas, and creates mood. Most importantly, it makes writing
easier to access and understand. By becoming aware of rhythm and its impact on the reader,
writers can control their writing to become more readable and best emphasize the points they want
to make. In the example below, see how the same author as above adds rhythm to his writing.

“Now listen. I vary the sentence length, and I create music. The writing sings. It has a pleasant
rhythm, a lilt, a harmony. I use short sentences. And I use sentences of medium length. And
sometimes when I am certain the reader is rested, I will engage them with a sentence of
considerable length, a sentence that burns with energy and builds with all the impetus of a
crescendo, the roll of the drums, the crash of the cymbals—sounds that say listen to this, it is
important” (Provost).

Length

Longer sentences offer more information, letting the reader digest and meander through the
thought process. Short sentences build excitement. Sentences are snappier. They sound more
direct. Information is concise and clear.

Complexity

The English language consists of four sentence types. Use combinations of simple,
compound, complex, and compound-complex sentences to add variety and make text clearer and
easier to read.

Simple: She loves cooking.

Compound: Her roommates don’t know how to cook, so she cooks for them.

Complex: They love to eat the delicious food that she makes for them.

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Compound-complex: When her roommates are finished eating, they clean all the dishes, and
she can finally take a break.

Additionally, transitional words and phrases can be used to vary the complexity of your
writing. Transitional words may also be called linking or connecting words, and they help the reader
progress from one idea to the next.

The first experiment was successful. However, it was found to have many errors, so another
experiment was performed. Our budget was depleted as a result.

Appositives, which are nouns that immediately follow and rename another noun to clarify or
classify it, add extra information to a sentence and can reduce wordiness.

The pop star Doja Cat became famous in 2018. Yayoi Kusama, one of the best-selling female
artists in the world, is known for her use of polka-dot patterns.

Punctuation

Intentional punctuation choices also add variety (and complexity) to writing. There are
several ways you can punctuate or combine sentences: a comma and a coordinating conjunction, a
semicolon, a colon, or a period. Each one has its own purpose. Making careful punctuation choices
will enhance the meaning of your writing as well as increase readability.

6. Discernable Voice, Tone, and POV

Voice

In literature, “voice” refers to the rhetorical mixture of vocabulary, tone, point of view, and
syntax that makes phrases, sentences, and paragraphs flow in a particular manner. Novels can
represent multiple voices: that of the narrator and those of individual characters.

There is a difference between voices of a character and the author themselves. A

character’s voice is the unique tone a skilled author imbues upon different characters while an
author’s voice comes through to the reader in two main ways: either through third person narration
or through the point of view expressed in the novel.

Elements that come together to create Voice

 Word choice (aka diction). If you give some writers the same line from a Shakespeare sonnet
and ask them to replace words with their opposites, each will fill in different words -- that's how
unique our voices are. That is a wonderful gift, as word choices hold an incredible amount of
sway over the reader's experience.
 The pattern within sentences, such as whether you regularly string together clauses (like the
one ending this sentence). Other examples include a tendency to write in a certain sentence

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length, or to hyphenate them or use distinctive punctuation choices. If most of your sentences
tend to long, that slows down the pace. If they tend to be clipped, that often adds speed and
energy. Mixing up the length of sentences can help to create a voice of intimacy that readers
can latch onto as they seek to emotionally connect to your work.
 The patterns, or rhythm, of the text at the paragraph and larger-scale level.
 Tone, which involves moods and attitudes such as excitement or frustration about the subject
you’re covering. While some writers define tone just as being about how they feel about a
subject, we’ll get into the nitty gritty of tone in a follow-up post.

Why Bother with Voice?

It can help to know that you are analytical, say, and look for ways to bring that trait out in
your writings for readers who appreciate a thoughtful approach. In addition, delving into what you
really think about personal experiences, as part of the art of defining you voice, can unearth the
gems of your true motives and beliefs about life.

When a character in a novel speaks, for example, they provide information about themselves that
goes beyond the business they’re addressing in a line of dialogue, like:

 The breadth of the character’s personal lexicon. In other words, do they have an expansive
vocabulary, an average one, or a limited one? (A character’s lexicon can indicate things like
their education, their worldview, or their opinions on interpersonal communication.)
 Their regional accent and/or colloquialisms, indicating the character’s geographic origin.
 Their way of responding to conflict. Do they take charge? Cower? Panic? Blame others?
 Their willingness to speak openly. Are they talkative, terse, or somewhere in between?

Tone
When we talk about an author’s tone, we’re referring to the attitude or feeling that their
writing conveys. It’s like when someone talks to you; their voice, choice of words, and way of
speaking can show if they’re excited, sad, or joking. In writing, tone is created through the author’s
choice of words, their sentence structure, and even the imagery they use.

For example, a story that describes a sunny, vibrant park with laughing children has a
cheerful tone, while a story set in a dimly lit, quiet room might have a more serious or mysterious
tone. Understanding an author’s tone helps us get a better sense of the story’s mood and the
message the author wants to share. It’s like having a conversation with the author through their
words.

How to Determine Author’s Tone?

1. Word Choice
The words an author chooses are like the individual brushstrokes in a painting; each one
contributes to the overall impression. Word choice is a powerful tool in establishing tone. Think
about how a writer’s use of words like ‘exhilarating,’ ‘terrifying,’ or ‘melancholic’ can instantly convey
excitement, fear, or sadness.

It’s not just about the meaning of the words, but also their connotations – the feelings or
ideas they evoke. For instance, describing a day as ‘glowing’ versus ‘blazing’ can create very
different atmospheres; one suggests a pleasant, bright day, while the other might imply oppressive
heat. Authors carefully select each word to craft a specific mood and guide our emotional response
to the story. By tuning into these choices, you can start to sense the tone the author is aiming for,
whether it’s hopeful, despairing, playful, or serious.

2. Sentence Structure

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Just as important as word choice, the structure of an author’s sentences can greatly
influence the tone of a piece. Think of sentence structure as the rhythm of the story. Short, abrupt
sentences might create a sense of urgency or tension, making the reader feel the quick pace of the
events. On the other hand, long, flowing sentences often bring a more calm or reflective mood,
allowing the reader to ponder and absorb the details.

For example, a suspenseful scene might use brief, choppy sentences to keep you on the
edge of your seat, while a descriptive passage about a serene landscape might use longer
sentences to immerse you in the setting. By observing how sentences are constructed, you can
gain insight into the emotional pacing of the story and the tone the author is conveying.

3. Imagery
Imagery, the vivid pictures that authors create through descriptive language, plays a pivotal
role in setting the tone of a story. It’s all about the visual details the author provides to bring scenes
to life in our minds. These descriptions can range from the lush greenery of a tranquil forest to the
stark, grey buildings of a bustling city, each setting a different tone.

Think of imagery as the backdrop against which the story unfolds. If an author describes a
setting sun casting long shadows and painting the sky in hues of orange and red, it might evoke
feelings of calmness or reflection. Conversely, a description of a thunderstorm with jagged lightning
could create a tense or ominous atmosphere. By closely examining the imagery in a text, you can
uncover the emotional landscape the author is painting and better understand the tone they are
aiming to convey.

Context and Tone

In the quest to understand an author’s tone, context is a crucial piece of the puzzle. The
setting and circumstances of a story often provide key insights into the tone the author is trying to
convey. Think of context as the backdrop against which the story unfolds. The historical period,
cultural background, and even the geographical location can influence the mood and tone of the
writing.

For instance, a story set in a war-torn country will likely have a different tone than one set in
a peaceful, idyllic village. Similarly, the personal circumstances of the characters, such as their
emotional state or life experiences, can greatly affect the tone. A narrative from the perspective of a
character who just experienced loss will have a different tone than that of a character celebrating a
victory. Recognizing these contextual elements helps you better understand not just what the author
is saying, but how and why they’re saying it, offering a more complete picture of the story’s tone.

List of Tone Words

In literature, a wide array of tone words can be used to describe the feeling or atmosphere a
text conveys. These words help to categorize and articulate the emotional undercurrents of a story.
Here are some examples:

Positive Tones: Optimistic, jubilant, lighthearted, amused, enthusiastic.

Negative Tones: Pessimistic, mournful, bitter, cynical, foreboding.
Neutral Tones: Reflective, informative, objective, detached, contemplative.
Serious Tones: Solemn, grave, earnest, intense, impassioned.
Playful Tones: Whimsical, humorous, ironic, satirical, witty.
Tense Tones: Anxious, suspenseful, apprehensive, alarming, tense.

Understanding these tone words and being able to identify them in a text can greatly
improve your ability to grasp the author’s intended message. As you read different texts, try to think
about which of these words best describe the tone of the piece. As a result, this practice will not

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only improve your comprehension but also enrich your overall reading experience.

Step by Step Guide to Analyzing Author’s Tone

Although analyzing the tone of a text may seem daunting, breaking it down into manageable
steps can simplify the process. Here’s a straightforward guide to help you:

Initial Impression: Start by reading a section of the text and note your first impressions. Ask
yourself, what is the general mood? Does it feel light, dark, serious, or playful?

Identify Key Elements: Look for the elements that contribute to this mood. Focus on the word
choice, sentence structure, and imagery. Are there any words or phrases that particularly stand out?
How are the sentences constructed? What kind of imagery is used?

Refer to the List of Tone Words: Use the list of tone words to help put a name to the tone you’re
sensing. Is it optimistic, whimsical, grave, or something else?

Contextual Clues: Consider the context of the text. What is happening in the story at this point?
How might the events, characters, or setting influence the tone?

Reflect and Conclude: After considering these aspects, reflect on how they come together to
create the overall tone. Try to articulate your thoughts, either in discussion or by writing them down.
This reflection will deepen your understanding of the text and the author’s intentions.

Application: Analyzing Author’s Tone in George Washington’s Farewell Address

Let’s put our tone analysis skills into action with a real example: George Washington’s Farewell
Address from 1796. This historical speech offers a perfect opportunity to see how our step-by-step
guide works in practice.

Initial Impression: Reading the address, you might sense a formal and serious atmosphere.
Washington’s words carry a weight of importance and reflection.

Identify Key Elements:

 Word Choice: Notice Washington’s use of dignified language, like “steadfast confidence” and
“inviolable attachment.” These terms help create a tone of solemnity and respect.
 Sentence Structure: The complex and methodical structure of his sentences, such as “In
offering to you, my countrymen, these counsels of an old and affectionate friend…,” adds to the
formal and thoughtful tone.
 Imagery: Washington employs evocative imagery, referring to “the edifice of your real
independence” and “the mansions of rest,” which contributes to a reflective and historical mood.

Refer to the List of Tone Words: The overall tone of this excerpt is best described as solemn,
respectful, and contemplative. Washington’s choice of words and sentence construction conveys a
deep sense of duty and reflection.

Contextual Clues: Remember, Washington was addressing a young nation as its first President, a
context that underscores the seriousness and gravity of his tone.

Reflect and Conclude: Combining these elements, the tone of Washington’s address emerges as
one of solemn reflection and earnest advice. His language and structure reflect the responsibility he
feels towards the nation’s future, emphasizing unity and caution in times of change.

This exercise demonstrates how using our step-by-step guide can help you identify the tone in even
the most historical and formal texts.

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Point of View
Point of view, or POV, refers to two things in writing:
1. A point of view in a discussion, an argument, or nonfiction writing is an opinion, the way you
think about a subject.
2. In a story, the point of view is the narrator’s position in the description of events.

 Point of view comes from the Latin word, punctum visus, which literally means point sight,
suggesting it’s where you point your sight.
 Note too that point of view is sometimes called “narrative mode.”

Why Point of View Is So Important

Why does point of view matter so much?

Because point of view filters everything in your story. Everything in your story must come from a
point of view.

Which means if you get it wrong, your entire story is damaged. The worst part is these mistakes are
easily avoidable if you’re aware of them.

The 4 Types of Point of View

 First person point of view. First person is when “I” am telling the story. The character is in the
story, relating his or her experiences directly.
 Second person point of view. The story is told to “you.” This POV is not common in fiction, but
it’s still good to know (it is common in nonfiction).
 Third person point of view, limited. The story is about “he” or “she.” This is the most common
point of view in commercial fiction. The narrator is outside of the story and relating the
experiences of a character.
 Third person point of view, omniscient. The story is still about “he” or “she,” but the narrator has
full access to the thoughts and experiences of all characters in the story.

1. First Person Point of View

In first person point of view, the narrator is in the story and relating the events he or she is
personally experiencing.
First person point of view example:
“Call me Ishmael. Some years ago — never mind how long precisely — having little or no money in
my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see
the watery part of the world.” — Moby Dick by Herman Melville

First person point of view is one of the most common POVs in fiction. If you haven’t read a
book in first person point of view, you haven’t been reading.

What makes this point of view interesting, and challenging, is that all of the events in the
story are filtered through the narrator and explained in his or her own unique voice. This means first
person narrative is both biased and incomplete.

First person narrative is unique to writing. There’s no such thing as first person in film or
theater. Although, voiceovers and mockumentary interviews like the ones in The Office and Modern
Family provide a level of first person narrative into third person film and television.
In fact, the very first novels were written in first person, modeled after popular journals and
autobiographies.
First person point of view is limited. First person narrators cannot be everywhere at once
and thus cannot get all sides of the story. They are telling their story, not necessarily the story.

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First person point of view is biased. In first person novels, the reader almost always
sympathizes with a first person narrator, even if the narrator is an anti-hero with major flaws. Of
course, this is why we love first person narrative, because it’s imbued with the character’s
personality, their unique perspective on the world.

Unreliable narrators. Some novelists use the limitations of first person narrative to surprise
the reader, a technique called unreliable narrator, in which the audience discovers the narrator’s
version of events can’t be trusted.

For example, Gillian Flynn’s Gone Girl pits two unreliable narrators against each other, each
relating their conflicting version of events, one through normal narration the other through journal
entries.

2. Second Person Point of View

While not used often in fiction — it is used regularly in nonfiction, song lyrics, and even video games
— second person POV is still good helpful to understand.

In this point of view, the narrator is relating the experiences of another character called
“you.” Thus, you become the protagonist, you carry the plot, and your fate determines the story.

Here’s an example of second person point of view:

“You have friends who actually care about you and speak the language of the inner self.
You have avoided them of late. Your soul is as disheveled as your apartment, and until you can
clean it up a little you don’t want to invite anyone inside.” — Bright Lights, Big City by Jay
McInerney

Novels that use second person point of view. Second person point of view isn’t used
frequently, however there are some notable examples of it.

Remember the Choose Your Own Adventure series? If you’ve ever read one of these novels
where you get to decide the fate of the character (I always killed my character, unfortunately),
you’ve read second person narrative.

Bright Lights, Big City, the breakout bestseller by Jay McInerney about the New York City nightlife
and drug scene in the 1980s, is probably the most popular example of a second person novel.

However, there are many experimental novels and short stories that use second person, and writers
such as William Faulkner, Nathaniel Hawthorne, and Albert Camus played with the style.
Breaking the fourth wall. In the plays of William Shakespeare, a character will sometimes turn
toward the audience and speak directly to them. “If we shadows have offended,” Puck says in A
Midsummer Night’s Dream, “think but this, and all is mended, that you have but slumbered here
while these visions did appear.”

This technique of speaking directly to the audience or the reader is called breaking the fourth wall
(the other three walls being the setting of the story). To think of it another way, it’s a way the writer
can briefly use second person in a first or third person narrative.

3. Third Person Point of View

In third person, the narrator is outside of the story and relating the experiences of a character. The
central character is not the narrator. In fact, the narrator is not present in the story at all.

An example of third person point of view:

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“A breeze ruffled the neat hedges of Privet Drive, which lay silent and tidy under the inky sky, the
very last place you would expect astonishing things to happen. Harry Potter rolled over inside his
blankets without waking up. One small hand closed on the letter beside him and he slept on, not
knowing he was special, not knowing he was famous…. He couldn’t know that at this very moment,
people meeting in secret all over the country were holding up their glasses and saying in hushed
voices: “To Harry Potter — the boy who lived!”” — Harry Potter and the Sorcerer’s Stone by J.K.
Rowling

There are two types of this point of view:

Third Person Omniscient. The narrator has full access to all the thoughts and experiences
of all the characters in the story.

Third Person Limited. The narrator has only some, if any, access to the thoughts and experiences
of the characters in the story, often just to one character.

However, this distinction is messy and somewhat artificial. Full omniscience in novels is rare — it’s
almost always limited in some way — if only because the human mind isn’t comfortable
handling all the thoughts and emotions of multiple people at once.

Mistakes in Writing the Point of View

First Person
1. The narrator isn’t likable. Your protagonist doesn’t have to be a cliché hero. She doesn’t even
need to be good. However, she must be interesting. The audience will not stick around for 300
pages listening to a character they don’t enjoy. This is one reason why anti-heroes make great first
person narrators. They may not be morally perfect, but they’re almost always interesting.

2. The narrator tells but doesn’t show. The danger with first person is that you could spend too
much time in your character’s head, explaining what he’s thinking and how he feels about the
situation. You’re allowed to mention the character’s mood, but don’t forget that your readers trust
and attention relies on what your character does, not what he thinks about doing.

Third Person
The biggest mistake writers make constantly in third person is head hopping. When you switch
point of view characters too quickly, or dive into the heads of too many characters at once, you
could be in danger of what editors call “head hopping.”

When the narrator switches from one character’s thoughts to another’s too quickly, it can jar the
reader and break the intimacy with the scene’s main character.

We’ve written about how you can get away with head hopping elsewhere, but it’s a good idea to try
to avoid going into more than one character’s thoughts per scene or per chapter.

7. Grading Creative Writing Tasks

Assessing and providing feedback on creative writing assignments is a crucial aspect of helping
students develop their writing skills. Effective feedback encourages growth, builds confidence, and
fosters a love for writing.

 When evaluating, you have to base your judgment and evaluation on a clear and
comprehensive rubric. Rubrics will help you grade more objectively.

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A well-structured rubric is a cornerstone for assessing creative writing. It provides both teachers and
students with clear expectations and criteria for evaluation.

 A rubric should cover various aspects of writing, such as content, originality, organization,
style, and mechanics.

1. Content: In this area, you have to assess the depth of a story, character development, and
thematic elements.
 Is the plot engaging, and are the characters well-defined?

2. Originality: When assessing the originality of the work, you should consider the uniqueness
of ideas, the distinctiveness of the author's voice, the innovative use of language and
structure, and the originality of themes.
 What original themes or ideas are explored in the narrative that contribute to its uniqueness?
Does the narrative rely on any clichés or stereotypes?

3. Organization: Organization, often called “arrangement,” concerns the order and layout of
ideas.
 In here, you have to evaluate the structure of the narrative. Is there a clear beginning,
middle, and end? Are transitions smooth, guiding readers through the story?

4. Style: Style is concerned with clarity, elegance, and

precision. An effective stylist is not only able to write
clearly for an audience, but can also please them with
evocative language, metaphors, rhythm, or figures of
speech.

In this aspect of criteria, you have to consider the writer’s voice

and the use of literary devices.
 Is the writing engaging and imaginative? Does it convey
emotions and descriptions effectively?

5. Mechanics: This criterion pays attention to grammar,

punctuation, spelling, and other issues that are dictated
by convention or rules. Excessive mistakes can make
even a brilliant writer seem careless or ignorant,
qualities that will seldom impress one’s readers.

 Alongside numerical scores, you must also consider

providing specific, constructive feedback.

When offering feedback, specificity is key. Avoid generic

comments like “good job” or “needs improvement.” Instead,
pinpoint areas of strength and areas that need work.

For example:
Strength: “Your dialogue is natural and adds authenticity to the
characters’ interactions.”
Area for Improvement: “Consider using more descriptive
language to create a vivid setting. Show, don’t tell.”

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By providing specific feedback, you give students actionable guidance to enhance their writing
skills.

 Assessing and providing feedback on creative writing assignments is an art that can greatly
impact students’ development as writers. By developing a clear rubric and offering specific
and constructive feedback, you empower students to continually improve their writing skills.

Each change a copy editor or proofreader makes is noted in two ways. The first is on the text of the
manuscript itself. This is where the proofreading symbols go: the wavy line for bold, the three
underlines for capitalization, the hashtag for space. This is called in-line editing.

But simply marking up the text is not enough. To ensure complete clarity, copy editors and
proofreaders always place corresponding notes in the margins of a book. Here, the correction is
spelled out: bf for boldface, cap for capitalization, and so on. The notes in the margins are circled
and separated by a slash.

~END OF THE LESSON~

LEARNING ACTIVITIES
CHOOSE ME. Choose the right letter that matches the following statements.

PART 1
____1. Treat every word as precious.
a) Precise word choice and colorful vocabulary
b) Economy of language
c) Discernable voice, tone, or point of view.
d) Pleasing sound, rhythm, and variety.

____2. “Write the way you speak – conversationally and naturally.” – Patricia Westheimer
a) Precise word choice and colorful vocabulary
b) Economy of language
c) Discernable voice, tone, or point of view.
d) Pleasing sound, rhythm, and variety.

____3. Change “His performance will affect our image” to “His carelessness will undermine our
credibility.”
a) Precise word choice and colorful vocabulary
b) Economy of language
c) Discernable voice, tone, or point of view.
d) Pleasing sound, rhythm, and variety.

____4. As Joseph Conrad advises, don’t tell your reader; show your reader.
a) Precise word choice and colorful vocabulary
b) Economy of language

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c) Specific, concrete, vivid detail.

d) Pleasing sound, rhythm, and variety.

____5. Attend to sound as well as substance.

a) Precise word choice and colorful vocabulary
b) Economy of language
c) Specific, concrete, vivid detail.
d) Pleasing sound, rhythm, and variety.

PART 2

____1. This is one of the three-step process to make sure your crucial tidbits survive the journey.

A. Edit your content after you start the translation process.

B. Edit other people’s content before you start the translation process.
C. Edit other people’s content after you start the translation process.
D. Edit your content before you start the translation process.

____2.This is one of the definitions of economy of language in judging creative writing.

A. Economy of language is a theory stating that a lot of words lead to greater clarity.
B. Economy of language is a theory stating that fewer words lead to greater clarity.
C. Economy of language is a fact stating that fewer words lead to greater clarity
D. Economy of language is a theory stating that fewer words lead to worst clarity

____3.In Economy in language explained,

A. Economy of language is about circumlocutory making a point.

B. Economy of language is about wordy making a point.
C. Economy of language is about concisely making a point.
D. Economy of language is about redundantly making a point.

____4. In using your language skills economically,

A. No matter what language you’re working in, you can get lots done with fewer words.
B. No matter what language you’re working in, you can’t get lots done with fewer words.
C. No matter what language you’re working in, you can get lots done with a lot of words.
D. No matter what language you’re working in, you can’t get lots done with a lot of words.

____5. This is one of the three-step process to make sure your crucial tidbits survive the journey.

A. Edit the initial result to make it less repetitive.

B. Edit the final result to make it less repetitive.
C. Edit the final result to make it more repetitive.
D. Edit the initial result to make it more repetitive.

____6. In economy of language for translations,

A. Economy of language is easy to maintain if you’re working in an not familiar language.

B. Economy of language isn’t easy to maintain if you’re working in a familiar language.

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C. Economy of language isn’t easy to maintain if you’re working in an unfamiliar language.

D. Economy of language is easy to maintain if you’re working in an unfamiliar language.

____7. While you shouldn’t skip any essentials, it’s important to:

A. Use fewer, simpler words to explain what you’re talking about

B. Use a lot of words to explain what you’re talking about
C. Use fewer but complicated words to explain what you’re talking about
D. Use fewer, simpler words to explain what you’re not talking about

____8. This is one of the three-step process to make sure your crucial tidbits survive the journey.

A. Don’t communicate with other’s translator

B. Don’t communicate with your translator
C. Communicate with other’s translator
D. Communicate with your translator

____9. In economy of language for translations,

A. Even though English has around one million words, most native speakers only know 30,000 to
40,000.
B. Even though English has around one million words, most native speakers only know 20,000 to
40,000.
C. Even though English has around two million words, most native speakers only know 20,000 to
40,000.
D. Even though English has around two million words, most native speakers only know 30,000 to
40,000.

____10. When it comes to writing effectively,

A. More is more
B. More is less
C. Less is more
D. Less is less

PART 3

____1.The sight of any needle, even those used for sewing, made the boy _____ and run away.

a. afraid
b. terrified
c. happy
d. sad

____2. The unexpected news left her feeling _____ and unable to concentrate on her work.
a. confused
b. excited
c. joyful
d. indifferent

____3. After running the marathon, he felt completely _____ and collapsed on the ground.
a. energized
b. exhausted

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c. thrilled
d. alert

____4. The small child was _____ when he saw the large dog approach him.
a. fascinated
b. indifferent
c. curious
d. terrified

____5. The teacher's criticism made the student feel _____ about his performance on the exam.
a. sad
b. discouraged
c. perplexed
d. motivated

____6. The beautiful sunset made her feel a sense of _____ and peace.
a. anger
b. joy
c. love
d. frustration

____7. The eerie silence in the abandoned house made her feel _____ as she explored the dark
corners.
a. scared
b. relaxed
c. anxious
d. curious

____8. When the rain started pouring, they felt _____ and quickly sought shelter.
a. relieved
b. angry
c. annoyed
d. excited

____9. The scientist was _____ by the groundbreaking results of the experiment.
a. nonchalant
b. uninterested
c. thrilled
d. skeptical

____10. He felt _____ after receiving the award for his hard work and dedication.
a. happy
b. grateful
c. indifferent
d. frustrated

IDENTIFY ME. Read each of the following details. Then, identify whether it is a specific detail, a

concrete detail, a vivid detail, or a combination of these.

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1. The old man's hands, gnarled and weathered by years of hard work, trembled as he reached

for the teacup.

2. The room was filled with the scent of cinnamon and cloves, a warm and inviting aroma that

lingered in the air.

3. The city skyline shimmered like a mirage in the heat haze, a dazzling display of glass and

steel reaching for the sky.

4. The antique clock ticked with a slow, deliberate rhythm, its brass pendulum swinging back

and forth like a metronome.

5. The child's eyes widened in fear as the shadows danced and twisted in the flickering

candlelight

REVISE ME. For number one below, change a lengthy sentence into multiple shorter sentences.

For number two below, combine short sentences into one lengthier sentence. Be sure to achieve

clarity with the choices you make.

1. Creeping in on the tips of her polished shoes, Goldilocks entered the bears’ home, stepping

past the threshold and looking around the odd cabin, which was populated with chairs,

porridge bowls, and beds, all in threes, and large, medium, and small sizes.

2. Hansel and Gretel went into the forest. They were with their mother and father. Their mother

and father left without them. It became nighttime. They were lost in the forest.

WHAT AM I. Write the answer asked in the statements below.

PART 1

1. This refers to the unique tone a skilled author imbues upon different characters.
2. This element is not just using the meaning of the words, but also their connotations – the feelings
or ideas they evoke, making it a powerful tool in establishing tone.
3. This element is all about the visual details the author provides to bring scenes to life in our minds.
4. This step refers to finding the general mood of the read text.
5. Point of view comes from what Latin word which literally means point sight?
6. Point of view is sometimes called what?
7. In this point of view, The character is in the story, relating his or her experiences directly.
8. This point of view is not used often in fiction — it is used regularly in nonfiction, song lyrics, and
even video games.

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9. This point of view is still about the “he” or “she,” but the narrator has full access to the thoughts
and experiences of all characters in the story.
10. This is the most common point of view in commercial fiction.

PART 2

Activity 1. Identification. Identify what is being asked in each question. (5 points)

1. This criterion pays attention to grammar, punctuation, spelling, and other issues that are
dictated by convention or rules.
2. It is concerned with clarity, elegance, and precision. This aspect of writing involves evocative
language, metaphors, rhythm, or figures of speech.
3. This is a scoring guide that is used to assess student work fairly, consistently, and efficiently.
4. In this area, you have to assess the depth of a story, character development, and thematic
elements.
5. It is often called “arrangement,” concerns the transition, order, and layout of ideas.

SUMMARY

 Writing is more than just conveying information—it is a powerful tool for expressing
individuality, emotion, and perspective.
 Style refers to the distinctive way in which a writer uses language, incorporating elements
such as tone, word choice, and sentence structure.
 Personality, on the other hand, is the voice that makes writing unique and engaging,
allowing readers to connect with the author on a deeper level.
 There are five elements of writing with style and personality:
 Economy of language. When readers encounter writing in which every word counts, they are
more alert to its meaning and more attentive to its sound.
 Precise word choice and colorful vocabulary. Use the best, most exact word to capture your
meaning.
 Specific, concrete, vivid detail. It brings writing to life by making ideas more tangible and
memorable for the reader.
 Pleasing sound, rhythm, and variety. Create rhythm and emphasis by balancing the
components of your sentence.
 Discernable voice, tone, or point of view. Write the way you speak – conversationally and
naturally.
 Instead of general statements, use precise words to paint a clear picture. Focus on unique
qualities and engage the reader’s senses.
 Ground your writing in reality by using details the reader can perceive with their senses. This
creates a sensory experiences and evokes specific emotions.
 Use strong, evocative language to create a powerful images and a lasting impression on the
reader. This makes your writing more engaging and memorable.
 By mastering these details, you can transform your writing from ordinary to extraordinary.
Practice using them regularly and experiment to find what works best for you.
 An author’s voice comes through to the reader in two main ways: either through third person
narration or through the point of view expressed in the novel.
 An author’s tone refers to the attitude or feeling that their writing conveys.
 You can discern an author’s tone through their word choice, sentence structure, and imagery

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 A point of view in a discussion, an argument, or nonfiction writing is an opinion, the way you
think about a subject.
 In first person point of view, the narrator is in the story and relating the events he or she is
personally experiencing.
 In second point of view, the narrator is relating the experiences of another character called
“you.” Thus, you become the protagonist, you carry the plot, and your fate determines the
story.
 In third person point of view , the narrator is outside of the story and relating the experiences
of a character. The central character is not the narrator. In fact, the narrator is not present in
the story at all.
 There are two types of third point of view: Third Person Omniscient. The narrator has full
access to all the thoughts and experiences of all the characters in the story, and Third
Person Limited. The narrator has only some, if any, access to the thoughts and experiences
of the characters in the story, often just to one character.
 When assessing, it's important to rely on a clear and detailed rubric for your judgments and
evaluations. Using rubrics will enable you to grade more impartially.
 A rubric should cover various aspects of writing, including content, organization, style, and
mechanics.
 Content involves assessing the depth of the story, character development, and themes,
determining if the plot is engaging and the characters well-defined.
 Originality is when you consider the uniqueness of ideas, the distinctiveness of the author's
voice, the innovative use of language and structure, and the originality of themes.
 Organization focuses on the structure and order of ideas, checking for a clear beginning,
middle, and end, as well as smooth transitions.
 Style emphasizes clarity, elegance, and precision, asking whether the writing is engaging
and imaginative and if it effectively conveys emotions and descriptions.
 Mechanics requires checking for grammar, punctuation, spelling, and adherence to
conventions, as excessive mistakes can detract from even the most brilliant writing.
 Alongside numerical scores, give qualitative feedback that addresses both strengths and
areas for improvement. Be specific about what worked well and what could be enhanced.

~You can’t use up creativity. The more you use, the more you have.~

- Maya Angelou

REFERENCES

 George, A. (2024, January 22). Economy of language — Communicating concisely in any

dialect. Bunny Studio Blog. https://bunnystudio.com/blog/economy-of-language-
communicating-concisely-in-any-dialect/#:~:text=Economy%20of%20language%20is
%20a,translation%2C%20marketing%2C%20and%20branding
 Touro University. (n.d.). Economical language or “Simply said.”
https://www.touro.edu/departments/writing-center/tutorials/economical-language/#:~:text=
%E2%80%9CLess%20is%20more%E2%80%9D%20when%20it,%2Dwritten%2C
%20logically%20organized%20essay.

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 Hood, D. (2011, September 21). Creative Writing Technique: Writing Vivid Descriptions.

https://davehood59.wordpress.com/2011/09/21/creative-writing-technique-vivid-

descriptions/?

f_link_type=f_inlinenote&need_sec_link=1&sec_link_scene=im&fbclid=IwY2xjawFHo8Nl

eHRuA2FlbQIxMAABHX9UndKaAdkVu3__dVP0CiwHVhCXbRoact5F6BoTjbpEM2_FV

DFDrlXSDw_aem_ruFl4_KMTgFsVkwzaqT8Nw

 Lawme, M. (2023, March 22). Why Detail Matters: The Secret to a Successful Writing

Process.

 https://medium.com/@mocce519/why-detail-matters-the-secret-to-a-successful-writing-

practice-12b76109fe40

 THE HISTORY QUILL. (2024, September 05). How specificity can elevate your writing.

 https://thehistoryquill.com/how-specificity-can-elevate-your-writing/#:~:text=Specificity

%20in%20writing%20is%20about,character%2C%20with%20economy%20of%20words.

 Wylie Communications. (n.d.). Why use concrete details in writing?.

 https://www.wyliecomm.com/writing-tips/how-to-write-creative-content/concrete-details/

concrete-details-in-writing/?

f_link_type=f_inlinenote&need_sec_link=1&sec_link_scene=im&fbclid=IwY2xjawFHoy1le

HRuA2FlbQIxMAABHX8WC4xAm0-

4TEBkHxIV2KVgJ0duM2gmFIAoju8JpWMIDcIAZyeCjmm_mQ_aem_py52h6hLyjY2iDI5

qmyRHw

 Donovan, L. (2023, October 19). Pro Tips on Assessing and Providing Feedback on Creative

Writing Assignments - BookBildr for Education. BookBildr for Education.

https://edu.bookbildr.com/pro-tips-on-assessing-and-providing-feedback-on-creative-writing-

assignments/

 ‌Five Evaluation Criteria. (2020, April 11). Humanities LibreTexts.

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https://human.libretexts.org/Bookshelves/Composition/Introductory_Composition/Remix

%3A_Expression_and_Inquiry_(Manning_et_al.)/01%3A_PART_I/

01%3A_Part_I_Overview-_The_Writing_Process/1.03%3A_Five_Evaluation_Criteria

 ‌Lapum, J., St-Amant, O., Hughes, M., Tan, A., Bogdan, A., Dimaranan, F., Frantzke, R., &

Savicevic, N. (2019). Originality in writing. Pressbooks.library.torontomu.ca.

https://pressbooks.library.torontomu.ca/scholarlywriting/chapter/originality-in-writing/

 Rubrics for Assessment - NIU - Center for Innovative Teaching and Learning. (2012).

Northern Illinois University.

https://www.niu.edu/citl/resources/guides/instructional-guide/rubrics-for-assessment.shtml

ANSWER KEY

REVISE ME: CHOOSE ME: CHOOSE ME:

PART 3 PART 1
Note that answers will vary.
1. B I. MULTIPLE CHOICE
1. Creeping in on the tips of her polished shoes, Goldilocks
stepped past the threshold of the bears’ home. She looked 2. A 1. B
around the odd cabin. It was populated with chairs, porridge
bowls, and beds; there were three of each in large, medium, 3. B 2. C
and small sizes.
4. D 3. A
2. Hansel and Gretel went into the forest with their mother
and father, but their parents left without them; it became 5. B 4. C
nighttime, and soon, they were lost in the forest.
6. B 5. D

7. A
WHAT AM I:
8. C PART 2
PART 1
9. C 1.D
1. Character’s Voice
10. B 2.B
2. Word Choice
3.C
3. Imagery
IDENTIFY ME: 4.A
4. Initial Impression
1. Specific and Concrete 5.B
5. Punctum visus
2. Concrete and Vivid 6.C
6. Narrative mode
3. Vivid 7.A
7. First Person POV
4. Specific, Concrete, 8.D
8. Second Person POV Vivid
9.B
9. Third Person Omniscient 5. Concrete and Vivid
10.C
10. Third Person Limited

PART 2:
PANGASINAN STATE UNIVERSITY Congrats for 33
finishing
1. Mechanics the module!

2. Style