GIYA

(Guided, IntegrAted, YeArning Activities)

For SHS LEARNERS
Creative Nonfiction- Grade 12
FIRST SEMESTER, Q1-Week 9
MELC: Revise the draft of a short piece using any of the literary conventions of
a genre (e.g. plot for narrative piece)
Topic: Visual Language: Genres and Conventions
Objectives: At the end of the discussion, the learners are expected to:
1. Discuss the Subplots and its types,
2. Know the symbols, motifs, and themes of a creative
nonfiction piece;
3. Identify the forms, settings
v and codes used and indicated in
a narrative piece; and
4. Recreate a short literary piece using g the literary conventions

Writer:
WINDELIE C. AUCIJO
Francisco Ramos National High School
(Formerly Buayan National High School)
Kabasalan District
Zamboanga Sibugay Division

0
 DAY 1

I. Mini Lesson/ Lecturette

Subplot

 As in written narrative, a subplot is common in feature films and television. A secondary

story, connected to the main narrative in some way, keeps viewers interested and may
reinforce or provide contrast to important ideas in the main story.
 In fiction writing, the definition of a subplot is a side story that runs parallel to the main plot. It
has a secondary strand of characters and events that can infuse important information into
the main storyline. Also known as a minor story, a subplot creates a richer, more complex
narrative arc in novel writing and other storytelling mediums.

3 Reasons to Use Subplots in Your Writing

1. Subplots add depth. Weaving several plot lines through a story creates a multilevel narrative
arc. A story with just a main plot can come off as flat, but a story with subplots in addition to
the main plot has complexity and depth. This makes the story more engaging for readers.
2. Subplots intensify the conflict. Subplots are a tool that can heighten the tension and intensify
the conflict in a story. They can add new plot points that deliver obstacles for the main
character that result in a more dramatic climax.
3. Subplots enrich character development. A secondary plot can reveal new information about
a main character. How the main character interacts with supporting characters in a subplot
can shed light on their personality traits and character flaws, making them more vulnerable
and three-dimensional.

4Types of Subplots

 Mirror subplot: A smaller-scale conflict mirrors the main character’s in order to teach them
a valuable lesson or illuminate how to resolve the conflict.
 Contrasting subplot: A secondary character faces similar circumstances and dilemmas as
the main character but makes different decisions with the opposite outcome.
 Complicating subplot: A secondary character makes matters worse for the main character.
 Romantic subplot: The main character has a love interest, and this relationship
complicates the main plot.

The Timing of Subplots

Timing the inclusion and pace of your subplots right is important.

Subplots are there, after all, to make the story more interesting overall. Therefore, if plot and
subplots start/peak/conclude at the same time, you are wasting their potential. That’s putting all
eggs in one basket.

For example, in a movie…

 a subplot might typically start just after the main plot, protagonist and story world is set up.
 It will peak when there is a lag in the primary plot, often within the second act.
 And it might then end after the main plot is concluded, wrapping up the story and its themes.
Alternatively, it could be resolved before the conclusion of the main plot.

However, subplots are flexible.

1
 The most important thing is that momentum is continually being generated throughout the
screenplay. Where one plot reaches some kind of achievement, for example, there should
still be conflict elsewhere to be resolved.

Continual rising and falling of dramatic momentum is likely what will keep audiences
interested. The subplots are the cogs that keep the wheel spinning.

II. Facilitating Activities

Instruction: Read the statements and indicate the answers on the blank after
every item. Encircle the answers from the crossword puzzle. (2 points each)

S C R A D R S R Q
U G O B T W R T S
B Y M I R R O R D
P I A L J G M Y D
L L N K K H A H E
O Q T R L I N O P
T W I W T L T T T
S G C Y A T I G H
Y Y G H X P C B G
F L E X I B L E X

1. A side story that runs parallel to the main plot.

2. The main character has a love interest, and this relationship complicates the
main plot.

3. A smaller-scale conflict mirrors the main character’s in order to teach them a

valuable lesson or illuminate how to resolve the conflict.

4. A story with just a main plot can come off as flat, but a story with subplots in
addition to the main plot has _. This makes the story more
engaging for readers.

5. The most important thing is that momentum is continually being

generated throughout the screenplay.
Activity 2: Mapping Out!

Directions: Make a list of possible sub-plots for the following goal. Illustrate
your ideas through a graphic organizer.

Kyle is a dragon master who has all but one species in his lairs. He hears of a new
species in a faraway world and sets off in a space craft to get there. He discovers
this dragon is being used as a food source and almost extinct. He must battle the
occupants of that world to rescue and preserve this particular dragon…

This is how you will be rated:

Criteria Good Strong Excellent

(6-7) (8-9) (10)

Idea / Content – Shows insight, knowledge,

understanding of the concept
Structure- subplots are well-written, organized with correct
format, grammar and spelling.
Appearance – output is neat and presentable

III. Evaluation
Write your own version of the movie “Titanic”. Change the plots and subplots
using the different types that we have discussed. Use your Test Notebook.
1. Mirror subplot

2. Contrasting subplot

3. Complicating subplot

4. Romantic subplot
RUBRICS:
5 4 3 2

Sentence Wrote at least 3 Wrote at least 3 Wrote only 1-2 Wrote only 1-2
sentences with sentences with sentences with sentences with
correct grammar minimum errors correct grammar improper use of
and spelling with grammar and spelling grammar and
and spelling spelling
Content The content The content The content The content does
conveys the type conveys the type conveys the type not convey the
of subplot asked of subplot asked of subplot asked type of subplot
with no errors, but with minimal but with many asked, with many
has clarity of errors, has clarity errors, doesn’t errors and
message and of message and have clarity of doesn’t have
theme . theme. message and clarity of
theme. message and
theme.

IV. Reflection
They say life is like a movie and we are the main characters of yet in real
life, we are not the ones in control of everything.
If you are to write your own life, how would you like it to go? Write down
the things that you want to happen to your life. Make it like a subplot, starting
from the person you are today

_
_
_
_
_
_
.

CONGRATULATIONS! GOOD JOB

DAY 2

I. Mini Lesson / Lecturette

Hi! Good day! I welcome you to another day of exciting activities as
we venture on another lesson. Today, you are here to know the
symbols,motifs, and themes of a creative nonfiction piece;
Symbols and motifs

Narratives can be unified by symbols. Visual symbols, such as bright sunny weather, might suggest
happiness, enjoyment, and hope. Narratives can also be unified by the repetition of symbols, called
motifs, as in the sea, rain, mud, bush, and trees in The Piano: motifs that reinforce the sense of
isolation and entrapment. The same film has several other recurring symbols or motifs: the fingers
and hands and, of course, the piano itself. Sound can also unify narrative, providing recurring
motifs. The regular, rhythmic, and sinister musical beat in Jaws, signaling that another crisis or
attack is imminent, is a good example. Comedy often has a motif of a particular recurring character
or action, such as the mice who appear in the corner of the screen singing to introduce each new
adventure in Babe.

What is a symbol?

A symbol is an object that represents something else, and in fact, are a part of your daily life, not
just a piece of literature. You may not realize it, but you encounter millions of symbols in your
everyday life, such as:

 Traffic lights: Red light means stop, green means go, and yellow means caution
 The arrow means "this way"
 A cross represents religion, or more specifically, Christianity
 Light bulb means "new idea"
 Numerals 1 and 0, put together, mean ten
 A heart means love
 Logos represent brands, like the Nike swoosh or Mac's Apple
 Even our names are symbols that represent us as individual humans

Symbols can hold unexpected meaning, but upon further investigation, can make a lot of sense.
For example, if you read a scene that involves a skunk lurking in the background, you might
wonder what that animal could signify. But, if there's something that foul in the works of your story,
like a breakup or a bit of bad luck, the skunk begins to bring up imagery of something that is less
than pleasant to experience. Thus, the symbolism.

To better understand symbolism, you might ask yourself to consider what a variety of everyday
objects might stand for if they were used in a piece of literation. For example, think about emotions
or thoughts that come to mind when you see the following:

 Flowers (represent nature, birth, growth, femininity, beauty)

 Lightning bolt (represents speed, strength, power, electricity)
 Spider web (represents entanglement, entrapment, mystery)

What is a motif?

While a symbol might occur once in literature to signify an idea or an emotion, a motif can be an
element or idea that repeats throughout that piece of literature. It is closely related to a theme but is
more of a supporting role to the theme than a theme itself. It is within the pattern of repetition that
the power and impact of a motif are found. A motif could, in fact, be expressed by a collection of
related symbols.

How do symbols and motifs work together?

Since multiple symbols can be used to explain a motif, let's break down a few examples. Let's
say we have a story about a family struggling to stay together, parents considering divorce. We
might encounter a motif of fragmentation that could come from several symbols that appear in a
book:
  Shattered glass
 A runaway (pet, teen, car)
 An explosion
 A scattered puzzle

Sometimes a motif can also be a study on contrast, like the theme of good versus evil, or "light
and dark." A series of symbols that could represent this motif might be:

 Moon shadows (shades of darkness)

 A candle (a light in the darkness)
 Storm clouds (temporary darkness)
 A ray of sunshine (emerging from darkness)
 A tunnel (through the darkness)

The symbols and motifs you discover in your reading will lead to the understanding of an
overall theme of your book. To find the theme of a book, you should look for an overall
message or lesson. If you do encounter the motif of "light and dark" in a book, you should think
about a message that the author is trying to send about life.

The light and dark of a story might tell us:

 Love survives death

 Life renews itself

Themes

The structured narratives of feature films and television programs have central ideas or
themes. Our interpretation of the theme is related to the expectations we have, which in turn
revolve around the external and internal conflicts of the characters.

Examples of Themes

There are several themes that are reoccurring in literature, many of which we can identify
quickly. But some themes are a little harder to figure out. Consider these popular general
themes in literature to see if any of them might be appearing in something you're reading right
now.
 Family
 Friendship
 Love
 Overcoming hardships
 Coming of age
 Death
 Struggling with inner demons
 Good vs. Evil
II. Facilitating Activities
Instructions: supply the missing letters to form words. Use the statement each item as
clues.

1. It is closely related to a theme but is more M_T_ _S

of a supporting role to the theme than a
theme itself.

2. An object that represents something else, S_M_O_

and in fact, are a part of your daily life, not
just a piece of literature.

3. An idea that recurs in or pervades a work of T_E_E

art or literature.

4.Refers to the visible objects that suggest V_S_AL S_M_O_S

meaning

5.Symbols, motifs and themes are all part of L_TER_RY C_NV_NT_O_S

.
6. Other definition of a theme in a literary C_N_RAL I_E_S
piece

7. FA_IL_
Three of the commonly used themes
8 FR_E_D_HIP
9.
L_V_

10. Symbols, motifs and themes are literary N_R_AT_VE_

conventions usually found in

Activity 1:
Write a short narrative showing one of the following themes and list down the symbols
used in the piece.
 injustice
 sorrow
 love
 war
 betrayal
 motherhood

This is how you will be rated:

criteria 5 3 2
Organization of idea Ideas are well Ideas are a bit mixed. Ideas are disorganized
organized from the and the thought is
beginning to the end confusing and
with transition and misleading
 coherence
Sentence/paragraph Output is structured There are minimal Many errors with
structure well. No errors with Errors with the grammar and spelling
grammar and spelling placement of words
and its spelling
Clarity of the theme The output clearly The output is The output does not
depicts the theme it confusing. Some parts reflect the chosen
conveys of the content are not theme.
aligned with the theme

III. Evaluation
Directions: Choose the letter of the correct answer.

1. Which of the following is NOT a theme used in a literary piece?

a. Family
b. Friendship
c. Love
d. Classmate
2. Which of the following is NOT true about symbols and motifs?
a. Narratives can be unified by symbols.
b. Visual symbols, such as bright sunny weather, might
suggest happiness, enjoyment, and hope.
c. Motifs and symbols are the same
d. Motifs reinforce the sense of isolation and entrapment.

3. It is an object that represents something else, and in fact, are a part of your
daily life, not just a piece of literature.
a. Symbols
b. Themes
c. Motifs
d. Subplot
4. It can be an element or idea that repeats throughout that piece of literature.
It is closely related to a theme but is more of a supporting role to the theme
than a theme itself.
a. Motifs
b. Themes
c. Symbols
d. Creative Nonfiction

5. Which among the following is true about themes?

a. Defined as a main idea or an underlying meaning of a literary work, which
may be stated directly or indirectly.
b. Central topic, subject, or message within a narrative.
c. The underlying message, or the big idea.
d. The message that a character in the narrative conveys

TRUE OR FALSE: Write T if your answer is true, write F if it says otherwise.

6. Symbols can hold unexpected meaning, but upon further investigation, can
make a lot of sense
 7. Motif is within the pattern of repetition that the power and impact of a motif
are found. A motif could, in fact, be expressed by a collection of related symbols.

8. The symbols and motifs you discover in your reading will lead to the
understanding of an overall theme of your book.

9. Our interpretation of the theme is related to the expectations we have,

which in turn revolve around the external and internal conflicts of the characters.

10. The themes used in literature are way easy to figure out.

IV. Reflection

Write down the things you have understood regarding the following and how
they differ from each other.

THEMES:

MOTIFS:

SYMBOLS:

CONGRATULATIONS WELL DONE!

DAY 3

I. Mini Lesson / Lecturette

Forms

The form is the essential structure of the visual language text, including its organisation, style,
and sequence. A picture book might be in the form of a series of collages. A film might be
structured in flashback or contrasting sequences from plot and subplot.
Narrative forms include:
  Autobiography – a detailed description or account of the storyteller's own life.
 Biography – a detailed description or account of someone's life.
 Captivity narrative – a story in which the protagonist is captured and describes their
experience with the culture of their captors.
 Epic – a very long narrative poem, often written about a hero or heroine and their exploits.
 Epic poem – a lengthy story of heroic exploits in the form of a poem.
 Fable – a didactic story, often using animal characters who behave like people.
 Fantasy – a story about characters that may not be realistic and about events that could
not really happen.
 Flash fiction – a fictional work of extreme brevity that still offers character and
plot development.
 Folk tale – an old story which has been passed down orally and which reveals the customs
of a culture.
 Historical fiction – stories which take place in real historical settings and which often feature
real historical figures and events, but which center on fictional characters or events.
 Legend – a story that is based on fact but often includes exaggerations about the hero (e.g.
the East African legend of Fumo Liyongo in the coast of Kenya).
 Memoir – similar to an autobiography, except that memoirs generally deal with
specific events in the life of the author.
 Myth – an ancient story often meant to explain the mysteries of life or nature.
 News – information on current events which is presented by print, broadcast, Internet, or
word of mouth to a third party or mass audience.
 Nonlinear narrative – a story whose plot does not conform to conventional
chronology, causality, and/or perspective.
 Novel – a long, written narrative, normally in prose, which describes fictional characters and
events, usually in the form of a sequential story.
 Novella – a written, fictional, prose narrative normally longer than a short story but shorter
than a novel.
 Parable – a succinct, didactic story, in prose or verse, which illustrates one or more
instructive lessons or principles.
 Play – a story that is told mostly through dialogue and is meant to be performed on stage.
 Quest narrative – a story in which the characters must achieve a goal. This includes some
illness narratives.
 Realistic fiction – stories which portray fictional characters, settings, and events that could
exist in real life.
 Screenplay – a story that is told through dialogue and character action that is meant to be
performed for a motion picture and exhibited on a screen.
 Short story – a brief story that usually focuses on one character and one event.
 Tall tale – a humorous story that tells about impossible happenings, exaggerating the hero's
accomplishments.

Settings

A setting (or backdrop) is the time and geographic location within a narrative, either nonfiction or
fiction. It is a literary element. The setting initiates the main backdrop and mood for a story. The
setting can be referred to as story world or milieu to include a context (especially society) beyond the
immediate surroundings of the story. Elements of setting may include culture, historical period,
geography, and hour. Along with the plot, character, theme, and style, setting is considered one of
the fundamental components of fiction.

The Fundamental Elements of Setting

Here is a list of the specific elements that setting encompasses:

1. Locale. This relates to broad categories such as a country, state, region, city, and town,
as well as to more specific locales, such as a neighborhood, street, house or school. Other
locales can include shorelines, islands, farms, rural areas, etc.
2. Time of year. The time of year is richly evocative and influential in fiction. Time of year
includes the seasons, but also encompasses holidays, such as Hanukkah, Christmas, New
Year's Eve, and Halloween. Significant dates can also be used, such as the anniversary of
a death of a character or real person, or the anniversary of a battle, such as the attack on
Pearl Harbor.
3. Time of day. Scenes need to play out during various times or periods during a day or
night, such as dawn or dusk. Readers have clear associations with different periods of the
day, making an easy way to create a visual orientation in a scene.
4. Elapsed time. The minutes, hours, days, weeks, and months a story encompasses must be
somehow accounted for or the reader will feel confused and the story will suffer from a lack
of authenticity. While scenes unfold moment by moment, there is also time to account for
between scenes, when a flashback is inserted, and when a character travels a long distance.
5. Mood and atmosphere. Characters and events are influenced by weather, temperature,
lighting, and other tangible factors, which in turn influence the emotional timbre, mood, and
atmosphere of a scene.
6. Climate. Climate is linked to the geography and topography of a place, and, as in our real
world, can influence events and people. Ocean currents, prevailing winds and air masses,
latitude, altitude, mountains, land masses, and large bodies of water all influence climate.
It's especially important when you write about a real setting to understand climatic
influences. Harsh climates can make for grim lives, while tropical climates can create more
carefree lifestyles.
7. Geography. This refers to specific aspects of water, landforms, ecosystems, and
topography in your setting. Geography also includes climate, soil, plants, trees, rocks and
minerals, and soils. Geography can create obvious influences in a story like a mountain a
character must climb, a swift-running river he must cross, or a boreal forest he must traverse
to reach safety. No matter where a story is set, whether it's a mountain village in the Swiss
Alps or an opulent resort on the Florida coast, the natural world with all its geographic
variations and influences must permeate the story.
8. Man-made geography. There are few corners of the planet that have not been influenced
by the hand of humankind. It is in our man-made influences that our creativity and the
destructiveness of civilization can be seen. Readers want visual evidence in a story world,
and man-made geography is easily included to provide it. With this in mind, make certain that
your stories contain proof of the many footprints that people have left in its setting. Use the
influences of humankind on geography to lend authenticity to stories set in a real or famous
locale. These landmarks include dams, bridges, ports, towns and cities, monuments, burial
grounds, cemeteries, and famous buildings. Consider too the influences of mankind using
the land, and the effects of mines, deforestation, agriculture, irrigation, vineyards, cattle
grazing, and coffee plantations.
9. Eras of historical importance. Important events, wars, or historical periods linked to
the plot and theme might include the Civil war, World War II, medieval times, the
Bubonic Plague, the gold rush in the 1800s, or the era of slavery in the South.
10. Social/political/cultural environment. Cultural, political, and social influences can range
widely and affect characters in many ways. The social era of a story often influences
characters' values, social and family roles, and sensibilities.
11. Population. Some places are densely populated, such as Hong Kong, while others are
lonely places with only a few hardy souls. Your stories need a specific, yet varied population
that accurately reflects the place.
12. Ancestral influences. In many regions of the United States, the ancestral influences of
European countries such as Germany, Ireland, Italy, and Poland are prominent. The cities
and bayous of Louisiana are populated with distinctive groups influenced by their Native
American, French-Canadian, and African American forebears. Ancestral influences can be
 depicted in cuisine, dialogue, values, attitudes, and general outlook.

Codes

The common characteristics or conventions of any genre, including film, are sometimes called
codes. These can include:

 Structural codes, which are such features as particular kinds of plot, character, or setting.
 Stylistic codes include such features as particular lighting, shooting style, or music.

For example, take the romance genre. Structurally, it commonly includes two people who fall in and
out of love two or three times during the course of the film. Their difficulties often seem huge, though
sometimes simple misunderstandings are the cause. Against seemingly insurmountable odds, they
are nevertheless usually completely in love at the end. Stylistically, this genre includes low lighting,
soft focus, sometimes beautiful settings, and music that might at times be raunchy and at times soft
and romantic.

The different genres, or patterns of various conventions and codes, influence our expectations and
help us to read closely and to make and present meanings.

II. Facilitating Activities

Activity 1:
Cluster the following words write them down on the table where they belong.

Man-Made Geography Locale Structural Climate

Stylistic Time Of Year Play Novel Memoir
Population

settings Forms Codes

1.
2.
3.
4.
5.

Activity 2:

Directions: Choose among the following forms and compose a short narrative.

 Memoir
  Biography
 Autobiography
Indicate its settings and the type of code used.

Rubrics:
This is how you will be rated:

criteria 15 10 5
Organization of idea Ideas are well Ideas are a bit Ideas are
organized from the mixed. disorganized and the
beginning to the end thought is confusing
with transition and and misleading
coherence
Sentence/paragraph Output is structured There are minimal Many errors with
structure well. No errors with Errors with the grammar and
grammar and placement of words spelling
spelling and its spelling

III. Evaluation: Recreate the following texts on different point of views.

Indicate the form used, settings and the code.

1. I went to the woods because I wished to live deliberately, to front only the essential facts
of life, and see if I could not learn what it had to teach, and not, when I came to die,
discover that I had not lived. I did not wish to live what was not life, living is so dear; nor
did I wish to practice resignation, unless it was quite necessary. I wanted to live deep
and suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all
that was not life, to cut a broad swath and shave close, to drive life into a corner, and
reduce it to its lowest terms.

(Revise on the point of view of a friend of the main

character) Form:
Setting:
Code: _ _

2. As I ate the oysters with their strong taste of the sea and their faint metallic taste that the
cold white wine washed away, leaving only the sea taste and the succulent texture, and
as I drank their cold liquid from each shell and washed it down with the crisp taste of the
wine, I lost the empty feeling and began to be happy and to make plans.

(Revise on the point of someone who is in the same

location) Form:
Setting:
Code: _ _

3. The human louse somewhat resembles a tiny lobster, and he lives chiefly in your
trousers. Short of burning all your clothes there is no known way of getting rid of him.
Down the seams of your trousers he lays his glittering white eggs, like tiny grains of rice,
which hatch out and breed families of their own at horrible speed. I think pacifists might
 find it helpful to illustrate their pamphlets with enlarged photographs of lice. Glory of war
indeed!

(Revisit as if you are the main

character) Form:
Setting: _
Code: _ _

IV. Reflection
Have you ever experienced something in your life worth sharing to
others? A Memoir, biography, autobiography or something? I’d like to
know your creative input.

DAY 4

I. Mini Lesson / Lecturette

Have you ever read a story very worth retelling? Check out this short
text called In the Grip of the Sky by Sonya Huber for today’s session and get
ready with the following activities.

In the Grip of the Sky

Sonya Huber

The sky has its way with me. As clouds lower their shoulders against the horizon, a warm front’s
humid body slides along my skin, lifting the hem of my dress to curl around my waist and stretch
along my spine.

Closer still, the atmosphere enters me soundlessly. Barometric pressure squeezes my joints, each
a tiny fishbowl of synovial fluid that cushions the space where two bones pivot and swing.

My immune system loves and defends me too diligently. I am one of the joint-diseased and
chronic, we who have lupus and rheumatoid arthritis and psoriatic arthritis. If we could map our
pain, the constellation of joints would glow on the map, lit to follow storm fronts and hurricanes. A
joint-sick friend and I trade texts: Rain coming—Got bad at 2 PM, now flat on the couch. You?

In this sky-grip, I am one of many, and we are on fire.

I lie back, linked in pain with other bodies, in a kind of planetary transcendence. I watch the sky
with closed eyes as an internal aurora borealis throbs, exquisite and strange. The rhythm and
shifting whorls scrawl inside my flesh and bones in a patterned grammar I can
almost pretend to decode. I have decided to listen to the air.

The atmosphere outside mirrors each tiny joint bubble inside me; the fates of both worlds have
been permanently altered.

The heated sky skews and pitches, longing only for balance, hung with carbon-rich effluvia from
the coal that launched the factories of London. Outer and inner protective layers become
inflamed. My over-eager immune system works too well, devouring its host, while the planet’s
protective atmosphere holds the dangerous heat that men have made.

The atmospheric and the arthritic trace tendrils of smoke from the industrial explosion. My disease
is said to be a signal miscopied: genes or molecules scrambled by chemical by-products that echo
our desire to be faster and stronger than nature. My flesh and bones retract against the heat of
the world’s fever as the storms whip the planet’s surface.

I and this pain-shadow lie on the couch. We turn in tandem under a blanket as mare’s tail clouds
loop above me, against the icy blue. If everybody seated around the table at our climate
negotiations had to push against a pain-shadow to stand or reach for a glass of water, to raise a
hand to cast a vote, might each voice be raised in strong support for change? If every human felt
the sky inside, we might wince against each turn of a key in an ignition. The islands being
swallowed by water might seem not so far away.

In some minutes I feel beaten by the sky. Bobbing down, my spirit fights for air. I have learned to
push up into this pain storm, out of curiosity and a need to understand. Each throb reminds me of
my permeability. The gasses surrounding our planet follow every move I make, pushing at my
nerves. I sometimes shake my fist at the sky, but I do not hate the clouds; I do not hate them even
when they seem to deliver terrible blows. Their impact is a desperate appeal, intending to reach
us, even as far as under the skin, to drag us to safety.

II. Facilitating Learning

Activity 1:
Directions: Let’s try to unlock some unfamiliar words in the text. Match the words in
Column A to their correct meaning in Column B. Write your answers in the space
provided.

Column A Column B
_1. Humid A. beat or sound with a strong, regular rhythm; pulsate
steadily.
_2. Joint
B. long upholstered piece of furniture for several people to sit
_3. Coal
on.
_4. Spine
C. a visible mass of condensed water vapor floating in the
_5. Wince atmosphere, typically high above the ground.
_6. Scrawl D. The action of eating something hungrily or quickly
_7. Devouring E. An example of hurried, careless writing.
_8. Clouds F. Give a slight involuntary grimace or shrinking movement of
the body out of or in anticipation of pain or distress.
_9. Couch
 _10. Throb G. A series of vertebrae extending from the skull to the small
of the back, enclosing the spinal cord and providing support
for the thorax and abdomen; the backbone.
H. A combustible black or dark brown rock consisting mainly
of carbonized plant matter, found mainly in underground
deposits and widely used as fuel.
I. A point at which parts of an artificial structure are joined.
J. marked by a relatively high level of water vapour in the
atmosphere.

Activity 2:
Using a graphic organizer, map out the essential literary conventions used in the text.

Title :

Plot/subplot:

1.

2.

3.

Symbols: Motif: Theme:

Forms:
Setting: Codes:
III. Evaluation : Read and revise the short narrative and indicate the literary
conventions used

Discovering the Komodo Lizard

Two fishermen tied their boat up, hurried out of the boat and ran down the streets of their
hometown. 'We saw a dragon on Komodo Island,' they shouted. 'We saw a dragon!'

A man heard their shouts. He was an American named Douglas Burden. Burden was a
naturalist. A naturalist is a person who tries to learn, as much as he can about things that
live. He believed what the two men said but there was only one way to find out; He had to go
to Komodo Island himself and brought back one of the dragons for people to see.

So Douglas Burden and some friends sailed halfway around the world to the tiny island off
the coast of Indonesia. When they reached the island, they were afraid that the traps and
cages they had with them would not be strong enough toehold the dragons. There was
dragon son the island. They weren't the same dragon’s people see in picture books and in
children's stories, but they looked more like dragons than any other animal Burden had ever
seen. They were really large lizard - some of them three meters long and as heavy as two
men. Their legs were short and thick and on their feet were sharp claws like knives. Although
they did not breathe fire like the dragons in story books, the lizards had yellow forked
tongues, that moved quickly in and out of their mouths.

It was difficult and dangerous to catch the lizards. Sometimes the lizards attacked the men.
Sometimes the men had to kill the lizards to save themselves.

Finally, Burden and his friends caught two live Komodos and put them in cages on their ship.
Then they sailed back to America.

When the two dragons were put into the Brooklyn Zoo in New York City, people came from
all over America to see them. Burden, was pleased that so many people had a chance to
see two live dragons.

That was more than 45 year ago. today there are no more live dragons anywhere in the
world except on the tiny island of Komodo. They still live there.

(Revise it as if you are the main character of the text)

Take not of the following:
 Plot/subplot
 Symbols
 Motifs
 Theme
 Forms
 Settings
 Codes
IV. Reflection

Hi ! I just want to know your greatest realization about all the lessons we have
discussed this week. Write your thoughts below

References:
(Subplots) https://www.masterclass.com/articles/how-to-add-subplots-to-your-story#quiz-0
https://industrialscripts.com/subplots/
(Genres and conventions of a narrative piece) https://englishonline.tki.org.nz/English-
Online/Planning-for-my-students-needs/Exploring-language/Genres-and-Conventions
(Examples of creative nonfiction literary piece) https://www.thoughtco.com/what-is-
creative-nonfiction-1689941
(subplot activities) https://kimberleywoodhouse.com/the-write-nook/lesson-142-exercises-
for-sub-plots/
(symbols and motifs ) https://www.thoughtco.com/symbols-and-motifs-in-literature-
1857637
(theme) https://study.com/academy/lesson/what-is-theme-in-literature-definition-examples-
quiz.html
(forms) https://penandthepad.com/five-common-forms-nonfiction-22536.html
(setting) https://www.writersdigest.com/improve-my-writing/discover-the-basic-elements-
of-setting-in-a-story
(narrative text) http://englishjuniorhighschool.blogspot.com/2014/09/example-of-narrative-
text-discovering.html

Quality Assured/Evaluated by the Following:

Aileen Recaido Janina Michelle W. Araneta Edmond A. Parenas

Estrelita Ampo-Pena Education Program Supervisor

Kindergarten & Senior HS Division Coordinator

Reviewed By:

Evelyn F. Importante
OIC- CID Chief EPS

Raymond M. Salvador
OIC- Assistant Schools Division Superintendent

Jerry C. Bokingkito
OIC- Assistant Schools Division Superintendent

Jeanelyn A. Aleman, CESE

OIC-Schools Division Superintendent