Creative Writing

Quarter 1 – Module 1:
Introduction to Creative Writing
Personal Development
Alternative Delivery Mode
Quarter 1 – Module 1: Introduction to Creative Writing
First Edition, 2020

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 Creative Writing
Quarter 1 – Module 1:
Introduction to Creative Writing
Introductory Message
For the facilitator:

Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module on

Introduction to Creative Writing!

This module was collaboratively designed, developed and reviewed by educators

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

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

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

Notes to the Teacher

This contains helpful tips and strategies
that will help you in guiding the learners.

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

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For the learner:

Welcome to the Creative Writing Alternative Delivery Mode (ADM) Module on

Introduction to Creative Writing!

The hand is one of the most symbolized part of the human body. It is often used to
depict skill, action and purpose. Through our hands we may learn, create and
accomplish. Hence, the hand in this learning resource signifies that you as a
learner is capable and empowered to successfully achieve the relevant
competencies and skills at your own pace and time. Your academic success lies in
your own hands!

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

This module has the following parts and corresponding icons:

What I Need to Know This will give you an idea of the skills or
competencies you are expected to learn in
the module.

What I Know This part includes an activity that aims to

check what you already know about the
lesson to take. If you get all the answers
correct (100%), you may decide to skip this
module.

What’s In This is a brief drill or review to help you link

the current lesson with the previous one.

What’s New In this portion, the new lesson will be

introduced to you in various ways such as a
story, a song, a poem, a problem opener, an
activity or a situation.

What is It This section provides a brief discussion of

the lesson. This aims to help you discover
and understand new concepts and skills.

What’s More This comprises activities for independent

practice to solidify your understanding and
skills of the topic. You may check the
answers to the exercises using the Answer
Key at the end of the module.

What I Have Learned This includes questions or blank

sentence/paragraph to be filled in to
process what you learned from the lesson.

What I Can Do This section provides an activity which will

help you transfer your new knowledge or

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 skill into real life situations or concerns.

Assessment This is a task which aims to evaluate your

level of mastery in achieving the learning
competency.

Additional Activities In this portion, another activity will be given

to you to enrich your knowledge or skill of
the lesson learned. This also tends
retention of learned concepts.

Answer Key This contains answers to all activities in the

module.

At the end of this module you will also find:

References This is a list of all sources used in

developing this module.

The following are some reminders in using this module:

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

We hope that through this material, you will experience meaningful learning
and gain deep understanding of the relevant competencies. You can do it!

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1
 What I Need to Know

This module was designed and written with you in mind. It is here to help
you learn about creative writing. In addition to this, this material help you to revisit
elements of creative writing such as sensory experience/imagery, figurative
language, and diction. Likewise, close reading of sample works of well-known local
and foreign authors will be given emphasis as well. The scope of this module
permits it to be used in many different learning situations. The language used
recognizes the diverse vocabulary level of students. The lessons are arranged to
follow the standard sequence of the course. However, the order in which you read
them can be changed to correspond with the textbook (if any) you are now using.

The module is divided into three lessons, namely:

 Lesson 1 – Creative Writing vs. Technical/Academic Writing
 Lesson 2 – Sensory Experience/Imagery, Figurative Language and Diction
 Lesson 3 – Close Reading of Sample Literary Works

After going through this module, you are expected to:

1. differentiate imaginative writing from among other forms of writing;
2. cull creative ideas from experiences;
3. utilize language to evoke emotional and intellectual responses from readers;
4. use imagery, diction, figures of speech, and specific experiences; and
5. read closely as writers with a consciousness of craft

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 What I Know

Choose the letter of the best answer. Write the chosen letter on a separate
sheet of paper.

1. It is the art of creating and recreating things, feelings, array of emotions, and
thoughts through words.
A. creative writing C. prose
B. discourse D. technical writing

2. This refers to the linguistic choices a writer makes to effectively convey an idea,
a point of view, or tell a story.
A. close reading C. diction
B. creative writing D. sensory imagery

3. It is deep analysis of how a literary text works

A. close reading C. figurative language
B. creative writing D. sensory imagery

4. He was an American writer, poet, critic and editor best known for evocative
short stories. One of his works is the short story “Tell-Tale Heart”.
A. Edgar Allan Poe C. Otto Leland Bohanan
B. José Garcia Villa D. None of these

5. It is a form of phrasing that goes beyond the literal meaning of words to get a
message or point across.
A. creative writing C. figurative language
B. diction D. sensory imagery

6. These are the classifications of literary text when grouped according to

structure.
A. essay and short story C. prose and poetry
B. fiction and nonfiction D. vignette and novels

7. Which of the following does not belong to the group?

A. elegy C. survey report
B. ode D. vignette

8. The following are the usual tones of a creative text EXCEPT:

A. conversational C. objective
B. light D. subjective

9. Which of the following is true in both creative writing and technical/academic

writing?
A. factual C. informative
B. imaginative D. metaphorical

10. This is something that appeals to your senses when you read a literary text.
A. close reading C. figurative language
B. creative writing D. sensory imagery

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11. It is a type of sensory imagery that appeals to the sense of taste.
A. gustatory imagery C. olfactory imagery
B. kinesthetic imagery D. tactile imagery

12. This happens when the object of comparison is purely implied rather than
directly referenced.
A. implied metaphor C. simile and metaphor
B. metaphor and personification D. A and B

13. It is a sound device that layers some additional meaning on top of the literal
language of the text. It occurs when a series of words start with the same letter
sound.
A. alliteration C. assonance
B. apostrophe D. pun

14. The underlined words below are an example of what figurative language?
I love you, dear, I'll love you
Till China and Africa meet.
A. hyperbole C. irony
B. idiom D. synecdoche

15. What figure of speech is exemplified by the line “0 Captain my Captain! our
fearful trip is done” from the poem entitled 0 Captain! My Captain written by
Walt Whitman?
A. alliteration C. assonance
B. apostrophe D. pun

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Lesson
Creative Writing vs.
1 Technical Writing
Do you still remember William Shakespeare? If not, maybe a sonnet is
familiar with you. If sonnet is still a blurry memory from the past, for sure, you will
never forget characters in Greek Mythology like Zeus, Hera, Athena, Poseidon,
Aphrodite, and Hades? Can you still remember their stories and how those stories
were told?

What’s In

From the questions above, would you mind to scribble your ideas on the
characteristics of a sonnet or stories in Greek Mythology? How is it written? What
can you say about the language used in writing them?

__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________

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 Notes to the Teacher
Each lesson was constructed by considering the concept of scaffolding
and its importance to learning. With this, the teacher should remind the
students not to skip any activity (even the activities that will not be put into
paper) because each activity will help them to understand other activities that
will follow and the key concepts in the lesson.
In connection to this, the teacher may also advice the students to keep
their old notes in English subjects, especially about literature, for these can be
used as their references. Furthermore, aside from online researching, virtual
interview (through messenger, text messages, and others) could be done by the
students if they need additional information about the topic. Most importantly,
the students should know how to contact their subject teacher, and she/he
should be always available to answer their queries related to the lesson.

What’s New

Try This!
Have you heard of the term creative writing before? How about technical or
academic writing? From the words creative and technical/academic, do you think
they are the same or different?
Now, let us try the activity below. Encircle the word/s that is/are not part of
each group in order to separate the examples of creative writing from the examples
of technical writing.
1. elegy position paper song
2. novel short story survey report
3. ballad concept paper one-act play
4. autobiography research report script of a movie
5. news article novelette vignette

Based from your answers, what do you think are the characteristics of
creative writing? of technical/academic writing?

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Do This!
After separating examples of creative writing to technical/academic writing,
list two (2) specific examples of prose and poetry (products of creative writing) from
the list of literary works that you studied in your English or Literature class. Then,
briefly describe them in terms of form, style, and language. After you accomplish
the said task, write an inference on the style, form, and language of creative
writing. Use the table below.

Prose Poetry

1. Title:____________________________________ 1. Title:____________________________________
Author:_________________________________ Author:__________________________________

2. Title:____________________________________ 2. Title:____________________________________
Author:_________________________________ Author:__________________________________

Characteristics: Characteristics:

Generalization:

What is It

After finishing the activities in the previous page, try to ponder on the
questions below without reading the given discussions on the topic. Be honest in
doing this and try to scribble your thoughts on the spaces provided.

 What is creative writing?

_____________________________________________________________________
_____________________________________________________________________

 What is technical/academic writing?

_____________________________________________________________________
_____________________________________________________________________

 How does creative writing different from technical/academic writing in

terms of forms, language, purpose, and style?
_____________________________________________________________________
_____________________________________________________________________

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What is Creative Writing?
Creative writing or imaginative writing is the art of creating and recreating
things, feelings, array of emotions, and thoughts through words. It is a form of
writing that goes beyond the rules of professional or technical writing, and it bears
the purpose of entertainment, sharing human experiences, and educating the
readers. According to Mills (2006), in creative writing:

Writers build up worlds, make them real, emphasise and illuminate them
through images. Through voices they hold our attention, remind us of
the varying tones of speech. Through stories told and heard they show
the way our thoughts are shaped by narrative, how we shape the
thoughts and lives of others and ourselves (p 1).

Moreover, it is a tool in producing master pieces in literature that can be in

a form of poems, short stories, novels, dramas, memoirs, television and movie
script and others. With this, literature may be classified as prose and poetry
according to form, or fiction and non-fiction according to structure. On the whole,
these are manifestation of what we call creative or imaginative writing.

Imaginative Writing vs. Technical/Academic Writing

Creative writing and technical/academic writing differ in many aspects.
Technically, their respective subject, purpose, target audience, content, format,
language, vocabulary, style, and tone set a demarcation line between the two. To
clearly illustrate their differences, the table below was provided.

Technical/Academic Creative Writing

Writing
Subject scientific, academic, life and experiences
technical
Purpose to inform, to instruct, to to entertain, to educate
persuade, to sell
Target specific group general audience
Audience
Content objective, factual, subjective, imaginative,
informative, informative, metaphorical,
straightforward symbolic
Form connected discourses prose, poetry
Language literal, direct figurative, indirect
Vocabulary specialized general
Style formal, standard, academic informal, artistic,
figurative
Tone objective, serious subjective, light,
conversational

The table above shows the differences between technical/academic writing

and creative writing in different aspects that you can found in the first column.

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Upon reading the contents of the table, it can be inferred that there is a clear
demarcation line between them. However, when it comes to content, both types of
writing can be informative on their own way.

TRIVIA: Rothmel (1892) enunciated in his study “Technical and Creative Writing:
Common Process, Common Goals” that creative and technical writing share
definite, but seldom realized, affinities. Like the fiction writer, the engineer
and the scientist must realize that writing is a creative process rather than a
reflex action if they are to communicate successfully. This statement was
supported by Thomas’s recent study in 2019 which was entitled as “Task
Development: Creative Writing”. She said that despite claims that creative
writing does not meet the rigor required in academic English classes, writing
fiction, narrative, and memoir encompasses key literacy skills that, when
developed, enable students to meaningfully express themselves and write well-
organized composition.

What’s More

Activity 1. True or False

A. Write TRUE if the statement is correct, and FALSE if otherwise. Write your
answers in one whole sheet of paper.
1. Creative writing and technical writing share the same format and style of
writing.
2. Figurative language is commonly used in technical or academic writing.
3. In terms of vocabulary, creative writing uses specialized words which are
specific to a group of people.
4. The main purpose of technical/academic writing is to inform, to instruct, to
persuade, or to sell which is different from the main purpose of creative
writing.
5. Some of the examples of creative writing are position paper and concept paper.
6. The subject of creative writing is about life and human experiences.
7. The tone of technical/academic writing is similar to the tone of creative writing.
8. The target audience of creative writing is anyone or the general audience, while
technical/academic writing aims specific group of people who might have the
same interest or profession.
9. Creative writing is connected to different types of literature like prose and
poetry.
10. Technical/academic writing is more straightforward than creative writing.

Activity 2. Creative or Technical?

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Write CW if the statement pertains to creative writing, and TAW if it is for
technical/academic writing.
________1. Its language is informal and figurative.
________2. It expresses the writer’s thoughts and feelings in creative, unique
and poetic way.
________3. Clarity, coherence, completeness, and credibility are important
considerations in writing.
________4. It contains vocabulary that is written for general audience.
________5. This is characterized by subjective tone.
________6. It follows sequential/systematic pattern and a specific writing
style.
________7. Its contents are factual and straightforward.
________8. This kind of writing utilizes tone that is objective and its audience
is specific which evoke intellectual response from the audience.
________9. It uses specialized vocabulary and formal language.
________10 It entertains readers through unique ways of using language in
. writing.

Activity 3. The A-List

Make a list of specific examples of creative writing and technical/academic
writing. You may search online or interview a person. If face-to-face interview is not
applicable, you may do it through text messages, phone call, or messenger. Use the
table below.

Creative Writing Technical/Academic Writing

1. 1.
2. 2.
3. 3.
4. 4.
5. 5.
6. 6.
7. 7.
8. 8.
9. 9.
10. 10.

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Activity 4. Compare and Contrast
Compare and contrast the characteristics of creative writing and
technical/academic writing using the Venn Diagram below.

Creative Writing
Technical/Academic Writing

What can you say about the their differences? With your answers in the diagram,
write a paragraph that will clearly discuss the difference between creative writing
and technical/academic writing.
__________________________________________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
_________________________________________________________________________________

What I Have Learned

1. Creative writing or imaginative writing is the art of creating and

recreating things, feelings, array of emotions, and thoughts through
words. It is a form of writing that goes beyond the rules of professional
or technical writing, and it bears the purpose of entertainment,
sharing human experiences, and educating the readers.
2. Creative writing is a tool in producing master pieces in literature that
can be in a form of poems, short stories, novels, dramas, memoirs,
television and movie script and others.
3. Creative writing and technical/academic writing differ in many
aspects like subject, purpose, audience, content, form, language,
vocabulary, style, and tone.
4. Unlike technical/academic writing, creative writing intends to
entertain and to educate readers by using figurative language. Hence,

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 its content is often described as subjective, imaginative, informative,
metaphorical, symbolic
5. The language of creative writing is figurative and indirect; while the
language of technical writing is literal and direct.

What I Can Do

Creative and Technical Bookmark

At this point, you will make two bookmarks. The first bookmark is for creative
writing, while the second one is for technical/academic writing. Now is the time
that you have to use the things that you have learned about the differences
between the two. To start, follow the guidelines below.
1. Prepare your art materials like scissors, coloring materials, pen, rules,
colored papers, and anything that is available at home. You may also
improvise if you need to.
2. The measurement of each bookmark should be 3 inches by 8 inches (l
x w).
3. Artistically write the characteristics of creative writing and
technical/academic writing in their respective bookmark.
4. Add design to your liking.
5. Your bookmarks will be evaluated in terms of the following criteria:

CRITERIA POINTS

Content 5

Creativity 5

Originality 5

Design and Artistry 5

Total 20 points

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 Additional Activities

From the list that you make in Activity 3, choose three examples of creative
writing and define them. The same means of gathering procedure may apply to this
activity like online searching, face-to-face interview (if applicable), or virtual
interview. Write your final answer in separate sheet of paper.
1. Example 1
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________

2. Example 2
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________

3. Example 3
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________
_______________________________________________________________________________

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Lesson SENSORY EXPERIENCES
2 AND FIGURATIVE
LANGUAGE
In Lesson 1 you have learned about creative writing and its difference from
technical or academic writing. At this point, you will take one step farther from the
point that you have taken in the previous lesson. With this, keeping in mind the
things that you have learned in lesson one will help you to jump-start.

What’s In

You have learned that the language used in creative writing is figurative and
its content is mostly imaginative, symbolical, and metaphorical. With this, recall
the discussion of your English or Literature teacher in previous years on the use of
sensory images (through sensory experience) and figurative language in creating a
literary text.

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 Notes to the Teacher
Each lesson was constructed by considering the concept of scaffolding
and its importance to learning. With this, the teacher should remind the
students not to skip any activity (even the activities that will not be put into
paper) because each activity will help them to understand other activities that
will follow and the key concepts in the lesson.
In connection to this, the teacher may also advice the students to keep
their old notes in English subjects, especially about literature, for these can
be used as their references. Furthermore, aside from online researching,
virtual interview (through messenger, text messages, and others) could be
done by the students if they need additional information about the topic.
Most importantly, the students should know how to contact their subject
teacher, and she/he should be always available to answer their queries
related to the lesson.

What’s New

Try this!
Think of a specific experience that appeals to your sense of sight, hearing,
touch, smell, taste, and movement which makes you the happiest or saddest
person in the world. Write each kind of sensory experience in their corresponding
hexagon.

Note 1: Illustration of EYE Note 2: Illustration of EAR

here to represent the o here to represent the
sense of sight sense of hearing

Note 6: Illustration of Note 3: Illustration of

RUNNING/MOVING
Sensory
Experiences HAND here to represent
MAN here to represent the sense of touch
the feeling of movement

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 Note 5: Illustration of Note 4: Illustration of
TONGUE here to represent NOSE here to represent
the sense of taste the sense of smell

Think about this!

Through your sensory experiences, you can extract a topic that will be the
basis in writing a creative text. It could be the moment that you laid your eyes on
someone that you adore. It could be listening to the lullabies of your mother or the
warmth of her touch that eases any negative feelings that you feel. It could also be
the smell of perfume of significant someone in y our life, or taste of your
favorite adobo that your mother or your Lola usually cooks for you. Even the
thought of seeing you daddy arriving after a day’s work when you were just little.

Do this!
In Lesson 1 of this module, you have learned that the language of creative
texts can be figurative, and imaginative. With this, try to analyze the poem below.

The Sampaguita1
by Natividad Marquez

Little sampaguita
With the wondering eye
Did a tiny fair
Drop you where you lie?

In the witching hour

Of the tropic night
Did the careless moonbeam
Leave you in its fight?

 What do you think are the sensory experiences of the author in this poem?
(e.g. seeing sampaguita)
1
_____________________________________________________________________________
“Philippine Literatures Poems”, Literica, updated January 13, 2018, https://literica.blogspot.com/
2018/01/the-sampaguita-natividad-marquez.html
_____________________________________________________________________________
_____________________________________________________________________________

 Based on the sensory experiences, what images did you find in the poem?
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(e.g. sampaguita)
_____________________________________________________________________________
_____________________________________________________________________________
 What is It

In Try This activity and Do This activity, you have encountered the key
terms such as sensory experience, sensory images, diction, and figurative
language. Based from the answers that you have written, try to write your answers
on the following questions. At this point, there is no wrong or right answer. Then,
try to recheck your answers after you read the inputs about the previously
mentioned topics.
 What are sensory images?
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________

 What is figurative language? How about diction?

_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________

 What do you think are the uses of sensory images, figurative language, and
diction in writing a creative text?
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________

Sensory Imagery (Sensory Experience)

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 Creative writers used lines with non-literal meaning to artistically convey
their message to the readers. In terms of language of creative writing, it is
important to remember that it is figurative and imaginative.
In connection to this, imagery is produced when figurative language is in
use. Imagery is something that appeals to your senses when you read a literary text
which is also known as sensory imagery. “Sensory imagery involves the use of
descriptive language to create mental images. In literary terms, sensory imagery is
a type of imagery; the difference is that sensory imagery works by engaging a
reader’s five senses. Any description of sensory experience in writing can be
considered sensory imagery.” 2
Describing how something smells, looks, moves, feels, sounds, and tastes
through the use of figurative language that produces imagery gives flesh and blood
to words and to the text as whole. In literary terms, sensory imagery is a type of
imagery; the difference is that sensory imagery works by engaging a reader’s five
senses.
Types of Sensory Imagery
1. Visual imagery. This kind of imagery appeals to the sense of sight like
shape, color, appearance, shades and others.
2. Auditory imagery. This pertains to the sense of hearing. In terms of
figurative language, assonance, onomatopoeia, and alliteration aid the
writers to create sounds in the text.
3. Olfactory imagery. It appeals to the sense of smell. Simile and metaphor
are oftentimes used to create this kind of imagery.
4. Gustatory imagery. It appeals to the sense of taste.
5. Tactile imagery. It engages the sense of touch. This is what you can feel,
and includes textures and the many sensations a human being
experiences when touching something.
6. Kinesthetic imagery. It pertains to the feeling of movement. This means
that subject is seen from one point going to other point (i.e. a bride walking
down the aisle).

Figurative Language
In the previous discussion, you have learned that imagery and figurative
language are inseparable. Figurative language is the tool while imagery is its
product. More so, “figurative language is phrasing that goes beyond the literal
meaning of words to get a message or point across. Writers create figurative
language through figures of speech and literary devices.”3 Therefore, both figures of
speech and literary devices are considered as figurative language.
Types of Figurative Language

2
“Master Class”, David Rogier, updated October 23, 2019, https://www.masterclass.com/articles/
sensory-imagery-in-creative-writing#5-examples-of-sensory-imagery-in-literature

3
“Master Class”, David Rogier, updated October 15, 2019, https://www.masterclass.com/articles/
writing-101-what-is-figurative-language-learn-about-10-types-of-figurative-language-with-examples
#10-types-of-figurative-language

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1. SIMILE - A simile is a figure of speech that compares two separate concepts
through the use of a clear connecting word such as “like” or “as.”
Example:
My love is like a rose
That's newly sprung in June;
My love is like the melodie
That's sweetly play'd in tune.
-by Robert Bums, “My Love Is Like a Red Red Rose”

2. METAPHOR - A metaphor is like a simile, but without connecting words. It

simply posits that two separate things are the same.
Example:
Life is a broken-winged bird
That cannot fly.
Hold fast to dreams
For when dreams go
Life is a barren field
Frozen with snow.
-by Langston Hughes, “Dreams”

3. IMPLIED METAPHOR - Metaphor takes a few different forms. Sometimes the

object of comparison is purely implied rather than directly referenced.
Examples: he barks at his subordinates; she lured the people into her web

4. PERSONIFICATION - Personification projects human qualities onto

inanimate objects, or perhaps animals or natural elements.
Examples: the flowers dances in the field; the sun greeted me

5. HYPERBOLE - Hyperbole is extravagant, intentional exaggeration.

Examples:
I love you, dear, I'll love you
Till China and Africa meet.
-by Joseph Conrad, "The Heart of Darkness"

6. ALLITERATION - Alliteration is a sound device that layers some additional

meaning on top of the literal language of the text. It occurs when a series of
words start with the same letter sound.
Examples: Sally sells seashells.

7. ASSONANCE - Identity or similarity in sound between internal vowels in

neighboring words.
Example: The crumbling thunder of seas

8. ONOMATOPOEIA - In onomatopoeia, words sound like the thing they

describe.
Examples: Tick-tick-tick (denotes time or clock)
Brrooom… (sound of an engine)
Boom! (pertains to explosion)

9. IRONY – The use of words to convey the opposite of their literal meaning. A
statement or situation where the meaning is contradicted by the appearance
or presentation of the idea.
Example: His argument was as clear as mud.

19
 10.SYNECDOCHE – It is the use of a part of an object to represent the whole
Examples: His parents bought him a new set of wheels.
I would like to have your hand in marriage.
11.ALLUSION - Allusion is when a text references another external text—or
maybe a person, place or event. It can be either explicit or implicit.
Examples: washing the hands of the matter (biblical reference)
You don't always have to carry weight of the world on your
shoulders. (reference to Atlas in mythology)

12.APOSTROPHE – it is a call to a person, a thing or a personified idea which is

not really present
Example:
0 Captain my Captain! our fearful trip is done.
The ship has weathered every rack, the prize we sought is won
-by Walt Whitman, "0 Captain! My Captain"

13.IDIOM - Idioms are non-literal turns of phrase so common that most people
who speak the same language know them.
Examples: hit the hay (to sleep)
under the weather (not feeling well)

14.PUN - A pun is a play on words. It exploits the different meanings of a word

or its homonyms, usually to humorous effect. It has more than one possible
meaning
Examples: Using that pencil is pointless.

Diction
Diction, like sensory imagery and figurative language, is a vital element or
aspect of the language of creative writing. Likewise, diction refers to the linguistic
choices a writer makes to effectively convey an idea, a point of view, or tell a story.
In literature, the words used by an author can help establish a distinct voice and
style. For example, flowy, figurative language creates colorful prose, while a more
formal vocabulary with concise and direct language can help drive home a point.

Different Kinds of Diction

1. Formal diction. Formal diction is the use of sophisticated language,
without slang or colloquialisms. Formal diction sticks to grammatical rules
and uses complicated syntax (the structure of sentences). This elevated
type of language is often found in professional texts, business documents,
and legal papers.

2. Informal diction. Informal diction is more conversational and often used

in narrative literature. This casual vernacular is representative of how
people communicate in real life, which gives an author freedom to depict
more realistic characters. Most short stories and novels use informal
diction.

3. Pedantic diction. This is when a writer is highly detailed or academic in

their writing. Words are chosen specifically to convey only one meaning. It

20
 is sometimes used in literature when characters speak in a highly
educated manner, as in F. Scott Fitzgerald’s The Great Gatsby.

4. Colloquial diction. Colloquial words or expressions are informal in nature

and generally represent a certain region or time. “Ain’t” and “y’all” are
examples of colloquial expressions, born in rural areas of the United
States. Colloquialisms add color and realism to writing.

5. Slang diction. These are words that originated within a specific culture or
subgroup but gained traction. Slang can be a new word, a shortened or
modified word, or words that take on a new meaning. Examples of
common contemporary slang words are “aggro” instead of “aggravated”;
“hip,” which means trendy; and “throw shade,” which is to lob an insult at
someone.

6. Abstract diction. This is when a writer uses words to express something

intangible, like an idea or an emotion. Abstract phrases often lack physical
detail and specificity because they are things the reader cannot experience
through their five senses.

7. Concrete diction. Concrete diction is the use of words for their literal
meanings and often refer to things that appeal to the senses. The meaning
is not open to interpretation because the writer is specific and detailed in
their phrasing. For example, the sentence: “I ate an apple.”

8. Poetic diction. Poetic diction is driven by lyrical words that relate to a

specific theme reflected in a poem, and create a euphonious, or
harmonious, sound. Poetic diction usually involves the use of descriptive
language, sometimes set to a beat or rhyme.

What’s More

Activity 1. Identifying Terms

Write the word/s being described in each number. Make sure that you
spelled the words correctly.
________________1. It is a sound device that layers some additional meaning on top of
the literal language of the text. It occurs when a series of words
start with the same letter sound.
________________2. This is a figurative that plays on words and exploits the different
meanings of a word or its homonyms, usually to humorous effect.
________________3. It is a type of sensory imagery that appeals to the sense of smell
and simile and metaphor are oftentimes used create this kind of
imagery.
________________4. This is when a writer is highly detailed or academic in their
writing.
________________5. This engages the sense of touch that includes textures and the
many sensations a human being experiences when touching

21
 something.
________________6. This is a kind of diction that is described as conversational which
is often used in narrative literature.
________________7. A type of diction that is driven by lyrical words that relate to a
specific theme and create a euphonious, or harmonious, sound.
________________8. This pertains to phrasing that goes beyond the literal meaning of
words to get a message or point across
________________9. It refers to the linguistic choices a writer makes to effectively
convey an idea, a point of view, or tell a story
________________10. It is something that appeals to senses when someone read a
literary text.

Activity 2. Figurative Language

Read each sample and identify them in terms of the different types of figurative
language tackled in this lesson. Write the capital letter of your answer.
_____1. Silver bells!... How they tinkle, tinkle, tinkle in the icy air of night.
A. alliteration B. assonance C. metaphor D. onomatopoeia
_____2. My heart gets out of my chest whenever I see him.
A. alliteration B. assonance C. hyperbole D. onomatopoeia
_____3. I wash my hands of the whole matter.
A. alliteration B. allusion C. irony D. synechdoche
_____4. His hands dangled a mile from his sleeves.
A. hyperbole B. irony C. personification D. simile
_____5. Chicago is a city that is fierce as a dog with tongue lapping for action.
A. idiom B. metaphor C. pun D. simile
_____6. He hit the nail on the head after delivering his opinion about the issue.
A. idiom B. metaphor C. pun D. simile
_____7. I was struggling to figure out how lightning works, but then it struck me.
A. idiom B. metaphor C. pun D. simile
_____8. Justice is blind and, at times, deaf.
A. hyperbole B. irony C. personification D. simile
_____9. New York is a city that never sleeps.
A. hyperbole B. irony C. personification D. simile
_____10 Music is the artist’s bread and butter.
.
A. apostrophe B. metaphor C. personification D. synecdoche

Activity 3. Triple Figurative

A. Write your own examples of simile
1. __________________________________________________________________________
2.___________________________________________________________________________
B. Write your own examples of metaphor
1. __________________________________________________________________________
2.___________________________________________________________________________

22
C. Encircle the object being personified in each sentence and write the
meaning of each personification.
1. The wind tickles me as I walk on the shore.
Meaning:
______________________________________________________________________________
_____________________________________________________________________________
2. Seeing the flowers dance is a delight for my soul
Meaning:
______________________________________________________________________________
_____________________________________________________________________________

Activity 4. Giving Flesh to Experiences

Think of your most unforgettable experience and create sensory images out of
it by using figurative language and the type of diction of your choice. Follow the
guidelines to better understand the activity.
1. Identify your most unforgettable experience.
2. Write a paragraph about your unforgettable experience.
3. The paragraph should be creatively written to create sensory images of your
experience.
4. Remember that you have to use figurative language in able to create sensory
imageries in your writing.
5. Write your paragraph in a separate sheet of paper.

23
 What I Have Learned

1. Imagery is something that appeals to your senses when you read a literary
text which is also known as sensory imagery.
2. Sensory imagery is the product of a particular sensory experience of a writer.
Moreover, writer produces sensory imageries in writing through the use of
figurative language.
3. There are six types of sensory imagery such as visual, olfactory, auditory,
gustatory, tactile, and kinesthetic imagery.
4. Assonance, onomatopoeia, and alliteration are the figurative language that
are usually used to describe auditory imageries.
5. Figurative language is the tool while imagery is its product.
6. Figurative language is phrasing that goes beyond the literal meaning of
words to get a message or point across.
7. Both figures of speech and literary devices are considered as figurative
language.
8. There are different types of figurative language like simile, metaphor,
personification, assonance, pun, idiom, and others.
9. Diction refers to the linguistic choices a writer makes to effectively convey an
idea, a point of view, or tell a story.
10.There are eight kinds of diction such as formal, informal, pedantic,
colloquial, slang, abstract, concrete, and poetic diction.

24
 What I Can Do

Poetry Writing
Can you still remember the paragraph that you have written about your
most unforgettable experiences in Activity 4 of What’s More of this lesson? In this
activity, you have to translate that experience by writing a poem. You may write
your poem in any style and format that you want it to be written. Write your poem
in one whole sheet of paper.
Your poem will be graded by using the following criteria:

CRITERIA POINTS

Content 8

Organization 7

Style 5

Poetic Structure 5

Total 25 points

Additional Activities

My Poem, My Analysis
Using the poem that you have written in the previous activity (What I can Do),
analyze it in terms of sensory imageries, figurative language, and diction. Write
your analysis in a separate sheet of paper. Afterwards, staple it together with your
written poem.

MY ANALYSIS

MY POEM

25
Lesson
CLOSE READING OF
3 LITERARY TEXT
In Lesson 2 you have learned about language use and various sensory
techniques you can adapt in creative writing. In this lesson, you will learn how to
deeply appreciate a literary piece by analyzing it in its attributes.

What’s In

At this point, you have to recall the lessons or key concepts that you have
learned about language of creative/literary text in Lesson 2. Why do you think
knowing sensory imagery, figurative language, diction is important in reading a
creative/literary text closely? What is close reading? Take some minutes to answer
these questions.

Notes to the Teacher

Each lesson was constructed by considering the concept of scaffolding
and its importance to learning. With this, the teacher should remind the
students not to skip any activity (even the activities that will not be put into
paper) because each activity will help them to understand other activities that
will follow and the key concepts in the lesson.
In connection to this, the teacher may also advice the students to keep
their old notes in English subjects, especially about literature, for these can
be used as their references. Furthermore, aside from online researching,
virtual interview (through messenger, text messages, and others) could be
done by the students if they need additional information about the topic.
Most importantly, the students should know how to contact their subject
teacher, and she/he should be always available to answer their queries
related to the lesson.

26
 What’s New

Try this!
A. Recall the times that you read creative or literary texts. It could be a poem, a
short story, a novel, or an essay like travelogue. Then, ask yourself why did you
read them? Is it because you want to be entertained or is it because you have to
read it closely in able to analyze it and answer specific questions? After
answering the preceding questions about why you read, write the things inside
the box that you usually do when you read for pleasure and when you read the

1 2
text closely.

Reading for Pleasure Close Reading

Hint: Snow and Connor (2016) define close reading as “an approach to teaching
comprehension that insists students extract meaning from text by examining carefully how
language is used in the passage itself” (p. 1).

B. Read the poem “Lyric 17”closely, and follow the things that you usually do in
close reading of a literary text, in reference to your answers in box #2,.

“Jose Garcia Villa was a Filipino writer with the penname Doveglion (dove, eagle,
and lion). After publishing “Footnote to Youth”, he abandoned short-story writing
and turned all his attention to poetry. He also invented a writing style which he
dubbed as “comma poem” in which he inserts a comma after nearly every word.”

Lyrics 17
by José Garcia Villa4

4
“Encyclopedia.com”, Padre Media Company, updated April 1, 2020,
https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/villa-jose-

27
 First, a poem must be magical,
Then musical as a sea-gull.
It must be a brightness moving
And hold secret a bird’s flowering.
It must be slender as a bell,
And it must hold fire as well.
It must have the wisdom of bows
And it must kneel like a rose.
It must be able to hear
The luminance of dove and deer.
It must be able to hide
What it seeks, like a bride.
And over all I would like to hover
God, smiling from the poem’s cover.5

What is It

After reading the poem “Lyric 17” closely, what are the things that you
noted? How are you able to analyze the language of poetry? To help you become
successful in close reading literary texts, here are some guidelines that you may
follow.

Close Reading
In the previous page, close reading was briefly defined by citing Snow and
Connor (2016). In addition to this, close reading pertains to deep analysis of how a
literary text works; it is both a reading process and something you include in a
literary analysis paper, though in a refined form. Fiction writers and poets build
texts out of many central components, including subject, form, and specific word
choices. Literary analysis involves examining these components, which allows us to
find in small parts of the text clues to help us understand the whole.

Guidelines for Close Reading

1. Read the text
 Read the text with full attention
 Understand the meaning of the text by reading it actively and taking
down notes

garcia
5
“Tea Cups and Pencils Poem”,Wordpress, accessed May 8,
2020,https://dodotjetrow.wordpress.com/2016/10/11/lyric-17-by-jose-garcia-villa/

28
  Highlight words, phrases or lines that should be given attention in
understanding the text
 Focus on the key ideas, message, details of the of the text

2. Look into the specifics

 Consider the title in unlocking the meaning and theme of the text
being read
 Identify the elements of the text depending if it is fiction or non-fiction
 In line with the content of Lesson 2, you may focus your reading and
analysis of the text on sensory imageries, figurative language, and
diction.
 In addition, you may look into the audience, purpose, point of view,
symbols, characterization, form/structure, and chronology.

3. Integrate knowledge and ideas

 Dig deeper on the meaning and purpose of the text by integrating it to

connected ideas or notions.

4. Write your analysis based on the close reading that you did.

What’s More

Activity 1. Poem Analysis 1

Read the poem “The Dawn’s Awake” by Otto Leland Bohanan and follow
appropriate guidelines for close reading. Then, accomplish Questions to Answer.

29
 The Dawn’s Awake!
by Otto Leland Bohanan6

The Dawn’s awake! “Otto Leland Bohanan was a poet

A flash of smoldering flame and fire and composer. He was born in
Ignites the East. Then, higher, higher, around 1895 in Washington, D.C.
O’er all the sky so gray, forlorn, and educated in the public schools
The torch of gold is borne. in Washington. He is a graduate of
Howard University, School of
The Dawn’s awake! Liberal Arts, Washington, D.C., and
The dawn of a thousand dreams and thrills. did special work in English at the
And music singing in the hills Catholic University in that city.”
A pæen of eternal spring
Voices the new awakening.

The Dawn’s awake!

Whispers of pent-up harmonies,
With the mingled fragrance of the trees;
Faint snaches of half-forgotten song—
Fathers! Torn and numb,—
The boon of light we craved, awaited long,
Has come, has come!7

Questions to Answer
Write your answer in separate sheet of paper.
1. Identify two examples of personification in the poem and explain what is being
personified in each example.
_______________________________________________________________________________
_______________________________________________________________________________

2. Write an example of hyperbole in the poem and explain how it is exaggerated.

_______________________________________________________________________________
_______________________________________________________________________________

3. Point out an example of metaphor in the poem and identify which two things are
being compared.
_______________________________________________________________________________
_______________________________________________________________________________

4. Find three examples of imagery in the poem that access three different senses.
_______________________________________________________________________________
_______________________________________________________________________________

Activity 2. Poem Analysis 2

I taste a liquor never brewed (214)
“Emily Dickinson, Emily Dickinson8 (1830-1886)
was an American lyric
poet who lived in I taste a liquor never brewed –
6 seclusion and
Poets.org”, Academy of American Poets, accessed May 9, 2020, https://poets.org/poem/dawns-
awake commanded a singular
7 brilliance
“Poets.org”, of style
Academy and
of American Poets, accessed May 9, 2020, https://poets.org/poet/otto-leland-
bohananintegrity of vision.
Although Dickinson
had begun composing
verse by her late teens, 30
few of her early
poems are extant.
 From Tankards scooped in Pearl –
Not all the Frankfort Berries
Yield such an Alcohol!

Inebriate of air – am I –
And Debauchee of Dew –
Reeling – thro' endless summer days –
From inns of molten Blue –

When "Landlords" turn the drunken Bee

Out of the Foxglove's door –
When Butterflies – renounce their "drams" –
I shall but drink the more!

Till Seraphs swing their snowy Hats –

And Saints – to windows run –
To see the little Tippler
Leaning against the – Sun!9
Instructions for Poem Analysis
1. Write your initial thought about the poem upon reading the title.
2. Read the poem closely by highlighting sensory imageries and cues about the
message of the text
3. Identify possible sensory experiences associated to the sensory imageries created
by the author.
4. Point out the different types of figurative language used in the poem.
5. Write the main message of the speaker of the poem.
6. Go back to number 1 and revise your answer.
7. Write a paragraph about your analysis of the poem.
8. Write in one sheet of pad paper.

Activity 3. Short Story Analysis

“Edgar Allan Poe was an American writer, poet, critic and editor best known for evocative
short stories and poems that captured the imagination and interest of readers around the
world. His imaginative storytelling and tales of mystery and horror gave birth to the modern
detective story. Many of Poe’s works, including “The Tell-Tale Heart” and “The Fall of the
House of Usher,” became literary classics. Some aspects of Poe’s life, like his literature, is
shrouded in mystery, and the lines between fact and fiction have been blurred substantially
since his death.”

8
Alfred Habegger, “Encyclopedia Britannica”, Jacqui Safra, updated May 11, 2020,
https://www.britannica
.com/biography/Emily-Dickinson
9
Poets.org”, Academy of American Poets, accessed May 8, 2020, https://poets.org/poem/i-taste-
liquor-never-brewed-214

31
 THE TELL-TALE HEART
By Edgar Allan Poe

True! --nervous --very, very dreadfully nervous I had been and am; but why
will you say that I am mad? The disease had sharpened my senses --not destroyed
--not dulled them. Above all was the sense of hearing acute. I heard all things in
the heaven and in the earth. I heard many things in hell. How, then, am I mad?
Hearken! and observe how healthily --how calmly I can tell you the whole story.

It is impossible to say how first the idea entered my brain; but once
conceived, it haunted me day and night. Object there was none. Passion there was
none. I loved the old man. He had never wronged me. He had never given me insult.
For his gold I had no desire. I think it was his eye! yes, it was this! He had the eye
of a vulture --a pale blue eye, with a film over it. Whenever it fell upon me, my
blood ran cold; and so by degrees --very gradually --I made up my mind to take the
life of the old man, and thus rid myself of the eye forever.

Now this is the point. You fancy me mad. Madmen know nothing. But you
should have seen me.

You should have seen how wisely I proceeded --with what caution --with
what foresight --with what dissimulation I went to work! I was never kinder to the
old man than during the whole week before I killed him. And every night, about
midnight, I turned the latch of his door and opened it --oh so gently! And then,
when I had made an opening sufficient for my head, I put in a dark lantern, all
closed, closed, that no light shone out, and then I thrust in my head. Oh, you
would have laughed to see how cunningly I thrust it in! I moved it slowly --very,
very slowly, so that I might not disturb the old man's sleep. It took me an hour to
place my whole head within the opening so far that I could see him as he lay upon
his bed. Ha! would a madman have been so wise as this, And then, when my head
was well in the room, I undid the lantern cautiously-oh, so cautiously --cautiously
(for the hinges creaked) --I undid it just so much that a single thin ray fell upon the
vulture eye. And this I did for seven long nights --every night just at midnight --but
I found the eye always closed; and so it was impossible to do the work; for it was
not the old man who vexed me, but his Evil Eye. And every morning, when the day
broke, I went boldly into the chamber, and spoke courageously to him, calling him
by name in a hearty tone, and inquiring how he has passed the night. So you see
he would have been a very profound old man, indeed, to suspect that every night,
just at twelve, I looked in upon him while he slept.
____________________________________________
Upon the eighth night I was more than usually cautious in opening the door.
10 Biography.com Editors, “The Biography.com”, A&E Television Networks, updated May 4, 2020,
Ahttps://www.biography.com/writer/edgar-allan-poe
watch's minute hand moves more quickly than did mine. Never before that night
had I felt the extent of my own powers --of my sagacity. I could scarcely contain my
feelings of triumph. To think that there I was, opening the door, little by little, and
he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea;
and perhaps he heard me; for he moved on the bed suddenly, as if startled. Now
you may think that I drew back --but no. His room was as black as pitch with the
thick darkness, (for the shutters were close fastened, through fear of robbers,) and
so I knew that he could not see the opening of the door, and I kept pushing it on
steadily, steadily. I had my head in, and was about to open the lantern, when my
thumb slipped upon the tin fastening, and the old man sprang up in bed, crying
out --"Who's there?" I kept quite still and said nothing. For a whole hour I did not

32
move a muscle, and in the meantime I did not hear him lie down. He was still
sitting up in the bed listening; --just as I have done, night after night, hearkening
to the death watches in the wall.

Presently I heard a slight groan, and I knew it was the groan of mortal terror.
It was not a groan of pain or of grief --oh, no! --it was the low stifled sound that
arises from the bottom of the soul when overcharged with awe. I knew the sound
well. Many a night, just at midnight, when all the world slept, it has welled up from
my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I
say I knew it well. I knew what the old man felt, and pitied him, although I
chuckled at heart. I knew that he had been lying awake ever since the first slight
noise, when he had turned in the bed. His fears had been ever since growing upon
him. He had been trying to fancy them causeless, but could not. He had been
saying to himself --"It is nothing but the wind in the chimney --it is only a mouse
crossing the floor," or "It is merely a cricket which has made a single chirp." Yes, he
had been trying to comfort himself with these suppositions: but he had found all in
vain. All in vain; because Death, in approaching him had stalked with his black
shadow before him, and enveloped the victim. And it was the mournful influence of
the unperceived shadow that caused him to feel --although he neither saw nor
heard --to feel the presence of my head within the room.

When I had waited a long time, very patiently, without hearing him lie down,
I resolved to open a little --a very, very little crevice in the lantern. So I opened it --
you cannot imagine how stealthily, stealthily --until, at length a simple dim ray,
like the thread of the spider, shot from out the crevice and fell full upon the vulture
eye. It was open --wide, wide open --and I grew furious as I gazed upon it. I saw it
with perfect distinctness --all a dull blue, with a hideous veil over it that chilled the
very marrow in my bones; but I could see nothing else of the old man's face or
person: for I had directed the ray as if by instinct, precisely upon the damned spot.
And have I not told you that what you mistake for madness is but over-acuteness
of the sense? --now, I say, there came to my ears a low, dull, quick sound, such as
a watch makes when enveloped in cotton. I knew that sound well, too. It was the
beating of the old man's heart. It increased my fury, as the beating of a drum
stimulates the soldier into courage.

But even yet I refrained and kept still. I scarcely breathed. I held the lantern
motionless. I tried how steadily I could maintain the ray upon the eve. Meantime
the hellish tattoo of the heart increased. It grew quicker and quicker, and louder
and louder every instant. The old man's terror must have been extreme! It grew
louder, I say, louder every moment! --do you mark me well I have told you that I am
nervous: so I am. And now at the dead hour of the night, amid the dreadful silence
of that old house, so strange a noise as this excited me to uncontrollable terror.
Yet, for some minutes longer I refrained and stood still. But the beating grew
louder, louder! I thought the heart must burst. And now a new anxiety seized me --
the sound would be heard by a neighbour! The old man's hour had come! With a
loud yell, I threw open the lantern and leaped into the room. He shrieked once --
once only. In an instant I dragged him to the floor, and pulled the heavy bed over
him. I then smiled gaily, to find the deed so far done. But, for many minutes, the
heart beat on with a muffled sound. This, however, did not vex me; it would not be
heard through the wall. At length it ceased. The old man was dead. I removed the
bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand
upon the heart and held it there many minutes. There was no pulsation. He was
stone dead. His eye would trouble me no more.

33
 If still you think me mad, you will think so no longer when I describe the
wise precautions I took for the concealment of the body. The night waned, and I
worked hastily, but in silence. First of all I dismembered the corpse. I cut off the
head and the arms and the legs. I then took up three planks from the flooring of
the chamber, and deposited all between the scantlings. I then replaced the boards
so cleverly, so cunningly, that no human eye --not even his --could have detected
any thing wrong. There was nothing to wash out --no stain of any kind --no blood-
spot whatever. I had been too wary for that. A tub had caught all --ha! ha! When I
had made an end of these labors, it was four o'clock --still dark as midnight. As the
bell sounded the hour, there came a knocking at the street door. I went down to
open it with a light heart, --for what had I now to fear? There entered three men,
who introduced themselves, with perfect suavity, as officers of the police. A shriek
had been heard by a neighbour during the night; suspicion of foul play had been
aroused; information had been lodged at the police office, and they (the officers)
had been deputed to search the premises. I smiled, --for what had I to fear? I bade
the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I
mentioned, was absent in the country. I took my visitors all over the house. I bade
them search --search well. I led them, at length, to his chamber. I showed them his
treasures, secure, undisturbed. In the enthusiasm of my confidence, I brought
chairs into the room, and desired them here to rest from their fatigues, while I
myself, in the wild audacity of my perfect triumph, placed my own seat upon the
very spot beneath which reposed the corpse of the victim.

The officers were satisfied. My manner had convinced them. I was singularly
at ease. They sat, and while I answered cheerily, they chatted of familiar things.
But, ere long, I felt myself getting pale and wished them gone. My head ached, and
I fancied a ringing in my ears: but still they sat and still chatted. The ringing
became more distinct: --It continued and became more distinct: I talked more freely
to get rid of the feeling: but it continued and gained definiteness --until, at length, I
found that the noise was not within my ears. No doubt I now grew very pale; --but I
talked more fluently, and with a heightened voice. Yet the sound increased --and
what could I do? It was a low, dull, quick sound --much such a sound as a watch
makes when enveloped in cotton. I gasped for breath --and yet the officers heard it
not. I talked more quickly --more vehemently; but the noise steadily increased. I
arose and argued about trifles, in a high key and with violent gesticulations; but
the noise steadily increased. Why would they not be gone? I paced the floor to and
fro with heavy strides, as if excited to fury by the observations of the men --but the
noise steadily increased. Oh God! what could I do? I foamed --I raved --I swore! I
swung the chair upon which I had been sitting, and grated it upon the boards, but
the noise arose over all and continually increased. It grew louder --louder --louder!
And still the men chatted pleasantly, and smiled. Was it possible they heard not?
Almighty God! --no, no! They heard! --they suspected! --they knew! --they were
making a mockery of my horror!-this I thought, and this I think. But anything was
better than this agony! Anything was more tolerable than this derision! I could bear
those hypocritical smiles no longer! I felt that I must scream or die! and now --
again! --hark! louder! louder! louder! louder!

"Villains!" I shrieked, "dissemble no more! I admit the deed! --tear up the

planks! here, here! --It is the beating of his hideous heart!"

A. VOCABULARY. As you read the story closely, underline the following words and
define them by using both denotative and connotative definitions.

Reminder: When we say denotation, it is the definition of a word in dictionary,

while connotative definition is based on how a particular word is used in a
sentence or in a particular context. 34
 1. stimulate
2. scantlings
3. suavity
4. gesticulations
5. audacity

B. After reading the text closely, answer the following:

1. Identify two character traits that the narrator demonstrates in this text. Use
evidence/s from the text to support your answer.
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
___________________________________________________________________________

2. Summarize the text. List five to seven key events from the story in the order
in which they happen. Your summary should include main points from the
beginning, middle, and end of the story.
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
____________________________________________________________________________
___________________________________________________________________________
C. Use the modified vertical numbered list in identifying the sensory imageries,
figurative language, and diction of the text “Tell-Tale Heart” by Edgar Allan Poe.

SENSORY IMAGERIES
Direction: Write a line from the text for each type in congruency to the
sequence of your list of sensory imageries.

Types of Sensory Imageries Lines from the text

1. 1.
2. 2.
3. 3.
4. 35 4.
5. 5.
 FIGURATIVE LANGUAGE
Direction: Write five kinds of figurative language that were used in the story and
provide one example for each from the text to support your answer.







DICTION
Directions: Identify the type/s of diction used in the text and explain your answer/s.
Add more numbers if necessary.

1.

What I Have Learned

1. Poems, short stories, and the likes are products of creative writing.
2. There are different ways to read a literary or creative text.
3. Close reading pertains to deep analysis of how a literary text works;
it is both a reading process and something you include in a literary
analysis paper, though in a refined form.

36
4. Fiction writers and poets build texts out of many central
components, including subject, form, and specific word choices.
5. Close reading can be done by following specific guidelines such as: a)
read the text; b) look into the specifics; c) integrate knowledge and
ideas; and d) write the analysis.

37
 What I Can Do

By this time, you are expected that you have followed the guidelines of close
reading. With that, I hope you are now ready to write your own literary analysis.
From the three creative texts that you read closely (from Lyric 17 to Tell-Tale
Heart), choose one text that will be the subject of your analysis. For better
understanding of the task, follow the guidelines below:
1. Literary analysis involves examining the subject, theme, language
(diction, figurative language), imageries, symbolisms (and others).
2. In writing about literature or any specific text, you will strengthen
your discussion if you offer specific passages from the text as
evidence.
3. Follow the principles of literary analysis
 Offer a thesis or topic sentence indicating a basic observation or
assertion about the text or passage.
 Offer a context for the passage without offering too much
summary.
 Cite the passage (using correct format).
 Then follow the passage with some combination of the following
elements: a) discuss what happens in the passage and why it is
significant to the work as a whole; b) consider what is said,
particularly subtleties of the imagery and the ideas expressed; c)
assess how it is said, considering how the word choice, the
ordering of ideas, sentence structure, etc., contribute to the
meaning of the passage; and d) explain what it means, tying your
analysis of the passage back to the significance of the text as a
whole.
 Repeat the process of context, quotation and analysis with
additional support for your thesis or topic sentence.
4. Format:
 Use the IBC (introduction, body, conclusion) format
 Arial, 14 for the title of your analysis
 Arial, 12, boldface for the subheadings (if any)
 Arial, 12 for the text
 1.5 spacing
 Margin-1 inch for all sides
 short bond paper
 Note: Handwritten output is allowed if it is not impossible for
you to encode it using computer/laptop.

38
 Additional Activities

Make a list of 10 famous foreign authors, and 10 famous local authors and write
short biography for each. Moreover, include their list of literary texts.

Assessment

Choose the letter of the best answer. Write the chosen letter on a separate
sheet of paper.
1. Which of the following is considered as a tool in producing master pieces in
literature that can be in a form of poems, short stories, novels, dramas, and others?
A. academic writing C. creative writing
B. close writing D. technical writing

2. It projects human qualities onto inanimate objects, or perhaps animals or natural

elements.
A. metaphor C. pun
B. personification D. synecdoche

3. It engages the sense of touch that includes textures and the many sensations a
human being experiences when touching something.
A. gustatory imagery C. olfactory imagery
B. kinaesthetic imagery D. tactile imagery

4. It appeals to the sense of smell. Simile and metaphor are oftentimes used to create
this kind of imagery.
A. gustatory imagery C. olfactory imagery
B. kinaesthetic imagery D. tactile imagery

5. The following are the characteristics of creative writing in terms of style EXCEPT:
A. artistic C. figurative
B. direct D. informal

6. Which of the following is one of the purposes of creative writing?

A. to entertain C. to persuade
B. to instruct D. to sell

7. The figurative language that are oftentimes used to create auditory imageries in
writing.
A. alliteration and onomatopoeia C. idiom and pun
B. apostrophe and allusion D. metaphor and personification

8. This is when a writer uses words to express something intangible, like an idea or an
emotion.
A. abstract diction C. poetic diction

39
 B. formal diction D. slang diction

9. It is driven by lyrical words that relate to a specific theme.

A. abstract diction C. poetic diction
B. formal diction D. slang diction

10. It is deep analysis of how a literary text works

A. close reading C. figurative language
B. creative writing D. sensory imagery
11. Which of the following is an example of allusion?
A. His argument was as clear as mud.
B. She lured the people into her web.
C. Using that pencil is pointless.
D. You don't always have to carry weight of the world on your shoulders.

12. It is phrasing that goes beyond the literal meaning of words to get a message or
point across.
A. creative writing C. figurative language
B. diction D. sensory imagery

13. He was a Filipino writer with the penname Doveglion (dove, eagle, and lion).
A. Edgar Allan Poe C. Otto Leland Bohanan
B. José Garcia Villa D. None of these

14. The statement “I would like to have your hand in marriage” is an example of _____.
A. metaphor C. pun
B. personification D. synecdoche

15. The idiom “ under the weather” means _________________________

A. confused C. not feeling well
B. excited D. sad and weary

40
41
References
Academy of American Poets. “Poets.org”. Accessed May 8, 2020, https://poets.org
/poem /dawns-awake.

Academy of American Poets. “Poets.org”. Accessed May 8, 2020. https://poets.org

/poem/i-taste-liquor-never-brewed-214.

Biography.com Editors. “The Biography.com”. A&E Television Networks. Updated

May 4, 2020, https://www.biography.com/writer/edgar-allan-poe.

David Rogier. “Master Class”. Updated October 15, 2019. https://www.masterclass

.com/articles/writing-101-what-is-figurative-language-learn-about-10-types-of-
figurative-language-with-examples#10-types-of-figurative-language.

David Rogier. “Master Class”. Updated October 23, 2019. https://www

.masterclass.com/articles/sensory-imagery-in-creative-writing#5-examples-
of-sensory-imagery-in-literature.

Habegger, A. “Encyclopedia Britannica”. Jacqui Safra. Updated May 11, 2020.

https://www.britannica.com/biography/Emily-Dickinson

Literica . “Philippine Literatures Poemsl”. Updated January 13, 2018.

https://literica.blogspot.com/2018/01/the-sampaguita-natividad-
marquez.html.

Mills, Paul. 2006. The Routledge Creative Writing Coursebook. Oxon: Routledge.

Padre Media Company. “Encyclopedia.com”. Updated April 1, 2020. https://www

.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/
villa-jose-garcia.

Rothmel, Steven Zachary. 1982. “Technical and Creative Writing: Common Process,
Common Goals”. Journal of Technical Writing and Communication, 11(3):1-1

Snow, C. & O’Connor, C. 2016. “Close Reading and Far-Reaching Classroom

Discussion: Fostering a Vital Connection”. Journal of Education, 196 (1), 1 –
8.

Thomas, Priscilla. 2019. “Research Gate”. Accessed May 6, 2020.

https://www.researchgate.net/publication/333754202_Task_Development_
Creative_Writing.

Wordpress. “Tea Cups and Pencils Poem”. Accessed May 8, 2020.

https://dodotjetrow.wordpress.com/2016/10/11/lyric-17-by-jose-garcia-
villa/.

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