CHAPTER IV:

EMERGING LITERATURE

Introduction
Emerging literature is an integration of a traditional and technological driven
form of literature. This chapter will tackle about the different emerging
genres of literature in the 21st century, the issues and challenges in emerging
literature and the interrelationship of contemporary, popular and emergent
literature.
Lesson 8: Introduction to Emerging Literature
Objectives:

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

1. Determine new emerging genres of literature; and

2. Discuss the elements and characteristics of these genres.

The New Emerging Genres of Literature

I. Creative Nonfiction
Also known as literary non-fiction or narrative non- fiction. It is a
genre of writing that uses literary styles and techniques to create
factually accurate narratives. Contrasts with other non-fiction, such as
technical writing or journalism, which is also rooted in accurate fact,
but is not primarily written in service to its craft. As a genre, creative
non-fiction is still relatively young, and is only beginning to be
scrutinized with the same critical analysis given to fiction and poetry.
It is a rich mix of flavors, ideas and
techniques, some of which are newly
invented and others as old as writing itself. Creative nonfiction can be
an essay, a journal article, a research paper, a memoir, or a poem; it
can be personal or not.
The creative nonfiction writer produces a personal essay, memoir,
travel piece, and so forth, with a variety of techniques, writing tools,
and methods. He/she is required to use the elements of nonfiction,
literary devices of fiction, and what Lee Gutkind called “the 5Rs of Creative nonfiction.” The
following is a brief explanation of each:
1. Real life- creative nonfiction is about real life experiences such that CNF writers to to places
and immerse themselves in new experiences.
2. Reflection- it means the writer finds a universal theme that goes beyond self and connects
with the reader.
3. Research- the writer seeks information to better understand the world. This information
helps both the writer and the reader reach a new understanding.
4. Reading- writers read the research carefully, immersing themselves in the topic and asking
questions, trying to become experts.
5. (w)Riting- (romantic part) During this stage, the writer flows with ideas and then carefully
crafts them into an essay.
5Rs Creative Nonfiction-Patricia China - YouTube

(Fox, Roy F., and Amy A. Lannin. (2007) "Belly Up to the Pond: Teaching Teachers Creative Nonfiction in an Online Class." The Writing
Instructor. http://www.writinginstructor.com/foxlannin accessed on November 20, 2021).
Characteristics of Creative Nonfiction

The creative nonfiction writer often incorporates several elements of nonfiction when writing a
memoir, personal essay, travel writing, and so on. The following is a brief explanation of the most
common elements of nonfiction:
1. Fact. The writing must be based on fact, rather than fiction. It cannot be made up.

2. Extensive research. The piece of writing is based on primary research, such as an interview or
personal experience, and often secondary research, such as gathering information from books,
magazines, and newspapers.

3. Reportage/reporting. The writer must be able to document events or personal experiences.

4. Personal experience and personal opinion. Often, the writer includes personal experience,
feelings, thoughts, and opinions. For instance, when writing a personal essay or memoir.

5. Explanation/Exposition. The writer is required to explain the personal experience or topic to the
reader.

6. Essay format. Creative nonfiction is often written in essay format.

Example: Personal Essay, Literary Journalistic essay, brief essay.

Elements of Creative Non-fiction

The main elements of creative nonfiction are setting, descriptive imagery, figurative
language, plot, and character. The overarching element or requirement that distinguishes
creative nonfiction from any other genre of writing is that while other literary genres can spring
from the imagination, creative nonfiction is, by definition, true. As you complete the assigned
readings in this chapter, keep track of the following elements as they arise in your readings: see if
you can identify each of them. Learning these elements now will form a solid foundation for the
rest of the class.

1.Setting
Each story has a setting. The setting is the place where the story takes place. Usually, an
effective story establishes its setting early in the story: otherwise, readers will have a difficult
time visualizing the action of the story. Below is an example of how a writer might establish
setting in a way which immerses the reader: by showing rather than telling.

Example:
I went to the lake. It was cool. My breath escaped in raged bursts, my quadriceps burning as I
crested the summit. The lake stretched before me, aquamarine, glistening in the hot August
afternoon sun. Ponderosa pines lined its shores, dropping their spicy-scented needles into the
clear water. Despite the heat, the Montana mountain air tasted crisp.
Which of the above lakes would you want to visit? Which one paints a more immersive picture,
making you feel like you are there? When writing a story, our initial instinct is usually to make
a list of chronological moments: first I did this, then I did this, then I did that, it was neat-o.
That might be factual, but it does not engage the reader or invite them into your world. It bores
the reader. Ever been stuck listening to someone tell a story that seems like it will never end? It
probably was someone telling you a story rather than using the five senses to immerse you.
In the example above, the writer uses visual(sight), auditory(sound), olfactory (smell),
tactile(touch), or gustatory (taste) imagery to help the reader picture the setting in their mind.
By the final draft, the entire story should be compelling and richly detailed. While it's fine to
have an outline or first draft that recounts the events of the story, the final draft should include
dialogue, immersive description, plot twists, and metaphors to capture your reader's attention as
you write.

2.Descriptive Imagery
You have probably encountered descriptive imagery before. Basically, it is the way the
writer paints the scene, or image, in the mind of the reader. It usually involves descriptions of
one or more of the five senses: sight, sound, smell, touch, or taste. For example, how would you
describe a lemon to a person who has never seen one before?

Example:
Imagine you are describing a lemon to someone who has never seen one before. How would
you describe it using all five senses?
Sight Sound Smell Touch Taste
One might describe a lemon as yellow, sour-smelling and tasting, and with a smooth,
bumpy skin. They might describe the sound of the lemon as a thump on the table if it is
dropped, or squelching if it is squished under foot. By painting a picture in the reader's
mind, it immerses them in the story so that they feel they are actually there.
Figurative. Figurative language can also take the form of simile: "aunt Becky's
attitude was as sour as a lemon. "By comparing an abstract concept (attitude) to an
object (lemon), it imparts a feeling/meaning in a more interesting way.

3. Plot

Plot is one of the basic elements of every story: put simply, plot refers to the
actual events that take place within the bounds of your narrative. Using our rhetorical
situation vocabulary, we can identify “plot” as the primary subject of a descriptive
personal narrative. Three related elements to consider are scope, sequence, and
pacing.

4. Scope

The term scope refers to the boundaries of plot. Where and when does the story
begins and ends? What is its focus? What background information and details does the
story requires? I often think about narrative scope as the edges of a photograph: a
photo, whether of a vast landscape or a microscopic organism, has boundaries. Those
boundaries inform the viewer’s perception.
The way we determine scope varies based on rhetorical situation, but I can say
generally that many developing writers struggle with a scope that is too broad:
writers often find it challenging to zero in on the events that drive a story and prune
out extraneous information.
Consider, as an example, how you might respond if your friend asked what you did last
weekend. If you began with,“ I woke upon Saturday morning, rolled over, checked my
phone, fell back asleep, woke up, pulled my feet out from under the covers, put my feet
on the floor, stood up, stretched…”then your friend might have stopped listening by the
time you get to the really good stuff. Your scope is to broad, so you’re including details
that distractor bore your reader. Instead, focus on the most exciting or meaningful
moment(s) of your day: "I woke up face-down to the crunch of shattered glass
underneath me. When I wobbled to my feet, I realized I was in a large, marble room
with large windows over looking the flashing neon lights of the Las Vegas strip. I had
no idea how I got there! "Readers can expect this story will focus on how the storyteller
arrived in Las Vegas, and it is much more interesting than including every single detail
of the day.

5. Sequence

The sequence of your plot—the order of the events—will determine your reader’s
experience. There are an infinite number of ways you might structure your story, and
the shape of your story is worth deep consideration. Although the traditional forms for
a narrative sequence are not your only options, let’s take a look at a few tried-and-true
shapes your plot might take.
Frey tag's Pyramid: Chronological
A. Exposition: Here, you’re setting the scene, introducing characters, and preparing the
reader for the journey.
B. Rising action: In this part, things start to happen. You (or your characters)
encounter conflict, set out on a journey, met people, etc.

C. Climax: This is the peak of the action, the main showdown, the central event toward which
your story has been building.

D. Falling action: Now things start to wind down. You (or your characters) come away from
the climactic experience changed—at the very least, you are wiser for having had that
experience.

E. Resolution: Also known as dénouement, this is where all the loose ends get tied up. The
central conflict has been resolved, and everything is back to normal, but perhaps a bit different.

6. Nonlinear Narrative

A nonlinear narrative may be told in a series of flashbacks or vignettes. It might

jump back and forth in time. Stories about trauma are often told in this fashion. If using
this plot form, be sure to make clear to readers how/why the jumps in time are
occurring. A writer might clarify jumps in time by adding time-stamps or dates or by
using symbolic images to connect different vignettes.
 lOMoARcPSD|9635085

7. Pacing

While scope determines the boundaries of plot, and sequencing determines where
the plot goes, pacing determines how quickly readers move through the story. In short,
it is the amount of time you dedicate to describing each event in the story.
8. Characters

A major requirement of any story is the use of characters. Characters bring life to the
story. Keep in mind that while human characters are most frequently featured in stories,
sometimes there are non-human characters in a story such as animals or even the
environment itself. Consider, for example, the ways in which the desert itself might be
considered a character in "Bajadas" by Francisco Cantú.

Characterization
Whether a story is fiction or nonfiction, writers should spend sometime thinking about
characterization: the development of characters through actions, descriptions, and dialogue.
Your audience will be more engaged with and sympathetic toward your narrative if they can
vividly imagine the characters as real people.
Types of Characters:
Round characters–are very detailed, requiring attentive description of their traits and
behaviors. Your most important characters should be round: the added detail will help your
reader better visualize, understand, and care about them.
Flat characters–are minimally detailed, only briefly sketched or named.
Less important characters should take up less space and will therefore have less detailed
characterization.

Static characters–remain the same throughout the narrative.

Even though all of us are always changing, some people will behave and appear the
same throughout the course of your story. Static characters can serve as a reference
point for dynamic characters to show the latter’s growth.

Dynamic characters–noticeably change within the narrative, typically as a result of

the events.
Most likely, you will be a dynamic character in your personal narrative because such
stories are centered around an impactful experience, relationship, or place. Dynamic
characters learn and grow over time, either gradually or with an epiphany.

9. Point of View

The position from which your story is told will help

shape your reader’s experience, the language your narrator and characters use, and
even the plot itself. You might recognize this from Dear White People Volume 1 or Arrested
 lOMoARcPSD|9635085

Development Season 4, both Netflix TV series. Typically, each episode in these seasons explores
similar plot events, but from a different character’s perspective. Because of their unique
vantage points, characters can tell different stories about the same realities.
This is, of course, true for our lives more generally. In addition to our differences in
knowledge and experiences, we also interpret and understand events differently. In our
writing, narrative position is informed by point-of-view and the emotional valences I refer to
here as tone and mood.

A Non-Comprehensive Breakdown of POV

FIRST PERSON POINT OF VIEW – Narrator uses 1st person pronouns (I/me/mine or
us/we/ours)
Can include internal monologue (motives, thoughts, feelings) of the narrator. Limited certainty
of motives, thoughts, or feelings of other characters.
Example:
 I tripped on the last stair, preoccupied by what my sister had said, and felt my
stomach drop.
SECOND PERSON POINT OF VIEW –Narrator uses 2nd person pronouns (you/you/your).
Speaks to the reader, as if the reader is the protagonist OR uses apostrophe to speak to an
absent or unidentified person
Example:
 Your breath catches as you feel the phantom step.
 O, staircase, how you keep me awake at night.

THIRD PERSON LIMITED –Narrator uses 3rd person pronouns (he/him/his, she/her/hers,
they/they/theirs).
Sometimes called “close” third person. Observes and narrates but sticks near one or two
characters, in contrast with 3rd person omniscient.
Example:
 He was visibly frustrated by his sister’s nonchalance and wasn’t watching his
step.
THIRD PERSON OMNISCIENT – Narrator uses 3rd person pronouns (he/him/his,
she/her/hers, they/they/theirs).
Observes and narrates from an all-knowing perspective. Can include internal monologue
(motives, thoughts, feelings) of all characters.

Example:
 Beneath the surface, his sister felt regretful. Why did I tell him that? she
wondered.
STREAM-OF-CONSCIOUSNESS –Narrator uses inconsistent pronouns, or no
pronouns at all.
 lOMoARcPSD|9635085

Approximates the digressive, wandering, and ungrammatical thought processes of the

narrator.
Example:

 But now, a thousand empty where? ⎯and she, with head shake, will be fine⎯AHH!

Typically, you will tell your story from the first-person point-of-view, but
personal narratives can also be told from a different perspective; I recommend
“Comatose Dreams” to illustrate this at work. As you’re developing and revising your
writing, try to inhabit different authorial positions: What would change if you used the
third person POV instead of first person? What different meanings would your reader
find if you told this story with a different tone—bitter instead of nostalgic, proud rather
than embarrassed, sarcastic rather than genuine?
Furthermore, there are many rhetorical situations that call for different POVs.
(For instance, you may have noticed that this book uses the second-person very
frequently.) So, as you evaluate which POV will be most effective for your current
rhetorical situation, bear in mind that the same choice might inform your future
writing.

10. Dialogue
The communication between two or more characters.
For example:
"Hate to break it to you, but your story is boring." "What? Why do
you say that?" he stuttered as his face reddened. "Because you did not
include any dialogue, "she laughed.

Think of the different conversations you’ve had today, with family, friends, or
even classmates. Within each of those conversations, there were likely pre- established
relationships that determined how you talked to each other: each is its own rhetorical
situation. A dialogue with your friends, for example, maybe far different from one with
your family. These relationships can influence tone of voice, word choice (such as using
slang, jargon, or lingo), what details we share, and even what language we speak.

Good dialogue often demonstrates the traits of a character or the relationship of

characters. From reading or listening to how people talk to one another, we often infer
the relationships they have. We can tell if they’re having an argument or conflict, if one
is experiencing some internal conflict or trauma, if they’re friendly acquaintances or
cold strangers, even how their emotional or professional attributes align or create
opposition.
Often, dialogue does more than just one thing, which makes it a challenging tool
to master. When dialogue isn’t doing more than one thing, it can feel flat or
expositional, like a bad movie or TV show where everyone is saying their feelings or
explaining what just happened. For example, there is a difference between “No thanks,
 lOMoARcPSD|9635085

I’m not hungry” and “I’ve told you, I’m not hungry”. The latter shows frustration, and
hints at a previous conversation. Exposition can have a place in dialogue, but we
should use it deliberately, with an awareness of how natural or unnatural it may
sound. We should be aware how dialogue impacts the pacing of the narrative.
Dialogue can be musical and create tempo, with either quick back and forth, or long
drawn out pauses between two characters. Rhythm
of a dialogue can also tell us about the characters’ relationship and emotions.

The 5’Rs of Creative Nonfiction

Lee Gutkind, who is a writer, professor, and expert on creative nonfiction,
wrote an essay called “The Five R’s of Creative Nonfiction.” In this essay, he
identified five essential elements of creative nonfiction. These include:
1. Creative nonfiction has a “real life” aspect. The writer constructs a personal
essay, memoir, and so forth, that is based on personal experience. He also
writes about real people and true events.

2. Creative nonfiction is based on the writer engaging in personal “reflection”

about what he/she is writing about. After gathering information, the writer
needs to analyze and asses what he/she has collected. He then must evaluate it
and expression his thoughts, views, opinions. Personal opinion is permissible
and encouraged.

3. Creative nonfiction requires that the writer complete research. The writer
needs to conduct research to learn about the topic. The writer also needs to
complete research to discover what has been written about the topic. Even if a
writer is crafting a personal essay, he will need to complete secondary
research, such as reviewing a personal journal ,or primary research, such as
interviewing a friend or family member, to ensure that the information is
truthful and factual.

4. The fourth aspect of creative nonfiction is reading. Reading while conducting

research is not sufficient. The writer must read the work of the masters of his
profession.

5. The final element of creative nonfiction is writing. Writing creative nonfiction

is both an art and craft. The art of creative nonfiction requires that the writer
uses his talents, instincts, creative abilities, and imagination to write
memorable creative nonfiction. The craft of creative nonfiction requires that
the writer learn and deploy the style and techniques of creative nonfiction in
his/her work.
 lOMoARcPSD|9635085

Types of Creative Nonfiction

Creative nonfiction is about fact and truth. The truth can be about a personal
experience, event, or issue in the public eye. There are many categories or genres to
choose from, such as the personal essay, memoir, and autobiography. The
Following is a list of the most popular types of creative nonfiction:

1. Personal Essay. The writer crafts and essay that is based on personal experience or a
single event, which results in significant personal meaning or a lesson learned. The
writer uses the first person “I.”
2. Memoir. The writer constructs a true story about a time or period in his/life, one that
had significant personal meaning and a universal truth. The writer composes the story
using the first person “I.”
3. Literary journalism essay. The writer crafts an essay about an issue or topic using
literary devices, such as the elements of fiction and figurative language.
4. Autobiography. The writer composes his/her life story, from birth to the present, using
the first person “I.”

5. Travel Writing. The writer crafts articles or essays about travel using literary devices.

6. F0od writing. The writer crafts stories about food and cuisine using literary devices.

7. Profiles. The writer constructs biographies or essays on real people using literary
devices.

Guidelines for Writing Creative Nonfiction

Not only must the aspiring writer of creative nonfiction learn the techniques,
buthe/shealsorequiresagodunderstandingoftheguidelines.Thefolowingare
12guidelinesforwritinganytypeofcreativenonfiction:
 Research the topic. Both primary (interview, personal experience, or participant
observation) and secondary research (books, magazines, newspaper, Web)
 Never invent or change facts. An invented story is fiction.
 Provide accurate information. Write honestly and truthfully. Information should be
verifiable.
 Provide concrete evidence. Use facts, examples, and quotations.
 Use humor to make an important point.
 Show the reader what happened, don’t tell them what happened. To do this, dramatize
the story.
 Narrate the story. A story has an inciting incident, goal, conflict, challenges, obstacles,
climax, and resolution.
 Write about the interesting and extraordinary. Write about personal experiences,
interesting people, extraordinary events, or provide a unique perspective on everyday life.
 Organize the information. Two common techniques are chronological or logical order.
 lOMoARcPSD|9635085

 Use literary devices to tell the story. Choose language that stimulates and entertains
the reader, such as simile, metaphor, imagery.
• Introduce the essay or other work with a hook. Its purpose is to grab the readers’
attention and compel them to reader further. Popular hooks include a quotation,
question, or thought-provoking fact.
 End the creative nonfiction piece with a final, important point. Otherwise, the reader
will think, “So what!” “What was the point? It was an interesting story, but how does it
apply to me or my life?”
 lOMoARcPSD|9635085

II. HYPER POETRY

Hyper poetry is a form of digital poetry that uses links
using hypertext mark-up. It is a very visual form, and
is related to hypertext fiction and visual arts. The links
mean that a hypertext poem has no set order, the poem
moving or being generated in response to the links that
the reader/user chooses. It can either involve set words,
phrases, lines, etc. that are presented in variable order
but sit on the page much as traditional poetry does, or
it can contain parts of the poem that move and/or
mutate. It is usually found online, though CD-ROM and
diskette version sexist. The earliest examples date to no
later than the mid-1980s.
Description:
Hypertext poetry, is a subgenre of digital poetry. Digital poetry is sometimes referred to as
e-poetry, electronic poetry, and cyberpoetry. The genre mostly falls into two subgenres:
interactive poetry and hypertext poetry (Poetry Beyond Text).
Hypertext poetry utilizes the components of hypertexts. Hyperlinks are embedded,
throughout, or in some cases "each word, phrase or line. "Each link brings the reader to
another page "that defines or expands on the idea represented by the text of the poem"
(Hypertext Poetry and Fiction). The links most often stem from the "primary text. However,
some hypertext poems that do not have a primary text. In these works, the reader of the poem
chose the way he navigates the poem through the amount and pattern he chooses with the
hyperlinks (Montecino).

Example of Hyper Poetry:

Do You Believe?

I was that kid who has read a lot of fairy tale books

Princess with glass slippers, peter pan who fights captain hook

Fascinated, I remember each story my mom read to me

I believed one day, they will appear for me to see.

We all knew a lady who glows in a white silky dress

The one with pretty wings and a gentle caress

I eagerly wait for her looking out my window,

But she always exchanges my teeth with coins under the pillow.
 lOMoARcPSD|9635085

A big, chubby, good, old man in red

The one who gives us gifts riding his sled

Along with the help of his elves and reindeers

The time for enjoyment is here, let go of your fears!

Now who could’ve forgotten this man with and hourglass?

Nope, he doesn’t come when we sleep in class.

He guards us in our sleep to avoid nightmares

Like the ones with zombies, witches or grizzly bears.

Lastly, the cute little guy who loves a good hunting game

Colorful eggs, baskets… You know him and his name!

In the time of the year called “Easter”

He’s the first one you will remember.

As the years pass, their story becomes untold

Sweet old myths that’s good as gold

Tooth fairy, Santa Claus, Sandman, and the Easter bunny

Do you believe in them? Do you believe like me?

Elements of Hyper Poetry: 1.Kairos

With the digital revolution, there is a growing number of writers using electronic media to
create and publish their works (Kendal). Many writers in using electronic format expanded to
include the format of the hypertext, which is interactive in nature. Writers are able to break
away from the restrictions of paper (Kendal) and use content and features to create nonlinear
poems that are associated with the medium. The hypertext also allows writers to experiment
with elements like hyperlinks, images, sounds, and video (Kendal).

2. Audience
The audience plays an interactive role in the navigating and reading a hypertext poem. Astrid
Enslin argues hypertext poetry, which she terms hyper poetry, is the "most creative and
trans-artistic genre "out of all the hypertext genres because it offers the most "multisensory
textual experience. "She argues this because it incorporates "nomadism" and brings the reader
away from the "verbal narrative” (En slin).
Hypertext Poetry is on the trend to become increasingly more popular in the upcoming years,
as more and more writers use digital media to create and publish their works. The genre
 lOMoARcPSD|9635085

attracts users who want to be involved in the reading experience (Picot).

3. Content

Hypertext poems can include the traditional components of a poem which are: words, lines,
and stanzas. Most are in the form of free verse. However, the genre also includes other
multimedia components including: sounds, visual images, and three-dimensional letters, which
makes it hard to identify most of the formal poetic conventions (Hypertext Poetry and Fiction).

4. Formal Features

Hypertext poems include "hypertextual features "which are mostly composed of hyperlinks
that lead to an online reading of the text (Enslin).
Hypertext poetry also includes hyper media poetry. It moves beyond linking text to other
websites, and adds features such as, "image, sound, video and animation" (Milan). An example
of these features could be a sound "of a lawn mower" with words like "'mowing', 'stop',
'Sunday' and 'morning' "in succession across the readers screen (Hypertext Poetry and
Fiction). These types of features, or multimedia elements, make it hard to link hypertext poetry
to any formal poetry conventions (Hypertext Poetry and Fiction).

5. Ancestral Genres
One ancestral genre to hypertext poetry is the hypertext. Hypertexts allow a nonlinear reading
of the text in which an audience is able to have an interactive experience with the text through
the use of hyperlinks, which when clicked on, bring the reader to another website (Christopher
Funkhouser). Hyperlinks, are often referred to as simply links, and utilize URLs, HTTPs, and
HTMLs, (What are Hyperlinks?). Usually, hyperlinks are in the form of highlighted or
"underlined" (Montecino) words within the text, which when clicked bring the viewer to
another website that provides an expansion on the concept (What are Hyperlinks?).
Christopher Funkhouser expands on the audience's interactive role with the hypertext, and how
based on his, "interest, engagement, and curiosity "he can control his navigation of the text.
Hypertext also functions as a collaborative text by blurring the roles of author and reader
become (Kep). Hypertexts are seen as electronic texts but Christopher Kep argues that
hypertexts are not restricted to "technology, content, or medium" (Kep).
Oral poetry shares the nonlinear shape of hypertext poetry. With each reading of an oral poem
it changes shape, which relates to how hypertext poetry changes for each reader that reads the
poem because of the nonlinear interactive navigation of the text (En slin).

Notable Examples of Hypertext Poetry:

 Penetration: Is a well-known example of a hypertext poem. The poem is from the collection The
Seasons, which was published in 2000 by Eastgate. The collection consists of two poems:
Dispossessions and Penetration. The poem is setup so that the reader has choice to begin the
poem through different perspectives. For example, by clicking on "daylight" the poem is in the
perspective of the daughter (Di Rosario). Then the path of the poem is dictated by the what the
reader choses after each passage, by clicking on one of the series of choices below the passage
(Di Rosario).
 lOMoARcPSD|9635085

 Low Probability of Racoons: Is a website setup by Peter Howard, a well- known digital poet, for
some of his works, some of which includes hyperlinks his own hypertext poetry.

III. CHICK LIT/CHICK LITERATURE

It consists of heroin-centered narratives that
focus on the trials and tribulations of their
individual protagonists. It often addresses
issues of modern womanhood – from
romantic relationships to female friendships
to matters in the workplace– in humorous and
light hearted ways.

There are certain elements all chick lit novels have in common.
 They all feature a woman in her twenties or thirties as a protagonist
 The novels are mostly set in urban environments, most notably New York or London.
 The protagonists are career-women
 The protagonists are often single although they usually all end up with someone.
 Fashion often plays a big role in a chick-lit novels. The characters can either be
obsessed with it or the plot itself can be centered around fashion industry.
 The book covers often reflect this trend -they may feature articles of clothing, martinis,
parties and other symbols of a glamorous lifestyle.

IV.I LLUSTRATED NOVEL

Generaly,50% of the narrative is presented without words. The reader must

interpret the images in order to comprehend the complete story. Textual portions are
presented in traditional form. Some illustrated novels may contain no text at all.
Illustrated novels span all genres.

Elements of Illustrated Novel:

1. Panel-A distinct segment of the comic, containing images and text

2. Frame- The lines and borders that contain the panels

3. Gutter-The space between framed panels

4. Bleed-An image that extends to and/or beyond the edge of page

5. Captions-Boxes containing a variety of text elements (setting, description)

6. Speech Balloon -Enclose dialogue that comes from a specific speaker's

mouth and can vary in size, shape and layout
7. External Dialogue- Dialogue between two or more characters
 lOMoARcPSD|9635085

8. Internal dialogue-Thought enclosed by a balloon that has a series of dots or bubbles leading up
to it.

9. Special-effect letering -Letering that draws attention to text; often highlights onomatopoeia and
impact words (wow, bang)

10. Closure-The reader's completion of meaning between panels

11. Long shot-Images that show objects fully from top to bottom
12. Extreme long shot-Images that show images or characters in a really small scale

13. Close-Up-Images shown in a large view

14. Extreme close-up-Image shown in a very large view

15.Splash page-A panel that takes up the whole page of a comic

16.Splash panel-A panel that takes up the space of several panels in a comic
17. Palete-The colors used in a comic
18. Emanata-Text or icons that represent what is going on in the character's head

19. Spread-Two facing pages in a printed book

20. Inset- A panel contained within a larger panel

21. Speed lines-Lines that represent motion

22 . Reverse-Images in the opposite position from the previous panel

23. Signs- Text labels write non objects in comics
24.Voice over-A narratory block in which a narrator or character shares special
information with the reader.

V. GRAPHIC NOVEL
Graphic novels use a sequence of illustrations to tell a story.
They use the same text bubble and image panel format that
we find in comics, but unlike comics which are serialized,
graphic novels are published in book format, and usually tell
a stand-alone, complete story. This again makes them
different from comic books which are usually just a bound
collection of comic strips which were previously published as
a periodical serial. Graphic novels, are also very diverse
because they are a format–so they can cover any genre and
any topic.
In the past, graphic novels in any form were generally dismissed as inferior literature– “not
proper reading”! As a school librarian you may come across teachers and parents who still
feel this way about them. At best, they regard graphic novels as something to be tolerated in
the hope that eventually their child will “move on” to more “quality literature.” But at the end
 lOMoARcPSD|9635085

of the day reading is reading and it is a well-known fact that children who read for fun and
find pleasure in reading become lifelong readers.
In fact, graphic novels rightfully have a place alongside novels, picture books and audio
books as they offer a huge range of reading experiences. Their rich and complex texts also
require readers to examine, decode and combine multiple elements to acquire meaning.
Elements such as:
 Linguistic (written language)
 Visual (mod through colours, shading, composition etc.)
 Gestural (body and facial language)
 Spatial (panels, layout…)
 Symbolic (icons, balloons, visual representations and emanata).

So, it may actually be argued that the reader of a graphic novel has to work much
harder than someone reading a novel! Best of all, studies have shown that readers benefit from
greater information retention because they have to decode so many different elements using
multiple literacies. This is why graphic novels are increasingly being used in classrooms, and
even in tertiary education.
In addition, graphic novels contain precise and rich language. They demand the authors
to be concise. They don’t have long paragraphs and the constraints of the page demand that the
dialogue is kept to a minimum. As with a picture book no word can be wasted, which forces the
writer to be incredibly precise with the written word. This models excellent writing and offers
rich vocabulary because every word matters. As an English teacher noted, among all the fun
and silliness of Dog Man: Lord of the Fleas, just one page featured the words ‘shun’,
‘redundancy’, ‘eschew’, ‘reiteration’ and ‘recapitulation’!

Advantages of reading graphic novels include:

 They engage those readers, particularly reluctant boys, who can read but haven’t yet
been hooked!

 Provide scaffolding for ESL students.

 Increase reading comprehension and vocabulary.
 Serve as a bridge between low and high levels of reading.
 Provide an approach to reading that embraces the multimedia nature of today’s culture
 Serve as an intermediary step to more difficult disciplines and concepts.
 Present complex material in a way that makes it easier to understand
 Develop skills such as inference and deduction which play a vital part in the reading
experience
 Develop analytical and critical thinking skills.

 Offer another avenue through which students can experience art

In summary, graphic novels are an excellent resource for use in schools.

 lOMoARcPSD|9635085

They attract readers with their visuals and actually encourage reading because they
don’t seem as daunting as a whole book filled with words. They are generally fast
paced, and the word-to-picture correlation provides an easy way for children to
expand their vocabularies. The visual elements help early readers to decode text and
derive meaning while the relative speed and immediate enjoyment that the children
receive when reading these books also helps build reading confidence. More
importantly, comics extend the reading for advanced readers with the interaction of
the written and visual narratives adding complex layers of meaning. Another plus: the
number of titles is expanding rapidly every year, so there’s something for every child’s
interests. Last, but not least, graphic novels positively impact on children’s visual
literacy skills, which are more essential than ever in a digital age.
Consequently, it is possible to build a graphic novel collection which challenges
the good reader while also supporting those less enthusiastic. This is the key strength of
the graphic novel in a school library setting. They can be acquired simply to broaden
current leisure reading material, or used to support specific areas within the
curriculum. In this way graphic novels and comics have a definite educational role.

VI.TEXT-TALK NOVELS

The story was told through dialogues in the social network.

The information of the whole work can be read at the websites,
and exchange by chat or using any. Stories told almost
completely in dialogue simulating social network exchanges.
Characteristics of a Text-talk Novel:
1.Cliff hangers are common. 2.Vowels are not written in
SMS slang.
3.Plots are usually about love and passion.
4.There are times that you need to pay for the next
episodes.

VII. MANGA

In Japan, Manga art is highly respected for its ability

to create distinctive characters and imaginative stories. It is
a pop culture phenomenon that has spun off from simply art
and comic stories to Anime fairs, merchandise, and movies.
The characteristics of Manga characters have made all this
possible. From the faces and hair to the clothing,
accessories, and over exaggerated emotions, Manga is in a
world all to its own.

Types of Manga
➢ ShÔnen-Boy’s Manga (Pronounced Show-Nen)
➢ ShÔjo-Girl’s Manga (Pronounced Show-Joe)
➢ Seinen-Men’s Manga (Pronounced Say-Nen)
 lOMoARcPSD|9635085

➢ Josei-Women’s Manga (Pronounced Joe-Say)

➢ Kodomo-Children’s Manga (Kow-Dow-Mow)

Elements of a Manga:
1.Face
The face is the first characteristic you notice on a Manga character. With oversized
eyes, an almond-shaped face, and a very small mouth, the face stands out over the rest
of the body. With the rapid switch from distance to close-upshots, the face is key to
drawing you into the character and keeping you in the emotion of the story.

2. Hair

A Manga character's hair is a key characteristic, and therefore needs to be

elaborate and eye-catching. It is not uncommon for the character's hair to belong
with many lines and of an abnormal color. This is the look of traditional Japanese
Magna characters and creates a visual dynamism that separates these characters
from mainstream animation that comes out of the United States.

3. Clothing and Accessories

The way a Manga character dresses and accessorizes represent who and what
they are. For example, if the character is of a spiritual nature, then they might wear a
cloak or a piece of cloth that floats to represent the spiritual plane. This represents
who they are. For Manga warrior characters, accessories are what define the
character. Swords, spears and other weapons represent what they are. These details
are important and should not be ignored.

4. Exaggerated Emotions

Manga characters are known for their over exaggerated emotions. When a
cartoon character cries, visible tears fall from their face, but when a Manga
character cries, it rains down in buckets. Eyes reduce in size, and the mouth either
reduces in pain or expands if the character cries out. The same can be said for anger.
Manga evokes intense color in the face and steam coming off the body. Manga
characters become consumed by emotion.
 lOMoARcPSD|9635085

VIII. DIGIFICTION

Digi-fiction is a literary experience that combines three

media; book, movie/video, and Internet website. In order
to get the full story, students must engage in navigation,
reading, viewing, in all three formats.

Why did digi-fiction emerge?

1. People’s attention span was becoming shorter and shorter and that it was important to
give people more options on how they consumed entertainment and books.

2. There has been a technological paradigm shift (from sit back media to lean forward
media).

What do we need to know?

1.It can mean that the entire book can only be found online.
2.Sometimes works include passcodes so that there will be access to more
information.

IX. DOODLE FICTION

A literary presentation where the author incorporates doodle drawings and

hand written graphics in place of traditional font. Drawings enhance the story,
often adding humorous elements that would be missing if the illustrations were
omitted.

Characteristics of a Doodle fiction:

 Simple drawings that can have concrete representational meaning or may just be
composed of random and abstract lines.
 Doodling engages the brain's “executive resources”-processes that help us plan, multi-
task and concentrate.
 It also acts as a mediator between the spectrum of thinking too much or thinking too
little and helps focus on the current situation.

Mathematicians and scientists use doodles to explain complex theories and equations.
Business people use doodles to map business plans and strategies.
 lOMoARcPSD|9635085

Across the globe, people from all walks of life are doodling to help them
communicate–to give visual representation and meaning to their ideas and to
help others.
Elements of a doodle fiction:
1. Plot–in fiction, the structure of interrelated actions, consciously selected and arranged
by the author.

2. Characters–is a person in a narrative work of art (such as a novel, play, television

series, or movie). The character can be completely fictional or based on a real-life
person.
3. Setting –the setting is both the time and geographic location within a narrative or within
a work of fiction.
4. Person Point of View –is essentially the eyes through which a story is told. It is the
narrative voice through which readers follow the story's plot, meet its characters,
discover its setting, and enter into its relationships, emotions, and conflicts.
5. Theme–in works of fiction, a theme is the central idea or ideas explored in the story.
6. Style–doodles are simple drawings that can have concrete representational meaning or
may just be composed of random and abstract lines, generally without ever lifting the
drawing device from the paper, in which case it is usually called a "scribble".

X. FLASH FICTION

Flash fiction goes by many names, including micro-

fiction, micro-stories, short- shorts, short-short stories,
very short stories, sudden fiction, postcard fiction and
nano-fiction. While it can be difficult to pinpoint tan exact
definition of flash fiction based on word count,
consideration of several of its features can help provide
clarity, like its brevity, length, background and purpose.

What Are the Rules of Flash Fiction?

Flash fiction is the modern term given to a very short story, usually one
under 50 words in length. There is no standard definition and some people argue
the term only applies to stories of less than 30 words and others say that any
story under 1,00 0 words qualifies. Whatever the agreed length of flash fiction, it
should still contain all the elements that you would expect to find in a longer story.
 lOMoARcPSD|9635085

Elements of Flash Fiction Explained:

 Flash fiction must have a beginning, middle and an end.
 For the story to have impact there should be some change in action or motivation of
the protagonist.
 The reader needs to feel that there is some kind of resolution by the end of the story.
 Writing to such a tight brief is difficult. It is a different skill to that of writing a novel.
Flash fiction requires brevity.
 An author needs to convey character and plot in a succinct man errand make every
word count.

The Essentials of Flash or Micro Fiction

1. The story is short in length. This could be as brief as 6 words, or as long as 1,000.

2. The tale must engage with a reader's emotions. Your characters must be fully
developed and not card board cut-outs.

3. Good fiction includes a surprise or plot twist. The ending should be unexpected and
not predictable.

4. The story should mark a change or epiphany for the main character. This could be a
physical change, or a change of mind that has life changing impact.

Characteristics of a flash fiction:

If you’re writing a flash fiction story, it’s important to know how they are
similar—and different—to longer stories. Flash fiction is shorter, but it should not feel
too short. Here are some traits of strong flash fiction stories.

1. Story Structure: A flash fiction story is not the shortened version of a longer story; it
still follows the elements of plot, including a beginning, middle and end, as well as a
conflict and satisfying resolution.
2. Setting: Most flash fiction stories take place in one setting, as moving between
locations uses up to much space. It allows the writer and reader to focus on the plot.
3. Characters and Backstory: Flash fiction pieces are plot-driven and include no more
than three or four characters. They may include some character development, but too
much back story can use valuables pace.
4. Description: One may think that flash fiction stories are short on description to save
space. However, a strong piece can balance vivid descriptions with a quick-moving
plot. Stories that lack description are not satisfying to read, and a flash fiction piece
should feel complete.
 lOMoARcPSD|9635085

XI. SIX WORD FLASH POETRY

Six-Word Stories are especially

challenging to write. They have no beginning, middle, or
end, but tell an entire story in only six words. The most
famous example of a six- word story is attributed to
Ernest Hemingway: “For sale: Baby shoes, never worn.”
With Hemingway’s example, the story structure
manages to establish character, conflict, and tone
without direct exposition.
Readers are left to their own tragic
interpretation when it comes to the words that are not present.
There are four elements that every flash fiction piece needs to have if you want it
to be good. And if you mix them just right, your flash fiction might even end up great.
1. Realistic Characters/Settings

The obvious concern in flash fiction is “how do I make my characters and setting
real in 1,000 words or less?” I have a few suggestions for you.
 Show us things about your characters/settings that make them unique. In other words,
skip the boring stuff—your readers can fill that in on their own.
 Keep your number of characters and setting slow. One major or supporting
character per every 30 -50 words is a good metric, and most flash fiction stories
only have one setting.
 Stick with one-character point of view if possible, or may be two.
 Whenever possible, write dialogue that both advances the story and reveals
character.

2. Solid Plot/Structure

“My story can only be 1,000 words long. Do I even need story structure?” Of
course, you do, perhaps now more than ever. A solid percentage of the stories in a
magazine such as Splickety rejects are for one reason: nothing is happening. Adding
story structure and having a recognizable plot can help you get published instead of
rejected.

Here are some ideas on how you can do that better:

 Establish a recognizable beginning, middle, and end. Your story can begin in the
middle of something, but the conflict and characters have to develop in the middle. We
also need some kind of resolution at the end, even if it’s somewhat obscure.
 In your beginning, start with a gripping hook (just like in a novel) to pull us into the
story.
 Your end line should also pack significant punch.
 Remember: above all else, something has to happen.
 lOMoARcPSD|9635085

3. Gripping Conflict/Tension

If you haven’t heard by now, great fiction of any length needs both conflict and
tension in order to drive the characters and the plot. There are two kinds of conflict
under which all other kinds fall: internal and external. Both are useful tools for
motivating your characters and moving the story along by creating tension.
Here’s how:
 In general, conflict means that something opposes your character.
 Internal conflict means that something within your character opposes him. Ask him
questions to figure out what it is. Is it a hidden disease? A hurt from his past? A dark
secret? Self-doubt?
 External conflict comes from outside the character, usually from one of three sources: other
characters (antagonists), the setting, or events.
 Combine the two types of conflict against your character and he’s in fora rough ride—which
means your readers can expect a compelling story.

Not all conflict in your story has to be resolved in the traditional sense. It’s okay
to let the reader wonder how things worked out as long as you plant clues that give
them an indication. If you’ve ever seen the movie Inception, you know what I mean.
4. An Excellent Editor

Yes, you need to pay your flash fiction the same respect you’d pay your novel by
ensuring that it is well-edited. Some of us are capable editors on our own, but that
doesn’t mean we shouldn’t get help here.
For example, I run a flash fiction magazine, have written six unpublished novels, and
also hawk my own services as a freelance editor. Of any one in the world, I should be
the most likely person to not need an editor for my own flash fiction, right?
Wrong. Though I combed through my most recent flash fiction piece (set to debut in
the holiday issue of a magazine) with unparalleled obsession, I sent it to two authors
whom I trust for their review as well.

No matter how good of a writer you think you are (or actually maybe), you need to
have another set of eyes read and edit your piece before you submit it, especially if it’s to
a recognized magazine.
Here are the practical editing strategies that will help you make sure your piece is virtually
perfect:
 Remember that every word cut is to your benefit. You never know when you may have to add
more content later on.
 Utilize others: critique groups and partners, test readers, or hire a professional.
 Make sure that you follow all submission guidelines. That’s something that publishers really
want you to do.
 lOMoARcPSD|9635085

XI. SCIENCE FICTION

It is often called “sci-fi,” it is a genre of fiction

literature whose content is imaginative, but
based in science. It relies heavily on scientific
facts, theories, and principles as support for its
settings, characters, themes, and plot-lines, which
is what makes it different from fantasy.

Characteristics of a Science fiction:

1. Non-Human Characters

It's a cliché that sci-fi fiction and film are full of aliens. There's a reason that
cliché exists—it's because it's true. Aliens are among the non-human characters that
we'll find in sci-fi. But sci-fi isn't just about aliens. It's about robots, for example, or
people who are just a little bit more (or les!) than human, like Frankenstein's
monster.
Sci-fi, in other words, is very much about exploring the limits of being human.
What exists beyond us regular folk living on earth? Suppose there are "extra-
terrestrial" creatures. Would they be like us or would they be different from us? And
what about machines? Can't they have feelings, too? By focusing not only on human,
but non-human characters, sci-fi writers force us to consider what we even mean by
the "human."

2. Allegory

Sci-fi works may be set in fantastic locations far away from where we mere
mortals live, but that doesn't mean that they have nothing to do with us. That's
because even when sci-fi writers write about distant worlds, they're really often
writing about our own world.
Sci-fi tends to be allegorical: the best sci-fi works often have a hidden
meaning, because they work as a commentary on our own world and our own social
and political systems. These sci-fi writers are a pretty sneaky bunch. They transport
us to distant worlds only to get us thinking about the way that we live in this world.

3. Science and Technology

Maybe it's a bit of a no-brainer to say that science is a big part of science
fiction. We'll also add technology to the mix, because science and technology are big
in this genre. Hey, just because it's obvious (we hear you saying "Technology in sci-
fi?!Really, now?!") doesn't mean it's not true.
 lOMoARcPSD|9635085

What makes sci-fi works sci-fi is the fact that their settings, their plots, their
characters, their conflicts, all center around science and technology in some sense.
After all, we wouldn't have all of those great Sci-fi works set in outer space if it weren't
for the fact that science and technology allow characters to travel to outer space in the
first place.

4. Time Travel

Often, the whole plot of a Sci-fi work is set in a distant time, usually in the
future. Sci-fi writers are obsessed with exploring times that are very different from
ours. This, again, is one of the defining characteristics of the genre. If we're reading a
book where things are taking place in the distant future, odds and good that it's a sci-fi
book. And, because it's asci-fi book, the goods are also pretty odd.

5. Journey

We'll find lots and lots of journeys in sci-fi. People are travelling all over the
place. They might zip from galaxy to galaxy, or from time to time. If the whole
universe were your oyster, wouldn't you be jumping from one place to the next to?
So, journeys are another recurring theme in sci-fi. If we pay close attention, we'll find
that there's hardly a sci-fi text that doesn't include some kind of voyage. This is often
one of the structuring devices in works of sci-fi.

6. Dystopia

Sci-fi writers like talking about our world by pretending to talk about another
world. They're sneaky and nuanced like that.
And one of sci-fi writers’ favorite ways to do this is to depict dystopia. Some of
us may have heard the word before, but for those of us who haven't, dystopia is the
opposite of utopia. A utopian society is wonderful: people are free and happy and the
sun's shining and everything's just dandy. In a dystopia people are oppressed, they're
miserable, and everything they do is controlled by some authority.

Some of the most famous sci-fi works—like Aldous Huxley's Brave New World
and George Orwell’s 1984—are futuristic depictions of dystopia. Sci-fi writers love
warning us: "If we continue down this road our society will look like this in a hundred,
or a thousand years. And it ain't pretty."
 lOMoARcPSD|9635085

7. Age of Reason

The roots of sci-fi really go back—way back—to the Age of Reason. That's the 18th
century we're talking about, when the Enlightenment changed the world as we know it.
During this time, philosophers and scientists emphasized the use of reason over
superstition. More and more of the world was being explored and mapped, and it was
around this time that authors began writing texts speculating about the future, and
focusing their stories on scientific endeavor.

8. Advances in Science and Technology

The Scientific Revolution, which got going in the 16th century in Europe,
had a huge (like, phenomenally large) impact on our understanding of the world.
Scientists and mathematicians like Galileo and Isaac Newton made discoveries
that continue to impact us to this day (heard of calculus? Yeah, we have Newton to
thank for that).
Advances in science and technology really revved up in the late 18th/early 19 th
century, and these advances made sci-fi possible as a genre. During this time, we
learned a lot—and we mean a lot—about nature. And thanks to the industrial
revolution, beginning at the end of the 18th century, technology also developed at a very
speedy pace.

9. Sci-Fi Magazines

The golden age of sci-fi coincided with an explosion of magazines that published
science fiction. In fact, some of the most popular sci-fi works were first published in
magazines that released work in serial format.

The important elements of science fiction:

1.Speculation
The speculative question "what if?" is the starting point for all science fiction.
Many scholars list Mary Shelley's novel "Frankenstein" as one of the first science
fiction books. Shelley's book gave an answer to the question of what would happen if a
scientist, Victor Frankenstein, used electricity to re animate a corpse. Other science
fiction stories answer questions about what would happen if first contact with aliens
occurred or if humans achieved faster-than-light space travel.
 lOMoARcPSD|9635085

2. Science Impacts

Science fiction frequently includes stories about the impact of scientific or

technological change on people. For example, H.G.Wells '"The Time Machine" explored
the consequences of building a machine that could carry its occupant far into the
future. The "Star Trek" television shows and films portray a future "Federation of
Planets" that couldn't "boldly go" anywhere without the warp drive that allows the
Enterprise to travel between the stars.

3. Setting

Science fiction stories often take place in the future or in alternate universes.
The "Star Wars" films, for example, contain many futuristic elements, even though
they feature events that happened" along time ago in a galaxy far, far away. "If they
are set closer to the present day, they include scientific speculation that differs from
ordinary daily life- as in "The Running Man" book and film, which tell the story of a
cop framed for a crime he didn't commit who must survive a deadly TV gameshow.
4. Related Genres

Horror is one of the most closely related genres to science fiction. Most people
consider "Frankenstein" to be both a horror and a science fiction story. Zombie stories
are one of the most popular current types of horror; some have a super natural
explanation, but others do not. For example, the post-apocalyptic world of the
television series "The Walking Dead" is the result of a zombie virus. The "Alien" films
include gruesome, horrifying alien monsters alongside less- frightening science fiction
elements such as cloning and space travel.

XI. BLOG
A blog is a non-line journal or informational website displaying information in the reverse
chronological order, with the latest posts appearing first. It is a platform where a writer or
even a group of writers share their views on an individual subject.
 lOMoARcPSD|9635085

Blogging Sites
 WordPress
 Google Blogger
 Type Pad Is
 Movable Type
 Drupal

Ten characteristics of a blog:

1.A Blog Must Always Be Dynamic

A common question about a blog is how it relates to a website–are these two
essentially the same, or are there any differences between them? While websites are
mainly presentational, blogs are always intended to engage. A website is therefore static,
as opposed to a blog that must be dynamic.
The information offered by websites is presented on static pages, in the form of an
evergreen content that doesn’t require any updates. Blog posts, on the other hand, are like
diary entries; they include a publishing date and meta tags. New entries and regular
updates are key to running any kind of blog.

2. Posts Are Displayed in Reverse Order

Unlike with a personal diary written in a notebook, blog entries are displayed in
reverse chronological order–the newest posts being on top. The latest ones push previously
published ones down the list until they completely disappear from the landing page. Older
posts are usually archived on the following pages, but they can also be organized by the
month or year when they were first published.

3. Most Blogs Have the Same Structure

First comes a header with the menu or navigation bar to declutter the page and make a
great first impression. It’s followed up by the main content area on which blog posts
appear either by order of publishing or by relevance. Down below are contact pages,
privacy policies, and relevant links, neatly arranged in a footer. A side bar highlights
favorite entries and displays social profiles and calls -to-actions.

4. The Blog’s Leading Star Is Its Content

Different blogs publish different types of posts, though a majority of them relies on the
power of the written word. Depending on the author’s intention, an article is typically an
 lOMoARcPSD|9635085

opinion piece, an instructional guide, or a news post. Monotonous chunks of text are
separated with images or videos.
A blog post can also be a picture with little or no text. It’s a common trending
fashion and travel blogs, though it’s also not rare for business-related niches to publish
infographics instead of instructional articles. But regardless of the medium, a blog is
always defined by the quality of its published content.
5. Headlines Should Be Attention Grabbers

Naming a blog post is an art by itself. There’s a whole philosophy behind writing
article headlines– a compelling one can truly silence the noise, instantly generating
clicks, driving traffic, and enticing a reader to read on. Nowhere in the online universe
are titles given the same kind of attention as here.

6. One Rule Applies to All Blogs: Relevancy

Though every engaging content must be relevant, this rule especially applies to
blogs posts. They might differ in types, mediums, formats, and styles; in order to
arouse interest or evoke debate, they have to be original and unique; but to be read at
all, blog posts must always deliver upon their promise.

7. Blogs and Links Go Hand in Hand

As a promotional strategy, link building is not limited to blog posts, but it definitely
is a characteristic that all decent blogs share. Blogs and links go hand in hand even
when marketing isn’t the goal. Internal linking, for instance, ensures intuitive
navigation between mutually relevant posts, thus providing an exceptional reading
experience. It’s about the flow and facilitation of knowledge transfer.

8. A Blog Is Founded on Personal Touch

The word “blog” derives from an earlier version “weblog”, which initially referred
to personal online journals. Before blogs became political in the early years, they were
merely means to make private thoughts and opinions public. The personal touch,
however, remains their vital characteristic to date.
Even with today’s universal topics, the recommended interpretative approach is
the one that implies uniqueness. If the subject matter requires utmost objectivity, the
personal touch is accomplished through an individualistic writing style. Every blog
author has an “About Me” page and a distinct signature mark.

9. Posts Should Always Encourage Debate

The comment section is another mutual characteristic of respectable blogs. It’s

 lOMoARcPSD|9635085

typically located at the end of every post, as a place for readers to engage in a
conversation and leave their honest feedback. The ability to provoke a response and
encourage interaction is held in the highest regard by all readers.
10. All Blogs Are About Communication

With or without open debate, communication is still the end purpose of each and
every blogpost. If the blog is promotional, its goal is to attract the audience and open a
dialogue that will hopefully convince them to buy what the owner is selling. If not
about sales, then it’s about spreading the word.
Whether it imparts knowledge, provides solutions, or simply entertains, blogging is
a brilliant way of reaching out and communicating with the world. Without any
question at all, such a transformative power of free expression and exchange is the
single most important characteristic of any terrific blog.

Characteristics of a quality blogpost

Every blogpost requires time and effort. The time spent on creating quality
posts translates directly into more clicks and higher site traffic, making the investment
worth it.
There are many things that can influence the quality of your blogposts, and it all
mostly depends on your niche, style, and audience. However, no matter how diverse
the blog posts are, there are still a few things that everyone should pay close attention
to if they want to leave an overall good impression on their readers.
1. Thought-out Design

We’ve already touched upon the topic of monotonous chunks of text and how
undesirable they are in blogposts. The reason behind this being how quickly your
readers make a judgment about your post. You have just about 50 milli seconds to
make a good first impression.
Blocks of text are often over whelming, and if the readers cannot scan through the
text with ease, they’ll move on from your site. So, make sure to use short paragraphs,
break up the text with some interesting visuals such as images, GIFs, videos,
infographics, etc.

2. Perfect Length T
h
One of the most common questions about blogposts is how long they should be.
e
The simplest answer is long enough.
fo
Most would believe that because of the shorter attention span of readers, the posts c
themselves should be shorter. u
s
The fact of the matter is that as long as your post is informative and as long as it
s
answers your audience’s questions, it doesn’t matter how long it is.
h
If you have a 50-word limit but have much more to say on the topic, go right ahead. o
On the other hand, don’t spread out 50 words worth of content to 300 words. ul
d
 lOMoARcPSD|9635085

be on the quality of the content. As long as the blogpost offers value to the reader, its
length is unimportant.

3. OriginalContent

RRegardless of the niche you chose for your blog, it’s more than likely that someone
has covered the topic before. Everything’s already been said and done, but this doesn’t
mean you should just copy-paste the content.
Primarily, to stand out from the crowd, you need to offer a new approach to the
covered topics. This can be done with your tone of voice, style of writing, or point of
view.
Going back to that “personal touch”, if you’ve chosen a niche that you’re passionate
about, offering your own unique approach to it shouldn’t be difficult.

4.Great Research
Every high-quality blog post requires time and effort invested in the
research. The more you devote yourself to the research, the easier it becomes to
write the post.
Primarily, this will give your insight in to other’s opinions on the topic, you’ll dive
deeper into it, making it easier to form your own unique approach to it.
Secondly, the easiest way to lose readers is by being unreliable. Every claim
should be backed up by evidence, so links and citations from credible sources
are essential.

…..
 lOMoARcPSD|9635085

EXERCISES!
139
ACTIVITY 8.1
Directions: Identify the new emerging genres of literature that is being shown below and give
a short description of each.

1. Description:

2. Description:
lOMoARcPSD|9635085
lOMoARcPSD|9635085
lOMoARcPSD|9635085