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SHS CREATIVE WRITING MODULE
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Quarter 2 – Module 8.2: Decoding the Blueprints of the Past and

the Future
Citing Examples of Intertextuality

Republic Act 8293, section 176 states that: “No copyright shall subsist in
any work of the Government of the Philippines. However, prior approval of the
government agency or office wherein the work is created shall be necessary for
exploitation of such work for profit. Such agency or office may, among other
things, impose as a condition the payment of royalties.”

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand

names, trademarks, etc.) included in this book are owned by their respective
copyright holders. Every effort has been exerted to locate and seek permission
to use these materials from their respective copyright owners. The publisher and
authors do not represent nor claim ownership over them.

Regional Director: GILBERT T. SADSAD

Assistant Regional Director: JESSIE L. AMIN

Development Team of the Module

Author: CARLENN P. MERIN

Editor: JOE-BREN L. CONSUELO
Reviewers: JOE-BREN L. CONSUELO and SDO CAMARINES NORTE
(headed by EMMA V. DASCO)
Illustrators: JOHN LEONARD P. CUIZON
KENNETH OCAMPO
Layout Artist: CRIZ T. NUYLES, ANTONIO L. MORADA

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Introductory Message

For the teacher:

Welcome to the SHS CREATIVE WRITING MODULE!
This module was collaboratively designed, developed and reviewed by
educators from public institutions in Department of Education Region V (Bicol)
to assist you, the teacher 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.
As a teacher, 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.

For the learner:

Welcome to the SHS CREATIVE WRITING MODULE!
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 and at the same time an adventurer. Diego your learning
companion is with you as you embark in this learning journey. You will transport
in the different realms to learn and perform noteworthy tasks.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher. Always bear in mind that you are not alone.
We hope that through this material, you will experience meaningful
learning and gain a deep understanding of the relevant competencies. More
so, use your notebook or a separate sheet of paper in noting significant details
and pieces of information in the different modules and even in accomplishing
the tasks given to you. You can do it!

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iii
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Congratulations, you have just unlocked a new journey. As one of the Knights of
the Pen Kingdom, are you ready to start your quest? Great! Your Mighty Guide
Diego is here to help you pass each task. Earn ____ points to achieve
the magical pen. This will be your weapon to defeat the hideous Copy Beast.

In the previous module, you have learned the definition and basic types of
intertextuality. To understand it better, this module will provide you examples of
drama where intertextuality was used

Objectives:
1. Enumerate examples of Allusion, Appropriation, Parody, Quotation and
Adaptation;
2. Identify the type of intertextuality used in a text; and
3. Apply any type of intertextuality in a chosen Filipino Drama.

INTERTEXTUALITY is the way that one text influences another. This can be a
direct borrowing such as a quotation, or slightly more indirect such as parody,
allusion, or translation
It’s time again to add new words in your word bank.

Direction: Decode the jumbled letters by using the clues in the message box.
Write your response below each box.

a government in which a small group exercises control especially for

corrupt and selfish purposes

Reply - _________________________(CLIYRAOHG)
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an invented prose narrative that is usually long and complex and deals
especially with human experience through a usually connected
sequence of events

Reply - _________________________(EVONL)

to make foul (as with dirt or waste)

Reply - _________________________ (EDFELI)

Score Board
Reward Points:

3 points = Great job!

2 points = Nice!
0-1 point = Pls. retry

Direction: Examine the photos below then answer the guide questions that
follow.
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Guide Questions:
1. Are the characters in the pictures familiar to you? _____________________
2. Enumerate the names of the characters that are familiar to you.

_____________________
_____________________
_____________________

3. What makes them different from their usual photos?

______________________

Another example of intertextuality is when the author of the novel is influenced

or inspired by another author of another novel or story.
Patience is a virtue and it pays off too. Come and claim your prize.

Score Board
Reward Points:

5 points = Outstanding
4-3 points = Satisfactory

2-1 point = Unsatisfactory. Please retry.

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Let’s have a quick look back about Intertextuality. It was first introduced by Julia
Kristeva in the late 1960s. It means that a literary work is not simply the product
of a single author, but of his/her relationship to other texts (both written and
spoken), and to the structure of language itself.
There are different types of intertextuality. These are the following:
Appropriation
Allusion
Parody
Quotation
Adaptation
To give you a clearer idea about these types, here are some examples of well-
known novels, movies, and plays around the world.
1. Appropriation is where a text is adapted from the original text

a. The image on the left is the novel called Emma written by Jane Austen. It
was reimagined into a film starring Gwyneth Paltrow entitled Emma. This
is a true retelling of Emma story and this was then adapted into the film
Clueless. What they've done here is they have taken the general plot or
the ideas and some of the characters and brought that into a different
context they played with a plot a lot and have created quite an original
story. That technique is called appropriation.
 b. One of William Shakespeare’s plays is The Taming of the Shrew which
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was also adapted into film and was entitled 10 Things I Hate About You.
The setting of the story is in modern time, which makes it different from the
original story.

2. Allusion is where you allude to something so it's referenced to another text

so not only can it be a reference to a text but it can also be a person a place
or an event

T.S Eliot mentions a celestial rose in his poem Hollow Men’, this rose
comes from Dante’s Paradiso. This is an allusion because he did not
mention the composer.

3. Parody is a funny interpretation of a text. Its main purpose is to entertain

the reader.
An example of this is the `The theory and Practice of Oligarchical
Collectivism’, which is a humorous imitation of the Communist
Revolutionalist’s, Leon Trotsky’s writing.
4. Quotation: - A direct reference to another text with acknowledgement
of its composer
For example, In Margaret Atwood’s speech, Spotty Handed Villainesses,
she quotes Dame Rebecca West, saying, “Ladies of Great Britain…we have not
enough evil in us”
5. Adaptation A film, TV Drama, or stage play that is based on a written
work. Unlike in appropriation, this doesn’t include twist or great deal of changes
that will affect the plot of the original story.

JK Rowling’s Harry Potter series has a film adaptation

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Mind map diagrams are used to outline information in a

visual and often colourful way. All you do is place a single word or phrase in
the centre of a sheet of paper and add associated ideas, words and concepts
radiating out from the centre, often with connecting links.

Directions: Make a mind map about types of intertextuality and its examples. On
the first blank, write the type of intertextuality and on the second, write its
example. You can freely cite stories that are close to your heart or built from your
interests like 21st century literature. You may use any genre. You can use the
template below or make your own design.

_______________ _______________
-
_______________ _______________
-
-

_______________ _______________
INTERTEXTUALITY
_______________ _______________

_______________ _______________
_______________ _______________

Score Board
Reward Points:

10-12 points = Outstanding

7- 9 points = Superior
4-6 points = Satisfactory
1-3 = Unsatisfactory. Kindly retry.
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Sometimes people say that they don’t want to read other novels in their genre,
because they don’t want to be influenced by them. Unfortunately, this often
means that they inadvertently write something that’s already been done or that
completely fails to match the expectations that readers have when they buy a
book in this genre and the next thing they know, they’re influenced by the ideas,
characters and whole structure of the story they’ve read.

It’s time to unfold the types intertextuality used in some famous writings.

Direction: Identify the type of intertextuality used in the following texts. Write your
answer on the space provided before each item.
__________________1. Martin Luther King’s writing was heavily influenced by the
work of Mohandas Gandhi, especially in the area of nonviolent resistance.
__________________2. The various chapters in Joyce’s novel correspond to the
adventures of Odysseus in Homer’s epic poem
__________________3. The Legend of Bagger Vance, which was adapted into a
movie starring Will Smith, was originally written as a re-telling of the Hindu epic
Bhagavad Gita.
__________________4. To Kill a Mockingbird is a 1962 American
drama film directed by Robert Mulligan was adapted from the novel with same
title.
__________________5. “My library is an archive of longings.” - Susan Sontag

Score Board

Reward Points:
5 points = Outstanding
4-3 points = Satisfactory

2-1 point = Unsatisfactory. Please retry.

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Remake-or-Break-Me Challenge
For this activity, you will be working in groups of 5. Since we are living in the new
normal setting where face-to-face interaction is prohibited, virtual conference
for video recording is highly suggested. Each person in the group should have
an individual task to complete.
Follow these steps:
1. Select any type of intertextuality technique that you either really liked or
struggle with but are now more confident with.
2. Have each person in the group select his/her role (Director, Researcher,
Script writer, video editor, etc.). All members need to play a character.
3. Select any Filipino drama and apply your selected technique. Write out
step by step process in order to recreate a scene from it.
4. Write out a script for your video presentation that describes all required
information or steps.
5. Determine what type of device and apps you will use to record your
presentation.
6. Rehearse your script multiple times.
7. Use your creativity to determine what type of video you will create. Don’t
be afraid to use your imagination.
Video must not exceed 3 minutes in length. Present your video recording next
meeting for teacher and peer evaluation.

The systems, codes and traditions of other art forms and of culture in general are
also crucial to the meaning of a work of literature. Texts, whether they be literary
or non-literary, are viewed by modern theorists as lacking in any kind of
independent meaning. They are what theorists now call intertextual. The act of
reading, theorists claim, plunges us into a network of textual relations. To interpret
a text, to discover its meaning, or meanings, is to trace those relations. Reading
thus becomes a process of moving between texts. Meaning becomes
something which exists between a text and all the other texts to which it refers
and relates, moving out from the independent text into a network of textual
relations. The text becomes the intertext.

You have just earned the magical pen. Learner, as your mighty guide, I am
proud of you for reaching this far. Congratulations!
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Keep this safely. You will use this in your next journey.
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KEEPING YOU IN PLACE

VOCABULARY WARMING UP
1. Yes 1-5 Answers may vary
1. Oligarchy
2. Frankenstein, Mona Lisa,
2. Novel Harry Potter and Peter Pan
3. The images show that
3. Defile fictional characters are
accompanied by another
fictional character. They
were never together in one
movie.
More so with the painting
of Monalisa, it shows a
new design of her painting.

COOLING DOWN
1. Appropriation
2. Adaptation
3. Adaptation
4. Adaptation
5. Quotation
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Allen, G. (2000). Intertextuality. 11 New Fetter Lane, London EC4P 4EE:

Routledge.

Education, M. (2018). Matrix Education. Retrieved from www.matrix.edu.au.

Shattock, A. (2016, Aug 1). Youtube. Retrieved from Aimee Shattock:
https://youtube/b913WoEHBo
Video Project Rubric. (2018, November Nov. 15). Retrieved from
www.uwstout.edu:
https://www2.uwstout.edu/content/profdev/rubrics/videorubric.html

Images
THEYETEE.COM
matrix.edu.au

janeaustendetectives.com
en.wikipedia.org
simonandschuster.com

deviantar.com
medium.com

APPENDIX
FIGURE 1

Video Project Rubric

Partially Unsatisfact POIN

ACTIVITY Exemplary 5 Proficient 4
Proficient 3 ory 1 TS
Use of Resources Sources of All sources Most No
and Citations information of sources of citations
During Research and graphics information information are
and Note Taking are properly are clearly are included.
cited using identified identified
citations. and using
credited proper
using citation.
citations.
Storyboard The
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The The There is no
storyboard storyboard thumbnail evidence
illustrates the includes sketches of a
video thumbnail on the storyboard
presentation sketches of storyboard .
structure with each video are not in a
thumbnail scene and logical
sketches of includes sequence
each scene. text for and do not
Notes of each provide
proposed segment of complete
transition, the description
special presentatio s of the
effects, sound n, video
and title tracks descriptions scenes,
include: text, of audio
background backgroun backgroun
color, d audio for d, or notes
placement & each about the
size of scene, and dialogue.
graphic, fonts notes about
- color, size, proposed
type for text shots and
and headings. dialogue.
Notes about
proposed
dialogue/narr
ation text are
included.
All sketches All sketches
are are
numbered, organized
and there is a and
logical numbered
sequence to in a logical
the sequence.
presentation.
Content/Organi The content Information The The
zation includes a is presented content content
clear as a does not lacks a
statement of connected present a central
purpose or theme with clearly theme,
theme and is accurate, stated clear point
creative, current theme, is of view
compelling supporting vague, and
and clearly information and some logical
written. A rich that of the sequence
 variety
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of contributes supporting of
supporting to information informatio
information in understandi does not n. Much of
the video ng the seem to fit the
contributes to project's the main supporting
understandin main idea. idea or informatio
g the project's appears as n in the
main idea. a video is
The project disconnect irrelevant
includes ed series of to the
motivating scenes overall
questions and with no message.
advanced unifying The viewer
organizers main idea. is unsure
that provide what the
the audience message is
with a sense of because
the there is
presentation's little
main idea. persuasive
Events and informatio
messages are n and only
presented in a one or two
logical order. facts
about the
topic.
Informatio
n is
incomplet
e, out of
date
and/or
incorrect.
Introduction The The The The
introduction is introduction introductio introductio
compelling is clear and n does not n does not
and provides coherent create a orient the
motivating and evokes strong audience
content that interest in sense of to what will
hooks the the topic. what is to follow.
viewer from follow.
the beginning
of the video
and keeps the
audience's
attention.

Production Quality
Video The tape is
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The tape is The tape is The tape is
Continuity/ edited with edited edited in unedited
Editing only high throughout few spots. and many
quality shots with only Several poor shots
remaining. quality shots poor shots remain. No
Video moves remaining. remain. transitions
smoothly from A variety of Transitions between
shot to shot. A transitions from shot clips are
variety of are used. to shot are used. Raw
transitions are Good choppy, clips run
used to assist pacing and and the back to
in timing. types of back in the
communicati wipes and final video.
ng the main fades
idea and selected
smooth the are not
flow from one always
scene to the appropriat
next. Shots e for the
and scenes scene.
flow There are
seamlessly. many
Digital effects unnatural
are used breaks
appropriately and/or
for emphasis. early cuts.
Audio Editing The audio is The audio is The audio The audio
clear and clear and is is cut-off
effectively assists in inconsisten and
assists in communica t in clarity inconsisten
communicati ting the (too t or
ng the main main idea. loud/too overpower
idea. soft/garble ing.
Background d) at times
audio is kept and/or the
in balance. backgroun
d audio
overpower
s the
primary
audio.
Lighting Additional Additional Some Only
lighting is used lighting is scenes are ambient
to eliminate used. Few too dark or (available)
shadows and shadows or too light to light is
glares. All glares are determine used. Most
scenes have apparent. what is scenes are
 sufficient
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happening too dark or
lighting for . too light to
viewer to determine
easily see what is
action. happenin
g.
Camera All shots are Most shots Some shots Many shots
Techniques clearly are clearly are are
(Exposure/Focus focused and focused unfocused unfocused
) well framed. and well or poorly and poorly
The camera is framed. framed. framed.
held steady Excessive
with few pans panning
and zooms. and
Close-ups are zooming
used to focus distracts
attention. the viewer.
Graphics The graphics The Some of The
and/or graphics or the graphics
animation animation graphics and/or
assist in visually and/or animations
presenting an depict animations are
overall theme material seem unrelated
that appeals and assist unrelated to the
to the the to the content.
audience and audience in topic/them Graphics
enhances understandi e and do do not
concepts with ng the flow not enhance
a high impact of enhance understan
message. information concepts. ding the
Graphics or content. content, or
explain and are
reinforce key distracting
points during decoratio
the ns that
presentation. detract
from the
content.
Copyright Copyrighted Every Some There is no
information for photo, sources of reference
photos, graphic or photos, to
graphics and music is graphics, copyright
music is clearly either and music informatio
identified by original or are not n for
source and permission clearly photos,
nature of for its use is identified graphics,
with and music.
 permission to documente references,
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reproduce. d. and
permission
to
reproduce
is missing.
Moving Images Motion scenes The video The video The video
and Animations are planned includes includes features
and some "talking "talking
purposeful, "talking heads" and heads"
adding heads," and a few with little or
impact to the backgroun motion no action
story line. ds and scenes are to add
"Talking video added but interest, or
heads" scenes effects add do not the video
are used interest. improve uses action
when crucial Most motion understan excessively
to telling the scenes ding of the .
story. make the story line.
story clearer
or give it
more
impact.
Animations Animations Some Animations
are smooth are smooth blinking blink or
and brief -- no and brief, animations flicker,
more than five for the most . Some distracting
seconds. part. animations from the
Alternative Alternative greatly video.
(ALT) text for (ALT) text is exceed Animation
animated brief or five is
image is inaccurate. second excessively
provided. limit. long. No
Alternate alternative
(ALT) text is (ALT) text is
missing or available
inaccurate for vision-
. impaired.
Timing Video clips Most video Some Video clips
show no slack clips are video clips begin and
time. "Three edited to need to be end with
beat" timing remove edited to slack time
(three actions slack time remove or no
per clip or and to slack time action.
three clips per emphasize and
event) is action. increase
evident. action.
Video Captioning
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Synchronized Captions are Captions Captions No
synced up are usually are often captioning
with the audio synced up not synced was
that is played. with the up with the provided.
audio. audio.
Equivalent Captions are Captions Captions No
verbatim of are nearly are rarely captioning
what is said, verbatim, verbatim, was
excluding with a few containing provided.
fillers like sound-alikes sound-
“umm” or and alikes and
“uhh.” substitutions abbreviate
. d
passages.
Accessible The captions For the most Captions No
are readily part, often block captioning
available and captions do key was
do not block not block material on provided.
any important important screen.
screen screen
content. content.
Complete Captions span Only a few Large No
the whole portions sections captioning
length of the lack have no was
video. captioning. captioning provided.
.
Readable Captions prov Some issues Captions No
ide readability with font are hard to captioning
(font size and size and read, was
color face; either for provided.
contrast), and caption poor font
each caption lines choice,
line is on the occasionall too much
screen only for y exceed or content, or
roughly four do not too short a
seconds or meet the time on the
less. four second screen.
guideline.
Media Hosting The The site The site The site
site where me where the where the where the
dia is hosted/ media is media is media is
played ensure hosted/ hosted/pla hosted/
s that the played is yed is not played is
media player not screen screen not screen
 is
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screen reader and reader and reader
reader and keyboard keyboard and
keyboard accessible. accessible. keyboard
accessible. accessible
.
All controls Most of the A few of Controls
have text controls the do not
labels (text have text controls have text
that is read labels (text have text labels (text
aloud when a that is read labels (text that is read
screen reader aloud when that is read aloud
goes over a a screen aloud when a
button- i.e., reader goes when a screen
saying “play” over a screen reader
over the play button- i.e. reader goes over
button) saying goes over a button-
and an “play” over a button- i.e. saying
individual can the play i.e. saying “play”
use only button) “play” over over the
keyboard keys and an the play play
to access individual button) button)
media can use and an and an
controls (the only individual individual
play/pause keyboard can use can use
button, keys to only only
volume, stop, access keyboard keyboard
CC button). media keys to keys to
controls access access
(the media media
play/pause controls controls
button, (the (the
volume, play/paus play/paus
stop, CC e button, e button,
button. volume, volume,
stop, CC stop, CC
button. button.
TOTAL POINTS