Republic of the Philippines

Department of Education (DepEd)

Region VIII (Eastern Visayas)
Division of Leyte
JUGABAN NATIONAL HIGH SCHOOL
Mabini St. Brgy. Jugaban, Carigara, Leyte
School ID: 313307
Name of student: ________________________________ Date: ___________________
Grade Level/Section: ___________________ Score: __________________

ACTIVITY WORKSHEET FOR CREATIVE WRITING

QUARTER 3 - WEEK 7

General Objective: (MELC) Write journal entries and other short compositions exploring key elements
of fiction (HUMSS_CW/MPlg-i-13)
Learning Objectives: Write one journal entry or other short compositions exploring key elements of
fiction

A. EXPLORE

Recall the Elements

Directions: Knowing your writing preferences will help you be more successful in your writing
process. The use of elements of fiction will help you to retell the story effectively. Answer the following
questions on your paper.

1. What fiction genre do you prefer to write? Why?

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2. How will you use your learned elements of fiction?
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B. LEARN

Tips in Creative Writing – Writing a Fictional Story

Knowing that after taking this module, you will be writing your own well-crafted poem considering the
elements, techniques and devices presented. You have also to decide the form of the poetry, the diction,
tone and other essential elements that you have learned in the previous modules.

Some Tips in Writing a Fictional Story

Writing fiction is not as hard as it seems, as long as you follow these eight simple rules:

1. Choose what design you need to compose your fiction in. This may rely upon what kind of story
you need to tell. For instance, on the off chance that you need to compose an epic dream that traverses
numerous ages, a novel (or even a progression of books) may work superior to a short story. In case you're
keen on investigating the mind of a solitary character, a short story might be perfect

2. Show, don’t tell. Recall sharing time in grade school, when you'd acquire an article from home and
discussion about it? I need you to recollect that experience and the exercises about narrating it bestowed. At
that point concoct a time machine, and travel back to primary school, and find a new line of work as a
second-grade educator, and ensure you get yourself as an understudy in your group, and in the time
machine bring along an iPhone, and offer it to your second-grade self. All the children will be overwhelmed,
despite the fact that it won't get telephone gathering since mobile phone towers haven't been fabricated at
this point. The more youthful you will create more noteworthy confidence from your recently discovered
notoriety, and proceed to lead a more extravagant grown-up life, and have more material to expound on.
3. Build up the stakes early. To be connecting with, your fiction needs clear stakes for its characters.
These don't need to be world-breaking, yet they do need to feel critical to the characters.
For instance, regardless of whether a courageous woman gets the chance to be involved with the individual
she adores likely won't be the apocalypse for every other person, yet it is something that ought to be
significant for the character.

Some of the time, the stakes truly are the apocalypse, for example, in J.R.R. Tolkien's Lord of the Rings
arrangement, wherein the characters' inability to pulverize the One Ring will bring about the pulverization of
Middle Earth by evil. These kinds of stakes are generally best saved for dream and legends.

4. Create three-dimensional characters. Let's assume you're expounding on a hard charging broker
who's having an extramarital illicit relationship. This is a decent beginning, however to abstain from
transforming him into an adage, you have to round him out in three measurements. In each passage, tell the
peruser precisely how high, wide, and long he is.
5. Figure out the basic setting and plot. You have to have a strong feeling of what your story's reality
resembles, who lives on the planet, and what will occur in your story before you begin composing full scenes
and sections. In the event that you have a decent comprehension of your characters, which you ought to
have in the wake of conceptualizing, let their characters and blemishes control your plot.
For setting, ask yourself questions like these: When is it? Is it in the present? The future? The past? More
than one? What's the season? Is it cold, hot or mild? Is it stormy? Where is it? Is it in this world? A different
world? An alternate universe? What country? City? Province/State?

For plot, ask yourself questions like these: Who is in it? What is their role? Are they good or bad? What
flaws do they have? What goals do they have? What is the precipitating incident that made this story
happen in the first place? Is there something that happened in the past that could affect what happens in
the future?

Regardless of whether you start in the activity, it's significant that you as of now have a thought of what
happened previously. Regardless of whether you just suggest or allude to the occasions that occurred
before the beginning of your story, it will be simpler for you to be inside predictable and for your perusers
to fill in the spaces if there's a built up backstory.

6. Choose a point of view. Decide which point of view makes most sense for your story: first person;
second person; third person, either limited or the omniscient. You have known the different types of Point of
View. Considering the applicability of the point of view and the effectiveness of it in telling a story.
7. Don’t be too predictable. While a lot of fiction proceeds along very familiar lines -consider how many
stories are about heroic quests or 2 people who initially hate each other but learn to love each other -- you
don’t want to lapse into formulaic storytelling. If your reader can predict everything that’s going to happen,
they won’t care about finishing your story.
For example, you could have a romance novel in which it’s hard to see how the characters will end up
happily ever after because of the situations they’re in or their personality flaws. The surprise for readers will
be how things do end up working out in the end, despite all appearances to the contrary.

8. Give your characters motivations. If you’re having trouble fleshing out your characters, continually
ask yourself in each scene, “What does this character want?” Say this out loud enough, and soon someone
nearby will ask why you keep repeating that. Do not reply, but simply keep questioning aloud, “What does
this character want?” Eventually you’ll be committed to an asylum. Asylums are great places to think without
the distractions of the modern world. I’m sure you’ll figure out that pesky protagonist in no time.
9. Start writing what you know. You may want to try pen and paper instead of the computer for the first
draft. If you're sitting at a computer and there's one part that you just can't seem to get right, you could find
yourself sitting there for ages trying to figure it out, typing and re-typing. With pen and paper, you just write it
and it's on paper. If you get stuck, you can skip it and keep going. Just start wherever seems like a good
 place and write. Use your outline when you forget where you're going. Keep on going until you get to the
end.
If you're more of a computer person, a software program like Scrivener may help you get started. These
programs let you write multiple little documents, such as character profiles and plot summaries, and keep
them all in the same place

11. No tears for the writer, no tears for the reader. If you’re not moved by your story, don’t expect your
reader to be. Therefore, sob uncontrollably as you compose. Slice onions to abet the process.
12. Revise, revise, revise. This goes without saying. Follow the Writing Process that you have learned.
Revision literally means to re-view something, to look at it again. Look at your fiction from the point of view
of your readers, not you as a writer. If you had paid money to read this book, would you be satisfied? Do
you feel a connection to your characters?
Revision can be incredibly hard; there’s a reason why in the writing business it’s often talked about as
“killing your darlings.”

Don't be afraid to cut out words, paragraphs, and even entire sections. Most people pad their stories with
extraneous words or passages. Cut, cut, cut. That is the key to success.

13. Trust yourself. Ultimately, you should value your own judgment over that of others. Except for this list
of writing rules. It is completely accurate.

C. ENGAGE

Directions: With your learnings with the different tips in writing a fictional story, do the outlining or planning
of your story to be written. Do this in a short bond paper.
I. Characters (Consider the kinds of characters)
II. Setting (Consider the elements of setting)
III. Plot (Identify the five parts of a plot)
IV. Theme, Tone, Subject, Motif
V. Conflict and Point of View
VI. Plot Device, Vision and Finale used in the story
VII. Imagery:
VIII. Figures of Speech:
IX. Message:
X. Target Audience:

D. Apply
Writing Time!
Directions: Write one journal entry or other short composition or story exploring key elements of fiction
considering the elements, literary devices and techniques presented in the previous module and the genre
that you have chosen considering your created outline. You have the freedom to choose and utilize any of
the elements, forms, and other essential topics about fictional prose. Do this output in a short bond paper.
You may be creative in presenting your output. You will be guided by the rubrics in grading your outputs.

SHORT STORY WRITING RUBRICS

CATEGORY Exceptional Good Fair Poor
Setting Many vivid, descriptive Some vivid, descriptive The reader can figure The reader has trouble
words are used to tell words are used to tell the out when and where figuring out when and
when and where the audience when and where the story took place, where the story took
story took place. the story took place. but the author didn't place.
supply much detail.
Characters The main characters The main characters are The main characters It is hard to tell who the
are named and clearly named and described. are named. The reader main characters are.
described. Most Most readers would have knows very little about
readers could describe some idea of what the the characters.
the characters characters looked like.
accurately.
Problem/ It is very easy for the It is fairly easy for the It is fairly easy for the It is not clear
Conflict reader to understand reader to understand the reader to understand what problem the
the problem the main problem the main the problem the main main characters
characters face and characters face and why it characters face but it is face.
why it is a problem. is a problem. not clear why it is a
problem.
Solution/ The solution to the The solution to the The solution to the No solution is attempted
Resolution character's problem is character's problem is character's problem is a or it is impossible to
easy to understand, easy to understand, and is little hard to understand. understand.
and is logical. There somewhat logical.
are no loose ends.
Dialogue There is an There is too much There is not quite It is not clear which
appropriate amount of dialogue in this story, but enough dialogue in this character is speaking.
dialogue to bring the it is always clear which story, but it is always
characters to life and it character is speaking. clear which character is
is always clear which speaking.
character is speaking.
Organization The story is very well The story is pretty well The story is a little hard Ideas and scenes seem
organized. One idea organized. One idea or to follow. The transitions to be randomly
or scene follows scene may seem out of are sometimes not arranged.
another in a logical place. Clear transitions clear.
sequence with clear are used.
transitions.
Creativity The story contains The story contains a few The story contains a few There is little evidence
many creative details creative details and/or creative details and/or of creativity in the story.
and/or descriptions descriptions that descriptions, but they The author does not
that contribute to the contribute to the reader's distract from the story. seem to have used
reader's enjoyment. enjoyment. The author has The author has tried to much imagination.
The author has really used his/her imagination. use his/her imagination.
used his/her
imagination.
Mechanics The story contains no The story contains few The story contains The story contains so
errors in grammar, minor errors in grammar, many and/or serious many errors in
usage, or mechanics. usage, or mechanics. errors in grammar, grammar, usage, and
usage, or mechanics; mechanics that errors
may interfere with block reading.
reading.
Requirements All of the written Almost all (about 90%) the Most (about 75%) of the Many requirements
requirements (typed, written requirements were written requirements were not met.
double spaced, # of met. MLA format were met, but several
pages, font, margins) were not. MLA format
were met. MLA Format

Name of Teacher Contact Number

MARIAN TIMTIMAN-DACOYCOY 09951495817/09123097440

REFLECTION (STUDENTS): _____________________________________________________________

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REFLECTION (TEACHER): ______________________________________________________________

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