12

Creative Nonfiction
Quarter 1 – Module 3:
Literary Conventions of Traditional
Genres
English – Grade 12
Alternative Delivery Mode
Quarter 1 – Module 3:Literary Conventions of Traditional Genres
First Edition, 2020

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
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impose as a condition the payment of royalties.

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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.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writers: Shenna Marie E. Rubia
Editor: Jessie Lou L. Ecleo
Reviewer: Jessie Lou L. Ecleo
Illustrator: None
Layout Artist/Typesetter: Josephine V. Austero
Management Team: Senen Priscillo P. Paulin, CESO V Rosela A. Abiera
Fay C. Luarez TM, EdD, PhD Maricel R. Rasid
Nilita l. Ragay EdD Elmar L. Cabrera
Adolf P. Aguilar
Anna Lee A. Amores EdD

Printed in the Philippines by ________________________

Department of Education –Region VII Schools Division of Negros Oriental

Office Address: Kagawasan, Ave., Daro, Dumaguete City, Negros Oriental

Tele #: (035) 225 2376 / 541 1117
E-mail Address: negros.oriental@deped.gov.ph
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Creative Nonfiction
Quarter 1 – Module 3:
Literary Conventions of Traditional
Genres
Introductory Message
For the Facilitator:

Welcome to the Creative Nonfiction 11/12 Alternative Delivery Mode (ADM)

Module Literary Conventions of Traditional Genres!

This module was collaboratively designed, developed and reviewed by educators

both from public and private institutions to assist you, the teacher or facilitator in
helping the learners meet the standards set by the K to 12 Curriculum while
overcoming their personal, social, and economic constraints in schooling.
This learning resource hopes to engage the learners into guided and independent
learning activities at their own pace and time. Furthermore, this also aims to help
learners acquire the needed 21st century skills while taking into consideration their
needs and circumstances.

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

“The beautiful thing about learning is

that nobody can take it away fr om you.” -
B.B.King

As a facilitator, you are expected to orient the learners on how to use this module.
You also need to keep track of the learners' progress while allowing them to manage
their own learning. Furthermore, you are expected to encourage and assist the
learners as they do the tasks included in the module.
For the learner:
Welcome to the Creative Nonfiction Alternative Delivery Mode (ADM) Module 3 on
Literary Conventions of Traditional Genres!

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

This will give you an idea of the skills or

What I Need to Know competencies you are expected to learn in the
module.

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 This part includes an activity that aims to check
what you already know about the lesson to take.
What I Know
If you get all the answers correct (100%), you
may decide to skip this module.

This is a brief drill or review to help you link the

What’s In current lesson with the previous one.

In this portion, the new lesson will be introduced

to you in various ways; a story, a song, a poem, a
What’s New
problem opener, an activity or a situation.

This section provides a brief discussion of the

What is It lesson. This aims to help you discover and
understand new concepts and skills.

This comprises activities for independent practice

to solidify your understanding and skills of the
What’s More
topic. You may check the answers to the
exercises using the Answer Key at the end of the
module.
This includes questions or blank
What I Have Learned sentence/paragraph to be filled into process what
you learned from the lesson.
This section provides an activity which will help
What I Can Do you transfer your new knowledge or skill into real
life situations or concerns.
This is a task which aims to evaluate your level of
Assessment mastery in achieving the learning competency.

In this portion, another activity will be given to

Additional Activities you to enrich your knowledge or skill of the
lesson learned.

Answer Key This contains answers to all activities in the

module.
At the end of this module you will also find:

References This is a list of all sources used in developing

this module.

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The following are some reminders in using this module:

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

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

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 TABLE OF CONTENTS
CONTENT PAGES

TITLE PAGE ------------------------------------------------ i

INTRODUCTORY MESSAGE ------------------------------ --- ii

For the Facilitator --------------------------------- ii
For the learner ----------------------------------------- ii

WHAT I NEED TO KNOW --------------------------------- 1

Learning Competency --------------------------------- 1
Learning Objectives --------------------------------- 2

WHAT I KNOW ------------------------------------------------ 2

WHAT’S IN ------------------------------------------------ 3

WHAT’S NEW ------------------------------------------------ 4

Task 1 ------------------------------------------------ 4

WHAT IS IT ------------------------------------------------ 4

WHAT’S MORE ------------------------------------------------ 7

Task 2 ------------------------------------------------ 7

WHAT I HAVE LEARNED --------------------------------- 8

WHAT I CAN DO ---------------------------------------- 9

Task 3 ------------------------------------------------ 9

ASSESSMENT ------------------------------------------------ 10

GLOSSARY ------------------------------------------------ 11

ANSWER KEYS ------------------------------------------------ 12

REFERENCE LIST -------------------------------------------- 13

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What I Need to Know

HUMSS_CNF11/12-lb-d-7- Revise the draft of a short piece using any

literary conventions of a genre (e.g. plot for a narrative piece)

At the end of the module, you should be able to:

Knowledge: Define the following: creative nonfiction, literary
convention, and literary genre
Skills: Identify the dominant conventions used in a particular genre
Attitude: Appreciate the literary conventions by applying it in their
own writing in revising the short piece using any of the literary
conventions of genre (e.g. plot for narrative piece)
What I Know

Directions: Supply the following with the appropriate word found below to
complete the statements. Write your answer in your notebook.

Literary Convention Drama Fiction

Poetry Literary Genre Creative Nonfiction
Short Story

1.__________________ means the aggregate of norms and standards created in

the realm of literary heritage.
2. ___________________ reveals situations through its characters, settings and
plot.
3. ___________________ is a category of literary composition and may
determine by literary technique, tone, content, or even length
4. ___________________ is a literary work in which special intensity is given to
the expression of feelings and ideas by the use of distinctive style and
rhythm.
5. ___________________ is a literary genre that tells something based on
imagination rather than on facts.
6. ___________________ defines the genre simply, succinctly, and accurately
as “true stories well told.”
7. ____________________ is a brief fictional prose narrative that is shorter
than a novel and that usually deals with only few characters.

What’s In

Before we start, let me ask you these questions. If you were given the chance
to express your feeling to someone you like, how would you say it? Write
your answer in your notebook. Make sure to express your feeling in three
sentences only.
1.
2.
3.

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 What do you think are you doing the moment you express your
thoughts?
Do you have a technique and style in expressing your thoughts?
If your answer is “YES”, congratulations, you are now ready to learn
and understand the topic that you are about to tackle.

What’s New

Read and understand the short story below.

The Way of the World

By: Srinidhi Ranganathan

One sunny day, an old man climbed the top of a hill, tired and
panting, carrying two bird cages in his hand. Inside the cage, there were two
birds – one blue and one black. The man sat under a maple tree, looking at
the two beautiful birds and then spoke, “O lovely little birds of God,” he said
sympathizing, “Life is miserable to you birds, as you have to be shut up in a
cage all day long, striving for freedom, thinking of the days when you used
to fly joyfully in the bright blue sky. What you bird desperately need is
freedom and freedom alone!” Saying this, the man looked above at the
floating clouds and slowly turned to open the cage doors, to let the birds go
free. When he tried to do this unique act, the man was suddenly filled with
immense pride. He then opened the cage doors. “Fly away to Paradise-to
God’s Garden of love, into the sunshine, into the brilliant light, to a big new
world awaiting you!” The birds immediately knew that were granted freedom
and they flew out of the cage, happy and free, humming a blissful song. The
man then closed his eyes for a second and thought that he had
accomplished something indescribable and these moments seemed
unforgettable to him. In a few minutes, the birds disappeared and were
nowhere to be seen.
The man returned the next day to the same place and was amazed to
see the two birds back again singing, perched on the maple tree. He revisited
the same place again the day after that and saw the birds. He continued this
routine of visiting the hill, for a year, again and again to see the lovely birds.
One as usual, when he climbed the hill to see the birds, he was surprised
not to find the birds. The man spent all his day, searching all over the place
and was terribly disappointed at the end of the day. The man kept on going
to the same place daily after that, with no luck of finding the birds.
One more year passed. The old man became very sick and was laid in
his deathbed. He came to know that his time on earth was very short. That
night, he thought of the birds, the maple tree and the hill that he could not
climbed again. As he was sleeping with these sad thoughts in his heart, he
was awakened by chirping sounds coming from the windowsill. He opened
his eyes and saw the happiness. The birds flew and sat on the desk and
sang to him all night long. In his dream, he climbed the hill and saw

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thousands of bird cages, one by one and setting all the birds free and soon
birds filled the entire sky and he heard them thank him.
The morning dawned and the milkman, who supplied milk every day,
entered the old man’s house and was shocked to see the dead old man on
his bed and the two birds seated by his side, on the desk. “Poor old man!” he
exclaimed, as an evil smile spread his lips, when he thought of the birds. “I
wonder how much they would give me for these ugly birds at the market. I
would take no less than five pounds” he thought and turned to grab them.

Answer the questions below. Write your answer in your notebook.

1. What is the literary genre used by the author in expressing his

thoughts?
2. How does the author present his story?

What Is It

As an English learner, you meet the different types of literary

conventions as part of creative nonfiction. Creative Nonfiction is defined
simply, succinctly, and accurately as “true stories well told.” The words
“creative” and “nonfiction” describe the form. The word creative refers to
the use of literary craft, the techniques fiction writers, playwrights, and
poets employ to present nonfiction – factually accurate prose about real
people and events- in a compelling, vivid, dramatic manner. The goal is to
make nonfiction stories read like fiction so that your readers are as
enthralled by fact as they are by the fantasy.
As a learner of this subject, let me ask you these questions and
answer briefly. Write your answer in your notebook.

1. Do you think studying Creative Nonfiction is essential? Why?

2. What is Creative Nonfiction?

Okay! You made it! Now let’s continue. As part of creative nonfiction,
one must learn about the Literary Conventions. Now, what are the literary
conventions? Literary Convention means the aggregate of norms and
standards (i.e., plot, character, setting, icon, theme, or effect in a genre
story) created in the realm of literary heritage. Each literary genre possesses
certain conventions that produce remarkable effects. They are defining
elements of the different genres and subgenres. Conventions can also refer
to the way ideas are expressed: literal or figurative. In this sense, it can
mean the use of language that includes grammar (i.e., tense, syntax),
vocabulary, story structure, etc. Literary genres are collections of
conventions that aim to create novelty and creativity.
So, is there a question that still hangs in your mind? Let me ask you
this question:

What is the difference between literary convention and literary genre?

Okay! Very Good! Let’s continue.

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 Literary convention has this so-called Traditional Conventions.
These are the following:
Fiction is a literary genre that tells something based on imagination
rather than on facts. It features creativity in inventing place, characters,
settings, and themes within and beyond factual realms. Imaginative stories
which could be realistic or not, usually emphasize character development.
Furthermore, it is also categorized into subgenres defined by content,
technique, and tone. These are the novel, myth, short story, legend, fable,
historical fiction, adventure, fantasy, mystery, science fiction,
traditional literature, and folktales. Realistic fiction is a story that can
happen in real life with true-to-life characters, reasonable and believable
outcomes, and contemporary and historical setting.
Poetry is a literary work in which special intensity is given to the
expression of feelings and ideas by the use of distinctive style and rhythm;
poems collectively or as a genre of literature. The literary norms in poetry
refer to how structure and rhythm are linked to content and theme. We
know it is a poem because it is composed of verses or pairs of lines, and is
metered. Furthermore, patterns and techniques contribute to the overall
meaning of the literary piece. For example, a narrative poem tells a story. A
lyrical poem evokes emotions, reflections, and thoughts.
Western literary tradition has three primary poetic conventions;
meter, rhythm, and rhyme.
Meter highlights the stressed and unstressed syllables in a poem.
Rhythm refers to a certain pattern in a line of verse or stanza. Finally, rhyme
is the repetition of similar or the same sounds in the lines of verses, usually
in the final syllables of a poem or songs.
Drama reveals situations through its characters, settings, and plot. It
is filled with climaxes and turning points that develop the characters. It also
brings out social issues aimed to evoke emotions in the audience as they
relate to the complications of the story and the actions.
The ending may be happy, tragic, or a combination of both. Moreover,
not all drama follows these conventions as playwrights continue to inject
creativity to their masterpieces.
Take a look at this example:

Twinkle, twinkle little star,

How I wonder what you are.
Up above the world so high,
Like a diamond in the sky.

What do you think is the dominant convention in the poem? It’s the
rhyme! How about the pattern? Is there a pattern? Yes! What is the
pattern? The pattern is that the first two lines have the same rhyme
and the next two lines have the same rhymes also. You got it! So, are you
ready to spot for a dominant literary convention? Okay, here’s a poem for
you. Let us use poetry as our genre. Are you ready?

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 Sonnet 116
By: William Shakespeare

Let me not the marriage of true minds- a

Admit impediments. Love is not love- b
Which alters when it alteration finds,-a
Or bends with the remover to remove.-a
O no! it is an ever-fixed mark-c
That looks on tempests and is never shaken;-d
It is the star to every wand 'ring bark,-c
Whose worth’s unknown, although his height be taken.-d
Love’s not time’s fool, though rosy lips and cheeks-e
Within his bending sickle’s compass come;-f
Love alters not with his brief hours and weeks,-e
But bears it out even to the edge of doom.-f
If this be error and upon me prov’d,-g
I never writ, nor no man ever lov’d-g

The beautiful above poem is an example of a Shakespearean Sonnet

that uses the conventions: three quatrains and a concluding couplet, and
the rhyming ab ab cd cd ef ef gg, which is different from that of the
Petrarchan Sonnet with the rhyme scheme of abba abba cde cde, although
both have 14 lines.

What’s More

Another example of literary genre is by the use of Autobiography. Like

a short story, an autobiography, too, uses the literary elements. Take the
notes below.
The literary model here is an autobiography written by Ernesto
Galarza. It illustrated literary elements like characters, setting, chronological
order, and author’s purpose, leading to the development of theme.
Autobiographical writing/autobiography through the narration of the
author of his personal experiences reveals an account of events, line of
thinking, emotions, expectations, and realizations. The details in the story
actually happened. The author, Ernesto Galarza, in the “Barrio Boy” is the
young version of an older person recounting to the readers his childhood
experiences. In the process of telling the story or experience, he reveals his
own personality and feelings toward other people and places. Since
autobiography is narrating a person’s true experiences, this is now part of
our subject, Creative Nonfiction. It is creative nonfiction because
autobiography is narrated creatively and at the same time it is using a
nonfiction events or experiences. Meaning, the details in autobiography are
not a product of the writer’s imagination but of writer’s real experience.

Read the example below.

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 Barrio Boy
By: Ernesto Galarza

My mother and I walked south on Fifth Street one morning to the

corner of Q Street and turned right. Half of the block was occupied by the
Lincoln School. It was a three-story wooden building, with two wings that
gave it the shape of a double-T connected by a central hall. It was a new
building, painted yellow, with a shingled roof that was not like the red tile of
the school in Mazatlán. I noticed other differences, none of them very
reassuring. We walked up the wide staircase hand in hand and through the
door, which closed by itself. A mechanical contraption screwed to the top
shut it behind us quietly.
Up to this point the adventure of enrolling me in the school had been
carefully rehearsed. Mrs. Dodson had told us how to find it and we had
circled it several times on our walks. Friends in the barrio explained that the
director was called a principal, and that it was a lady and not a man. They
assured us that there was always a man. They assured us that there was
always a person at the school who could speak Spanish.
Exactly as we had been told, there was a sign on the door in both
Spanish and English: “Principal.” We crossed the hall and entered the office
of Miss Nettie Hopley.
Miss Hopley was at a roll-top desk to one side, sitting in a swivel chair
that moved on wheels. There was a sofa against the opposite wall, flanked
by two windows and a door that opened on a small balcony. Chairs were set
around the table and framed pictures hung on the walls of a man with long
white hair and another with a sad face and a black beard.
The principal half turned in the swivel chair to look at us over the
pinch glasses crossed on the ridge of her nose. To do this she had to duck
her head slightly as if she were about to step through a low doorway.
What Miss Hopley said to us did not know but we saw in her eyes a
warm welcome and when she took off her glasses and straightened up she
smiled wholeheartedly, like Mrs. Dodson. We were, of course, saying
nothing, only catching the friendliness of her voice and the sparkle in her
eyes while she said words we did not understand. She signaled us to the
table. Almost tiptoeing across the office, I maneuvered myself to keep my
mother between me and the gringo lady. In a matter of seconds, I had to
decide whether she was a possible friend or a menace. We sat down.
Then Miss Hopley did a formidable thing. She stood up. Had she been
standing when we entered she would have seemed tall. But rising from her
chair she soared. And what she carried up and up with her was a buxom
superstructure, firm shoulders, a straight sharp nose, full cheeks slightly
molded by a curved line along the nostrils, then lips that moved like steel
springs, and a high forehead topped by hair gathered in a bun. Miss Hopley
was not a giant in body but she mobilized it to a standing position she
seemed a match for giants. I decided I liked her.
She strode to a door in the far corner of the office, opened it and called
a name. A boy of about ten years appeared in the doorway. He sat down at

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one end of the table. He was brown like us, a plump kid with shiny black
hair combed straight back, neat, cool, and faintly obnoxious.
Miss Hopley joined us with a large book and some papers in her hand.
She, too, sat down and the questions and answers began by way of our
interpreter. My name was Ernesto. My mother’s name was Henriqueta. My
birth certificate was in San Blas. Here was my last report card from the
Escuela Municipal Numero 3 para Varones of Mazatlan, and so forth. Miss
Hopley put things down in the book and my mother signed a card.
As long as the questions continued, Doña Henriqueta could stay and
I was secure. Now that they were over, Miss Hopley saw her to the door,
dismissed our interpreter and without further ado took me by the hand and
strode down the hall to Miss Ryan’s forst grade. Miss Ryan took me to a seat
at the front of the room, into which I shrank-the better to survey her. She
was, too skinny, somewhat runty, of a withering height when she patrolled
the class. And when I least expected it, there she was, crouching by my
desk, her blond radiant face level with mine, her voice patiently
maneuvering me over the awful idiocies of the English language.
During the next few weeks Miss Ryan overcame my fears of tall,
energetic teachers as she bent over my desk to help me with a word in the
pre-primer. Step by step, she loosened me and my classmates from the safe
anchorage of the desks for recitations at the blackboard and consultations
at her desk. Frequently she burst into happy announcements to the whole
class. “Ito can read a sentence,” and small Japanese Ito, squint-eyed and
shy, slowly read aloud while the class listened in wonder: “Come, Skipper,
come. Come and run.”
The Korean, Portuguese, Italian, and Polish first graders had similar
moments of glory, no less shining than mine the day I conquered “butterfly,”
which I had been persistently pronouncing in standard Spanish as boo-ter-
flee. “Children,” Miss Ryan called for attention. “Ernesto has learned how to
pronounce butterfly!” And I proved it with a perfect imitation of Miss Ryan.
From that celebrated success, I was soon able to match Ito’s progress as a
sentence reader with “Come, butterfly, come fly with me.”
Like Ito and several other first graders who did not know English, I
received private lessons from Miss Ryan in the closet, a narrow hall off the
classroom with a door at each end. Next to one of these doors Miss Ryan
placed a large chair for herself and a small one for me. Keeping an eye on
the class through the open door she read with me about sheep in the
meadow and a frightened chicken going to see the king, coaching me out of
my phonetic ruts in words like pasture, bow-wow-wow, hay, and pretty,
which to my Mexican ear and eye had so many unnecessary sounds and
letters. She made me watch her lips and then close my eyes as she repeated
words I found hard to read. When we came to know each other better, I tried
interrupting to tell Miss Ryan how we said it in Spanish. It didn’t work.
She only said “oh” and went on with pasture, bow-wow-wow, and
pretty. It was as if in that closet we were both discovering together the
secrets of the English language and grieving together over the tragedies of
Bo-Peep. The main reason I was graduated with honors from the first grade
was that I had fallen in love with Miss Ryan. Her radiant, no-non-sense
character made us either afraid not to love her or love her so we would not

8
be afraid, I am not sure which. It was not only that we sensed she was with
it, but also that she was with us. Like the first grade, the rest of the Lincoln
School was a sampling of the lower part of town where many races made
their home. My pals in the second grade were Kazushi, whose parents spoke
only Japanese; Matti, a skinny Italian boy; and Manuel, a fat Portuguese
who would never get into a fight but wrestled you to the ground and just sat
on you. Our assortment of nationalities included Koreans, Yugoslavs, Poles,
Irish, and home-grown Americans.
At Lincoln, making us into Americans did not mean scrubbing away
what made us originally foreign. The teachers called us as our parents did,
or as close as they could pronounce our names in Spanish or Japanese. No
one was ever scolded or punished for speaking in his native tongue on the
playground. Matti told the class about his mother’s down quilt, which she
had made in Italy with the fine feathers of a thousand geese. Encarnación
acted out how boys learned to fish in the Philippines. I astounded the third
grade with the story of my travels on a stagecoach, which nobody else in the
class had seen except in the museum at Sutter’s Fort. After a visit to the
Crocker Art Gallery and its collection of heroic paintings of the golden age of
California, someone showed a silk scroll with a Chinese painting. Miss
Hopley herself had a way of expressing wonder over these matters before a
class, her eyes wide open until they popped slightly. It was easy for me to
feel that becoming a proud American, as she said we should, did not mean
feeling ashamed of being Mexican.
So, were you able to get the point in writing an autobiography?
Great! So at this point, let me ask you to answer the questions to test
how far you have understood the article. Write the letter of your answer in
your notebook. You may refer to “Barrio Boy” any time.

1. What does this line mean, “The main reason I graduated with
honors from the first grade was that I had fallen in love with Miss
Ryan”?
a. Ernesto had a crush on Miss Ryan.
b. Ernesto is a favorite student of Miss Ryan.
c. Miss Ryan inspired Ernesto to excel in school.
d. Miss Ryan treated Ernesto with love and care.

2. What does the author imply in the following line, “At Lincoln,
making us into Americans did not mean scrubbing away what
made us originally foreign”?
a. Migrants can embrace the customs of America without
forgetting theirs.
b. Migrating to America makes the people forget their heritage.
c. America promises a good life and opportunities for migrants.
d. America is the superior country in the world.

3. How does the author describe Miss Ryan?

a. Shrewd but caring
b. Spirited and strong

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 c. Compassionate and kind
d. Supportive but intimidating

4. What is the similarity of Ernesto’s class in school and his

neighborhood?
a. They both have active children.
b. They are both culturally diverse.
c. Racial discrimination happens in both.
d. They are both populated by Americans.

5. Which of the following is the central idea of the story?

a. Cultural diversity should be celebrated.
b. Migrants want to be Americanized.
c. America despises foreign cultural heritage.
d. Migrants are products of their foreign heritage.

6. Which of the following is the main idea of a particular paragraph

from the story?
a. At Lincoln, making us into Americans did not mean
scrubbing away what made us originally foreign.
b. No one was ever scolded or punished for speaking in his
native tongue on the playground.
c. It was easy for me to feel that becoming a proud American,
as she said we should, did not mean feeling ashamed of
being a Mexican.
d. Miss Hopley herself had a way of expressing wonder over
these matters before a class, her eyes wide open until they
popped slightly

7. Which is good alternative title for the story?

a. Becoming an American
b. From Mexican to American
c. The Americanization of a Barrio Boy
d. Proud to be American and Mexican

8. What is evident in Lincoln School that can be gleamed from this

paragraph?
“The teachers called us as our parents did, or as close as they
could pronounce our names in Spanish or Japanese. No one was
ever scolded or punished for speaking in his native tongue on the
playground. Matti told the class about his mother’s down quilt,
which she had made in Italy with the fine feathers of a thousand
geese. Encarnación acted out how boys learned to fish in the
Philippines.”
a. Americanized students
b. Acceptance of cultural diversity
c. Kind and compassionate teachers
d. Inquisitive American and foreign students
9. What is the best description for the main character?

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 a. Confused
b. Intimidated
c. Obstinate
d. Resilient

10. Which character is being portrayed in this line, “She was, too
skinny, somewhat runty, of a withering height when she patrolled
the class”?
a. Miss Hopley
b. Miss Ryan
c. Mrs. Dodson
d. Miss Matti

What I Have Learned

Answer briefly the question below. Write your answer in your notebook.

I have realized that_____________________________________________________

I will apply ____________________________________________________________

What I Can Do

1. By reading the article, Barrio Boy, what is your notion in

Autobiographical Writing?
2. Are literary elements still relevant in Autobiographical Writing?
Why?

Assessment

Go back to sample autobiography, Barrio Boy. State the plot of the

article in your own words. Write it in your notebook.
Are you ready? Begin.

Additional Activity

Identify the statement on each number. Write your answer in your

activity notebook.

1.__________________ means the aggregate of norms and standards created

in the realm of literary heritage.
2. ___________________ reveals situations through its characters, settings and
plot.
3. ___________________ is a category of literary composition and may
determine by literary technique, tone, content, or even length
4. ___________________ is a literary work in which special intensity is given to
the expression of feelings and ideas by the use of distinctive style and
rhythm.

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5. ___________________ is a literary genre that tells something based on
imagination rather than on facts.
6. ___________________ defines the genre simply, succinctly, and accurately
as “true stories well told.”
7. ____________________ is a brief fictional prose narrative that is shorter
than a novel and that usually deals with only few characters.
8. ___________________ is the writer of the autobiography, Barrio Boy.
9.___________________ is a narration of personal experiences revealing an
account of events, line of thinking, emotions, expectations, and realizations
as narrated by person himself.
10. _________________ tells the chain of events through different stages
revealed in the story.

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Answer Key:
A. What I Know
1. Literary Convention
2. Drama
3. Literary Convention
4. Poetry
5. Fiction
6. Creative Nonfiction
7. Short Story
B. The Way of the World
1. The literary genre is a Short Story.
2. The story is presented through narration using the third person point of view.
C. The Barrio Boy
1. C
2. A
3. C
4. B
5. D
6. A
7. A
8. B
9. D
10. B
D. What I Have Learned
1. Writing an autobiography is writing a personal experience through the narration of the author. It
reveals an account of events, line of thinking, emotions, expectations, and realizations.
2. Yes, Literary Elements are relevant in the sense that it helps the writer write the idea into
chronological order.
E. Additional Activities
1. Literary Conventions
2. Drama
3. Literary Genre
4. Poetry
5. Fiction
6. Creative Nonfiction
7. Short Story
8. Ernesto Galarza
9. Autobiography
10. Plot
References:

Gallo, Harold V. and Oliveros, Aries N. Grammar Essentials Creative

Nonfiction Senior High School. Published and distributed by Sibs
Publishing House, Inc., 927 Quezon Avenue, 1104 Quezon City,
copyright 2017.

www.google.com/story of Karma

www.merriamwebsterdictionary.com

www.youtube.com

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