CREATIVE NON-

FICTION
I N T R O D U C T I O N TO N O N F I C T I O N W R I T I N G
INTRODUCTION TO LITERARY GENRES
Learning Objectives: In this lesson, students are expected to write
their own nonfictional piece, particularly, with their own
introductions. Specifically, this module will help you to:
1. Understand the difference between fictional and nonfictional
accounts.
2. Learn about the usual themes of a literary nonfiction piece.
3. Identify the theme of a particular nonfictional piece.
 UNDERSTANDING CONVENTIONS OF
TRADITIONAL GENRE
Literature may be classified into five categories or genres:
1. P.F
2. P
3. D
4. NF
5. CNF
 While all are art forms, each with its own requirements of
structure and style, usually there are three genres that are classified
as IMAGINATIVE LITERATURE. (what are the three genres
classified as imaginative literature?)
DISTINGUISHED CHARACTERISTICS
OF LITERARY GENRES
• PROSE FICTION is an imaginary story, usually written down, that
someone tells in everyday, natural language. It generally uses a
variety of techniques such as narrative and has a wide range in
terms of length.
Examples: novels, short stories, fables, fairy tales, legends but it now
encompasses films, comic books, and video games.
• POETRY is a literary art where the evocative and aesthetic qualities
of language are brought out in lieu, or together with the language’s
apparent meaning. It is writing that communicates economically,
intensely and intimately through and beyond language, relying
heavily on imagery.
• DRAMA is a literary work which is designed to be acted out on a
stage performed by actors before an audience.
• IMAGINATIVE LITERATURE differs from nonfiction prose, the
fourth genre, which refers to any kind of prose writing that is based
on facts, well-written prose that deals with real people, things,
events, and places. The story must conform to what is true and
cannot be manipulated by the writer’s imagination.
However, the distinction between fiction and nonfiction has been
blurred in recent years. Fictionists (writers of fiction) have based
their stories on real life events and characters (nonfiction), and
historians (writers of nonfiction) have incorporated imagined
dialogue (fiction) to suggest the thoughts of historical figures.
This kind of writing is called creative nonfiction. It is genre of writing
that uses literary styles and techniques to create factually accurate
narratives. Journals of self-expression, letters, magazine articles, and
other expressions of imagination can be legitimately either fiction or
nonfiction are examples of this kind of writing.
 FICTION = “FICTUS” (LATIN) = “TO FORM”

• Fiction is defined as ―literature in the form of prose, especially

novels, that describes imaginary events and people‖ by Merriam
Webster. Although fictitious characters are presented in a fictitious
setting in stories and novels, they may have some resemblance to
real life events and characters. An example of this is the greatest
love story of ―Cupid and Psyche‖ from the book of
―Metamorphoses‖ by Lucius Apuleius for this story was greatly
created through the imagination of the writer.
Whilst on the other hand, nonfiction is defined as based on stories of
actual historical events. It is also an account or representation of a
subject which is presented as fact. This presentation may be accurate
or not; that is, it can give either a true or a false account of the
subject in question. However, it is generally assumed that the authors
of such accounts believe them to be truthful at the time of their
composition. Autobiographies and news articles are great examples
for this genre.
A. DIFFERENCES
• Fiction as a branch of literature consists of stories, novels, and
dramas based on made-up and fabricated stories and characters.
Nonfiction, on the other hand, is about real events, people, places
or things. All the information is based on true facts and not made
up.
• Fiction is often meant to spur readers to think outside of the box
or to imagine what they would do in the shoes of the fictional
characters. While the purpose of most nonfiction pieces is to
inform readers about a person, place or event. Although nonfiction
writers must stick to the facts, they often use writing to try to
persuade readers on a particular issue.
• Fictional stories are usually summed up using CPR. CPR stands for
Character, Problem and Resolution. For nonfiction stories, BME or
the Beginning, Middle, and End can be utilized.
WHAT IS THE IMPORTANCE OF
WRITING?
Written communication is an essential element of
expression; the ability to articulate oneself through the
written word provides one with the opportunity to
share their knowledge in a meaningful and effective way.

What do you do when nothing comes to your mind and

you can’t write?
CREATIVE NON-
FICTION
THEME
THEME
• As what our former educators told us, theme is the central idea of
a piece of writing. Affirmatively, this is correct. Furthermore, let us
deepen our understanding regarding this by listing down some of
the definitions given for the theme:
• The main subject that is being discussed or described in a piece of
writing, a movie, etc. (Merriam-Webster)
• A particular subject or issue that is discussed often or repeatedly
(Merriam-Webster)
• It can be consciously explored or simmering under the surface.
(Bradshaw, 2013)
• A theme is the glue that underlies a piece of writing. It‘s the central
topic that the whole thing is based on. (New Leaf Writing)
 MOTIF VS. SYMBOL:
WHAT’S THE DIFFERENCE?
MOTIF
is a recurring idea or concept
throughout a text.
SYMBOL
is an object that represents something
it is not. A common example is that a
heart is a symbol for love.

A writer may use a symbol to reinforce motif.

Let’s look at an example continuing with the “death” motif from above.
A writer may place a coffin in a scene of the text. The coffin itself is a symbol for death.
It is an object that represents death. The symbol of the coffin would add to the “death”
motif.
Symbols may contribute to a motif.The motif reinforces theme.
 MOTIF VS. THEME:
WHAT’S THE DIFFERENCE?
MOTIF THEME
recurs throughout a text and is the is a message the author intends to
foundation for developing the communicate with his text. A reader will
author’s theme. use clues throughout the text to gather
this message. A motif can be one of those
clues.

Theme is a message that the audience must infer after reading. A motif uses objects
and ideas throughout the text to contribute to that message, the theme.
A. MAKING YOUR OWN THEME
1. You can think of finding a theme as setting an intention for your
writing.
2. Ask yourself the questions: How do I want my reader to feel after
reading this piece? What do I want them to do? What questions
do I want them to think about? These questions will help you get
clear on your theme.
3. Once you have your theme, draft your content around it. Start an
outline with ideas that illustrate your theme.
4. Stories and examples are great ways to propel your theme
forward. They will elicit emotion and bring heart and humanness to
your work.
5. Keep it simple. You don‘t have to go crazy trying to identify a
theme. Often when you have an idea for content there‘s a theme
already under the surface, your job is to tease it out and make sure it
focuses the rest of the work.
B. IMPORTANCE OF THEME

1. If a story lacks theme, the reader might not connect with it.
2. It ties the character‘s concerns and passions – the character‘s soul,
figuratively speaking – to the external plot, while giving readers
something to care about and someone to root for.
3. Theme helps a good story become a compelling one.
4. Theme allows readers to relate to the characters and their
struggles – and to feel invested in the outcome.
TAKE AWAY
LET’S STIR THAT MIND!
ANAGRAM

• it is a word, phrase or name, whose letters can

be rearranged to form a second word, phrase
or name.
EXAMPLES

• The letters in the phrase French Revolution can be rearranged to

spell “violence run forth.” The letters in the name Florence
Nightingale can be used to spell on “flit on, cheering angel.”

• These rearrangements are called anagrams.

TRY ANSWERING THE FOLLOWING.

Rebate
- beater
The eyes
- they see
Mood time
- emit doom
LETS TRY IT ON NAMES

 Paul Peterson
- Pete R. Paulson
 Rizelyn M. Marantan
- Marie Lynn M. Zantar
IT CAN ALSO BE USED IN NOVELS

• In Dan Brown’s novel “Da Vinci Code,” the curator of the museum
“Jacques Sauniere” wrote the following inscription with his blood.
“O, Draconian devil!
Oh, lame saint!
So dark the con of Man”
ACTIVITY
Try doing an anagram of the given words:
1. Listen -silent
2. Spot - tops
3. Cheat- teach
4. Read -dear
5. Rats- arts
6. Solve- loves
Slow- lows
Conversation -
Dormitory-dirty room
Debit card-
Schoolmaster- cool hamster's
Leader -dealer
Remain -mainer
Repaint -painter
Break-
Idea-
Treason-reason't
Nameless-lameness
Astronomer-
Fired-Fried
PRACTICE!
• Please open your writer’s notebooks
• Make a list of 6 topics (things/events/places/values/ideas)
that you would like to write about
• Make a list of 6 topics that you would not like to write
about
• Make a list of 6 titles using the word “On”
– On My Way, On Falling In Love…
• Freewrite for 5 minutes on one of each of your topics (like,
don’t like, on)
• Review reading
– Underline any interesting words/phrases/sentences
END
CREATIVE NON-FICTION
Principles, Elements, Techniques, and Devices
LEARNING OBJECTIVES

At the end of the chapter, the student will be able to:

1. Do a close reading of creative nonfiction texts;
2 Identify the fictional elements in the texts;
3. Analyze and interpret factual/non fiction aspects in the texts
4. Evaluate the relationship of creative and nonfiction elements
of the texts;
5. Write a draft of a short piece using multiple elements
conventionally identified with the literary genres;
6. Peer-edit each other's draft;
7. Revise the draft of a short piece using multiple elements
conventionally identified with the literary genres.
CHAPTER OUTLINE:
PRINCIPLES, ELEMENTS, TECHNIQUES, AND DEVICES

1. Elements of Creative Nonfiction

2. Literary Elements Used in Creative Nonfiction
3. Figurative Language Used in Creative Nonfiction
 ELEMENTS 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:

1.1 Fact
The writing must be based on fact rather than fiction cannot
be made up.
1.2. 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.
1.3. Reportage/reporting
The writer must be able to document events or personal
experiences
1.4. Personal experience and personal opinion
Often the writer includes personal experience, feelings,
thoughts, and opinions, For instance, when writing a personal
essay or memoir.
• 1.5. Explanation/Exposition
• The writer is required to explain the personal experience or
topic to the reader.
• 1.6. Essay format
• Creative nonfiction is often written in essay format. Example:
Personal Essay
• Literary Journalistic essay, brief essay.
 LITERARY ELEMENTS USED IN CREATIVE
NONFICTION

Creative nonfiction is the literature of fact. Yet, Authors of

nonfiction works often use the same basic elements as fiction
authors to tell a compelling story.
 THE FOLLOWING IS A LIST OF THE MOST COMMON LITERARY
DEVICES THAT WRITERS INCORPORATE INTO THEIR
NONFICTION WRITING:

1. Characters Narrative 8. Figurative Language 15. Style

2. Detail 9. Flashback 16. Symbol
3. Order 10. Flash Forward 17. Theme
4. Plot and Plot 11. Foreshadowing 18. Tone
Structure 12. Imagery
5. Dialogue 13. Motif
6. Diction 14. Setting, Scene and
7. Point of View Atmosphere
2.1. CHARACTER
Every story has characters but in non-fiction, these characters
are real people. In order to make the work relatable or
empathetic, nonfiction authors often follow the same
conventions as fiction authors and develop characters that
catch the reader's attention. The author describes physical
descriptions, personality traits and detailed histories to give
the characters depth and relatability.
The nonfiction piece often requires a main character. If a
writer is creating his/her memoir, then the writer is the central
character.
2.2. DIALOGUE
Dialogue is a literary and theatrical form consisting of a
written or spoken or conversational exchange between two or
more ("dia" means through or across) people.
It is the conversation between characters in a narrative. It is
the lines or passages in drama which are intended to be
spoken.
In fiction and creative nonfiction, dialogue is typically
enclosed within quotation marks. In plays, characters' speech
is preceded by their names.
 FUNCTIONS OF DIALOGUE

1. It moves the action along in a work and it also helps to

characterize the personality of the speakers, which vary
depending on their nationalities, jobs, social classes and
educations.
2. It also gives literature a more natural, conversational flow,
which makes it more readable and enjoyable.
3. By showcasing human interaction, dialogue prevents
literature from being nothing more than a list of descriptions
and actions.
4. Dialogue varies in structure and tone depending on the
people participating in the conversation and the mood that the
author is trying to maintain in his or her writing
Basically, dialogue is always created for a purpose of story
development, therefore, it cannot function as a taped
recording of reality, and it must be stripped of nuances that
may not be true to the story or confuse the reader.
 2.4. DICTION

Diction is the writer's choice of words. The author chooses

each word carefully that both its meaning and sound
contribute to the tone and feeling of the literary work. The
author must consider a word's denotation-its definition
according to the dictionary and its connotation the emotions,
thoughts and ideas associated with and evoked by the word.
A work's diction forms one of its centrally important literary
elements, as writers use words to convey action, reveal
character, imply attitudes, Identify themes, and suggest values.
We can speak of the diction particular to a character, as in
lago's and Desdemona's very different ways of speaking in
Othello. We can also refer to a poet's diction as represented
over the body of his or her work, as in Donne's or Hughes's
diction.
 2.5. FIGURATIVE LANGUAGE

Figurative language is a type of language that varies from the

norms of literal language, in which words mean exactly what
they say for the sake of comparison, emphasis, clarity, or
freshness.
Also known as the “_ r n_ _ _n _ s of language." figurative
language does not mean exactly what it says, but instead
forces the reader to make an imaginative leap in order to
comprehend an author's point. It usually involves a
comparison between two things that may not, at first, seem to
relate to one another and can facilitate understanding
because it relates something unfamiliar to something familiar.
Sometimes, writers resort to sound-effect devices to make
their writing sound good and not just communicate mere
information
To comprehend figurative language, it will require you to use
your imagination to figure out the writer's point or meaning.
There is a detailed discussion on figurative language after this
section.
 2.6. FLASHBACK
Flashback is a literary device in which an earlier or past event
is inserted into the present or the normal chronological order
of a narrative. Various methods may be used to present this
literary device. Among them are: recollections of characters,
narration characters, dream sequences, and reveries.
Flashbacks are often used to recount events that happened
before the story's primary sequence of events or to fill in
crucial backstory. Here's an example of flashback as a
memory:
EXAMPLE:
A woman is about to get married, As she puts on her veil she
remembers her fiancé’ three years before swearing he would
make her his wife someday. A tear comes to her eye and she
prepares to walk down the aisle.
Here, the flashback is the memory of the woman's fiancé’ three
years before. The memory serves to show that her fiancé’ was
sure of their relationship early on, and that his prediction has
come true. The memory brings a tear of happiness to her eye.
2.7. FLASH FORWARD

Flash-forward or prolepsis is a literary device in which the

plot goes ahead of time is a scene that interrupts and takes the
narrative forward in time from the current time in a story.
Generally, a flash-forward represents expected or imagined
events in the future interjected in the main plot revealing the
important parts of the story that are yet to occur. It is an
opposite of flashback or analepsis (reveals past events).
 EXAMPLE/S:
• In a story about a middle school student who is not popular,
the student daydreams about making the football team and
being the most popular kid in high school.
• A young mother has just had her child, and there are flash
forward scenes of all of the things she cannot wait to do-first
steps, first words, first bike ride, first day of school, etc.
• A teacher talks with her students about what they might
become, and there are flash forward scenes of students as
doctors, lawyers, teachers, etc.
 EXAMPLES FROM MOVIES

• In Charles Dickens' A Christmas Carol, Scrooge experiences

a flash forward, as the ghost of Christmas future takes him to
see what his life (and death) will be like if he does not
change his selfish ways.
• In Terminator 2: Judgment Day, there is a flash forward scene
of nuclear destruction, that the characters in the present day
are working to prevent.
2.8. FORESHADOWING
• Foreshadowing is a literary device in which an author hints
certain plot developments that perhaps will come to be, later
in the story. It is the presentation of material in a work in such
a way that later events are prepared for. The purpose of
foreshadowing is to prepare the reader or viewer for action
to come.
• To foreshadow an event in a story, the audience is given
direct and/or subtle clues about what will happen. Imagine
this scene:
EXAMPLE/S:
• Example 1:
• A professionally dressed woman hurriedly leaves the house,
slamming the front door. She frantically searches for her keys
in the bottom of a giant purse while balancing a briefcase
under her other arm. She finds her keys, gets in the car and
begins backing out of the driveway, and then slams on the
brakes. "I feel like I'm forgetting something." she says. She
shrugs and drives away.
• With only this information, we can predict the outcome of this
story-the woman has forgotten something important at home,
and she probably won't realize it until she needs it, perhaps
at a meeting. Her clothing, behavior, and dialogue are all
clues that work together to foreshadow what will happen in
her future. Now, imagine the same situation reenacted with
slight differences:
• Example 2:
• A professionally dressed woman hurriedly leaves the house,
slamming the front door. She frantically searches for her keys
in the bottom of a giant purse while balancing a briefcase
under her other arm. She finds her keys gets in the car and
backs out of the driveway, As the car drives away, the camera
moves back towards the front door and into the house, where
a USB stick is sitting on a shelf next to the front door.
• In this scene, the situation is the same, but the details are
different. It shows us the USB stick forgotten by the woman,
which foreshadows a future conflict.
2.9 IMAGERY
Imagery refers to the pictures" which we perceive with our
mind's eyes, ears, nose, tongue, skin, and through which we
experience the "duplicate world" created by poetic language.
Imagery evokes the meaning and truth of human experiences
not in abstract terms, as in philosophy, but in more perceptible
and tangible forms.
This is a device by which the poet makes his meaning strong,
clear and sure. The poet uses sound words and words of color
and touch in addition to figures of speech. As well, concrete
details that appeal to the reader's senses are used to build up
images.
 EXAMPLE/S

• 1. I could hear the popping and crackling as mom dropped

the bacon into the frying pan, and soon the salty, greasy
smell wafted toward me.
• 2. Glittering white, the blanket of snow covered everything in
sight.
• 3. The golden yellow sunlight filtered down through the pale
new leaves on the oak trees, coming to rest on Jessica's
brown toes that were splayed in the red Georgia mud.
• The poem "I Wandered Lonely as a Cloud" by William
Wordsworth uses imagery throughout:
A host, of golden daffodils; Beside the lake, beneath the trees,
Fluttering and dancing in the breeze. Continuous as the stars
that shine And twinkle on the milky way, They stretched in
never-ending line Along the margin of a bay: Ten thousand
saw I at a glance, Tossing their heads in sprightly dance.
2.10. MOTIF

Motif is any element, subject, idea or concept that is constantly

present through the entire body of literature. Using a motif
refers to the repetition of a specific theme dominating the
literary work. Motifs are very noticeable and play a significant
role in defining the nature of the story, the course of events
and the very fabric of the literary piece.
 EXAMPLE/S

• For example, “death” could be a motif in a literary work. An

author would not necessarily have to use the word “death” to
express the motif. He might write “funeral,” “grave,” “dead,”
and so on. Furthermore, he could depict death-like images to
add to the motif.
• All of the language and imagery would contribute to the
motif. The motif itself would contribute to the author’s theme.
MOTIF VS. SYMBOL: WHAT’S THE DIFFERENCE?

MOTIF SYMBOL
is a recurring idea or concept is an object that represents
throughout a text. something it is not. A common
example is that a heart is a symbol
for love.
A writer may use a symbol to reinforce motif.
Let’s look at an example continuing with the “death” motif from above.
A writer may place a coffin in a scene of the text. The coffin itself is a
symbol for death. It is an object that represents death. The symbol of the
coffin would add to the “death” motif.
Symbols may contribute to a motif. The motif reinforces theme.
MOTIF VS. THEME: WHAT’S THE DIFFERENCE?

MOTIf
recurs throughout a text and is
the foundation for developing
the author’s theme.
THEME
is a message the author intends to
communicate with his text. A reader
will use clues throughout the text to
gather this message. A motif can be
one of those clues.

Theme is a message that the audience must infer after reading. A motif
uses objects and ideas throughout the text to contribute to that message,
the theme.
 EXAMPLE OF MOTIF IN LITERATURE:

• A motif in Romeo and Juliet is “light and dark.” Some examples include:
• Throughout the play, Romeo refers to Juliet as a powerful light source.
• The night (moon) is no match for Juliet’s beauty.
• Juliet, too, says Romeo lights her.
• The lovers are “stars” that light the dark sky.
• Their love is discussed as a flash of lightning.
• The ideas and concepts regarding light and dark repeated above
contribute to the motif throughout the play.
2.11. NARRATIVE

Nonfiction writing usually follows a time line for a narrative

that is either linear or nonlinear, depending on how the author
tells the story. Authors can choose to tell a history from start to
finish or jump from one time to another to create parallels to
other characters or events. The author carefully chooses a
narrative to enhance any dramatization. In most nonfiction, the
story told focuses on a central conflict or theme that defines
the purpose of the work.
 LINEAR AND NONLINEAR

• Linear text refers to traditional text that needs to be read

from beginning to the end while nonlinear text refers
to text that does not need to be read from beginning to the
end. As their names imply, linear texts are linear and
sequential while non-linear and non-sequential.Jun 18, 2018
In writing nonfiction, rather than just reportage, you are going
to borrow from fictional techniques to tell the story in an
interesting and very human way. The best stories display a
common structure characterized by rising action that builds
interest to a peak. Falling again toward a satisfying resolution.
This structure mirrors the shape of the most rewarding
experience in life, so it is not surprising that stories follow this
structure.
Use narrative structure whenever you want to tell a story or
narratives (real or imagined)
2.12. ORDER
Order is the arrangement of events in a work of literature. It is the
structure of something is the way that thing is put together, in
nonfiction, it's the way things are organized. The way you organize
information impacts how your audience receives it. The six
informational structures below will help you organize your
information in a clear, easy to-follow manner.
Use order of importance to rank details from least to most, or from
most to least. Transitional words and phrases signal shifts in thought
and are used to guide your audience through blocks of information
Examples of order-of-importance transitions more important, most
important more effective, good, better, best.
CHRONOLOGICAL

Use chronological order (time order) to arrange details in a

story or process in the order in which they happened.
Examples of chronological-order transitions: first, next, then,
before, later, second, finally, last.
PROBLEM-SOLUTION SETTLE

Use problem-solution order to explain a problem, outline a

solution, or argue for or against a solution
Examples of problem-solution terms: at risk, a major problem,
one symptom, should be saved, must not happen, to fix this,
the best solution, please support.
CAUSE-EFFECT

Use cause-effect organization to show the relationship

between events or conditions. You may focus on one cause and
their one effect, or many causes and many effects.
Examples of cause-effect transitions: as a result, because,
consequently, since therefore, then, due to the fact that
COMPARISON-CONTRAST

Use comparison contrast organization to show similarities and

differences between two things
Examples of comparison-contrast terms: also, both, but, by
contrast, even though, like. likewise, however, similarly.
CLASSIFICATION

Use classification to break a subject into subgroups or

categories. Then discuss unique properties of each category
Examples of classification terms: another kind of the first
subgroup, a second category, third variety, a final type the
most popular, a less popular
However, nonfiction may use flashbacks to help fill in missing
information, explain characters actions and advance the story,
2.13. PLOT AND PLOT STRUCTURE

The writer needs to be able to tell his/her story, A good story

includes an inciting incident, a goal, challenges and obstacles,
a turning point, and resolution of the story Plot refers to the
series or sequence of events that give a story its meaning and
effect.
In most stories, these events arise out of conflict experienced
by the main character. The conflict may come from something
external or it may stem from an internal issue. As the character
makes choices and tries to resolve the problem, the story's
action is shaped and plot is generated.
The plot is built around a series of events that take place
within a definite period. It is what happens to the characters.
No rules exist for the order in which the events are presented.
In some stories, the author structures the entire plot
chronologically, with the first event followed by the second
third, and so on, like beads on a rosary.
In traditional literary terms, a unified plot includes an
exposition, a rising action a climax, a falling action and a
denouement or resolution or conclusion.
However, many other stories are told with flashback
techniques in which plot events from earlier times interrupt
the story's present events. All stories are unique, and in one
sense there are as many plots as there are stories. In a
personal essay, there might be only one event. In a memoir,
there are often several significant events.
2.14. POINT OF VIEW

(Point of view refers to the perspective from which a story is

told. When a character in the story _________ the story, it is
view When the story is to narrator outside of the story is called
third-person point of view)
Memoirs and autobiographies are told in first person point of
view and second person.
Manuals how to guides and self-help books are usually written
in the most biographies are told in the third person by
someone who is relating the information he has gathered
about the story.
The narrator of a story can have an omniscient or limited view.
Omniscient means all knowing the narrator has an omniscient point of
view, then he knows what is going on in the minds of all of the
characters at all times. The reader gets to know what geny character
is thinking and feeling.

If the narrator has a limited point of view, then he doesn't know

everything Point of view can be limited in two ways. First-person
point of view (where a character in the story is telling the story) is
limited. That character only knows what is happening where he/she
is, and can only describe how he/she feels. Third-person point of
view can be limited if the narrator "shadows one of the characters. So,
the narrator is not in the story, but he/she only describes the action
surrounding a specific character.
Famous examples
• First-Person Point of View:
When the bus came, I got on, carrying my pink backpack. It
was the first day of school, and I was nervous. I smiled, though,
when I saw my best friend Kevin sitting in the back.
• Third-Person Limited Point of View:
When the bus came, Sharon got on, carrying her pink
backpack. It was the first day of school, and Sharon was
nervous. She smiled, though, when she saw her best friend
Kevin sitting in the back.
Omniscient Point of View:
When the bus came, Sharon got on, carrying her pink
backpack. It was the first day of school, and Sharon was
nervous, She smiled, though, when she saw her best friend
Kevin sitting in the back. Kevin was nervous, too. So, he was
thrilled to see Sharon. Maybe this day would not be so bad
after all.
 `

• http://softschools.com/examples/literary_terms/flash_forward_examples/256/
CREATIVE
WRITING
 Cabuyao Institute of Technology

Setting, Scene &

Atmosphere
2
 SCENE
The writer creates scenes that are
action-oriented and contain
vivid descriptions.
✣ Setting is the story's time and place.
The elements making up a setting are: the geographical
location, its topography, scenery, and such physical
arrangements as the location of the windows and doors
in a room: the occupations and daily manner of living of
the characters the time or period in which the action
takes place, for example, period in history or season of the
year, and the general environment of the characters, for
example, religious, mental, moral, social, and emotional
conditions.

4
The Fundamental Elements of
Setting
Here is a list of the specific elements that setting encompasses:
(Carpenter, 2012)
✣ Locale. This includes country, region, province, city, and
town, barangay, as well as to more specific locales, such as a
neighborhood, street, house or school. Other locales can
include shorelines, islands, farms, rural areas, etc.
✣ Time of year. The time of year is richly evocative and
influential. Time of year includes the seasons, but also
encompasses holidays, such as Christmas, New Year's Eve,
and Halloween. Significant dates can also be used, such as
Birthdays, Death anniversary, wedding anniversary, etc.

6
✣ Time of day. Scenes need to play out during various times or
periods during a day or night, such as dawn or dusk. Readers
have clear associations with different periods of the day, making
an easy way to create a visual orientation in a scene.
✣ Elapsed time. The minutes, hours, days, weeks, and months a
story encompasses must be somehow accounted for or the
reader will feel confused and the story will suffer from a lack of
authenticity. While scenes unfold moment by moment there is
also time to account for between scenes, when a flashback is
inserted, and when a character travels a long distance.
✣ Mood and atmosphere. Characters and events are influenced by
weather, temperature, lighting, and other tangible factors, which
in tum influence the emotional timbre, mood, and atmosphere
of a scene.

7
✣ Climate. Climate is linked to the geography and topography of a
place, and, as in our real world, can influence events and people.
Ocean currents, prevailing winds and air masses, latitude, altitude,
mountains, land masses, and large bodies of water all influence
climate. It's especially important when you write about a real setting
to understand climatic influences. Harsh climates can make for grim
lives, while tropical climates can create more carefree lifestyles.
✣ Geography. This refers to specific aspects of water, landforms,
ecosystems, and topography in your setting. Geography also includes
climate, soil, plants, trees, rocks and minerals, and soils. Geography
can create obvious influences in a story like a mountain a character
must climb, a swift-running river he must cross, or a boreal forest he
must traverse to reach safety. No matter where a story is set, whether
it's a mountain village in Quezon or an opulent resort in Boracay, the
natural world with all its geographic variations and influences must
permeate the story

8
✣ Man-made geography. There are few corners of the planet that
have not been influenced by the hand of human kind. It is in our
man-made influences that our Creativity and the destructiveness of
civilization can be seen. Readers want visual evidence in a story
world, and man-made geography is easily included to provide it.
With this in mind, make certain that your stories contain pro
footprints that people have left in its setting. Use the influences of
humankind geography to lend authenticity to stories set in a real or
famous locale landmarks include dams, bridges, ports, towns and
cities, monuments, burial grounds, cemeteries, and famous
buildings. Consider too the influences mankind using the land, and
the effects of mines, deforestation, agriculture, irrigation, and rice
plantations,
✣ Eras of historical importance. Important events, wars, or historical
periods linked to the plot and there might include the World Wars I
& II, The Philippine Revolution of 1898 or the EDSA Revolution or
1986.
9
✣ Social/political/cultural environment. Cultural, political,
and social influences can range widely and affect
characters in many ways. The social era of a story often
influences characters' values, social and family roles, and
sensibilities.
✣ Population. Some places are densely populated, while
others are lonely places with only a few hardy souls. Your
stories need a specific, yet varied population that
accurately reflects the place.
✣ Ancestral influences. In many regions in the Philippines,
the ancestral influences of the Spaniards are prominent.
But we can also find Ancestral influences from the
Chinese, Americans and the Muslims. Ancestral
influences can be depicted in cuisine, dialogue, values,
attitudes, and general outlook. (Carpenter, 2012)

10
2.16. Style

11
✣ Style refers to the language
conventions used to construct
the story. A writer can
manipulate diction, sentence
structure, phrasing dialogue, and
other aspects of language to
create style.
✣ Thus, a story's style could be Place your screenshot here
described as richly detailed,
flowing and barely controlled or
sparing and minimalist to reflect
the simple sentence structures
and low range of vocabulary.
Predominant styles change
through time therefore the time
period in which the piece was
written often influences its style.
12
Style is the manner of
expression of a particular
writer, produced by choice of
words, grammatical
structures, use of literary
devices, and all the possible
parts of Language use. Style Place your screenshot here
is the way a writer uses words
to create literature. It is
difficult to enjoy a story's
characters or plot without
enjoying the author's style.
The style of an author is as
important as what he is
trying to say.

13
2.17. Symbol

14
Symbol is a literary
device that contains
several layers of
meaning, often
concealed at first sight
and is representative of Place your screenshot here

several other
aspects/concepts/traits
than those that are
visible in the literal
translation alone. It is
using an object or action
that means something
more than its literal
meaning.
15
✣ Some symbols are universal, like water for cleansing, but
others are more culturally based. In some African societies,
for example, a black cat is seen as good luck Writers use pre-
existing cultural associations as well as meanings drawn from
the context of the story to create multiple levels of meanings.
✣ In Greek mythology, the Gods are all symbols for forces of
nature-for example, Poseidon is a symbol for the sea. He is
extremely powerful, but also wrathful and unpredictable. By
telling stories of Poseidon's vengeful fury, the Greeks
symbolically delivered a message about how dangerous the
sea can be.

16
✣ Symbol comes from the Greek word symbolom. It is a word or an
object that stands for another word or object. The object or word
can be seen with the eye or not visible.
✣ For example: a dove stands for Peace. The dove can be seen and
peace cannot. All language is symbolizing one thing or another.
However, when we read the book of Genesis, it talked about a few
symbols. In the story of Adam and Eve when Eve ate the apple, the
apple stood for sin.
✣ Another example is Cain and Abel. The two brothers stood for
good and evil, humility and pride. Cain pulled Abel to the fields
and killed him. In this, it is a hidden symbol. It is showing that
Cain stands for the bad and Abel stands for the good.

17
✣ The ability to recognize and interpret symbols
requires experience in literary readings perception,
and tact. It is easy to run wild with symbols-to find
symbols everywhere. The ability to interpret
symbols is essential to the full understanding and
enjoyment or literature. Given below are helpful
suggestions for identifying literary symbols:

18
1. The story itself must furnish a clue that a detail is to be taken
symbolically- symbols nearly always signal their existence by
emphasis, repetition, or position.
2. The meaning of a literary symbol must be established and
supported by the entire context of the story. A symbol has its
meaning inside not outside a story.
3. To be called a symbol, an item must suggest a meaning
different in kind from its literal meaning.
4. A Symbol has a cluster of meanings

19
✣ In the Lord of the Rings movies and books, the One
Ring is a symbol for power, selfish and greed.
Everyone wants it and many characters are willing
to kill for it. Some begin with good intentions, but
ultimately the Ring corrupts them and bends them
to its will. The symbolism of the story implies that
power seduces, corrupts, and destroys people who
are attached to it, just as the Ring does to its owners

20
 2.18. Theme
✣ Theme is the meaning or concept we are left with after
reading a piece of writing It can be a revelation of
human character or it may be stated briefly or a great
length 1 develops from the interplay of character and
plot. A theme is the central and unifying Concept of
the story. It must adhere to the following requirements:

21
✣ It must account for all the major details of the story.
✣ It must not be contradicted by any detail of the story,
✣ It must not rely on supposed facts-facts not actually
stated or deadly implied by the story A theme is not the
"moral" of the story.
✣ A theme is the author's way of communicating and
sharing ideas, perceptions, and feelings with readers,
and it may be directly stated in the text or it may only
be implied.

22
 2.19. Tone
✣ Tone is the writer's attitude toward his or her subject matter.
For example, the tone of a biography can be admiring or
critical, fawning or hostile. Many biographers start with a
reverential attitude toward their subject, become antagonistic
as the work bogs down and end on a worshipful tone.
✣ For instance, if the author is listing reasons and answering
likely objections in advance, the tone is argumentative or
persuasive. If the writer goes on and on about the snowy,
picture-perfect holidays of childhood, nostalgia is a good bet.

23
✣ When you're determining tone, "hear the writing in
your head. Put you the author's shoes and imagine
what she feels examine the language closely, and
bring your own experience to the writing.
Famous examples:

24
✣ Patriotic Tone: "And so, my fellow Americans Ask not
what your country can do for you ask what you can do for
your country - John F. Kennedy
✣ Aggressive Tone: "Can someone tell me what the hell is
going on here?"
✣ Sarcastic Tone: "All morons hate it when you call them a
moron." "If a girl looks swell when she meets you, who
gives a damn if she's late? Nobody." "Goddamn money. It
always ends up making you blue as hell." "Catholics are
always trying to find out if you're Catholic - Holden
Caulfield in JD Salinger's "Catcher in the Rye"
25
✣ Gloomy Tone: "And the trees all died. They were orange
trees. I don't know why they died, they just died.
Something wrong with the soil possibly or maybe the
stuff we got from the nursery wasn't the best. We
complained about it. So we've got thirty kids there, each
kid had his or her own little tree to plant and we've got
these thirty dead trees. All these kids looking at these
little brown sticks, it was depressing" - The School" by
Donald Barthelme,

26
✣ Unhappy Tone: "I shall be telling this with a sigh
✣ Somewhere ages and ages hence:
✣ Two roads diverged in a wood, and I,
✣ I took the one less traveled by,
✣ And that has made all the difference." - The Road
Not Taken by Robert Frost

27
✣ 3. Figurative Language Used in Creative Nonfiction Figurative
language is a type of language that varies from the norms of
literal language, in which words mean exactly what they say for
the sake of comparison, emphasis, clarity, or freshness. Also
known as the "ornaments of language," figurative language
does not mean exactly what it says, but instead forces the
reader to make an imaginative leap in order to comprehend an
author's point. It usually involves a comparison between two
things that may not, at first, seem to relate to one another and
can facilitate understanding because it relates something
unfamiliar to something familiar.

28
✣ Sometimes, writers resort to sound-effect devices
to make their writing sound good and not just
communicate mere information.
✣ To comprehend figurative language, it will require
you to use your imagination to figure out the
writer's point or meaning.

29
 Here are the common figurative language that most
creative nonfiction writers use. They add texture, energy,
and excitement to the narrative, grip the reader's
imagination, and convey information.

1. Adage 12. Cacophony 22. Metonymy 32. Simile

2. Allegory 13. Chiasmus 23. Onomatopoeia 33. Synecdoche
3. Alliteration 14. Clichés and 24. Oxymoron 34. Synesthesia
4. Allusion Idioms 25. Parallelism 35.
5. Anaphora 15. Colloquialism 26. Paradox Understatement/
16. Consonance Meiosis
6. Antimetabole 27. Personification
7. Antithesis 17. Euphemism 28. Pun
8. Aphorism 18. Hyperbole 29. Repetition
9. Apostrophe 19. Irony 30. Rhetorical
10. Assonance 20. Litotes Question

11. Asyndeton 21. Metaphor 31. Rhyme

30
 3.1. Adage
✣ An adage is a short, pointed, and memorable saying
that is based on facts, and which is considered a
veritable truth by the majority of people.
✣ Famous adages become popular due to their usage
over a long period of time. In fact, an adage
expresses a general fact or truth about life, which
becomes more and more popular before it is
accepted as a universal truth.

31
✣ For instance, "God helps those who help
themselves" is now considered a universal truth
because of its usage throughout human history.
✣ Often repeated sayings and quotes become adages
that pass on to many generations.
✣ Many authors have employed adages in their
works, such as CS Lewis, Geoffrey Chaucer,
William Shakespeare, Benjamin Franklin, J.K.
Rowling, Aesop, George Bernard, Shaw, Friedrich
Nietzsche, and many others. (Adage - Examples
and Definition of Adage. 2017)
32
 examples

✣ "A penny saved is a penny earned - from Poor Richard's

Almanack by Benjamin Franklin
✣ "All the world's a stage. And all the men and women
merely players. They have their exits and their entrances,
/And one man in his time plays many parts, His acts being
seven ages. - As You Like It by William Shakespeare
✣ "Appearances often are deceiving." - from The Wolf in
Sheep's Clothing by Aesop

33
 3.2. Antimetabole
✣ Antimetabole is derived from a Greek word which means "turning
about". It is a literary term or device that involves repeating a phrase
in reverse order.
✣ Examples are: "You like it; it likes you" and "Fair is foul and foul is
fair" etc.
✣ Chiasmus and antimetabole are usually expected to overlap in usage
and it is also often used as a synonym for Empanadas in modern day
books. However, the writer would make them distinct through his
use. ("Antimetabole - Examples and Definition of Antimetabole, 2017)

34
 Other famous examples

✣ a. "Ask not what your country can do for you; ask

what you can do for your country" John F.
Kennedy, Inaugural Address, January 20, 1961.
✣ b. "Eat to live, not live to eat." - Socrates
✣ c. "He who questions training only trains himself at
asking questions. The Sphinx, Mystery Men (1999)
✣ d. "I go where I please, and I please where I go." -
Attributed to Duke Nukem
✣ "If you can't be with the one you love, love the one
you're with." -Billy Preston
35
 3.7. Antithesis
✣ An antithesis is a rhetorical term for the
juxtaposition of contrasting ideas in balanced
phrases or clauses. An antithesis is used when the
writer employs two sentences of contrasting
meanings in close proximity to one another. The
purpose of using an antithesis in literature is to
create a balance between opposite qualities and
lend a greater insight into the subject.

36
 Famous examples:
✣ 1. "All the joy the world contains Has come through wishing
happiness for others. All the misery the world contains Has
come through wanting pleasure for oneself." - Shantideva
✣ 2 "And so, my fellow Americans: ask not what your country
can do for you - ask what you can do for your country. My
fellow citizens of the world: ask not what America will do for
you, but what together we can do for the freedom of man." -
John F. Kennedy Jr.
✣ 3. "Better to reign in Hell, than serve in Heav'n In Paradise
Lost by John Milton

37
 3.8. Aphorism
✣ Aphorism is a statement of truth or opinion expressed in
a concise and witty manner. The term is often applied to
philosophical, moral and literary principles. To qualify as
an aphorism, it is necessary for a statement to contain a
truth revealed in a terse manner. Aphoristic statements
are quoted in writings as well as in our daily speech. The
fact that they contain a truth gives them a universal
acceptance. Scores of philosophers, politicians, writers,
artists and sportsman and other individuals are
remembered for their famous aphoristic statements.

38
 Aphorisms often come with a pinch
of humor, which makes them more
appealing to the masses.

Famous Examples:
✣ a. "Tis education forms the common mind, just as
the twig is bent, the tree's inclined." - Golden
Treasury of the Familiar by Alexander Pope
✣ b: "A proverb is no proverb to you till life has
illustrated it." - John Keats
✣ c. "Act well your part; there all the honor lies." - An
Essay on Man by Alexander Pope

39
 3.11. Asyndeton

✣ An asyndeton is a stylistic scheme in which

conjunctions are deliberately omitted from a
series of related clauses. The principal effect
of asyndeton is to produce a hurried rhythm
in the sentence.

40
 Famous examples:

✣ I remember those evenings at Grandma's - full of

laughter, food, family.
✣ She ran jumped, vaulted, landed - a perfect 10!
✣ The dark, the moon, the stars - all created a
romantic effect.
✣ Wind, sun, surf - could the day get any better?
✣ You mean to tell me we lost the dog, the house, the
car?

41
 3.12. Cacophony

✣ Cacophony refers to the juxtaposition of

words producing a harsh sound. The word
cacophony originates from the Greek word
meaning "bad sound." The term in poetry
refers to the use of words that combine sharp,
harsh, hissing, or unmelodious sounds.

42
 Examples:

✣ "I detest war because cause of war is always trivial."

✣ The part "because cause" is cacophony as because is
followed by a word cause that has a similar sound
but different meaning. Generally, it sounds
unpleasant as the same sound is repeated in two
different words.
("Cacophony - Examples and Definition of
Cacophony." 2017)
✣ Cacophony is the use of unpleasant sounds for
particular effect.
43
 Cacophony is the use of unpleasant
sounds for particular effect.

He is a rotten, dirty, terrible, trudging stupid dude!

- In this example, the cacophonic sound of the

sentence mirrors its harsh tone and meaning with hard
t sounds in "dirty." "Terrible," and trudging" hard d
sounds in "dirty," trudging" and "dude," and the hard st
sound in "stupid.

44
 3.20. Litotes

✣A litotes is a figure of speech consisting of an

ironical understatement in which affirmative is
expressed by the negation of the opposite.
✣ In this figure of speech, the usages are intentional,
ironical and provide emphasis to the words. This is
mainly done through double negatives. To put it in
simple terms, in litotes, instead of saying that
something is attractive, you say that it is not
unattractive.

45
 Famous examples

"Not too bad" for "very good" is an understatement as

well as a double negative statement that confirms a
positive idea by negating the opposite. Similarly,
saying "She is not a beauty queen," means "She is ugly
or saying "I am not as young as I used to be" in order to
avoid saying "I am old". Litotes, therefore, is an
intentional use of understatement that renders an
ironical effect.

46
1. A million dollars is not a little
amount
2. Einstein is not a bad
mathematician.
3. He is not the kindest person
I've met.
4. He is not unaware of what you
said behind his back.
5. He is not unlike his dad.
47
6. He was not unfamiliar with the
works of Dickens.
7. He's not the friendliest person.
8. Heat waves are not rare in the
summer.
9. He's not the ugliest fellow
around!
10. I cannot disagree with your
point.
 3.28. Pun

✣ A pun is a play on words, sometimes on

different senses of the same word and
sometimes on the similar sense or sound of
different words. Humorous effects created by
puns depend upon the ambiguities words
entail. The ambiguities arise mostly in
homophones and homonyms.

48
 Famous examples

a. A happy life depends on a liver. (liver can refer to

the organ liver or simply the person who lives.)
b. A horse is a very stable animal.
c An elephant's opinion carries a lot of weight
d. The life of a patient of hypertension is always at
steak.
e. They're called lessons... because they lessen from
day to day

49
 3.34. synesthesia

✣ Synesthesia refers to a technique adopted by

writers to present ideas, characters places in
such a manner that they appeal to more than
one senses like hearing seeing smell etc. at a
given time.
✣ Synesthesia is an attempt to fuse different
senses by describing one in terms of another

50
 Famous examples:

a. The sound of her voice was sweet. (Sweet has

something to do with taste and not sound)
b. The word "cool" is generally associated with
temperature. However, in casual conversations,
we can hear phrases like "cool dress", "cool
colors" or "you are looking cool" wherein the
visual sensation is blended with the sense of
touch.

51
 3.35. Understatement/Meiosis

✣ An understatement or meiosis is figure of

speech in which a writer or a speaker
deliberately makes a situation seem less
important or serious than it is.

52
 Features of Meiosis

✣ a. It is intentional understatement.
✣ b. It is used to belittle a person or an event.
✣ c. It is opposite to hyperbole or exaggeration.
✣ d. often makes use of litotes as synonym to give
ironic effect.
("Meiosis - Definition and Examples of Meiosis," 2017)

53
 Examples

We use meiosis to describe and belittle professions,

such as the following:

1. The unspeakable in full pursuit of the uneatable."-

Oscar Wilde on fox hunting
2 "rhymester" for poet
3. "grease monkey" for mechanic
4. "shrink for psychiatrist
5. "slasher" for surgeon

54
To be continued…

55
 CABUYAO INSTITUTE O F TECHNOLOGY: CITY OF CABUYAO LAGUNA
Creative Nonfiction

Looking Back:
“A Walk Through the
Writing Process”
JAY RICK T. ESCOBAR II
Background
“ Where did
writing
begin?
3
“
Full writing-systems appear to
have been invented independently
at least four times in human
history: first in Mesopotamia
(present-day Iraq) where
cuneiform was used between 3400
and 3300 BC, and shortly
afterwards in Egypt at around 3200
BC.
4
“
▪ By 1300 BC we have evidence of
a fully operational writing
system in late Shang-dynasty
China. Sometime between 900
and 600 BC writing also appears
in the cultures of
Mesoamerica…

- Article written by: Ewan Clayton

5
Types of Writing
Modes, Reflexive, Extensive
“
▪ There are many
types of writing. The Modes of Writing
 Narration
The various types  Description
 Persuasion
can be grouped  Exposition

into modes, a 
Research
Response to Literature
word that refers 

Assessment
Workplace
to the central
purpose of a
piece of writing.
7
“ ▪ Writing can also be
divided into two
broader categories:
REFLEXIVE and
EXTENSIVE

8
“ ▪ REFLEXIVE WRITING –
such as a journal entry,
a personal essay, or a
list – is a writing you do
for yourself.

9
“ ▪ EXTENSIVE WRITING –
which focuses on
topics outside of your
imagination and
experience, is writing
you do for others

10
The Process of Writing
Prewriting, Drafting, Revising, Editing and Proofreading,
Publishing and Presenting
 ▪ Prewriting – includes

“
exploring/choosing a topic
and gathering/organizing
Publishing and
details before you write. Prewriting

▪
Presenting

Drafting – getting your

ideas down on paper in
roughly the format you Editing and
Drafting
Proofreading
intend for the finished
work.
▪ Revising – is the stage in Revising
which you rework your first
draft to improve its content
and structure.
12
“
▪ Editing and Proofreading – involve
correcting errors in grammar, spelling
and mechanics
▪ Publishing and Presenting – are the
sharing of your work with others

This stages may appear may appear to follow a sequence, but

as writers work, they often skip stages or shift back earlier
stages. For example, as you draft, you may begin making
revisions in your work; or as you revise, you may discover that
you need to go back and gather more ideas.

13
What is Prewriting?
CLUE: A stage where creative juices are flowing…
Choosing your Topic

 You must have a topic.

 Take time to explore.
SAMPLE STRATEGY:
BLUEPRINTING.
You draw a map of a place you know well!

15
BLUEPRINTING

To try this strategy, draw a floor

plan of a classroom in your
school. Fill the room plan with
symbols for desks, chairs,
computers, chalkboards,
bookshelves, windows,
doorways, pictures and
whatever else is to mind, and
list the ideas on your blueprint.
From that list select a topic to
develop.
16
Narrowing your topic
▪ Make sure it is not so general that you can’t cover it
thoroughly in a short piece of writing. Consider
whether you can narrow your topic by focusing on a
single subtopic or aspect of it.
SAMPLE STRATEGY:
LOOPING.
A way of discovering and focusing on features of a
topic that are most important or interesting to you.
17
LOOPING

▪ Begin by freewriting on a general

topic, such as sports, friends, or
even favorite books. Write for
five minutes. Then, review what
you have written. Circle the most
important or significant word.
Next, freewrite based on that
word for five minutes. (Repeat all
the steps until you are satisfied
that your topic is narrow enough.

18
Considering your Audience
▪ Identify your audience

19
Considering your Purpose

▪ Identify what you hope to accomplish with your

writing. You may be writing to:
PERSUADE, ENTERTAIN, INFORM, OR ACHIEVE a
variety of other specific purposes
Keep your purpose in mind as you decide which details to
include, which to leave out, and what type of language to
use.
20
Gathering Details

It is essential that you back up your points with

examples, facts, and details.
SAMPLE STRATEGY:
HEXAGONAL WRITING
It is helpful when you are gathering details to help you write
about selections from literature.

21
HEXAGONAL WRITING
PLOT
Summarize
or ▪ It involves looking at
paraphrase
Decide
whether you
the work
Note ideas or the selection from
liked the experiences
work the selections
suggests to
six different
you
perspectives, to
Name other State the
literature with message the help achieve a well-
a similar work
theme Cite
evidence to
conveys balanced, complete
support the
theme analysis.
ANALYSIS 22
SENSORY WORD BINS

▪ When you are writing description, the words you use

create an image for your reader. Identify your topic, and
then list words that appeal to each of the senses.
23
Grouping Related Information

▪ One technique that can help you gather

and organize details is to think about the
relationships among pieces of
information.

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▪ As you gather
details, sort your
information into
related groups.
Then, write a word
or phrase that
names or describes
each group
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Applying the Prewriting
Strategies
Process
 Construct a blueprint of a special place. Consider your
neighborhood or your first school. Then, use your blueprint
to identify potential writing topics.
 Use looping to narrow a topic generated by your blueprint.
 Identify two different audiences, and devise corresponding
audience profiles for an account of a memorable vacation.
 Use Hexagonal writing to gather details about a short story
or novel you have recently read.
 Generate a list of ideas about the topic “leisure.” Then,
identify three subcategories and group related
information.
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Reference:

PRENTICE HALL

Writing and Grammar

Communication in Action
PLATINUM LEVEL
Pearson Education Inc.

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Coming Soon…
Drafting, Revising, Editing and Proofreading, Publishing
and Presenting

Thank you!
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