Creative Writing/Malikhaing Pagsulat-Senior High School

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2020

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Development Team of the Module:

Authors: Geralyn J. Acero, Stifanny S. Panoril,

Andresito S. Sorongon, Jr., Alma L. Calibo,
Rowena A. Guioguio, Lorly L. Miquiabas,
Noriza J. Esteban. Icel Jane H. Bete,
Jessriel N. Bayucot,
Marevel B. Caburnay
Editors: Stiffany S. Panoril
George B. Temonio
Grace B. Ganceña
Illustrator: Jay Michael A. Calipusan

Management Team:
Chairperson: Dr. Arturo B. Bayocot, CESO III
Regional Director
Co-Chairpersons: Dr. Victor G. De Gracia Jr., CESO V
Asst. Regional Director
Mala Epra B. Magnaong
CES, CLMD
Members: Dr. Bienvenido U. Tagolimot, Jr.
Regional ADM Coordinator
Dr. Angelina B. Buaron
EPS, English

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 SENIOR HIGH SCHOOL

CREATIVE WRITING/
MALIKHAING PAGSULAT
Quarter 1 – Module 3
Reading and Writing Fiction

This instructional material was collaboratively developed and

reviewed by educators from public and private schools, colleges, and/or
universities. We encourage teachers and other education stakeholders to
email their feedback, comments, and recommendations to the Department
of Education at action@deped.gov.ph.
 Department of Education Republic of the Philippines

MODULE 3

READING AND WRITING FICTION

OVERVIEW
Welcome to module 3! This module will expose you to creative literary works of
well-known writers and will help you develop the writer in you as this module focuses
on reading and writing fiction. This module will also discuss the elements and literary
devices in fiction. Activities are prepared for you to craft an imaginative short scene.

This module has four lessons:

 Lesson 1: Fiction and Elements of Fiction

 Lesson 2: Literary Devices and Techniques
 Lesson 3: Fictional Journal
 Lesson 4: Short Scene

At the end of this module, you are expected to:

6. Identify the various elements, techniques, and literary devices in fiction

(HUMSS_CW/MPIg-i-11);
7. Determine various modes of fiction (HUMSS_CW/MPIg-i-12);
8. Write journal entries and other short exercises exploring key elements of fiction
(HUMSS_CW/MPIg-i-13);
9. Write a short scene applying the various elements, techniques, and literary
devices (HUMSS_CW/MPIg-i-14);

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 o General
Instruction

For you to get the most out of this module, you have to complete all the tasks and
do the suggested enrichment activities. It is also important that you study the concepts
presented and do research when necessary to help you understand the lessons better.

1. Study the cover. What does it mean to you? Look at the picture. What do you
see? From the title and the pictures, what do you think is the module about?
2. Go over the pages of the module. What are the different parts? What do you
think you will learn? What do you think you will be doing?
3. Read the sections, What This Module Is About and What You Are Expected
To Learn. Were your guesses right? Are you clear now on what you will learn
and do?
4. You will find exercises to work on. Write your answers on these exercises
on a separate sheet or in your English Interactive notebook.
5. Check your answers to each exercise against Check Yourself. Read carefully
the sentences that explain the answer.

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 Lesson Fiction and Its Elements
1

What I need to know

At the end of this lesson, you are expected to identify the various
elements, techniques and literary devices in fiction.
(HUMSS_CW/MP11/12Ig-i-11)
What I know
Directions: Answer the following questions.

1. The person who tells the story is .

A. the main character C. the narrator
B. the character with the most scenes D. the antihero
2. The protagonist in a story is .
A. the good guy C. the sidekick
B. the main character D. the bad guy
3. The antagonist in a story is .
A. the character who suffers the most C. who opposes the
protagonist
B. the hero of the story D. the bad guy
4. The setting of a story refers to .
A. the pattern formed by the events
B. the background of the main character
C. the place where the story is published
D. the time and place of the story
5. This refers to figures or people found in the story.
A. Character C. exposition
B. short story D. conflict

What’s In
Previously you learned that poetry is a literary art work that elicits
an imaginative awareness of experience or emotional responses
through the use of chosen language and arranged for its meaning, sound and rhythm.
You as well learned the elements of poetry like; theme, tone, rhyme, meter, etc. which
help in establishing the aesthetic value of poetry.

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 What’s New
Directions: Arrange the following jumbled letters to form the correct
word. Then, look for the word in the puzzle and place it
inside a box.

1. ROTSY 2. OTMIF 3. GOULAIDE 4. LNEVO 5. NFITCOI

S T O R Y S N G
M U A I F O O D
B C U Q I F V H
E O K T J X E O
W D C N K C L A
D I A L O G U E
F Y B M O T I F

What is It
Do you like reading stories? Can you still remember the details
found in your favourite stories? Do you know that some stories are just
made up from the writer’s creative imagination?

This part of the lesson will lead you to understanding one of the forms of
pastime activities during the olden times - the storytelling. Storytelling and story writing
is one of our means in expressing our inner most thoughts, feelings or emotions.
People love telling stories even these stories are not real.

Fiction and Its Elements

Fiction is a term used to describe e an imaginative work of prose, either a
folktale, a myth, a novel, a short story or a novella. It is the creation of the writer’s
imagination, or simply an imagined story – not true.

Folktales are types of narrative prose literature found in the oral traditions of the
world. These are stories that grew out the lives and imaginations of the people which
are passed orally from generations to generations.

A myth is a narrative tale involving gods and goddesses, it also describes

practices and some explains certain phenomena.
A novel is an extended fictitious prose narrative which consists of 50,000 words
or more and putting emphasis on exciting events designed to entertain readers. Novel
deals with human character in a social condition, man as a social being. Novels are
usually longer than a short story.
Short story is fictional narrative that deals with a single incident that can be read
at one sitting. While novella is a prose narrative that is normally longer than a short
story but shorter than a novel.

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 A work of fiction is written through the use of ordinary and natural language with
information or events that are not factual or real, because it is invented and imaginary
– that is made up by the author.

Just like other genres of literature, fiction has various elements used in writing.
Character, point-of-view, plot, setting and atmosphere, conflict, irony and tone are
some of the essential elements of fiction. These elements add color and aesthetic
value which create artistic effect in fiction.

The Elements of Fiction

A. Character/s. This element refers to a representation of a human being or any
other creature in the course of the story. A character can be any person, a figure,
an animate object, or animal usually endowed with human qualities. The
characters are the people or any figures in the story.

Types of Character

1. Protagonist is the main character in a novel, play or in a story. The

protagonist is also referred as the hero of the work. Frodo Baggins, a
hobbit, who inherits The One Ring from Bilbo in The Lord of the Rings is an
example of this type of character.
2. Antagonist is a character in a story who deceives, frustrates or works
against the main character or the protagonist. In The Lord of the Rings the
title character named Sauron, who desires for power is an example of an
antagonist character.
3. Flat Character is a character who is the same kind of person at the end of
the story as he/she was at the beginning. Gollum from The Lord of the Rings
is an example of this type. Gollum’s character is determined by his
obsession with the recovery of the ring “his precious.” Jafar from the folktale
Aladdin, was described as evil and ambitious and always wants to be evil
and ambitious
4. Dynamic Character is a character who undergoes a permanent change in
the aspect of his/her personality or outlook. Aladdin from Aladdin is an
example of a dynamic character. Aladdin was first described as a thief but
eventually becomes an honest hero in the end.
5. Tragic hero/Tragic figure is a protagonist who comes to a bad end as a
result of his own behaviour, usually caused by personality disorder. Romeo
in Shakespeare’s Romeo and Juliet is a good example of this type. Romeo
killed himself when he thought that Juliet is actually dead.
6. Antihero is a protagonist character who has the opposite of most of the
traditional attributes of a hero. This type of character may be bewildered,
deluded, or merely pathetic. A good example of this type is Captain Jack
Sparrow in Pirates of the Caribbean , a major character named Captain

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 Jack Sparrow is described as a selfish pirate he even ran away to save
himself when others need help too.

An author uses characterization to introduce or reveal a character to the

readers. Using narrative voice to describe the character, showing the actions of
the character, revealing the thoughts or dialogue of the character, their speech,
manner and actions are techniques in presenting the character to the audience.

Methods of Characterization

1. Direct Characterization is also known as explicit characterization. This

method of characterization means that the author is directly describing the
character to the reader. Read the passage below from The Most
Dangerous Game by Richard Connell which describes Ivan as a muscular,
huge man, having a long black beard. He is deaf and dumb, yet strong as
described by another character. The passage is an example of direct
characterization.

“The first thing Rainsford’s eyes discerned was the largest man
Rainsford had ever seen – a gigantic creature, solidly made and black
bearded to the waist. …

“Ivan is an incredibly strong fellow,’ remarked the general, ‘but he has

the misfortune to be deaf and dumb. A simple fellow, but, I’m afraid, like all
his race, a bit of a savage.“

2. Indirect Characterization is a method by which the writer shows the

character's personality through speech, actions and appearance. A
fictitious character’s personality is revealed through the character's
speech, actions, appearance, etc. Indirect characterization shows who a
character is based on what he/she does and says. Read the excerpt below
from To Kill a Mocking Bird by Harper Lee which uses indirect
characterization.

“Because I could never ask you to mind me again. Scout, simply by the
nature of the work, every lawyer gets at least one case in his lifetime that
affects him personally. This one’s mine, I guess. You might hear some ugly
talk about it at school, but do one thing for me if you will: you just hold your
head high and keep those fists down. No matter what anybody says to you,
don’t you let ’em get your goat. Try fighting with your head for a change …
it’s a good one, even if it does resist learning.”

In this excerpt, Atticus is speaking to Scout about an upcoming,

controversial trial. The reader can infer that from this interaction that Atticus is
trying to instill in Scout the sense that a person should always continue to fight

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 for what they believe, regardless of the consequences. This passage
illuminates Atticus’s strong moral compass, and the morals he hopes to instill
in his children.

B. Point-of-View. Point of view is the perspective from which the story or work is
told. Point –of-view is also defined as the eyes and mind through which the
reader views the unfolding of events. It tells through whose eyes we are seeing
the story and as well reveals the attitude of the writer toward the character.

Types of Point of View

1. First Person POV. This is used when the narrator is a character of the
story. This point of view is identifiable by the use of the pronoun “I.”
Narrators of first person fiction are characters in the story. They can be
the protagonist (very common choice), a participant in the action (a major
character), a bystander (a minor character, mainly an observer), or even
a frame narrator.

Take a look at the passage below from Charlotte Bronte’s Jane Eyre,

“I could not unlove him now, because I found that he had ceased to
notice me.”

2. Second Person POV. This is the rarest narrative voice in literature. The
narrator refers the reader as “you” making the reader feel as if he/she is
a character or part within the story. Instructional manuals, how-to-guides
and self-help books are usually written using this point-of-view.
3. Third Person POV. This happens when the narrator does not take part
in the story. The narrator relates events, but is not one of the characters.
A. Objective POV is often referred to as Dramatic point of view,
because the story is narrated by the author as if he is a mere
spectator of events. Objective point of view contains no
references to thoughts or feelings; it only reports what can be
seen and heard. A narrator tells a story without describing any of
the character’s thoughts, opinions, or feelings; instead an
objective, unbiased point of view. Include here the major
B. Third person limited, the narrator can relate to what is in the
minds of only a select few characters. Limited means that the POV
is limited to only one character and that the narrator only knows
what that character knows. In third person limited you can choose
to view the action from right inside the character's head, or from
further away, where the narrator has more access to information
outside the protagonist's viewpoint.

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 C. Third person omniscient, the narrator can render information
from anywhere, including the thoughts and feelings of any
characters. This all-knowing perspective allows the narrator to
explore the story’s setting and beyond. This omniscient narrator
is not a character in the story and can tell what any or all
characters are feeling and thinking. The narrator knows things that
others don't, can make comments about what's happening, and
can see inside the minds of other characters.

Look at the table below to see the difference between the different types of
Third Person POVs.

Objective Limited Omniscient

“Hansel walked “Hansel walked “Hansel walked ahead of Gretel. Gretel
ahead of Gretel. ahead of Gretel. dropped breadcrumbs behind her as she
Gretel dropped Gretel dropped went.
breadcrumbs behind breadcrumbs
her as she went. behind her as she Ahead of them, an old witch waited.”
went. “Hansel walked ahead of Gretel; after all,
he knew he belonged in the front because
Ahead of them, an Gretel was just a girl. Gretel dropped
old witch waited.” breadcrumbs behind her as she went,
knowing that her bumbling brother
couldn’t be counted on to find his way
home from the outhouse, let alone from
the middle of the woods.

Ahead of them, an old witch waited, her

stomach rumbling at the thought of what
a delicious dinner the two plump children
would make.”

C. Plot. This refers to the series or sequence of e vents that give a story its meaning
and effect. It is built around the events that take place within a definite period. This
is what happens to the characters found in the work.

Types of Plot Structure

As mentioned above, plot is a series of interconnected events in which every
event has a specific purpose. Several writers have employed different ways in
structuring the plot according to their chosen style. There is no standard plot
structure, the option of what to use depends on the writer.

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 A. Linear Plot consists of events that have clever beginning, middle and end.
The story unfolds in chronological manner, meaning it is told in the order
they happened.
B. Episodic/Modular is also called chronological structure, but – changed. It
is consist of a series of loosely related incidents, usually of chapter length
tied together by a common theme and/or characters. This works best when
the writer wishes to explore the personalities of the character, nature of their
existence and the era.
Traditional Parts. This presents the events of a story in a non-chronological
order. Gustav Freytag divided the plot into five essential parts: exposition, rising
action, climax, falling action and resolution or denouement.

Climax

Expositio Resolution

1. Exposition is the introductory part that creates the tone, gives the setting,
and introduces the character and other necessary facts in understanding the
work.
2. Rising Action contains several events to make the story more interesting,
in this part of the story the characters have encountered problems.
3. Climax is the suspenseful part of the story. The character needs to face the
problem and the need to make a decision.
4. Falling Action is the part of the plot where the character has already made
a decision about handling the problem and the story is coming closer to the
end.
5. Resolution/Denouement is the final unravelling of a plot; the living solution
of a mystery; an explanation or outcome. Denouement is the untying of the
knot of intrigue, involving not only a satisfactory outcome of the main situation
but an explanation of all the secrets and misunderstandings connected with
the plot of complication.

D. Setting and Atmosphere. Setting is the story’s time and place. Setting is made
up of geographical location, its topography, scenery, physical arrangements, the

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 occupations and the daily living of the characters, the time or period in which the
actions take place. Setting tells when and where the events occurred.

The Elements of Setting

Here is a list of the specific elements that encompasses setting:
1. Locale. This includes country, region, province or city, this as well includes
specific locales, like neighbourhood, street, house, farms, school, etc.
2. Time of year. The time of year is evocative and influential. Time of year
includes the seasons, together with holidays, such as Christmas, New Year’s Eve
and Halloween. This as well includes significant dates like birthdays, death
anniversary, etc.
3. Mood and atmosphere. Characters and events are influenced by weather,
temperature and other tangible factors, which in turn affects the mood and
atmosphere of a scene.
4. Social, political, cultural environment. Cultural, political and social influence
can affect the characters in many ways. The social era of a story often influences
character’s values, social and family roles and sensibilities which in turn describes
and affect the setting of the story.

Setting is one of the essential ways that a fiction writer establishes the mood of the
story.
E. Conflict. A story without conflict or problem is lifeless. Every good story must have
a conflict. Conflict is a problem or obstacle encountered by the character within the
story. Conflict creates tension and interest in a story by adding doubt as to the
outcome.

Types of Conflict
1. Man against himself. This conflict happens when the character is
experiencing inner struggle or the character is in conflict with himself.
2. Man against man. A type of conflict that shows two characters pitted or in
clash against each other. One character is against another.
3. Man against society. The character is against a group of people or the society
itself. This is shown when the character has done something which offended
society he/she is part of. Also, when the character is unable to adjust to the ways
of the people around him/her.
4. Man against nature. This conflict happens when the character has to deal with
natural disasters such as earthquakes, landslides, or the characters are found in a
harsh environment like, in the middle of the ocean or desert and struggles to
survive against bit.
5. Man against culture. The character realizes that the customs, tradition and
practices that he/she must get accustomed to are unacceptable and against his
own belief.

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 6. Man against supernatural beings. The hero/protagonist faces extraordinary
creature such as gods or monsters before he can achieve his goal.
7. Man against to technology/machinery. This type of conflict focuses on a
person or group of people fighting to overcome unemotional and unsympathetic
machinery that believes it no longer requires humanity.

F. Irony. Irony is a literary device referring to how a person, situation, statement, or

circumstance is not as it would seem to be. It is the exact opposite of what appears
to be. Irony is discrepancy between expectation and reality.

Forms of Irony
1. Verbal irony. This is when one states one thing while meaning another. Verbal
irony is often sarcastic.
Examples: The steak was as tender as a leather boot
The students are quiet as a massive cat fight.

2. Situational irony. It refers to a situation features a discrepancy between what

is expected and what is being actualized. In J.K. Rowling’s Harry Potter series,
the audience/readers believes that Harry can kill Voldemort, the evil lord.
However, in the near end of this series it becomes clear that Harry must allow the
evil lord to kill him, so that Voldemort’s soul could become mortal once again.
Hence, Harry allows himself to be killed in order to defeat Voldemort, which is
exactly the opposite of the audience’s/readers’ expectations. By using situational
irony, Rowling has done a great job of adding a twist to the story to further a
complex conflict.

3. Dramatic irony. This happens when a character is unaware of crucial

information already revealed to the audience or to simply say that the reader is
aware of something important, which characters in the story are not aware of. In
Snow White and the Seven Dwarves, the readers know that Snow White’s
Stepmother is evil and has poisoned an apple with which to kill Snow White. Thus,
when Snow White’s stepmother disguises herself and gives Snow White the apple
we try vainly to warn Snow White, knowing what will happen when she bites into
the apple. This shows dramatic irony.

G. Theme. Theme is the meaning or concept left to the readers after reading a piece
of fiction. A theme usually depicts and unifies the central topic of the story. It gives
the reader a deeper significance of the work to people’s day to day lives.

Moral/lesson of the story is not the theme of the story. Theme is the author’s way
of sharing ideas, perceptions, and feelings with readers, and it may be directly stated
or it may only be implied. The theme unifies the concept of the story. It must adhere
to the following requirements:

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 1. The theme must account all the major details of the story.
2. The theme must not be contradicted by any detail of the story.
3. It must not only rely on supposed facts- facts not actually stated or
clearly implied by the story.

Furthermore, let us take time and consider some suggestions in creating a theme
of a work of literature by Laurence and Thomas Arp, 1993.

1. Theme should be expressed in a statement form having a subject

and predicate.
2. Theme must be stated as a generalization about life.
3. Do not make the generalization larger (or smaller) than is justified by
the terms of the story.
4. Theme unifies the concept of a story. Therefore, a theme accounts
all the major details of the story, it is not contradicted by any detail of
a story and it does not rely upon supposed facts.
5. There is no single way of stating a theme.
6. Avoid using statement that reduces the theme to some familiar
saying, proverb, or axiom.

What’s More
To check, if you can recall what you have learned in this part of the
module try to answer the following activities with all honesty without
looking back to the module.
Activity 1.1.

Direction: Look for the 4 types of character from the puzzle below and place it inside
a box. You may use the clue provided below the puzzle.

A N T A G O N I S T A B O L D E R C
N I R N O D Y N E M I C H E R O I I
T R A G I C H E R O I H O N E M S R
I E G A N T I H E R O Y E C A I T C
H R I T R A F I C I T H N N I Y G L
E E C B E A U T I F U L Y A G Y H E
E S F L A T C H A R A D S T O N G E
R T A P R O T A G O N I S T S A B S
U Y H E D X I Z W O I C T R E S C H
Clue:
1. It is a hero who comes to a bad end.
2. It means a character who undergoes change.
3. It is the hero of the work.
4. A protagonist character who has opposite attributes of a hero.

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Activity 1.2

Direction: Read the short selection below. Pay close attention to the characters and
respond to the questions that follow.
"Let me get your brownie," Jawanna barked at Maria as she towered over her
in the lunchroom. Maria did not want to give Jawanna her brownie. She wanted to eat
it for herself, but Jawanna was the biggest girl in the grade and also the meanest, and
Maria was one of the smallest. Sliding the tray toward Jawanna, Maria replied, "Sure,
Jawanna. I wasn't going to eat it anyway."

After Jawanna left, Maria's friend Jessica turned toward her, "Why didn't you
tell her to go somewhere?" Maria sighed, felt sick to her stomach, and replied, "Yeah
right, and get pounded? No thanks." Jessica put her arm around her friend's shoulder,
"Look, Maria, if you don't stick up for yourself, Jawanna is going to be eating off of you
for a long time." Maria considered Jessica's advice for a moment and then responded,
"Well, brownies are fattening anyway. Maybe if I give her enough dessert, she'll clog
her arteries and have a heart attack." The girls chuckled at this but Maria still felt sick
to her stomach.
The next day at school, Jawanna was walking to the pencil sharpener when
she noticed that Maria was using a mechanical pencil. "Hey Maria, let me hold that
pencil." Maria looked down at her mechanical pencil. It had kitties and stars on it and
she liked it very much. She replied, "I can't, Jawanna. It's my last one." Jawanna put
one hand on her hip, sneered at Maria, and said, "Well, you've gotten to use it quite a
bit. I haven't gotten to use it at all. Can't you see that's unfair?" Maria gulped, "Um,
yeah, I guess I can see that. Here, you can use it for now, but maybe I can get it back
at the end of the day," replied Maria as she handed Jawanna her pencil. Jawanna
used the mechanical pencil with the kitties and the stars on it until the end of the day
while Maria used a cheap wooden pencil. When the bell rang, Jawanna brought over
Maria's pencil in several pieces and dropped it on her desk. "Here's your pencil. It's
not working," Jawanna said, holding back her giggles as she left.

After their teacher, Ms. McMillan, dismissed the students, she said, "Maria, can
I see you for a minute?" Maria's stomach sank as she approached the stern woman.
Ms. McMillan was tough and the last thing that Maria wanted was to get into more
trouble. Sensing Maria's feelings, Ms. McMillan put a hand on her shoulder, "It's OK,
Maria. You're not in trouble. I just wanted to share something with you." Maria exhaled
as Ms. McMillan continued. "When I was your age, I was relentlessly bullied by a girl
named Carrie Carter." Maria looked at her with surprise. "You were?" She asked.
Maria couldn't imagine that a person as strong as Ms. McMillan had been bullied. "I
was," Ms. McMillan replied. "Carrie bullied me every day. I gave her my lunch money,
I did her homework for her, and I even let her call me cruel nicknames." Maria could
not believe what she was hearing. Ms. McMillan continued, "This went on for years
until my mother got sick. That was a pivotal moment in my life. When I saw my mom
in that condition, I learned that I had to be strong in life. I stopped giving Carrie the

13
lunch money that my mother worked so hard to give me. I stopped doing her homework
for her and used the extra time to help my mom. Carrie still called me names though.
She called me worse names, but that was because she needed me to be weak, and I
had grown strong." Maria looked down. Ms. McMillan continued, "True strength comes
from inside of you, Maria. Think about that tonight."

Maria considered Ms. McMillan’s words as she walked home. She thought
about it as she ate dinner, while she did her homework, and before she went to sleep.
The next morning on the school playground, Jawanna ran up to her. "Look, Maria, I
didn't do my homework last night, and we all know that you did yours, because you're
a nerd, so I need you to do mine too. O.K.? Thanks." Maria got off the bench she was
sitting on next to Jessica. She put one hand on her hip and replied, "Actually, Jawanna,
I don't really have time for that now. In fact, I don't have time for that ever again." Maria
stared Jawanna in the face and a split second before Jawanna put on her sneer Maria
caught a glimpse of her fear.

Jawanna pushed Maria into the wood chips. Jessica stood up from her seat on
the bench right when Ms. McMillan appeared from behind. "Jawanna, you bring your
butt on down to the office," she said while throwing her thumb in the direction of the
school building. As Jawanna walked off with her head hung low, Ms. McMillan helped
Maria up off the ground and said, "I'm proud of you, girl." Maria smiled. Her tailbone
was a little sore, but her stomach felt fine.

1. Among the characters, who is best described as a protagonist?

2. Among the characters, who is best described as an antagonist?
3. Is Jessica a flat or a dynamic character?
4. Is Maria a flat or a dynamic character?
5. Is Carrie Carter a dynamic character? Defend your answer
Activity 2.
Direction: Read the following passage and tell what PoV is used in the material
1. When Jane and Elizabeth were alone, the former who had been
cautious in her praise of Mr. Bingley before, expressed to her
sister how very much she admired him.

“He is just what a young man ought to be,” said she, “sensible,
good humoured, lively; and I never saw such happy manners! –
so much ease, with such perfect good breeding!”
~ from Jane Austen’s Pride and Prejudice

2. 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 bestfriend Kevin sitting in the back.
3. All the same, he’s a good man, truthful, kind and remarkable in
his sphere,” Anna said to herself, going back to her room, as if

14
 defending him before someone who was accusing him and
saying that it was impossible to love him, “but why do his ears
stick out oddly? Did he have to have his hair cut?”

Exactly at midnight, when Anna was still sitting at her desk

finishing a letter to Dolly, she heard the measured steps of
slippered feet, and Alexi Alexadrovich, washed and combed, a
book under his arm, came up to her. “It’s time, it’s time,” he said
with a special smile, and went into the bedroom.
~Anna Karenina
4. First, you will need to wash your hands and gather all of your
materials. Once you’ve done that, follow all of the directions in
your cookbook. Put your crispy treats in the oven and cook for
30-35 minutes. Once the treats are cooled, you and your friends
can enjoy.

5. Odin brushed the snowflakes off of his sword and replied, “I will
never accept a peace treaty from the Hamburgs. They are our
sworn enemies and so long as I can hold a sword, I will point it at
Hamburgs.” Epee looked at him and wrinkled her face. A long
moment passed in silence. Snow continued to fall from the sky.
Finally, Epee responded, “But, Odin, think about what peace
might mean for the children.” Odin sneered and said, “Hump, “but
made no further comment. Epee drew her weapon.
Activity 3.

Direction: Read the description of the story and determine the protagonist and
antagonist character. Then describe the type of conflict found in the description.

1. Kiko is a ninja warrior trained by Mountain Master Yoho Mahrati. When master
Mahrati is slain by Shan Bhutan of the Lotus Clan in the most cowardly of fashions,
Kiko lays it all on the line to avenge the death of his master. Will Kiko lays overcome
the Shan Bhutan and the powerful Lotus Clan?
Protagonist:
Antagonist:
Type of Conflict:
2. Greg is just a regular boy who tries his best in school and just so happens to have
a magical unicorn. When he’s not studying and playing baseball, Greg is riding his
unicorn through the enchanted land of Harmonia. When Greg brings something to
Harmonia that he shouldn’t, a secret gate is unlocked and the muck-muck monsters
are unleashed, causing terrible pollution in Harmonia. Can Greg and his unicorn
stop the muck-muck monsters before they find a way to Greg’s world?
Protagonist:
Antagonist:

15
 Type of Conflict:
Activity 4.

Directions: Tell what type of irony is present in following statements/passages. Write

your answer on the space provided.

1. . “Yet Brutus says he was ambitious and Brutus is an

honourable man.”

2. “Oh, a sweater! That was nice Bobby,” said Janet after opening
the present. Janet thought the sweater was hideous, but she
appreciated her boyfriend’s effort. Still she exchanged it for
some boots the first chance she got. She figured that Bobby
would want her to be happy. A week later Bobby made
reservations for two at the nicest restaurant in town. “Janet, I
want to take you somewhere special,” He said. “I have good
news to tell you. Wear that sweater that I got you. It’ll be perfect.”
Janet didn’t know how to react, “Um… I don’t think that sweater
quite matches these boots I want to wear. Is it cool if I just wear
it another time?” Bobby huffed, “You know, Janet, that sweater
was expensive. The least you could do is act like you appreciate
it.” Janet saw no other option but to agree to wear the sweater,
so she did. Now she was in a pickle.

3. Brandon was an adult when he found out that he had been

adopted. It came as quite a shock. He spent his whole life
thinking that the world was one way when in fact it there was
another layer to it. As much as he loved and cherished his
adoptive parents, he wanted to find his biological mother. So he
contacted the adoption agency, but her information wasn't
listed. He had a few clues and he followed them up, but they led
to one dead-end after another. Brandon became obsessed.
Sparing no expense, he employed a world-class detective. After
many months of searching, the renowned detective came up
empty-handed. Brandon never quit though. He spent years and
piles of money scouring the world for clues to his birthmother's
identity. Finally his efforts paid a return. He discovered that she
was living right down the street from his house, just around the
corner.
4. Moving to a new school had been tough for Janie, but things
were finally turning around. She was making friends and she
even received an invitation to Angie's pool party. There was one
problem: Janie didn't know how to swim. Janie felt like admitting
this might risk her new friendships. So she decided to go to the
party and pretend like she knew how to swim. The first hour of

16
 the party went by swimmingly. Janie floated on a large raft and
gossiped with the other girls. Then the girls started doing
cannonballs and dives. Bridget did a jackknife. Angie did a can-
opener. Now all eyes were on Janie. Bridget started teasing her,
"Let's see what you can do, Brainy Janie!" Janie didn't know how
to respond. Then Angie egged her on, "Come on, Janie. Do a
flip!" Janie felt this tremendous pressure building, so she
paddled to the edge of the pool and climbed out. How hard could
it be? Janie thought. Angie and the other girls couldn't wait to
see what kind of wild jump Janie would attempt. Little did they
know how wild things were going to get.
5. A mean old man ate a large meal at a restaurant. The waitress
tried to provide him with excellent service, but every time she
brought him a dish, he complained. First he thought that the
soup was too cold when it was hot. Then he said that his steak
was dry and chewy, when it was moist and succulent. Then he
complained that one of her blonde hairs was in his mashed
potatoes, but the hair was actually grey like his own. She
remained patient and continued to try to help him until the end
of the meal, when he left her a quarter for a tip. She replied on
his way out, “Thank you for the generous tip, Mister.”
Activity 5.

Direction: Determine what is the theme for each story and explain your answer.
Remember, a theme is a lesson or message in the story. Write in complete sentences.

1. Katie Clean invited Messy Missy to her house to work on their biology project,
but Katie Clean had no idea what a visit from Messy Missy entailed. First of all, it was
raining and Messy Missy neither bothered to take her boots off nor thoroughly wiped
them on the doormat. Then Messy Missy ate a bag of hot chips on Katie Clean's white
bedspread without asking, and Messy Missy is a sloppy eater, so hot chip powder got
all over the bedspread. Katie Clean tried to be polite and ignore Messy Missy's sloppy
behavior, but then Messy Missy threw her chip wrapper on the floor. Offended, Katie
Clean pretended that she was sick and asked Messy Missy to leave. The next day
Katie Clean asked the teacher if she could work by herself. After explaining her
situation, the teacher allowed Katie to work alone. Messy Missy would have finished
the assignment by herself, but she spilled grape soda all over her assignment.

What is the theme of the story?

What happens in the story that leads you to believe this?

17
2. Money Mark was born rich. He never had to work a day in his life and he got
everything handed to him on a silver platter. When he was six, Money Mark wanted
to go to a basketball game. His father paid the starting five of the Bulls and Celtics to
play a private game of Nerf-ball in Money Mark's bedroom. When Money Mark turned
thirteen, he wanted to start a band. His father hired the Rolling Stones to play with
him every Saturday at the family's private concert hall, though his family was never
there. By the time he was twenty-one, Money Mark was bored with life. He was
surrounded by a bunch of possessions that he didn't appreciate and Money Mark could
find nothing new or exciting in his life. Despite his vast wealth, Money Mark never
found happiness. Penny Petal was born poor. Her family hardly had anything to eat,
but they loved each other. Penny Petal appreciated everything she got. When she
was six, her father walked her around the United Center before the Bulls played the
Celtics. She was excited by the crazy fans and feeling in the air. She looked forward
to the day that she could see a real game. When she was thirteen, she learned to
play the buckets. She was an extremely talented musician, a natural percussionist,
and everyone on the block loved the rhythms that poured from her palms. By the
time she was twenty-one, Penny was a successful businesswoman. Now she had
everything that she had ever dreamed of and she truly loved to share her wealth and
happiness with her family who supported her through all of the hard times.
What is the theme of the story?

What happens in the story that leads you to believe this?

What Have I Learned

These are the key points discussed in this lesson.

1. Fiction is a term used to describe any imaginative work of prose with
information or events that are not factual or real. Fiction is a product of the
writer’s imagination.
2. There are different forms of fiction. Some of the common forms folktale, myth,
novel, short story and novella.
3. Fiction has various elements: the characters, point of view, plot, setting and
atmosphere, conflict, irony, and theme.
4. There are different types of characters, some of these are flat, dynamic,
antagonist and protagonist, tragic and anti-hero.
5. Point of view is classified into three, first person, second person and third
person point-of-view.

18
 What I Can Do
Let’s Read

Direction: Read the selection below and answer the questions

that follow.
The Wallet

Jenny stared at the store window longingly. There was nothing in this world that
she wanted more than a Happy Hannah doll and all that currently separated her from
the hottest doll of the holiday season was a thin piece of glass and $29.95 plus tax.
Unfortunately, Jenny didn't even have the 95 cents, so she let out a deep sigh and
continued walking home.

As she stomped across the slushy sidewalk, she considered her options. She
thought about taking over her brother's chores. If she shoveled the driveway, washed
the dishes all month, dusted, and vacuumed… she fidgeted with her fingers as she
added it up… she would have eleven dollars. Just as she was concluding that this
would not be enough, something caught her eye. It was a small, pink triangle poking
out from the snow on the roadside.
Jenny walked over to the triangle and removed it from the snow, whereupon
she realized that it was not a triangle at all but a rectangle. More importantly she
realized that the rectangle was a fashionable leather wallet. She unzipped the bulging
wallet to find a thick wad of folded green bills. Jenny gasped and nearly dropped it.
She gathered herself and went to close the snap on the wallet when she saw some
plastic cards. One was a credit card and the other an ID.
Jenny stared at the old woman in her driver’s license photo. The woman had a
beautiful smile that reminded Jenny of her grandma. Jenny sighed and then she
shoved the wallet into her purse. She turned around and walked in the direction from
which she came.
Jenny’s heart beat quickly as she entered the store. She had long dreamed
about this moment, but something didn't feel right about it. As she approached a stack
of Happy Hannah dolls, she pushed away her feelings. She grabbed one of the dolls
off of the stack. She felt electricity surging through her body as she began walking
toward the checkout.

As Jenny approached the register, the Happy Hannah Show theme song began
playing. Jenny looked around startled, and then realized that it was her mobile phone.
She checked the caller ID and saw that it was her grandma. In one hand she held the
Happy Hannah doll and in the other she held the phone on which her grandma was
calling. Jenny heart filled with love and appreciation as she thought of her sweet old
grandma. She put the doll down and picked up the phone call.

19
 "Hi, Grandma? I'm going to be a little bit late tonight. I've got to drop something
off… Yeah, it was good… O.K… Alright… I love you too." Jenny left the store and
walked through the slush all the way to the other side of town. She thought of her
grandma as she rang the bell at 301 West Street. The women who answered the door
had been crying recently and looked distressed. Jenny recognized her from the ID.
"Here, I found this in the snow," Jenny said as she handed her the wallet. The woman
face glowed with joy and relief.
"Oh, good God! This is the money for the orphanage! Now we can bring the
children the puppies for Christmas! It's a miracle!" The woman took the wallet smilingly.
She was so appreciative that she gave Jenny a cookie and a ride home. Jenny had
sort of hoped that she would reward her good deed with a Happy Hannah doll, but
Jenny did get a chocolate chip cookie, and chocolate chip cookies were her favorite.

After doing her brother's chores for three months, Jenny finally got a Happy
Hannah doll. She hated doing all of that extra work, but she knew that she had made
the right choice when she was done because she could play with her Happy Hannah
doll and look her grandma in the eyes.

1. What type of conflict is used in the story?

2. What POV is used in the story?
3. Arrange the following scenario found in the selection using Freytag’s plot
development.
A. Jenny puts the doll down and returns the wallet, getting a cookie in
return.
B. Jenny works hard and eventually gets the doll. She feels good about
her actions.
C. Jenny finds a wallet.
D. Jenny receives a call from her grandmother and reconsiders her
actions.
E. Jenny walks to the store, takes a doll of the shelf and lines to buy it.
Exposition:

Rising Action:

Climax:

Falling Action:

Resolution:

20
 Assessment
Direction: Match column A to column B. Write your answer on the
space provided. Use upper-case letter.

Column A Column B
1. Direct Characterization A. the story’s time and place

2. Fiction B. the same person at the end of the story

3. Flat C. the series or sequence of events

4. Setting D. explicit characterization
5.Plot E. imaginative literary work

F. the writer shows the character’s

personality through speech

Additional Activities

To help you develop the skill in identifying the elements, techniques

and literary devices used in fiction look for a short story and identify the
elements found in the story.

21
 Lesson
2 Techniques and Literary Devices

What I Need to Know

At the end of this lesson, you are expected to identify the various
elements, techniques and literary devices in fiction
(HUMSS_CW/MP11/12Ig-i-12)

What I Know

Direction: Answer the following questions.

1. This refers to the details the narrator gives about a character and it tells
readers about the important elements of the story or characters.
A. Dialogue and Thought C. Action
B. Exposition D. Description
2. A literary device use by authors to give hint for certain plot development
that may come later in the story.

A. Flashback C. Motif
B. Symbolism D. Foreshadowing
3. It refers to the attitude of the author towards the writing and the readers.

B. Mood C. Symbol
B. Tone D. Motif
4. A narrative mode which means the conversation between characters that
can help to evolve the characters.

A. Dialogue C. Thought Action

B. Thought D. Description
5. A narrative mode which sets the mood and gives details about the place,
person or thing.

A. Dialogue C. Action
B. Thought D. Description

22
 What’s In
In the previous lesson you learned about fiction and the elements
of fiction. In the elements of fiction you’ve studied about the types of
character, point-of-view, plot, conflict, and theme. Now, as we go deeper in
understanding fiction let’s explore the different types of literary devices used in
crafting fiction.

What’s New

Activity. On a clean bond paper create an illustration for the word freedom and
provide a brief explanation of the illustration.

What is It
What is a literary device? How is literary device used in fiction?

Techniques and Literary Devices

A literary device (also known as literary technique) is any method a writer uses
to convey his/her message. These devices add texture, energy and excitement that
grips readers imagination. Below are some of the most commonly used literary
devices/techniques used by writers:
1. Mood/Tone

In literature, mood is a literary element that elicits certain feelings or vibes in

readers through words and descriptions. Mood pertains to the atmosphere of a literary
piece, as it creates an emotional setting that surrounds the readers. Mood is developed
in a literary piece through various methods, including setting, theme, tone, and diction.
It is the atmosphere created by the author’s words. It is a feeling that the readers get
from reading the work. Mood can be joyful, gloomy, frightening or mysterious.

While tone on the other hand, is the attitude of the author toward the writing
and readers. It is achieved through word choice, sentence construction and word
order. A tone can be serious, satirical, sarcastic or solemn.

23
2. Foreshadowing
A literary device used by authors to hint certain plot development 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/future events are prepared for.

3. Symbolism and Motif

A literary device that contains several layers of meaning, usually concealed

or hidden at first sight. It is a representative of other aspects/ traits/concepts that those
that are visible in the literal translation alone. It is using an object or actions that means
something more than its literal meaning.

The word symbol comes from the Greek word symbolom. Symbol is any word
or any object that stands for another word or object. This 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.

Motif is any element, subject, idea, or concept that is always present through
the entire body of 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. A
motif may also be two contradictory elements in a work, such as good and evil. A motif
is important for it allows one to see main points and themes that the author is trying to
express.
The Heart of Darkness by Joseph Conrad has a motif of observation and
eavesdropping. Marlow, the protagonist, gets information about the world either by
observing his surroundings or listening to the conversation of others.
The Modes of Fiction

People love telling stories and anyone can tell a story, but writing a story on
the other hand is more complicated than just telling a story for it requires structure,
through the form of the five narrative modes of fiction. Narrative modes in fiction are
the methods or ways that writers use in telling their stories.
The Five Narrative Modes

1. Dialogue

Dialogue is the talk between your characters. Dialogue is the spoken

communication found within quotation marks.

Dialogue and thought has three purposes; first, they reveal something about
the character. Second, they build tension. Third, they help advance the story.

24
 Dialogue is spoken action, that means it is spoken aloud, while thought is an
internal monologue. Dialogue is a conversation between characters that can help to
evolve the characters. Take a look at the example below.

2. Thought

A character’s thoughts might be simply thoughts. But a character could talk to

himself in his head, calling himself names, for example, for the foolish risks he took or
giving himself a pep talk.

“The Indian world is on a collision course with the white world,” Billy said. Wasn’t
that the truth, Horse thought.”

3. Action

Action is a driving force of your narrative, it does not only advance the story,
but also to reveal information about your characters. Readers become engaged when
something happens to the fictional characters. It is something that happens and may
include dialogue, gestures, and other activities.

For example, Nola didn’t look back at the drenched, angry matron standing at
the edge of the schoolyard with her hands on her hops. Will turned on the wipers. He
took off his expensive wet hat, threw it in the back, and drove Nola away in the
rainstorm, imagining the taste of the rain on her skin.

In this passage the action not only moves the plot of the story forward, but also
reveals something about the personalities of the three characters involved.

4. Description

Description are those deep sensory images the writer wants the reader to
experience. It sets the mood and the scene and it provides an explanation. It gives
details about the place, person or thing.

Tornado Nola, as it came to be called, was a favorite topic in Indian Territory.

The twister had touched down only in select locations. It destroyed the Catholic
church, but it left the Baptist church untouched. The most devout of both faiths
concluded it was God’s will they attend the Baptist church. Slogan on TV suggests,
and the floor was sticky with spilled drinks from the children scurrying around like
an infestation, waiting to be pressed into the ground by a careless foot.

25
5. Exposition

This refers to the details the narrator gives about a character. Exposition tells
readers about the important elements of the story or characters.

For example: Unlike her mother, however, she had Catholic leanings and
placed anemic looking statues of saints, Jesus, and the blond Virgin Mary
throughout the rooms. She burned candles at the feet of the statues. And her
monkey wore a rhinestone collar.

What’s More

Direction: Read the statements below and choose the best answer.

1. What is the tone of the following sentence? "'Here we go again,' he moaned, as he

watched the other team score yet another goal."
A. Joy C. Excitement
B. Fury D. Frustration

2. The author’s attitude or feelings towards the writing is the .

A. Tone B. Mood
3. is the feeling the reader gets as he/she reads the text.
A. Tone B. Mood

4. What is the tone of the following text? “I will not!” she shouted. “I will not be left at
the mercy of our enemies while you slink away!”

A. Pleased C. Happy
B. Angry D. Suspicious

5. “She hesitated, listening for sounds of the creature. The forest seemed empty, but
she could sense something else out there. Something watching and waiting.” What is
the mood in the passage?

A. Romantic C. Depressing
B. Joyful D. suspenseful

26
 What I Have Learned
Let’s Summarize

1. A literary device is sometimes called a literary technique.

2. A literary device is any method a writer uses to convey his/her
message.
3. Tone is a literary element that evokes certain feelings or vibes in
readers through words and descriptions. It is the atmosphere
created by the author’s words.
4. Foreshadowing is used to provide a hint in plot development.
5. Symbolism and motif contains meaning. It may be an object or
action that means something more than its literal meaning.
6. Modes of fiction refers the methods writers use to tell their stories.
7. There are five narrative modes of fiction are dialogue and thought,
action, description and exposition

What I Can Do

Direction: Read the selection below and determine the mode used. Write your answer
on the space provided.
1. Jack grabbed his backpack and hopped off the bus.

2. Perfect. The bus stop was right in front of the library. That
way he could get right to work on his AP History term paper
and wouldn’t have to waste time walking to his destination.

3. Most of the time, he simply rode his bike to the local library
ranch near his house, but they didn’t have the books he needed.
4. Okay, let’s get to work.

5. Swinging the backpack over one shoulder, he jogged up the

library steps.

27
 Assessment
Directions: Read and answer the following

1. What literary element is suggested with the words joyful, sadness,

mysterious?
A. Foreshadowing B. Symbolism C. Mood D. Motif

2. What mode of fiction refers to details the narrator gives about a character?

A. Exposition B. Action C. DescriptionD. Dialogue and thought

3. Identify the tone in this statement

“If only we are rich I won’t be wearing these oddly looking hand-me-down
clothes.”
A. Happy B. Bitter C. Tolerant D. Optimistic

4. A mode which gives provides details about the person, place or thing
A. Exposition B. Dialogue C. Description D. Action
5. What mode is used in the statement below?

“With a glance back at the gorgeous day outside, he almost –almost regretted
coming here today.”

A. Dialogue B. thought C. Action D. Description

Directions: Read the selection below and determine the mode used. Write your
answer on the space provided.
1. Because he didn’t have his driver’s license yet—he would
next year if all went well—his mother would normally have driven him here, but
she’d already promised his younger sister a trip to the zoo on the next nice
Saturday, and the zoo was in the opposite direction of the library.
He pushed through the revolving door and into the massive lobby. It had been a
couple of years since he’d been to the main library. He’d forgotten how huge this
place was!
2. In front of him, in the center of the lobby and under the four-
story-tall dome, sat the long, information and check-out desk. To either side,
stairs curved up along the wall to the second-floor balcony. Straight ahead,
behind the desk stood two elevators.
What surprised him were how many people he saw in here on a sunny morning.
He didn’t see any other students, just mostly adults and older folks.
3. Well, it was only ten o’clock. They might still be in bed, or
more likely planning on going other places than the library.

28
 Enough gawking, Jack. You have a lot of work ahead of you. He’d figured it
would probably take him all day to do this paper.
4. At the information desk a young lady was typing
something on her computer.

5. “May I help you?” she asked, looking up.

“Sure. Where is the archaeology section?”

“Third floor.” She pointed behind her at the elevators. “Turn right off the
elevator and go all the way to the end of the hall.”
He smiled and said, “Thank you.”

29
Lesson
FICTIONAL JOURNAL
3

What I Need to Know

At the end of this lesson, you are expected to write journal entries
and other short exercises exploring key elements of fiction.
(HUMSS_CW/MPIg-i-13)

What I Know
Directions: Read and understand each statement. Choose the correct
answer being referred in every number. The correct answers can be
found in the Word Bank below.
WORD BANK

• Character • Fiction • Setting

• Point of View • Journal • Plot

• Fictional Journal • Style • Theme

• Foreshadowing • Symbol • Diary

1. It is the take home message.

2. It should provide a clear sense of movement.

3. It is a note where we write down our happenings on a daily basis.

4. It needs to be richly drawn to draw the readers into the story and make them
remember.

5. It is the place and culture in which things situated.

30
 6. This a broad category that covers everything from writing dialogue to the voice
used.

7. It allows perceiving the world in an entirely different perspective.

8. It is created from the imagination, not presented as fact, though it may be

based on true story or situation.

9. It is the mode of narration that an author employs to let the readers “hear” and
“see”.

10. It means that every story has a perspective.

What’s In
In the previous lesson, you have learned about the different elements
of fiction, literary devices and techniques, as well as the modes of
fiction. Different elements of fiction are character, setting, plot, conflict, and point of
view while the different literary devices/techniques you have learned are mood/tone,
motif and symbol, foreshadowing, and the different usage of figurative language. Your
knowledge about this will help you write your fictional journal clearer, and arouse
readers’ curiosity.

What’s New
Directions: Read and understand the given situation. You put yourself
on the character of the situation. Write a minimum of 250-word
paragraph on the advice that you can give to the main character.
Situation: A transferee student comes in to your classroom. She is your new
classmate. You want to befriend her because she noticed in her eyes
that she is a good person.
How will you approach her? Do not forget to incorporate the elements of fiction in your
output.

31
 What Is It

What is Fiction?
Fiction came from Latin word fictus which means “to form”, to form words based
from the imagination.
It is a literature created from the imagination, not presented as fact, though it
may be based on a true story or situation.
What are to be Included in Writing a Fiction?
A. Character. In fiction the characters need to be richly drawn to draw you into
the story and make you care enough to keep reading and to remember them.
Introduce them to your readers by providing description as to how they look like
and what are their actions.
B. Theme. The central message. In fiction, it is a moral or an emotion. “Figuring it
out as you write” is the approach in writing a theme.
C. Plot. It contains a clear sense of movement. This gives a sense of motion of
what you are reading and end up somewhere new. It contributes why people

32
 keep reading up to the end. You need to take the reader along a very clear action
from question to conclusion.
D. Setting. It refers to the time and location in which a story takes place.
E. Style. This is a broad category that covers everything from writing dialogue to
what voice to be used.

What is Journal?
Journal is a note where we write down our daily events and happenings in life.
It is also a collection of one’s thoughts or observation written over time about a
particular topic.
However, in this lesson, we are going to explore a type of journal that is fictional.
It is called as “Fictional Journal”.
What is Fictional Journal?
Fictional Journal is a record of sequential events that can be used to describe
the feelings or events of the character and his/her point of view towards a subject or a
situation. It also shows your thoughts on a daily basis which serves as a creative
exercise. The format of fictional journal is the same on the format of non-fictional
journal. It still gets the reader directly into the character’s head and it provides a built-
in framework for plot.
Why Do We Need to Write a Fictional Journal?
Fictional Journal allows us to perceive the world in an entirely different
perspective. It serves as a compilation of things and actions which exist in our
imagination. Through writing it, we can change the events in our lives in a way we
want it to be. It also makes us creative. We can be creative because as writers of our
own fictional journal, we can play words. We will go beyond the usual words that we
used in our everyday life as well as the actions and scenes of the characters. Thus, it
specifically gives us benefits such as follows:
A. Improve Our Writing. A good way to improve our writing skill is to write a lot.
Writing fictional journal provides us the opportunity to improve because the style
of writing is on daily basis. In addition, any creative ideas we record in our
journal can be expanded later.

B. Explore Our Thoughts. Keeping our journal can help us record all the
thoughts that we have on daily basis.

C. Give Meaning to Our Life. Fictional journal can determine our dreams and
aspirations. Things we write in our journal justify how we value life and our
perspective about it.

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 What’s More
For five days, write a fictional journal entry based from the
situation below. You set yourself that you are the main character. In
your journal entry, you include the different key elements of fiction and consider the
rubrics.

Situation:
Imagine that you will make up an alter ego of
oneself. On Day 1, give him/her a name. Make
a very detailed description on how he/she looks
like. On Day 2, write about his/her strengths and
weaknesses. On Day 3, write about the family
he/she has. Describe every member of his/her
family. On Day 4, write about his/her ambition
in life and the things she will take to achieve
his/her ambition. On Day 5, write the things
he/she will do to make her a better friend,
classmate, colleague, and citizen of this
country.

Rubric:
5 3 2
SETTING Provide a vivid Provide a short
Provide a
description of descriptive words
description on
where it happened, about where itwhere the story
when it is, and what happened, when it
happened but does
it is around is, what it is around
not paint a clear
picture to the
reader
CHARACTER Create a clear Create a brief Reader cannot be
distinct description and able to identify the
characterization in limited distinction distinction in every
every character in every character character because
involved in the it is confusing
story

34
PLOT and Events are Events are Events are missing
EVENTS interesting and substantial but it out of order.
substantial. doesn’t create an
Readers tend to be excitement for the
very excited to read readers to read.
the next events in
the story.
WORD CHOICE Words create a Story creates Provide few
memorable picture some robust works interesting words,
with robust works and some active no active verbs,
and active verbs. verbs. and frequently
used repetitive
words
INTEGRATION OF The seven (7) key The key elements The key elements
THE KEY elements of fiction present in the story present in the story
ELEMENTS OF are present in the are only four to six. are only one to
FICTION story. three.
MECHANICS No error in Few errors in Many errors in
grammar usage, grammar usage, grammar usage,
punctuation, punctuation, punctuation,
capitalization and capitalization and capitalization and
spelling. spelling. spelling.

Day 1

35
Day 2

Day 3

36
Day 4

Day 5

37
 What I Have Learned
In this lesson, you have learned how to write a fictional journal
incorporating the different elements of fiction. Fictional Journal helps
you to harness your skills in writing in a creative way. It is a way of putting your shoes
to others by letting yourself to be main character of what you are writing. Always
remember that in writing fictional journal, you have to avoid the obvious. Make your
craft interesting so that readers will look forward to read it again. Incorporation on
elements of fiction will help you achieve your goal. You need to choose one point of
view, Give your character a motivation, write what you know, and most importantly –
you need to trust yourself.

What I Can Do
For this part, I’ll give you three (3) stories for three (3) days
which means that you will read the first story for Day 1, second story
for Day 2, and third story for Day 3. Read and understand each story because there
will be set of questions to be answered and your answers must reflect on your journal.
Day 1
THE FLY
By: Mai Vo-Dinh
Everyone in the village knew the usurer, a rich and smart man. Having
accumulated a fortune over the years, he settled down to a life of leisure in his big
house surrounded by an immense garden and guarded by a pack of ferocious dogs.
But still unsatisfied with what he had acquired, the man went on making money by
lending it to people all over the county at exorbitant rates. The usurer reigned supreme
in the area, for numerous were those who were in debt to him.
One day, the rich man set out for the house of one of his peasants. Despite
repeated reminders, the poor laborer just could not manage to pay off his longstanding
debt. Working himself to a shadow, the peasant barely succeeded in making ends
meet. The moneylender was therefore determined that if he could not get his money
back this time, he would proceed to confiscate some of his debtor's most valuable
belongings. But the rich man found no one at the peasant's house but a small boy of
eight or

38
nine playing alone in the dirt yard.

“Child, are your parents home?” the rich man asked.

“No, sir,” the boy replied, then went on playing with his sticks and stones, paying
no attention whatever to the man.

“Then, where are they?” the rich man asked, somewhat irritated, but the little
boy went on playing and did not answer.

When the rich man repeated his query, the boy looked up and answered, with
deliberate slowness, “Well, sir, my father has gone to cut living trees and plant dead
ones and my mother is at the marketplace selling the wind and buying the moon.”

“What? What in heaven are you talking about?” the rich man commanded.
“Quick, tell me where they are, or you will see what this stick can do to you!” The
bamboo walking stick in the big man's hand looked indeed menacing.

After repeated questioning, however, the boy only gave the same reply.
Exasperated, the rich man told him, “All right, little devil, listen to me! I came here
today to take the money your parents owe me. But if you tell me where they really are
and what they are doing, I will forget all about the debt. Is that
clear to you?”

“Oh, sir, why are you joking with a poor little boy? Do you expect me to believe
what you are saying?” For the first time the boy looked interested.

“Well, there is heaven and there is earth to witness my promise,” the rich man
said, pointing up to the sky and down to the ground.

But the boy only laughed. "Sir, heaven and earth cannot talk and therefore
cannot testify. I want some living thing to be our witness.”

Catching sight of a fly alighting on a bamboo pole nearby, and laughing inside
because he was fooling the boy, the rich man proposed, “There is a fly.
He can be our witness. Now, hurry and tell me what you mean when you say that your
father is out cutting living trees and planting dead ones, while your mother is at the
market selling the wind and buying the moon.”

Looking at the fly on the pole, the boy said, "A fly is a good enough witness for
me. Well, here it is, sir. My father has simply gone to cut down bamboos and make a
fence with them for a man near the river.
And my mother . . . oh, sir, you'll keep your promise, won't you? You will free my
parents of all
their debts? You really mean it?”

39
 “Yes, yes, I do solemnly swear in front of this fly here.” The rich man urged the
boy to go on.

“Well, my mother, she has gone to the market to sell fans so she can buy oil
for our lamps. Isn't that what you would call selling the wind to buy the moon?”

Shaking his head, the rich man had to admit inwardly that the boy was a clever
one. However, he thought, the little genius still had much to learn, believing as he did
that a fly could be a witness for anybody. Bidding the boy goodbye, the man told him
that he would soon return to make good his
promise.

A few days had passed when the moneylender returned. This time he found the
poor peasant couple at
home, for it was late in the evening. A nasty scene ensued, the rich man claiming his
money and the
poor peasant apologizing and begging for another delay. Their argument awakened
the little boy, who
ran to his father and told him, “Father, Father, you don't have to pay your debt. This
gentleman here has promised me that he would forget all about the money you owe
him.”

“Nonsense!' The rich man shook his walking stick at both father and son.
“Nonsense! Are you going to stand there and listen to a child's inventions? I never
spoke a word to this boy. Now, tell me, are you going to pay or are you not?”
The whole affair ended by being brought before the mandarin who governed
the county. Not knowing what to believe, all the poor peasant and his wife could do
was to bring their son with them when they went to court. The little boy's insistence
about the rich man's promise was their only encouragement.

The mandarin began by asking the boy to relate exactly what had happened
between himself and the moneylender. Happily, the boy hastened to tell about the
explanations he gave the rich man in exchange for the debt.

“Well,” the mandarin said to the boy, “if this man here has indeed made such a
promise, we have only your word for it. How do we know that you have not invented
the whole story yourself? In a case such as this, you need a witness to confirm it, and
you have none.” The boy remained calm and declared that naturally there was a
witness to their conversation.

“Who is that, child?” the mandarin asked.

“A fly, Your Honor.”

“A fly? What do you mean, a fly? Watch out, young man, fantasies are not to
be tolerated in this place!” The mandarin's benevolent face suddenly became stern.

40
 “Yes, Your Honor, a fly. A fly which was alighting on this gentleman's nose!”
The boy leaped from his seat.

“Insolent little devil, that's a pack of lies!” The rich man roared indignantly, his
face like a ripe tomato. "The fly was not on my nose; he was on the housepole . . .”
But he stopped dead. It was, however, too late.

The majestic mandarin himself could not help bursting out laughing. Then the
audience burst out laughing. The boy's parents too, although timidly, laughed. And the
boy, and the rich man himself, also laughed. With one hand on his stomach, the
mandarin waved the other hand toward the rich man:

“Now, now, that's all settled. You have indeed made your promises, dear sir, to
the child. Housepole or no housepole, your conversation did happen after all! The
court says you must keep your promise.”

And still chuckling, he dismissed all parties.

1. Who are the characters of the story?

2. What is the setting?

3. What is the theme?

4. Give the plot of the story?

5. If you could change the title of the story, what would you name it? Why?

Day 2
A PIECE OF STRING
By: Guy De Maupassant
Along all the roads around Goderville the peasants and their wives were coming
toward the burgh because it was market day. The men were proceeding with slow

41
steps, the whole body bent forward at each movement of their long twisted legs;
deformed by their hard work, by the weight on the plow which, at the same time, raised
the left shoulder and swerved the figure, by the reaping of the wheat which made the
knees spread to make a firm "purchase," by all the slow and painful labors of the
country. Their blouses, blue, "stiff-starched," shining as if varnished, ornamented with
a little design in white at the neck and wrists, puffed about their bony bodies, seemed
like balloons ready to carry them off. From each of them two feet protruded.
Some led a cow or a calf by a cord, and their wives, walking behind the animal,
whipped its haunches with a leafy branch to hasten its progress. They carried large
baskets on their arms from which, in some cases, chickens and, in others, ducks thrust
out their heads. And they walked with a quicker, livelier step than their husbands. Their
spare straight figures were wrapped in a scanty little shawl pinned over their flat
bosoms, and their heads were enveloped in a white cloth glued to the hair and
surmounted by a cap.
Then a wagon passed at the jerky trot of a nag, shaking strangely, two men
seated side by side and a woman in the bottom of the vehicle, the latter holding onto
the sides to lessen the hard jolts.
In the public square of Goderville there was a crowd, a throng of human beings
and animals mixed together. The horns of the cattle, the tall hats, with long nap, of the
rich peasant and the headgear of the peasant women rose above the surface of the
assembly. And the clamorous, shrill, screaming voices made a continuous and savage
din which sometimes was dominated by the robust lungs of some countryman's laugh
or the long lowing of a cow tied to the wall of a house.
All that smacked of the stable, the dairy and the dirt heap, hay and sweat, giving
forth that unpleasant odor, human and animal, peculiar to the people of the field.
Maître Hauchecome of Breaute had just arrived at Goderville, and he was
directing his steps toward the public square when he perceived upon the ground a little
piece of string. Maître Hauchecome, economical like a true Norman, thought that
everything useful ought to be picked up, and he bent painfully, for he suffered from
rheumatism. He took the bit of thin cord from the ground and began to roll it carefully
when he noticed Maître Malandain, the harness maker, on the threshold of his door,
looking at him. They had heretofore had business together on the subject of a halter,
and they were on bad terms, both being good haters. Maître Hauchecome was seized
with a sort of shame to be seen thus by his enemy, picking a bit of string out of the
dirt. He concealed his "find" quickly under his blouse, then in his trousers' pocket; then
he pretended to be still looking on the ground for something which he did not find, and
he went toward the market, his head forward, bent double by his pains.
He was soon lost in the noisy and slowly moving crowd which was busy with
interminable bargainings. The peasants milked, went and came, perplexed, always in
fear of being cheated, not daring to decide, watching the vender's eye, ever trying to
find the trick in the man and the flaw in the beast.

42
 The women, having placed their great baskets at their feet, had taken out the
poultry which lay upon the ground, tied together by the feet, with terrified eyes and
scarlet crests.
They heard offers, stated their prices with a dry air and impassive face, or
perhaps, suddenly deciding on some proposed reduction, shouted to the customer
who was slowly going away: "All right, Maître Authirne, I'll give it to you for that."
Then little by little the square was deserted, and the Angelus ringing at noon,
those who had stayed too long scattered to their shops.
At Jourdain's the great room was full of people eating, as the big court was full
of vehicles of all kinds, carts, gigs, wagons, dumpcarts, yellow with dirt, mended and
patched, raising their shafts to the sky like two arms or perhaps with their shafts in the
ground and their backs in the air.
Just opposite the diners seated at the table the immense fireplace, filled with
bright flames, cast a lively heat on the backs of the row on the right. Three spits were
turning on which were chickens, pigeons and legs of mutton, and an appetizing odor
of roast beef and gravy dripping over the nicely browned skin rose from the hearth,
increased the jovialness and made everybody's mouth water.
All the aristocracy of the plow ate there at Maître Jourdain's, tavern keeper and
horse dealer, a rascal who had money.
The dishes were passed and emptied, as were the jugs of yellow cider.
Everyone told his affairs, his purchases and sales. They discussed the crops. The
weather was favorable for the green things but not for the wheat.
Suddenly the drum beat in the court before the house. Everybody rose, except
a few indifferent persons, and ran to the door or to the windows, their mouths still full
and napkins in their hands.
After the public crier had ceased his drumbeating he called out in a jerky voice,
speaking his phrases irregularly:
"It is hereby made known to the inhabitants of Goderville, and in general to all
persons present at the market, that there was lost this morning on the road to
Benzeville, between nine and ten o'clock, a black leather pocketbook containing five
hundred francs and some business papers. The finder is requested to return same
with all haste to the mayor's office or to Maître Fortune Houlbreque of Manneville;
there will be twenty francs reward."
Then the man went away. The heavy roll of the drum and the crier's voice were
again heard at a distance.
Then they began to talk of this event, discussing the chances that Maître
Houlbreque had of finding or not finding his pocketbook.
And the meal concluded. They were finishing their coffee when a chief of the
gendarmes appeared upon the threshold.

43
 He inquired: "Is Maître Hauchecome of Breaute here?"
Maître Hauchecome, seated at the other end of the table, replied: "Here I am."
And the officer resumed: "Maître Hauchecome, will you have the goodness to
accompany me to the mayor's office? The mayor would like to talk to you."
The peasant, surprised and disturbed, swallowed at a draught his tiny glass of
brandy, rose and, even more bent than in the morning, for the first steps after each
rest were specially difficult, set out, repeating: "Here I am, here I am."
The mayor was awaiting him, seated on an armchair. He was the notary of the
vicinity, a stout, serious man with pompous phrases.
"Maître Hauchecome," said he, "you were seen this morning to pick up, on the
road to Benzeville, the pocketbook lost by Maître Houlbreque of Manneville."
The countryman, astounded, looked at the mayor, already terrified by this
suspicion resting on him without his knowing why.
"Me? Me? Me pick up the pocketbook?"
"Yes, you yourself."
"Word of honor, I never heard of it."
"But you were seen."
"I was seen, me? Who says he saw me?"
"Monsieur Malandain, the harness maker."
The old man remembered, understood and flushed with anger.
"Ah, he saw me, the clodhopper, he saw me pick up this string here, M'sieu the
Mayor." And rummaging in his pocket, he drew out the little piece of string.
But the mayor, incredulous, shook his head.
"You will not make me believe, Maître Hauchecome, that Monsieur Malandain,
who is a man worthy of credence, mistook this cord for a pocketbook."
The peasant, furious, lifted his hand, spat at one side to attest his honor,
repeating:
"It is nevertheless the truth of the good God, the sacred truth, M'sieu the Mayor.
I repeat it on my soul and my salvation."
The mayor resumed:
"After picking up the object you stood like a stilt, looking a long while in the mud
to see if any piece of money had fallen out."
The good old man choked with indignation and fear.
"How anyone can tell--how anyone can tell--such lies to take away an honest
man's reputation! How can anyone---"

44
 There was no use in his protesting; nobody believed him. He was confronted
with Monsieur Malandain, who repeated and maintained his affirmation. They abused
each other for an hour. At his own request Maître Hauchecome was searched; nothing
was found on him.
Finally, the mayor, very much perplexed, discharged him with the warning that
he would consult the public prosecutor and ask for further orders.
The news had spread. As he left the mayor's office the old man was sun
rounded and questioned with a serious or bantering curiosity in which there was no
indignation. He began to tell the story of the string. No one believed him. They laughed
at him.
He went along, stopping his friends, beginning endlessly his statement and his
protestations, showing his pockets turned inside out to prove that he had nothing.
They said: "Old rascal, get out!"
And he grew angry, becoming exasperated, hot and distressed at not being
believed, not knowing what to do and always repeating himself.
Night came. He must depart. He started on his way with three neighbors to
whom he pointed out the place where he had picked up the bit of string, and all along
the road he spoke of his adventure.
In the evening he took a turn in the village of Breaute in order to tell it to
everybody. He only met with incredulity.
It made him ill at night.
The next day about one o'clock in the afternoon Marius Paumelle, a hired man
in the employ of Maître Breton, husbandman at Ymanville, returned the pocketbook
and its contents to Maître Houlbreque of Manneville.
This man claimed to have found the object in the road, but not knowing how to
read, he had carried it to the house and given it to his employer.
The news spread through the neighborhood. Maître Hauchecome was informed
of it. He immediately went the circuit and began to recount his story completed by the
happy climax. He was in triumph.
"What grieved me so much was not the thing itself as the lying. There is nothing
so shameful as to be placed under a cloud on account of a lie."
He talked of his adventure all day long; he told it on the highway to people who
were passing by, in the wineshop to people who were drinking there and to persons
coming out of church the following Sunday. He stopped strangers to tell them about it.
He was calm now, and yet something disturbed him without his knowing exactly what
it was. People had the air of joking while they listened. They did not seem convinced.
He seemed to feel that remarks were being made behind his back.
On Tuesday of the next week he went to the market at Goderville, urged solely
by the necessity he felt of discussing the case.

45
 Malandain, standing at his door, began to laugh on seeing him pass. Why?
He approached a farmer from Crequetot who did not let him finish and, giving
him a thump in the stomach, said to his face:"You big rascal."
Then he turned his back on him.
Maître Hauchecome was confused; why was he called a big rascal?
When he was seated at the table in Jourdain's tavern he commenced to explain
"the affair."
A horse dealer from Monvilliers called to him: "Come, come, old sharper, that's
an old trick; I know all about your piece of string!"
Hauchecome stammered: "But since the pocketbook was found."
But the other man replied: "Shut up, papa, there is one that finds and there is
one that reports. At any rate you are mixed with it."
The peasant stood choking. He understood. They accused him of having had
the pocketbook returned by a confederate, by an accomplice.
He tried to protest. All the table began to laugh.
He could not finish his dinner and went away in the midst of jeers.
He went home ashamed and indignant, choking with anger and confusion, the
more dejected that he was capable, with his Norman cunning, of doing what they had
accused him of and ever boasting of it as of a good turn. His innocence to him, in a
confused way, was impossible to prove, as his sharpness was known. And he was
stricken to the heart by the injustice of the suspicion.
Then he began to recount the adventures again, prolonging his history every
day, adding each time new reasons, more energetic protestations, more solemn oaths
which he imagined and prepared in his hours of solitude, his whole mind given up to
the story of the string. He was believed so much the less as his defense was more
complicated and his arguing more subtile.
"Those are lying excuses," they said behind his back.
He felt it, consumed his heart over it and wore himself out with useless efforts.
He wasted away before their very eyes.
The wags now made him tell about the string to amuse them, as they make a
soldier who has been on a campaign tell about his battles. His mind, touched to the
depth, began to weaken.
Toward the end of December, he took to his bed.
He died in the first days of January, and in the delirium of his death struggles
he kept claiming his innocence, reiterating:
"A piece of string, a piece of string--look--here it is, M'sieu the Mayor."

46
 1. Who are characters?

2. What is the setting?

3. What is the tone and mood?

4. What is the conflict?

5. What is the problem in the story’s plot?

Day 3
LATHER AND NOTHING ELSE
By: Hernando Tellez
He came in without a word. I was stropping my best razor. And when I
recognized him, I started to shake. But he did not notice. To cover my nervousness, I
went on honing the razor. I tried the edge with the tip of my thumb and took another
look at it against the light.
Meanwhile he was taking off his cartridge-studded belt with the pistol holster
suspended from it. He put it on a hook in the wardrobe and hung his cap above it.
Then he turned full around toward me and, loosening his tie, remarked, “It’s hot as the
devil, I want a shave.” With that he took his seat.
I estimated he had a four days’ growth of beard, the four days he had been
gone on the last foray after our men. His face looked burnt, tanned by the sun.
I started to work carefully on the shaving soap. I scraped some slices from the
cake, dropped them into the mug, then added a little lukewarm water, and stirred with
the brush. The lather soon began to rise.
“The fellows in the troop must have just about as much beard as I.” I went on
stirring up lather. “But we did very well, you know. We caught the leaders. Some of
them we brought back dead; others are still alive. But they’ll all be dead soon.”
“How many did you take?” I asked.
“Fourteen. We had to go pretty far in to find them. But now they’re paying for it.
And not one will escape; not a single one.”

47
 He leaned back in the chair when he saw the brush in my hand, full of lather. I
had not yet put the sheet on him. I was certainly flustered. Taking a sheet from the
drawer, I tied it around my customer’s neck.
He went on talking. He evidently took it for granted that I was on the side of the
existing regime.
“The people must have gotten a scare with what happened the other day,” he
said.
“Yes,” I replied, as I finished tying the knot against his nape, which smelt of
sweat.
“Good show, wasn’t it?”
“Very good,” I answered, turning my attention now to the brush. The man closed
his eyes wearily and awaited the cool caress of the lather.
I had never had him so close before. The day he ordered the people to file
through the schoolyard to look upon the four rebels hanging there, my path had
crossed his briefly. But the sight of those mutilated bodies kept me from paying
attention to the face of the man who had been directing it all and whom I now had in
my hands.
It was not a disagreeable face, certainly. And the beard, which aged him a bit,
was not unbecoming. His name was Torres. Captain Torres.
I started to lay on the first coat of lather. He kept his eyes closed.
“I would love to catch a nap,” he said, “but there’s a lot to be done this evening.”
I lifted the brush and asked, with pretended indifference: “A firing party?”
“Something of the sort,” he replied, “but slower.”
“All of them?”
“No, just a few.”
I went on lathering his face. My hands began to tremble again. The man could
not be aware of this, which was lucky for me. But I wished he had not come in. Probably
many of our men had seen him enter the shop. And with the enemy in my house I felt
a certain responsibility.
I would have to shave his beard just like any other, carefully, neatly, just as
though he were a good customer, taking heed that not a single pore should emit a
drop of blood. Seeing to it that the blade did not slip in the small whorls. Taking care
that the skin was left clean, soft, shining, so that when I passed the back of my hand
over it not a single hair should be felt. Yes. I was secretly a revolutionary, but at the
same time I was a conscientious barber, proud of the way I did my job. And that four-
day beard presented a challenge.
I took up the razor, opened the handle wide, releasing the blade, and started to
work, downward from one sideburn. The blade responded to perfection. The hair was

48
tough and hard; not very long, but thick. Little by little the skin began to show through.
The razor gave its usual sound as it gathered up layers of soap mixed with bits of hair.
I paused to wipe it clean, and taking up the strop once more went about improving its
edge, for I am a painstaking barber.
The man, who had kept his eyes closed, now opened them, put a hand out from
under the sheet, felt of the part of his face that was emerging from the lather, and said
to me, “Come at six o’clock this evening to the school.”
“Will it be like the other day?” I asked, stiff with horror.
“It may be even better,” he replied.
“What are you planning to do?”
“I’m not sure yet. But we’ll have a good time.”
Once more he leaned back and shut his eyes. I came closer, the razor on high.
“Are you going to punish all of them?” I timidly ventured.
“Yes, all of them.”
The lather was drying on his face. I must hurry. Through the mirror, I took a look
at the street. It appeared about as usual; there was the grocery shop with two or three
customers. Then I glanced at the clock, two-thirty.
The razor kept descending. Now from the other sideburn downward. It was a
blue beard, a thick one. He should let it grow like some poets, or some priests. It would
suit him well. Many people would not recognize him. And that would be a good thing
for him, I thought, as I went gently over all the throat line. At this point you really had
to handle your blade skillfully, because the hair, while scantier, tended to fall into small
whorls. It was a curly beard. The pores might open, minutely, in this area and let out a
tiny drop of blood. A good barber like myself stakes his reputation on not permitting
that to happen to any of his customers. And this was indeed a special customer.
How many of ours had he sent to their death? How many had he mutilated? It
was best not to think about it. Torres did not know I was his enemy. Neither he nor the
others knew it. It was a secret shared by very few, just because that made it possible
for me to inform the revolutionaries about Torres’s activities in the town and what he
planned to do every time he went on one of his raids to hunt down rebels. So it was
going to be very difficult to explain how it was that I had him in my hands and then let
him go in peace, alive, clean-shaven.
His beard had now almost entirely disappeared. He looked younger, several
years younger than whe he had come in. I suppose that always happens to men who
enter and leave barbershops. Under the strokes of my razor Torres was rejuvenated;
yes, because I am a good barber, the best in this town, and I say this in all modesty.
A little more lather here under the chin, on the Adam’s apple, right near the
great vein. How hot it is! Torres must be sweating just as I am. But he is not afraid. He
is a tranquil man, who is not even giving thought to what he will do to his prisoners this

49
evening. I, on the other hand, polishing his skin with this razor but avoiding the drawing
of blood, careful with every stroke—I cannot keep my thoughts in order.
Confound the hour he entered my shop! I am a revolutionary but not a murderer.
And it would be so easy to kill him. He deserves it. Or does he? No! No one deserves
the sacrifice others make in becoming assassins. What is to be gained by it? Nothing.
Others and still others keep coming, and the first kill the second, and then these kill
the next, and so on until everything becomes a sea of blood. I could cut his throat, so,
swish, swish! He would not even have time to moan, and with his eyes shut he would
not even see the shine of the razor or the gleam in my eye.
But I’m shaking like a regular murderer. From his throat a stream of blood would
flow on the sheet, over the chair, down on my hands, onto the floor. I would have to
close the door. But the blood would go flowing along the floor, warm, indelible, not to
be staunched, until it reached the street like a small scarlet river.
I’m sure that with a good strong blow, a deep cut, he would feel no pain. He
would not suffer at all. And what would I do then with the body? Where would I hide
it? I would have to flee, leave all this behind, take shelter far away, very far away. But
they would follow until they caught up with me. “The murderer of Captain Torres. He
slit his throat while he was shaving him. What a cowardly thing to do!”
And others would say, “The avenger of our people. A name to remember”—my
name here. “He was the town barber. No one knew he was fighting for our cause.”
And so, which will it be? Murderer or hero? My fate hangs on the edge of this razor
blade. I can turn my wrist slightly, put a bit more pressure on the blade, let it sink in.
The skin will yield like silk, like rubber, like the strop. There is nothing more tender than
a man’s skin, and the blood is always there, ready to burst forth. A razor like this cannot
fail. It is the best one I have. But I don’t want to be a murderer. No, sir. You came in to
be shaved. And I do my work honorably. I don’t want to stain my hands with blood.
Just with lather, and nothing else. You are an executioner; I am only a barber. Each
one to his job. That’s it. Each one to his job.
The chin was now clean, polished, and soft. The man got up and looked at
himself in the glass. He ran his hand over the skin and felt its freshness, its newness.
“Thanks,” he said. He walked to the wardrobe for his belt, his pistol, and his
cap. I must have been very pale, and I felt my shirt soaked with sweat. Torres finished
adjusting his belt buckle, straightened his gun in its holster, and smoothing his hair
mechanically, put on his cap. From his trousers pocket he took some coins to pay for
the shave. And he started toward the door. On the threshold he stopped for a moment,
and turning toward me.
“They told me you would kill me. I came to find out if it was true. But it’s not
easy to kill. I know what I’m talking about.”
1. Who are the characters?

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 2. What is the setting?

3. What is the point of view?

4. What is the tone and mood?

5. What is the theme?

Additional Activities
Hurray! You are now on the final activity of this lesson. It is
indeed amazing! For your final activity, you have to continue exploring
the different key elements of fiction by reading and understanding the story I’ll give
you. After reading and understanding, you have to fill in the table.
ALL OVER THE WORLD
By: Vicente Rivera Jr.
ONE evening in August 1941, I came out of a late movie to a silent, cold night.
I shivered a little as I stood for a moment in the narrow street, looking up at the distant
sky, alive with stars. I stood there, letting the night wind seep through me, and listening.
The street was empty, the houses on the street dim—with the kind of ghostly dimness
that seems to embrace sleeping houses. I had always liked empty streets in the night;
I had always stopped for a while in these streets listening for something I did not quite
know what. Perhaps for low, soft cries that empty streets and sleeping houses seem
to share in the night.

I lived in an old, nearly crumbling apartment house just across the street from
the moviehouse. From the street, I could see into the open courtyard, around which
rooms for the tenants, mostly a whole family to a single room, were ranged. My room,
like all the other rooms on the groundfloor, opened on this court. Three other boys, my
cousins, shared the room with me. As I turned into the courtyard from the street, I
noticed that the light over our study-table, which stood on the corridor outside our
room, was still burning. Earlier in the evening after supper, I had taken out my books

51
to study, but I went to a movie instead. I must have forgotten to turn off the light;
apparently, the boys had forgotten, too.

I went around the low screen that partitioned off our “study” and there was a girl
reading at the table. We looked at each other, startled. I had never seen her before.
She was about eleven years old, and she wore a faded blue dress. She had long,
straight hair falling to her shoulders. She was reading my copy of Greek Myths.

The eyes she had turned to me were wide, darkened a little by apprehension.
For a long time neither of us said anything. She was a delicately pretty girl with a fine,
smooth. pale olive skin that shone richly in the yellow light. Her nose was straight,
small and finely molded. Her lips, full and red, were fixed and tense. And there was
something else about her. Something lonely? something lost?

“I know,” I said, “I like stories, too. I read anything good I find lying around. Have
you been reading long?”

“Yes,” she said. not looking at me now. She got up slowly, closing the book.
“I’m sorry.”

“Don’t you want to read anymore? I asked her, trying to smile, trying to make
her feel that everything was all right.

“No.” she said, “thank you.”

“Oh, yes,” I said, picking up the book. “It’s late. You ought to be in bed. But, you
can take this along.”

She hesitated, hanging back, then shyly she took the book, brought it to her
side. She looked down at her feet uncertain as to where to turn.

“You live here?” I asked her.

“Yes.”

“What room?”

She turned her face and nodded towards the far corner, across the courtyard,
to a little room near the communal kitchen. It was the room occupied by the janitor: a
small square room with no windows except for a transom above the door.

“You live with Mang Lucio?”

“He’s my uncle.”

“How long have you been here? I haven’t seen you before, have I?”

52
 “I’ve always been here. I’ve seen you.”

“Oh. Well, good night—your name?”

“Maria.”

“Good night, Maria.”

She turned quickly, ran across the courtyard, straight to her room, and closed
the door without looking back.

I undressed, turned off the light and lay in bed dreaming of far-away things. I
was twenty-one and had a job for the first time. The salary was not much and I lived
in a house that was slowly coming apart, but life seemed good. And in the evening
when the noise of living had died down and you lay safe in bed, you could dream of
better times, look back and ahead, and find that life could be gentle—even with the
hardness. And afterwards, when the night had grown colder, and suddenly you felt
alone in the world, adrift, caught in a current of mystery that came in the hour between
sleep and waking, the vaguely frightening loneliness only brought you closer to
everything, to the walls and the shadows on the walls, to the other sleeping people in
the room, to everything within and beyond this house, this street, this city, everywhere.

I met Maria again one early evening, a week later, as I was coming home from
the office. I saw her walking ahead of me, slowly, as if she could not be too careful,
and with a kind of grownup poise that was somehow touching. But I did not know it
was Maria until she stopped and I overtook her.

She was wearing a white dress that had been old many months ago. She wore
a pair of brown sneakers that had been white once. She had stopped to look at the
posters of pictures advertised as “Coming” to our neighborhood theater.

“Hello,” I said, trying to sound casual.

She smiled at me and looked away quickly. She did not say anything nor did
she step away. I felt her shyness, but there was no self-consciousness, none of the
tenseness and restraint of the night we first met. I stood beside her, looked at the
pictures tacked to a tilted board, and tried whistling a tune.

She turned to go, hesitated, and looked at me full in the eyes. There was again
that wide-eyed—and sad? —stare. I smiled, feeling a remote desire to comfort her, as
if it would do any good, as if it was comfort she needed.

“I’ll return your book now,” she said.

“You’ve finished it?”

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 “Yes.”

We walked down the shadowed street. Magallanes Street in Intramuros, like all
the other streets there, was not wide enough, hemmed in by old, mostly unpainted
houses, clumsy and unlovely, even in the darkening light of the fading day.

We went into the apartment house and I followed her across the court. I stood
outside the door which she closed carefully after her. She came out almost
immediately and put in my hands the book of Greek myths. She did not look at me as
she stood straight and remote.

“My name is Felix,” I said.

She smiled suddenly. It was a little smile, almost an unfinished smile. But,
somehow, it felt special, something given from way deep inside in sincere friendship.

I walked away whistling. At the door of my room, I stopped and looked back.
Maria was not in sight. Her door was firmly closed.

August, 1941, was a warm month. The hangover of summer still permeated the
air, specially in Intramuros. But, like some of the days of late summer, there were
afternoons when the weather was soft and clear, the sky a watery green, with a shell-
like quality to it that almost made you see through and beyond, so that, watching it
made you lightheaded.

I walked out of the office one day into just such an afternoon. The day had been
full of grinding work—like all the other days past. I was tired. I walked slowly, towards
the far side of the old city, where traffic was not heavy. On the street there were old
trees, as old as the walls that enclosed the city. Half-way towards school, I changed
my mind and headed for the gate that led out to Bonifacio Drive. I needed stiffer winds,
wider skies. I needed all of the afternoon to myself.

Maria was sitting on the first bench, as you went up the sloping drive that curved
away from the western gate. She saw me before I saw her. When I looked her way,
she was already smiling that half-smile of hers, which even so told you all the truth she
knew, without your asking.

“Hello,” I said. “It’s a small world.”

“What?”

“I said it’s nice running into you. Do you always come here?”

“As often as I can. I go to many places.”

“Doesn’t your uncle disapprove?”

54
 “No. He’s never around. Besides, he doesn’t mind anything.”

“Where do you go?”

“Oh, up on the walls. In the gardens up there, near Victoria gate. D’you know?”

“I think so. What do you do up there?”

“Sit down and—”

“And what?”

“Nothing. Just sit down.”

She fell silent. Something seemed to come between us. She was suddenly far-
away. It was like the first night again. I decided to change the subject.

“Look,” I said, carefully, “where are your folks?”

“You mean, my mother and father?”

“Yes. And your brothers and sisters, if any.”

“My mother and father are dead. My elder sister is married. She’s in the
province. There isn’t anybody else.”

“Did you grow up with your uncle?”

“I think so.”

We were silent again. Maria had answered my questions without

embarrassment. almost without emotion, in a cool light voice that had no tone.

“Are you in school, Maria?”

“Yes.”

“What grade?”

“Six.”

“How d’you like it?”

“Oh, I like it.”

“I know you like reading.”

55
 She had no comment. The afternoon had waned. The breeze from the sea had
died down. The last lingering warmth of the sun was now edged with cold. The trees
and buildings in the distance seemed to flounder in a red-gold mist. It was a time of
day that never failed to carry an enchantment for me. Maria and I sat still together,
caught in some spell that made the silence between us right, that made our being
together on a bench in the boulevard, man and girl, stranger and stranger, a thing not
to be wondered at, as natural and inevitable as the lengthening shadows before the
setting sun.

Other days came, and soon it was the season of the rain. The city grew dim
and gray at the first onslaught of the monsoon. There were no more walks in the sun.
I caught a cold.

Maria and I had become friends now, though we saw each other infrequently. I
became engrossed in my studies. You could not do anything else in a city caught in
the rains. September came and went.

In November, the sun broke through the now ever present clouds, and for three
or four days we had bright clear weather. Then, my mind once again began flitting from
my desk, to the walls outside the office, to the gardens on the walls and the benches
under the trees in the boulevards. Once, while working on a particularly bad copy on
the news desk, my mind scattered, the way it sometimes does and, coming together
again, went back to that first meeting with Maria. And the remembrance came clear,
coming into sharper focus—the electric light, the shadows around us, the stillness.
And Maria, with her wide-eyed stare, the lost look in her eyes…

IN December, I had a little fever. On sick leave, I went home to the province. I
stayed three days. I felt restless, as if I had strayed and lost contact with myself. I
suppose you got that way from being sick,

A pouring rain followed our train all the way back to Manila. Outside my window,
the landscape was a series of dissolved hills and fields. What is it in the click of the
wheels of a train that makes you feel gray inside? What is it in being sick, in lying abed
that makes you feel you are awake in a dream, and that you are just an occurrence in
the crying grief of streets and houses and people?

In December, we had our first air-raid practice.

I came home one night through darkened streets, peopled by shadows. There
was a ragged look to everything, as if no one and nothing cared any more for
appearances.

I reached my room just as the siren shrilled. I undressed and got into my old
clothes. It was dark, darker than the moment after moon-set. I went out on the corridor
and sat in a chair. All around me were movements and voices. anonymous and
hushed, even when they laughed.

56
 I sat still, afraid and cold.

“Is that you. Felix?”

“Yes. Maria.”

She was standing beside my chair, close to the wall. Her voice was small and
disembodied in the darkness. A chill went through me, She said nothing more for a
long time.

“I don’t like the darkness,” she said.

“Oh, come now. When you sleep, you turn the lights off, don’t you?”

“It’s not like this darkness,” she said, softly. “It’s all over the world.”

We did not speak again until the lights went on. Then she was gone.

The war happened not long after.

At first, everything was unreal. It was like living on a motion picture screen, with
yourself as actor and audience. But the sounds of bombs exploding were real enough,
thudding dully against the unready ear.

In Intramuros, the people left their homes the first night of the war. Many of them
slept in the niches of the old walls the first time they heard the sirens scream in earnest.
That evening, I returned home to find the apartment house empty. The janitor was
there. My cousin who worked in the army was there. But the rest of the tenants were
gone.

I asked Mang Lucio, “Maria?”

“She’s gone with your aunt to the walls.” he told me. “They will sleep there
tonight.”

My cousin told me that in the morning we would transfer to Singalong. There was
a house available. The only reason he was staying, he said, was because they were
unable to move our things. Tomorrow that would be taken care of immediately.

“And you, Mang Lucio?”

“I don’t know where I could go.”

We ate canned pork and beans and bread. We slept on the floor, with the lights
swathed in black cloth. The house creaked in the night and sent off hollow echoes.
We slept uneasily.

57
 I woke up early. It was disquieting to wake up to stillness in that house which rang
with children’s voices and laughter the whole day everyday. In the kitchen, there were
sounds and smells of cooking.

“Hello,” I said.

It was Maria, frying rice. She turned from the stove and looked at me for a long
time. Then, without a word, she turned back to her cooking.

“Are you and your uncle going away?” I asked.

“I don’t know.”

“Did he not tell you?”

“No.”

“We’re moving to Singalong.”

“Yes, I know.”

“Well, anyway, I’ll come back tonight. Maybe this afternoon. We’ll not have to say
goodbye till then.”

She did not say anything. I finished washing and went back to my room. I dressed
and went out.

At noon, I went to Singalong to eat. All our things were there already, and the
folks were busy putting the house in order. As soon as I finished lunch, I went back to
the office. There were few vehicles about. Air-raid alerts were frequent. The brightness
of the day seemed glaring. The faces of people were all pale and drawn.

In the evening, I went back down the familiar street. I was stopped many times
by air-raid volunteers. The house was dark. I walked back to the street. I stood for a
long time before the house. Something did not want me to go away just yet. A light
burst in my face. It was a volunteer.

“Do you live here?”

“I used to. Up to yesterday. I’m looking for the janitor.”

“Why, did you leave something behind?”

“Yes, I did. But I think I’ve lost it now.”

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 “Well, you better get along, son. This place, the whole area. has been ordered
evacuated. Nobody lives here anymore.”

“Yes, I know,” I said. “Nobody.”

This is yet another great story from an early writer that deserves to be read again.

ELEMENTS OF FICTION

Character Setting POV Plot Conflict Theme

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Lesson
SHORT SCENE
4

What I Need to Know

At the end of the lesson, you are expected to write a short scene
applying the various elements, techniques, and literary devices.
(HUMSS_CW/MPIg-i-14)

What I Know
Directions: Read and understand each statement. Choose the correct
answer being referred in every number. The correct answers can be
found in the Word Bank below.
WORD BANK

• Middle • Meaningful Dialogue • Scene

• Character Launch • A Specific Point of View • Short Scene

• Long Scene • End •Action Launch • Introduction

• Dialogue • Complex Characters Who Undergo Change

• Rich Physical Setting

1. This is one of the styles in starting a scene wherein majority of the actions
involves characters.

2. It makes readers read with more information and it usually takes time to finish.
It can be picked, read, and put back down.

3. It is a structure of a text that introduces complications with withholding

information, objects, or emotion. Main characters will usually put into danger,
and it reveals important information.

60
 4. This will happen when the characters engage in some sort of action or dialogue
scene.

5. It can be the character summary that reveals something about the character,
dialogue that reveals something, cliff-hang ending, setting description,
philosophical reflection, and narrative conclusion.

6. It is a way to start a scene where it gets straight to the action and true to your
character. It is an “act first-think later”.

7. It is included in crafting a scene.

8. It contains main characters engaging in actions based upon scene intentions

and it also takes place in fewer pages.

9. It means that the action of characters will be changed as the series goes on.

10. Conversations between characters are useful and will help readers
understand the scene.

What’s In

In Lesson 3, you have learned about Fictional Journal. I can see how
creative and how good you are in expressing yourself through writing a good output.
You are able to imagine things as if they exist in real life. You set yourself beyond your
boundary because you understand other people by putting yourself as the main
character. The craft you made exploring the key elements of fiction help you become
an excellent writer and it can also help you in your next lesson because your next
lesson will be writing a short scene. In writing a short scene, you need to apply your
skills in journal writing. You will also write and describe characters, settings, plot, point
of view, conflict, irony, and even the theme. Are you excited? Let’s start!

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 What’s New
Directions: Write a conversation or dialogue based from the given
situations below. In writing a conversation or dialogue, explore the
key elements of fiction, literary devices, and literary techniques. You
have the freedom to choose on the names of your characters. I
provided an example below to be guide in your output.
Example:
Situation: Best friends talking about their ambitions in life
At Grade 11 classroom, there were two best friends sitting at their chairs. Only
the two them left because their classmates were taking their snacks.
“Khas, let’s go to school canteen. I’m hungry. Business Mathematics makes
my brain drained.” Joy said while looking at school quadrangle -- fascinated by
students passing by holding their food.
“ I’ll just stay here. I’m conceptualizing our possible research topic. I’m fine
here. You go now.” Khas replied while scanning her notes.
“I know you’re hungry. Let’s go! Mama gave me 10 pesos. Let’s buy banana
cue. We’ll buy two –one for you and one for me.” Joy insisted.
“Okay!”
Both of them stood and went to school canteen. While walking at the school
quadrangle, they saw few students staying in their classrooms.
“I think those students are like me. Their parents didn’t give them baon so
they just chose to say.” Khas said it in a low voice with a sad tone.
“Yes. I feel you. It’s not easy. It’s never easy to see your classmates and
schoolmates eating their foods, with money in their pocket while you yourself don’t
have any single penny. You can’t help yourself not to stare and just wished to be like
them. I’m lucky today because Mama gave me baon but I know tomorrow there’s no
baon anymore.” Joy cried a little.
“You know that we have the same situation. My parents have no stable job.
There are times that we couldn’t eat three (3) times a day but deep in my heart I know
that this situation will not be my end point. I have my goals to achieve.” Khas said in a
low but determined voice.
“Me too. I want to finish my studies that’s why I’m doing my best to comply
our requirements because I believe this is a stepping stone for a better future.” Joy
was inspired.
“That’s correct! After our senior high school years, we will go to college. I know
that my parents cannot afford but I’ll find ways. I will find scholarship programs or I’ll
find part-time job to support myself.” Khas replied.

62
 “You are not alone on that. You can count me in. We will find scholarship
programs or find part-time job together. I know seven (7) years from I’ll be a successful
teacher! I will claim that!” Joy cheerfully said those words.
“Me too! I will claim that I will be a successful nurse someday. I want to help
those people who are sick but afraid to go to the hospital because they don’t have
money.” Khas happily uttered those words.
“By God’s divine intervention, we will reach our dreams.” Joy smiled.
1. Joy and Khas went back to their classroom with determination and goal that they
will finish Senior High School, go to college, and achieve their dream profession A
character says “You mean so much to me” … without using the words “You mean
so much to me.”
2. A character saying goodbye to a good friend without actually saying he/she is
leaving for good
3. A wedding proposal
4. A Two-Sided Telephone Conversation
5. Someone Says Goodbye in the Airport

What Is It
At this point, I want you congratulate you for reaching this far! I
can really see how passionate you are in doing your craft! Now, we are
heading to last part of Module 3.
At the second part of this module, you have learned different elements, techniques,
and literary devices of fiction and the things that you have learned which will be a great
help in our activity today but before that, read and understand first the important points
about writing a scene since our objective for today is writing a short scene integrating
the elements, techniques, and literary devices.
WHAT IS A SCENE?
A scene is a sequence where the characters are engaged with actions and
dialogue. Scene should have a beginning, middle and end. It should focus around a
definite point of tension that moves the story forward. It takes place in a specific
location and time. Scenes tend to include both description and dialogue.
WHAT ARE IN THE SCENE?
A. Complex characters that undergo change. There will be dynamicity
between the characters as the action from the scene goes on
B. A specific point of view. There will be one perspective that holds the events
of the scene
C. Significant action that unfolds in real time. Actions from the scene which
seem to be unclear will later on be clear to the readers

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 D. Meaningful dialogue. Conversation between characters is useful and will
help readers unveil the mystery in the story
E. Plot information that advances the story and develops characters. Proper
structure/arrangement of plot, proper development of your story and
characters, and proper usage of action words will help you create a good scene
F. Conflict and drama that tests and reveals your characters. In every scene
or even story, there is always a conflict as well as a drama. Make sure that
these two important parts will reveal the true color of your characters
G. Rich physical setting. It should describe how exactly the place looks like and
tell when did the story happen because inability to describe the physical setting
might lose interest of the readers to read your scene
H. Other literary techniques and devices- for the scene to be more interesting
for the readers, inclusion of literary techniques and devices will be a great help
since they will create vivid images to the minds of the readers based from what
the words you will use

WHAT IS THE STRUCTURE OF A SCENE?

A. Beginning. Consider the following: Where are my characters in the plot?
Where did I leave them and what are they doing now? What is the most
important piece of information that needs to be revealed in this scene?
B. Middle. Introduces complications that reveal the characters and advance the
plot. These complications can take the following forms: (1) withholding
information, objects, or emotions; (2) putting your main character in danger; and
(3) revealing important information.
C. End. It could be the character summary that reveals something about the
character, dialogue that reveals something, cliffhanger ending, setting
description, philosophical reflection, and narrative conclusion.

It is not enough that in writing a scene, we will only consider the structure. There are
many things that we need to consider as well. One of these is the dialogue. The
success of your story somehow relies on the dialogue because this will give life to the
characters of your story. This serves as the basis of the readers in evaluating what
type of personality your characters are portraying.

HOW TO START A SCENE?

A. Character launch. Majority of your scenes should involve your main character.
Make sure your readers know who your characters are and bring your main
character into the scene as soon as possible.

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 B. Action launch. This gets straight to the action, hooks the reader with big or
surprising actions. Be sure that the action is true to your character.

C. Narrative launch. It uses specific visual details, allows scenery to set the tone
of the scene, uses scenery to reflect a character’s feelings, and shows the impact
of the setting on the character.

It is not enough that in writing a scene, we will only consider the structure. There
are many things that we need to consider as well. One of these is the dialogue. The
success of your story somehow relies on the dialogue because this will give life to the
characters of your story. This serves as the basis of the readers in evaluating what
type of personality your characters are portraying.
Below, you can further understand what dialogue is and notice the different
examples of dialogue.
What is the Difference between Short Scene and Long Scene?

A. Short Scene. This takes place in ten or fewer pages. It has to achieve the same
goals as a longer scene, and in less time. It must still contain main characters
engaging in actions based upon scene intentions. New information must be
revealed that drives the plot forward. The setting must be clear.

Apply short scenes when you:

 Differentiate one character from another (a secretive, shy, or withdrawn

character, for instance, might only get short scenes, while an outspoken
character may get longer scenes)
 Pick up the pace right after a long scene
 Leave the reader hungry for more or breathless with suspense
 Include multiple scenes within a chapter
 Create a sense of urgency by dropping bits of information one by one, forcing
the reader to keep reading

B. Long Scene. It takes place to more than fifteen pages. This leaves readers
with more information. The scenes in long scene can be picked up, read, and
put back down.

Apply long scenes when you:

 Intentionally slow down the pace after lots of action or intense dialogue to allow
the protagonist and the reader to digest what has happened, and to build new
tension and suspense

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  Include a lot of big action in a given scene (fights, chases, explosions)—so the
scene doesn’t hinge on action alone
 Add a dialogue scene that, in order to feel realistic, needs to run long

Whether you go long or short, it depends on your own stylistic preferences. Just
keep in mind that length affects pacing as you decide what kind of flow you want for
your manuscript.
For our activity today, we will only use short scene. Notice the examples given below
because these are examples of short scenes.
MAMA’S FEAR
It’s Friday. The alarm clock woke me up. It’s already 5 o’clock in the morning. I thanked
God for giving me another day to take care of eight-year old son.
I gazed at Mike, my son, who was sleeping soundly beside me. I am beyond grateful
and blessed to have him in my life. I frequently asked myself, “What have I done right
to deserve this little boy?”
My son is an epitome of an angel sent from above. God really loved me
For me, he is the most beautiful miracle that ever happened in my life.
He suddenly opened his eyes and caught me staring at him. He smiled, the most
beautiful smile I have seen in my entire life.
“Good morning, mama.” He said and kissed me on the cheeks.
“Good morning, baby.” I responded.
“Mama, I love so much.” My son’s voice is a cheer to my ears.
“Hurry up, baby. You will go to school today, remember?” I asked and I stared him like
it was the first to see a lovely creature like him.
“Yes, mama. I’ll get up, mama. I love you. I love you very much, mama.” He kissed me
on the cheeks again.
Oh God! God knows how much I loved and adored this man.
I prepared the things he needed in school. His bag, his lunch box, and his school
uniform while he was taking a bath.
Beepp.. Beepp..
There you go! At exactly 7:15 in the morning, his school bus came. My son hurriedly
got his things.
“Bye, mama. I’ll go now to school. I love you, mama.” He kissed me on the cheeks.
“Bye, baby. Do well in school, okay?” I shrugged his hair.
“Yes, mama. Byeeeeee!”

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I watched him approaching to the bus. I suddenly felt the urge to give him another hug
and tell him that I love him very much.
So I run when he was about to sit to his seat.
“I love you, baby. Take care.” I said these words in a low voice.
He just smile at me and stared my face.
I went out of the bus and returned home. I felt empty. My heart is heavy. I just don’t
know why.
After two hours …
My phone rung..
“Hello? This is Mrs. Batoy and I am the adviser of Mike. May I speak to Mike’s mother?”
A loud voice on the telephone line.
“Yes, speaking. What can I do for you, ma’am?” I was nervous. Very nervous. I knew
it.
“Please come here in school as soon as possible. You are highly needed here. This is
about your son. Please come now. Pleaseeeeeeee.” I heard a begging voice.
I’m running out of words. I don’t know what to say. I’m shaking. I’m shaking. I’m
nervous.
The story “Mama’s Fear” is an example of a short-scene story. The setting is limited.
The characters involved are only few. It is rich with dialogues and conversation
between the characters. It is also an open-ended story since the author didn’t provide
a fixed ending which means that you, as a reader, can explore and predict your own
ending as to what happened to the mother’s son, Mike.
Aside from it is an example of a short scene story, ‘Mama’s Fear’ also uses key
elements of fiction, literary techniques, and literary devices.
Notice the table below. The table contains the elements of fiction, literary devices,
and literary techniques used in the story.

MAMA’S FEAR
ELEMENTS
CHARACTERS • Mother
• Son Mike
POINT OF VIEW Third Person
PLOT Linear
SETTING • Home
• Outside Home
• 5 o’clock in the morning
• 7:15 in the morning

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 • After two hours

CONFLICT • Person vs. Self

THEME • Love
• Fear

LITERARY TECHNIQUES/DEVICES
TONE • Anxious
• Love
MODE • Anxious
• Love
MOTIF Love because mother and son keep on
saying “I love you to each other.”

Fear because a single telephone call

from the teacher makes the mother
nervous. She uses repetitive words “I’m
nervous” and “I’m shaking”.

What’s More

I’m glad that you were able to answer the

first activity for short scene writing with all your
heart. By that, I can see how eager you are to finish
this module. Hurray! I know that you are passionate
and dedicated in completing your task so this time,
I’m going to give you another activity. This will
certainly activate your imagination. Are you
excited? Please read the instruction below.
Write a short scene (any scene) based from
your imagination applying the learned
elements, techniques, and literary devices. Do
not forget to consider the rubrics below for you
to create a good and interesting output.

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 10 7 5
Expert Capable Beginner

IDEAS The short scene is The short scene The short scene is
clear and easy to can be understood, not clear because
understand. however there are the ideas are not
some ideas which properly arranged.
are hard to
understand.
The seven (7) key The key elements The key elements
LITERARY elements of fiction present in the story present in the story
ELEMENTS are present in the are only four to six. are only one to
story. three.
LITERARY All literary devices There are one to There are three
DEVICES and and techniques are two literary devices literary devices
TECHNIQUES applied. and techniques and devices and
lacking on the below which are
short scene. lacking in the
short-scene.
WORD CHOICE
The short scene The short scene The short scene
has a lot of has few powerful has no powerful
powerful and and interesting and interesting
interesting words words which make which make the
to enhance its it hard to readers lose
meaning. understand the interest to read the
meaning. story.

MECHANICS No error in Few errors in Many errors in

grammar usage, grammar usage, grammar usage,
punctuation, punctuation, punctuation,
capitalization and capitalization and capitalization and
spelling. spelling. spelling.

What I Have Learned

In this lesson, you have learned how to write a short scene.

Short scene contains a dialogue/conversation and actions between the characters. It
is called short scene because the setting is limited and should be very clear so that
readers can create mental pictures based from the description you have written. It
contains lesser pages but the theme is always present as well as the provision of

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suspense to the actions. In writing short scene, you need to incorporate elements of
fiction, literary devices and techniques you can caught the attention of your readers.
With the elements, literary devices and techniques, your craft will never be boring!

What I Can Do

During ‘What Is It’ of Lesson 4, you were able to read an example

of short-scene entitled “Mama’s Fear”. You also noticed that its end
part is open-ended. What are you going to do here is you will make a short scene
which will serve as the ending of the story “Mama’s Fear”. Do not forget to explore
the elements of fiction, literary devices and techniques. I know you can do it because
you are good! Do not forget to write your output on the space provided for you.

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 Additional Activity

Remember your last encounter with someone wherein you felt

insulted and betrayed. Can you vividly reminisce the exact words he/she said to you?
I know it’s painful. For you to be able to at least lessen the pain you felt, I am giving
you the chance to change the words he/she said to you at that time.
Re-create the short scene between you at that someone who insulted and
betrayed you. However, this time you change the words he/she exactly told you which
made you feel insulted and betrayed. Make these words not hurtful for you. The two
of you will be the main characters but you may not use your real names.
In re-creating the short scene, you incorporate key elements of fiction, literary
devices and techniques. Take note, the rubrics to be used is the same with the rubrics
given in ‘What’s More’

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