HOLY CROSS COLLEGE OF CALINAN, INC.

DAVAO-BUKIDNON ROAD, CALINAN, DAVAO CITY

FIRST TERM, SECOND SEMESTER

SY 2021-2022

A WORKBOOK IN CLIT 105: INTRODUCTION TO

CREATIVE WRITING

Modified by ANGELIE L. MAMITES

Email ad: mamitesangelie@gmail.com
from the work of
Yonilyn A. Loyloy, PhD
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HOLY CROSS COLLEGE OF CALINAN, INC. VISION AND MISSION

VISION
We, a family of evangelizers, inspired by Marie Rivier and her virtues, envision
ourselves as dynamic catalysts who are Christ-centered, Marian in spirituality,
professionally proficient in the context of global standards of excellence, socially
responsive and dedicated to selflessly serve God, the Church and the broader society.

MISSION:
We are a pioneering Catholic educational institution administered by the
Presentation of Mary Sisters:

1. We provide excellent quality formation, education, training and development to

the youth and other sectors to develop competence and character and lifelong
learning skills.
2. We develop mature Christians imbued with Marie Rivier’s virtues of faith, prayer,
compassion, love and zeal to bear witness to Christ in their daily living.
3. We adhere to state-of-the-art pedagogy and relevant technology to enable our
stakeholders meet global standards of excellence.

Individually and collaboratively, we commit to achieve these.

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COURSE DESCRIPTION

This introductory course provides a venue to develop student creativity and fluency
in different genres as well as critical reading of texts through writing assignments and
workshops, acquainting the students with the literary works of representative authors
from the nation, the region and the world.

COURSE OUTLINE

Number of Hours Content

6 An Overview to Creative Writing

Total Number of Hours: 54

Table of Contents
Page
UNIT 1 5
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UNIT 1 Suggested Time Allotment: 8 hours

AN OVERVIEW TO CREATIVE WRITING

Target Goals of the Unit:

 Write a descriptive essay about the given picture. (Ap)

 Write a paragraph about one’s experience in relation to the chosen song.
(Ap).

Values Desired: Patience, Faith, Resilience

Lesson 1 Principles of Creative Writing

I Learning Outcomes

a. Discuss the difference between technical writing and creative writing. (U)
b. Create powerful, image-creating sentences by taking the “Boring Sentence” and
adding sensory details. (Ap)
c.
II INPUT

Pre-Activity: Look for the different concepts you have learned about creative writing
lesson. You may encircle or highlight the words.

Writing is one of the macro skills each student has to gain mastery on. As their level
goes higher, students are introduced to higher English subjects which lead them to
encounter different texts.
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Thus, this module guides the students to gain consciousness on their emotional and
intellectual responses as readers and as writers of their own literary pieces. The
activities in this module allow the students to acknowledge their senses: sight, hearing,
smell, taste, and touch. The acknowledgment of these senses helps the students create
their own literary pieces with the input of elements of creative writing and language.

WHAT IS CREATIVE WRITING?

The word creative is defined in various ways. The following are just some of the
definitions:

 “The ability to create”

 “Imaginative”
 “Productive and imaginative”
 “Characterized by expressiveness and originality”

Creative writing is often defined as the writing of fiction, where the author creates
events, scenes and characters, sometimes even a world.

Creative writing is anything where the purpose is to express thoughts, feelings and
emotions rather than to simply convey information (Hale, 2019).

Creative Writing and its difference to other forms of writing

Read more at https://www.litcharts.com/literary-devices-and-terms

PRACTICE Discuss the difference between technical writing and creative writing.
EXERCISE
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Sensory Imagery in Creative Writing (MasterClass, 2020)

Sensory imagery is a literary device writer employ to engage a reader’s mind on

multiple levels. Sensory imagery explores the five human senses: sight, sound, taste,
touch, and smell.

What Is Sensory Imagery?

Sensory imagery involves the use of descriptive language to create mental images.
In literary terms, sensory imagery is a type of imagery; the difference is that sensory
imagery works by engaging a reader’s five senses. Any description of sensory
experience in writing can be considered sensory imagery.

What Is the Purpose of Sensory Imagery in Writing?

Most writing contains some level of imagery. One reason fiction writers deal in
significant concrete detail is to permit the reader the pleasure of arriving at their own
judgments and conclusions through perceptual clues. However, writers don’t have to
always resort to describing the way things look to create mental images.

Describing how something tastes, smells, sounds, or feels—not just how it looks—
makes a passage or scene come alive. Using a combination of imagery and sensory
imagery arms the reader with as much information as possible and helps them create a
more vivid mental picture of what is happening.

6 Different Types of Sensory Imagery

A passage of writing can contain imagery that appeals to multiple senses. It is useful
to break down sensory imagery by sense.

1. Visual imagery engages the sense of sight. This is what you can see, and
includes visual descriptions. Physical attributes including color, size, shape,
lightness and darkness, shadows, and shade are all part of visual imagery.

2. Gustatory imagery engages the sense of taste. This is what you can taste,
and includes flavors. This can include the five basic tastes—sweet, salty, bitter,
sour, and umami—as well as the textures and sensations tied to the act of
eating.
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3. Tactile imagery engages the sense of touch. This is what you can feel, and
includes textures and the many sensations a human being experiences when
touching something. Differences in temperature is also a part of tactile imagery.

4. Auditory imagery engages the sense of hearing. This is the way things sound.
Literary devices such as onomatopoeia and alliteration can help create sounds in
writing.

5. Olfactory imagery engages the sense of smell. Scent is one of the most direct
triggers of memory and emotion, but can be difficult to write about. Since taste
and smell are so closely linked, you’ll sometimes find the same words (such as
“sweet”) used to describe both. Simile is common in olfactory imagery, because it
allows writers to compare a particular scent to common smells like dirt, grass,
manure, or roses.

6. Kinesthetic imagery (a.k.a kinesthesia) engages the feeling of movement.

This can be similar to tactile imagery but deals more with full-body sensations,
such as those experienced during exercise. Rushing water, flapping wings, and
pounding hearts are all examples of kinesthetic imagery.

5 Examples of Sensory Imagery in Literature

One of the best ways to learn about sensory imagery is to study examples in
literature that are particularly evocative.

a. The Yellow Wallpaper, Charlotte Perkins Gilman (1892). “The color is

repellant, almost revolting; a smoldering, unclean yellow, strangely faded by the
slow-turning sunlight. It is a dull yet lurid orange in some places, a sickly sulphur
tint in others.”
The descriptions of color here are visual imagery. “Faded,” “dull,” and “lurid” are
all adjectives we associate with color. Meanwhile, “smoldering,” “unclean,” and
“sickly” are unusual descriptors, since they’re typically associated with people,
not colors. By using a combination of commonplace and unusual language to
describe color, Perkins Gilman both invites us to imagine the actual color of the
wallpaper and imbues it with emotional weight, transforming this room into a
symbol of the character’s emotional frustration and oppression.

b. Moby Dick, Herman Mellville (1851). “The vast swells of the omnipotent sea;
the surging, hollow roar they made, as they rolled along the eight gunwales, like
gigantic bowls in a boundless bowling-green; the brief suspended agony of the
boat, as it would tip for an instant on the knife-like edge of the sharper waves,
that almost seemed threatening to cut it in two; the sudden profound dip into the
watery glens and hollows; the keen spurrings and goadings to gain the top of the
opposite hill; the headlong, sled-like slide down its other side;—all these, with the
cries of the headsmen and harpooneers, and the shuddering gasps of the
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oarsmen, with the wondrous sight of the ivory Pequod bearing down upon her
boats with outstretched sails, like a wild hen after her screaming brood;—all this
was thrilling.”
This passage uses kinesthetic imagery surging, rolled, tip, dip, slide, shuddering
to give the feeling of motion on a boat. Sound is also important to this passage:
we can imagine the scream of chickens, the gasps of the oarsmen, and the
hollow roar of the ocean.

c. The Awakening, Kate Chopin (1899). “There were strange, rare odors abroad
—a tangle of the sea smell and of weeds and damp, new-plowed earth, mingled
with the heavy perfume of a field of white blossoms somewhere near.”
Chopin compares the smell of the sea to smells that we associate with the earth
(weeds, soil, flowers) throughout The Awakening, both adding a layer of
complexity to her imagery (beyond the usual salty, briny, fishy smells associated
with the ocean) and positioning the sea as part of the earth. This foreshadows
the pull this character will feel toward the sea.

d. A Room With a View, E.M. Forster (1908). “The hour was approaching at which
the continental breakfast begins, or rather ceases, to tell, and the ladies bought
some hot chestnut paste out of a little shop, because it looked so typical. It tasted
partly of the paper in which it was wrapped, partly of hair oil, partly of the great
unknown.” By describing the taste of food with inedible objects and concepts,
Forster continues to balance the expectations of travel with its realities. He also
calls attention to the idea of attaching meaning to seemingly unimportant things:
here, a not-too-tasty candy takes on the weight of the great unknown.

e. Jane Eyre, Charlotte Brontë (1847). “I heard the rain still beating continuously
on the staircase window, and the wind howling in the grove behind the hall; I
grew by degrees cold as a stone, and then my courage sank. My habitual mood
of humiliation, self-doubt, forlorn depression, fell damp on the embers of my
decaying ire.” Descriptions of temperature and moisture are tactile imagery. In
this case, the rain and Jane’s physical discomfort mirror her dark mood.

PRACTICE
EXERCISE

Directions: Create powerful, image-creating sentences by taking the “Boring Sentence”

and adding sensory details. Make up additional details to construct the new sentence.

Example: Boring Sentence: It was a cold morning at Arlington High School.

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New Sensory details added: The frigid morning air and dense gray fog did not
stop Jane from inhaling the fresh smell of rain from the damp concrete and
yelling across the Arlington quad, “Good morning, Joe!”

1. Boring Sentence: The cookies were good.

Sensory details added:
2. Boring Sentence: Mom cooked dinner last night.
Sensory details added:

Types of Creative Writing (Smartkins, 2019)

Your imagination starts to flow when you engage in creative writing. The majority of
writing, by far, is creative. With it, you can pretend anything you want and help a
potential reader do the same. Different types of creative writing are found in these
writing categories:

 poems
 epics
 novels
 screenplays
 short stories
 songs
 television scripts

Imagery, Diction, and Figures of Speech

Imagery as a general term covers the use of language to represent objects, actions,
feelings, thoughts, ideas, states of mind and any sensory experience. It is a figurative
language used to appeal to the senses through vivid descriptive language. Imagery
creates mental pictures in the reader as they read the text.

Example:
An excerpt from Peter Redgrove’s Lazarus and the Sea contains imagery:

The tide of my death came whispering like this

Soiling my body with its tireless voice.
I scented the antique moistures when they sharpened
The air of my room, made the rough wood of my bed, (most dear),
Standing out like roots in my tall grave.

Diction refers to the selection of words in a literary work. A work’s diction forms one
of its centrally important literary elements as writers use words to convey action, reveal
character, imply attitudes, identify themes, and suggest values. It includes the formality
of the language, the emotional content, the imagery, the specificity, and the sounds of
the words.
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Example:
“I prize thy love more than whole mines of gold,
Or all the riches that East doth hold.”
- Anne Bradstreet, “To My Dear and Loving Husband”

• The use of antiquated words such as “thy” instead of “your” and “doth” instead of “do”
gives the poem a formal diction.
• These antiquated words are considered grand, elevated, and sophisticated language.

FIGURES OF SPEECH (Abrams & Arpham, 1999)

Figures of speech are words or phrases used in a non-literal sense for rhetorical or
vivid effect. The most common figures of speech are simile, metaphor,
onomatopoeia, personification, apostrophe, hyperbole, synecdoche, metonymy,
oxymoron, and paradox.

1. Simile – a stated comparison (formed with “like” or “as” between two fundamentally
dissimilar things that have certain qualities in common.

Example: “Does it dry up like a raisin in the sun?” – Langston Hughes,

“Harlem”

2. Metaphor – an implied comparison between two unlike things that have something in
common.

Example: “Hope is the thing with feathers –

That perches in the soul –”
- Emily Dickinson, “Hope is the Thing with Feathers”

3. Onomatopoeia – uses words that imitate sounds associated with objects or actions.

Example: “The crooked skirt swinging, whack by whack by whack.”

- James Joyce, “Ulysses”

4. Personification – endows human qualities or abilities to inanimate objects or

abstraction.

Example: “Ah, William, we’re wary of the weather,” said the sunflowers
shining with dew.
– William Blake, “Two Sunflowers Move in the Yellow Room”

5. Apostrophe – is addressing an absent person or thing that is an abstract, inanimate,

or inexistent character.

Example: “Death be not proud, though some have called thee.”

- John Donne, “Death Be Not Proud”
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6. Hyperbole – a figure of speech which contains an exaggeration for emphasis.

Example: “To make enough noise to wake the dead.”

– R. Davies, “What’s Bred in the Bone”

7. Synecdoche – a figure of speech in which the part stands for the whole, and thus
something else is understood within the thing mentioned.

Example: “Give us this day out daily bread”

*Bread stands for the meals taken each day.

8. Metonymy – a figure of speech in which the name of an attribute or a thing is

substituted for the thing itself.

Example: “Friends, Romans, countrymen, lend me your ears.”

– William Shakespeare, “Julius Caesar”
*Lend me your ears = to pay attention; to listen

9. Oxymoron – a figure of speech which combines incongruous and apparently

contradictory words and meanings for a special effect.

Example: “Here’s much to do with hate, but more with love.

Why then, O brawling love! O loving hate!
O anything! of nothing first create!
O heavy lightness! serious vanity!
Mis-shapen chaos of well-seeming forms!”
- William Shakespeare, “Romeo and Juliet”

10. Paradox – a statement which seems on its face to be logically contradictory or

absurd yet turns out to be interpretable in a way that makes sense.

Example: “One short sleep past, we wake eternally

And death shall be no more; Death, thou shalt die.”
- John Donne, “Death Be Not Proud”

Below are excerpts from different literary texts. Identify what

figure of speech is exemplified in each number. Choose your
answer from the box.

Simile Metaphor Onomatopoeia

Personification Apostrophe Hyperbole
Synecdoche Metonymy Oxymoron
Paradox
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1. “Ebony and ivory / Live together in perfect harmony” (McCartney & Wonder)
2. “Feather of lead, bright smoke, cold fire, sick health, Still-waking sleep, that is not
what it is!” (Shakespeare)
3. “Pity, you ancient stones, those tender babes Whom envy hath immured within
your walls” (Shakespeare)
4. “He watches from his mountain walls, and like a thunderbolt he falls.” (Tennyson)
5. “That I may rise, and stand, o’erthrow me.” (Donne)

Read more at https://self-publishingschool.com/creative-writing/

References

Abrams, M. H., & Harpham, G. G. (1999). A glossary of literary terms. Boston,

Mass: Thomson Wadsworth.

Hale, A. (2019). What is creative writing? Retrieved from

https://www.dailywritingtips.com/creative-writing-101/

MasterClass. (2020). Sensory imagery in creative writing. Retrieved from

https://www.masterclass.com/articles/sensory-imagery-in-creative-writing

Smartkins, J. (2019). Creative writing – definition and example. Retrieved from

https://jamiesmartkins.com/creative-writing-definition-example/
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Assessment #1
An Overview to Creative Writing

Name:_________________________________ Subject:___________
Program and Year: ______________________ Contact no.________
Instructor: Angelie L. Mamites

A. Take a very careful look at the picture below. Write a brief paragraph of the place
using imagery, diction, and figures of speech. You may incorporate an
experience related to the location to make your literary description more vivid. (40
pts.) Rating: refer to rubric #1.

B. Select one song below which piqued your interest. Using your smartphone or
computer, listen to the song in any video or music streaming website you prefer.
After listening, read and accomplish what is described below. (40 pts.) Rating:
refer to rubric #1.

Write a about a memory triggered by the music you have chosen. Think of where you are
when you last heard the music and what it meant for you. Include any images that come into
mind. Be sure to make your paragraph interesting by using different figures of speech.

UNIT 2 Suggested Time Allotment: 12 hours

POETRY
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Target Goals of the Unit:

 Write a Haiku poem using the given picture. (Ap)

 Create an acrostic with illustration. (C)

Values Desired: Patience, Faith, Resilience

Lesson 1 Sharing Inner Self Through Poetry

I Learning Outcomes

a. Explain the test of poetry. (U)

b. Give examples of Epic and Ballad found in Philippine literature. (U)
c. Compare and contrast Shakespearean and Italian sonnet. (U)
II INPUT

PRE-TEST Choose the letter of the correct answer.

1. Which of the following consists of 14 lines and is usually written in iambic pentameter?
a. ode b. elegy c. sonnet d. limerick
2. What refers to series of lines grouped together and separated by a space from others?
a. lines b. stanza c. form d. meter
3. What type of poetry is a long narrative poem in elevated style recounting the deeds of a
legendary or historical hero?
a. epic b. descriptive c. ballad d. limerick
4. What stanza describes as having seven lines?
a. sestet b. septet c. tercet d. cinquain
5. What type of poetry is usually organized into quatrains or cinquains, has a simple rhythm
structure, and tells the tales of ordinary people?
a. epic b. sonnet c. ode d. ballad

What is Poetry?

Poetry is probably the oldest form of literature, and probably predates the origin of
writing itself. The oldest written manuscripts we have are poems, mostly epic poems
telling the stories of ancient mythology. Examples include the Epic of Gilgamesh and
the Vedas (sacred texts of Hinduism). This style of writing may have developed to help
people memorize long chains of information in the days before writing. Rhythm and
rhyme can make the text more memorable, and thus easier to preserve for cultures that
do not have a written language. Poetry can be written with all the same purposes as any
other kind of literature – beauty, humor, storytelling, political messages, etc (Literary
Terms, 2020).

Poetry has remained a vital part of art and culture. Like other forms of literature,
poetry is made to express thoughts and emotions in a creative and imaginative way. It
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conveys thoughts and feelings, describes a scene or tells a story in a concentrated,

lyrical arrangement of words.
According to Louis Zukofsky, an important American poet, "The test of poetry is the
range of pleasure it affords as sight, sound, and intellect." Poetry should combine these
three aspects.

Sight:

This refers to the layout of the poem on the page. Poetry is not just about the use of
words. Although the words are of great importance, the use of space is equally
important. Frank Bidart is a poet who is noted for his use of the page, as well as his
interesting use of capitalization and punctuation. His decisions, no matter how odd, are
intentional and contribute to the power of his poetry. One example is his poem “Herbert
White,” a dramatic monologue in the voice of a necrophiliac child murderer. The topic is
powerful enough, but the way his words string down the page is truly remarkable. The
layout of a poem is something a writer should keep in mind while composing.

Sound:

Sound refers to the relationships that form between words within your writing. This
does not mean that it is necessary to use alliteration or onomatopoeia (unless it is
appropriate). It means that as a poem is being composed, the writer should be aware of
these relationships. Words will fight against one another, or they will embrace each
other, stringing together to form beautiful lines and sentences. A writer can “hold an
image within the line by sound…” A writer can make the decision to allow their words to
clash. The writer can decide the way in which a reader will move through the lines.
Sound not only refers to words, but also to rhythm. The rhythm of a poem will become
apparent when it is read aloud.

Intellect:

A writer must be able to present information effectively. The challenge with poetry is
figuring out the best way to present the information that needs to be conveyed. Poetry
has the ability to suggest meanings that go above and beyond what the poem actually
says. This can be done through the use of sight and sound as suggested above.
Intellect will allow a poet to contemplate abstract ideas, and convey them through the
use of language. Poetry is “an exchange of electrical currents through language.”
Controlling the currents and placing them on the page in an effective way will create a
good poem.

What is the test of Poetry?

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STRUCTURE OF POETRY (Barron, 2020)

One significant way to analyze poems is by looking into the stanza structure and the
form of the poem. Generally speaking, structure refers to the overall organization of
lines and/or the conventional patterns of sound. However, various modern poems may
not have particular structure.

A. Stanza

Stanzas refer to series of lines grouped together and separated by a space from
other stanzas. They correspond to a paragraph in an essay. Identifying the stanza is
done by counting the number of lines. The following are some of the terms used to refer
to the number of stanzas: monostich (1 line) couplet (2 lines), tercet (3 lines), quatrain
(4 lines), cinquain (5 lines), sestet (6 lines) (sometimes it's called a sexain), septet (7
lines), octave (8 lines).

For example, the excerpt,

“I do not like green eggs and ham.
I do not like them Sam I am.
consists of two lines. Hence, the stanza is called couplet.

B. Form

In many cases, a poem may not have specific lines or stanza, and metrical pattern,
however, it can still be labelled according to its form or style. Here, we will discuss the
three most common types of poetry according to form are: lyric, descriptive and
narrative. We will also include other popular types of poetry.

1. Lyric Poetry. It is any poem with one speaker (not necessarily the poet) who
expresses strong thoughts and feelings. Most poems, especially modern ones, are lyric
poems. Below are some types of lyric poetry.

a. Ode. An ode is a lyric poem that praises an individual, an idea or an event. The
length is usually moderate, the subject is serious, the style is elevated and the
stanza pattern is elaborate. In Ancient Greece, odes were originally accompanied
by music. In fact, the word “ode” comes from the Greek word aeidein, which means
to sing or to dance.

Example: “Ode to the West Wind” by Percy Bysshe Shelley

Scatter, as from an unextinguish’d hearth
Ashes and sparks, my words among mankind!
Be through my lips to unawaken’d earth
The trumpet of a prophecy! O Wind,
If Winter comes, can Spring be far behind?
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b. Elegy. An elegy is written with a purpose to “mourn the dead”. It usually begins
by reminiscing about the dead person, then weeps for the reason of death, and then
resolves the grief by concluding that death leads to immortality. It has no set stanza
or metrical pattern. It often uses "apostrophe" as a literary technique.

Example: Excerpt from Walt Whitman’s “O Captain, My Captain,” (written

following the assassination of Abraham Lincoln)

O Captain! My Captain! rise up and hear the bells;

Rise up—for you the flag is flung—for you the bugle trills;
For you bouquets and ribbon’d wreaths—for you the shores a-crowding;
For you they call, the swaying mass, their eager faces turning;
Here captain! dear father!
This arm beneath your head;
It is some dream that on the deck,
You’ve fallen cold and dead.

c. Sonnet. It is a lyric poem consisting of 14 lines and, in the English version, is

usually written in iambic pentameter. The three basic kinds of sonnets are:

• Italian/Petrarchan sonnet is named after Petrarch, an Italian Renaissance

poet. The Petrarchan sonnet consists of an octave (eight lines) and a sestet (six
lines). It tends to divide the thought into two parts (argument and conclusion).
The rhyming pattern is ABBA ABBA CDECDE, or some accepted sestet such
as CDCCDC, CDDCDE or CDCDCD

When I consider how my light is spent, A

Ere half my days in this dark world and wide, B
And that one talent which is death to hide B
Lodged with me useless, though my soul more bent A
To serve therewith my Maker, and present A
My true account, lest He returning chide; B
“Doth God exact day-labor, light denied?” B
I fondly ask. But Patience, to prevent A
That murmur, soon replies, “God doth not need C
Either man’s work or His own gifts. Who best D
Bear His mild yoke, they serve Him best. His state E
Is kingly: thousands at His bidding speed, C
And post o’er land and ocean without rest; D
They also serve who only stand and wait.” E
- When I Consider How My Light is Spent” by John Milton

• Shakespearean sonnet consists of three quatrains (four lines each) and a

concluding couplet (two lines). The final couplet is the summary. The rhyming
pattern is ABAB CDCD EFEF GG.
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Two households, both alike in dignity, A

In fair Verona, where we lay our scene, B
From ancient grudge break to new mutiny, A
Where civil blood makes civil hands unclean. B
From forth the fatal loins of these two foes C
A pair of star-cross’d lovers take their life; D
Whose misadventured piteous overthrows C
Do with their death bury their parents’ strife. D
The fearful passage of their death-mark’d love, E
And the continuance of their parents’ rage, F
Which, but their children’s end, nought could remove, E
Is now the two hours’ traffic of our stage; F
The which if you with patient ears attend, G
What here shall miss, our toil shall strive to mend. G
- Romeo and Juliet by William Shakespeare

• Spenserian Sonnet is divided into three quatrains, or segments of four lines,

followed by a rhyming couplet. The rhyming pattern is usually ABAB BCBC
CDCD EE.

One day I wrote her name upon the strand, A

But came the waves and washed it away: B
Again I write it with a second hand, A
But came the tide, and made my pains his prey. B
Vain man, said she, that doest in vain assay, B
A mortal thing so to immortalize, C
For I myself shall like to this decay, B
And eek my name be wiped out likewise. C
Not so, (quod I) let baser things devise C
To die in dust, but you shall live by fame: D
My verse, your virtues rare shall eternize, C
And in the heavens write your glorious name. D
Where when as death shall all the world subdue, E
Our love shall live, and later life renew. E
- Amoretti #75 by Edmund Spenser

Compare and contrast Shakespearean and Italian sonnet.

2. Narrative Poetry. It is a poem that tells a story;

its structure resembles the plot line of a story [i.e., the introduction of conflict and
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characters, rising action, climax and the denouement. The most common types of
narrative poetry are ballad and epic.

a. Ballad. It is a narrative poem that has a musical rhythm and can be sung. A
ballad is usually organized into quatrains or cinquains, has a simple rhythm
structure, and tells the tales of ordinary people.

Example: Excerpt from “Annabel Lee” by Edgar Allan Poe

It was many and many a year ago,
In a kingdom by the sea,
That a maiden there lived whom you may know
By the name of Annabel Lee;
And this maiden she lived with no other thought
Than to love and be loved by me.

b. Epic. It is a long narrative poem in elevated style recounting the deeds of a

legendary or historical hero. Examples of epic include Iliad by Homer, Beowulf, The
Divine Comedy by Dante Alighieri, Metamorphoses by Ovid and many more.

3. Descriptive Poetry. It is a poem that describes the world that surrounds the speaker.
It uses elaborate imagery and adjectives. While emotional, it is more "outward-focused"
than lyric poetry, which is more personal and introspective.

Example: Excerpt from William Wordsworth’s “I Wandered Lonely as a Cloud”

I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;

Give examples of Epic and Ballad found in Philippine literature and

explain why they are such.

OTHER FORMS OF POETRY

1. Haiku. It has an unrhymed verse form having three lines (a tercet) and usually 5,7,5
syllables, respectively. It is usually considered a lyric poem.

Example: “By the Old Temple” by Matsuo Bashō

 20

By the old temple,

peach blossoms;
a man treading rice.

2. Limerick. It has a very structured poem, usually humorous & composed of five lines
(a cinquain), in an AABBA rhyming pattern; beat must be anapestic (weak, weak,
strong) with 3 feet in lines 1, 2, & 5 and 2 feet in lines 3 & 4. It is usually a narrative
poem based upon a short and often ribald anecdote.

Example: A poem by Dixon Lanier Merritt

A wonderful bird is the pelican,
His bill can hold more than his beli-can.
He can take in his beak
Food enough for a week
But I’m damned if I see how the heli-can.

3. Ballad

 A short narrative poem with stanzas of two or four lines and possibly a refrain
that most frequently deals with folklore or popular legends and is suitable for
singing.
 Ballads are constructed of alternating lines of four and three beats (feet). The
lines are usually iambic, but need not be. This accordion-like construction creates
a lilting, sing-song style.

An example of a ballad would be Coleridge’s “The Rime of the Ancient

Mariner” (the first three stanzas are excerpted here):

It is an ancient Mariner,
And he stoppeth one of three.
`By thy long beard and glittering eye,
Now wherefore stopp'st thou me?
The Bridegroom's doors are opened wide,
And I am next of kin;
The guests are met, the feast is set:
May'st hear the merry din.'
He holds him with his skinny hand,
`There was a ship,' quoth he.
`Hold off! unhand me, grey-beard loon!'

4. Acrostic

 Any poem in which the first letter of each line forms a word or words. The words
formed are often names. Longer acrostic poems can create entire sentences
from the first letter of each line.
 Acrostic poems are free to rhyme or not rhyme and can be metered or free verse.
 21

Sunshine warming my toes,

Underwater fun with my friends.
Making homemade ice cream on the porch,
Many long nights catching fireflies.
Early morning walks to the creek,
Reveling in the freedom of lazy days.

Read more about this topic at

https://www.bucks.edu/media/bcccmedialibrary/pdf/FormsofPoetry_000.pdf

References

Barron, K. (2020). 12 types of poems: How to recognize them and write your
own. Retrieved from https://www.tckpublishing.com/types-of-poems/

Collins, B. (2019). Poetry 101: Learn about poetry, different types of poems, and
poetic devices with examples. Retrieved https://www.masterclass.com/
articles/poetry

Literary Terms. (2020). What is poetry? Retrieved fromhttps://literaryterms.net/poetry/

 22

Assessment #2
POETRY

Name:_________________________________ Subject:___________
Program and Year: ______________________ Contact no.________
Instructor: Angelie L. Mamites

A. Write your own Haiku using the picture below. (40 pts.) Rating: refer to rubric #2.

B. Make an acrostic poem with an illustration. (40 pts.) Rating: refer to rubric #3.
 23

Lesson 2 Experimental Poetry and Prose Poetry

I Learning Outcomes

a. Discuss the characteristics of concrete poetry. (U)

b. Explain prose poetry. (U)
c. Prove which type of poetry is better. (Ev)

II INPUT

EXPERIMENTAL POETRY (CanLit Guides, 2019)

Experimentation is one aspect of all Modernist and Postmodernist poetry, but

experimental poetry makes a special point of innovation, sometimes in the belief that
current poetry is stereotyped and inadequate, but more often for its own sake.
Experimentation in the arts is nothing like its counterpart in science, however, and there
are no theories to correspond with observations, fit in with other theories, or broadly
make sense. Even such concepts as foregrounding and defamiliarization, basic too
much literary theorizing, are more taken as articles of faith than properly established .
Visual poetry can be intriguing and pleasing, but it is not poetry as commonly
understood by the term, and has therefore to be judged on different grounds, most
commonly those of the graphic arts, which it increasingly resembles.

Experimental Poetry: Concrete Poetry (or Shape Poetry)

Experimental poetry is not easily categorized, but some forms do conform to the
aims of Postmodernism, as will be seen most readily in concrete poetry. By being no
more than simple letters on the page, the previous cultural standards are decanonized
(iconoclasm), the images have no reference beyond themselves (groundlessness), and
there is little attempt at harmonious arrangement (formlessness). Even the words are
simple and are commonly used every day (populism).

Concrete poetry is one in which the typographical arrangement of words is as

important in conveying the intended effect as the meaning of words, rhythm, rhyme and
so on. Yes, but what's the point: what do the arrangements convey? Only what the
words do in the little jokes they play on our conceptions or expectations, the way they
open up connections or new possibilities in the most ordinary things. There is no further
significance: it's a form of minimalism.
 24

Concrete or Shape poetry is the art of describing a shape through words and the
placement of the words to create that shape. These poems are also called pattern
poems or concrete poems. Shape poems can be written about anything, just as long as
it is the shape of the subject you are writing about. For example, you can have a poem
about pancakes in the shape of a circle or a poem about love in the shape of a heart.
The poem does not have to rhyme. It emphasizes the form and visual appearance of a
poem so that its shape is in some way expressive of its subject matter. In concrete
poetry, typographical arrangement is therefore as important (sometimes more
important) than language, metaphor or metre in expressing meaning.

Examples:
1.

"Easter Wings," by 17th-century poet George Herbert, was originally printed

sideways on two side-by-side pages. When held at this angle, you can see the wings
take shape. This poem is a reflection on redemption. The poem begins with a somber
tone but notice that, in the curve of the wing, things take a brighter turn with the line, "O
let me rise." This is a lovely example of how the shape of a poem can work well with the
overall content and theme.
 25

2.

Read more of this topic at https://www.theartstory.org/movement/concrete-poetry/

and at http://www.shadowpoetry.com/resources/wip/shape.html

What are the characteristics of concrete poetry?

 26

Understanding Prose Poetry (MasterClass, 2020)

When it comes to creative expression within the English language, most artforms
fall into one of two categories: prose or poetry. Prose includes pieces of writing like
novels, short stories, novellas, and scripts. These kinds of writing contain the kind of
ordinary language heard in everyday speech. Poetry includes song lyrics, various poetry
forms, and theatrical dialogue containing poetic qualities, like iambic pentameter.

However, prose and poetry are not completely stratified such that one can never
contain the elements of the other. The prose poem is a creative writing format that
combines elements of the poetic form and the prose form.

Function of Prose

While there have been many critical debates over the correct and valid construction
of prose, the reason for its adoption can be attributed to its loosely-defined structure,
which most writers feel comfortable using when expressing or conveying their ideas and
thoughts. It is the standard style of writing used for most spoken dialogues, fictional as
well as topical and factual writing, and discourses. It is also the common language used
in newspapers, magazines, literature, encyclopedias, broadcasting, philosophy, law,
history, the sciences, and many other forms of communication.

Some Common Types of Prose

1. Nonfictional Prose: A literary work that is mainly based on fact, though it may
contain fictional elements in certain cases. Examples include biographies and
essays.
2. Fictional Prose: A literary work that is wholly or partly imagined or theoretical.
Examples are novels.
3. Heroic Prose: A literary work that may be written down or recited, and which
employs many of the formulaic expressions found in oral tradition. Examples are
legends and tales.
4. Prose Poetry: A literary work that exhibits poetic quality – using emotional
effects and heightened imagery – but which are written in prose instead of verse.

A Little History

Prose poetry can be traced back to the haibun, a Japanese form of prose poetry
seen during the 17th century. Western prose poetry emerged in the early 19th century
as a rebellion against traditional poetic structures. Poets such as Aloysious Bertrand,
Charles Baudelaire, Arthur Rimbaud, and Stéphane Mallarmé used prose poetry as a
 27

way to defy the conventions of the day. Throughout the 19th century, poets continued to
embrace the form.

Some of the most well-known poets to write in prose including Hans Christian
Andersen, Rainer Maria Rilke, Edgar Allan Poe, Walt Whitman, H.P. Lovecraft, and
Gertrude Stein.

The new form carried into the 20th century, with American poets writing prose
poetry in the 1950s and ’60s, including Allen Ginsberg, Bob Dylan, Jack Kerouac,
William S. Burroughs, and Robert Bly, to name a few. And Charles Simic won the
Pulitzer Prize for his 1989 collection, The World Doesn’t End, which included prose
poems.

However, prose poetry was not embraced by all. T.S. Eliot opposed prose poetry,
arguing that it lacked the rhythm and musical patterns of verse.

What Is Prose Poetry?

Prose poetry is a type of writing that combines lyrical and metric elements of
traditional poetry with idiomatic elements of prose, such as standard punctuation and
the lack of line breaks. Upon first glance, a prose poem may appear to be a wholly
unremarkable paragraph of standard prose, but a reader who chooses to dig in will note
poetic overtones within its meter, repetition, and choice of language.

What Are the Characteristics of Prose Poetry?

While there is no fixed definition of prose poetry, it always involves injecting

elements of traditional poetry into a prose format. These elements may include:

 Alliteration
 Repetition
 Implied metrical structure or rhythmic structure
 Rhyming language (a combination of hard rhyme and soft rhyme)
 Literary devices (such as metaphor, apostrophe, and figures of speech)

Of course, some of these elements are not unique to prose poetry. Figurative
language, for instance, is a major characteristic of literary fiction, and repetition and
alliteration are frequently used in speechwriting. This simply means that some writing
will narrowly toe the line between prose poetry and standard-issue prose.

An Example of Prose Poetry

“Spring Day” by American poet Amy Lowell, published in 1916, contains sections
that could either be regarded as subdivisions or short-short stories in their own right.
The first two sections are below:
 28

Bath

The day is fresh-washed and fair, and there is a smell of tulips and narcissus in the
air.
The sunshine pours in at the bath-room window and bores through the water in the
bath-tub in lathes and planes of greenish-white. It cleaves the water into flaws like a
jewel, and cracks it to bright light.
Little spots of sunshine lie on the surface of the water and dance, dance, and their
reflections wobble deliciously over the ceiling; a stir of my finger sets them whirring,
reeling. I move a foot, and the planes of light in the water jar. I lie back and laugh, and
let the green-white water, the sun-flawed beryl water, flow over me. The day is almost
too bright to bear, the green water covers me from the too bright day. I will lie here
awhile and play with the water and the sun spots.
The sky is blue and high. A crow flaps by the window, and there is a whiff of tulips and
narcissus in the air.

Breakfast Table

In the fresh-washed sunlight, the breakfast table is decked and white. It offers itself in
flat surrender, tendering tastes, and smells, and colors, and metals, and grains, and
the white cloth falls over its side, draped and wide. Wheels of white glitter in the silver
coffee-pot, hot and spinning like catherine-wheels, they whirl, and twirl—and my eyes
begin to smart, the little white, dazzling wheels prick them like darts. Placid and
peaceful, the rolls of bread spread themselves in the sun to bask. A stack of butter-
pats, pyramidal, shout orange through the white, scream, flutter, call: “Yellow! Yellow!
Yellow!” Coffee steam rises in a stream, clouds the silver tea-service with mist, and
twists up into the sunlight, revolved, involuted, suspiring higher and higher, fluting in a
thin spiral up the high blue sky. A crow flies by and croaks at the coffee steam. The
day is new and fair with good smells in the air.

What is Prose Poetry? Discuss this in three sentences only.

Writing Prose Poetry

Why write prose poetry? Why would a poet favor sentences and paragraphs over
the traditional structure of verses and stanzas?
 29

It depends on the poem and the poet. Your creative vision for a poem might involve
a big block of text that is dense rather than the wispier structure of lines and stanzas.
Your poem might tell an abstract story that you feel reads better in paragraphs as
opposed to verse. Paragraphs result in a different flow than lines and stanzas, and the
prose structure might provide the reader with a better feel for the rhythm of your poem.

Take a look at the following excerpt from Campbell McGrath’s aptly titled “The Prose
Poem”:

On the map it is precise and rectilinear as a chessboard, though driving past you would
hardly notice it, this boundary line or ragged margin, a shallow swale that cups a simple
trickle of water, less rill than rivulet, more gully than dell, a tangled ditch grown up
throughout with a fearsome assortment of wildflowers and bracken. There is no fence,
though here and there a weathered post asserts a former claim, strands of fallen wire
taken by the dust. To the left a cornfield carries into the distance, dips and rises to the
blue sky, a rolling plain of green and healthy plants aligned in close order, row upon row
upon row.

Read more at https://www.writingforward.com/poetry-writing/what-is-prose-poetry-2

Which is better, prose poetry or traditional poetry? Why?

References

CanLit Guides. (2019). What is concrete poetry? Retrieved from https://canlitguides.ca/canlit-

guides-editorial-team/poetic-visuality-and-experimentation/

MaterClass. (2020). Understanding prose poetry. Retrieved from

https://www.masterclass.com/articles/understanding-prose-poetry#what-are-the-origins-of-
prose-poetry
 30

Assessment #3

EXPERIMENTAL POETRY AND PROSE POETRY

Name:_________________________________ Subject:___________
Program and Year: ______________________ Contact no.________
Instructor: Angelie L. Mamites

A. Write a shape poem about ice cream in the shape of an ice cream
scoop and cone. (40 pts.) Rating: refer to rubric #4.

 Draw an outline of your ice cream scoop and ice cream cone. Make sure it
is big enough because you will write your poem in this shape.
 Write at least ten words or phrases about ice cream. Examples could be
your favorite flavor, where you eat ice cream, or how it makes you feel.
 Write your poem inside your ice cream drawing.

B. Based on Edgar Allan Poe's poem, "The Bells", create a prose poem about fear
or a frightening experience that came from something that is normally not scary.
For example, the wind. (40 pts.). Rating: refer to rubric #5.
Use:

 two vocabulary words taken from Poe’s poem

 two literary devices used in Poe's poem
o onomatopoeia
o assonance
o repetition
o symbolism
o internal rhyme
o alliteration

The Bells
 31

Edgar Allan Poe - 1809-1849

I.

Hear the sledges with the bells—

Silver bells!
What a world of merriment their melody foretells!
How they tinkle, tinkle, tinkle,
In the icy air of night!
While the stars that oversprinkle
All the heavens, seem to twinkle
With a crystalline delight;
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinabulation that so musically wells
From the bells, bells, bells, bells,
Bells, bells, bells—
From the jingling and the tinkling of the bells.

II.

Hear the mellow wedding bells,

Golden bells!
What a world of happiness their harmony foretells!
Through the balmy air of night
How they ring out their delight!
From the molten-golden notes,
And all in tune,
What a liquid ditty floats
To the turtle-dove that listens, while she gloats
On the moon!
Oh, from out the sounding cells,
What a gush of euphony voluminously wells!
How it swells!
How it dwells
On the Future! how it tells
Of the rapture that impels
To the swinging and the ringing
Of the bells, bells, bells,
Of the bells, bells, bells, bells,
Bells, bells, bells—
To the rhyming and the chiming of the bells!

III.
 32

Hear the loud alarum bells—

Brazen bells!
What tale of terror, now, their turbulency tells!
In the startled ear of night
How they scream out their affright!
Too much horrified to speak,
They can only shriek, shriek,
Out of tune,
In a clamorous appealing to the mercy of the fire,
In a mad expostulation with the deaf and frantic fire,
Leaping higher, higher, higher,
With a desperate desire,
And a resolute endeavor
Now—now to sit or never,
By the side of the pale-faced moon.
Oh, the bells, bells, bells!
What a tale their terror tells
Of Despair!
How they clang, and clash, and roar!
What a horror they outpour
On the bosom of the palpitating air!
Yet the ear it fully knows,
By the twanging,
And the clanging,
How the danger ebbs and flows;
Yet the ear distinctly tells,
In the jangling,
And the wrangling.
How the danger sinks and swells,
By the sinking or the swelling in the anger of the bells—
Of the bells—
Of the bells, bells, bells, bells,
Bells, bells, bells—
In the clamor and the clangor of the bells!

IV.

Hear the tolling of the bells—

Iron bells!
What a world of solemn thought their monody compels!
In the silence of the night,
How we shiver with affright
At the melancholy menace of their tone!
For every sound that floats
From the rust within their throats
Is a groan.
 33

And the people—ah, the people—

They that dwell up in the steeple,
All alone,
And who tolling, tolling, tolling,
In that muffled monotone,
Feel a glory in so rolling
On the human heart a stone—
They are neither man nor woman—
They are neither brute nor human—
They are Ghouls:
And their king it is who tolls;
And he rolls, rolls, rolls,
Rolls
A pæan from the bells!
And his merry bosom swells
With the pæan of the bells!
And he dances, and he yells;
Keeping time, time, time,
In a sort of Runic rhyme,
To the pæan of the bells—
Of the bells:
Keeping time, time, time,
In a sort of Runic rhyme,
To the throbbing of the bells—
Of the bells, bells, bells—
To the sobbing of the bells;
Keeping time, time, time,
As he knells, knells, knells,
In a happy Runic rhyme,
To the rolling of the bells—
Of the bells, bells, bells—
To the tolling of the bells,
Of the bells, bells, bells, bells—
Bells, bells, bells—
To the moaning and the groaning of the bells.
 34

#1

4- Excellent 3- Very Good 2-Satisfactory 1-Needs

Improvement
Ideas *“paints a picture” *creates some *sometimes strays *poorly focused on
for the reader clear images for from the topic the topic
*well-focused on the reader *ideas are not well- *ideas are unclear
the topic *focused on the developed *few details are
*clear ideas are topic *more details are given
well-supported with *ideas are well- needed
interesting and supported with
vivid details details

Organization *well-focused on *generally focused *somewhat focused *not focused on

the topic on the topic on the topic the topic
*logical *some lapses in *poor organization *no clear
organization organization *few transitions organization
*excellent *some transitions *difficult to follow *no transitions
transitions *usually easy to *difficult to
*easy to follow follow impossible to
follow
Introduction Introductory Introductory Introductory No attempt is
paragraph clearly paragraph states paragraph attempts made to state the
states subject of subject of essay to state subject of subject of the
essay and but is not essay but does not essay in an
captures reader's particularly inviting capture reader's introductory
attention. to the reader. attention. paragraph.
Word Choice *precise, vivid and *fairly precise, *vague, mundane *very limited word
interesting word interesting and word choices choices
choices somewhat varied *wording is *wording is bland
*wide variety of word choices sometimes repetitive and not descriptive
word choices *wording could be *more descriptive
more specific words are needed
Sensory Essay includes Includes details Includes details that Includes no details
Detail (x2) details that appeal that appeal to appeal to only one that appeal to one
to at least three of fewer than three of the five senses. of the five senses.
the five senses of the five senses.
(taste, touch,
sound, sight,
smell).
Figurative Writer effectively Writer uses one Writer may try to use Writer does not
Language uses simile, example of simile, simile, metaphor, include simile,
metaphor, and metaphor, or and personification metaphor, or
(x2) personification to personification to but does so personification in
 35

describe the describe the incorrectly. essay.

subject. subject.
Sentence *uses complete *uses complete *occasional *frequent use of
Fluency sentences sentences sentence fragment sentence
*varying sentence *generally simple or run-on sentences fragments or run-
structure and sentence *simple sentence on sentences
lengths structures structure is used *sentences are
repeatedly difficult to
understand
Conventions *proper grammar, *few errors of *errors in grammar, *frequent errors in
usage grammar and usage and spelling grammar, usage,
*correct spelling usage sometimes make spelling,
*correct *mostly correct understanding capitalization and
punctuation spelling, difficult punctuation
*correct punctuation *some errors in make
capitalization and capitalization punctuation and understanding
capitalization difficult or
impossible

#2

Category 4 points 3 points 2 point 1 points

Haiku poetry The poem has 3 The poem has 3 The poem has 3 The poem has 3
form lines, with the lines, 2 of lines, but only 1 lines, but none has
(x2) proper number which have the line has the the correct syllable
of syllables in correct syllable correct number count.
each line:5,7,5 count. of syllables.

Structure Lines relate to Second line Second line Lines do not appear
(x3) each other; does not relate does not relate to be about the same
to first; third to first, and subject.
line relates to third line does
second. not relate to
second.
Subject Poem presents Poem partially Poem Poem fails to present
(x3) what is in the presents what is marginally what is in the picture
picture in the picture presents what is
in the picture
Neatness and Neatly written Neatly written Not neatly Smudged, smeared;
spelling and centered. but not written. More messy. 3 or more
(x2) No spelling centered. 1 than 2 spelling spelling errors
errors. spelling error errors

#3

BEGINNING DEVELOPING ACCOMPLISHED EXEMPLARY

1 2 3 4
 36

Form Uses an May use an Effectively uses Creatively uses

inappropriate appropriate poetic an appropriate an appropriate
poetic form. form. poetic form. poetic form.
(x2) few stanzas or Fewer than four Complete with four Complete with more
stanza length is stanzas of four lines stanzas of four lines than four stanzas with
incorrect. each each. four lines each.

Word Usage Student’s use of Student’s use of Student’s use of Student’s use of
vocabulary is vocabulary is vocabulary is vocabulary is
very basic. more telling than routine and precise, vivid,
showing. workable and paints a
strong clear and
complete picture
in the reader’s
mind.

Poetic Uses few poetic Uses some poetic Uses poetic Effectively uses
Techniques Techniques such Techniques such as techniques such as poetic techniques
as figurative figurative language figurative language to such as figurative
(elements) language. to reinforce the language
reinforce the theme. to reinforce the
(x3) theme. theme.

Language May contain May contain many Has mainly grade level Has grade-level
Conventions frequent and errors in spelling, appropriate appropriate
numerous grammar, and/or spelling, spelling,
(spelling, errors in punctuation that grammar, and grammar, and
grammar, spelling, may interfere punctuation; punctuation;
punctuation) grammar, and with the reader’s contains some contains few, if
punctuation understanding. errors that do not any, errors that
that interferes interfere with the do not interfere
with the reader’s with the reader’s
reader’s understanding. understanding.
understanding.

Effort Student’s work Student’s work Student’s work Student’s work

lacks demonstrates demonstrates an demonstrates a
understanding some understanding of complete
of the understanding of the assignment. understanding of
assignment. the assignment. the assignment
and goes beyond
the
requirements.

Illustration Lacks an Uses an Uses an Effective and

(x2) illustration. illustration that illustration to creative use of
may add to the enhance the an illustration
poem’s meaning. poem’s meaning. enhances the poem’s
meaning.

#4

Criteria Level 4 Level 3 Level 2 Level 1

Knowledge/
Understanding (x2) Your poem is Your poem is Your poem is Your poem is
written in a well- written in a written in a not written in a
 37

defined, detailed creative shape simple shape. shape OR

and advanced that can be representative of
shape clearly seen a shape in any
way.

Communication (x3)
Your spelling Your poem has a Your poem has Your poem has
and grammar are few errors in several errors in many spelling
virtually error spelling and/or grammar and and grammar
Poem Style / Voice free. grammar. spelling, which mistakes. You
However, it is make it difficult have made no
The poem has very easy to to understand. effort to correct
been edited understand obvious
mistakes.

Application (x3)
Your poem uses Your poem Little thought has No thought has
precise language demonstrates been given to been given to
and sensory good sensory word choices. word choices.
Words and Sentences details that have details and Your poem This makes your
relate to topic been carefully appropriate use would have been poem difficult to
chosen to match of language that more meaningful relate to and
the chosen shape relate to the with a few word understand.
image substitutions.

Thinking (x2)
Writer's final Writer's print is Writer's print is a Writer's print is
product is neat, readable. The somewhat not easily
clean, and poem shows unreadable. readable. The
Planning readable due to effort as it has Illustration has overall
planning. been somewhat been barely illustration
Illustrations planned planned out as cannot be made-
show excellent beforehand the words are not out since there
effort and well-organized has been no
organization. thought put in
 38

#5

Creative Writing Assignment

Almost
Meets Does Not Meet
Exceeds Standards Meets
Standards Standards
4 pts Standards
3 pts 1 pts
2 pts

Creativity
(x2) Writing is extremely Writing is Writing Writing contains
creative. Ideas and somewhat contains a few many cliche
style is refreshing creative. Some creative ideas ideas and an
and imaginative. new and but style is uninspired
Talented writing. imaginative mostly style.
ideas. Good uninspired.
writing.

Spelling and
Proper use of There are a Poor spelling There are so
Grammar spelling and few spelling and grammar many spelling
grammar is and grammar muddle the and grammar
employed errors, overall errors that it is
consistently however it effectiveness difficult to
throughout the does not take of this piece. comprehend the
writing assignment. away from the meaning.
overall quality
of the writing
assignment.

More Poem
Liberal use of Adequate use Some use of Minimal or no
than Prose Repetition for effect of Repetition Repetition for use of
(x3)
Rhyming for effect effect Repetition for
Figurative language Rhyming Rhyming effect
like similes, Figurative Figurative Rhyming
metaphors, imagery, language like language like Figurative
and personification similes, similes, language like
Alliteration, metaphors, metaphors, similes,
antithesis, imagery, and imagery, and metaphors,
parallelism personification personification imagery, and
Patterns that are Alliteration, Alliteration, personification
intentional antithesis, antithesis, Alliteration,
parallelism parallelism antithesis,
Patterns that Patterns that parallelism
are intentional are intentional Patterns that
 39

are intentional

Fluidity
(x3) There is a strong There is a An obvious No attempt to
rhythm and flow of rhythm and attempt to create a
language. Sentence flow of create a rhythm.
structure is varied language. rhythm and Sentence
throughout piece. Sentence flow. structure not
structure is Sentence varied.
often varied. structure not
varied.

Follows
Every requirement Most Some Few or no
Requirements met fully: requirements requirements requirements
Makes sense (with met. met. met.
some poetic license)
and has a unifying
idea/theme/narrativ
e