CNF MELC8 FINAL Field-Validated

11/12
Creative Nonfiction
Quarter 2 – Module 8:
Writing a Mini Critique
Grade 11/12-Creative Nonfiction 1

Competency: Competency: Writing a mini critique
(HUMSS_CNF11/12-Ild-e-18)
English – Grade 11/12
English Learning Kit
First Edition, 2020
Published in the Philippines

by the Department of Education Schools
Division of Iloilo
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Dr. Elena P. Gonzaga Donald T. Genine,
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Dr. Azucena T. Falales Ruben S. Libutaque
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Introductory Message
Welcome to Grade 11/12 Creative Nonfiction!
The English Learning Kit is a product of the collaborative efforts of the Division of
Iloilo Secondary English Teachers Association (DISETA) and the Division English Coordinators
Association (DECA) writers, illustrators, layout artists, reviewers, editors, and Quality Assurance
Team from the Department of Education, Schools Division of Iloilo. This is developed to guide
you dear learning facilitators in helping our learners meet the standards set by the K to 12
Curriculum.
The English Learning Kit aims to guide our learners in accomplishing activities at their
own pace and time. This also aims to assist learners in developing and achieving the lifelong
learning skills while considering their needs and situations.
For the learning facilitator:
The English Learning Kit is developed to address the current needs of the learner to
continue learning in the comforts of their homes or learning centers. As the learning facilitator,
make sure that you give them clear instructions on how to study and accomplish the given
activities in the material. Learner’s progress must be monitored.
For the learner:
The English Learning Kit is developed to help you, dear learner, in your needs to
continue learning even if you are not in school. This learning material aims to primarily provide
you with meaningful and engaging activities for independent learning. Being an active learner,
carefully read and understand to follow the instructions given.

BEGIN
Within the realm of creative writing, the term

creative nonfiction is deliberated as the fastest- growing
genre. As highlighted in your previous lessons in this
subject matter, it can be in a form of an essay, a journal
article, a research paper, a memoir, or a poem; it can be
personal or not, or it can be all these.
By now, you can say that we write such kind
because we want to share life as we experience it – the
people we meet, the places we go, and the things we
learn. On the other hand, how can you tell whether
these said “true stories” are indeed, “well told”? How
are we able to critic such work? Are there guideline to
consider? If yes, what are they?
No worries, because this module will guide you
on writing a mini critique of a peer’s work based on the
following:
1. Coherence and organization of paragraphs;
2. Development of literary elements use of
factual information; and
3. Other qualities concerning form and content.
TARGETS
At the end of the module, you should be able to:

1. define the context of a mini critique (HUMSS_CNF11/12-Ild-e-18);
2. analyze the features of a mini critique(HUMSS_CNF11/12-Ild-e-18);
3. cite specific sources to support claims (HUMSS_CNF11/12-Ild-e-18);
4. present ideas convincingly (HUMSS_CNF11/12-Ild-e-18); and
5. apply the guidelines in writing an effective mini critique (HUMSS_CNF11/12-Ild- e-
18).

TRY THIS
Activity 1
SELF ASSESSMENT TIME
Directions: Read and analyze each statement in the table below. Then, tick the column that
determines how often you practice what the following statements say. Do this as
honestly as possible.
Always Sometimes Rarely Never
1. I consider my purpose before writing

a mini critique.
2. I take the reader into
consideration when writing.
3. I summarize the content of the work
before writing a critique.
4. I form opinions based on facts.
5. I use reliable sources to support
these opinions.
6. I evaluate the work using sound
explanation.
7. I raise my points objectively with
sufficient information.
8. I critique a work using appropriate
critical approaches.
9. I point out the ideas that the
author missed.
10. I state my overall impression of the
work at the end of the review.
Scoring: Always (3 points), Sometimes (2 points), Rarely (1 point), Never (0 point)
Scoring Level of Proficiency

28 – 30 points Advanced
25 – 27 points Proficient
23 – 24 points Approaching Proficiency
21 – 22 points Developing Proficiency
20 and below Beginning Proficiency
What’s your score? Write it on your notebook.

RECALL
In your previous lessons, you have learned

writing different types of essays. Can you still recall
the format of writing them?
Activity 2
REMEMBER ME!
Directions: Can you still remember what is the functions of each part of the essay? Write your
answers in your activity notebook.
Parts of the Essay Response

1. Introduction
2. Thesis
Statement
3. Body
4. Conclusion

DO THIS
ACTIVITY 3
TIME TO LOCATE
Directions: Referring to the mini critique of the book “My Hollywood”, point out which
paragraphs fall under the following parts of a mini critique. Write your answer in
your activity notebook.
My Hollywood
GENRE: Memoir
1. It was a pleasure to work on your book, My Hollywood. As a reader I learned a great

deal about the impact of consumer culture on women and the empty feminine ideals it promotes.
And I learned much about you, a writer, thinker, and woman who has been brave enough to pull
all the stops and reflect on your upbringing and analyze the forces that have influenced your life.
The voice you write with is smart, wisecracking, and honest; a voice that young women today can
relate with. I think your book will speak to many women who
STRUCTURE
3. The structure you have now is not consistently linear, and the links from one topic to the
next are not often clear. Your timeline is a bit shuffled, with a chapter of your life post-college
coming before a chapter on your college years. It’s better in this instance to tell your story
chronologically so as to give your book some structure and order.
4. Breaking up your book into three acts works fine. Starting Act I after the introductory
chapter is good. And having Act II at the start of your college years is also a good choice. But I
suggest moving chapter 6 to Act II since it deals with your college years, not high school. As for
Act III, consider starting it at chapter 18—which is after your stint as a script reader. The last
sentence of chapter 17 rings satisfying deaths knell for the end of Act II and segues nicely to
chapter 18.
5. I also recommend creating a new chapter—between chapters 3 and 4—that focuses on.
I also suggest breaking up chapter 4 into two separate chapters of your manuscript).

ARGUMENT/ANALYSIS
6. Mixing memoir with analysis is tricky. It’s easy to write emotionally about oneself
and to allow that emotion to carry over into the analysis. The challenge is to stay objective
while at the same time write about things you feel strongly about. When there's too much
subjectivity in the writing, the author loses credibility. Readers will start to distrust what the
author is saying and feel like they're being manipulated to feel, think, believe what the writer
so strongly feels, thinks, and believes. I can see this happening in your book. So, what’s the
solution?
7. One trick is to write about yourself in third person, then later rewrite it in first
person. By initially writing in third person, it allows you to see yourself as a character— to
observe without judgment and instead with curiosity and insight. This would require hard work
on your part, but it is a method that some memoirists use when writing autobiography. If that
strategy doesn’t appeal to you, just remember as you revise to write about yourself with
objectivity and compassion. I know that sounds contradictory, but what I mean is, when you
write about your mistakes and failings, try to do it without judgment. Let the facts speak for
themselves. Or paint a scene in the reader’s mind so they can visualize your life and feel
whatever naturally comes to them in response to your experience. In other words, avoid telling
the reader what they should think/feel/judge about you and let them see/judge for themselves.
8. When it comes to your research and analysis, make sure to recheck all your quotes
and paraphrases. Also, fact-check everything. I noticed that you tend to speculate and
make educated guesses. These are okay some of the time, but make sure you have evidence to
support them. I flag a few of these in the manuscript. 9Also, I noticed that certain topics are
revisited more than once. Sometimes this is okay if kept short and to a minimum. However, I
noticed occasions when ideas/topics that were covered earlier in the book are discussed again
and at length. I’ve flagged these areas, suggesting to either delete them or move them to an
appropriate section or chapter.

VOICE/STYLE
10. Some of what I wrote in the preceding paragraph applies here as well. Your writing
voice is smart, sassy, and witty, and conveys your distinct personality. However, there are times
when your voice comes across as too emotional and judgmental. Also, there is liberal use of
hyperboles and exaggerated language, which tends to undermine the credibility of your
argument. Here are three easy tricks to tone down your writing:
A. Find all adverbs ending in –ly and delete most of them. Recast the sentence
without them and see if the sentence reads calmer and clearer. Adverbs tend to
exaggerate, so use them only when necessary. Examples: entirely, completely.
B. Remove extreme language in most cases. Some examples are “all,” “always,”
“never,” “forever.”
C. When you come across a sentence that expresses an opinion, feeling, or
judgment, ask yourself, “Is this true?” Do this for facts, as well.
WRITING
11. You have some very fine writing in this book. And you present a persuasive
argument. You also do a great job of expressing your personality through your choice of words
and examples. As this is a developmental edit, not a copyedit, I did not edit the language except
on occasion when I thought it would be helpful by showing you how to revise a sentence or
paragraph.
12. I understand that early drafts are necessarily verbose and a bit messy—you’re trying
to get your ideas down as quickly as possible. Now, as you revise your book, see where you can
tighten up a sentence or paragraph to make what you’re saying clearer and more succinct. Ask
yourself, “Is this necessary?” “How can I say this in fewer words?” Then delete, delete, delete.

OTHER OBSERVATIONS & RECOMMENDATIONS
13. The footnotes at the bottom seem to distract from the text. I recommend deleting all
footnotes and moving them to a new section called “Notes.” Look at how Orenstein does it in
her book Cinderella Ate My Daughter (I’ve attached screen shots from the back of her book to
my email). Your notes do not have to be as extensive as hers, but you can indicate the citation
and source this way. Then after the “Notes” section, have a “Bibliography” page.
NEXT STEPS
14. The next step is to revise. When you’ve completed a revision, I recommend having
a few beta readers (people who most match your ideal reader) to read your draft and give you
feedback. Then revise your book again, and if necessary, revise it one more time, then share it
with an editor (myself or another editing professional) for an assessment. If your manuscript is
done, meaning there is no need to revise it further, then it’s ready for a copyedit. A copyedit is a
line-by-line edit to polish your writing so that it reads smoothly and professionally.
A. The part that names the literary work it is evaluating:
Paragraph number(s): Sample sentence:
B. The part that gives a brief summary of the literary work being evaluated:

C. The part that gives the reviewer’s views on several aspects of the literary work:
Paragraph number(s): Which aspect of the literary work did the reviewer evaluate?
D. The part that states the overall evaluation of the literary work:
EXPLORE
Great! You did a wonderful job in

identifying the different parts of the sample mini
critique. Now let us connect your responses to
the following questions. Write your answers in
your activity notebook.
1. How did you find the previous activity, specifically

a. while reading the critique; and
b. distinguishing the different parts of the critique?
2. How were you able to identify the following:
a. the part that names the literary work it is evaluating?

b. the part that gives the reviewer’s views on several aspects of the
literary work?
c. the part that gives a brief summary of the literary work being
evaluate? and
d. the part that states the overall evaluation of the literary work?

KEEP THIS IN MIND
Well done! You have successfully made a

meaningful connection after answering the
previous activities. Now you are all set for the
discussion about writing a mini critique.
Writing a Critique (Critical Analysis)

A critique is a careful analysis of an argument to determine what is said, how well the
points are made, what assumptions underlie the argument, what issues are overlooked, and what
implications are drawn from such observations. It is a systematic, yet personal response and
evaluation of what you read.
Why do we write Critiques?
Writing a critique helps us to:

 Know the work’s subject area or related works.
 Understand the work’s purpose, intended audience, development of argument,
structure of evidence or creative style.
How do we write Critiques?
Before writing, it is important to have a thorough understanding of the literary work to be

evaluated. The following are the guidelines:
 Study the work under discussion.

 Make notes on important parts of the work.
 Develop an understanding of the main argument or purpose being expressed in the
work.
 Consider how the work relates to a bigger issue or context.
 Consider asking the following questions:
 What is the nature of the piece?
 Who wrote it, why, and what are his/her qualifications?
 What is the significance of the piece?
 What are its objectives? How well are they achieved?
 What is the design or method of the piece?
 Does the design help the piece achieve its objectives?
 What is the particular appeal or lack of appeal?
 What assumptions underlie the piece? Are they offensive? Are they
obvious?
 How do the assumptions and biases affect the validity of the piece?

What is the template/ format for writing a critique1?
Just like any composition that we have learned throughout this lesson, the basic format of
writing the critique is composed of an Introduction, the Body and the Conclusion. But of course,
to match the purpose of a critique, there are some modifications and additions. It is also possible
for the content of your composition’s body to change based on the nature of the literary work
being reviewed.
Organization:
I. INTRODUCTION:
The introduction, typically is short (less than 1% of the word length). Remember the
following:
1. Introduce the subject of your critique – the reading under analysis. Make sure to name the
work being reviewed, as well as the date when it was created, as well as the name of the
creator.
Examples are from the critique “My Hollywood”
It was a pleasure to work on your book, My Hollywood. As a reader I

learned a great deal about the impact of consumer culture on women and
the empty feminine ideals it promotes. And I learned much about you, a
writer, thinker, and woman who has been brave enough to pull all the stops
and reflect on your upbringing and analyze the forces that have influenced
your life. The voice you write with is smart, wisecracking, and honest; a
voice that young women today can relate with. I think your book will speak
to many women who struggle with the same issues you once faced in the
process of becoming a Hollywood desirable.
2. Describe the main argument or purpose of the work.

writer, thinker, and woman who has been brave enough to pull all the
stops and reflect on your upbringing and analyze the forces that have
influenced your life. The voice you write with is smart, wisecracking, and
honest; a voice that young women today can relate with. I think your book
will speak to many women who struggle with the same issues you once
faced in the process of becoming a Hollywood desirable.
1
Adapted from Behrens and Rosen, Writing and Reading Across the Curriculum, Little Brown, 1982 and
“Writing a critique”. QUT Cite Write. April 28, 2020. Accessed July 19, 2020. URL:
https://www.citewrite.qut.edu.au/write/critique.jsp

3. Explain the context in which the work was created. This can be a social or political
context. Review the background facts or issues that must be understood before the point
of the reading can be appreciated: significance, design, appeal, and so on.

writer, thinker, and woman who has been brave enough to pull all the stops
and reflect on your upbringing and analyze the forces that have influenced
your life. The voice you write with is smart, wisecracking, and honest; a
voice that young women today can relate with. I think your book will speak
to many women who struggle with the same issues you once faced in the
process of becoming a Hollywood desirable.
You may also discuss the place of the work in a creative or academic tradition, or the
relationship between the work and creator’s life experience.

writer, thinker, and woman who has been brave enough to pull all the
stops and reflect on your upbringing and analyse the forces that have
influenced your life. The voice you write with is smart, wisecracking, and
honest; a voice that young women today can relate with. I think your book
will speak to many women who struggle with the same issues you once
faced in the process of becoming a Hollywood desirable.
4. Review the assumptions in the reading that must be understood before you take a position.
What follows is an overview of the strengths and weaknesses of your

manuscript and includes editorial recommendations on what and how to
revise it. Be prepared to do several more rounds of revisions, with each
revision bringing your book closer to perfection and the fulfilment of your
vision.

5. Make an umbrella statement that can give the reader a sign as to what your evaluation is
going to be. For instance, it may indicate whether it is positive, negative, or a mixed
evaluation. In doing this, make your position statement clear: what is your evaluation? On
what basis are you making it, given what you have stated in #3 and #4?
What follows is an overview of the strengths and weaknesses of your

manuscript and includes editorial recommendations on what and how to
revise it. Be prepared to do several more rounds of revisions, with each
revision bringing your book closer to perfection and the fulfilment of your
vision.
II. BODY – Critical Evaluation:
6. The critical evaluation section is the part that would give a systematic and detailed
assessment of the different elements of the work, evaluating how well the author was able
to achieve the purpose through these. For example, in the literary critique we read before,
the reviewer assessed the Structure, Argument and Analysis, Voice and Style and Writing
Technique of the memoir My Hollywood.
Take note though, that critical evaluation does not mean that you will highlight the
negative impressions. It should deconstruct the work and identify both strengths and
weaknesses. It should examine the work and evaluate its success, in light of its purpose.
Review the author’s ideas in light of the position you identified and elaborate on
each point that relates to your central position. These may take several paragraphs
depending on the number of points that you want to discuss.
Here are some key critical questions to ask:

 Who is the creator? Is the work presented objectively or
subjectively?
 What are the aims of the work? Were the aims achieved?
 What techniques, styles, media were used in the work? Are they
effective in portraying the purpose?
 What assumptions underlie the work? Do they affect its validity?
 What types of evidence or persuasion are used? Has evidence been
interpreted fairly?
 How is the work structured? Does it favour a particular interpretation or
point of view? Is it effective?
 Does the work enhance understanding of key ideas or theories? Does the
work engage (or fail to engage) with key concepts or other works in its
discipline?

STRUCTURE
The structure you have now is not consistently linear, and the links from one
topic to the next are not often clear. Your timeline is a bit shuffled, with a chapter of
your life post-college coming before a chapter on your college years. It’s better in this
instance to tell your story chronologically so as to give your book some structure and
order.
ARGUMENT / ANALYSIS
Mixing memoir with analysis is tricky. It’s easy to write emotionally about
oneself and to allow that emotion to carry over into the analysis. The challenge is to stay
objective while at the same time write about things you feel strongly about. When
there's too much subjectivity in the writing, the author loses credibility. Readers will
start to distrust what the author is saying and feel like they're being manipulated to feel,
think, believe what the writer so strongly feels, thinks, and believes.
VOICE/STYLE
Some of what I wrote in the preceding paragraph applies here as well. Your
writing voice is smart, sassy, and witty, and conveys your distinct personality. However,
there are times when your voice comes across as too emotional and judgmental. Also,
there is liberal use of hyperboles and exaggerated language, which tends to undermine
the credibility of your argument.
WRITING
You have some very fine writing in this book. And you present a persuasive
argument. You also do a great job of expressing your personality through your choice of
words and examples. As this is a developmental edit, not a copyedit, I did not edit the
language except on occasion when I thought it would be helpful by showing you how to
revise a sentence or paragraph.
OTHER OBSERVATIONS & RECOMMENDATIONS

The footnotes at the bottom seem to distract from the text. I recommend deleting
all footnotes and moving them to a new section called “Notes.” Look at how Orenstein
does it in her book Cinderella Ate My Daughter (I’ve attached screen shots from the
back of her book to my email). Your notes do not have to be as extensive as hers, but
you can indicate the citation and source this way. Then after the “Notes” section, have a
“Bibliography” page.

This evaluation should be written in formal academic style and presented logically.
Group and order ideas into paragraphs. Start with overall broader impressions first and then go
into the details of the technical elements. For shorter critiques, such as the mini critique you are
going to write for this lesson, you may discuss the strengths of the written work, and then its
weaknesses. In longer critiques, you may wish to discuss the positive and negative aspects of
each key critical question in individual paragraphs.
To support the evaluation, provide evidence from the work itself, such as a quote or
example, and you should also cite evidence from related sources. Explain how this evidence
supports your evaluation of the work.
III. CONCLUSION:
7. State your conclusions and remind the reader of the points you have made and your
reasons for making them. This is usually a very brief paragraph which includes:
 A statement indicating the overall evaluation of the work;
 A summary of the key reasons, identified during the critical evaluation, why
this evaluation was formed.
 In some circumstances, recommendations for improvement on the work may
be appropriate.
NEXT STEPS
The next step is to revise. When you’ve completed a revision, I recommend

having a few beta readers (people who most match your ideal reader) to read your
draft and give you feedback. Then revise your book again, and if necessary, revise
it one more time, then share it with an editor (myself or another editing
professional) for an assessment. If your manuscript is done, meaning there is no
need to revise it further, then it’s ready for a copy edit. A copyedit is a line-by-line
edit to polish your writing so that it reads smoothly and professionally.

SUM UP
You are almost done with this module.

You have defined a mini critique and
determined its different parts. Now, let’s recap
the important things you have learned.
A critique is a careful analysis of an argument to determine what is said, how well the
points are made, what assumptions underlie the argument, what issues are overlooked, and what
implications are drawn from such observations. It is a systematic, yet personal response and
evaluation of what you read.
When writing an effective critique paper, you must take into consideration the work’s
(a) coherence and organization of paragraphs, (b) development of literary elements use of factual
information, and (c) other qualities concerning form and content. All these said attributes should
be objectively reflected before writing your mini critique.
A. Coherence and Organization
Coherence means the connection of ideas at the idea level. Basically, coherence refers to
the “rhetorical” aspects of your writing, which include developing and supporting your argument
(e.g. thesis statement development), synthesizing and integrating readings, organizing and
clarifying ideas.
On the other hand, organization in writing is how ideas are presented. Typically,
organization refers to the larger parts of a piece of writing, although it also refers to how
paragraphs and sentences are written. The flow of a piece of writing affects how readers interpret
ideas.
B. Development of Literary Elements
Literary elements are aspects or characteristics of a whole text. Most literary elements
can be derived from any and all texts; for example, every story has a theme, every story has a
setting, every story has a conflict, every story is written from a particular point-of-view, etc. In
order to be discussed legitimately, literary elements must be specifically identified for that text.
They are writing techniques used to create artistic special effects that immerse the reader
into a narrative, story, or text. Literary elements are specific ways that storytellers use words in
specific patterns to tell their stories. They are considered the main tools in a writer’s toolbox.

C. Other Qualities Concerning Form and Content
Content, the aspect that determines the character of the whole, is the sum of all the
components of an object—its properties, internal processes, relations, contradictions, and
tendencies.
Form is the internal organization of content. The relationship of content and form may be
described as a unity, as almost a transition of one into the other. However, this unity is relative. Of
the two interrelated categories, content represents the mobile, dynamic aspect of the whole; form
involves the stable connections of an object.
Checklist for a critique
Have I:
• mentioned the name of the work, the date of its creation and the name of the
creator?
• accurately summarized the work being critiqued?
• mainly focused on the critical evaluation of the work?
• systematically outlined an evaluation of each element of the work to
achieve the overall purpose?
• used evidence, from the work itself as well as other sources, to back and
illustrate my assessment of elements of the work?
• formed an overall evaluation of the work, based on critical reading?
• used a well-structured introduction, body and conclusion?
• used correct grammar, spelling and punctuation; clear presentation; and
appropriate referencing style?
Activity 4
MY MINI CRITIQUE
Directions: Read the essay “Memories of Childhood” By Kate Denise Ojeda, HUMSS 11 of
Lambunao National High School. When you are done, write your mini critique using
the format/template of writing a critique. Copy the table and then write response in
Column B. Write your answer in your activity notebook.

Memories of My Childhood
(A Narrative Essay)
By Kate Denise Ojeda, HUMSS 11, Lambunao National High School
1
Many adults around me, especially when they’d get together with their kababata would
often talk about their childhood adventures and misadventures. And I notice they would laugh out
loud and their eyes would light up every time they’d talk about those moments. Memories of
childhood indeed stays in the heart forever.
2
I remember my own childhood like it was just yesterday -- the neighborhood where I grew
up at Brgy. Mapili Grande in Badiangan and the great friends who lived nearby.
Friends like LJ, Annie Joy, Nicole, Franz Rey, Jancen, Mia Mae; you never know who might be
ready to share a part of your day.
3
Often on weekends I would wake up with beautiful thoughts and think about the sweet
smell of adventures. My dad, when he was still alive, would cook great breakfasts of fried rice and
eggs and uga. In the afternoon, my friends would come to fetch me and then we'd roam the
meadows, rice fields and forests, search for fruits or anything to eat, catch dragonflies and go
home at dusk.
4
Sometimes we would just go into the town market to window-shop or waste what meager
allowance we had on unnecessary little things that would soon break because they're cheap. For
lunch we would eat batchoy partnered with pan de leche and Coca Cola. After that we'd roam
around the market stalls and buildings until we grow tired and then that’s when we go our separate
ways home.
5
Every year, on the fiesta day of the town of Janiuay, we would all meet up and just roam
around the said town. At night we would go to the funfair, bet our money on games, go on rides
and the most fun part is look for coins that people have accidentally dropped. After that, we would
go home and wish our teachers would cancel classes for tomorrow for a rest day.
6
At the back of our elementary school there was a vacant lot. Every lunch break we would sit
there and eat our lunch and play tag until the school bell rings. We would all get sweaty and muddy
from running across the waterlogged empty rice fields just not to get caught. What a delight it was to
play with friends without any care in the world.
7
When I was not with my friends and when it's not a school day, my father would bring me
and my brother to the city to go to SM, buy some groceries and eat at Jollibee or Mang Inasal. We
will then afterwards visit our grandmother who lives in the city in an old townhouse with her
timbang. We'll stay there before dark and she'll make us bring home fruits and other stuff, if not
money.
8
Every summer we would stay there for vacation. There was this room in her house at the
second floor that would take you to the rooftop. On afternoons, we would go up there and steal
fruit from the neighbor’s mango tree and hurry back inside. My favorite part was when every night
we'd lay out mattresses there and watch the starry sky above and the city lights below.

9
I almost forgot to mention that during Christmas my Aunt Donna who is my dad's sister
would throw a Christmas Party for the family. Each of us cousins would receive a cheap gift from
her because she is kuripot but loved by all of her siblings. Our most awaited part is when the
celebration is over and when the elders would gather and talk and the conversation could be rated
"PG” or "X". And of course, family gossips are the best!
10
Well, so much for thoughts of my childhood yesterdays. Life was simple, safe and
carefree. My world was simpler, much less complicated during those days. I have already
experience so much now that I’m in my teenage years and I know I will still experience more. But
for sure, I will never forget my favorite childhood memories.
A B
INTRODUCTION
1. Introduce the subject of your critique – the
reading under analysis. Make sure to name the work
being reviewed, as well as the date when it was
created, as well as the name of the creator.
2. Describe the main argument or purpose of the

work.
3. Explain the context in which the work was
created. This can be a social or political context.
Review the background facts or issues that must be
understood before the point of the reading can be
appreciated: significance, design, appeal, and so on.
You may also discuss the place of the work in a
creative or academic tradition, or the relationship
between the work and creator’s life experience.
4. Review the assumptions in the reading that must

be understood before you take a position.
5. Make an umbrella statement that can give the
reader a sign as to what your evaluation is going to
be. For instance, it may indicate whether it is
positive, negative, or a mixed evaluation. In doing
this, make your position statement clear: what is
your evaluation? On what basis are you making it,
given what you have stated in #3 and #4?

BODY
6. The critical evaluation section
What different elements of the work were 1.
evaluated?
2.
3.
Was the critique writer able to provide evidence

from the work itself? Give examples.
CONCLUSION
7. State your conclusions, reminding the reader of
the points you have made and your reasons for
making them.
RUBRIC FOR SCORING THE MINI CRITIQUE
Adapted from: http://swaskiewicz.blogs.ccps.us/files/2015/12/RubricforcriticalanalysisEssay.pdf

REFLECT
Great job! After you hurdle all tasks in

this module, this is now high time you reflect on
your work, rate your confidence and appreciate
your knowledge.
Activity 5
Directions: Accomplish the infographic. Write your answers in your CNF notebook.

Directions: Read each item carefully. Choose the letter of the best answer and write it in your
CNF notebook.
1. What do you call a careful analysis of an argument to determine what is said, how well the
points are made, what assumptions underlie the argument, what issues are overlooked, and
what implications are drawn from such observations?
A. concept paper C. descriptive essay

B. critique D. precis
2. What part names the work being reviewed as well as the date when it was created and the name
of the author?
A. conclusion C. introduction
B. critical evaluation part D. body
3. In which part of the mini critique can you find an umbrella statement that gives the reader a
sign of what your evaluation would be?
A. introduction C. conclusion
B. body D. middle
4. In which way should the critical evaluation of a literary work be written?

A. creative writing style C. formal academic style
B. imaginative style D. personal/informal style
5. What do you call the connection of ideas at the idea level and connection of ideas at the
sentence level?
A. cohesion C. coherence
B. brevity D. vivid language

GLOSSARY
Critique - a careful analysis of an argument to determine what is said, how well the points are
made, what assumptions underlie the argument, what issues are overlooked, and what
implications are drawn from such observations. It is a systematic, yet personal
response and evaluation of what you read.
Coherence - means the connection of ideas at the idea level, and cohesion means the connection
of ideas at the sentence level. Basically, coherence refers to the “rhetorical” aspects of
your writing, which include developing and supporting your argument (e.g. thesis
statement development), synthesizing and integrating readings, organizing and
clarifying ideas. The cohesion of writing focuses on the “grammatical” aspects of
writing.
Organization - how ideas are presented in writing. Typically, organization refers to the larger
parts of a piece of writing, although it also refers to how paragraphs and sentences are
written.
Literary Elements - are writing techniques used to create artistic special effects that immerse
the reader into a narrative, story, or text. Literary elements are specific ways that
storytellers use words in specific patterns to tell their stories. They are considered the
main tools in a writer’s toolbox.
REFERENCES
Barrot, Jessie Saraza. “Writing a Reaction Paper, Review, and Critique.” Essay. In
Communication Today English for Academic and Professional Purposes for Senior
High School, edited by Philippe John Fresnillo Sipacio, 136–38. Quezon City,
Philippines: C & E Publishing, Inc., 2016.
Behrens and Rosen. “Writing and Reading Across the Curriculum.” Little Brown. 1982.
Gutkind, Lee. "What Is creative nonfiction?." Creative Fiction. 2003.
Hartgers, Angelica. “Literary Elements List: 22 Powerful Literary Devices to Engage
Readers.” SelfPublishing.com : The #1 Resource For Self-Publishing a
Book, March 14, 2020. https://selfpublishing.com/literary-elements-list/.
Sison, Shakira. “(Insert her silence here).” Rappler. Retrieved October 27, 2020. URL:
https://www.rappler.com/voices/imho/insert-silence-here. 2014.
SyGaco, Sonia. "Writing Techniques in Creative Nonfiction." Great Books Trading.
2017. The Great Soviet Encyclopedia, 3rd Edition. S.v. "Content and Form." Retrieved
July 22 2020 from https://encyclopedia2.thefreedictionary.com/Content+and+Form.
“Writing a critique”. QUT Cite Write. April 28, 2020. Accessed July 19, 2020. URL:
https://www.citewrite.qut.edu.au/write/critique.jsp
Young-Kyung, Min. “ESL: Coherence and Cohesion.” ESL: Coherence and Cohesion -
Writing & Communication Center - UW Bothell, 2018.
https://www.uwb.edu/wacc/what-we-do/eslhandbook/coherence.

Activity 1
Answers may vary
Activity 2
REMEMBER ME!
Answers may vary
ACTIVITY 3
TIME TO LOCATE
Answers may vary
Explore
Answers may vary
Activity 4
MY MINI CRITIQUE
Answers may vary
Activity 5
Answers may vary
ASSESS WHAT YOU HAVE LEARNED
1. B 2. C 3. C 4. C 5. C


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11/12

Writing a Mini Critique

Grade 11/12-Creative Nonfiction 1

Published in the Philippines

ALL RIGHTS RESERVED. No part of this learning resource may be reproduced or

Development Team of English Learning Kit

Writers: April Joy B. Tumabotabo Mae Sheilou L. Conserva

Illustrators: Armand Glenn S. Lapor John Mark T. Dasa Joven

Layout Artists: Armand Glenn S. Lapor Ricky T. Salabe,

Division Quality Assurance Team:

Management Team: Ma. Gemma M. Ledesma Dr. Josilyn S. Solana

Grade 11/12-Creative Nonfiction 2

For the learning facilitator:

For the learner:

Grade 11/12-Creative Nonfiction 3

Within the realm of creative writing, the term

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

Grade 11/12-Creative Nonfiction 4

Always Sometimes Rarely Never

1. I consider my purpose before writing

Scoring Level of Proficiency

What’s your score? Write it on your notebook.

Grade 11/12-Creative Nonfiction 5

In your previous lessons, you have learned

Parts of the Essay Response

Grade 11/12-Creative Nonfiction 6

1. It was a pleasure to work on your book, My Hollywood. As a reader I learned a great

Grade 11/12-Creative Nonfiction 7

Grade 11/12-Creative Nonfiction 8

Grade 11/12-Creative Nonfiction 9

A. The part that names the literary work it is evaluating:

Paragraph number(s): Sample sentence:

Paragraph number(s): Sample sentence:

Grade 11/12-Creative Nonfiction 10

Paragraph number(s): Sample sentence:

Great! You did a wonderful job in

1. How did you find the previous activity, specifically

a. the part that names the literary work it is evaluating?

Grade 11/12-Creative Nonfiction 11

Well done! You have successfully made a

Writing a Critique (Critical Analysis)

Why do we write Critiques?

Writing a critique helps us to:

How do we write Critiques?

Before writing, it is important to have a thorough understanding of the literary work to be

 Study the work under discussion.

Grade 11/12-Creative Nonfiction 12

It was a pleasure to work on your book, My Hollywood. As a reader I

2. Describe the main argument or purpose of the work.

It was a pleasure to work on your book, My Hollywood. As a reader I

Grade 11/12-Creative Nonfiction 13

It was a pleasure to work on your book, My Hollywood. As a reader I

It was a pleasure to work on your book, My Hollywood. As a reader I

What follows is an overview of the strengths and weaknesses of your

Grade 11/12-Creative Nonfiction 14

What follows is an overview of the strengths and weaknesses of your

II. BODY – Critical Evaluation:

Here are some key critical questions to ask:

Grade 11/12-Creative Nonfiction 15

OTHER OBSERVATIONS & RECOMMENDATIONS

Grade 11/12-Creative Nonfiction 16

The next step is to revise. When you’ve completed a revision, I recommend

Grade 11/12-Creative Nonfiction 17