K to 12 BASIC EDUCATION CURRICULUM SENIOR HIGH SCHOOL – ACADEMIC TRACK

Grade: 12 Semester: 1st Semester

Subject Title: Creative Writing No. of Hours/ Semester: 80 hours/ semester
Prerequisite: st
21 Century Literature from the Philippines and the World

Subject Description:
The course aims to develop practical and creative skills in reading and writing; introduce students to the fundamental techniques of writing fiction, poetry, and drama; and discuss the use of such
techniques by well-known authors in a variety of genres. Each class will be devoted to the examination of techniques and to the workshop of students’ drafts toward the enrichment of their manuscripts. Students
learn how to combine inspiration and revision, and to develop a sense of form.

CONTENT PERFORMANCE LEARNING COMPETENCY

CONTENT STANDARD STANDARD CODE

QUARTER I

1. Creative Writing The learners have an The learners shall be The learners…
understanding of… 1. differentiate imaginative writing from HUMSS_CW/MP11/12-Ia- b-1
1.1. Imaginative writing vs. technical / able to…
academic / other forms of writing among other forms of writing
1.2. Sensory experience imagery, diction, produce short paragraphs
1.3. Language figures of speech, and or vignettes using imagery,
diction, figures of speech, 2. cull creative ideas from HUMSS_CW/MP11/12-Ia- b-2
a. Imagery variations on language
and specific experiences experiences
b. Figures of speech
c. Diction 3. utilize language to evoke
HUMSS_CW/MP11/12-Ia- b-3
1.4. Sample works of well-known local emotional and intellectual
and foreign writers responses from readers
4. use imagery, diction, figures of speech,
HUMSS_CW/MP11/12-Ia- b-4
and specific
experiences
5. read closely as writers with a HUMSS_CW/MP11/12-Ia- b-5
consciousness of craft
2. Reading and Writing Poetry* poetry as a genre and how produce a short, well-
2.1. Elements of the genre 1. identify the various elements,
to analyze crafted poem HUMSS_CW/MP11/12c-f-6
techniques, and literary devices in
a. Essential elements its elements and poetry
a.1. Theme techniques
a.2. Tone

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 b. Elements for specific forms
b.1. Conventional forms
2. determine specific forms and HUMSS_CW/MP11/12c-f-7
(exemplar: short Tagalog
poems like tanaga and conventions of poetry
diona; haiku; sonnet)
-rhyme and meter
-metaphor
b.2. Free verse
-the line and line break 3. use selected elements of poetry
HUMSS_CW/MP11/12c-f-8
-enjambments in short exercises
-metaphor
c. Other experimental texts
c.1. typography
c.2. genre-crossing texts 4. explore innovative techniques inwriting
(e.g. prose poem, poetry HUMSS_CW/MP11/12c-f9
performance poetry, etc.)
d. Tone
2.3. Techniques and literary devices
(modelling from well-known local
and foreign poets) 5. write a short poem applying the
various elements, techniques, HUMSS_CW/MP11/12c-f10
and literary devices

3. Reading and Writing Fiction*

3.1. Elements of the genre fiction as a genre produce at least one 1. identify the various elements,
a. Character and are able to striking scene for a techniques, and literary devices HUMSS_CW/MPIg-i-11
b. Point of View analyze its elements short story in fiction
b. 1. 1st-person POV (major, minor, or and techniques
bystander
b. 2. 2nd-person POV 2. determine various modes of HUMSS_CW/MPIg-i-12
b. 3. 3rd-person POV (objective, fiction
limited omniscient, omniscient)
c. Plot
c. 1. linear
c. 2. modular/episodic 3. write journal entries and other
c. 3. traditional parts: exposition, short exercises exploring key
rising action, climax, falling HUMSS_CW/MPIg-i-13
elements of fiction
action, resolution/denouement

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 d. Setting and atmosphere
d. 1. time and place 4. write a short scene applying the HUMSS_CW/MPIg-i-14
d. 2. cultural, sociological, political, various elements, techniques,
religious, etc. milieu and literary devices
d.3. sensibilities that lead to specific
modes
e. Conflict
f. Irony
f. 1. verbal
f. 2. situational
f. 3. dramatic
g. Theme
g. 1. moral/lesson
g. 2. dramatic premise
g. 3. insight

3.2. Techniques and literary devices

a. Mood/tone
b. Foreshadowing
c. Symbolism and motif

3.3. Modelling from well-known local and foreign

short story writers in a range of modes

QUARTER II
4. Reading and Writing Drama (one-act)* 1. identify the various elements,
Elements of the genre drama as a genre compose at least one techniques, and literary devices HUMSS_CW/MPIj-IIc-15
a. Character and are able to scene for a one-act play in drama
b. Setting analyze its elements that can be staged
2. understand intertextuality as a HUMSS_CW/MPIj-IIc-16
c. Plot and techniques
technique of drama
d. Dialogue
4.1. Techniques and literary devices
a. Intertextuality 3. conceptualize a character/setting/ plot for a HUMSS_CW/MPIj-IIc-17
b. Conceptualization of modality one act play
4.2. Modelling from well-known local and foreign
playwrights 4. explore different staging modalities vis-à-vis HUMSS_CW/MPIjc-18
envisioning the script

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 5. write short exercises involving
character, dialogue, plot, and HUMSS_CW/MPIj-IIc-19
other elements of drama

6. write at least one scene for

one-act play applying the
HUMSS_CW/MPIj-IIc-20
various elements, techniques,
and literary devices
5. The creative work in literary and /or the different produce a craft essay
sociopolitical context orientations of on the personal creative 1. situate the creative work in
creative writing process literary and /or sociopolitical HUMSS_CW/MPIIc-f-21
deploying a consciously context
selected orientation of
creative writing 2. demonstrate awareness of and
sensitivity to the different HUMSS_CW/MPIIc-f-22
orientations of creative writing

3. write a craft essay HUMSS_CW/MPIIc-f-23

6. Final output** The learners may 1. create a group blog for poetry
choose from any of the and/or fiction applying ICT
HUMSS_CW/MPIIg-j-24
following: skills/any appropriate
1. Design a group blog for multimedia forms
poetry and fiction 2. explore various modes of
2. Produce a suite of poems, a publishing media for
full/completed short story, manuscripts HUMSS_CW/MPIIg-j-25
or a script for a one act
play, with the option of
staging 3. understand the possibilities of HUMSS_CW/MPIIg-j-26
3. Create hypertext literature intertextual forms
4. write a suite of poems, a HUMSS_CW/MPIIg-j-27
full/completed short story or a
script for a one-act play

*For poetry, fiction, and drama, the workshop proper is highly encouraged.
**Critiquing of the learner’s own work and his/her peers’, leading toward revision, is necessary in preparation for the final output.

Note: Time allotment may be adjusted based on the learner’s phase and capacity.

GLOSSARY
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Blog A web log: A website containing short articles called posts that are changed regularly. Some are written by one person expressing his/her own opinions, interest, and experiences, while others are written
by many different people.
Craft essay An essay that discusses matters of creative construction that may include reflections on writing strategies, genre elements, and contextual influences.
Coming-of-age story A type of story in which the protagonist is initiated into adulthood through knowledge, experience, or both, often by a process of disillusionment. Understanding comes after the dropping of preconceptions, a
destruction of a false sense of security, or in some way the loss of innocence. Some of the shifts that take place are the following: ignorance to knowledge, innocence to experience, false view of world to correct
view, idealism to realism, and immature responses to mature responses.
(Literary Terms list EETT.pdf, from www.schenectady.k12.ny.us/.../literacyterms/Literary%20Terms%20list%20...); novel in which an adolescent protagonist comes to adulthood by a process of experience
and disillusionment. This character loses his or her innocence, discovers that previous preconceptions are false, or has the security of childhood torn away, but usually matures and strengthens by this process.
Examples include Wieland's Agathon, Herman Raucher's Summer of '42, Ray Bradbury's Dandelion Wine, Joyce's A Portrait of the Artist as a Young Man, and Jane Austen's Northanger Abbey. The most
famous examples are in German, in which a tale in the genre is called a Bildungsroman or a Erziehungsroman. Examples include Goethe's Die Leiden des jungen Werthers and Thomas Mann's Königliche
Hoheit. (http://web.cn.edu/kwheeler/lit_terms_C.html)
Diction 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. We can speak of the diction particular to a character, as in Iago's and Desdemona's very different ways of speaking in Othello. We can also refer to a poet's diction as represented over the body of
his or her work, as in Donne's or Hughes's diction.
(http://highered.mcgraw-hill.com/sites/0072405228/student_view0/poetic_glossary.html)
Figure of speech Also known as figurative language, it creates figures (pictures) in the mind of the reader or listener. These pictures help convey the meaning and more vividly than words alone. We use figures of speech in
“figurative language” to add colour and interest, and awaken the imagination. Figurative language is everywhere, from classical works like Shakespeare’s and the Bible, to everyday speech, pop music, and television
commercials. Figurative language means something different from (and usually more than) what it says on the surface.
Foreshadowing The presentation of details, characters, or incidents in a narrative in such a way that later events are prepared for (or "shadowed forth").
(http://grammar.about.com/od/fh/g/foreshadowingterm.htm)
Hyper poetry A form of digital poetry that uses links using hypertext mark-up. It is a very visual form, and is related to hypertext fiction and visual arts. The links mean that a hypertext poem has no set order, the poem
moving or being generated in response to the links that the reader/user chooses. It can either involve set words, phrases, lines, etc. that are presented in variable order, but sit on the page in the same way
traditional poetry does, or it can contain parts of the poem that move and/or mutate. It is usually found online, though CD- ROM and diskette versions exist. The earliest date to no later than mid-1980s.
Image A concrete representation of a sense impression, a feeling, or an idea. Imagery refers to the pattern of related details in a work. In some works one image predominates either by recurring throughout the work or by
appearing at a critical point in the plot. Often, writers use multiple images throughout a work to suggest states of feeling and to convey implications of thought and action. Some modern poets, such as Ezra Pound
and William Carlos Williams, write poems that lack discursive explanation entirely and include only images. (http://highered.mcgraw-hill.com/sites/0072405228/student_view0/poetic_glossary.html)
Imaginative writing A mode of writing characterized by inventiveness of situation, perspective, or story, and distinguished from other modes such as expository and persuasive writing
(http://ccat.sas.upenn.edu/~haroldfs/popcult/wrtmodes.htm). The term is often used synonymously with "creative writing".
Intertextuality The complex interrelationship between a text and other texts taken as basic to the creation or interpretation of the text
Irony There are several types of irony in literature. Three main types are verbal irony, dramatic irony, and situational irony. Verbal irony is the
contrast between what is said and what is meant: In other words, sarcasm. Dramatic irony is the contrast between what the character thinks to be true and what we (the reader) know to be true. Sometimes as we
read we are placed in the position of knowing more than what one character knows. Because we know something the character does not, we read to discover how the character will react when he or she learns the
truth of the situation. Situational irony is the most common in literature. It is the contrast between what happens and what was expected (or what would seem appropriate).
(http://hrsbstaff.ednet.ns.ca/engramja/litdevic.html)
Literary device A literary or linguistic technique that produces a specific effect, esp. a figure of speech, narrative style, or plot mechanism.
(http://dictionary.reference.com/browse/literary+device)
Literary elements Refers to particular identifiable characteristics of a whole text. They are not “used”, per se, by authors; they represent the elements of storytelling that are common to all
literary and narrative forms. 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 as part of a textual analysis, literary elements must be specifically identified for that particular text.

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 GLOSSARY
Literary genre A category of literary composition; genres may be determined by literary techniques, tone, content, or even (as in the case of fiction) length. The distinctions between genres and categories are flexible and loosely
defined, often with subgroups. The most general genres in literature are (in loose chronological order) epic, tragedy, comedy, and creative nonfiction. They can all be in the form of prose or poetry. Additionally,
genres such as satire, allegory, or pastoral might appear in any of the above, not only as a sub-genre, but as a mixture of genres. Finally, they are defined by the general cultural movement of the historical period in
which they were composed. Genre should not be confused with age categories, by which literature may be classified as either adult, young-adult, or children. They also must not be confused with format, such as
graphic novel or picture book.
Literary techniques Refers to any specific, deliberate constructions, or choices of language that an author uses to convey meaning in particular way. An author’s use of a literary technique usually occurs with a single word or phrase, or a
particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text; they represent deliberate choices by individual authors.
Motif A recurring object, concept, or structure in a work of literature. A motif may also be two contrasting elements in a work, such as good and evil. In the Book of Genesis, we see the motif of separation again and again
throughout the story. In the very first chapter, God separates the light from the darkness. Abraham and his descendants are separated from the rest of the nation as God's chosen people. Joseph is separated from his
brothers in order that life might be preserved. Another motif is water, seen in Genesis as a means of destroying the wicked, and in Matthew as a means of remitting sins by the employment of baptism. Other motifs in
Genesis and Matthew include blood sacrifices, fire, lambs, and goats. A motif is important because it allows one to see main points and themes that the author is trying to express, so that one might be able to interpret
the work more accurately. (http://www2.uncp.edu/home/canada/work/allam/general/glossary.htm#m)
Sensory experience The apprehension of an object, thought, or emotion through the senses; active participation in events or activities, leading to the accumulation of knowledge or skill.
(http://www.thefreedictionary.com/experience)
Symbolism A character, an action, a setting, or an object representing something else can be a symbol. Most often, the symbol in a story is an object that represents its owner’s character or situation, or both. For example, a
secluded, near-empty apartment might represent the alienation and emotional emptiness of the tenant. Symbols are usually recognizable by the amount of emphasis they receive. Objects intended to be viewed as
symbolic may be described in detail, be included in the title, be referred to frequently, or emphasized at the beginning or ending of the story. When we recognize a symbol and understand its meaning or meanings, we
see more clearly what the writer chose to emphasize. (http://hrsbstaff.ednet.ns.ca/engramja/litdevic.html)
Theme Assertion or argument that the literary work makes.
Typography The general character or appearance of printed matter. (http://dictionary.reference.com/browse/typography)
Vignette Literally "little vine" in French; a short composition showing considerable skill, especially such a composition designed with little or no plot or larger narrative structure. Vignettes are often descriptive or
evocative in their nature. An example would be the brief narratives appearing in Sandra Cisneros's short stories. More loosely, vignettes might be descriptive passages within a larger work, such as Virginia
Woolf's "Kew Gardens", or Faulkner's descriptions of horses and landscapes in The Hamlet. The term “vignette” originally comes from a decorative device appearing on a title page or at the opening chapters.
Conventionally, nineteenth-century printers depicted small looping vines here, loosely reminiscent of the vine work in medieval manuscripts. (http://web.cn.edu/kwheeler/lit_terms_V.html)
Symbolism A character, an action, a setting, or an object representing something else can be a symbol. Most often, the symbol in a story is an object that represents its owner’s character or situation, or both. For example, a
secluded, near-empty apartment might represent the alienation and emotional emptiness of the tenant. Symbols are usually recognizable by the amount of emphasis they receive. Objects intended to be viewed as
symbolic may be described in detail, be included in the title, be referred to frequently, or emphasized at the beginning or ending of the story. When we recognize a symbol and understand its meaning or meanings,
we see more clearly what the writer chose to emphasize. (http://hrsbstaff.ednet.ns.ca/engramja/litdevic.html)
Theme Assertion or argument that the literary work makes.
Typography The general character or appearance of printed matter. (http://dictionary.reference.com/browse/typography)
Vignette Literally "little vine" in French; a short composition showing considerable skill, especially such a composition designed with little or no plot or larger narrative structure. Vignettes are often descriptive or evocative
in their nature. An example would be the brief narratives appearing in Sandra Cisneros's short stories. More loosely, vignettes might be descriptive passages within a larger work, such as Virginia Woolf's "Kew
Gardens", or Faulkner's descriptions of horses and landscapes in The Hamlet. The term “vignette” originally
comes from a decorative device appearing on a title page or at the opening chapters. Conventionally, nineteenth-century printers depicted small looping vines here, loosely reminiscent of the vine work in medieval
manuscripts. (http://web.cn.edu/kwheeler/lit_terms_V.html)

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