Senior High School

Creative Nonfiction
Quarter 4 – Module 4:
Developing Literary Elements in Writing a
Mini Critique
Creative Nonfiction – Senior High School
Alternative Delivery Mode
Fourth Quarter- Module 4: Developing Literary Elements in Writing a Mini
Critique
First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall subsist in any
work of the Government of the Philippines. However, prior approval of the government
agency or office wherein the work is created shall be necessary for exploitation of such
work for profit. Such agency or office may, among other things, impose as a condition
the payment of royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos, brand names,
trademarks, etc.) included in this module are owned by their respective copyright
holders. Every effort has been exerted to locate and seek permission to use these
materials from their respective copyright owners. The publisher and authors do not
represent nor claim ownership over them.

Published by the Department of Education

Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio
Development Team of the Module
Writer: Fatima Malynda P. Genodepanon
Content Editors: Espedita Miramontes, Jean Rosiebeth Ranes
Language Editors: Dolores Gabrillo, Marilyn Mirasol
Reviewers: Ma. Chona B. Redoble, Michael Angelo S. Magalso
Illustrator: Resdale Venz R. Palabrica
Layout Artist: Achilles B. Mendez
Evaluators: Dr. Elmalou L. Orandoy
Adrianita L. Sagayno
Rachel B. Lumarda
Management Team
Schools Division Superintendent:
Dr. Marilyn S. Andales, CESO V
Assistant Schools Division Superintendents:
Dr. Anelito A. Bongcawil, CESO VI
Dr. Lorenzo M. Dizon, CESO VI
Dr. Fay C. Luarez, CESO VI
Chief, CID: Dr. Mary Ann P. Flores
EPS, LRMDS: Mr. Isaiash T. Wagas
EPS, English: Dr. Ma. Chona B. Redoble
SHS Coordinator: Dr. Clavel D. Salinas

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 WHAT I NEED TO KNOW

Good day, dear learner!

This module is solely prepared for you to access and to acquire lessons befitted
in your grade level. The exercises, drills, and assessments are carefully made to suit
your level of understanding. Indeed, this learning resource is for you to fully
comprehend how to develop literary elements in writing a mini critique.
Independently, you are going to go through this module following its proper sequence.
Although you are going to do it alone, this is a guided lesson and instructions/directions
on how to do every activity is plotted for your convenience.

Using this learning resource, you ought to write a mini critique of a peer’s
work based on coherence and organization of paragraphs, development of
literary elements, use of factual information, and other qualities concerning
form and content (HUMSS_CNF11/12-IId-e-18) as inculcated in the K-12 Most
Essential Learning Competencies.

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

1. determine the literary elements of creative nonfictional text,

2. write a mini critique with the use of literary elements, and;
3. demonstrates enthusiasm in writing a mini critique of a creative
nonfictional text.

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 WHAT I KNOW

Directions: Write the letter which corresponds to the correct answer.

1. What element of nonfiction refers to the time and place in which a story unfolds?
A. plot B. point of view C. setting D. theme
2. Which of the following is the main idea or the underlying meaning of a literary
work detected directly or indirectly?
A. mood B. plot C. point of view D. theme
3. Which of the following writing tells about real people, places, and events?
A. fiction B. literature C. nonfiction D. prose
4. What element indicates the perspective from which a story happened?
A. character B. plot C. point of view D. tone
5. What refers to the use of words in a way that deviates from the conventional
order to convey a complicated meaning, colorful writing, clarity, or evocative
comparison?
A. imagery B. diction C. figurative language D. diction
6. Which of the following involves descriptions of one or more of the five senses:
sight, sound, smell, touch, or taste?
A. diction B. figurative language C. imagery D. theme
7. The attitude of the writer reflects toward the subject matter or audience of a
literary work. What element of nonfiction is it?
A. diction B. mood C. theme D. tone
8. What refers to the emotional response that the writer wishes to evoke in the
reader through a story?
A. diction B. mood C. theme D. tone
9. What element of nonfiction refers to a conversation between two or more
people?
A. dialogue B. diction C. narration D. point of view
10. What refers to the series of events in the story?
A. conflict B. plot C. setting C. theme

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 WHAT’S IN

I. Directions. Choose from the Pool of Ideas in the box at least two (2) concepts that
best describe the word inside the banner. Write it on the space provided.

Pool of Ideas

a. a chronicle of one’s life h. an account of actual observation

b. witness of an event i. daily reality record
c. personal online diary j. personal data
d. confidential k. individual travel experiences
e. travel account l. call to action
f. persuade the reader m. online journal
g. a meaningful ordinary experience n. personal experience

1. Autobiography 2. Travelogue 3. Diary

__________ __________ __________

__________ __________ __________

4. Blogs 5. Testimonio 6. Personal

Narrative

__________ __________ __________

__________ __________ __________

How do you find the activity? Did you get the correct answers? Flip the page to
understand about the literary elements of the types or forms of creative nonfictional
text.

WHAT’S NEW

Directions. Read the text carefully and answer the questions that follow.

There I stood in the parking lot of the Music Museum. I just hoped that I could
get some autographs. I had my autograph book in one hand and a ballpen in the other.
Then suddenly a van pulled up and parked in the area reserved for the performers.
Everyone looked toward the van. All of a sudden, Rico Blanco got out. He has been

3
the lead vocalist of the band, Rivermaya, for quite a time. He is one of my favorite
vocalists. I thought I would drop my ballpen. I walked over to him with my heart beating
as fast as it could.
I asked, “Would you sign this for me?” as I held out the autograph book. He
said, “Sure, I’d be glad to.”
I couldn’t believe it! I was hoping for any autograph, but I got Rico Blanco’s.
I ran over to Mom and Dad to show it to them. They were really happy for me.
A couple of minutes later, Bamboo, the band leader drove up in a blue
Jaguar. I ran over to him with my autograph book and signed it.
Now that I look back on this experience, I think I was pretty lucky. I ended
up with autographs from the two outstanding vocalists of the country. I guess you
could say that on that day, I was walking on clouds.
Source: English Expressways III,
Quezon City: SD Publications,
Inc., 2007.

o Is this story similar to the others that you have read in the past?
______________________________________________________________

o Does the story present factual events?

______________________________________________________

o What makes the story enjoyable and interesting to read?

______________________________________________________

WHAT IS IT

What is Creative Nonfiction?

Creative Nonfiction involves writing about personal experience, real people, or

events. It is writing about fact, rather than fiction. The writer can write about anything,
such as a personal experience, current events, or issues in the public eye. The writer
can also inject personal types of creative nonfiction which include the personal essay,
memoir, autobiography, literary journalistic essay, travel writing, and food writing.
Creative nonfiction is also known as “Literary Journalism.”
Nonfiction or literary nonfiction uses creative ways on utilizing literary styles and
techniques with the springboard of factual and accurate narratives. Creative nonfiction

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 contrasts with other nonfiction, such as technical writing or journalism, which is
likewise established in exact certainty however is not essentially written in support of
its specialty. As a classification, imaginative true to life is still moderately youthful, and
is just starting to be investigated with the equivalent basic examination given to fiction
and verse.
When you are reading or encountering stories that are based from reality or
sources came from the truth, you can simply tell that it is creative nonfiction.

Literary Elements
Creative nonfiction is the literature of fact. Yet, the creative nonfiction writer
utilizes many of the literary devices of fiction writing. The table below shows a list of
the most common literary devices that writers incorporate into their nonfiction writing:

LITERARY ELEMENTS DESCRIPTION EXAMPLE

Character The nonfiction piece often requires a
main character. If a writer is creating
his/her memoir, then the writer is the
central character. An author can use two
approaches to deliver information about
a character and build an image of it.

➢ Direct or Explicit - This kind of characterization takes a The little girl was
Characterization direct approach towards building the curious, which often
character. It uses another character or got her into trouble
the narrator to tell the readers or for being in places
audience about the subject. she was not
supposed to be.

➢ Indirect or Implicit - The audience must deduce for Clarissa saw what
Characterization themselves the characteristics of the Jeff had done to
character by observing his/her thought Mark, and she
process, behavior, speech, way of quietly picked up her
talking, appearance, and manner of tray and went to sit
communication with other characters, as with Mark. She cut
well as by discerning the response of her own sandwich in
other characters. half and gave Mark
half. Then, she
started to talk to
Mark about his
favorite television
show until he forgot
all about Jeff.
Setting and scene Setting is the time and place an author When Jonathan
chooses for a literary work. The writer woke up, he knew

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 creates scenes that are action-oriented; something was not
include dialogue; and contain vivid right. There was no
descriptions. It provides the backdrop to light coming through
the story and helps create mood. his curtains. His
room was dark.
Plot and plot structure These are the main events that make up
the story. In a personal essay, there
might be only one event. In a memoir,
there are often several significant events.
Three related elements to consider are
scope, sequence, and pacing.

Style Style is essentially the way a text is

written. It results from decisions a writer
makes, such as word choice and syntax.

➢ Figurative The writer often uses simile and Aunt Becky's

Language metaphor to create an interesting piece attitude was as sour
of creative nonfiction. Figurative as a lemon.
language is using language in a
surprising way to describe a literary
moment.

The writer constructs “word pictures” The night was black

using sensory language. Imagery can be as ever, but bright
➢ Imagery
figurative or literal. stars lit up the sky in
- It appeals to sense of sight beautiful and varied
through description of color, light, constellations which
• Visual size, pattern, etc. were sprinkled
across the
astronomical
landscape.

- It appeals to sense of hearing or Silence was broken

sound. by the peal of piano
• Auditory keys as Shannon
began practicing her
concerto.

- It appeals to sense of smell by She smelled the

describing something’s fragrance scent of sweet
• Olfactory or odor. hibiscus wafting
through the air, its
tropical smell a
reminder that she
was on vacation in a
beautiful place.

- It appeals to sense of taste The candy melted in

through describing whether her mouth and

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 something is sweet, salty, savory, swirls of bittersweet
spicy, or sour. chocolate and
• Gustatory slightly sweet but
salty caramel
blended together on
her tongue.
- It appeals to sense of touch by
describing how something After the long run,
physically feels, such as its he collapsed in the
temperature, texture, or other grass with tired and
• Tactile sensation. burning muscles.
The grass tickled his
skin and sweat
cooled on his brow.
Symbolism refers to the use of a physical
object or phenomenon to represent Life is a roller-
something more abstract. coaster.
He is my rock.

➢ Symbolism
Point of View Point of view refers to the perspective
that the narrator holds in relation to the
events of the story.
➢ First Person POV The narrator tells a story from their own I went to the store.
perspective.
➢ Second Person The narrator tells a story about you, the You went to the
POV reader or viewer. store.
➢ Third Person The narrator tells a story about other He went to the store.
POV people.
Dialogue These are the conversations spoken
between people. It is an important
component of creative nonfiction.
Tone The tone is the attitude or approach that This was the last
the author takes toward the work’s fish we were ever to
central theme or subject. Works of see Paul catch. My
literature can have many different types father and I talked
of tone, such as humorous, solemn, about this moment
distant, intimate, ironic, arrogant, several times later,
condescending, sentimental, and so on. and whatever our
other feelings, we
always felt it fitting
that, when we saw
him catch his last
fish, we never saw
the fish but only the
artistry of the
fisherman.
(The tone here is
wistful.)

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 There is a central idea that is weaved
Theme through the essay or work. Often, the
theme reveals a universal truth.
Mood The mood is the emotional feeling or
atmosphere that a work of literature
produces in a reader. All works of
literature produce some sort of emotional
and psychological effect in the audience;
though every reader may respond
differently to the same work of literature
there is often a similar type of mood
produced. Writers use many different
factors to create mood, including setting,
theme, voice, and tone.

Literary elements are present in all forms of literature. They are the fundamental
building blocks of writing. They play an important role in helping us write, read, and
understand literature better.

WHAT’S MORE

Directions. Read the text below and fill in the table with the information given from
the text.

The Birds: Grief

I hear their anguish before I see them.

Picking tomatoes, I turn to look over my shoulder. Three raptors, two clearly
Ospreys, their long legs outstretched and wings slightly kinked at the elbow, are flying
right towards me and then, just above. A nest—sticks and branches loosely woven on
top of a tall platform—stands empty.

Their whistling cries rise and fall without pause. They have landed on my side of a
chain link fence, one atop the fence and the other, I believe it to be the female, at the
base. She’s screaming, jumping frantically, wings beating on the wires. Her partner hops
back and forth above, wings spreading, flapping, then closing. And again.

On the other side of the fence, another raptor stands guard over a prized
possession beneath its caped wings. A juvenile eagle, dressed in acorn brown dappled
with white, pecks towards the ground with push-pull jabs. It reminds me of the Black Kites
in Israel, raptors that dove for trash outside my village.

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 I move forward. One of the pair eyes me, daring me to approach.

I stay standing in blood-red tomatoes.

Throwing herself, again and again, feathers on the fence, her cries a ululation.

Source: https://entropymag.org/the-birds-grief/

Title of the Text

Character
Setting
Point of View
Tone

Directions: Complete the table by supplying line/s from the text that show imagery.

IMAGERY
Visual
Auditory
Gustatory
Olfactory
Tactile

Independent Activity I
Directions: Fill in the spaces with line/s that best describe/s the picture. An example
is done for you below.
Figure of Speech: The crystal clear waterfalls are like
divers, reaching for the waters that
await it.

https://www.deztreks.com/blog/best-waterfalls-in-the-philippines/

Setting: ___________________________________
___________________________________

https://www.booking.com/hotel/ph/les-maisons-d-39-itac.html?activeTab=photosGallery

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 Character: ________________________________

https://www.flickr.com/photos/ricephotos/438504745

Imagery: _________________________________

https://www.pinterest.ph/pin/573434965050468588/

Theme: _______________________________________

https://www.pinterest.ph/pin/192458584060204416/

Dialogue: _______________________________________

https://commons.wikimedia.org/wiki/File:Men_with_neckties.png

Mood: _______________________________________

https://pixabay.com/photos/rainy-weather-horrible-walk-rain-123213/

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 WHAT I HAVE LEARNED

Directions: Answer the following questions in complete sentences. Write the answer
on a sheet of paper.
What is t h e i m p o r t a n c e o f u n d e r s t a n d i n g t h e literary elements
of creative nonfiction in writing a mini critique?
_______________________________________________________

How can you apply your learning about the literary elements of
creative nonfiction in writing a mini critique?
_______________________________________________________

WHAT I CAN DO

Directions: Read the excerpt of Anne Frank’s diary and do the activity that follows.
and write a mini critique using the basic literary elements of creative nonfiction.
Excerpt
From Anne Frank's Tales from the Secret Annex

Was There a Break-in?

Wednesday evening, March 24, 1943

Mother, Father, Margot and I were sitting quite pleasantly together when Peter
suddenly came in and whispered in Father's ear. I caught the words "a barrel
falling over in the warehouse" and "someone fiddling with the door."

Margot heard it too, but was trying to calm me down, since I'd turned white as
chalk and was extremely nervous. The three of us waited. In the meantime Father
and Peter went downstairs, and a minute or two later Mrs. van Daan came up from
where she'd been listening to the radio. She told us that Pim had asked her to
switch it off and tiptoe upstairs. But you know what happens when you're trying to
be quiet--the old stairs creaked twice as loud. Five minutes later Peter and Pim,
the color drained from their faces, appeared again to relate their experiences.

They had positioned themselves under the staircase and waited. Nothing
happened. Then all of a sudden they heard a couple of bangs, as if two doors had
been slammed shut inside the house. Pim bounded up the stairs, while Peter went
to warn Dussel, who finally presented himself upstairs, though not without kicking
up a fuss and making a lot of noise. Then we all tiptoed in our stockinged feet to
the van Daan family on the next floor. Mr. van D. had a bad cold and had already
gone to bed, so we gathered around his bedside and discussed our suspicions in a
whisper.

Every time Mr. van D. coughed loudly, Mrs. van D. and I nearly had a nervous fit.
He kept coughing until someone came up with the bright idea of giving him

11
codeine. His cough subsided immediately.

Once again we waited and waited, but heard nothing. Finally we came to the
conclusion that the burglars had fled when they heard footsteps in an otherwise
quiet building. The problem now was that the chairs in the private office were
neatly grouped round the radio, which was tuned to England. If the burglars had
forced the door and the air-raid wardens were to notice it and call the police, that
would get the ball rolling, and there could be very serious repercussions. So Mr.
van Daan got up, pulled on his coat and pants, put on his hat and cautiously
followed Father down the stairs, with Peter (armed with a heavy hammer, to be on
the safe side) right behind him. The ladies (including Margot and me) waited in
suspense until the men returned five minutes later and told us that there was no
sign of any activity in the building. We agreed not to run any water or flush the
toilet; but since everyone's stomach was churning from all the tension, you can
imagine the stench after we'd each had a turn in the bathroom.

Incidents like these are always accompanied by other disasters, and this was no
exception. Number one: the Westertoren bells stopped chiming, and they were
always so comforting. Plus Mr. Voskuijl left early last night, and we weren't sure if
he'd given Bep the key and she'd forgotten to lock the door.

Well, the night had just begun, and we still weren't sure what to expect. We were
somewhat reassured by the fact that between eight-fifteen--when the burglar had
first entered the building--and ten-thirty, we hadn't heard a sound. The more we
thought about it, the less likely it seemed that a burglar would have forced a door
so early in the evening, when there were still people out on the streets. Besides
that, it occurred to us that the warehouse manager at the Keg Company next door
might still have been at work. What with the excitement and the thin walls, it's easy
to mistake the sounds. Besides, your imagination often plays tricks on you in
moments of danger.

So we lay down on our beds, though not to sleep. Father and Mother and Mr.
Dussel were awake most of the night, and I'm not exaggerating when I say that I
hardly got a wink of sleep. This morning the men went downstairs to see if the
outside door was still locked, but all was well!

Of course, we gave the entire office staff a blow-by-blow account of the incident,
which had been far from pleasant. It's much easier to laugh at these kinds of things
after they've happened, and Bep was the only one who took us seriously.

Note: The next morning the toilet was clogged, and Father had to stick in a long
wooden pole and fish out several pounds of excrement and strawberry recipes
(which is what we use for toilet paper these days). Afterward we burned the pole.

Source: https://www.penguinrandomhouse.ca/books/55525/anne-franks-tales-from-the-
secret-annex-by-anne-frank-edited-by-gerrold-van-der-stroom-and-susan-massotty-
translated-by-susan-massotty/9780553586381/excerpt
Copyright © 2003 by Anne Frank; edited by Gerrold van der Stroom and Susan Massotty;
translated by Susan Massotty

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Write a mini critique using the basic literary elements of creative nonfiction.
Use the guide below in writing your mini critique.

AUTHOR’S INTENTION What is the writer trying to accomplish with it?

Note your reactions as you read. Either keep a

YOUR REACTIONS spare piece of paper with you or mark your
reactions.

Ask yourself if the literary techniques make the

LITERARY ELEMENTS reading experience more enjoyable. The
imagery and figure of speech used in the text
and their purpose.

ENDING Does the ending give impact to the reader?

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 ASSESSMENT

Directions. Write a mini critique on the following essay focusing on the elements of
creative nonfiction. Put your short composition on a separate sheet of paper. Refer
to the rubrics for the scoring.

Out the Gate

Like thoroughbreds at Churchill Downs, my ten-year-old daughter Lily and I prepare
to surge out the kitchen door. I’m ready first. Sitting in an aluminum chair, I read
while I wait for her. Lily darts from room to room, looking for the shoes she has
scattered like seeds. When she’s ready, I call up to the third floor: “We’ll meet you
in the car.”
We wait in my Honda, older than Lily, in the driveway. A few red maple leaves that
resemble her toddler handprint paintings cling to the car’s windshield.
“Is Dad coming with us?”
“Yes.”
“When?”
“Soon.”
“Why does it take so long?”
“Honey, it’s just the way he is.”
“Why?”
“Well, not all dads are like this, but it’s the way your dad is.”
I could say, “Because he has obsessive-compulsive disorder.” But he doesn’t agree
that he does, and Lily’s too young to understand OCD. The label is useless. It
doesn’t capture his three trips back inside for every teasing faux-departure: the
alarm armed, the two locks secured, his fast trot through the backyard. He reaches
the gate and then whirls: he’s forgotten his wallet, his keys, his glasses, himself.
Vinh canters back through the yard, unlocks the door, disarms the alarm. He checks
something inside—the stove burner, the lock, his hat, his shoes, his reflection. He
wonders: Is his coat warm enough? Each thought is a jockey he can’t buck off. I start
the engine, hoping he’ll soon appear.
Every departure is layered, like his stuff in the basement storage room. I could peer
through its rectangular window if I crouched in the driveway. I’d see a gold racing
bike mounted on top of the strata like a trophy awarded for clutter.

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We married and moved into this house a decade ago. At first, I was outraged by the
way he stole time, stretched it like Silly Putty until it was amorphous, as if it belonged
only to him. But as the years passed, my acceptance weathered like our home. My
curiosity is as immovable as its fieldstone foundation; my impatience has mellowed
to the texture of our clapboards, softened by rain.
I shut off the engine. Lily and I have learned to equip ourselves for the wait, for the
layers of time that will peel back to reveal my husband, her father. I carry a book in
my purse, and she brings a pen and sketch pad. I open my book. I hear her pen
scratch; she’s probably drawing a dog. Sometimes, if the wait stretches, I’ll pull up
a funny hamster video for her on my phone. We are close enough to access our
home’s wireless network.
One fall morning, on his way to work, Vinh cut himself in the driveway and came
storming back in; he couldn’t find the Band-Aids and slammed the medicine cabinet,
mumbling. He stormed back out. I wanted to help, but that morning I’d grown restless
at the sound of his feet repeating the three flights, a piano student pounding out
“Chopsticks.” Just go, already.
“We’ll call him at work,” I told Lily as we walked up Pond Street to her school. “Make
sure Dad’s OK.” There were levels of OK: he worried about infections, germs,
parasites in rain puddles. I called the pharmacy Vinh managed. He was free from
contagion.
“Dad’s OK,” I said.
In the early years of our marriage, my frustration had escalated and bloomed into
curses that steamed the car windows. I Quasimodoed over the steering wheel.
“What the hell is he doing in there?”
“Mom!” Lily knew I’d said a bad word. Honking would follow the expletive. I’d slam
the horn once with the heel of my hand, a jugular chop. If that failed to produce Vinh,
I’d call him. If I got voice mail, I’d hang up. If he picked up, I’d ask, “What are
you doing in there?”
I didn’t go back in the house. That never changed his behavior. Perhaps, I reasoned,
Vinh’s love for Lily might spur him. I’d send our daughter to knock on the door and
tell her dad to get a move on, we were late. I knew it was unfair to put her in the
middle, knew how it felt because I had been that girl, too, the little emissary Mom
sent upstairs to rouse Dad for dinner. I’d strike the mattress with the heel of my hand

15
and watch it bounce; he’d wake with a snort. Dad would stare at me with wild,
bloodshot eyes. I blamed myself for his failure to recognize me, for the way he
stayed in his room, unknowable, his earbuds nullifying my existence.
I used to think I could read Vinh’s mind. Now I sit in my car, unknowing. Sometimes
I sit so long I imagine I hear the gates of time creaking shut. It’s not too late, I think. I
will save myself from this man. And that’s when I see him. My husband. He is
hurrying out of the gate and down the driveway toward the car, and he looks worried.
Source: https://creativenonfiction.org/writing/out-the-gate/

Rubrics for Writing a Mini Critique

16
 ADDITIONAL ACTIVITY/IES
Directions: Look for one nonfictional text from any available sources. Read the text
with understanding. Analyze the nonfictional text considering its genre. Refer to the
prompt questions as your guide in analyzing the text, particularly considering the
literary elements available in the genre. Do this in your notebook.

I. Source of the Text

________________________________________________________________
II. Title of the Text
________________________________________________________________
III. Author
________________________________________________________________
IV. Genre of the Text
________________________________________________________________
V. Summary (2-3 sentences)
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
VI. Literary Elements (Theme, Style, Point of View, Details and Descriptions,
Setting and Scene)
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________
________________________________________________________________

17
 18
WHAT I KNOW
1. C
2. D
3. C
4. C
5. C
6. C
parts. 7. D
the Answers may vary
The teacher will check all
8. B
9. A
Notes to the Teacher! 10. B
WHAT’S IN
1. A, J
2. E, K
3. D, I
4. C, M
5. B, H
6. G, N
WHAT’S NEW
(The answers depend on the
learner’s response on the activity.)
WHAT’S MORE WHAT I HAVE LEARNED
Independent Activity I (The answers depend on the
learner’s response on the
(The answers depend on the learner’s
activity.)
response on the activity.)
WHAT I CAN DO
Independent Assessment II
(The answers depend on the
(The answers depend on the learner’s
learner’s response on the
response on the activity)
activity.)
ADDITIONAL ACTIVITY/IES
ASSESSMENT
(The answers depend on the
(The answers depend on the learner’s
learner’s response on the
response on the activity)
activity.)
ANSWER KEYS
References

Gorgon, Eugenia R. et.al., English Expressways III. Quezon City: SD Publications, Inc., 2007.
Aguilla, Augusto Antonio et.al, Wording the World: The Art of Creative Writing. Imaging
and the Use of Imagery. Quezon City: C & E Publishing.
Holman, Clarence Hugh et,al, A Handbook to Literature. Figures of Speech. United
Kingdom: Macmillan Publishing House.
Guest Contributor. 2021. “The Birds: Grief.” Entropy. Last modified April 2, 2021.
https://entropymag.org/the-birds-grief/.
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