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GRADE 11
CREATIVE WRITING

Quarter 2 – Week 3
Lesson:
  Content of Fiction
Content Standard:
 The learners have an understanding of imagery and figures of speech make language creative.
Performance Standard
 Prerequisite skill: Using imagery and figures of speech in writing experiences
 Utilizing language to evoke emotional and intellectual responses from the reader.
Objectives: 
1. Define creative writing. 
2. Explain the nature of creative writing. 
3. Appreciate creative works of literary authors through critical analysis ofits content. 
4. Write their creative writing piece based from their personal experiences. 
References:
Values: wisdom
Facilitator: Ms. Mary Grace O. Gumaling
NOTE: Read and follow the instructions carefully. Good luck!

Forms of Fiction
Understanding: Writing fiction develops one’s creativity and imagination.
Knowledge:
 Fiction
 Elements of a Story
Skills:
 Identifying elements of fiction
 Writing a striking scene for a story

ELEMENTS
1. Character – are the people who or animals that makes things happen in fiction.
a. Flat character – a character drawn with only surface facts and details
b. Round character – a fully developed character as opposed to a flat character.
2. Setting – presents the time, place, weather, and season. It helps create mood or the general feeling of the
story.
a. time and place c. sensibilities that lead to specific modes
b. sociological, cultural, political, religious

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3. Plot – is the sequence of interrelated actions or events that make up a story.
Specifically, the plot contains the:
a. Exposition – the start of the story or the introduction of the problem/conflict.
Types of Conflict
Man vs. Man Example:
Struggles of the character against another character, Mark and Billy are competing for the same lady.
a group, or society’s rules
Man vs. Man Example:
Struggles of the character against a force of nature The man is protecting his house and family from a
super typhoon.
Man vs. Man Example:
Struggle of the character with personal feelings, Angelo did not study for a test so he wanted to
values, or needs cheat.

b. Rising Action – the tension or uncertainty developing out of the conflict increases
c. Climax – the point of highest emotional intensity
d. Falling Action – the action which follows the climax
e. Resolution (or Denouement) – the solving of the problem
Example:
Conflict Mathilde was invited to attend an important affair, but she had nothing to wear.
Climax Mathilde lost the diamond necklace she borrowed from Madame Forestier.
Falling Action Mathilde and her husband worked hard to replace the diamond necklace.
Denouement Mathilde and Madame Forestier met after ten years. Mathilde found out that the diamond
necklace she replaced was fake.

4. Point of View – the eyes and the mind through which the reader views the unfolding events
a. First person – can make the story personal; it can build a strong response to a character, but the reader
can only tell what the character sees, hears, knows, and believes.
b. Third person (limited) – focuses on one character’s perspective. In fact, the narrator can enter the
character’s mind.
c. Third person (omniscient) – most flexible outside narration. It gives a wider view of the story.
5. Theme – is the central idea or meaning of a story
a. moral b. Dramatic Premise c. Insight

Techniques and Literary Devices

1. Tone and Mood
Tone is the attitude of the author toward the writing and the readers. It is achieved through word choice,
sentence construction, and word order. A writer's tone can be serious, satirical, sarcastic, solemn, etc.
Mood is the general atmosphere created by the author's words. It is the
feeling that the readers get from reading the work.
Examples:
joytul, gloomy, frightening, mysterious, etc.
2. Foreshadowing is a literary device through which the writer gives a hint of a coming event in the story. It
creates an atmosphere of suspense for the reader to want to know more.
Example:

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“She suffered endlessly, feeling herself born for every delicacy and luxury. She suffered from the poorness of
her house, from its mean walls, worn chairs, and ugly curtains. All these things, of which other women of her
class would not even have been aware, tormented and insulted her."
3. Symbolism and Motif
Symbolism is the art of representing things by using symbols or by attributing symbolic meanings or
significance to objects, events, or relationships.
Examples:
sword - justice, dove - peace, rose - love, etc.
Motif is any recurring element (word, phrase, action) that has symbolic significance in the story.
Examples:
colors, death, gluttony, alcohol, drugs, etc.

Story Time
Read the following short story carefully and identify the precious elements that make up the story.
Short Story: The Story of an Hour
The Story of an Hour
Author: Kate Chopin

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as
possible the news of her husband’s death.

It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing.
Her husband’s friend Richards was there, too, near her. It was he who had been in the newspaper office
when intelligence of the railroad disaster was received, with Brently Mallard’s name leading the list of “killed.”
He had only taken the time to assure himself of its truth by a second telegram, and had hastened to forestall
any less careful, less tender friend in bearing the sad message.

She did not hear the story as many women have heard the same, with a paralyzed inability to accept its
significance. She wept at once, with sudden, wild abandonment, in her sister’s arms. When the storm of grief
had spent itself, she went away to her room alone. She would have no one follow her.

There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a
physical exhaustion that haunted her body and seemed to reach into her soul.

She could see in the open square before her house the tops of trees that were all aquiver with the new spring
life. The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes
of a distant song which someone was singing reached her faintly, and countless sparrows were twittering in
the eaves. There were patches of blue sky showing here and there through the clouds that had met and piled
one above the other in the west facing her window.

She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came
up into her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.

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She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now
there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue
sky. It was not a glance of reflection, but rather indicated a suspension of intelligent thought.

There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it
was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the
sounds, the scents, the color that filled the air.

Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to
possess her, and she was striving to beat it back with her will — as powerless as her two white slender hands
would have been. When she abandoned herself, a little whispered word escaped her slightly parted lips. She
said it over and over under her breath: “free, free, free!” The vacant stare and the look of terror that had
followed it went from her eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood
warmed and relaxed every inch of her body. She did not stop to ask if it were or were not a monstrous joy that
held her. A clear and exalted perception enabled her to dismiss the suggestion as trivial.

She knew that she would weep again when she saw the kind, tender hands folded in death; the face that had
never looked save with love upon her, fixed and gray and dead. But she saw beyond that bitter moment a
long procession of years to come that would belong to her absolutely. And she opened and spread her arms
out to them in welcome. There would be no one to live for her during those coming years; she would live for
herself. There would be no powerful will bending hers in that blind persistence with which men and women
believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention
made the act seem no less a crime as she looked upon it in that brief moment of illumination.

And yet she had loved him — sometimes. Often she had not. What did it matter! What could love, the
unsolved mystery, count for in face of this possession of self-assertion which she suddenly recognized as the
strongest impulse of her being!

“Free! Body and soul free!” she kept whispering.

Josephine was kneeling before the closed door with her lips to the keyhole, imploring for admission. “Louise,
open the door! I beg, open the door — you will make yourself ill. What are you doing, Louise? For heaven’s
sake open the door.”

“Go away. I am not making myself ill.” No; she was drinking in a very elixir of life through that open window.
Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of
days that would be her own. She breathed a quick prayer that life might be long. It was only yesterday she
had thought with a shudder that life might be long.

She arose at length and opened the door to her sister’s importunities. There was a feverish triumph in her
eyes, and she carried herself unwittingly like a goddess of Victory. She clasped her sister’s waist, and
together they descended the stairs. Richards stood waiting for them at the bottom.
Someone was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-
stained, composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident and
did not even know there had been one. He stood amazed at Josephine’s piercing cry; at Richards’ quick
motion to screen him from the view of his wife.

But Richards was too late.

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When the doctors came, they said she had died of heart disease — of the joy that kills.

Activity 1: Freytag’s Pyramid

Directions
After reading “The Story of an Hour” by Kate Chopin, the attached Freytag’s Pyramid Worksheet. Into each
textbox, list information from the story for each plot element:

Exposition: List the characters and time period.

Inciting Incident: Identify the first problem in the story.
Rising Action: List the events (scenes) that lead up to the climax.
Climax: Identify the turning point in the story.
Falling Action: List events that unfold after the climax.
Denouement (Resolution): Explain how the story ends.
Theme: Identify the theme of the story.