E.C.

BERNABE NATIONAL HIGH SCHOOL

SENIOR HIGH SCHOOL

CREATIVE WRITING –
HUMANITIES AND SOCIAL
SCIENCES (GRADE 12)

SUPPLEMENTARY LEARNING MATERIAL WITH

ACTIVITIES/ TASKS/ ASSESSMENT
Module 5 – Writing Fiction
(Elements of Fiction/ Character/
Point of View/ Plot/ Setting/
Conflict/ Theme/ Symbolism)
PAULO JOSEPH P. SANTOS, MAEd
SHS Teacher II-English

Student’s Name: ___________________________________________ Section: ____________

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Content Standards:
• The learners have an understanding of fiction as a genre and are able to analyze its
elements and techniques.
Performance Standards:
• The learners shall be able to produce at least one striking scene for a short story.
Most Essential Learning Competency:
At the end of this learning module, 100% of the learners with at least 80% level of
proficiency will be able to:
• Identify the various elements, techniques, and literary devices in various modes of fiction
(HUMSS_CW/MPIg-i-11); and
• Write journal entries and other short compositions exploring key elements of fiction
(HUMSS_CW/MPIg-i-13).

1
Overview on the Elements of Fiction
Writing

Let’s read and discuss!

In the first quarter, you have learned the basic and complex ways of writing poetry with
your own style after digging various types. In this quarter, you will continue your journey in
writing fiction – a world where you can create and venture.
Fiction is the opposite of nonfiction. It is surreal. It is an idea that exists in your mind
and is waiting to be unleashed through concrete planning and writing. For you to be able to start
writing your piece, you must understand the concepts and elements of fiction and how they are
formed. If poetry taught you to be deep, fiction will teach you to be adventurous and imaginative
– a way to see the aesthetics of fantasy and the combination of what is real and what is not.
According to Burroway (2007), “All writing is imaginative. The translation of experience or thought
into words is of itself an imaginative process. Although there is certainly such a thing as truth in writing,
and we can spot falsity when we encounter it in print, these qualities are hard to define, hard to describe,
and do not always depend on factual accuracy. Often what is most original, that is, imaginative, is precisely
what rings true.”
It should be noted that writing fiction requires the routine of reading. You yourself need
to become a reader of a writerly sort, reading greedily, not just for entertainment but also
focusing on the craft, the choices and techniques of the author; “reading the greats,” in novelist
Alan Cheuse’s words, “in that particular way that writers read, attentive to the peculiarities of the
language… soaking up numerous narrative strategies and studying various approaches to that cave in the
deep woods where the human heart hibernates.”
Burroway (2007) furthered that reading as a writer involves not asking, “What does it
mean?” so much as, “How does it work?” “Why has the author made this choice of imagery, voice,
atmosphere?” “What techniques of language, pacing, character contribute to this effect?” Realization
happens when you write.
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Task No. 1
Match the titles of the fictional novels with movie adaptations in Column A to their
authors in Column B. Write the letters of your answers in the spaces provided before the
numbers.
Column A Column B
__________ 1. The Adventures of Tom Sawyer a. Stephen King
__________ 2. The Hunger Games b. Nicholas Sparks
__________ 3. Paper Towns c. Suzanne Collins
__________ 4. Carrie d. Jane Austen
__________ 5. Dracula e. John Green
__________ 6. The Lord of the Rings f. Nathaniel Philbrick
__________ 7. Pride and Prejudice g. Mark Twain
__________ 8. A Walk to Remember h. Ransom Riggs
__________ 9. Miss Peregrine’s Home for Peculiar i. Bram Stoker
Children
__________ 10. In the Heart of the Sea j. J.R.R. Tolkien

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2
Character as an Element of Fiction
Writing
Let’s read and discuss!
The development of the characters is important to the short story. The characters are the
heart of the story. It is an imagined person who inhibits a story, but characters may also be based
on real people whom the writer uses as models. According to Margaret Lucke, “Your idea won’t
come alive, won’t begin to become a story, until some characters claim it as their own; the story comes out
of their motives, their desires, their actions, and interactions and reactions.”
Types of Characters
1. Stock Characters or Stereotyped Characters - the characters in commercial fiction are
usually stereotypes. These are characters that require less-detailed portrayal. We already
know them well since they have dominant virtues and vices. Most writers attempt to
create unique individuals who are multifaceted just like the people we meet – not the
stereotypes. Characters must be solid, complex, and real, to be believable. For example,
Cinderella’s Stepmother.
2. Hero/ Heroine - the hero is the good guy or leading male character who opposes the
villain or the bad guy. The leading female character is the heroine. The hero and the
heroine are usually larger than life like those found in epics and swashbuckling tales.

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They are often stronger or better than most human beings and possess godlike traits and
qualities. For example, Captain America is a hero while Black Widow is the heroine.
- In most modern fiction, however, the lead character is just an ordinary human being
like the rest of us. This type of character is also called the antihero because he does
not fit the traditional heroic mold. The antihero is a flawed character who is more
than just a good guy. Readers either regard him with pity or disgust, unlike the
traditional hero who is admired and extolled. For example, Jordan Sanders in the movie,
Little.
3. Protagonist - it is an older and more neutral term than “hero” for the leading character
which does not imply either the presence or the absence of outstanding virtue. He or she
is the person with whom readers most closely identify. The protagonist’s opponent is the
antagonist. It is not safe to call a character a hero because he/she is not always heroic.
He/she is the person with which the story is most concerned. (Note that some stories use
animals as the main character.) For example, Batman in DC, Iron Man in Marvel, and Robin
Hood.
4. Antagonist – the antagonist does not have to be a human being. If he/she is a person,
then the term is “villain.” This character does not have the main character’s best interest
at heart. In some stories, nature is the antagonist. For example, Queen Ravenna in Huntsman
and the Winter’s War is a villain while the tragic disaster in the movie 2012 is the antagonist.
5. Foil - a foil serves as a contrast to the major character to highlight the particular qualities
of the latter. For instance: Harry Potter is the major character while Severus Snape is the Foil.
6. Flat Characters and Round Characters - characters in short stories are often described
as either flat characters or round characters. Flat characters are stock characters or
stereotypes who are somehow capable of advancing the plot, but require only the barest
outlines of description. Round characters are usually the protagonists. They have more
than just one trait. They are complex and at times complicated. Round characters possess
traits that may even seem contradictory. The writer explores the character’s past and goes
deeper into his or her unconscious mind. Round characters seem very real to readers just
like our friends, neighbors, family members, and colleagues. For example, the bullies in
some stories are flat characters while Maleficent is an example of a round character.
7. Static and Dynamic Characters - characters can also be termed as either static or
dynamic. Static characters do not experience basic character changes through the course
of the story while dynamic characters experience changes throughout the development
of the story. A dynamic character may undergo sudden changes but these are usually
expected based on the events of the story. For example, Lord Voldemort in Harry Potter series
is a static character while Queen Freya of the North in Huntsman and the Winter’s War is a
dynamic character.

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Seven Portrayals of Characters (Janet Burroway, 2007)
In her book, Imaginative Writing: The Elements of Craft (2 nd Edition), Janet Burroway
(2007) identified the seven portrayals of characters. Take a look at the list indicated below:
a. Character as desire – indicating the poignant and obsessive nature, as well as the
morality and immorality of the characters;
b. Character as image – presents the descriptive qualities and characteristics of the
characters such as the colors of hair, eyes, skin, the height and weight, the clothing, the
way they laugh, the objects they carry, and so on;
c. Character as voice – involves moving beyond inventing or remembering the characters
to inhabiting their persona, significantly different as a person you are (the writer). It also
pertains to building the mood and tone in the story;
d. Character as action – reveals the will of the characters in showing their actions and
potentials as subject to their nature. Their actions are what the readers are always waiting
for. What they do leads to building of conflicts and resolutions;
e. Character as thought – leads us to the minds of the characters and gives us the experience
of thinking the way these characters think. When readers learn the virtues and thinking
patterns of the characters, it is an indication that the writer who created them is effective;
f. Character as presented by the author – is an indirect method also known as “authorial
interpretation.” It tells us the character’s background, motives, values, virtues, and the
like.
g. Character as conflict – produces the adversary in the story. Without these character
portrayal, there is no struggle and hardship, and there is no resolution or ideal
denouement.
Keeping Track of Characters in Writing Fiction
James V. Smith, Jr. in his book, The Writer’s Little Helper (2006) shares a tool on how
writers can keep track of their characters.

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Task No. 2
Use the tool designed by Smith (2006) above in creating one significant character suitable
for any genre of the story you have in mind.
CHARACTER □ Master □ Major□ Minor Role/ Title: ___________________
Pertinent Bio Physical Distinctive Language
________________________ Ht/Wt: _________________ _________________________
________________________ Hair: ___________________ _________________________
________________________ Eyes: ___________________ _________________________
________________________ Nose: ___________________ _________________________
________________________ Mouth: _________________ _________________________
________________________ Hands: __________________ _________________________
________________________ Striking Feature _________________________
________________________ ________________________ _________________________
________________________ ________________________ _________________________
________________________ ________________________ _________________________
________________________ ________________________ _________________________
_________________________
Goal/Motivation - Fatal Flaw _________________________
1.___________________________ _________________________
2.___________________________ _________________________
3.___________________________ _________________________
+ Saving grace _________________________

Name: _____________________________________________ Age: ___________________

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3
Point of View/ Plot/ and Setting as
Elements in Fiction Writing

Let’s read and discuss!

The following are the other main elements in writing fiction.
POINT OF VIEW
This element of the story is how the story is told. It also determines who will be the
narrator of the story.
a. First Person – one of the characters tells the story and interacts in the story as well.
It uses the pronouns I, me, we, us, my, mine, our, ours, myself, and ourselves.
b. Second Person – the author speaks in a second person by using the pronoun “you”
and addressing it to a general reader. Other pronouns used are your, yours, and
yourself.
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c. Third Person Omniscient – the author can narrate the story using a “god-like”
position in which he can see into the minds of the characters.
d. Third Person Limited – still in third person, the narrator will only know what the
character knows or what the author tells the narrator.
Note: Third person POVs use the pronouns he, she, it, they, them, him, her, himself, herself,
itself, themselves, his, and hers.
PLOT (THE USE OF FREYTAG’S PYRAMID)
The plot is the arrangement of the events in the story. The plot should follow some logical
sequence of events. There are five elements to look in the plot:
a. Exposition – the initial events, the introduction of the characters, and beginning of the
story.
b. Rising action – the beginning of the conflict. Complications arise.
c. Climax – this is the highest point of interest in the story. It is the turning point that aims
toward the conclusion of the story.
d. Falling action – the events that occur which begin to resolve the conflict.
e. Denouement – this is the final outcome of the story.

SETTING
Setting refers to the place and the time where and when an event happens. Where a story
takes place is also called its locale. When you set your story in a particular geographic area, you
are bringing the place alive for readers who live somewhere else.
As with time, you tell your readers whether your story happens during daytime or
nighttime; on a sunny or rainy morning; a few months ago or two hundred years ago. But more
than the place and time, setting signifies a bigger environment or surrounding. A story becomes
more realistic if you are able to incorporate the following dimensions in depicting setting.
a. Setting (Physical Environment) - refers to all things or characteristics that are
discernible, such as shapes, colors and textures, natural features, and landscapes.
Physical characteristics may also include smaller details, such as the size of a room, an
unmade and dirty bed, or a drop of water on the floor.

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b. Setting (Sociological Environment) - refers to the cultural, economic, and political
attributes of a place and its inhabitants. It reflects the inhabitants’ understanding and
experience of the world they live in as well as their beliefs and attitudes about people and
the roles they perform in society, the norms and taboos as well as the dynamics and
dimensions of culture and traditions
c. Setting (Psychological Environment) - refers to the “personality” of a place used as the
setting. For example, the old mansion is dreary; the neighborhood is cheerful; the one
across town is sleepy.
The place, the time, and the bigger environment that the setting signifies create an
atmosphere that affects both the characters and the readers. In literature, atmosphere or mood
is the element that evokes certain feelings or emotion in readers. Atmosphere is created or
conveyed by the words used to describe the setting; it can also be reflected by the way the
characters speak.

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4
Conflict/ Theme/ and Symbolism as
Elements in Fiction Writing
Let’s read and discuss!
The following are the other main elements in writing fiction.
CONFLICT
In every story, there has to be a problem. The main character has to be challenged in
some way or the story will go nowhere. Conflict is an event, situation, or circumstance that
shakes up a stable situation; it is a struggle between two opposing forces. It propels the events of
the story and raises the issues that must be resolved.
A. External Conflict
External conflict arises between the character and an outside force:
a. Man vs. Nature – an external struggle which positions the protagonist against an
animal or force of nature.
b. Man vs. Man – involves stories where characters are pitted against each other.
c. Man vs. Society – involves stories where man stands against a man-made institution,
such as the family, the Church, Universities, the government and the mass media.
B. Internal Conflict
Internal conflict arises within the character himself:
d. Man vs. Himself – a struggle that involves a character trying to overcome his or her
own nature or make a choice between two or more paths.
THEME
This is the controlling idea or the insight that the author wants the reader to understand
at the end of the story. The theme is often the author’s thoughts or view of a subject. It may be:
Dramatic Issue
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Moral
Insight
(Note that the proper way in writing the theme should be a complete sentence.)
Other specific word themes are indicated in the table below:
Philosophy Progress/ Development Nature
Camaraderie Love/ Hate Peace/ War
Dirty justice Bitter injustice Marriage/ Divorce
Horror/Terror Spiritual/ Séance Gender/ Sexuality
Social Statuses Good/ Evil Beauty/ Destruction

SYMBOLISM
When used as a literary device, symbolism means to imbue objects with a certain
meaning that is different from their original meaning or function. Other literary devices, such as
metaphor, allegory, and allusion, aid in the development of symbolism. Authors use symbolism
to tie certain things that may initially seem unimportant to more universal themes.
The symbols then represent these grander ideas or qualities. For instance, an author may
use a particular color that on its own is nothing more than a color, but hints at a deeper meaning.
One notable example is in Joseph Conrad’s aptly titled Heart of Darkness, where the “darkness”
of the African continent in his work is supposed to symbolize its backwardness and the
possibility of evil there.
(Note: Archetypal Symbols in Literature by Carl Jung are stated in Module 3.)

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Performance Assessment 5
Read the Part 3 of the short story on Zombie Apocalypse series and answer the questions
that follow.
A Treacherous Tactic (Part 3 – Zombie Apocalypse)
By PJ Tenten Lee
Stupidity is like a virus that spreads, that is,
Another deadly plague that threads.
Victory is not the most achieved goal,
Ending this pandemic is the best poll.

Lavish, conspicuous, and evil,

Even those with power victimized people.
Against their belief of survival,
Varying with their principle of collateral.
Ego and pride, those are the masked guys.

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Today marks the 22nd day of the outbreak and we are still plotting our escape plan. There are
also missions to be done at the heights and depths of the danger we know our number one foe. The three
of us took turns in taking a shower, changing clothes, and guarding the area. We learned to be both
independent and cooperative in order to survive and fulfill the agenda we transcribed.
John has been quiet for a while and it caught my attention. “Hey, are you alright? What’s
bothering you?”
“I am thinking of going out there to check my classmates’ houses to find out if they are still alive,
but I know that you won’t let me,” he said.
“You’re probably right. I won’t let you… go alone,” I responded. “You’ve grown to be
courageous and there’s no reason for me to be afraid at a time like this. I know how it feels being alone
before I found you. So, if you wish to do a little side mission, I will go with you, before we hit the open
road.”
As John smiled pleasantly, Kuya Isko heard us and joined the conversation. “You’re not going
anywhere without me, I guess. Come on, let me join you.”
“Are you sure?” asked John.
“It’s more than a yes. We can search for a lot of houses if we all go and to ensure our safety. We
should be together,” insisted Kuya Isko.
Bringing some of our saved bullets is enough to protect our asses. I don’t know how to fire a gun
yet, so I am more confident in a melee weapon. With us are double pistols, a shotgun, three knives, and
a baseball bat. When we left our safe house, we did not totally lock it so that we could be able to enter
smoothly. I had a feeling that someone needs a rescue. Maybe John was right, hope is still amongst us.
He led the way, I was in the middle, Kuya Isko was right behind us, scrutinizing the surroundings for
possible attacks. The town was very silent like a ghost-built cavern. The era of the doom’s days mounted
a looming aura that troubled my heart remembering what I told them, my comrades, that there could be
some biters who could move fast. We need to be alert.
Our footsteps were not bragging feet in demise. We cautiously entered every house John knows.
The sun triggered the hot rays and we embraced the heat, tickling our skins to induce salty sweat. I
swallowed the saliva stuck in my mouth as we continued to walk further. Forty minutes passed and we
succeeded in meeting someone – not a human – but two biters in the down street near the wet market
and the church. “Don’t shoot,” I said, “let me handle this.” I approached the biters as I gripped the
baseball bat heavily. It was obvious that the zombies were too slothful to move. When their eyes met
mine, their expression turned famished to taste me and my flesh, their thick bile covered their lips and
their rusty teeth. They scowled and growled and gritted, but I grabbed my knives and cut their knees.
They knelt and I smashed their sturdy heads.
“That’s the kill of the day,” Isko joked around. And so, we searched for three more hours, killing
biters after biters. I wondered why there weren’t so many zombies around. I wondered why there were
no other survivors staying in any house.
“I am asking myself the same questions. Do you think maybe they have gone away safely?
Because I haven’t seen any of my classmates at this moment who turned,” explained John.
Well, he had a point. It was either an early rescue operation or they just flew off with their
families. We were able to check everything in the town, but we failed to find an alive soul. Kuya Isko
told us to get supplies before we go back to the safe house. Pharmacies, grocery stores, convenience
stores, we even tried something fun in the pizza and coffee house. We felt safer for the moment, and
when we headed back, I instantly turned on the radio to listen if there were news updates. I checked my

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fully charged phone as I struggled to connect with a stable internet connection. The telecommunications
companies may have been downed and crashed, but there are other ways to get online.
“I am getting flustered on this,” I smirked right to my phone.
“Don’t pressure yourself. What if you change sim cards? I got some when we were in the store
earlier,” said Kuya Isko.
“Really? Let me try it.”
New sim cards may help me access even an inch of the data connection. Once I get online, I will
surely jot down all the codes and information from PESTRON. I hope I.F. Conner uploaded more data
that we can utilize. I must admit, the CIA became more helpful and even if the agency restricted access,
there were agents who couldn’t help but divulge such Intel in different codes. The codes are difficult to
read and analyze, but it’s better than nothing. After five minutes of buffering, the site popped up. I entered
my username and password: @hawthorns&roses1994/ to••••••aze. Then, I scrolled down for more, but
there were only a few articles. A notification glazed my eyes. What was this? I clicked on it and it led me
to top-secret information which states:
Warning: Treacherous Mass Killing
By: I.F. Conner
I trust you with this information @hawthorns&roses1994. You are the
only one from the Philippines I have tracked down alive among the agents.
I know that you can find the other code in the archives saved by
@lunaticthunder201. He is not a mole, but he unlocked something crucial.
Unfortunately, he is dead. But I located his address based on his
computer’s IP code and it says that he lives in Bonifacio Global City in
Taguig, Cypress Towers Condominium, Building Alpha, 7th floor, Room 704.
His computer might still be there, and once you have arrived, please do
contact me. One more thing, here is a data that may interest you. …. ….
… …. ….. … … …. …. Please stay alive! I hope you can make it.
I felt a sudden heap of the moment knowing that this whole damn thing was partly intentional –
people turning to zombies is all a game. But who would think of this as a joke?
“Did you find anything?” Kuya Isko inquired.
“I can’t believe it. I just can’t. I.F. Conner was able to decipher some codes. She found out about
bombing incidents before this shitty Zombie Apocalypse began. There’s an alleged mass bombing of
positive cases in quarantine areas like hospitals and communities. They thought they could stop the virus
or lessen the population, but they were wrong. The gaseous smoke only increased the level of infection,”
I calmly explained.
“In what way the smoke intensified the infection?” John asked.
“The data tells that the bombs are not just bombs. These are contaminated with the plasma of
the patients who severely died because of the virus. Moreover, the bombs contain such chemicals that
we have to know in order for us to deliver the information to Conner. She’s in a safe place waiting for it.
It is important that we find it out to help her devise a cure and to stop this wreaking havoc. She told me
the place where we could find the Intel, but we’ll be needing more gas and supplies. We’re heading to
Manila.”
They did not disagree. At that juncture, we set off and stopped by the gasoline station. We
grabbed whatever we need and Kuya Isko drove the van, and the long journey began. He was careful,
not fast, and our eyes were furtive and observant, still hoping that there could be survivors that we know.
Our lives should be meaningful. Many people died in vain without even having the chance to struggle
for their lives. This world is now in chaos, but we should try to stop it. We are entering the void, the sole

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foyer of the enemies who dared to launch their treacherous tactics. Yet, as we have our chances, we
know that the time sets its count, limiting our paces of actions. Being fast is not the best way, it’s about
patience and appropriate strategies. The three of us have not come this far to die now. Conner needs me,
us.
Along the road, John requested to stop because he noticed a bicycle he’s familiar with. We all
went out, searching for the environment, no biters so far. John became so serious with his face as if he
was telling me that someone needed us. We followed him, darting through the bushes that led us to trails
of footprints. Someone must have been running a moment ago, then, we heard a scream from a guy
coming from the open fields. The fences were strangled, a clue that someone was trying to get away from
a biter. John sprinted and we did, too, holding our weapons. On the way, I tripped myself and a biter
came near me. I let go of my melee weapon as the zombie intended to viciously bite me. My hands
warded off the ugly dangling monster, but it was so strong it almost got me. Kuya Isko shot it in the
head, but the sound signaled more zombies in the way. “Come on, let’s run!” he shouted.
We quickly tracked John’s trail and we saw him superbly marring the heads of three biters, more
were coming. We helped him and I was awestricken seeing the injured guy lying on the ground. John
stabbed the head of the other one and lent a hand to the guy who happened to be another of my students.
However, there was no time in drama and reunion for we had to get out because a fast biter was on our
way. With his shotgun, Kuya Isko assented a direct hit on the head of the quick zombie. We ran as
hastily as we could to the van. As we hit the road again, I felt my tears falling because of intense worry.
Lucky. I clutch the first aid kit without saying a word, just crying a little. Our emotions were again
concocted. John saved Louis Clyde. He is alive, just injured by the barbed wires of the fence. As he
spoke, he was crying, too. He said that he didn’t know where his family is. He camped with his friends
the night before the apocalypse. His companions did not make it. When he entered his house, no one
was there. Lucky that we found him. I just looked at his face, sullen eyes, sad expression, tears like of
the lit candle. I tapped his hand after I treated his leg.
“You’re safe now, everything will be alright.” And when we finally found a little hope, my empty
heart was filled with joy I cannot define. (To be continued)

Answer the following questions on a blank slate/ paper:

1. What are the differences of the characters in terms of their personalities?
2. What situation of reality can be seen in the story?
3. What point of view is used by the writer? Explain.
4. Do you imagine the setting? How?
5. What is the overall theme of the story?
6. How did the writer instill the element of surprise and the thrilling effect?
7. What makes the story a work of fiction?
Scoreboard:
Task #1 (10 pts.) - ________________
Task #2 (40 pts.) - ________________
TOTAL (50 pts.) - ________________
Performance Assessment #5 (70 pts.) - ________________

References:
Wigley, J.J., Aguila, A.A., & Galan, R.S. (2017). Wording the World: The Art of Creative Writing for
Senior High School. C&E Publishing, Inc. Quezon City, Philippines.
Burroway, J. (2007). Imaginative Writing: The Elements of Craft (2 nd Edition). Penguin Academics.
Florida State University.
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