CW Module 8.2.pdf

i
SHS CREATIVE WRITING MODULE
Quarter 2 – Module 8.2: Decoding the Blueprints of the Past and
the Future
Citing Examples of Intertextuality
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 book 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.
Regional Director: GILBERT T. SADSAD
Assistant Regional Director: JESSIE L. AMIN
Development Team of the Module
Author: CARLENN P. MERIN
Editor: JOE-BREN L. CONSUELO
Reviewers: JOE-BREN L. CONSUELO and SDO CAMARINES NORTE
(headed by EMMA V. DASCO)
Illustrators: JOHN LEONARD P. CUIZON
KENNETH OCAMPO
Layout Artist: CRIZ T. NUYLES, ANTONIO L. MORADA
www.shsph.blogspot.com

ii
Introductory Message
For the teacher:
Welcome to the SHS CREATIVE WRITING MODULE!
This module was collaboratively designed, developed and reviewed by
educators from public institutions in Department of Education Region V (Bicol)
to assist you, the teacher in helping the learners meet the standards set by the
K to 12 Curriculum while overcoming their personal, social, and economic
constraints in schooling.
This learning resource hopes to engage the learners into guided and
independent learning activities at their own pace and time. Furthermore, this
also aims to help learners acquire the needed 21st century skills while taking into
consideration their needs and circumstances.
As a teacher, you are expected to orient the learners on how to use this
module. You also need to keep track of the learners' progress while allowing
them to manage their own learning. Furthermore, you are expected to
encourage and assist the learners as they do the tasks included in the module.
For the learner:
Welcome to the SHS CREATIVE WRITING MODULE!
This module was designed to provide you with fun and meaningful
opportunities for guided and independent learning at your own pace and time.
You will be enabled to process the contents of the learning resource while being
an active learner and at the same time an adventurer. Diego your learning
companion is with you as you embark in this learning journey. You will transport
in the different realms to learn and perform noteworthy tasks.
If you encounter any difficulty in answering the tasks in this module, do not
hesitate to consult your teacher. Always bear in mind that you are not alone.
We hope that through this material, you will experience meaningful
learning and gain a deep understanding of the relevant competencies. More
so, use your notebook or a separate sheet of paper in noting significant details
and pieces of information in the different modules and even in accomplishing
the tasks given to you. You can do it!

Congratulations, you have just unlocked a new journey. As one of the Knights of
the Pen Kingdom, are you ready to start your quest? Great! Your Mighty Guide
Diego is here to help you pass each task. Earn ____ points to achieve
the magical pen. This will be your weapon to defeat the hideous Copy Beast.
In the previous module, you have learned the definition and basic types of
intertextuality. To understand it better, this module will provide you examples of
drama where intertextuality was used
Objectives:
1. Enumerate examples of Allusion, Appropriation, Parody, Quotation and
Adaptation;
2. Identify the type of intertextuality used in a text; and
3. Apply any type of intertextuality in a chosen Filipino Drama.
INTERTEXTUALITY is the way that one text influences another. This can be a
direct borrowing such as a quotation, or slightly more indirect such as parody,
allusion, or translation
It’s time again to add new words in your word bank.
Direction: Decode the jumbled letters by using the clues in the message box.
Write your response below each box.
a government in which a small group exercises control especially for
corrupt and selfish purposes
Reply - _________________________(CLIYRAOHG)

an invented prose narrative that is usually long and complex and deals
especially with human experience through a usually connected
sequence of events
Reply - _________________________(EVONL)
to make foul (as with dirt or waste)
Reply - _________________________ (EDFELI)
Direction: Examine the photos below then answer the guide questions that
follow.
Score Board
Reward Points:
3 points = Great job!
2 points = Nice!
0-1 point = Pls. retry

Guide Questions:
1. Are the characters in the pictures familiar to you? _____________________
2. Enumerate the names of the characters that are familiar to you.
_____________________
_____________________
_____________________
3. What makes them different from their usual photos?
______________________
Another example of intertextuality is when the author of the novel is influenced
or inspired by another author of another novel or story.
Patience is a virtue and it pays off too. Come and claim your prize.
Score Board
Reward Points:
5 points = Outstanding
4-3 points = Satisfactory
2-1 point = Unsatisfactory. Please retry.

Let’s have a quick look back about Intertextuality. It was first introduced by Julia
Kristeva in the late 1960s. It means that a literary work is not simply the product
of a single author, but of his/her relationship to other texts (both written and
spoken), and to the structure of language itself.
There are different types of intertextuality. These are the following:
Appropriation
Allusion
Parody
Quotation
Adaptation
To give you a clearer idea about these types, here are some examples of well-
known novels, movies, and plays around the world.
1. Appropriation is where a text is adapted from the original text
a. The image on the left is the novel called Emma written by Jane Austen. It
was reimagined into a film starring Gwyneth Paltrow entitled Emma. This
is a true retelling of Emma story and this was then adapted into the film
Clueless. What they've done here is they have taken the general plot or
the ideas and some of the characters and brought that into a different
context they played with a plot a lot and have created quite an original
story. That technique is called appropriation.

b. One of William Shakespeare’s plays is The Taming of the Shrew which
was also adapted into film and was entitled 10 Things I Hate About You.
The setting of the story is in modern time, which makes it different from the
original story.
2. Allusion is where you allude to something so it's referenced to another text
so not only can it be a reference to a text but it can also be a person a place
or an event
T.S Eliot mentions a celestial rose in his poem Hollow Men’, this rose
comes from Dante’s Paradiso. This is an allusion because he did not
mention the composer.
3. Parody is a funny interpretation of a text. Its main purpose is to entertain
the reader.
An example of this is the `The theory and Practice of Oligarchical
Collectivism’, which is a humorous imitation of the Communist
Revolutionalist’s, Leon Trotsky’s writing.
4. Quotation: - A direct reference to another text with acknowledgement
of its composer
For example, In Margaret Atwood’s speech, Spotty Handed Villainesses,
she quotes Dame Rebecca West, saying, “Ladies of Great Britain…we have not
enough evil in us”
5. Adaptation A film, TV Drama, or stage play that is based on a written
work. Unlike in appropriation, this doesn’t include twist or great deal of changes
that will affect the plot of the original story.
JK Rowling’s Harry Potter series has a film adaptation

Mind map diagrams are used to outline information in a
visual and often colourful way. All you do is place a single word or phrase in
the centre of a sheet of paper and add associated ideas, words and concepts
radiating out from the centre, often with connecting links.
Directions: Make a mind map about types of intertextuality and its examples. On
the first blank, write the type of intertextuality and on the second, write its
example. You can freely cite stories that are close to your heart or built from your
interests like 21st century literature. You may use any genre. You can use the
template below or make your own design.
-
-
-
INTERTEXTUALITY
_______________
_______________
_______________
_______________
_______________
_______________
_______________
_______________
_______________
_______________
_______________
_______________
Score Board
Reward Points:
10-12 points = Outstanding
7- 9 points = Superior
1-3 = Unsatisfactory. Kindly retry.

Sometimes people say that they don’t want to read other novels in their genre,
because they don’t want to be influenced by them. Unfortunately, this often
means that they inadvertently write something that’s already been done or that
completely fails to match the expectations that readers have when they buy a
book in this genre and the next thing they know, they’re influenced by the ideas,
characters and whole structure of the story they’ve read.
It’s time to unfold the types intertextuality used in some famous writings.
Direction: Identify the type of intertextuality used in the following texts. Write your
answer on the space provided before each item.
__________________1. Martin Luther King’s writing was heavily influenced by the
work of Mohandas Gandhi, especially in the area of nonviolent resistance.
__________________2. The various chapters in Joyce’s novel correspond to the
adventures of Odysseus in Homer’s epic poem
__________________3. The Legend of Bagger Vance, which was adapted into a
movie starring Will Smith, was originally written as a re-telling of the Hindu epic
Bhagavad Gita.
__________________4. To Kill a Mockingbird is a 1962 American
drama film directed by Robert Mulligan was adapted from the novel with same
title.
__________________5. “My library is an archive of longings.” - Susan Sontag
Score Board
Reward Points:
5 points = Outstanding
2-1 point = Unsatisfactory. Please retry.

Remake-or-Break-Me Challenge
For this activity, you will be working in groups of 5. Since we are living in the new
normal setting where face-to-face interaction is prohibited, virtual conference
for video recording is highly suggested. Each person in the group should have
an individual task to complete.
Follow these steps:
1. Select any type of intertextuality technique that you either really liked or
struggle with but are now more confident with.
2. Have each person in the group select his/her role (Director, Researcher,
Script writer, video editor, etc.). All members need to play a character.
3. Select any Filipino drama and apply your selected technique. Write out
step by step process in order to recreate a scene from it.
4. Write out a script for your video presentation that describes all required
information or steps.
5. Determine what type of device and apps you will use to record your
presentation.
6. Rehearse your script multiple times.
7. Use your creativity to determine what type of video you will create. Don’t
be afraid to use your imagination.
Video must not exceed 3 minutes in length. Present your video recording next
meeting for teacher and peer evaluation.
The systems, codes and traditions of other art forms and of culture in general are
also crucial to the meaning of a work of literature. Texts, whether they be literary
or non-literary, are viewed by modern theorists as lacking in any kind of
independent meaning. They are what theorists now call intertextual. The act of
reading, theorists claim, plunges us into a network of textual relations. To interpret
a text, to discover its meaning, or meanings, is to trace those relations. Reading
thus becomes a process of moving between texts. Meaning becomes
something which exists between a text and all the other texts to which it refers
and relates, moving out from the independent text into a network of textual
relations. The text becomes the intertext.
You have just earned the magical pen. Learner, as your mighty guide, I am
proud of you for reaching this far. Congratulations!

Keep this safely. You will use this in your next journey.

VOCABULARY
1. Oligarchy
2. Novel
3. Defile
WARMING UP
1. Yes
2. Frankenstein, Mona Lisa,
Harry Potter and Peter Pan
3. The images show that
fictional characters are
accompanied by another
fictional character. They
were never together in one
movie.
More so with the painting
of Monalisa, it shows a
new design of her painting.
KEEPING YOU IN PLACE
1-5 Answers may vary
COOLING DOWN
1. Appropriation
2. Adaptation
3. Adaptation
4. Adaptation
5. Quotation

Allen, G. (2000). Intertextuality. 11 New Fetter Lane, London EC4P 4EE:
Routledge.
Education, M. (2018). Matrix Education. Retrieved from www.matrix.edu.au.
Shattock, A. (2016, Aug 1). Youtube. Retrieved from Aimee Shattock:
https://youtube/b913WoEHBo
Video Project Rubric. (2018, November Nov. 15). Retrieved from
www.uwstout.edu:
https://www2.uwstout.edu/content/profdev/rubrics/videorubric.html
Images
THEYETEE.COM
matrix.edu.au
janeaustendetectives.com
en.wikipedia.org
simonandschuster.com
deviantar.com
medium.com
APPENDIX
FIGURE 1
Video Project Rubric
ACTIVITY Exemplary 5 Proficient 4
Partially
Proficient 3
Unsatisfact
ory 1
POIN
TS
Use of Resources
and Citations
During Research
and Note Taking
Sources of
information
and graphics
are properly
cited using
citations.
All sources
of
information
are clearly
identified
and
credited
using
citations.
Most
sources of
information
are
identified
using
proper
citation.
No
citations
are
included.

Storyboard The
storyboard
illustrates the
video
presentation
structure with
thumbnail
sketches of
each scene.
Notes of
proposed
transition,
special
effects, sound
and title tracks
include: text,
background
color,
placement &
size of
graphic, fonts
- color, size,
type for text
and headings.
Notes about
proposed
dialogue/narr
ation text are
included.
The
storyboard
includes
thumbnail
sketches of
each video
scene and
includes
text for
each
segment of
the
presentatio
n,
descriptions
of
backgroun
d audio for
each
scene, and
notes about
proposed
shots and
dialogue.
The
thumbnail
sketches
on the
storyboard
are not in a
logical
sequence
and do not
provide
complete
description
s of the
video
scenes,
audio
backgroun
d, or notes
about the
dialogue.
There is no
evidence
of a
storyboard
.
All sketches
are
numbered,
and there is a
logical
sequence to
the
presentation.
All sketches
are
organized
and
numbered
in a logical
sequence.
Content/Organi
zation
The content
includes a
clear
statement of
purpose or
theme and is
creative,
compelling
and clearly
written. A rich
Information
is presented
as a
connected
theme with
accurate,
current
supporting
information
that
The
content
does not
present a
clearly
stated
theme, is
vague,
and some
of the
The
content
lacks a
central
theme,
clear point
of view
and
logical
sequence

variety of
supporting
information in
the video
contributes to
understandin
g the project's
main idea.
The project
includes
motivating
questions and
advanced
organizers
that provide
the audience
with a sense of
the
presentation's
main idea.
Events and
messages are
presented in a
logical order.
contributes
to
understandi
ng the
project's
main idea.
supporting
information
does not
seem to fit
the main
idea or
appears as
a
disconnect
ed series of
scenes
with no
unifying
main idea.
of
informatio
n. Much of
the
supporting
informatio
n in the
video is
irrelevant
to the
overall
message.
The viewer
is unsure
what the
message is
because
there is
little
persuasive
informatio
n and only
one or two
facts
about the
topic.
Informatio
n is
incomplet
e, out of
date
and/or
incorrect.
Introduction The
introduction is
compelling
and provides
motivating
content that
hooks the
viewer from
the beginning
of the video
and keeps the
audience's
attention.
The
introduction
is clear and
coherent
and evokes
interest in
the topic.
The
introductio
n does not
create a
strong
sense of
what is to
follow.
The
introductio
n does not
orient the
audience
to what will
follow.
Production Quality

Video
Continuity/
Editing
The tape is
edited with
only high
quality shots
remaining.
Video moves
smoothly from
shot to shot. A
variety of
transitions are
used to assist
in
communicati
ng the main
idea and
smooth the
flow from one
scene to the
next. Shots
and scenes
flow
seamlessly.
Digital effects
are used
appropriately
for emphasis.
The tape is
edited
throughout
with only
quality shots
remaining.
A variety of
transitions
are used.
Good
pacing and
timing.
The tape is
edited in
few spots.
Several
poor shots
remain.
Transitions
from shot
to shot are
choppy,
and the
types of
wipes and
fades
selected
are not
always
appropriat
e for the
scene.
There are
many
unnatural
breaks
and/or
early cuts.
The tape is
unedited
and many
poor shots
remain. No
transitions
between
clips are
used. Raw
clips run
back to
back in the
final video.
Audio Editing The audio is
clear and
effectively
assists in
communicati
ng the main
idea.
Background
audio is kept
in balance.
The audio is
clear and
assists in
communica
ting the
main idea.
The audio
is
inconsisten
t in clarity
(too
loud/too
soft/garble
d) at times
and/or the
backgroun
d audio
overpower
s the
primary
audio.
The audio
is cut-off
and
inconsisten
t or
overpower
ing.
Lighting Additional
lighting is used
to eliminate
shadows and
glares. All
scenes have
Additional
lighting is
used. Few
shadows or
glares are
apparent.
Some
scenes are
too dark or
too light to
determine
what is
Only
ambient
(available)
light is
used. Most
scenes are

sufficient
lighting for
viewer to
easily see
action.
happening
.
too dark or
too light to
determine
what is
happenin
g.
Camera
Techniques
(Exposure/Focus
)
All shots are
clearly
focused and
well framed.
The camera is
held steady
with few pans
and zooms.
Close-ups are
used to focus
attention.
Most shots
are clearly
focused
and well
framed.
Some shots
are
unfocused
or poorly
framed.
Many shots
are
unfocused
and poorly
framed.
Excessive
panning
and
zooming
distracts
the viewer.
Graphics The graphics
and/or
animation
assist in
presenting an
overall theme
that appeals
to the
audience and
enhances
concepts with
a high impact
message.
Graphics
explain and
reinforce key
points during
the
presentation.
The
graphics or
animation
visually
depict
material
and assist
the
audience in
understandi
ng the flow
of
information
or content.
Some of
the
graphics
and/or
animations
seem
unrelated
to the
topic/them
e and do
not
enhance
concepts.
The
graphics
and/or
animations
are
unrelated
to the
content.
Graphics
do not
enhance
understan
ding the
content, or
are
distracting
decoratio
ns that
detract
from the
content.
Copyright Copyrighted
information for
photos,
graphics and
music is clearly
identified by
source and
nature of
Every
photo,
graphic or
music is
either
original or
permission
for its use is
Some
sources of
photos,
graphics,
and music
are not
clearly
identified
with
There is no
reference
to
copyright
informatio
n for
photos,
graphics,
and music.

permission to
reproduce.
documente
d.
references,
and
permission
to
reproduce
is missing.
Moving Images
and Animations
Motion scenes
are planned
and
purposeful,
adding
impact to the
story line.
"Talking
heads" scenes
are used
when crucial
to telling the
story.
The video
includes
some
"talking
heads," and
backgroun
ds and
video
effects add
interest.
Most motion
scenes
make the
story clearer
or give it
more
impact.
The video
includes
"talking
heads" and
a few
motion
scenes are
added but
do not
improve
understan
ding of the
story line.
The video
features
"talking
heads"
with little or
no action
to add
interest, or
the video
uses action
excessively
.
Animations
are smooth
and brief -- no
more than five
seconds.
Alternative
(ALT) text for
animated
image is
provided.
Animations
are smooth
and brief,
for the most
part.
Alternative
(ALT) text is
brief or
inaccurate.
Some
blinking
animations
. Some
animations
greatly
exceed
five
second
limit.
Alternate
(ALT) text is
missing or
inaccurate
.
Animations
blink or
flicker,
distracting
from the
video.
Animation
is
excessively
long. No
alternative
(ALT) text is
available
for vision-
impaired.
Timing Video clips
show no slack
time. "Three
beat" timing
(three actions
per clip or
three clips per
event) is
evident.
Most video
clips are
edited to
remove
slack time
and to
emphasize
action.
Some
video clips
need to be
edited to
remove
slack time
and
increase
action.
Video clips
begin and
end with
slack time
or no
action.

Video Captioning
Synchronized Captions are
synced up
with the audio
that is played.
Captions
are usually
synced up
with the
audio.
Captions
are often
not synced
up with the
audio.
No
captioning
was
provided.
Equivalent Captions are
verbatim of
what is said,
excluding
fillers like
“umm” or
“uhh.”
Captions
are nearly
verbatim,
with a few
sound-alikes
and
substitutions
.
Captions
are rarely
verbatim,
containing
sound-
alikes and
abbreviate
d
passages.
No
captioning
was
provided.
Accessible The captions
are readily
available and
do not block
any important
screen
content.
For the most
part,
captions do
not block
important
screen
content.
Captions
often block
key
material on
screen.
No
captioning
was
provided.
Complete Captions span
the whole
length of the
video.
Only a few
portions
lack
captioning.
Large
sections
have no
captioning
.
No
captioning
was
provided.
Readable Captions prov
ide readability
(font size and
color
contrast), and
each caption
line is on the
screen only for
roughly four
seconds or
less.
Some issues
with font
size and
face;
caption
lines
occasionall
y exceed or
do not
meet the
four second
guideline.
Captions
are hard to
read,
either for
poor font
choice,
too much
content, or
too short a
time on the
screen.
No
captioning
was
provided.
Media Hosting The
site where me
dia is hosted/
played ensure
s that the
media player
The site
where the
media is
hosted/
played is
not screen
The site
where the
media is
hosted/pla
yed is not
screen
The site
where the
media is
hosted/
played is
not screen

is screen
reader and
keyboard
accessible.
reader and
keyboard
accessible.
reader and
keyboard
accessible.
reader
and
keyboard
accessible
.
All controls
have text
labels (text
that is read
aloud when a
screen reader
goes over a
button- i.e.,
saying “play”
over the play
button)
and an
individual can
use only
keyboard keys
to access
media
controls (the
play/pause
button,
volume, stop,
CC button).
Most of the
controls
have text
labels (text
that is read
aloud when
a screen
reader goes
over a
button- i.e.
saying
“play” over
the play
button)
and an
individual
can use
only
keyboard
keys to
access
media
controls
(the
play/pause
button,
volume,
stop, CC
button.
A few of
the
controls
have text
labels (text
that is read
aloud
when a
screen
reader
goes over
a button-
i.e. saying
“play” over
the play
button)
and an
individual
can use
only
keyboard
keys to
access
media
controls
(the
play/paus
e button,
volume,
stop, CC
button.
Controls
do not
have text
labels (text
that is read
aloud
when a
screen
reader
goes over
a button-
i.e. saying
“play”
over the
play
button)
and an
individual
can use
only
keyboard
keys to
access
media
controls
(the
play/paus
e button,
volume,
stop, CC
button.
TOTAL POINTS

CW Module 8.2.pdf

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