menulis kreatif

1. NARRATIVE TEXT

2. HAVE YOU EVER HEARD ABOUT THESE STORIES?

3. PENGERTIA
N
NARRATIVE
TEXT

4. I. What is a Narrative?
Narrative: a piece of writing that
tells of a related series of events
(a story)
• Narratives are NOT only fiction.
• All narratives contain characters,
conflict, and plot.

5. PENGERTIAN
Narrative text adalah suatu jenis teks yang
berupa cerita khayalan, kisah nyata yang
direkayasa, atau dongeng yang memiliki
rangkaian peristiwa kronologis yang saling
terhubung dan bertujuan untuk menghibur
pembaca.

6. NARRATIVE TEXT
1
2
3
A text that tells about an imaginative story in the
past.
What is narrative text?
To entertain and to teach people moral lessons
with a story.
The social function of narrative text
Adverb of Time, Conjunctions, Simple Past
Tense & Past Continuous Tense.
The language features

7. TYPES OF NARRATIVE TEXT
1 LEGEND
2 FOLKTALE
3 MYTH
4
.
FABLE
5
.
FAIRY TALE
6
ETC.

8. GENERIC
STRUCTURE
S
NARRATIVE
TEXT

9. GENERIC STRUCTURES
01
ORIENTATION
Berisi tentang siapa, kapan, di mana
suatu cerita ditetapkan.
03
RESOLUTION
Akhir dari cerita atau berupa
solusi dari masalah yang
terjadi.
04
RE-ORIENTATION
Penutup cerita yang bersifat
opsional yang berisi tentang
pelajaran moral, saran atau
pengajaran dari penulis.
02
COMPLICATION
Menceritakan awal masalah yang
menyebabkan puncak masalah atau
yang biasa disebut dengan klimaks.

10. KEBAHASAAN
UNSUR

11. ACTION VERBS
SAYING & THINKING
VERBS
Kata kerja yang menunjukan
peristiwa atau kegiatan,
misalnya stayed, climbed,
wrote, dan lain-lain.
Kata kerja yang menunjukan
pelaporan atau ujaran,
misalnya said, told, thought, dan
lain sebagainya.
NOUN PAST TENSE TIME CONNECTIVE
Berupa kata ganti orang hewan, atau
benda dalam cerita,
misalnya stepmother, the dwarfs,
carriage,
dan lain-lain.
Menggunakan kata kerja bentuk
lampau (verb 2), misalnya went, ate,
met,
dan lain-lain.
kata penghubung waktu untuk
mengurutkan kejadian, misalnya after,
before, after that, dan lain-lain.
UNSUR KEBAHASAAN
ADJECTIVES
Menggunakan adjective noun
phrase, misalnya big giant,
beautiful princess, old witch,
dan lain sebagainya.

12. II. What are Characters?
Characters: The people/actors in a story.

13. 1. Protagonist
• The the Main Character around whom the plot revolves.
• S/he is not always a likeable person.

14. 2. Antagonist
• The person, place, or thing in conflict with the protagonist – can be
another person, a force of nature, fate, society, etc.

15. III. How Do Writers Depict Characters?
Characterization: The process by which
writers reveal their characters’ traits
(qualities)
• Two Types:
• Direct characterization: The
writer directly tells the reader
what the character is like
ex. “Jennifer was a bright and honest young
lady.”

16. III. How Do Writers Depict Characters?
• Indirect Characterization: The writer reveals
character's traits indirectly with any
combination of:
• Describing the character’s appearance
• Dialogue (what they say!)
• The opinions of other characters about the
character
• Character’s actions
• The character’s private thoughts

17. IV. Types of Characters
Flat: One-dimensional (paper doll); one or two personality traits only
(usually the “bad guy”)
Ex. Cinderella’s
stepmother

18. IV. Types of Characters
Round: 3-dimensional; many traits and complexities
(usually the main character)
Ex. Shrek!

19. IV. Types of Characters
Stock: stereotypical
character
Ex. Marie Barone from
“Everybody Loves
Raymond”

20. IV. Types of Characters
Dynamic Character: a character that changes in an
important way

21. IV. Types of Characters
Static Character: does not undergo a major change in
the story
- Remember – “static” television set
Ex. Dwight
Schrute from
“The Office”

22. V. Character Motivation
Motivation: The reasons for a character’s behavior
- This requires you to make inferences based on characterization!

23. VI. Point of View
• Point of View is the vantage
point from which we “see” a
story.
• The point of view in a story
affects how WE look at it
and understand what
happens in it.

24. VI. Point of View
• 3 Types:
• 1. First Person: Told by one of the
characters in the story; Uses the
pronoun “I”
2. Third Person Limited: The narrator,
who is almost never a character in the
story, zooms in on the thoughts of just
one or a select few characters
• 3. Third Person Omniscient: the
narrator knows all there is to know
about the characters and problems

25. VII. What is Conflict?
• Conflict: The struggle between opposing characters or forces;
Problems

26. 1. External Conflict
Clash between a character and an
outside force – with another person,
object, or entity.
• Man vs. Man
• Man vs. Nature
• And many others…

27. 2. Internal Conflict
A struggle within a
character’s mind
• Man vs. Self

28. VIII. What is Plot?
• Plot: The series of events that occurs in the story that presents and
resolves a conflict.
• There are seven (7) elements of plot.
• Freytag’s Pyramid helps us remember the elements of plot and the order they
usually go in.

29. Freytag’s Pyramid

30. Named after a 19th-century German novelist and playwright, Freytag’s
Pyramid is a five-point dramatic structure that’s based on the classical Greek
tragedies of Sophocles, Aeschylus, and Euripedes.
Structure
• Introduction. The status quo is established; an inciting incident occurs.
• Rise, or rising action. The protagonist actively pursues their goal. The
stakes heighten.
• Climax. A point of no return, from which the protagonist can no longer go
back to the status quo.
• Return, or fall. In the aftermath of the climax, tension builds, and the story
heads inevitably towards...
• Catastrophe. The protagonist is brought to their lowest point. Their
greatest fears have come true.

31. The Hero’s Journey

32. • Inspired by Joseph Campbell’s concept of the monomyth — a
storytelling pattern that recurs in mythology all over the world
— The Hero’s Journey is today’s best-known story structure.
Some attribute its popularity to George Lucas, whose Star
Wars was heavily influenced by Campbell’s The Hero With a
Thousand Faces.

33. Here, we’ll look at Vogler’s streamlined, 12-step version of The Hero’s Journey.
• Structure
1. The Ordinary World. The hero’s everyday life is established.
2. The Call of Adventure. Otherwise known as the inciting incident.
3. Refusal of the Call. For a moment, the hero is reluctant to take on the challenge.
4. Meeting the Mentor. Our hero meets someone who prepares them for what lies ahead — perhaps a parental figure, a
teacher, a wizard, or a wise hermit.
5. Crossing the First Threshold. The hero steps out of their comfort zone and enters a ‘new world.’
6. Tests, Allies, Enemies. Our protagonist faces new challenges — and maybe picks up some new friends. Think of
Dorothy on the Yellow Brick Road.
7. Approach to the Inmost Cave. The hero gets close to their goal. Luke Skywalker reaches the Death Star.
8. The Ordeal. The hero meets (and overcomes) their greatest challenge yet.
9. Reward (Seizing the Sword). The hero obtains something important they were after, and victory is in sight.
10.The Road Back. The hero realizes that achieving their goal is not the final hurdle. In fact, ‘seizing the sword’ may have
made things worse for them.
11.Resurrection. The hero faces their final challenge — a climactic test that hinges on everything they’ve learned over
their journey.
12.Return with the Elixir. Having triumphed, our protagonist returns to their old life. Dorothy returns to Kansas; Iron Man
holds a press conference to blow his own trumpet.

34. Three Act Structure

35. • Following the old adage that “every story has a beginning, middle, and end,” this popular structure splits a story’s
components into three distinct acts: Setup, Confrontation, and Resolution. In many ways, the three-act structure reworks
The Hero’s Journey, with slightly less exciting labels.
• Structure
Act 1: Setup
• Exposition. The status quo or ‘ordinary world’ is established.
• Inciting Incident. An event that sets the story in motion.
• Plot Point One. The protagonist decides to tackle the challenge head-on. She ‘crosses the threshold,’ and the story is
now truly moving.
Act 2: Confrontation
• Rising Action. The story's true stakes become clear; our hero grows familiar with her ‘new world’ and has her first
encounters with some enemies and allies. (see Tests, Allies, Enemies)
• Midpoint. An event that upends the protagonist’s mission. (Similar to the climax in Freytag’s pyramid)
• Plot Point Two. In the wake of the disorienting midpoint, the protagonist is tested — and fails. Her ability to succeed is
now in doubt.
Act 3: Resolution
• Pre Climax. The night is darkest before dawn. The protagonist must pull herself together and choose between decisive
action and failure.
• Climax. She faces off against her antagonist one last time. Will she prevail?
• Denouement. All loose ends are tied up. The reader discovers the consequences of the climax. A new status quo is
established.

36. Dan Harmon's Story Circle

37. • Another variation on Campbell’s monomyth structure, the Story Circle is an approach
developed by Rick and Morty co-creator Dan Harmon. Again, heavily inspired by the
Hero's Journey, the benefit of Harmon's approach is its focus on the protagonist's
character arc. Instead of referring to abstract concepts like 'story midpoint' and
'denouement', each beat in the story circle forces the writer to think about the character's
wants and needs.
• Structure
1.A character is in a zone of comfort... This is the establishment of the status quo.
2.But they want something... This 'want' could be something long-standing and brought
to the fore by an inciting incident.
3.They enter an unfamiliar situation... The protagonist must do something new in their
pursuit of the thing they want.
4.Adapt to it... Faced with some challenges, they struggle then begin to succeed.
5.Get what they wanted... Usually a false victory.
6.Pay a heavy price for it... They realize that what they 'wanted' wasn't what they 'needed'.
7.Then return to their familiar situation... armed with a new truth.
8.Having changed... For better or worse

38. Fichtean Curve

39. Structure
To discuss this unusual structure, it’s perhaps best to see it in use. We’ll use Celeste Ng’s Everything I Never Told You as an example. Needless to say, spoilers
ahead.
Rising Action
•Inciting incident. The novel begins with the line: “Lydia is dead. But they don’t know this yet.” Within the first three paragraphs, Marilyn realizes that
her daughter Lydia is missing. Thus, readers are thrown straight into rising action as Marilyn anxiously searches all the usual places Lydia might be
found.
•First crisis. Lydia’s family is informed her body was found in a nearby lake. From this first crisis's climax, the narrative flashes back to provide
exposition and details of the family’s history.
•Second crisis. In flashbacks, we discover that, 11 years prior, Marilyn abandoned her family to resume her undergraduate studies. In her absence, the
family begins to fall apart. Marilyn learns she is pregnant and is forced to return home. Having lost her opportunity for further education, she places
the pressure of academic success on her children.
•Third crisis. Back in the present, Lydia’s father, James, is cheating on Marilyn. The police decide to close the investigation, ruling Lydia’s death a
suicide. This results in a massive argument between her parents, and James leaves to stay with the “other woman.”
•Fourth crisis. Flashback to the day Lydia died. From her perspective, we see that she’s misunderstood by her parents. She mourns her brother’s
impending departure for college, leaving her as the sole focus of her parents’ pressure. Isolated, she tries to seduce a friend — who rejects her
advances and explains he’s in love with her brother.
Climax
•Lydia takes a boat into the lake in the middle of the night — determined to overcome her fear of water and reclaim control of her life. Lydia jumps off
the boat, into the water, and out of this life. As in a classical tragedy, this moment is both devastating and inevitable.
Falling Action
•Some level of resolution is achieved, and readers get to at least glimpse the “new norm” for the characters. Lydia’s family lean on one another in their
grief. While they may never be able to make their amends with Lydia, they can learn from her death. Not all of the loose ends are tied off, but readers
infer the family is on the long road to recovery.

40. Save the Cat Beat Sheet

41. Structure
1. Opening Image [1]. The first shot of the film. If you’re starting a novel, this would be an opening
paragraph or scene that sucks readers into the world of your story.
2. Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he
missing out on?
3. Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your
protagonist will discover by the end.
4. Catalyst [12]. The inciting incident!
5. Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are
forced into action.
6. Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
7. B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to
highlight the theme.
8. The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly
entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d
see the detective in action. If you promised a goofy story of people falling in love, let’s go on some
charmingly awkward dates.

42. 9. Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to
achieve — or makes them focus on a new, more important goal.
10.Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan
falls apart, and he is on the back foot.
11.All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are
looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an
argument and break up.
12.Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the
city in a minor-key musical montage before discovering some “new information” that reveals exactly
what he needs to do if he wants to take another crack at success. (This new information is often
delivered through the B-Story)
13.Break into Three [85]. Armed with this new information, our protagonist decides to try once
more!
14.Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict
is. The truth that eluded him at the start of the story (established in step three and accentuated by
the B Story) is now clear, allowing him to resolve their story.
15.Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a
reflection, in some way, of the opening image.

43. Seven-Point Story Structure

44. Structure
1. The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the
beginning of the novel should be in direct contrast to what it will be at the end of the novel.
2. Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to
Adventure" of sorts that sets the narrative and character development in motion.
3. Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here
that applies pressure to the main character, forcing them to step up and solve the problem.
4. Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the
story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
5. Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry
than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the
reveal of a traitor, etc.
6. Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to
solving the conflict the whole time.
7. Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of
development necessary to transform them from who they were at the start of the novel.

45. VIII. Elements of Plot
1. Exposition: introduces the
setting, characters, and any
necessary background

46. VIII. Elements of Plot
2. Inciting Moment/Incident: An event occurs that
initiates the main action and begins the primary
conflict in the story.
3. Rising Action: Presents complications that intensify
the conflict; builds suspense as we wonder what the
outcome will be.
4. Climax: The turning point in the story and the
moment of greatest suspense

47. VIII. Elements of Plot
5. Falling Action: The events that occur as a result of the climax, but
before the primary problem created in the inciting moment has been
resolved.
6. Resolution: The main problem created by the inciting
moment/incident is solved.

48. VIII. Elements of Plot
7. Denouement: The “where are they now.” The
author ties up any loose ends and answers any
remaining questions.

49. IX. Types of Plot
1. Linear Plot: Goes in
chronological order –
the events are told in
the order in which
they happened (Goes
in order of Freytag’s
Pyramid without
deviation)

50. IX. Types of Plot
2. Non-Linear Plot: Events are NOT revealed in the order that they
occurred, but in some other order that the writer chooses
• Flashback: a scene within the story that interrupts the sequence of events to
reveal something that happened at an earlier time
• Foreshadowing: hints or clues early on that suggest things that will happen
later in the story

51. Part B: Literary Elements
– Sensory Language,
Imagery, and Mood

52. X. Imagery
Sensory Language: Words
and phrases that appeal to
the senses of sight, hearing,
touch, smell, and/or taste.
Sensory details create…
Imagery: Vivid descriptions
that re-create sensory
experiences for the reader,
creating “word pictures”
Ex: “a thundering
downpour of rain”
To what senses does this
example appeal? What
image does it create?

53. XI. Mood
Mood: The feeling or atmosphere that the writer creates for the reader
using imagery and setting details.

54. XI. Mood
What senses do the following details
appeal to, and what image and
mood do they create all together?
• “Flashes of lightning illuminated the ink-
black sky.”
• “Another cobweb stuck to her cold,
clammy skin.”
• “The foul smell of dead mice hung in the
air.”
• “She could not get the metallic taste of
fear out of her mouth.”
• “There was an ominous scratching on the
door.”

55. Part C: Language Terms –
Diction and Tone

56. XII. Diction
Diction: Word choice
• Writers choose their words with purpose. If we can analyze diction, it
can help us understand their theme and purpose.
• In order to analyze diction, we have to be able to analyze…

57. XII. Diction
Denotation: The dictionary or literal meaning of a word.
Ex: Plump = a full, round, and pleasing figure
Connotation: All the meanings, associations, or feelings that a
word suggests.
Ex: Fat = while similar in denotative meaning to plump, it has a
very harsh and mean connotation

58. XII. Diction
Why study diction?
• A writer or speaker’s choice of words evoke emotions within us.
• The connotation of a word can be positive, negative, or neutral.

59. XII. Diction
Examine the diction in the
following sentences. What are
the connotations here? Which
sentence has a more positive
connotation, and which has a
more negative connotation?
• You look unique today.
• You look odd today.
• You look weird today.

60. XII. Diction
Examine the diction in the
following sentences. What are
the connotations here? Which
has a more positive emotional
connotation?
• I’m crazy about him.
• I love him to the depths of my
soul.

61. XII. Diction
Categorize the following words as having a positive, negative, or neutral
connotation.
Friendly Clever House
Dislike Love Home
Sincere Infatuation Admit

62. XIII. Tone
Tone: The writer’s/speaker’s attitude toward his/her subject or
audience. This is described by a single adjective (ex. a sarcastic tone,
a playful tone, a bitter tone) and can be figured out by examining the
diction and the choice of details in a text.
BE CAREFUL NOT TO CONFUSE
TONE WITH MOOD!

63. So…
You are now responsible for knowing and being able to apply the
literary terms in this lesson. Most of them are review, so study them
carefully and be sure you know them!

64. NARRATIVE
TEXT
CONTOH

65. MOMOTARO THE PEACH BOY
A long time ago, there lived an old and poor couple in a village in Japan.
They didn’t wish for gold or fine clothes. They only wished for a child.
One day, the old woman washed clothes in a river. While washing, she was
also wishing for a child. Then, a giant peach came floating down the river. She
took it home and would cut it.
There was a human voice from that peach saying not to cut it. Suddenly it
split open; a baby boy jumped out of that peach. Those old people were very
happy and named him Momotaro which means Peach Boy.
Time went by and people in that village were afraid of Oni Monsters who
stole their belongings. When Momotaro was about 15 years old, he wanted to
save his village from Oni Monsters. Momotaro’s parents were very proud of
Momotaro. His father gave him a sword; mother gave him a bag of dumplings.
On the way, Momotaro met a dog, a monkey and a hawk. He shared those
dumplings to them. Those animals joined him to fight Oni Monsters. Being a good
leader, Momotaro encouraged them to work together.
Finally, Momotaro sucessfully forced Oni leader to surrender. Then
Momotaro with his friends took treasure then shared it to all people in the
village. Momotaro’s parents were very happy that Momotaro came back safely.

66. THE GENERIC STRUCTURE
“The Legend of Rawa Pening”
Once upon a time, there was a little poor boy came into a little village.
He was very hungry and weak. He knocked at every door and asked for some food,
but nobody cared about him. Nobody wanted to help the little boy.
Finally, a generous woman helped him. She gave him shelter and a meal.
When the boy wanted to leave, this old woman gave him a “lesung”, a big wooden
mortar for pounding rice. She reminded him, “Please remember, if there is a flood
you must save yourself. Use this “lesung” as a boat”. The boy was happy and
thanked the old woman. He continued his journey. While he was passing through
the village, he saw many people gathering on the field. The boy came closer and
saw a stick stuck in the ground. People challenged each other to pull out that stick.
Everybody tried, but nobody succeeded. “Can I try?” asked the little boy. The crowd
laughed mockingly. The boy wanted to try his luck so he stepped forward and pulled
out the stick. He could do it very easily. Everybody was dumbfounded.
Suddenly, from the hole left by stick, water spouted out. It did not stop
until it flooded the village. And no one was saved from the water except the little
boy and the generous old woman who gave him shelter and meal. As she told him,
he used the “lesung” as a boat and picked up the old woman. The whole village
became a huge lake. It is now known as Rawa Pening Lake in Salatiga, Central Java,
Indonesia.
Introduces the characters
and informs about time &
place
Tells the problems of the
story and how the
character solves them
The problems in the story
solved for better or worse
ORIENTATION
COMPLICATION
RESOLUTION