Protagonist
✦ Sometimes calledthe main
character, the protagonist creates
the action of the plot and engages
reader, arousing their empathy
and interest. The protagonist is
often a hero or heroine of the
story, as the whole plot moves
around him or her.
12
13.
Antagonist
✦ An antagonist,sometimes called
the bad guy, is the opponent of
the protagonist. The action of the
story arises from the conflict
between the protagonist and
antagonist.
✦ The antagonist can be a person,
an inanimate object, an animal, or
nature itself.
13
14.
Confidante
✦ Someone whomthe main
character confides to
✦ reveals the protagonist’s thoughts,
intentions, and personality traits.
14
Assignment:
Read the story“The Devil and
His Grandmother”. And
identify all the characters and
what type of character they
are.
25
26.
Points of View:First
POV
Take note that when a story is
told in first-person point of
view, the narrator is a
participant in the story.
First-person stories use first –
person pronouns such as I, me,
our, ours, we, and my.
Ex.
I will call you when the Superintendent comes back from
the meeting
with the other school principals.
27.
Points of View:Second POV
It pulls the reader into the story
with the pronouns you, your,
and yours. In other words, it is
a point of view where the
narrator tells the story
to another story.
Ex.
You feel a sense of excitement as you look at the kayak.
This will be the
day you have been looking forward to it!
28.
Points of View:Third POV
The third-person point of view is a form
of storytelling in which the
narrator relates all the actions of their
work using third-person pronouns
such as he, she, and they. It is the most
common perspective in works of
fiction.
Ex.
Travis looked down from the rocky ledge. He could see
everything around him
from his location! He hoped that he wouldn’t lose his
balance!
29.
Activity
Create a comicstrip with a dialogue
indicating the 3 point of view as a
technique in employing one’s
emotions.
Choice of scenes: 10 %
Captions: 10%
Characters: 10%
Spelling, Punctuation, and Grammar: 10%
30.
“The plot isthe order of
events that make up a
story.
30
Elements of Plot
34
•The exposition sets the scene. The writer
introduces the characters and setting,
providing description and background.
• Complication, sometimes called the
inciting incident, is a single event that
begins the major conflict.
• Rising Action builds during the story and
gets more exciting.
• The climax is the moment of greatest
tension in the story. Children call this the
most exciting part. In Charlotte’s Web,
the climax is when the pig survives.
35.
Elements of Plot
35
•Falling action happens as a result of the
climax and we know the story will end
soon.
• Resolution is when the character solves
the main problem/conflict or someone
solves it for him or her.
• Denouement (the action of untying) is a
series of events that follow the plot's
climax. It is the opposite of the
exposition, in that any remaining
questions or mysteries that remain after
the resolution are solved by the
characters or explained by the author.
36.
Activity
Answer the followingquestions after reading the summary
in the next slide.
1. What is the exposition of this plot summary?
2. Describe the inciting incident.
3. What is the development?
4. What is the climax of this plot summary?
5. What is the resolution?
36
37.
37
• Ellen Montgomerylives in Pullman,
Washington. She wants an expensive racing
bicycle but does not have enough money to
buy it. She works for eight months after
school and weekends in a supermarket to
earn the money to buy it. When she has just
saved enough money to buy the bicycle, the
money is stolen from her house. Ellen then
works another six months in the bicycle
shop. She is finally able to buy the bicycle,
and she becomes a state champion bicycle
racer.
PreTEST
Read each ofthe following items
comprehensively. Then answer the
questions
40.
PreTEST
1. “The moonwas shining brightly as the fox slowly crept
toward the chicken.” What is the setting of the event?
A. The fox slowly crept
B. Chicken coop
C. The moon was shining brightly
D. Both a and c
40
41.
PreTEST
2. Why issetting important to a story?
A. It tells about the characters.
B. It lets us know the context of the characters’ actions and
sets the mood.
C. It settles the conflict of a story.
D. It gives us a peek of the story’s plot.
41
42.
PreTEST
3. What isthe best way to put the setting into the pages of
the story?
A. Take a picture and copy it into the pages of the story.
B. Use descriptive words and details that create a picture
into the reader’s minds and pull on their senses.
C. Use long words and sentences to make a picture.
D. Describe how the characters look.
42
43.
PreTEST
4. When shouldthe setting be used in the story?
A. The setting should be used at the beginning of the story,
when there are new events in the storyline, or when the
readers need the information to understand the plot.
B. The setting should be used at the end of the story to
help explain the resolution.
C. The setting should be used when there are new
characters.
D. The setting should be used to help solve the conflict and
to show the climax 43
44.
PreTEST
5. How hasthe setting improved the video game industry?
A. It created new types of computer consoles.
B. It made the characters more interesting.
C. It made the games more backgrounds and visuals to
make them complex and exciting.
D. It helped people understand the games.
44
Setting
✦ According toWilliam Kenny – refers to the
point in time and space at which the event
of the plot occur
✦ It is the time and place of the story.
48
49.
Setting
✦ May alsoinclude the environment of the
story, which can be made up of the
physical location, weather, or social and
cultural backgrounds.
✦ Can be real or imaginary
✦ Helps the reader in the story
✦ A good author includes descriptions of the
setting using the five senses. 49
50.
Purpose of aSetting
Giving background about
the story
50
Darkness enveloped the forest.
But within the branches some
things moved. Small cracks from
the branches lit one by one as if
there were small windows from
little tree houses.
51.
Purpose of aSetting
Revealing about a
character from each
person
51
The darkness dissipated by the
holy light that gleamed to
protect her. And though it was
under the rubble, she charged
with all her strength only to be
met by an unknown monster
with fangs and claws.
52.
Purpose of aSetting
Providing conflict
between man vs.
environment
52
53.
Purpose of aSetting
53
Providing mood or
atmosphere giving
imagination about the
image of all characters to
readers by using five
senses
54.
Types of Setting
54
NeutralSetting
✦ Of the setting in a work of fiction is
little more than a reflection of the
truth that things happen to
somewhere
✦ Beyond giving us this much
information the author has no real
interest in his setting and does not
encourage such interest on your
part
✦ Ex. Once upon a time, in
a land far far away…
55.
Types of Setting
55
SpiritualSetting
✦ As long as the setting is only vaguely
and conventionally rural, the values
suggested are to be vague
conventional
✦ But as the physical setting becomes
more specific and more vividly
rendered, so does the spiritual setting
✦ By the spiritual setting, we mean the
values embodied in or implied
56.
Types of Setting
56
DynamicSetting
✦ Setting may thrust itself dynamically
into an action, affecting events and
being in turn affected by them, until
seeing seems to assume the role of
the major character
Elements of Setting
58
1.The actual geographical location.
2. The occupations and modes of day
of the characters.
3. The time in which the action takes
place.
4. The religious, moral, social, and
emotional environments of the
character.
59.
Functions of Setting
59
✦Setting as metaphor – The setting
becomes symbolic of the theme of
the story. Sometimes in fiction, we
encounter details of setting that
seem to function as a projection or
objectification of the internal states
of the characters or a pervasive
spiritual condition.
60.
Atmosphere
60
✦ Setting asthe dominant element
✧ Time as the dominant element –
highest importance
✧ Place as the dominant element –
spatial setting or place (local color
or regionalism)
61.
Atmosphere
61
✦ Setting innon-realistic fiction
✧ Non realistic fiction is that in
which the story’s events could not
happen in real life (ex. A setting of
fantasy and science fiction)
62.
Atmosphere
62
✦ Setting andthe whole story
✧ The setting is an important part
of the story, but the setting
cannot exist by itself
✧ Good setting can support the
whole story
63.
Activity
63
✦ Make avivid description of the image below. Supply
the information presented to give you a perfect
setting of the picture.
✧ Place where the story takes place
✧ Time the story takes place
✧ Importance of the setting
✧ Mood – Atmosphere of the setting
■ Factual information – 5 points
■ Vocabulary – 5 points
■ Correctness of Language – 5 points
■ Fluency/Grammar – 5 points
A. Narrative Modeof Description
✦Description sets the mood and the scene and
provides an explanation.
✦Gives details about some place, person, or
thing.
✦Avoid overdescribing
75
76.
B. Narrative Modeof Action
✦Readers are engaged and remain engaged
when something happens to the fictional
characters
✦Action in the story moves it forward
✦Action drives the arc of the story and reveals
information about the characters
76
77.
C. Narrative Modeof Dialogue
✦Dialogue is spoken action.
✦It is conversation between characters that
can also help evolve characters.
77
78.
D. Narrative Modeof Thought and
Monologue
✦Move the story along, build tension, and
reveal something about the character. They
can even be contrasted with the others for
effect
78
79.
E. Narrative Modeof Exposition
✦Exposition is used to provide details about
the characters or the story. It is used in the
beginning and during transitions, for
instance, to inform readers about passage of
time, change of place or mood, or change in
the focus of the character. It tells, rather than
shows, readers about important elements of
the story or character.
79
Journal Writing
✦A seriesof written passages that document
the personal events, thoughts, feelings,
memories and perceptions in one’s journey
throughout life leading to wholeness.
89
90.
How to starta Journal?
✦A series of written passages that document
the personal events, thoughts, feelings,
memories and perceptions in one’s journey
throughout life leading to wholeness.
90
How to starta Journal?
2. Explore your emotions or how
you feel about something.
92
93.
How to starta Journal?
3. Use a writing prompt if you
aren’t sure what to write about.
Prompts to get you started:
✦Write about what you’d like to do this
weekend
✦Discuss a place you’d like to visit
✦Pretend that you found a fantasy creature
93
94.
How to starta Journal?
3. Use a writing prompt if you
aren’t sure what to write about.
Prompts to get you started:
✦Write about something you want to change
✦Write from the perspective of your favorite
book or movie character
94
95.
How to starta Journal?
4. Record your reactions to
readings and lectures in an
academic journal.
95
96.
How to starta Journal?
✦A summary of a reading or lecture
✦Your analysis of the course material
✦Connections between topics you’ve studied
✦Personal connections you made with the
coursework
✦Questions you have about the text or lecture
96
97.
Common Goals ofa Journal
✦To encourage regular writing
✦To make connections between class material,
lectures, and personal observations
✦To raise questions and issues that can fuel
classroom discussions
✦To generate ideas for future paper topics
✦To provide a forum for inquiry, analysis, and
evaluation of ideas
97
98.
Do:
✦Write regularly
✦Try tomake concrete connections between
journal entries
✦Link personal reactions to the class material
✦Approach the exercise with the intention of
being challenged
✦Present your ideas in a coherent and
thought-provoking manner
98
99.
Do not:
✦Ignore basicrules of grammar and
punctuation
✦Write to fill pages, the process is more
important than the product
✦Wait until the last minute to make your
entries
✦Confuse your journal with a personal diary.
Although this is your journal, the main focus
should be on class assignments and their 99
100.
Do not:
connections. Trynot to focus too much on your
personal feelings, such as whether or not you
liked the book or the film. Instead concentrate
on why your professor assigned the material.
100
101.
Do not:
✦Simply summarize– analyze. Avoid
describing what you have read. Ask probing
questions: are the points well-argued? Does
the writer come to a logical conclusion? What
other issues should be considered?
101
102.
Activity
✦ You area writer commissioned by ABC Network
who plans to show a special episode to entertain
young viewers in this time of pandemic. Compose a
journal writing for a short story to be adapted for
television in a 30-minute airing time. In not less
than 1000 words, write the scene in separate
sheets of paper making sure to include the
elements, techniques, and literary devices of
fiction.
102
103.
Rubric
Criteria Percentage
Includes elementsof fiction 40%
Relates story to current situation 20%
Uses appropriate language 20%
Teaches virtue to general audience 20%
Total 100%
103
104.
Write a ShortScene for
a Short Story Applying
the Various Elements,
Techniques, and
Literary Devices
105.
Objectives:
✦Develop a shortstory scene
✦Apply the various elements, techniques and
literary devices
✦Identify the steps on how to write a scene
105
106.
PreTEST
Draw a if the statement is correct and if
the statement is incorrect.
How to Writea Scene
1. Ask What needs to happen in this scene?
►
✦The question is not, “What could happen?”
or “What should happen?” It is only, “What
needs to happen?” If you wrote an outline,
this is the time to look at it
113
114.
How to Writea Scene
2. Ask What would happen if this scene got
►
omitted?
✦Imagine the editor messed up and
accidentally left out this scene. Would the
movie still make sense? If the answer is
yes, then you don't really need the scene,
and shouldn’t bother writing it.
114
115.
How to Writea Scene
3. Ask Who needs to be in this scene?
►
✦Scripts are often clogged with characters
who have no business being there.
115
116.
How to Writea Scene
4. Ask Where could the scene take place?
►
116
117.
How to Writea Scene
5. Ask What’s the most surprising thing that
►
could happen in the scene?
117
118.
How to Writea Scene
6. Ask Is this a long scene or a short scene?
►
118
119.
How to Writea Scene
7. Brainstorm three different ways it could
begin
Based on how the previous scene ended,
there’s often a natural image or line of dialogue
which would be perfect to open the scene. But
don't stop at the first option. Find at least three
ways to start.
119
120.
How to Writea Scene
8. Play it on the screen in your head
120
121.
How to Writea Scene
9. Write a scribble version.
A “scribble version” is essentially a cheat sheet
so you’ll remember the great scene you just
saw in your head. Don’t write sentences. Don’t
write full dialogue. It shouldn’t take more than
five minutes.
Just get the bare minimum down so that you
won’t forget the scene in the next hour as
121
How to Writea Scene
11. Repeat.
Most movies consist of about 200 scenes,
so you’ll have plenty of opportunity to practice.
123
124.
Activity
The government advisesall to stay home in this
time of pandemic. As a Wattpad writer, make
your time worthwhile by working on the last
series of your book. Write the draft of the
sequel to cut the long wait of your teen readers
on the ending of the story. Write the
beginning, rising action, climax, and falling
action in separate sheets of paper. Apply the
techniques on how to make a short scene. 124
125.
Activity
Criteria Percentage
Includes theelements of the plot 40%
Relates story to current situation 20%
Uses appropriate language 20%
Teaches virtue to general readers 20%
Total 100%
125
Editor's Notes
#19 Identify what type of character are the following
#26 A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view. A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view.
#27 A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view. A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view.
#28 A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view. A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view.
#29 A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view. A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view.
#30 The plot of a story is a series of interconnected events in which every
occurrence has a specific purpose. A plot is all about establishing
connections, suggesting causes, and showing relationships.
#31 A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view. A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view.
#32 A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view. A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view.
#33 A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view. A writer tells a story through the voice of a narrator. A narrator can be
an outside observer or a character in the story.
Everything you learn about the characters, events, and places in a story
depends on the narrator’s point of view.
#76 It is something that happens and can include dialogue, gestures and other activities.
#77 Boosts pace and narration. Compelling dialogue is not just talk. Readers become absorbed in the story when characters say things we do not expect of them and are not predictable. Every work of fiction contains these modes, but the ratio varies..
#88 To start a journal, you just need to be willing to write. You don’t have
to write well; you just need to want to do it. You don’t even need to decide
what to write, you just need to let your words flow. Once you’ve decided you
want to create a journal, here is a long list of instructions to guide you: By scheduling the same times, journaling will become a
natural and regular part of your agenda that you can look forward to.
#90 To start a journal, you just need to be willing to write. You don’t have
to write well; you just need to want to do it. You don’t even need to decide
what to write, you just need to let your words flow. Once you’ve decided you
want to create a journal, here is a long list of instructions to guide you: By scheduling the same times, journaling will become a
natural and regular part of your agenda that you can look forward to.
#91 Write about what’s going on in your life. This includes things like the
activities you’re doing, events that happen, and accomplishments you
make. Use your journal to record what your life is like right now so you
can look back on it later. The events can be positive or negative
#92 Write about what you’re going through, how you feel, and what you
hope will happen in the future. Let your journal be an emotional release
for you so that you can deal with your emotions better.
Let’s say you’re feeling sad because you’re going through a breakup.
You could write about how you feel and what you’ll miss about the
relationship. This will help you release your feelings so you can start to
feel better.
#93 If you’re trying to get in the habit of journaling or have to keep a
personal journal for school, writing prompts can help you find
something to write about. Look for prompts online, then pick 1 that
triggers your imagination.
#95 If you’re keeping a journal for high school or college, write about your
coursework. This includes readings, lectures, and class discussions.
Additionally, discuss your thoughts about what you’re learning. Here
are some things to include in a journal entry for school:
#113 The characters are not
responsible for the story. You are. If characters were
allowed to control their scenes, most characters would
choose to avoid conflict, and movies would be crushingly
boring.
#114 “But it's so dramatic!” you say. “But it's so funny!” Tough. Put that drama or that comedy into scenes that are
crucial to the movie. One thing you learn after a few
produced movies is that anything that can be cut will be
cut, so put your best material into moments that will
absolutely be there when it's done.
#116 The most obvious setting for a scene is generally the least
interesting, so don’t be too quick to set your scene in the
police bullpen, a living room or a parking garage. Always
consider what the characters could be doing, even if it’s not
directly related to the focus of the scene. A father-and-son
bonding moment at a slaughter house will play differently
than the same dialogue at a lawn bowling tournament.
#117 Give yourself permission to step away from your outline
and consider some wild possibilities. What if a car smashed
through the wall? What if your hero choked and died? What
if a boy vomited up a finger?
Most of your scenes won't have one of these out-of-nowhere
aspects. But your movie needs to have a few moments that
are completely unexpected, so always ask yourself, could
this be one of them?
#118 There's nothing so dispiriting as writing a great three-page
mega-scene and realizing that you could have
accomplished just as much in two-eighths of a page.
So ask yourself up front: How much screen time am I willing
to give this scene?
#120 At least 50% of screenwriting is simply sitting there with your
eyes closed, watching the unwritten scene loop in your head.
The first couple of times through, it’s really rough: a blocking
rehearsal. But eventually, you start to hear the characters
talk to each other, and the vague motions become distinct
actions.
This “looping” process is crucial. Don’t rush this step. Let
the scene percolate. Mumble the dialogue.
Immerse yourself as fully into the moment as you can.
#122 you typed up the scribble version, don’t just try to fatten it
out. Start clean. The scribble version is deliberately crappy,
and rewritten crap is still crap. The scribble version is your
outline for the scene. Yes, allow yourself the chance to detour
from your scribble version if a truly better idea comes along.
But if you’ve really spent the time to play it through in your
head (#8), it’s probably on the right track already.
Depending on the nature of the scene, getting the dialogue
right may be most of the work. Regardless, focus on choosing
the best words to describe the characters, the action and
tone, so your readers will see the same scene in their heads.
#123 you typed up the scribble version, don’t just try to fatten it
out. Start clean. The scribble version is deliberately crappy,
and rewritten crap is still crap. The scribble version is your
outline for the scene. Yes, allow yourself the chance to detour
from your scribble version if a truly better idea comes along.
But if you’ve really spent the time to play it through in your
head (#8), it’s probably on the right track already.
Depending on the nature of the scene, getting the dialogue
right may be most of the work. Regardless, focus on choosing
the best words to describe the characters, the action and
tone, so your readers will see the same scene in their heads.
#124 you typed up the scribble version, don’t just try to fatten it
out. Start clean. The scribble version is deliberately crappy,
and rewritten crap is still crap. The scribble version is your
outline for the scene. Yes, allow yourself the chance to detour
from your scribble version if a truly better idea comes along.
But if you’ve really spent the time to play it through in your
head (#8), it’s probably on the right track already.
Depending on the nature of the scene, getting the dialogue
right may be most of the work. Regardless, focus on choosing
the best words to describe the characters, the action and
tone, so your readers will see the same scene in their heads.
#125 you typed up the scribble version, don’t just try to fatten it
out. Start clean. The scribble version is deliberately crappy,
and rewritten crap is still crap. The scribble version is your
outline for the scene. Yes, allow yourself the chance to detour
from your scribble version if a truly better idea comes along.
But if you’ve really spent the time to play it through in your
head (#8), it’s probably on the right track already.
Depending on the nature of the scene, getting the dialogue
right may be most of the work. Regardless, focus on choosing
the best words to describe the characters, the action and
tone, so your readers will see the same scene in their heads.