SENIOR HIGH SCHOOL CORE SUBJECT

QUARTER ONE: CREATIVE NONFICTION

TOPIC / LESSON NAME CREATIVE NONFICTION

 Dialogues in Creative Nonfiction
The learner understands the delineation between creative and the nonfictional elements of creative
CONTENT STANDARDS nonfictional text.
The learner clearly and coherently uses multiple elements conventionally identified with a genre for a written
PERFORMANCE STANDARDS output
The learner:
1. Identify the fictional elements in the texts.
LEARNING COMPETENCIES 2. Analyze and interpret factual/nonfictional aspects in the texts.
3. Write a short piece using multiple elements.
At the end of this lesson, the learner will be able to:
1. Use clearly and coherently multiple elements conventionally including dialogue for a written output.
SPECIFIC LEARNING OUTCOMES 2. Recognize the use of poetic license and code-switching in writing dialogues in CNF.
3. Write a short piece to be used as a script for a role-play using multiple elements.
TIME ALLOTMENT 1 session (60 minutes)

LESSON OUTLINE:
1. INTRODUCTION: : Classroom Routines and Articulating Learning Objectives (5 minutes)
2. MOTIVATION : Picture Analysis. Question and Answer. (10 minutes)
3. INSTRUCTION/DELIVERY : Input Discussion (Dialogue). Oral Recitation. (15 minutes)
4. PRACTICE : Small Group Discussion (Role-play Script Writing). (10 minutes)
5. ENRICHMENT : Role-play Presentation. (15 minutes)
6. EVALUATION : Written Evaluation. (5 minutes)

MATERIALS CNF Textbook. Copy of the Rubrics.

RESOURCES  CNF Textbook.

 https://www.brighthubeducation.com/high-school-english-lessons/12897-writing-dialogue-effectively/
 https://www.quickanddirtytips.com/education/grammar/what-is-poetic-license

Prepared by:
Zorah Marie T. Barrera
 SENIOR HIGH SCHOOL CORE SUBJECT
QUARTER ONE: CREATIVE NONFICTION

PROCEDURE

1. INTRODUCTION:

 Prayer
 Checking of attendance
 Articulating of Objectives

2. MOTIVATION:

 The teacher will help the students recall about last meeting’s topic.
 The teacher will show a picture to the students for picture analysis.
 The students will answer orally the questions of the teacher about the picture shown.
 What do you think are the man and woman talking about?
 What do you think is he saying?
 How about her, what do you think is she saying?

3. INPUT DISCUSSION:

 DIALOGUE - A literary technique in which two or more characters are having a conversation with each other.

Example of a Dialogue:

Here is a phone conversation from Donna Tartt’s The Secret History:

My voice was slurred and the operator wouldn’t give me the number of a taxi company.
“You have to give me the name of a specific taxi service,” she said.
“I don’t know the name of a specific taxi service,” I said thickly. “There’s not a phone book here.”

 Make sure that you are familiar with the rules on how to punctuate a dialogue.

For example, one common mistake would be how the sentence below was structured:
 “I don’t need a lawyer, judge.” he said.

It should be like this:

 “I don’t need a lawyer, judge,” he said.

Prepared by:
Zorah Marie T. Barrera
CREATIVE WAYS IN WRITING A DIALOGUE:

 CODE-SWITCHING
- A practice of moving back and forth between two languages or between two dialects of the same language.

Examples of Code-switching
 “Naku naman, Bibsby, why do you have a sari-sari store? Nakakahiya naman,”she quickly said.
 “For a while lahat daw ng hina-handle kong sine hindi kumikita,” said Bibsby.

Remember:
 When you write a dialogue for any fictional work, you consider the setting of your character. If your character is a native of Cebu who appears that he or
she does not have a care in the world, take into account what language your character is used to. Of course, do not forget who your character is
speaking with.

 POETIC LICENSE

- Oxford English Dictionary defines poetic license as “the freedom to depart from the facts of a matter or from the conventional rules of language
when speaking or writing in order to create an effect.”
- It is the act by a writer or poet of changing facts or rules to make a story or poem more interesting or effective
- Lee Gutkind’s proposition in using poetic license is that you may use your creativity to invent the dialogue in order to recreate a scene.

Examples of Poetic License

 The specific term poetic license is more commonly used in reference to a poet's work when they have ignored some of the rules for grammar for its
effect. Shakespeare does this a lot in his works.
 The infamous line from Julius Caesar: "Friends, Romans, Countrymen, lend me your ears" is one example as he has omitted the use of the word "and"
after "Romans" in order to keep the line in iambic pentameter.
 Other examples include the contractions "o'er" and "e'er," which are commonly used in poetry.
 O’er – over
 E’er - ever

4. PRACTICE:

 The teacher will group the students into 5 groups.

 Each group will have a small group discussion to write a short script for a role-play of any topic as long as it’s wholesome.
 There should be fictional elements such as setting, characters and dialogues. The dialogues should use either poetic license or code-switching.
 The dialogues should limit only into a 2-minute role-play following a rubrics to be given by the teacher.
 The scripts should be passed to the teacher before the role-play to check how they used poetic license or code-switching in their dialogues.

5. ENRICHMENT:
 The groups will present their role-plays for only 2 minutes each.
 A rubric will be given as a guide on how they will be scored.
Prepared by:
Zorah Marie T. Barrera
 RUBRIC FOR THE SCRIPT AND ROLE-PLAY:

CATEGORY 4 3 2 1
Content Great job! You offered creative Your role-play is on-topic, but it The role-play is somewhat off- The role-play is completely
new insights on the topic! You is missing some creativity and topic. Pay more attention to off-topic and you did not use
used also poetic license and insight. You used poetic the directions next time! You any poetic license and code-
code-switching in your license and code-switching in used only few poetic license switching in your dialogues,
dialogues creatively! your dialogues properly. and code-switching in your as if your group did not even
dialogues. read the directions.
Roles Excellent work! Every member Everyone in your group stayed For the most part, your group Your group failed to stay in
of your group stayed in in character, but some stayed in character. Next time, character, and it looked like
character, and it was clear you members didn't seem to really spend more time preparing for you had not prepared for how
took your roles seriously. be "into" what they were doing. how the characters might think the characters might think or
or act. act.
Preparation Your group did an excellent Your group obviously spent Your group needs to spend It seems that your group used
job preparing and rehearsing some time preparing for the more time preparing for the the preparation time for
your role-play, and it shows - role-play, but some rehearsal role-play. Reading lines from a something else.
everything went very might have helped things run script is a sure sign you're not
smoothly. more smoothly. prepared.
Overall Impression Excellent! Your presentation Good! Your presentation, while Keep working! Don't forget Argh! I expect much better
was entertaining and it was fun to watch, could have that, though the process is work from you next time.
informative! been more informative. entertaining, you're also
supposed to learn something
from it.

 The teacher will give the group scores after all the groups have presented.

6. EVALUATION/ASSIGNMENT:
 The students will reflect and answer the following questions on their journal notebook.

1. How can you guarantee the authenticity of a dialogue you have written for CNF when you have never witnessed the scene you recounted?
2. What would you say to people who think that code-switching makes a language weak?

Prepared by:
Zorah Marie T. Barrera