20 Days of Poetry - Day 1

Concrete Poetry
Concrete Poetry is the use of words and their physical formation to convey meaning. This may be
done with color, the shape of the letters, and/or the arrangement of words. Samples below show
some of the many variations available. To view various forms of concrete poetrty on the Internet,
click on the words in bold lettering in this sentence. ou may use the information you find at this
link, but you may not publish it in anything other than a school report.
Directions: !raphically create a scene using only words. "rom a distance this will look like a
picture, but up close it will consist only of words and phrases. #o e$tra lines or shapes should be
used. % light pencil line might be drawn first as a guide. &se colors, shapes, and si'es that will
enhance the meaning of words.
%n alternative is to use a letter of the alphabet and create a phrase in which most of the words
begin with that letter. The ma(or letter should be drawn so that it suggests the ob(ect you are
describing.
20 Days of Poetry - Day 2
Synonym Poetry)*
Choose any word. Write that word in capital letters on the first line. In a thesaurus (you
can link the the WWWester(!"# Dictionary ased on "erria$-Wester%s Colle&iate('#
Dictionary( !enth )dition y clickin& here# look up the word and find three to fi*e synony$s
for it. Write the synony$s on the second line. +ne the third line( write a descripti*e phrase
aout the word. !he last two lines of the poe$ should rhy$e.
,tudent )-a$ples:
.+/)
0ttach$ent( adoration( war$th( adore
.o*e is so pure( ri&ht down to the core.
+++,imiko -rantley .!rade /01
1+I,)
Cla$or( uproar( hullaaloo.
!hese thin&s can really annoy you.
+++Shasta Inman .!rade 21
)The Synonyms were suggested by Paul 3ane'co in workshops sponsored by ##4P.
20 Days of Poetry - Day 2
5pposites)*
Choose two thin&s that are opposites. It could e the opposite sides of a 3uestion. 4u$or is
&ood. !he poe$ should e two or four lines lon&. !he first two and the last two lines should
rhy$e. ,i&ht rhy$es are acceptale.
!he opposite of honest
What a lot of people do on a hard test.
+++-en(amin Swanson .!rade 21
+PP+,I!),
What is the opposite of lo*e5
"aye it is as eautiful as a white do*e(
6ecause lo*e is so fine(
!his is so$ethin& that I know is $ine.
What is the opposite of a s$ile5
"aye it is a frown that hasn%t een seen in a while(
6ecause a &reat s$ile ri&htens up the day(
!his has $ade $y day etter in e*ery way.
What is the opposite of true5
It could e purple( or e*en lue.
6ecause truth is etter than a lie(
I want the truth e*en fro$ $y special &uy.
+++,imiko -rantley .!rade /01
)The 5pposites were suggested by Paul 3ane'co in workshops sponsored by ##4P.
20 Days of Poetry - Day 7
6ist Poems)*
!here are so $any thin&s that can e written aout in lists( that so$eti$es we cannot think
of a thin& to write. !o help( so$e ideas for lists are elow.
.ists can e either rhy$in& or not. It is up to the writer to decide which style s8he uses. In
at least one of the poe$s you write( $ake the list hu$orous or far-fetched. !hen( in the
final line( &i*e the poe$ a serious turn.
Ideas for .ist Poe$s
!he ,ources of:
grayness
stiffness
softness
redness
s7ueaks
cold
sights
!hin&s !hat:
ring
light
you find in the grocery
hear in your house
smell in the school
are round/s7uare
are red/blue/green/black
!hin&s:
to do waiting for the bus
to do trying to fall asleep
you should have done
you should not have done
that make you feel tall
that make you feel small
that you tell your mother
,tudent )-a$ples:
!4I19, :ID, ,0; W4)1 !4); W01! !+ 9)! +<! !+ P.0;
--I did all $y ho$ework.
--I picked up $y toys.
--I e$pitied the trash.
--"y ed is $ade. 1o( there are no lu$ps.
--I ate all $y *e&etales.
--6ut e*eryone else is.
--6oy%s $o$ doesn%t $ake hi$.
--6ut( "o$.
--1o( $y dirty clothes aren%t under the ed.
--;es( "o$( I%$ sure.
--;eah( I%ll e careful.. 1o( I won%t poke an eye out.
--+h( please=
+++Steve Schlatter .!rade /01
C01 ;+< I"09I1)...
0 city without *iolence
!his classroo$ in silence
6asketall without a all
'eno without a $all
Ducks wearin& lipstick
1o arecue at a picnic
,ky without stars
>ail with no ars
!hrusdays without 1ew ;ork <nderco*er
6ein& orn without ha*in& a $other
!he .akers after ,ha3
4arle$ without crack
Pepsi without caffeine
)*ery ni&ht ha*in& the sa$e drea$5
+++Tierra 3ones .!rade /01

)The 6ists were suggested by Paul 3ane'co in workshops sponsored by ##4P.
20 Days of Poetry - Day ?
Three 4ord "orms*
)ach line of this for$ is $ade up of three words. !he last two words eco$e the first two
words in the ne-t line. In the poe$( there will e a pro&ress of i$a&es and a story will e
told.
,tudent )-a$ples:
"+'1I19,
sleep( alar$( awake
alar$( awake( shower
awake( shower( clothes
shower( clothes( shoes
clothes( shoes( do&
shoes( do&( run
do&( run( reakfast
run( reakfast( sunrise
reakfast( sunrise( car
sunrise( car( work.
+++%le$ -uffington .!rade /01
all( snap( run
snap( run( tackle
run( tackle( sack
tackle( sack( pass
sack( pass( catch
pass( catch( 1st down
catch( 1st down( touchdown.
+++3osh 3ones .!rade /01
20 Days of Poetry - Day @
I 8on9t &nderstand...*
6e&in the poe$ with AI don%t understand...A .ist three thin&s you do not understand aout
the world or people. 1a$e the thin& you do not understand $ost of all. )nd the poe$ with an
e-a$ple of so$ethin& you D+ understand.
,tudent )-a$ple:
I D+1%! <1D)',!01D...
I don%t understand
why people dislike $e
why people can%t &et alon&
why do&s are colorlind and cats aren%t
6ut $ost of all
why people are preBudiced
why people $ust $o*e away
why people ar&ue o*er stupid stuff
why there is wars
What I understand $ost is
why trees &row
why irds chirp
why the suns shines
why the car &oes.
+++%nita Pepper .!rade /01
Day C D >ust 6ecauseE
>ust 6ecause... poe$s ask you to descrie yourself in the first line of the poe$. !he ne-t
three lines in each stanFa tell what you are 1+!. !he final line restates the first line and
adds a ta& directin& the reader to do so$ethin&.
,tudent )-a$ples:
>ust ecause I%$ scared
Don%t lau&ht and &i&&le ehind $y head
Don%t kid and play when I%$ not there
,till ask $e ecause I $i&ht play
>ust ecause I%$ scared
It doesn%t $ean I can%t do it
It doesn%t &i*e you the ri&ht to talk aout $e
It doesn%t stop $e fro$ ha*in& fun
>ust ecause I%$ scared
,till tell $e e*erythin& you did
Can%t wait until I &et i&
>ust ecause I%$ scared -- please try to e $y friend
+++-randon 4omack .!rade /01
>ust ecause I%$ an only child
I%$ not a freak
I%$ not shy
>ust ecause I%$ an only child
I%$ not lonely
I%$ not selfish
I%$ not spoiled
>ust ecause I%$ an only child
I know I%$ not perfect
I can%t always e the est friend
I%$ not a nerd
>ust ecause I%$ an only child -- let $e e $e.
+++6i' 4ebster .!rade 21
Day G D I 0$ (/ersion 1-choose one#
6elow are line-y-line directions for writin& this kind of poe$:
.ine
H1. I a$
H2. !hree nouns aout which you ha*e stron& feelin&s. 6e&in each with a
capital letter.
H2. 0 co$plete sentence aout two thin&s that you like.
H7. !hree nouns that descrie what you like to see in other peopleI end
with Aare i$portant to $e.A
CapitaliFe each noun.
H?. 0 sentence containin& a positi*e thou&ht or feelin&. It can tell what
you find acceptale in yourself.
[email protected]. ,entence in which you show so$ethin& ne&ati*e in yourself or
others( howe*er the sentence $ust end y showin& that out of so$ethin&
60D can co$e 9++D. <se the word AutA to link the ad and &ood.
HG.-HJ.-H10. )ach line is a short sentence relatin& so$ethin& aout which
you ha*e stron& feelin&s--likes or dislikes. !hey do not ha*e to relate to
each other or to the pre*ious lines you ha*e written.
H11. )nd with A!his is $eA or AI a$.A
,tudent )-a$ples:
I a$
.ife( 4ope( .i*in&
I care *ery $uch aout the world and life on it.
4onesty is i$portant to $e.
+pti$is$ is i$portant to $e.
<nselfishness is i$portant to $e.
4ospitality is a &ood thin&.
"eanness is ad( ut can e &oot to &et people
off your ack.
!he world is &ettin& weaker.
!he lon&er the days the $ore eautiful they are.
People are too ne&ati*e.
I a$.
--.iF Wester .!rade 21
Day G D I 0$ (/ersion 2-choose one#
6elow is the line-y-line set-up for this *ersion of the AI 0$...A poe$:
1st ,tanFa
I a$ (two special characteristics you ha*e#
I wonder (so$ethin& you are actually curious aout#
I hear (an i$a&inary sound#
I see (an i$a&inary si&ht#
I want (an actual desire#
I a$ (the first line of the poe$ is repeated#
,tanFa 2
I pretend (so$ethin& you really pretend to do#
I feel (a feelin& aout so$ethin& i$a&inary#
I touch (so$ethin& you i$a&ine you touch#
I worry (a worry that is real to you#
I cry (so$ethin& that $akes you *ery sad#
I a$ (the first line of the poe$ is repeated#
,tanFa 2
I understand (so$ethin& you know is true#
I say (so$ethin& you elie*e in#
I drea$ (a drea$ you actually ha*e#
I try (so$ethin& you $ake an effort to do#
I hope (so$ethin& you really hope for#
I a$ (the first line of the poe$ is repeated#
,tudent )-a$ple:
I 0"
I a$ the wine and the future
I wonder how $any ripples I will ha*e to swi$
I hear the trickle of ti$e in a itter ottle
I see the translucent red drain fro$ the wine
I want the sweet satin li3uid to stain $y ton&ue
I a$ the wine and the future.
I pretend to entertain the &lowin& e$ers
I feel the dew that sours the &rapes
I touch the *ine that &rows new life
I worry the drunkard $ay speak the truth
I cry the dewdrop tears on the winery walls
I a$ the wine and the future.
I understand the dust on the ottle
I say it only $akes it sweeter with ti$e
I drea$ the spon&e cork $ay ne*er e replaced y lips
I try to &li$$er the crack in $y &lass container
I hope the sun-faded lael ne*er creases for lost identity
I a$ the wine and the future.
--:atie 'eilly .!rade /01
)-ased on materials by Su'i :ee, Teachers ; 4riters Collaborative
Day J - Dia$onte
Dia$onte:
!he Krench word dia$ont $eans dia$ond. 0 DI0"+1!) is a se*en-line poe$ that &radually
chan&es fro$ one idea to a direct opposite idea. When it is co$pleted( its total appearance
is dia$ond shaped.
!here are two patterns you can follow in writin& a dia$onte.
Pattern* Pattern*
.ine 1 L 1oun .ine 1 L +pposite of line C
.ine 2 L 0dBecti*e( 0dBecti*e .ine 2 L Descrie line 1
.ine 2 - /er( /er( /er .ine 2 L 0ction aout line 1
.ine 7 L 1oun( 1oun( 1oun( 1oun
.ine 7 L 2 nouns aout line 1
2 nouns aout line C
.ine ? L /er( /er( /er .ine ? L 0ction aout line C
.ine @ L 0dBecti*e( 0dBecti*e .ine @ L Descrie line C
.ine C L 1oun .ine C L +pposite of line 1
,tudent )-a$ples:
.o*e
6ri&ht( Passionate
Char$in&( Driftin&( 9rowin&
Cherish( Infatuation( 0ntipathy( <ncarin&
0ni$osity( Kallin&( Dead
Dark( Dis&ust
4ate
+++,imiko -rantley .!rade /01
Day 10 - Cin3uain
0 CI1M<0I1 is a poe$ with fi*e lines.
!here are a few thin&s to re$e$er 1+! to do with a CI1M<0I1 or any short poe$: (1#
don%t e te$pted to add e-tra words of syllales to fill out the for$I (2# if e*ery line sounds
Afinished(A there is a full stop at its end and it sounds orin&I and (2# a CI1M<0I1 should
uild to a cli$a- and ha*e a surprise at the last line.
CI1M<0I1s can e of either of two patterns: one is uilt on the nu$er of words in a lineI
the second is ased on the nu$er of syllales in a line.
W+'D P0!!)'1: ,;..06.) P0!!)'1:
.ine 1 L +ne Word (noun#
,uBect N title of poe$
.ine 1 L 2 syllales
.ine 2 L !wo Words (adBecti*es# .ine 2 L 7 syllales
.ine 2 L !hree Words (*ers# .ine 2 L @ syllales
.ine 7 L Kour words that relate
feelin&s
.ine 7 L G syllales
.ine ? L +ne word that repeats or
refers to line 1 (suBect#
.ine ? L 2 syllales
!he ideal Cin3uain would co$ine the ele$ents of oth colu$ns.
Day 11 D Kor$ula Poe$s
Kor$ula poe$s help you use words effecti*ely. <sin& parts of speech and literary de*ices
help to $ake your work li*ely and e-citin&.
"ormulas*
H1: Participle( participle( participle
H2: 1oun
H2: 0d*er (how#
H7: /er
H?: 0d*er (where or when#
!itle: Pick a color
H1: Descrie so$ethin&
associated to it
H2: ,i$ile or $etaphor
H2: 0d*er or ad*er phrase (where#

!itle: Keelin&
H1: !hree *ers
H2: 0d*er (where#
H2: Who has the feelin&
Samples*
H1: .eapin&( soarin&( flyin&
H2: !he superhero
H2: 1onchalantly
H7: Crashed
H?: Into the wall
!itle: 9reen
H1: "akes $e think of ,prin&
H2: .ike a tree co*ered with lea*es
H2: In a wooded forest.

!itle: ,illy
H1: !ickle( wi&&le( &i&&le
H2: .yin& on the floor
H2: "y ay sister
Day 12 D )$otions and 0ctions
,o$eti$es it is hard to put your e$otions and feelin&s on paper. !he followin& patterns for
poe$s are desi&ned to allow you to &et used to puttin& your e$otions into writin&.
.ine H1: What if OOOOOOOOOOOOOOOOOOOOOOOOOOOO
.ine H2: I $i&ht OOOOOOOOOOOOOOOOOOOOOOOOOOOO
(lea*e a space etween lines 2 N 2#
.ine H2: What if OOOOOOOOOOOOOOOOOOOOOOOOOOOO
.ine H7: I could OOOOOOOOOOOOOOOOOOOOOOOOOOOOO
(lea*e a space etween lines 7 N ?#
.ine H?: What if OOOOOOOOOOOOOOOOOOOOOOOOOOOO
.ine H@: I wouldOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
(lea*e a space etween lines @ N C#
.ine HC: 0sk a 3uestion.
.ine H1: When I OOOOOOOOOOOOOOOOOOOOOOOOOOOOO (descrie an action#
.ine H2: OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO (descrie where action takes place#
.ine H2: (Write 2 to 2 words that descrie how you feel#
.ine H7: I wish I couldOOOOOOOOOOOOOOOOOOOOOOOOO (descrie an action#
.ine H?: (!ell the reason why#
!itle: )"+!I+1
.ine H1: I OOOOOOOOOOOOOOOOOOOOOOOOOOOO (descrie what you did to show how you were
feelin&#
.ine H2: (Write 2 words that descrie how you felt#
.ine H2: ("ake a state$ent or ask a 3uestion with re&ard to what is written in the first two
lines#
.ine H1: If I could e OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
.ine H2: I%d OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO (descrie what you would do#
.ine H2: OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO (descrie how you would do it#
.ine H7: OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO (descrie where you would do it#
.ine H?: ()-cla$ation that shows how you would feel#
Day 12 D Writin& 0out Weather
Possily the $ost fa$ous poe$ aout weather is Carl ,andur&%s Ko&. ;ou can write aout a
force in nature in the style of ,andur& y followin& the for$ula elow:
!itle: Kor$ of 1ature chosen
.ine H1: !itle P (how it arri*es or e&ins as the ani$al would arri*e#
.ine H2: !ell what it does
.ine H2: 0nd how it does it
.ine H7: 0nd where it is
.ine H?: !ell how it lea*es (as the ani$al would lea*e#
,tudent )-a$ple:
!4<1D)'
!hunder co$es in loud
.ike the $aBestic roar of a lion.
It answers the call
+f li&htenin&
6y strikin& fear into people.
0way( so$ewhere in the sky(
,o$ewhere in the unknown(
0n unknown *oice(
0nd then lea*es without a trace
+f its e-istence
)-cept in peoples% stories.
+++<lia :iller .!rade 21
!o see so$e other e-a$ples of writin& aout weather( you can &o to the AWindy .an&ua&eA
pa&e.
Day 17 D "onth "etaphors
;ou can use a $etaphor as a sprin&oard to write a "onth "etaphor poe$. !he for$at is
the sa$e as when you did W'I!I19 06+<! W)0!4)'.
DI')C!I+1,:
1. Choose a $onth -- or a season -- and picture how it would arri*e if it were a person +'
an ani$al.
!he list of "+!I+1 W+'D, elow $ay help you( or you $ay use another word to show how
the $onth or season arri*es.
2. 0dd a few words to $ake the picture see$ $ore co$plete. !ell how +' where it
arri*es. <se ad*er or prepositional phrases. If you wish( use a !4),0<'<, to find
synony$s to replace o*erworked words.
2. !ell so$ethin& else the $onth or season does while it is here.
7. !ell how the $onth or season lea*es.
1+!): e sure you keep the sa$e co$parison ($etaphor# throu&hout the poe$. Don%t chan&e
to a different picture.
"+!I+1 W+'D,
march
stagger
skip
prance
float
tiptoe
gallop
hop
limp
hobble
canter
wobble
sneak
'oom
tramp
dance
shuffle
scurry
spring
glide
flutter
lurch
creep
stumble
trot
totter
strut
skate
slide
leap
slink
skulk
crawl
steal
bound
bounce
dart
lope
trudge
plod
advance
drag
slip
saunter
,tudent )-a$ples:
><.; trud&es
ri&ht in
with a an&.
It crawls around
on the hot &round(
leaps around
spreadin& war$th(
then &lides ri&ht
out of the way.
+++Tierra 3ones .!rade /01
,)P!)"6)'
creeps in 3uietly
and unnoticed.
It Bust sits there
waitin&(
watchin& for so$ethin&
to happen.
!hen( Bust a 3uickly
as efore(
it creeps ack out.
+++<lia :iller .!rade 21
1+/)"6)'
slides in
on clouds of snow
and rain.
It lows away
the war$th(
and sneaks in
the cold(
then dra&s away.
+++6i' 4ebster .!rade 21
Day 1? D I$a&e Poe$s
It is the purpose of this lesson to help you to AseeA thin&s you can write aout. !he sa$e
for$ula can e used in writin& aout pictures( people( and thin&s. !his asic Afor$ulaA is:
.ine H1: Descrie the oBect with two or three adBecti*es
.ine H2: 9i*e the oBect an action
.ine H2: Put the oBect so$ewhere
DI')C!I+1,:
1. Choose a picture that is not too Ausy.A It should ha*e only one or two suBects in it.
<se the for$ula ao*e to write aout one oBect in the picture.
2. Can you i$a&ine the oBect doin& so$ethin& really silly -- or so$eone doin& so$ethin& silly
with it5
<se the for$ula to write aout that.
2. I$a&ine so$ethin& stran&e happenin& to the oBect or with it. Where is it happenin&5
<se the for$ula to write aout it.
7. I$a&ine the oBect in a sad way. Where is this happenin&5
<se the for$ula to write once $ore.
?. .ook at the four poe$s you ha*e written. 0re they four stanFas of one poe$5 If they
are( co$ine the$ into one poe$.
4ere are so$e other possiilities for co$inin& thou&hts aout the photo:
I$a&ine A'eal and 6eautifulA
I$a&ine A<nreal and 6eautifulA
I$a&ine A<nreal and ,tran&eA
I$a&ine A<nreal and ,illyA
Instead of doin& this with an oBect( do this with a real person or a character fro$
literature.
Day 1@ D ,ense Poe$s
!hink of a place that is special. Kor$ an i$a&e in your $ind of this place. If you need to(
cluster this i$a&e. !hen co$plete the followin& state$ents.
a. I seeOOOOOOOOOOOOOOOOOOOOOOOOO
. I s$ellOOOOOOOOOOOOOOOOOOOOOOO
c. I hearOOOOOOOOOOOOOOOOOOOOOOOO
d. I feelOOOOOOOOOOOOOOOOOOOOOOOO
e. I tasteOOOOOOOOOOOOOOOOOOOOOOO
f. I thinkOOOOOOOOOOOOOOOOOOOOOOO
I see the sa&e-co*ered desert
I s$ell the freshness of the $ornin&
I hear the screa$ of the hawk
I feel the caress of a reeFe
I taste the dew on the wind
I think the new day is orn
0fter you ha*e written out the sentences( re$o*e the pronouns( *ers( and articles as you
need to:
sa&e-co*ered desert
freshness of $ornin&
screa$ of the hawk
caress of a reeFe
dew of the wind
new day orn
Day 1CD 6ull Durha$ Credo
In the $o*ie 6ull Durha$ :e*in Costner%s character is asked what he elie*es in. 4is answer
pro*ides us with a poetic for$at. 6y followin& the for$ula elow( tell what you elie*e in.
6<.. D<'40" C')D+
I elie*e in the OOOOOOOOOOOOOOOOOOOOOOOOO
theOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
theOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
theOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
theOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO
OOOOOOOOOOOOOOO(OOOOOOOOOOOOOOO(OOOOOOOOOOOOOOOOO
6ut (so$ethin& you don%t elie*e in( i.e. (Aut the no*els of ,usan ,onta& are self-
indul&ent( o*er-ratedA#
I elie*e inOOOOOOOOOOOOOOOOOOOOOOOOOOOO
I elie*e inOOOOOOOOOOOOOOOOOOOOOOOOOOOO
I elie*e inOOOOOOOOOOOOOOOOOOOOOOOOOOOO
OOOOOOOOOOOOOO(OOOOOOOOOOOOOOOO(OOOOOOOOOOOOOOOOO
0nd I elie*e inOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO(lon&est#
,tudent e-a$ple:C')D+
I elie*e in the widso$ of elders(
the influence of peer pressure(
the i$portance of success(
the e*il that e-ists in $oney(
the effecti*eness of hard work(
dedication( coura&e( stren&th.
6ut the elief that you don%t ha*e to stri*e
for your &oals is Bust outra&eous.
I elie*e in the truth that will set you free(
I elie*e in lo*e that will con3uer all(
I elie*e in respect for others(
Courtesy( politeness( &ratitude.
0nd I elie*e in the fact that to$orrow
isn%t pro$ised to you.
---Tierra Jones (Grade 10)
Day 1G D >apanese-like Poe$s
,e*eral for$s of poetry are traditional to >apan. !hose known in the <nited ,tates are
pri$arily haiku and tanka. In fact( there are se*eral $a&aFines and Bournals that accept
these for$s only for pulication. We will e-a$ine oth of these for$s( ut ecause you will
e allowed $ore latitude in suBect $atter and for$( we are callin& this lesson A>apanese-
likeA rather than traditional >apanese for$s. In the discussion elow( I ha*e linked to two
haiku sites and two tanka sites on the we. >ust click on the underlined words to &et there.
40I:<
4aiku poe$s are characteriFed y content( lan&ua&e( and for$. +f the three ele$ents( for$
is the least i$portant. !he content of haiku poe$s is pri$arily nature. <sually there are no
si$ilies or $etaphors( nor are there $any adBecti*es. !he $ost co$$on for$ is three lines(
the first and third ein& the sa$e len&th and the $iddle one ein& a little lon&er. In )n&lish-
speakin& countries this has een translated into a ?8C8? syllale structure. 4owe*er( this is
not set in stone. In >apanese( it is 1C sounds. In )n&lish this translates to so$ewhere
etween 12 and 1? syllales. !herefore( if you do not ha*e )Q0C!.; 1C syllales it is
acceptale. !he $ost fa$ous writer of haiku is "atsuo 6asho and his $ost fa$ous poe$ is:
old pond...
a fro& leaps in
water%s sound
!01:0
0 tanka is a $ood piece( usually aout lo*e( seasons( sadness( or how short life is. !ankas
use stron& i$a&es and often ha*e literary de*ices such as si$ile and $etaphor. 0 tanka is
short and usually has only fi*e lines. Instead of countin& syllales( you count 0CC)1!)D
syllales. !he followin& pattern of 0CC)1!)D syllales works well in )n&lish for a tanka:
282828282. ,o$e clai$ the tanka contains ?8C8?8C8C syllales. 0ctually( you can use either
$ethod for deter$inin& the sounds in this kind of poe$.
DI')C!I+1,:
1ow that you are fa$iliar with the haiku and tanka for$s of poetry( you are to write at least
two of each for$. 6y writin& $ore than one of each kind( you eco$e fa$iliar with the for$s
and used to followin& set patterns for writin& different kinds of poetry.
Day 1J D Write 0out ;ourself and +thers
,o$eday Poe$s:
6e&in each line with the word ,o$eday... and co$plete it with a wish you ha*e. "ake the
first two or three lines say so$ethin& aout your e*eryday wishes and slowly $o*e away fro$
yourself to the world in &eneral. ;ou $ay end the poe$ with the word ,o$eday....
,tudent e-a$ples:
,+")D0;...
,o$eday I will play the &uitar
,o$eday I will ha*e a Bo
,o$eday I will &et $arried
,o$eday I will ha*e kids
,o$eday I will e rich
,o$eday I will e noticed
+++:elissa :anor .!rade /01
+ne Window Is 0ll I 1eed... Poe$s:
6e&in your poe$ with the line +ne window is all I need...(and continue to write aout this
i$a&inary window in a personal way.
,tudent e-a$ples:
+1) WI1D+W I, 0.. I 1))D
+ne window is all I need
!o see what lies ahead for $e
!o lose $yself in lo*e
Kor a connection to $y inner world
!o see $yself for who I a$
0nd e ale to $ake chan&es.
+++Tierra 3ones .!rade /01
+1) WI1D+W I, 0.. I 1))D...
to see the world
to re*eal $yself
to i$a&ine ad*entures
to return to $yself
and li*e.
+++%le$ -uffington .!rade /01
W'I!I19 06+<! +!4)',:
When you write aout others( pick one i$portant thin& aout the$. :eep the focus positi*e.
.ine H1: !he i$portant thin& aout (na$e# is ($ost strikin& attriute#
.ine H2: ,8he is also OOOOOOOO(use as $any lines as you need#
.ast line: 6ut the $ost i$portant thin& aout (na$e# is (repeat .ine H1#
,tudent e-a$ple:
0s you eco$e co$fortale writin& poetry( you will find you will want to chan&e the for$at
and work on your own. !his is &reat= !he followin& student e-a$ple ca$e fro$ such a
&rowth:
!4) 1)W W+'.D
+*er 200 years a&o(
$y &randfather of $any &reats
$o*ed fro$ one world to another(
sailed across the 0tlantic
and settled in /ir&inia.
4e $ust ha*e felt as
Christopher Colu$us(
disco*erin& a new world.
)n&land to A!he 1ew WorldA
1ot too terrily far apart(
ut different in all ways.
0ll his routines chan&ed(
his work chan&ed(
his life chan&ed(
he chan&ed.
+++3on :ayne .!rade /01