Poetry Study (Grade 5)

Poetry Study 5th Grade Index Reference Appendices 1-13 1.Responding to Poetry (day 1) 2.Knowing my Taste in Poetry (day 1) 3. Read Aloud Guide 4. Where Poetry Hides (day 7 & 8) 5.Choral Reading (day 12) 6. Heart Map – Atwell (day 13) 7. Heart Map – Ross (day 13) 8. Anatomically correct Heart (day 13) 9. Revision Checklist (Day 19) 10. Editing Checklist (Day 21 & 22) 11. Student Rubric (day 21 & 22) 12.Celebration of Writing – Museum Walk (Day 23) 13. Teacher Rubric (Day 23) Poetry Packet and Poets Chapter One (Day 1) Time by Sid John Gardner (Day 2 & 3) Naomi Shihab Nye W.S. Merwin (Day 6) Pages by Jackie Ross ( Day 7 & 8) Dreams by Langston Hughes (Day 9) Be Myself and Keepsake by Eloise Greenfield (Day 9) Holes by Lillian Morrison (Day 9) Crickets by Valerie Worth (Day 12) Reasons Why by Langston Hughes (Day 12) My People by Langston Hughes (Day 16) Things by Eloise Greenfield (Day 16) Safety Pin by Valerie Worth (Day 17) Thumb by Philip Dace (Day 17) Dandelion by Valerie Worth (Day 17) Gas Pump by Jed Chambers (Day 17) Power Point Presentations and Corresponding Days

1. Where Poetry Hides (Days 7 & 8) 2. The So What (Day 9) 3. Sensory Images (Day 10) 4. Line Breaks and Stanza (Day 12) 5. Heart Mapping (Day 13) 6. Figurative Language (Day 17)

Poetry Study, Grade 5 Page 1 of 54 Poetry Study (Grade 5)

The Poetry Genre will follow the Writer’s Workshop model used in Fountas and Pinnell. Each lesson begins with the teacher sharing a poetry read-aloud and mini-lesson, students applying skills to their writing, the teacher conducting individual conferences with students while in the writing process, and students sharing their work to reinforce learning. At the end of this genre study students will have two published poems.

Throughout the unit, it is important to expose students to many different types of poetry, however, free verse will be the main focus. The goal of free verse poetry is to allow writers to concentrate on the message and craft rather than trying to fit into a specific form.

When conferencing with students, be sure to emphasize the need to incorporate the day’s mini- lesson and strategies.

Getting started and establishing routines: To begin your genre study, each teacher needs to establish his or her own routines for selecting and returning poetry books. One organizational strategy is to make separate poetry folders for students to keep all of the unit work, including mentor texts, mini-lesson ideas, poetry responses, and written drafts.

Immersion Phase

Responding to Poetry – Day 1

Today’s lesson is reading samples of poetry aloud and responding to poetry as a group. It is important to keep in mind that we choose poetry to read for personal reasons, therefore, we need to think about what it means to us and what the poet is trying to say. Take one poem and read it to the whole class. Demonstrate how you think about the poem by underlining words that carry meaning, words that sound good together, strong verbs that you notice, words that create a visual image or words that appeal to your senses. Students will get much better at this throughout the genre study.

Next, students find a poem that appeals to them from your grade level poetry books. They can share their poems in partnerships, in small groups or as a whole class.

Every time you read a poem to the class, you can give it to them to write on directly. Consider it a gift of writing. Students should have multiple opportunities to respond to poetry throughout the unit. See Appendices 1 and 2 for sample response sheets.

Davis, Judy and Hill, Sharon. (2003). The No-Nonsense Guide to Teaching Writing, Responding to Poetry sample (p 155).

Poetry Study, Grade 5 Page 2 of 54 Create a Living Anthology – Days 2-3

The purpose of today’s lesson is to create a Living Anthology in which poetry can come alive in your classroom. Students look around the room to come up with places where poetry might fit, for example, placing a poem by the drinking fountain that has to do with drinking water, or thirst, near a windowpane that might relate to what you see out a window, or next to the computer that might be about a mouse, machines, typing, games, etc. Let kids be creative with finding suitable places for poems.

Read a poem that you have found and share the reason why you selected it. Refer to poetry packet for a sample poem. Remind students of the following:  You should not pick the first one that you read.  You should read several poems to find the right one.  You should look for poems to fit different spots in your room.

Provide time for students to read poems with this purpose in mind. After each student finds his or her perfect poem, encourage them to find different places and poems than their classmates before copying it. When copying poems, students need to remember the following:  They should copy it exactly as it is written, observing line breaks and punctuation.  It should not look like a paragraph.  It must include the title.  They should include the author to give credit to the person who did the work.  They need to use their best handwriting.  Now they are ready to place their poems around the room.

To end the workshop, students need to share their poems. In Appendix 3 you will find a Read Aloud Guide to include in student folders for a reference. To prepare to share students should:  Reread it three or four times silently.  Pay attention to the line breaks.  Pay attention to punctuation.  Adjust his or her voice, making it softer, louder, or excited etc.

The poetry which students copied is published work, throughout the unit, you can refer back to these poems as models of what good writers do.

Heard, Georgia. (1999). Awakening the Heart, Living Anthology (p, 22-24). Davis, Judy and Hill, Sharon. (2003). The No-Nonsense Guide to Teaching Writing, “Read Aloud Guide” (p. 152).

Poetry Study, Grade 5 Page 3 of 54 Self-Portrait Anthology – Day 4

Poetry has different meanings to each person who reads it. Today mirrors Lessons 2 and 3, but the focus shifts a little. The goal is for each student to find a poem that provides insight into his/her personality – not just what students like but who they are on the inside. “They are looking for someone else’s snapshot in which they see themselves,” Charles Simic says. If they are shy, or outgoing, they are looking to find poems that would reflect that trait. The goal is to share parts of themselves.

The teacher will model a poem that reflects his/her personality traits and share why he/she chose it. What personality trait did you choose to share?

Students need time to read poems with the new purpose in mind. They will find new poems and copy them. Follow the previous format for copying poems. These poems could go on their desks or on the cover of their folder. To prepare to share students should:  Reread it three or four times silently.  Pay attention to the line breaks.  Pay attention to punctuation.  Adjust his or her voice, so it might be softer, louder, etc.  Share why she/he picked that particular poem.

End the workshops with students sharing their poems.

* Heard, Georgia. (1999). Awakening the Heart, Self –Portraits (p. 35-42). Davis, Judy and Hill, Sharon. (2003). The No-Nonsense Guide to Teaching Writing, “Read Aloud Guide” (p. 152).

Poetry Study, Grade 5 Page 4 of 54 Characteristics of Poetry – Day 5

Begin the lesson today by sharing several free verse poems. Don’t limit yourself to poems only written for children. Throughout the immersion phase, the class should be exposed to a variety of poems, as well as thinking about craft, so that they are able to think of the characteristics of poetry. Today as a group, begin to create a chart that has the following characteristics of poetry. The sample list below is not inclusive; you may add other traits today, as well as adding more to the chart throughout the unit as students become more familiar with the genre.

What is Poetry?  Free verse does not have to rhyme.  Some poetry does rhyme.  Poems have a rhythm when read aloud.  Poems have a point, a purpose, a reason it is written, or a “so what.”  Poems sometimes use repetition to deepen the meaning or move the poem forward.  Poetry uses as few words as possible, stressing concise language.  The words, line breaks, stanzas, and white space are all used to carry meaning.  To create visual images, authors often use the senses.  Poems can say two things at once using figurative language (similes or metaphors).  Poems use personification.  Poems use alliteration.  The titles are well crafted and give a hint to the poem or the so what.  Poems are written about all types of topics.

Poetry Study, Grade 5 Page 5 of 54 Prewriting/Drafting Stage

Where Poetry Hides – Day 6

How to Get Started!

Continue each lesson by reading aloud a few poems. You can also hand out copies on which students can write notes on as they become aware of different types of craft. (alliteration, personification, similes, etc.)

Mini Lesson: Poets choose topics that are important to them. As teachers, we want to help students create authentic writing and move away from writing poems that are assigned. Heard said she has, “never heard a poet describe the origin of a poem by saying it came from an assignment about pretending to be a grass blade blowing in the wind or from a poetry contest about health safety.” For students to find authentic topics for poetry, they need to pay attention to all that surrounds them. One way to be inspired to write poetry is to “find where poems hide for us as a part of the process of being a poet and of living our lives as poets” (Heard, p. 47).

Share the following two poems with the class as examples of where poetry hides. Naomi Shihab Nye’s and W.S. Merwin’s poems show that poetry can hide in unexpected places.

Model your own list of “Where Poetry Hides” or use the one in Appendix 4. Poems hide in ideas. Those ideas might be found in objects, places, passions, concerns or specific moments in your life. Instruct the students to make a list of “Where Poetry Hides” for them. Students need to search among their family, places, people, and occasions that matter. Atwell says, “Think of this as a treasure hunt of your life, and you’re looking for the jewels” (p. 19).

End the workshop by asking the students to spend some quality time at home searching for other places where their poetry hides.

Heard, Georgia. Awakening the Heart, Where Poetry Hides (pp. 47-61). Atwell, Nancy. Lessons that Change Writers, “Where Poetry Hides,” Lesson 4 (pp. 17-20).

POWER POINT LESSON: Where Poetry Hides

Poetry Study, Grade 5 Page 6 of 54 Moving from Exploration to Draft – Days 7-8

Today’s lesson begins where yesterday’s left off. Students were completing their “Where Poetry Hides” lists at home. Students begin in small groups of two or three sharing their lists. This allows each student the time to share his/her whole list. While listening to their peers, students should be prepared to add at least one new inspiration to their own list that was sparked from their partner(s).

Mini–Lesson: Writers use a variety of strategies to begin putting ideas down on paper.

Model from your list “Where Poetry Hides” and star a few topics that you want to pursue. These topics are the seeds for your poems. Point out that all of the starred topics could be turned into a poem at any time, but just choosing one for today. After narrowing down your starred list to one idea, model a strategy for brainstorming. Let the students know that they could choose from the following ideas: webbing, listing, quick writes, or sketching. The goal during exploration is to write down as many words, ideas and phrases as come to mind. Today students need to think about the following:  Reread their lists.  Star topics that inspire them.  Star topics that they want to explore further.  Narrow down list to one idea.  Begin the exploration phase by writing down words or concepts related to the topic.

The following lesson starts back in the large group setting. Model how to change the brainstorming ideas into a draft. In this phase, your poem will begin to take shape. This is a good place to practice your own writing.

Start on new piece of paper to help emphasize the difference in this phase of writing. Once the writer begins a draft, he/she has clearly begun to consider the audience and is writing toward publication (Davis Hill, p. 86).

Mini-Lesson: Writer’s choose their words carefully when beginning their drafts. Tell the students to keep their brainstorming paper on the desk to reference as they choose the best words and phrases for their poem. Today direct the students to consider the following:  What words are important to keep?  Consider using a logical sequence.  Choose strong words.  What parts should you cross out?  Do the words relate to the topic?  Are there ideas or words that weaken the poem?

Let the students know their goal is to construct the beginnings of their poem.

You might end by having the students share, knowing they have a goal for completing their work, is a positive.

Poetry Study, Grade 5 Page 7 of 54 “So What” – Day 9

The Meaning behind the Poem

As you read aloud poems today, your focus should be on poems that have some deeper meaning. You want to be able to refer back to the poems throughout the mini-lesson and conferences. You can start with the suggested list, but you will want to find some of your own. “Dreams” by Langston Hughes, “By Myself” and “Keepsake” by Eloise Greenfield, and “Holes” by Lillian Morrison.

Mini-Lesson: Good writers always write with intent, a purpose, a point, and meaning. This is otherwise known as the so what. Writing has to matter to children. The goal is for the students to begin to write with deeper meaning while using ideas that are important to them. We want their writing to be authentic, choosing topics about which they are interested.

The next question we should be asking the students is so what? What is the point? We need to encourage students to be thinking about the message. So what does it mean to you? If the students think about what they care deeply about – their hopes, their doubts, their fears, and their joys – they will have a place to begin. As Atwell notes. “...Good readers find something to think about because a good writer has found something to think about.”

Again the goal for writing is to find a deeper meaning in your life, so your writing has a point, a purpose or a reason. Instruct the students to revisit the draft that they started yesterday with a new goal in mind. They need to think about the point and find the so what in their work. If that poems doesn’t have a point and is just a series of events, let the student abandon it for now. Try a new topic keeping in mind your so what. They should refer back to their starred list from “Where Poetry Hides.” If students finish early, encourage them to try a new poem.

To end the workshop, students should share their so what.

Atwell, Nancy. Lesson That Change Writers, “Rules of So What” (pp. 38-40).

POWER POINT LESSON: The So What

Poetry Study, Grade 5 Page 8 of 54 Poets Write with Sensory Images – Day 10

Today read “Twilight Comes Twice” by Ralph Fletcher. Select one page from the book to reread that provides a strong visual image. Ask students to draw what they imagine when they hear the words on the page. Sharing pictures is an option. This is a good segue for the mini-lesson.

Mini-Lesson: Good writers write well-crafted poems by using sensory details to create vivid images. To begin, writers ask themselves, “Can you see it, hear it, or feel it?” (Atwell, p. 67) “Twilight Comes Twice” will be the mentor text. To prepare, find the words that helped you see, hear or feel. As a class create a chart of words that students can use to reference during writing. Some examples of the sensory images from “Twilight Comes Twice” include the following:

See – Invisible arms, armies of bats, syrup of darkness Hear – Singing with stars, whispering secrets, hisses on the sprinklers, crows to start their jabbering Feel – The air is still moist, wet grass, skin feels tingly clean

Writing a new draft of their poem, students should practice visualizing by paying attention to the details that they see, hear and feel. They will be adding words or phrases to their poems that describe what they see, hear and feel. Feelings can be on the outside or inside.

End the workshop with students sharing the words used to create sensory images, emphasizing that sensory details in our poems helps the reader to see it, hear it or feel it.

Atwell, Nancy. Lesson That Change Writers, “Can a Reader See It, Hear It, Feel It?” (pp. 66-68). Fletcher, Ralph. “Twilight Comes Twice.” Heard, Georgia. Awakening the Heart, “The Meaning Toolbox” (pp. 64-73).

POWER POINT LESSON: Sensory Images

Poetry Study, Grade 5 Page 9 of 54 The Importance of Line Breaks and Stanzas – Day 12

Choral reads provide opportunities for students to practice rhythm, intonation, and the pace of poetry. It is a good way to emphasize line breaks and/or stanzas. One idea for choral reading is to divide the class into two or more groups and assign lines or stanzas. Another idea is to read a few lines and then have the class read a few lines. Play with the ideas while rereading the poem several times. Heard includes more ideas on p. 27 in Awakening the Heart (see Appendix 5).

Mini–Lesson: Good writers use line breaks to indicate where the pause is. Because poetry is meant to be spoken, line breaks show the reader where to take a slight pause. According to Georgia Heard, there are several ways to think about line breaks. You can break a line:  According to your natural breath.  To emphasize a particular word or words.  To create tension.  To change the pace of the poem.  Thinking about ending on strong words, nouns, verbs, or adjectives.

Use Valerie Worth’s poem “Crickets.” Write the poems in different ways, keeping the words in the poem the same but changing where you put the line breaks. Or you can use the power point lesson as it is already done for you. Ask the students where they want to put the natural pauses. Use // to signal line breaks as you practice. This signal will be used for editing as well. The words to the poem follow. These are the words to demonstrate to students where changing where the line breaks affects the rhythm and meaning of the poem.

“Crickets”

Crickets talk in the tall grass all late summer long. When summer is gone, the dry grass whispers alone.

Follow up by asking the students how changes in line breaks affect the rhythm of the poem. Then share Worth’s actual poem to compare how the poet chose to write it.

The second part of the Mini-Lesson: Good writers use stanzas to show the reader where there is a shift in action. Compare this to how authors of narrative pieces use paragraphs to show a shift in ideas. In poetry, it is called a stanza. Model with a poem by Langston Hughes called “Reasons Why.” Write the poem without the stanza break. Or you can use the power point lesson as it is already done for you. Ask the students where they would separate the poem and why.

Poetry Study, Grade 5 Page 10 of 54 “Reasons Why”

Just because I loves you--- That’s de reason why Ma soul is full of color Like de wings of a butterfly. Just because I loves you That’s de reason why Ma Heart’s a fluttering aspen leaf When you pass by.

Students should use a line (______) as a symbol to indicate a stanza break. They should practice using this symbol if they think they have a change in action.

Now the students are ready to practice inserting line breaks and stanza in their own work. They could rewrite their draft or simply insert symbols taught today. Remember the goal of poetry is that it is meant to be heard. As students are working ask them to think about whether their poem has a natural rhythm.

It is important for students to share today because this ends the drafting of their “Where Poetry Hides” poem. The class is paying attention to the rhythm of the poems.

Heard, Georgia Awakening the Heart, Line Breaks, p. 84-85 Atwell, Nancy. Lessons That Change Writers, “Breaking Lines and Stanzas” (pp. 132-134). Worth, Valerie. “Crickets.” Hughes, Langston. “Reasons Why.”

POWER POINT LESSON: Line Breaks and Stanzas

Poetry Study, Grade 5 Page 11 of 54 Prewriting/Drafting

Heart Mapping: Sharpening Your Inner Vision – Day 13

Begin the lesson with reading poetry out loud. The more examples that students hear, the more knowledge they will have to understand the variety of crafts used in this genre. Remember you can always add to the Characteristics Chart.

Today’s lesson serves as a stepping-stone to new drafts that the students will write. The goal of this lesson is to develop more strategies for students to get in touch with what really matters to them. Heart mapping is a visual technique or concrete way to help identify what one really cares about.

Mini-Lesson: Poets write from their heart and share what is important to them. Atwell says, “Of all the genres, poetry is the one that’s made for feelings. It expresses my needs, dreams, and emotions.” This is where poetry really begins; it is from our inner visions.

You can make your own heart map and model what you chose to put in the heart or use the PowerPoint presentation or use Appendices 6 and/or 7. After modeling you will ask students to draw their own heart maps. Ask them to consider the following ideas and questions:  Who are the people, pets, and places about which you care?  Think about sad and happy moments that you will never forget.  Which memories have stayed with you?  Consider things that you love to do.  Think about objects you cherish.  Think about journeys that you’ve taken.  The center of your heart should be the things that you hold most dear.

Students can use a Valentine shape or one that is anatomically correct (see Appendix 8). The map needs to be large enough to fit his/her life, so instruct the students to use the whole page. Options for students could be using different colors and/or adding visuals to their heart. Students like to spend time decorating them. It is okay to decorate, but remind students that it is the content that is the most important part of the heart map.

Students need to spend some quality time reflecting before writing. They will be drafting a poem from their heart map tomorrow. If students don’t finish during class time have them take their heart map home to finish. This part of the process needs to be completed before drafting can begin.

Atwell, Nancy. Lessons that Change Writers, Heart Mapping (pp. 14-16). Heard, Georgia. Awakening the Heart, Heart Mapping , (pp. 108-116).

POWER POINT LESSON: Heart Mapping

Poetry Study, Grade 5 Page 12 of 54 Drafting using our Heart Maps– Day 14

Today’s lesson is just like last week’s lesson (Day 7 & 8) with students using their heart maps. Begin where you left off yesterday. Students begin sharing their heart maps in smaller groups of two or three. Each student needs to share his/her map in this small group setting. While listening to their peers, students could add one new inspiration to their own map.

Mini-Lesson: Writers use a variety of strategies to begin putting ideas down on paper. Model with your Heart Map or one of the two provided in the Appendix. Star a few topics that you want to pursue. These topics are the seeds for your poems. Emphasize that all of the starred topics could be turned into a poem later but you are just choosing one for today. After you narrow down your starred list to one idea, model a strategy for brainstorming, let the students know that they could begin from the following ideas, webbing, listing, quick writes, or sketching. The goal during exploration is to write down as many words, ideas and phrases that come to mind. Today the students should mirror your modeling. This is considered the exploration/brainstorming phase. They need to:  Reread their heart maps.  Star topics that inspire them.  Star topics that they want to explore further.  Narrow down list to one idea.  Begin the exploration phase by writing down words or concepts related to the topic.

Poetry Study, Grade 5 Page 13 of 54 Drafting using our Heart Maps – Day 15

As a whole group, model how to change the brainstorming ideas into a draft. In this phase, the students’ poems will begin to take shape.

Mini-Lesson: Writer’s choose their words carefully when beginning their drafts. Direct the students to use the following questions to help them draft.  What parts from their brainstorm are important to keep?  Is there a logical sequence?  Did you use sensory detail?  Is there a “so what”?  Do the words relate to the topic?  Are there ideas or words that weaken the poem?  Where will you put line breaks or stanzas?

Let the students know that today their goal is to construct the beginnings of a new poem.

End again by having the students share in small groups, giving lots of opportunities for each student to participate.

Poetry Study, Grade 5 Page 14 of 54 Effective Repetition – Day 16

The following suggested poems use effective repetition: “My People” and “Reasons Why” by Langston Hughes and “Things” by Eloise Greenfield.

Mini –Lesson: Good writers use effective repetition to create movement, emphasize words, and provide rhythm to their poems. Use the mentor texts (the above poems) or model with your own poetry. Pass out copies of the poems for the students to write on. Ask the students to highlight or underline the words that are repeated. Discuss why the poets selected those words to repeat.

Writers think about a word or a phrase that is important to the meaning of the poem. Their goal is to incorporate effective repetition. One way authors use repetition is to think about the “so what.” Using those key words or ideas will move the poem forward and/or provide a rhythm. There are several ways to use repetition in poetry.  Repetition could be words or phrases related to the so what.  Alliteration is also a form of repetition.  Assonance is the repetition of vowel sounds as in house and mouth.  Consonance is the repetition of final consonant sounds as in short and sweet.

Writers also need to be aware that they can create awkwardness for the reader if using repetition incorrectly. We will refer to this as ineffective repetition. This might happen if you have overused your repetition, if you have no real purpose for your word choice, or if the words you choose to repeat are too close together.

Instruct the students to try adding effective repetition to their poems today. Experiment with language and different types of repetition. Add to the previously drafted poem.

Students need to practice reading their poems aloud to hear the rhythm of their words. You might want to end the workshop with students sharing what type of repetition they used.

Atwell, Nancy. Lessons that Change Writers, “Effective Repetition” (pp. 139-141). Heard, Georgia. Awakening the Heart, “Using a Musical Toolbox,” (pp. 88-89).

Poetry Study, Grade 5 Page 15 of 54 Using Figurative Language – Day 17

Using Langston Hughe’s poem “Dreams.” Ask the class to think of the two ideas that are written at the same time.

Mini-Lesson: Good writers use figurative language to create deeper meanings for the reader. Georgia Heard said, “One of poetry’s most wonderful features is that it can get beneath the surface of things and explore them, not as mere objects, but as remarkable phenomena with lively personalities of their own.”

Read the following four poems to the class: “Safety Pin” and “Dandelion” by Valerie Worth, “Gas Pump” by Jed Chambers, and “Thumb” by Philip Dace. Instead of giving the title away, ask the students to guess to what object the poet might be referring? Remember the point is that two ideas are written about at the same time.

As you share how writers use figurative language, identify the author’s strategies. Similes are a comparison of two different things using “like” or “as.” Metaphors are a comparison of two different things. Personification gives human or physical qualities to an object, animal or idea.

Today students will practice writing with personification, similes and/or metaphors by giving life to an inanimate object. They can begin by looking around the classroom for an object to write about. Using this object, they need to bring it to life by assigning feelings, thoughts, actions or personality traits. Their draft should follow the poems presented today.

The next step will be to apply this strategy to their heart map poetry drafts.

Atwell, Nancy. Lessons that Change Writers, “Two Things at Once” (pp. 142-145). Heard, Georgia. Awakening the Heart, “Spinning Metaphors and Similes” (pp. 78-82).

POWER POINT LESSON: Figurative Language

Poetry Study, Grade 5 Page 16 of 54 How to Write Good Titles – Day 18

Mini-Lesson: Good writers create titles that are memorable, provide a hint to the “so what,” or invite the reader in.

The time to write a title is at the end of the piece – not the beginning. Students often slap on a title that provides little thought to their writing and is usually just a label. For example; “The First Time I Went Snow Boarding” or “Cedar Point.” Using any of the previous poems provided in the genre study, brainstorm with the students other clever titles that would also fit the poems.

Next, create a list of criteria that make good titles. Here are some ideas to get started; feel free add others.  It needs to be about the whole piece.  It can infer the so what.  It is memorable.  It is not a label.  It invites the reader in.  It could use figurative language.  It could use alliteration.

Instruct the students to try adding memorable titles to their completed poems. The first step is to brainstorm several titles, keeping the criteria in mind.

End the workshop by sharing the title that you found most effective.

Atwell, Nancy. Lessons that Change Writers, “Good Titles” (pp.53-55).

Poetry Study, Grade 5 Page 17 of 54 Revising, Editing, Publishing, Polishing

Revision Checklist – Day 19

Cutting to the Bone!

We will use an organizational tool and apply a new revision strategy. To begin, show the revision checklist (Appendix 9) on the overhead. Each student will need their own copy. Start with a blank form and model how to fill in the revision strategies bulleted below. The revision list includes all of the mini-lessons taught to this point, as well as today’s lesson, Cutting to the Bone.  Sensory detail – Can you see it, hear it, and feel it?  A so what, a point, or a purpose.  Line breaks and/or stanzas.  Effective repetition.  Figurative language.  A clever title.  Cutting to the Bone.

In the writing process, we revise by adding, changing, and deleting. Now the students are ready to check off the techniques on their revising checklist that they used in their own writing.

Today we will add a revision strategy that Atwell refers to as “Cutting to the Bone.”

Mini-Lesson: Good writers choose purposeful words and precise language when writing poetry. Robert Wallace says, “Poetry is especially an art of compression.” Ask the students what that might mean? Compress means to force something into less space. Another way to think of this is to use William Coles’ words, “Poetry is elegant shorthand.”

They will need to plan on taking two poems to final draft. They could look through all of their drafts to choose their two favorites. Students need to revise these poems by looking for words that they can cut out. These words are excess – words that do not carry meaning. These words distract or weaken the poem. Good readers would not need those words to help them understand the meanings behind the poems.

Atwell, Nancy. Lessons That Change Writers, “Cut to the Bone” (pp.136-138).

Poetry Study, Grade 5 Page 18 of 54 Editing Poetry - Looking at Punctuation – Day 20

The students will be using an editing tool with the same two poems that they selected yesterday to take to final draft.

The next step is teaching the students how to use an editing checklist (see Appendix 10). Be sure every student has their own copy. Model on the overhead how to fill out the editing checklist. This closely resembles yesterday’s lesson with the revising checklist. The editing checklist should include:  Spelling  Capitals  Punctuation

Tell the students that the first step is to always checking for spelling. When they look at their writing, they should circle any words which they are not 100% certain of and check the spelling in a dictionary.

Second, students should edit for capitals. Proper nouns need to be capitalized. Some poets capitalize each line, however, you can remind the students that this is optional, as per the sample mentor text previously given.

Finally, today students will learn how to punctuate poetry. Commas represent pauses, and line breaks do the same thing. Using a comma at the end of a line could be seen as a redundant pause. Students need to think of their poetry as a narrative sentence and use commas, dashes, and periods sparingly.

Students love using a red pen as a part of this process.

Instruct the students to apply these editing strategies to their own poems. These steps are the beginning process of polishing poems through use of these editing strategies.

Poetry Study, Grade 5 Page 19 of 54 Polishing Poems – Final Copies – Days 21-22

Today and tomorrow are the final stages of polishing. The students are putting their work into two fine-tuned poems. There are many options for this step. Students:  Might want colored paper.  Could handwrite their work with colored pencils or pens.  Could type their pieces with special font.  Could add pictures.  Could add borders to complete the creative process.

If typing their poems, students will need to proofread them again to make sure that they look like their final drafts with line breaks and stanzas in the correct locations.

At this phase, students should self-evaluate their poems using the student rubric (Appendix 11).

Poetry Study, Grade 5 Page 20 of 54 Ideas for Publishing – Day 23

The goal of this genre study is to publish two poems. There are many publishing options from which to choose for students to share their work. It is important to include this phase into the genre study. Choose your favorite, or add one to the list.

Museum Walk – This option allows students to appreciate each other’s work. Each student lays his or her work on his/her desk along with the comment sheet “Celebration of Writing Museum” (see Appendix 12). The process begins as each student moves to another student’s desk, reads his or her work and responds in writing using positive comments. Set a timer for around 5 minutes. Repeat the process 3 or 4 times, having students move to different poems. Authors love to come back and observe what was written about their work.

Poetry Break – This option allows students to perform poetry for other classes. You would need to coordinate this option with other teachers. Your students would break into other classrooms and share their published poems aloud. You might have small groups going into different classrooms throughout the building or a just visiting a few classrooms throughout the week. You might want have a sign-up schedule for a day, week or whatever works for you and your staff.

Poetry Café – Invite parents into your classroom to hear the poems read aloud. Offer up the poems as part of the menu. The parents can order poems. Students can read in small groups or to the class. There are lots of possibilities.

Anthology of Class Poems – put the students’ finished pieces into book form and keep it in the poetry section of your classroom library. The students enjoy reading each other’s poems.

The final stage of the genre study is to use the teacher rubric to assess your students’ work. (see Appendix 13).

Be thinking about which poems you would like to use next year and begin a collection to enhance all of your mini-lessons. These might be considered your mentor texts.

Poetry Study, Grade 5 Page 21 of 54 Appendix 1

Poetry Study, Grade 5 Page 22 of 54 Poetry Study, Grade 5 Page 23 of 54 Poetry Study, Grade 5 Page 24 of 54 Poetry Study, Grade 5 Page 25 of 54 Where Poetry Hides

1. Car games we play while traveling to soccer. 2. On the pages of the book I just read. 3. In my closet - if my clothes could talk. 4. In our family dinner conversations. 5. In the picture albums that tell our stories. 6. In my actions that remind me of my mother. 7. In the friendships I have cultivated. 8. In the sweet tooth that must be kept under lock and key. 9. In the golf club that forgives the swinger. 10.In the tears of my daughter when trying to be forgiven.

Poetry Study, Grade 5 Page 26 of 54 QuickTime™ and a TIFF (LZW) decompressor are needed to see this picture.

Poetry Study, Grade 5 Page 27 of 54 Poetry Study, Grade 5 Page 28 of 54 Poetry Study, Grade 5 Page 29 of 54 QuickTime™ and a TIFF (Uncompressed) decompressor are needed to see this picture.

Poetry Study, Grade 5 Page 30 of 54 Poetry Study, Grade 5 Page 31 of 54 Level One Level Three Level Five Word Choice Poet uses general or basic Poet attempts to use Precise, original, fresh words. Limited visual images descriptive words to create words create vivid images. or descriptive language. images with some success.

Fluency Lines are ineffective or create Attempts in organization The effective organization a choppy flow to the poem. are made to create rhythm lends itself to a rhythm that Rhythm and fluency. can easily be read aloud. Lines are well crafted. Poem flows easily when read aloud.

Idea Students were unable to The poem has an original The poem effectively Development create a new and original idea. presents a fresh, original idea. There is a focus on an idea, idea using poetic devices. The idea or focus is not well feeling or experience. Focuses on: an idea, feeling, thought out. Uses poetic devices such as: or experience is deeply similies metaphors, explored. Attempts to use poetic device personification, alliteration, Successfully uses poetic with minimal success. imagery. devices such as: similies, metaphors, personification, The reader is does not have alliteration, imagery. an emotional connection with The reader evokes an the poem. emotional connection to the The reader evokes a strong poem. emotional connection to the poem. The meaning is basic with Poem has multiple levels of little depth. meaning. The poet attempts to use multiple levels of meaning. Presentation Some organization is used in Organization of poem is Poet used organizational the poem, but doesn’t logical, but appearance is strategies (line breaks, enhance the appearance. basic. stanzas, and white space) to create a dynamic appearance to the poem. Voice Poem lacks life, spirit and While the writing seems The Writer’s energy and energy. sincere personality and passion for the topic drive passion for the top is not the poem making it lively, revealed in the poem. expressive, and engaging.

Scoring Guide Poetry– Grade 5

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Poetry Study, Grade 5 Page 33 of 54 Poetry Study, Grade 5 Page 34 of 54 Level One Level Three Level Five Word Choice Poet uses general or basic Poet attempts to use Precise, original, fresh words. Limited visual images descriptive words to create words create vivid images. or descriptive language. images with some success.

Poetry Study, Grade 5 Page 35 of 54

Poetry Packet

Chapter One

Poetry Study, Grade 5 Page 36 of 54 I love how books begin; those passages that lead us by the hand across the luxurious lawns, that portage us gently up the gravel drive, toward the manor house.

The author is still a kind host here, anxious that we mingle with the other weekend guests, that we note how even the banisters are polished for us, that we feel free to walk out with the lady of the house and smoke a cigarette, down the grand alley of elms.

We’re not expected to have things down pat yet, like the family tree, or the route to the old Abbey. nothing really happens now, beyond the delivery of breakfast trays. It’s not scheduled to rain for two more chapters, and no one who matters to us has died yet.

Mark Aiello

Poetry Study, Grade 5 Page 37 of 54 Time

What is time? Time to live. Time to think. Time to dream.

Time is a measure of our existence. Time never stands still. Time moves on. Time never retraces its steps.

Time is continuous. Time can never stop. Time can heal wounds. Time can bring death.

You can kill time. You can take time out. You can keep time. you can be behind time.

Time marks the progression of growth and decay. Time governs every single act we are capable of. I had better fill in that tax return. Don’t want to DO time. sid john gardner

Poetry Study, Grade 5 Page 38 of 54 Poetry Study, Grade 5 Page 39 of 54 Poetry Study, Grade 5 Page 40 of 54 Poetry Study, Grade 5 Page 41 of 54 Dreams Hold fast to dreams For if dreams die Life is a broken-winged bird That cannot fly.

Hold fast to dreams For when dreams go Life is a barren field Frozen with snow.

By Langston Hughes

Poetry Study, Grade 5 Page 42 of 54 Poetry Study, Grade 5 Page 43 of 54 Holes

Strangest of gaps their goneness– mother, father, loved friends

the black holes of the astronomer are not more mysterious

this kind of hole will not be filled with candle flames or even a thousand thoughts

the hole is inside us it brims over is empty and full at once

Lillian Morrison

Poetry Study, Grade 5 Page 44 of 54 Poetry Study, Grade 5 Page 45 of 54 Poetry Study, Grade 5 Page 46 of 54 Poetry Study, Grade 5 Page 47 of 54 My People By Langston Hughes

The night is beautiful So the faces of my people.

The stars are beautiful, So the eyes of my people.

Beautiful, also, is the sun. Beautiful, also, are the souls of my people.

Poetry Study, Grade 5 Page 48 of 54 Poetry Study, Grade 5 Page 49 of 54 Poetry Study, Grade 5 Page 50 of 54 Poetry Study, Grade 5 Page 51 of 54 Poetry Study, Grade 5 Page 52 of 54 Poetry Study, Grade 5 Page 53 of 54 Bibliography

Professional Books:

Awakening the Heart, Living Anthology, Georgia Heard Guiding Reading and Writers, by Fountas and Pinnell Lesson That Change Writers, by Nancy Atwell The No-Nonsense Guide to Teaching Writing, by Judy Davis and Sharon Hill

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