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 WWWe ster(!"# Dictionary ased on "erria$-We ster%s Colle&iate('# Dictionary( !enth )dition y clickin& here# look up the word and find three to fi*e synony$s for it. Write the synony$s on the second line. +ne the third line( write a descripti*e phrase a out the word. !he last two lines of the poe$ 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( hulla aloo. !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 accepta le. !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 "ay e 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 "ay e 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 $any thin&s that can e written a out in lists( that so$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$s !he ,ources of: grayness stiffness softness redness s7ueaks cold sights ,tudent )-a$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&eta les. --6ut e*eryone else is. --6o y%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)... !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

0 city without *iolence !his classroo$ in silence 6asket all without a 'eno without a $all all

Ducks wearin& lipstick 1o ar ecue 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 a out 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 color lind 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$s ask you to descri e yourself in the first line of the poe$. !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 a out $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 +++6i' 4ebster .!rade 21

e $e.

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 a out which you ha*e stron& feelin&s. 6e&in each with a capital letter. H2. 0 co$plete sentence a out two thin&s that you like. H7. !hree nouns that descri e what you like to see in other peopleI end with Aare i$portant to $e.A CapitaliFe each noun. H?. 0 sentence containin& a positi*e thou&ht or feelin&. It can tell what you find accepta le in yourself. H@.-HC. ,entence in which you show so$ethin& ne&ati*e in yourself or others( howe*er the sentence $ust end y showin& that out of so$ethin& 60D can co$e 9++D. <se the word A utA to link the ad and &ood. HG.-HJ.-H10. )ach line is a short sentence relatin& so$ethin& a out 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 $uch a out the world and life on it. 4onesty is i$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 We ster .!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 I I I I I a$ (two special characteristics you ha*e# wonder (so$ethin& you are actually curious a out# hear (an i$a&inary sound# see (an i$a&inary si&ht# want (an actual desire# a$ (the first line of the poe$ is repeated#

,tanFa 2 I I I I I I pretend (so$ethin& you really pretend to do# feel (a feelin& a out so$ethin& i$a&inary# touch (so$ethin& you i$a&ine you touch# worry (a worry that is real to you# cry (so$ethin& that $akes you *ery sad# a$ (the first line of the poe$ is repeated#

,tanFa 2 I I I I I I ,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. understand (so$ethin& you know is true# say (so$ethin& you elie*e in# drea$ (a drea$ you actually ha*e# try (so$ethin& you $ake an effort to do# hope (so$ethin& you really hope for# a$ (the first line of the poe$ is repeated#

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 $y &lass container I hope the sun-faded la el ne*er creases for lost identity I a$ 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*

.ine 1 L 1oun .ine 2 L 0dBecti*e( 0dBecti*e .ine 2 - /er ( /er ( /er .ine 7 L 1oun( 1oun( 1oun( 1oun .ine ? L /er ( /er ( /er .ine @ L 0dBecti*e( 0dBecti*e .ine C L 1oun ,tudent )-a$ples:

Pattern*
.ine .ine .ine .ine 1 2 2 7 L L L L

+pposite of line C Descri e line 1 0ction a out line 1 2 nouns a out line 1 2 nouns a out line C .ine ? L 0ction a out line C .ine @ L Descri e line C .ine C L +pposite of line 1

.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 sylla les 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 sylla les in a line. W+'D P0!!)'1: .ine 1 L +ne Word (noun# ,u Bect N title of poe$ .ine 2 L !wo Words (adBecti*es# .ine 2 L !hree Words (*er s# .ine 7 L Kour words that relate feelin&s .ine ? L +ne word that repeats or refers to line 1 (su Bect# ,;..06.) P0!!)'1: .ine 1 L 2 sylla les .ine 2 L 7 sylla les .ine 2 L @ sylla les .ine 7 L G sylla les .ine ? L 2 sylla les oth colu$ns.

!he ideal Cin3uain would co$ ine the ele$ents of

Day 11 D Kor$ula Poe$s

Kor$ula poe$s help you use words effecti*ely. help to $ake your work li*ely and e-citin&.

<sin& parts of speech and literary de*ices

"ormulas*
H1: H2: H2: H7: H?: Participle( participle( participle 1oun 0d*er (how# /er 0d*er (where or when#

Samples*
H1: H2: H2: H7: H?: .eapin&( soarin&( flyin& !he superhero 1onchalantly Crashed Into the wall

!itle: Pick a color H1: Descri e so$ethin& associated to it H2: ,i$ile or $etaphor H2: 0d*er or ad*er phrase (where#

!itle: 9reen H1: "akes $e think of ,prin& H2: .ike a tree co*ered with lea*es H2: In a wooded forest.

!itle: Keelin& H1: !hree *er s H2: 0d*er (where# H2: Who has the feelin&

!itle: ,illy H1: !ickle( wi&&le( &i&&le H2: .yin& on the floor H2: "y a y 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 .ine .ine .ine .ine

H1: H2: H2: H7: H?:

When I OOOOOOOOOOOOOOOOOOOOOOOOOOOOO (descri e an action# OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO (descri e where action takes place# (Write 2 to 2 words that descri e how you feel# I wish I couldOOOOOOOOOOOOOOOOOOOOOOOOO (descri e an action# (!ell the reason why#

!itle: )"+!I+1 .ine H1: I OOOOOOOOOOOOOOOOOOOOOOOOOOOO (descri e what you did to show how you were feelin&# .ine H2: (Write 2 words that descri e 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 .ine .ine .ine .ine

H1: H2: H2: H7: H?:

If I could e OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO I%d OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO (descri e what you would do# OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO (descri e how you would do it# OOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO (descri e where you would do it# ()-cla$ation that shows how you would feel#

Day 12 D Writin& 0 out Weather

Possi ly the $ost fa$ous poe$ a out weather is Carl ,and ur&%s Ko&. ;ou can write a out a force in nature in the style of ,and ur& 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 .ine .ine .ine ,tudent )-a$ple:

H2: H2: H7: H?:

!ell 0nd 0nd !ell

what it does how it does it where it is how it lea*es (as the ani$al would lea*e#

!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& a out 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, the $onth or season arri*es.

elow $ay help you( or you $ay use another word to show how

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$. Don%t chan&e to a different picture. "+!I+1 W+'D, march stagger skip prance float tiptoe gallop hop limp hobble canter ,tudent )-a$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&( 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

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 a out. !he sa$e for$ula can e used in writin& a out pictures( people( and thin&s. !his asic Afor$ulaA is: .ine H1: Descri e the o Bect with two or three adBecti*es .ine H2: 9i*e the o Bect an action .ine H2: Put the o Bect so$ewhere

DI')C!I+1,: 1. Choose a picture that is not too A usy.A It should ha*e only one or two su Bects in it. <se the for$ula a o*e to write a out one o Bect in the picture. 2. Can you i$a&ine the o Bect doin& so$ethin& really silly -- or so$eone doin& so$ethin& silly with it5 <se the for$ula to write a out that. 2. I$a&ine so$ethin& stran&e happenin& to the o Bect or with it. Where is it happenin&5 <se the for$ula to write a out it. 7. I$a&ine the o Bect in a sad way. <se the for$ula to write once $ore. Where is this happenin&5

?. .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 possi ilities for co$ inin& thou&hts a out 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 o Bect( 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. . c. d. I I I I seeOOOOOOOOOOOOOOOOOOOOOOOOO s$ellOOOOOOOOOOOOOOOOOOOOOOO hearOOOOOOOOOOOOOOOOOOOOOOOO feelOOOOOOOOOOOOOOOOOOOOOOOO I I I I see the sa&e-co*ered desert s$ell the freshness of the $ornin& hear the screa$ of the hawk feel the caress of a reeFe

e. I tasteOOOOOOOOOOOOOOOOOOOOOOO f. I thinkOOOOOOOOOOOOOOOOOOOOOOO

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( *er s( 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 indul&ent( o*er-ratedA# elie*e in( i.e. (A ut the no*els of ,usan ,onta& are self-

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 pu lication. We will e-a$ine oth of these for$s( ut ecause you will e allowed $ore latitude in su Bect $atter and for$( we are callin& this lesson A>apaneselikeA 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 $iddle one ein& a little lon&er. In )n&lishspeakin& countries this has een translated into a ?8C8? sylla le structure. 4owe*er( this is not set in stone. In >apanese( it is 1C sounds. In )n&lish this translates to so$ewhere etween 12 and 1? sylla les. !herefore( if you do not ha*e )Q0C!.; 1C sylla les it is accepta le. !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 $ood piece( usually a out lo*e( seasons( sadness( or how short life is. !ankas use stron& i$a&es and often ha*e literary de*ices such as si$ile and $etaphor. 0 tanka is short and usually has only fi*e lines. Instead of countin& sylla les( you count 0CC)1!)D sylla les. !he followin& pattern of 0CC)1!)D sylla les works well in )n&lish for a tanka: 282828282. ,o$e clai$ the tanka contains ?8C8?8C8C sylla les. 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 0 out ;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& a out 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 a out 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 a le to $ake chan&es. +++Tierra 3ones .!rade /01 +1) WI1D+W I, 0.. I 1))D... to to to to see the world re*eal $yself i$a&ine ad*entures return to $yself

and li*e. +++%le$ -uffington .!rade /01 W'I!I19 06+<! +!4)',: When you write a out others( pick one i$portant thin& a out the$. :eep the focus positi*e. .ine H1: !he i$portant thin& a out (na$e# is ($ost strikin& attri ute# .ine H2: ,8he is also OOOOOOOO(use as $any lines as you need# .ast line: 6ut the $ost i$portant thin& a out (na$e# is (repeat .ine H1# ,tudent e-a$ple: 0s you eco$e co$forta le 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 terri ly 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

Day 20 - Pantou$
!he pantou$ co$es to us fro$ "alayan poetry. !he Western ()n&lish# *ersion of the pantou$ is a poe$ of indefinite len&th $ade up of stanFas that ha*e four lines. !he for$ula co$es in where lines 2 and 7 of each stanFa are repeated as lines 1 and 2 of athe followin& stanFa: Kirst ,tanFa .ine .ine .ine .ine H1 H2 H2 H7

,econd ,tanFa

.ine .ine .ine .ine

H1 (sa$e as line H2 a o*e# H2 H2 (sa$e as line H7 a o*e# H7

!o see an e-a$ple of a pantou$( click here.