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With this activity, I reinforce the importance of sensory details. The Setting Sketch invokes the
details of a place; the Character Sketch, the details of a person. Although an ode can be about
anything, I usually require that this first ode be about an object or thing in nature, so that the
practice of gathering sensory details can be exercised in yet another mode.
I use the form of an ode instead of another poetic form for two reasons. First, an ode can
be written in free verse. There is no formal requirement for an ode except that, by definition,
an ode praises someone or something. This leads to my second reason: the idea of praise
correlates with the rudimentary version of theme students have practiced in the first two
activities. However, in this one, students need not spell out why the object is important to
them; in a poem of praise, they must somehow make it evident through the details, language,
and associations in the poem. I tell students the reader should feel the same enthusiasm for
their subject that they do by the end of the poem. Thus, this writing activity pushes students to
strengthen their skills by working with theme more subtly and symbolically.
Some of Pablo Neruda’s odes can be read with advanced classes. One interesting lesson that
can be done with Spanish speakers is to examine different translations of some of his poems.
For beginners and intermediates, I like to use Gary Soto’s book titled Neighborhood Odes, which
uses clear language and imagery. Specifically, Soto’s “Ode to Mi Gato” concisely illustrates all the
concepts in this chapter. In addition, I always show odes written by former students. (The two
odes included in this chapter were written by former students.)
As with the Character Sketch, the Ode should be written in the present tense. (This
requirement is listed on the assignment sheet, and I mention it to the class when we look at the
samples.) Using the present tense piggybacks on the requirements in the Character Sketch and
allows you to continue the focus on third person singular formations. In addition, the prewriting
sheet asks students to associate any possible memories with their chosen subject. Thus, a bit of
the past tense may appear in the finished odes as well. This will prepare the students for Writing
Activity 4, the Autobiographical Incident, which will mostly involve the past tenses.
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4 39
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ELL students vary in their knowledge about poetry, and some are familiar with odes. In this
mini-lesson, I define “ode,” and I use only free-verse odes as examples. I explain that odes
can be about anything or anyone, although for this lesson, students choose a topic within the
realm of objects or something in nature. I tell them that they will again employ their skills of
conjuring sensory details, and that they need not write out a theme at the end. They should,
however, make the reader feel the same appreciation they do for the object. When looking at
sample odes, I ask them, “How does the poet feel about this object? How do we know?”
We usually spend this first day looking at several odes
and completing one of the prewriting activities. If there is
Use Partners! Have students
time at the end of class, I will distribute the lesson sheets
examine sample odes in pairs
and let students brainstorm some possible topics. They
and ask each group to 1) list any
usually will not begin to write formal drafts, though, until
sensory details in the poem and
after the mini-lesson on language, which I present the
2) explain how the poet feels about
following day.
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the object, and how they know.
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This lesson can be spread over several days, depending on how many varieties of figurative
language you want to present. At the same time, a brief overview of one or two forms can be
taught in the beginning of one class. I have found that with figurative language, the difficulty
for ELLs lies not in understanding the concepts but in finding the right vocabulary.
SIMILES
Most students, even at the beginning levels, can understand the concept of the simile. The
challenge exists in moving students beyond the most obvious comparisons. Most Englishspeaking students may grasp the first cliché that arises because it is easiest and quickest; they
need to be taught to push themselves to think harder. With English language learners, this
situation is compounded by a lack of vocabulary. After defining “simile” for the class and
soliciting several examples (which I put on the board), the class scans the sample odes for
similes. We discuss them, and then usually do an activity like the “Simile Game” (see page 42).
CLICHÉS AND IDIOMS
Paradoxically, we want ELLs to understand idioms but not use clichés in writing. When phrasal
clichés arise in a student’s paper, I point out that the phrase is one everyone constantly uses
in English and, therefore, not very effective in writing. I congratulate the student, though, on
learning the idiom and (if applicable) using it correctly.
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METAPHOR
For more advanced levels, I also explain metaphor and give examples. Metaphor is
a sophisticated idea, but when explained on the heels of the simile, it usually seems
understandable to students. For example:
Simile:
The heron’s beak was like a needle.
Metaphor: Two small eyes stared from the heron’s head, and between was a long needle
for catching fish.
PERSONIFICATION
Students enjoy the technique of personification, so I try to teach it even to upper beginners if I
can. As with the other techniques, I give examples on the board and then direct students to the
sample odes for more examples. If practice is needed, students can review these concepts with
the Figurative Language Hunt or the Personification Match-Up described on pages 42–43.
ONOMATOPOEIA
All languages have onomatopoeia, but not all languages have exactly the same sound for their
corresponding references. After explaining the concept, I solicit several examples from the class,
and often I end up creating a chart of sorts on the board, comparing sounds from English with
sounds from other languages. One of my favorites comes from Korean. In English, we describe
the “crashing” of waves; the Korean term is “cherso cherso.”
For the odes, I require at least two similes and one instance of personification for
beginners, and for more advanced students, I ask for an additional metaphor and an instance
of onomatopoeia. As students work on the prewriting sheet, I often suggest that they try to
convert their existing sensory details into figurative language in order to fulfill the requirement.
I realize that actual poets do not write figurative language quantitatively, but at this point I want
to push students to practice these concepts in their actual writing. Requiring a certain number
of instances will train the mind, even just a little bit, to think more creatively in English.
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THIRD PERSON SINGULAR PRESENT TENSE
The ode relies heavily on the third person singular present, as does the Character Sketch from
Chapter 3. Therefore, you can continue where you left off with this topic. For beginners, you might
present a larger list of irregular verbs; the verbs in the sample poems can be used as examples.
PAST TENSE
When writing an ode, students usually include memories they associate with the object they are
praising. Therefore, you may want to review the simple past and illustrate how the present and
past can exist in the same sentence, as in this sentence about a favorite pair of sneakers:
I remember when we climbed to the top of the pyramid.
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4 41
One way to have students practice identifying the past within the present is to have them, in
pairs perhaps, mark up the sample poems with two different colored highlighters, using one to note
present tense and the other past. You can display a highlighted overhead to show the “answers.”
PRESENT PERFECT TENSE
If students are ready, the ode can be used to introduce or reinforce understanding of the
present perfect tense. Students usually have owned or known the objects they choose to write
about for some time; therefore, the present perfect can most effectively express their ideas. For
example, a student who has owned a baseball mitt for years might write a line like It has caught
a thousand balls.
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PRESENT PERFECT AND PRESENT PERFECT CONTINUOUS TENSES
More advanced students can focus on the present perfect tenses if they haven’t yet or if more
practice is needed. Both of these tenses work nicely within an ode. For example, a student
writing about a beloved pet dog might say, You have been making me smile for six years.
SECOND PERSON OPTION
Students may prefer to write the ode in the second person, as many odes are actually addressed
to their subjects. Although I doubt many advanced students need a review of the second
person, mentioning the option would still help them. Students could compare a third person
ode and a second person ode, and discuss the differences in tone. As a follow-up activity,
students could even rewrite their completed odes in the other person and compare.
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FIVE SENSES GAME
See page 18. Have students play with an object; you can invite them to bring in objects from
home (it need not be the subject of the ode).
SIMILE GAME
Play as a whole class, with students in groups of two. Have a list prepared of common adjectives
like hot, smooth, bright, long, cold, small, and so on. Put one adjective on the board, and give pairs
two minutes (or more) to think of as many similes as they can for the word. Then, group by
group, students can read off the similes. If another group has the simile being read, they should
say, “Got it!” and all groups with that simile (including the readers) should cross it off their lists.
The groups get one point for each simile no other group has. This game not only helps students
practice constructing similes, but also pushes them to think past clichés.
FIGURATIVE LANGUAGE HUNT
Give pairs of students magazine pictures, preferably ones with a lot going on in them (from
National Geographic, for example). Students can discuss the picture with their partners, look
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for sensory details, and together write sentences with similes, metaphors (if applicable), and
personification in them. (Put a quantitative requirement on the sentences, either on the board
or on a handout.) Encourage students to think past the most obvious comparisons if they can.
If time permits, students can present their photos and sentences to the class.
ONOMATOPOEIA PYRAMID
Prepare several Pyramid categories containing onomatopoeia, such as
“Things That Buzz,” “Things That Pop,” or “Things That Hiss.” Split
the class in half. Teams take turns sending one player to the front who
sits facing his team with his back to the board. Write the first category
behind the player; teammates must give examples of the category
(without explicitly making the sound) until the player guesses the
category. Repeat this process until a predetermined time period is up
(say, two minutes), at which time the other team gets a turn. Keep a
tally of the number of categories guessed; stop when desired.
TIP
Instead of having the
whole class do one activity,
I sometimes set up three
or four stations around
the room and rotate small
groups among them. For
example, the Five Senses
Game, Onomatopoeia
Poster, and Personification
Match-Up can each be
arranged in different corners
ONOMATOPOEIA POSTER
of the room for small groups
Have a small group of students generate as many onomatopoeic words
to do simultaneously.
as possible and write them on a poster. They can start with the words
found in the sample poems. This activity is simple, but students enjoy it, and the posters
can be hung for future reference.
PERSONIFICATION MATCH-UP
Create a list of ten or more (or less, depending on the class and available time) phrases that use easy
personification, such as: the tree stretched its arms (more are listed below). Split the phrases into two
parts, the noun and the personifying verb phrase. Write each part on separate cards, as below.
Make enough sets for each group to use. Keeping the
“nouns” group separate from the “verb phrases,” shuffle
the tree
stretched its arms
each pile and give one to each pair. Students should
place all the cards, face-up, on their desks, still keeping
the nouns separate from the verbs. The object is to match up the original
phrases, and students can discuss among themselves which nouns and verbs match, and why.
I’ve tried to make my phrases below sensible only when matched to themselves, but if students
switch one or two of the phrases around and can still explain how the personification works, I
don’t correct them! The goal of the activity is to have students think figuratively and engage in
lively discussion.
Some personified phrases:
the moon looked down
the river sang to the forest
the window gaped
the wind kicked the loose door
the flower bowed its head
the mountain held snow on its shoulders
the leaves danced in the air
the fog crept on silent feet*
the bee hummed a summer song
the tree stretched it arms
* Inspired, of course, by William Carlos Williams’ “Fog”
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4 43
Name ________________________________________________ Date __________________
W R I T I N G AC T I V I T Y 3
=RS07
1.
An ode is a poem that praises something. To praise means to tell all the good qualities and
why you like them.
2.
Read the sample odes on the handout. Notice the colors, sights, sounds, textures, and smells.
Answer the questions given.
3.
Your ode will be about a thing, an object—not a person or place.
4.
Write some ideas on the Ode Brainstorming Sheet.
5.
Write a first draft of your ode in the present tense. You can use short lines or long lines.
Remember that a poem is not a paragraph—it is broken up into lines.
6.
Check your verbs to make sure they are in the present tense.
7.
Make sure you tried two similes and one example of personification.
8.
Make changes on your paper. Add one more color, one more sound, and one more
texture (touch).
9.
Type up your revised draft. Your ode should be at least 15 lines long.
10. Put both drafts together with your brainstorming sheet and this paper. Hand in.
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@a_bPab_R(poem format, length)
20 pts.
MMMMMMMM
MMMMMMMM
=_\PR``(questions, prewriting, first & revised drafts)
20 pts.
MMMMMMMM
MMMMMMMM
1R`P_V]aV\[(details, appreciation)
20 pts.
MMMMMMMM
MMMMMMMM
@]RYYV[T
20 pts.
MMMMMMMM
MMMMMMMM
4_NZZN_(punctuation, capitals, tenses, _________________ )
20 pts.
MMMMMMMM
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A<A.9
44 4
LLLLLLLL
Easy & Effective Writing Lessons for English Language Learners © Pryle, Scholastic Teaching Resources
Name __________________________________________________ Date ________________
W R I T I N G AC T I V I T Y 3
=RS7/
1.
An ode is a poem that praises something or someone. To praise means “to express admiration
for” or “to tell the positive qualities of.”
2.
Read the sample odes on the handout. Notice the colors, sights, sounds, textures, and smells.
Answer the questions given
3.
Your ode will be about a thing, an object, not a person or place. It can be about an everyday
item, a special gift or possession, something in nature, something you made—anything.
4.
Write out your ideas on the Ode Brainstorming Sheet.
5.
Write a first draft of your ode. You can use short lines or long lines. Remember that a poem is
not a paragraph—it is broken up into lines.
6.
Make sure you have at least two similes and one instance of personification. Try one metaphor
and some onomatopoeia.
7.
Revise your first draft. Add three more sensory details and type up a revised draft. Your ode
should be at least 30 lines long.
8.
Put both drafts together with your brainstorming sheet and this paper.
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4_NQR
@a_bPab_R(poem format, length)
20 pts.
MMMMMMMM
MMMMMMMM
=_\PR``(questions, prewriting, first & revised drafts)
20 pts.
MMMMMMMM
MMMMMMMM
1R`P_V]aV\[(details, appreciation)
20 pts.
MMMMMMMM
MMMMMMMM
@]RYYV[T
20 pts.
MMMMMMMM
MMMMMMMM
4_NZZN_(punctuation, capitals, tenses, _________________ )
20 pts.
MMMMMMMM
MMMMMMMM
A<A.9
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4 45
SAMPLE ODE
SAMPLE ODE
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A long,
graceful,
silver
instrument.
It makes
soft, high music,
like birds.
The sounds rise
to the sky.
I breathe into
the smooth mouthpiece
and my fingers fly;
they jump
from key
to key.
They look
like jumping beans,
hopping about.
The flute flashes
the light from the sun
in the window.
The music
flows
through the air,
touching
anything
that would
listen.
QUESTIONS 4
BOOM!
CRASH!
The angry lightning
slaps a tree down
with its hot hands.
The humid air
hangs
over my head.
Flashes of light
slash through the sky.
The thunder roars
like a hungry lion.
The swift wind
swishes
through my hair.
The sky gets darker
and darker, until
drops of warm water
splash my face.
I stand in a doorway
and watch the water
pour down, making
the grass dance.
Little rivers run
down the street.
Minute after minute,
the clouds
trudge by
and out comes
the sun.
QUESTIONS 4
1. Find an example of sight and touch.
1. Find an example of sight, sound, and touch.
2. Find an example of a simile.
2. Find an example of a simile.
3. Does the shape of the poem remind you of a flute?
3. Find an example of personification and onomatopoeia.
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Name ______________________________________________ Date ___________________
=RS0`OW\ab]`[W\UAVSSb07
1. Choose an object for your ode. It could be a special gift, an everyday item, something in
nature, or something else. It can be outside or in, big or small, anything. It should not
be a person or place. Write your topic here:
2. Now, imagine it for a few minutes and fill out the chart below. This will be your
brainstorming.
Sights (shape, size, parts, and so on)
Colors
Smells
Touch (textures, temperature)
Sounds
Similes (a description using like or as)
Personification
What are some good qualities about this thing? Why do you like it?
Easy & Effective Writing Lessons for English Language Learners © Pryle, Scholastic Teaching Resources
4 47
Name ___________________________________________ Date ______________________
=RS0`OW\ab]`[W\UAVSSb7/
1. Choose an object for your ode. It could be a special gift, an everyday item, something in
nature, or something else. It can be outside or in, big or small, anything. It should not be a
person or place. Write your topic here:
2. Now, imagine it for a few minutes and fill out the chart below; use another sheet of paper if
you need more room. This will be your brainstorming.
Sights (shape, size, characteristics, and so on)
Colors
Smells
Touch (textures, temperature)
Sounds
Personification
Onomatopoeia (look above at Sounds)
Similes (a description using like or as)
Metaphor
Memories—Use the past tense.
Routines—Use the present perfect.
Why did you choose this topic?
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