Students are asked to write the words for one of Kino's songs (5–10 lines) and to include stylistic devices such as alliteration, simile/metaphor, symbolism, and imagery. Students are prompted to consider and discuss how the beat, tempo, and rhythm of a song reflect its mood and to sing the song aloud to evaluate those elements. Students keep a Stylistic Devices Log in which they locate and analyze similes, metaphors, imagery, irony, and other language choices from the text.

Students are asked to write a poem about a favorite god or goddess and Option 1 specifically directs them to write an acrostic poem, defining an acrostic as using the letters in a person's name as the first letter of each line. The lesson provides a sample Zeus acrostic poem and guidance (use verbs as first words, draft and final copy), so students practice producing a specific poetic form. The assignment requires final presentation of the acrostic poem on art paper, reinforcing attention to the poem's structure.

Students are directed to learn proper scriptwriting format (link to The Young Playwright's Theater: Script Writing Format) and to read an adapted myth presented as a play (Orpheus adaptation), exposing them to dramatic form. Students are asked to write a short play of 18–25 lines, include stage notes, and ensure the story is told through character dialogue and actions rather than a continual narrator. Students are instructed to check that the audience will understand the story through dialogue and stage directions, which connects structural choices (dialogue vs. narration, stage directions) to how meaning is conveyed.

Students will read a play composed of monologues (noted in the unit introduction) and will complete Activity 2 by writing 3–4 sentence commentaries from the perspectives of a knight, a lord, and a peasant. Students are instructed to read their commentaries aloud and to use an appropriate tone and dramatic flair for each character. The Parent Plan explicitly lists "Analyze different forms of point of view" as a skill.

Students read the poem "A Dialogue on Poverty" and are told that the poem is told from the first-person point of view. Students answer a question that asks, "How does using the first-person point of view (I) make the poem more effective than the third-person point of view (he/she)?" The activity also asks students to compare the narrator's situation to Beetle's, tying narrator perspective to meaning.

The lesson labels "Things to Know" with the definition "A ballad is a narrative set to music," giving students an explicit identification of a poetic form. In Activity 2 Option 1, students are asked to think of a memorable event and write a ballad (a song) to memorialize it, and to sing or perform it for family. Students therefore practice composing and performing a poem/song in the ballad form.

Students read monologues from Good Masters! Sweet Ladies! and record information for each monologue, with the text noting that the book is more like a play where each character gives a first-person monologue. Students are taught to distinguish first-, second-, and third-person points of view and to classify third-person narration as limited or omniscient. Activities ask students to find books in first- and third-person, decide limited vs. omniscient narration, and explain perspectives across chapters.

Students are asked in Getting Started to notice that one monologue is written for two voices and to observe where the voices' perspectives overlap or differ. Students read specific monologues (pages 42–65) and complete a "Cast of Characters" chart, which requires attention to who speaks and their viewpoints. Discussion prompts ask students to describe differences between characters' perspectives (e.g., Isobel and Barbary) and to explain relationships as depicted by the author.

Students are asked to write and perform a monologue (Think-Tac-Toe 'Monologue' square) and a Monologue template page is provided for drafting. The unit test includes an essay prompt asking students to summarize one of the monologues from Good Masters! Sweet Ladies! and explain the lesson learned. The unit test also asks students to identify narrative perspectives (first person, third-person limited, third-person omniscient), engaging with aspects of narrative structure.

The lesson explicitly teaches play format by telling students that character names appear first and that stage directions are in parentheses and italics and are not read aloud. Students are directed to read a modern translation while optionally comparing it to the original side-by-side, and they are assigned specific acts and scenes (Act 1, Scene 1 to Act 2, Scene 1), exposing them to dramatic divisions. The activities ask students to consider how characters speak (e.g., speak loudly or softly) and to create casting descriptions that refer to behavior in performance.

Students are taught explicit rules for pausing (commas, colons/semicolons/dashes, periods/question marks/exclamations) and are asked to practice acting out a scene while following those pauses. Students are instructed to pay attention to stage directions and to change voice and actions to communicate who is speaking. The lesson asks students to compare modern and original text passages and to perform selected sections that include multiple speakers, which requires noticing lineation and speaker turns.

Students are asked to mark stressed and unstressed syllables in lines from Elizabeth Barrett Browning's Sonnet 43 and to identify the length of the metrical feet, with answer keys indicating pentameter. The materials define meter, iambic pentameter, and note that sonnets have defined meter, and students practice identifying stress patterns in vocabulary and poem lines. A comprehension question asks students to compare how poems from the Victorian era might differ from those in the modernist era, citing structure and form as a factor.

Students are asked to identify the rhyme scheme of Elizabeth Barrett Browning's sonnet (Question: "What is the rhyme scheme for Elizabeth Barrett Browning's sonnet 13?") and are given explicit information about sonnet form (fourteen lines, iambic pentameter, common rhyme scheme). Students are prompted to consider how structure affects meaning in the "Ideas to Think About" and are asked to analyze the effect of a dramatic monologue's one-sided conversation in Robert Browning's "My Last Duchess." Students also practice composing a poem using a sonnet rhyme scheme.

Students are asked to identify graphic elements (capitalization, punctuation, line length, stanza length) that call attention to particular words or phrases in Tennyson's "Dedication" (Activity 1 and the Student Activity Page). Students compare a chosen poetic line to a prose statement expressing the same idea (Activity 2), and students are instructed to reconsider graphic elements in their own poem while keeping sonnet structure or rhyme scheme (Wrapping Up). The Skills section explicitly states students will "analyze the importance of graphical elements ... on the meaning of a poem."

Students read Chapter 4 about Matthew Arnold and Chapter 5 about Christina Rossetti and answer guided questions about those poems. Students are asked specifically, "Based on what you learned in Lesson 2 about sonnets, what is different about Arnold's sonnet, 'Shakespeare,' from a traditional sonnet?" Students also compare tones and identify personification and other poetic devices in named poems.

Students are asked to consider "How does the structure of poems communicate their meaning?" and the Parent Plan states students will "draw conclusions about the structure and elements of poetry and provide evidence from text." Day 2 asks what the repetition of the line "Still falls the rain" is supposed to represent and explains its effect, and Activity 2 requires students to write a poem that repeats a chosen phrase at least three times. The readings and questions also note Edith Sitwell's nontraditional rhyme and rhythm and ask students to interpret how that choice pushes poetic boundaries.

Students read Chapter 9 and answer a question that directly compares Steele Smith's "Not Waving But Drowning" with Browning's monologue, noting differences in rhyme, meter, and point of view (multiple speakers vs. a single monologue). The Things to Know section defines free verse (no set rhyme or meter), and activities ask students to write a conversational poem and to consider how Smith separates speakers and uses line position. The Parent Plan and skills list require students to analyze how genre and graphical elements (capitalization, line length, word position) shape a poem's meaning.

Students are asked to consider the question "How does the structure of poems communicate their meaning?" and to learn definitions of poetic forms (villanelle, elegy). Students answer a question about whether Auden's "Musée des Beaux Arts" follows a historical poetic format and how it borrows artwork from the past instead. Students analyze the shift in speaker between the first and last lines of Dylan Thomas's "Fern Hill" and are directed to choose and memorize poems, noting that poems with set structures and rhyme are easier to memorize.

Students are asked in Activity 6 to write a two-paragraph analysis of one of their own poems, with the second paragraph explicitly asking them to "talk about the structure and techniques used in the poem." The lesson models analyses from the book that link form to effect (e.g., noting Sitwell's repetition of a line and that Tennyson's "Ulysses" is written in blank verse that mimics normal speech rhythms). The unit test and other activities require students to explain poetic forms and meters (e.g., iambic pentameter, ordering forms like sonnet/blank verse/free verse) and to compare era-based differences in structure, which asks students to connect form and its effects on meaning.