Students are directed to read target vocabulary words with definitions and example sentences from The Pearl and to write their own sentences using each word, with explicit instruction to "pay careful attention to the word's part of speech and use them correctly in your sentences." The Student Activity Pages include example sentences that demonstrate descriptive and sensory language (e.g., "incandescence," "consecrated," "clamber," "petulant") taken from the novella text. The Parent Plan skills explicitly include extending vocabulary knowledge and identifying/using parts of speech.

Students are directed to read Chapter 1 of The Pearl while paying close attention to Steinbeck's descriptive language and to record particularly effective descriptive phrases in a journal. Students complete labeling activities that require them to identify strong verbs, adjectives, and adverbs in sentences from The Pearl and to underline noun and verb phrases. Students are asked to read aloud the descriptive words and phrases they recorded and to explain what is and is not included in a verb phrase.

Students are explicitly told that "Verbs help show the reader what is happening" and that "vivid adjectives help the reader create images," with examples contrasting weak and strong verbs ("walked" vs. "stumbled") and weak vs. specific adjectives ("old shirt" vs. "faded, torn shirt"). Students complete a Verbs and Adjectives chart by identifying Steinbeck's strong verbs and vivid adjectives from the second paragraph of Chapter 2. Students then apply those words by choosing to draw the ocean floor or write a poem "borrowing examples of Steinbeck's descriptive language." The editing activity asks students to correct sentences to more precise verb and adjective use (e.g., "hanged" to "hung," "vibbrate" to "vibrate" and revising adjective phrases).

The Parent Plan lists the skill "Choose language that is precise, engaging, and well suited to the topic and audience," which directs students to attend to word choice. In the La Paz brochure option, students must write text to "provide information and to entice people to visit" and complete sections (Food, Places to See, Nature and Wildlife, People and Culture) that invite descriptive detail. In the pearl-diving option, students must write a one-page script that "describes pearl hunting" and should "engage your viewer," which encourages using evocative language rather than only factual statements.

Students are asked in Activity 2 to write the words for songs that reflect Kino's culture and to include stylistic devices such as alliteration, simile or metaphor, symbolism, and imagery. Activity 3 directs students to keep a 'Stylistic Devices' log and to locate and jot down examples of imagery, similes, and metaphors from the text. The parent notes and examples in the lesson highlight sensory language and figurative phrases (e.g., "the song of the family came behind him like the purring of a kitten"), which students are asked to analyze or emulate.

Students are asked to add sentences and phrases to a stylistic device log and to consider how each example affects the reader. Students are asked to share stylistic devices they recorded after reading Chapter 5, prompting identification of precise phrasing and sensory details in the text. Students complete an editing activity that requires correcting sentences containing descriptive and sensory language (e.g., the sentence about the sun, estuary, and shimmering scarves), which engages them with word choice and phrasing.

Students are asked to "Add examples of effective stylistic devices from the final chapter to your log," which directs them to notice authorial choices that can include precise diction and sensory details. In Part III (Option 1) and Part II (Option 2) students write their own sentences related to the book, including participial, infinitive, and gerund phrases, and Option 2 asks students to "write a few sentences of their own about what happened in the chapter, including three verbal phrases." Discussion prompts ask students to describe Juana and Kino with words like "regretful, in pain, mournful," prompting use of descriptive labels.

Students are asked to practice an oral retelling of a parable and to engage an audience using props, hand gestures, and dramatic delivery, which encourages expressive storytelling. Students may create a detailed illustration intended to "bring the story to life," prompting attention to important aspects and details of the narrative. Students complete a grammar activity identifying prepositional, appositive, and verbal phrases, which builds awareness of phrase types that can shape sentence-level expression.

Students are prompted to "experiment with figurative language" and the rubric explicitly asks for "similes and metaphors, figurative language, lively verbs," which directs students to use stylistic devices and vivid verbs. Students fill out a story map that requires describing the setting and characters, and Activity 4 asks students to "establish a clear setting" and reveal characters through actions, thoughts, and dialogue. The Voice/Word Choice rubric category and the skill to "use a range of appropriate strategies, including dialogue, suspense, and naming of specific narrative action" further encourage students to consider how wording and devices affect narrative voice.

Students are assigned the role of Cultural Commentator and use a journal to record what they learn about culture and characters, describing customs, homes, clothing, beliefs, food, and other cultural elements. Students must create a Mozambique Quilt with at least twelve illustrated sections representing dress, traditions, food, animals, plants, geography, religion, jobs, and other cultural features, which requires selecting and depicting relevant descriptive details. Students may also write ten Mozambique trivia questions and answers that require choosing specific factual and descriptive information about the country and people.

The lesson explicitly lists the skill 'Understand new vocabulary and use it when reading and writing' and provides a Vocabulary Picture Dictionary activity where students paste words, draw a visual symbol, write sentences using each word, and glue definitions. The Student Activity Page requires students to write their own sentences for each vocabulary word, reinforcing word choice in written contexts. The Investigator journal task asks students to record background information, which could involve selecting descriptive details about setting, culture, or weather.

Students complete a Sentence Editing activity in which they correct errors in provided sentences, including changing verbs and word forms (for example, correcting 'lied' to 'lay' and 'profowned' to 'profound') and restoring punctuation and possessives. One corrected sentence contains sensory description that students read and revise: "fell into a sleep as profound as any she had had surrounded by the breathing of her cousins," which engages attention to descriptive phrasing. As Literary Luminaries, students choose two or three passages that spotlight interesting, powerful, or important parts of the text and read them aloud, explaining their reasons for selection.

Students are asked to take on the role of a Travel Tracer and "describe each setting in detail, either in words or in map form," which requires use of descriptive details about places and actions. The "Things to Know" section states a personal narrative "uses figurative language devices to guide the reader" and that students should use a unique voice with passion, energy, or humor, implying attention to how language conveys experience. Activity 2 directs students to begin drafting a first-person personal narrative about a meaningful challenge, which provides an opportunity to convey events and experiences through chosen language.

The Personal Narrative Rubric explicitly asks for "vivid words and phrases, including interesting adjectives and strong verbs" and "a variety of figurative language techniques," which requires students to use precise diction and descriptive language. Parent notes and rubric language tell students to engage the reader through action, description, and figurative language and to develop a unique voice. The Line Locator activity asks students to find lines that reflect good writing and explain why they are examples of good writing, prompting students to analyze descriptive and sensory language in mentor text.

Students are explicitly told to "Use sensory details -- no boring words. Use a thesaurus to find synonyms for some adjectives and verbs," and to "Use figurative language -- similes, metaphors, and hyperbole." The skills list instructs students to choose language that is "precise, engaging, and well suited to the topic and audience." The assignment requires students to draft a 400-500 word personal narrative using dialogue, action, and description.

The Skills section directs students to "Revise drafts to ensure precise word choice and vivid images," and to choose language that is "precise, engaging, and well suited to the topic and audience." The Figurative Language Finder activity requires students to identify at least three examples of similes, metaphors, imagery, personification, or other figurative language and record them. The Revision Checklist and Student Activity Page explicitly prompt students to check for "use of figurative language and strong verbs," "variation in sentence length and type," and to show characters' "choices, actions, and struggles" with a "detailed problem description."

Students are asked to write a 4–6 sentence postcard from Nhamo to her grandmother that explains what Nhamo endured, how she survived, and how she has changed, which requires description of events and responses. Students must create a storyboard of six important scenes, drawing pictures and writing a sentence that describes the action and that "accurately reflect[s] the culture of Nhamo's village, the geography of the land, and Nhamo's struggle for survival." Students also compose a 6–10 line imagined dialogue that reenacts character interactions and centers on events from the chapters.

Students are asked to practice and deliver their personal narrative aloud, with explicit directions to make dialogue expressive, name specific narrative actions (movement, gestures, expressions), and use effective rate, volume, pitch, and tone. Students practice in front of a parent, use mirror work to attend to body language and facial expression, and rehearse voices for characters. The student activity pages include vocabulary exercises that require students to place advanced words in sentence contexts and a writing-process section that identifies revising as addressing content, organization, and style.

Students learn and practice vocabulary explicitly through the vocabulary cards and the Vocabulary Cube game, which asks them to recite definitions, name parts of speech, give synonyms/antonyms, and "Use Correctly in a Sentence." The lesson's Skills section states students will "extend vocabulary knowledge by learning and using new words" and "clarify word meanings through definition, example, restatement, or contrast." Reading questions ask students to describe Bilbo and the dwarves using specific adjectives and short descriptive phrases (e.g., "short," "loud and boisterous," "desolate").

Students are asked to write a sentence that characterizes Gandalf (Question #5), which prompts them to choose descriptive words such as "powerful, intelligent, helpful, wise." Discussion prompts ask students to describe the trolls using adjectives (e.g., large, disgusting, scary) and to explain mixed feelings they experienced, encouraging descriptive responses. The collage option and the requirement to explain each image and share reasoning ask students to select and explain representative details about Tolkien's life, and the interview task asks students to compose five questions and justify them, requiring deliberate word choice.

Students are instructed to personify their chosen object and explicitly consider what it would smell, feel, hear, taste, and see, with a senses chart provided for entries. Step 6 prompts students to create similes, metaphors, hyperbole, and personification with examples, and Steps 7–9 guide students to write, revise, and add descriptive detail to riddle clues. The activities require use of a thesaurus to find synonyms and encourage students to alternate word choices, and the skills list includes "Use figurative language in own writing."

Students are instructed to "write a descriptive paragraph" about a new Middle-earth race and to "be sure to use figurative language techniques to describe the new race," which requires descriptive writing. The Skills list explicitly includes "Use figurative language in own writing," "Experiment with figurative language and speech patterns," and "Write descriptive text in the fantasy genre," indicating practice with descriptive techniques. The Parent Plan asks a caregiver to check that the student "used figurative language techniques to aid in the description," reinforcing expectation for descriptive detail.

Students practice precise word choice and correction in Activity 1, where they copy and correct sentences (e.g., distinguishing "pretense"/"pretence," "somehow," "lightening" vs. "lightning," and "heavy weight" vs. "heavyweight") and apply punctuation changes. Students are asked to "briefly summarize these chapters" and to "record any examples of flashback or foreshadowing," which requires them to select words to convey events and narrative techniques. The parent notes explicitly point out word-choice confusions and recommend alternate punctuation and phrasing, guiding students to attend to specific wording.

The lesson asks students to use figurative language and direct quotes to support their personal responses and includes a vocabulary exercise (Part III) that requires students to choose precise words to fit sentence contexts. The rubric lists "Writing Style: Clarity, organization, and sophistication" and "Textual Evidence," which guide students to attend to word choice and descriptive support. The prewriting web and literary response outline require students to plan specific ideas and supporting details for body paragraphs, prompting selection of relevant descriptive evidence.

Students read and complete a Vocabulary Words in Context paragraph where they insert words such as "noxious," "chrysanthemum," "tumultuous," and "trepidation" into a scene that describes smells, sights, and emotional reaction. The provided answer paragraph models descriptive word choice and sensory detail (a noxious smell drifting from a chimney, a beautiful chrysanthemum arrangement, the boy's trepidation). The Things to Review section asks students to review definitions and check that the child can use each word in a sentence, prompting sentence-level practice with precise vocabulary.

Students engage in hands-on, sensory activities such as following the kimchi recipe (mixing ingredients, pressing the mixture into a jar, and letting it ferment) and investigating soil/clay by molding it, adding water, and noting how it feels when dry. Students are prompted to observe and answer sensory questions (e.g., "What does it feel like when it is dry? Is it hard? Does it crumble easily?"). Students discuss how food and artwork reflect the natural environment, which can elicit descriptive observations about materials and processes.

Students are asked to describe what Tree-ear sees Kang doing and to answer discussion prompts about Tree-ear's reactions, which requires them to observe and put events into words. Students correct sentences for grammar and word choice, practicing selection of more precise forms (e.g., too/too, himself/ hisself). Students write directions and sequence steps for making pottery and for a project they have made, which asks them to produce clear, ordered wording and to explain processes tied to sensory resources from the environment.

Students create a mini-book in which they write an opportunity on each flap and "record at least one way the opportunity benefited Tree-ear," prompting them to describe events and effects using evidence from the text. The lesson asks students to review and use vocabulary words in sentences for a later writing project, which requires attention to word choice. The parent prompts ask students to defend answers with logical explanations and text evidence, encouraging elaboration about experiences and events.

Students are asked to choose and write adjectives that describe Tree-ear's relationships in the Relationship Web and to cut and paste descriptive words from magazines in the Relationship Words activity, supporting each choice with examples from the text. The sentence-correcting activity requires students to rewrite sentences with correct spelling, punctuation, and stronger word forms (e.g., correcting 'jurney' to 'journey' and 'strngth' to 'strength'). The Wrapping Up section notes that students will 'write about the book' in the next few days, indicating an upcoming writing task tied to the text.

The Skills section tells students to "revise writing to improve organization and word choice after checking the logic of the ideas and the precision of the vocabulary," and to "support all statements and claims with anecdotes, descriptions, facts, and specific examples." The rubric asks for specific examples to support comparisons and contrasts, and the editing/revising activity includes proofreading symbols such as "wrong word (ww)" and other indicators that prompt word-choice corrections. The brainstorming and organizer activities ask students to consider how relationships affect Tree-ear's decisions and emotions, which prompts inclusion of descriptive detail in their writing.

Students read two contrasting news articles and complete a "Detecting Bias" handout that asks them to identify portrayal, types of bias, and examples (including explicit mentions of "word choice and tone"). Students analyze propaganda techniques (e.g., glittering generalities, card-stacking, bandwagon) and identify persuasive language in advertisements and leaflets. The activities require students to cite specific words, headlines, and statistics as evidence of bias or persuasive intent.

Students are instructed to "focus on fine-tuning the essay for voice, word choice, and conventions" after revising (Activity 4). Students are directed to insert transitional words or phrases (e.g., however, moreover, therefore) to create cohesion and clarity. Students are asked to check word usage and spelling (Activity 5) and to make the paper "beautiful," which encourages attention to surface-level word choices and presentation.

Students are asked (Option 2) to write short descriptions on character cards explaining what each god or goddess rules over and important facts, which requires choosing words to describe roles and events. Students complete a sentence-editing activity that has them correct word choice, spelling, and phrasing. Students make vocabulary strips: they match words to definitions, select motions, and practice saying and acting out precise vocabulary drawn from the readings.

Students are asked to write an acrostic poem about a chosen god or goddess, draft it, and produce a final copy with artistic flair, with an explicit suggestion that using verbs as the first words can make lines more exciting. Students are prompted to consider the gods' stories and symbols when decorating a pot and to model illustrations on ancient artifacts, which requires choosing images and descriptive motifs. Students complete a sentence-editing activity that includes correcting word choice and spelling (for example, changing "mischievious" to "mischievous" and "who's" to "whose"), which engages them in attention to specific word forms.

Students are asked to brainstorm five uses for fire on a "Fire Web" and then write a descriptive paragraph titled "Life Without Fire," which requires descriptive detail. Students edit sentences in Activity 1, correcting word choice and verb forms (for example, deciding between "shone" and "shined"), which gives practice with precise words and forms. In Activity 4 students write a short play and are instructed to reveal information through characters' actions and dialogue and to include stage notes, which asks students to convey experiences and events through showing rather than telling.

Students are asked to write a 60–90 second movie-trailer script that must "grab their attention and highlight the action and suspense," which requires energetic, specific phrasing. Students are prompted to journal visual details when comparing the Daedalus and Icarus film (e.g., what the characters look like, how Daedalus makes the wings, what happens during the flight), encouraging sensory and descriptive notes. Students may also produce a comic-book cover, song lyrics, or a wordless book to retell a myth, activities that invite conveying events and experiences through concrete details and vivid description.

Students are asked to read a specific passage and then summarize/retell the Trojan War using cut-out characters, a constructed Trojan horse, and other props, which requires them to choose and present key events. The directions tell students to pick the most important events, decide on a narrative perspective (play/dialogue or third-person narration), and practice their retelling, with an explicit note to "use language that will keep their attention" and the option to quote from the book or add sound effects. Students may write out their entire summary, take notes, or make a diagram to prepare their presentation.

Students are instructed to "select your words carefully, keeping in mind imagery and other figurative language devices" when drafting their myth. The Skills list directs students to "Revise drafts to ensure precise word choice and vivid images," and the Myth Rubric evaluates ‘‘Voice and Creativity'' including ‘‘Uses creative language to engage the reader'' and ‘‘Reader responds emotionally to the story.'' Students also perform editing and revising with proofreading symbols, which supports refining word choice.

Students examine a detailed map of a medieval manor and record observations in specific categories (Jobs, Clothing, Homes, Inventions & Technological Advancements, Military Defense, Comparisons to Neighborhoods Today), which prompts them to note concrete details. Students write 3–4 sentence commentaries from the perspectives of a knight, lord, and peasant and read them aloud using appropriate tone, practicing narrative voice and perspective-specific description. The answer key supplies specific vocabulary (e.g., cloaks, tunics, plow, mill, castle, cottages) that students can use when describing scenes and actions.

Students read a poem that includes sensory imagery (rain, wind, cold, hunger) and answer questions about the narrator's physical and emotional experience, prompting analysis of descriptive language. Students read contextual sentences using precise vocabulary (pockmarked, nuzzling, teemed, etc.) and complete a crossword to practice word meanings. Students review and are asked to relate Beetle's struggle to the poem's descriptive details, connecting word choice to conveyed experience.

Students are asked to write a paragraph about Beetle that may include character description or living conditions (Part II), which invites use of descriptive detail. The worksheet and lesson provide model sentences that include sensory and specific details (e.g., lists of foods Beetle eats, the midwife 'soaked herself in the millpond, dried her hair in the sun,' and 'the warm rotting of the dung heap'), and students must analyze those sentences in Part I.

Students take on the role of a Line Locator to find three to five lines or short passages that they believe reflect good writing and explain why they selected them. In Option 1 students write a ballad about a memorable event, composing language to narrate that experience for an audience. Students also participate in vocabulary review and sentence-combining exercises that focus on modifiers, antecedents, parallel structures, and consistent tenses, which build control over word forms and sentence-level expression.

Activity 1 (Sentence Elaboration) explicitly instructs students to add adjectives, adverbs, prepositional phrases, descriptive clauses, and sensory details (examples: sound = jingling; touch = silky; smell = smoky; taste = tart). Students are asked to rewrite two sentences from the text—one about a cow giving birth and one about the excitement of a fair—so they practice adding descriptive language to passages that describe events. "Things to Know" defines elaboration as adding details such as adjectives, adverbs, transitional words, or prepositional phrases, and "Things to Review" reminds students to review various ways of elaborating sentences.

Students practice choosing correct words in the "Frequently Confused Words" activity by identifying and correcting homophone errors (e.g., its/it's, your/you're, there/their/they're) and by writing sentences using homophone groups. Students also write one- or two-sentence descriptions of Alyce's relationships at the beginning and end of the book and are instructed to "provide details from the book to support your answers." Students record connections between the book, their life, and the outside world in a journal as a Connector.

Students read Good Masters! Sweet Ladies! and complete a Cast of Characters chart in which they must summarize each character's monologue and "provide one example of effective descriptive language." Multiple student activity pages and the answer key explicitly include columns titled "Example of descriptive language" or "Example of Descriptive Language Relating to the Individual," requiring students to locate descriptive wording in the text.

Students are asked in Activity 1 to write 3–5 short sentences about an outdoor item, then go outside and jot down notes about textures, smells, and colors, which prompts use of sensory language. They are instructed to add more details (elaboration) to make descriptions more vivid and to combine sentences for variety, which guides them to expand descriptive detail and refine phrasing. Students then read their description to a parent without naming the object, which checks whether sensory and descriptive details effectively convey the item.

Students read paired monologues and analyze overlapping and differing perspectives, exposing them to narrative descriptions and character voice. Students correct a descriptive paragraph about a medieval festival (jousting knights, dancing bears, glass-blowers, a parade) on the "Spotting Errors" page, which requires reading and editing descriptive sentences. Students choose homophone pairs and write sentences for each word on the "More Homophones" page, practicing precise word selection in context.

Students read a model descriptive paragraph that explicitly uses sensory details (e.g., "he could hear the other runner gaining on him, breath beside his cheek, feet hitting the track") and are told descriptive writing should make the reader see, hear, and feel what is happening. Students complete two "Painting Sentences" activities in which they expand a basic sentence by adding How/When/Where, paint the subject with prompts (Which?/What kind?/How many?/Whose?), and pick a single word to "paint" into a more precise, descriptive phrase. Students practice revising wording and refining punctuation as finishing touches to produce a polished, sensory-rich sentence.

Students are asked to practice descriptive writing on Day 3: "Today you will practice descriptive writing... Review Lesson 12 and paint at least two sentences in your writing," which directs them to produce sensory-rich description. The parent/assessment notes explicitly instruct evaluators to check that students "used descriptive language that appeals to the reader's senses and engages the reader." Multiple Think-Tac-Toe options (e.g., Queen, As A Squire, Monologue, FOOD, SHELTER, VILLAGE LIFE) require students to write imagined or descriptive pieces about medieval life, providing repeated opportunities to include relevant descriptive details and sensory language.

Students are asked to write their own ads in Option 2 of the Media Awareness activity, where they must create examples of persuasive copy and role-play as the creator. The persuasion pages and answer key model specific word choices and phrases (e.g., "We guarantee...shinier hair in only 2 weeks!", "smart, wonderful, and fantastic") that students are to recognize and emulate. Students also practice composing sentences on the Parenthetical Expressions sheet, including writing two original sentences that contain parentheses, one of which must be a complete sentence in parentheses.

Students read Chapters I–VI of The Little Prince and answer comprehension questions in complete sentences. Students analyze authorial choices in a journal task about parentheses, explaining the effect of asides and interruptions. Students complete a Friend Venn Diagram where they are asked to "illustrate or write phrases" about what a child or adult would want to know (including sensory-focused questions like "What does his voice sound like?").

Students are prompted to create a clay model using the book's illustrations and to "consider the size of the planet, what it seems to be close to, and what the little prince says is on that planet," encouraging attention to specific descriptive details. The "Planet Problem" worksheet asks students to "Describe the planet, including other living things on or near the planet" and to list "What else is on the planet that could be used," which requires naming relevant details. Students write letters (Children Say or Two Views) with parent guidance to include personality characteristics for the child viewpoint and facts and figures for the adult viewpoint, prompting them to choose words appropriate to audience and purpose.

Students copy-edit two example sentences, correcting word choice and spelling (e.g., extraordinary, monotonous) and revising punctuation, which gives practice with choosing clearer words. Students create a poem or a drawing plus an artist's description from the narrator to the fox that asks them to describe the little prince's departure and his feelings, and Student Activity Page questions prompt them to describe emotions, perspectives, and reasons. The parent guidance supplies a model passage that includes sensory and descriptive language ("I didn't hear anything as he fell," "It sounds like millions of little bells"), which students can emulate.

Students are asked to describe a character through two options: create a collage that includes images showing the character's problems, personality, and what the character tries to persuade someone to do, and complete a "Cast the Character" activity page that prompts them to list 3–5 adjectives, describe how the character should speak, what they did as a child, and what problems the character faces. The lesson's skills note also lists writing expository compositions using description, and parents are prompted to have students explain the personality and choices behind images and casting decisions.

Students are asked to read Shakespeare's language and a modern translation and then write a poem or short story using at least four famous Shakespearean phrases, which requires selecting and placing specific words or phrases in their writing. The lesson explicitly notes that "expressions are important" and asks students to use those expressions in original writing and to read their piece aloud so a parent can identify the Shakespearean phrases used. Students also respond to comprehension questions about scenes, which gives context for the events they might describe in their writing.

Students are asked to create a persuasive message using 2–3 specific vocabulary words from the unit (Activity 2), which requires choosing precise words such as "ephemeral" or "presage" to shape tone. Students plan and write an interview (Activity 1) by finding and including direct quotes from the text and composing answers that integrate those phrases. Students read an abridged version of Romeo and Juliet in Shakespeare's original language, exposing them to varied and potentially descriptive phrasing they can reference.

Students are prompted to gather and use specific evidence and quotes about their chosen couple (Play Cupid / Strongest of All) and to include those quotes in their final persuasive essay. The OUTLINING page tells students to use observations, examples, quotations, and personal experiences as evidence and to "add details and transitions" when they write. The unit test's vocabulary task requires students to use the words presage, acclamation, and ephemeral in sentences tied to the readings, giving practice with selecting precise vocabulary.

Students are asked to describe an event from the book in a large writing box and to take notes on what each person thought about the event (Activity 1, Option 2 and the Student Activity Page). Students may write newspaper headlines or topic sentences from two different perspectives and note each person's personality and what he or she would say (Option 1 and Option 2 directions). Students are also asked to act out the perspectives using index-card notes that prompt them to describe the actual event and what each character would say.

Students are asked to give an oral summary of an artist (Activity 5) and to write a 1-2 paragraph sidebar about that artist including a caption and portrait (Activity 6). Students complete a K-W-L chart (Activity 3) to record what they know, want to know, and have learned, which supports organizing descriptive information. The Parent Plan includes model descriptive phrases about the artists (e.g., "neoclassical," "realistic, sculpted, and polished," "patterns of light, reflections, and shadows") that students can draw on when describing the artist and artwork.

Students are instructed in the Outlining Newton activity to "gather observations, examples, quotations, and personal experiences" and to list 2-3 supporting details for each area, which asks them to produce relevant descriptive details. The Day 4 writing instruction requires students to "use at least two of the vocabulary words" from the unit, prompting attention to specific word choice. The Technical Writing Rubric's Ideas and Support criterion asks students to list 2-3 relevant areas and explain their relation to current industries, which directs students to include relevant explanatory details in their writing.

Students are asked in Option 2 (Syllables to Stanzas) to choose two or three vocabulary words and write a line about each of them, marking syllables in two of the lines. The Parent Plan lists a skill to "Write a poem using poetic techniques such as rhyme scheme or meter," and students are prompted to read their stanza aloud and review stressed and unstressed syllables. Vocabulary activities require students to select words (e.g., munificence, azure, juxtapose) and use them in original lines, which involves some word choice.

Students choose a topic and write an original love poem using the provided "Sublime Rhyme" page, which requires them to brainstorm rhyming words and select vocabulary for their poem. The lesson text explicitly tells students that their personal style may include "unusual vocabulary words, or simple words used to convey deep messages," which calls attention to word choice. Students are asked to read their poem aloud and explain how they chose the topic and how the poem reflects a time period, which prompts them to articulate language choices.

Students take a nature walk, photograph at least five items, and annotate each photograph with a metaphor or simile, personification, and other figurative language (including imagery and onomatopoeia) on the "Walk Like a Poet" page. Students choose one photograph and write a poem using personification and either a metaphor or simile, and are encouraged to include other figurative devices like idioms or onomatopoeia. The lesson defines connotation and lists sensory/imagery devices in the Things to Know and activity pages, prompting students to consider the emotional associations of their word choices.

Students are prompted to write a short phrase for each news article and are explicitly encouraged to "use as much figurative or poetic language as you wish," giving them practice in choosing expressive wording. The activity pages ask students to record "3 interesting facts or vivid details" about each article, asking them to notice and write descriptive information. In Activity 2 students must write a poem that repeats a chosen phrase at least three times, and Activity 3 asks students to create a staged image that "should elicit a feeling" matching the poem, reinforcing sensory and descriptive connections between words and images.

Students are asked to write a conversational poem between two people or personified characters, giving them practice composing language to convey dialogue and events. The lesson includes a model poem ("Sign of Spring") that uses sensory and descriptive phrases such as "vanilla scented breeze," "Rustles the leaves," and references to scent and nectar, which demonstrates sensory language and relevant descriptive detail. Students are also asked to revise presentation (line position) to clarify speakers, which involves attention to how wording and form convey action and interaction.

Students revise and finalize their own poems and compile them into a collection, which gives them opportunities to choose wording during revision. Activity 6 asks students to write a two‑paragraph analysis in which the first paragraph must discuss the images and events in the poem, prompting attention to descriptive details. Part B of the unit test requires students to write 3–4 lines of poetry using at least three advanced vocabulary words, encouraging deliberate word choice.