This six week unit will center on the use of research in creative writing. It is part of a larger concept for teaching writing that I call “Something to Write About.” The “Something to Write About” model will use a variety of experiences such as service learning, field trips, and artistic expression to aid in student learning of a variety of writing styles and purposes.
The following unit called “Adding Details: Using Research in Short Fiction” is designed in two parts: the first provides a framework using the elements of a short story, and the second utilizes research, the “something to write about,” to create detailed and descriptive language in that short story. Many students struggle with creative writing because they neglect the basic elements of a short story (usually ending up with character sketches) and because they “don’t know what to write about.” This unit will help them by providing the necessary structure and direction that they need to succeed. Too often writing becomes a dull, yet painful experience in a student’s secondary career. However, providing the necessary scaffolding can lead to successful creative expression and can revitalize a student’s interest in the writing process.
Choice in the selection of subject matter is an important aspect of this unit. Because of the abundant past, present, or futuristic research material available, students’ interests relating to their socioeconomic status, gender, race, or ethnicity may be addressed. Students are also encouraged in the web quest that introduces the unit to consider different aspects of social awareness – providing the students with expanded personal and world views. They will be able to utilize what they learn about other people, places, and times in the creative writing process and, ultimately, make it their own.
This unit is designed for the eleventh or twelfth grade level. Because of the intensive research elements in the web quest and the final short story, this unit may not be suitable for younger students. However, with modifications to the research required this unit could be successfully used in the middle school, ninth or tenth grade language arts class.
○ Students have grade level reading/writing/grammar skills
○ Students have experience reading a variety of short stories and responding to them.
○ Students know the elements of short story fiction.
○ Students have already experimented with copy change (the use of the plot structure of a work of fiction) in short story writing.
○ Students have prior experience in doing research for expository writing.
○ Students have experience with editing and using word processing.
○ Students have prior experience taking notes and drawing in journals and logs.
○ Students are familiar with the protocols for working in small group discussions.
○ Students know class rules for peer editing.
○ Students are capable of reading the material and following the web quest links.
○ Students will have multiple intelligences and will do better with some aspects of the unit than others.
○ Students will display a variety of developmental levels and skills.
○ Some students may need extra time for constructivist methods of teaching and learning.
○ Some students will need accommodations to get the most from this unit.
○ Some students will have trouble staying on track if they do not have periodic deadlines.
○ Few students will have experience in writing short stories without copy changing first.
○ Few students will be accomplished artists and draftspersons.
Standards for:
Elements of Composition
Standard: The student will engage in a writing process with attention to audience, organization, focus, quality of ideas, and a purpose.
■ Revise writing for clarity, coherence, smooth transitions and unity.
■ Apply available technology to develop, revise and edit writing.
Spelling, Grammar and Usage
Standard: The student will apply Standard English conventions when writing.
■ Use an extensive variety of correctly punctuated sentences for meaning and stylistic effect.
■ Edit writing for correct grammar, capitalization, punctuation, spelling, verb tense, sentence structure, and paragraphing to enhance clarity and readability.
Research
Standard: The student will locate and use information in reference materials.
■ Use print, electronic databases and online resources to access information, organize ideas, and develop writing.
* From Minnesota Academic Standards, Language Arts K-1
Objectives: Students will have learned:
► To use the elements and structure of short fiction in their writing.
► To research material to use in an original short story.
► To analyze short stories and synthesize the information into their own writing.
► To imagine and write the setting of their short story through directed visualization.
► To use visual symbols to create descriptive and metaphoric language.
► To use graphic organizers such as mapping to aid in the structuring of plot.
► To use sentence combining and sentence patterns in their writing.
► To consider their audience when writing short fiction.
► To give feedback and constructive criticism to their peers.
○ Class will read along in class while instructor reads short stories aloud.
○ Teacher directed, guided visualization for setting (students write individually) see Week Three Day Three.
○ Whole class discussions about:
● Web quest
● Research for fiction
● Author interview
● Characterization
● Figurative language
● Plot diagrams and graphic maps
● Sentence stretching, combing, and patterning
○ Web quest will be in small groups of three students.
○ Peer discussions and peer editing for various projects throughout the unit.
○ Research a variety of materials both online and in print media to use in the writing of a short story
○ Research worksheet that will aid in their short story
○ Create character mandala and generated writing
○ Create plot mapping
○ Write short story that makes use of research
○ Students will keep an ongoing journal or log to aid in the writing of the short story.
○ Periodic writing prompts pertaining to unit for students to record in journal/log.
○ Peer groups will meet regularity to revise and edit various individual activities.
○ Students will turn in journal/logs and drafts at set stages of the writing process.
□ Notebook (for journal/logs)
□ Folder or three-ring binder (for loose handouts and art work handed in with journal/log)
□ Art paper and art materials (basic supplies provided; students may supplement)
□ Access to internet and electronic databases
□ Access to library for research
□ Access to word processing
This set induction is designed to help the students understand that they too can write short fiction with the help of a structure to follow and “something to write about” using research. Activating their prior knowledge of the elements of short fiction is a start. Have students write in a journal about their favorite aspects of past short stories and why they felt those elements may have been more effective than others. Have students share their journaling in class. Then have students brainstorm about what places or time or people would interest them enough to want to incorporate the information into a short story. Have students get into small groups to share their thoughts. Briefly discuss the real purpose for the writing in the possibility to publish their work. Get them excited without scaring them.
Week One Rehearsal
Day One: Start with the set induction (previously mentioned) and then introduce the different parts of the unit including the web quest. Tell them that the web quest will work as a rehearsal for the larger unit and that they will be able to work on it in small groups. Get the students into groups of three for the web quest.
Days Two and Three: Have students work on the web quest in the resources center. Be available to answer questions and help students generate ideas.
Day Four: Give researching for fiction lesson in which the teacher introduces the students to concept that many authors research material when they write fiction. Discuss the different possibilities and remind them of the first day of the unit launch when they thought about the possibilities. Tell them that they could research the past, present, or even the future (innovative research for those interested in sci-fi) for their short stories. Go to resource center to work on web quest.
Day Five: Give two short lessons on this day. The first lesson is the review of journals and logs and how to use them, what is included, and when to turn them in for in this unit. The second includes an interview clip from NPR, which has the author Russell Banks talking about using research in his writing. Again, discuss with the class what topic for research they may be interested in if there is time in class have them go to the resource center and start looking for books.
Week Two Getting Students Started
Day One: Students continue to look for reading materials and search online in the resources center for research. For those that have found materials they can use in class time to read.
Day Two: Students get into their groups and discuss their ideas for using the research that they have been finding and how they might be able to use it in their short story.
Day Three: Introduce characterization lesson using examples from short fiction and movies to review and discuss how can use in up coming short story. Hand out character worksheet to record their ideas. Near the end of class form groups for peer editing and small group discussion through out the unit. (See detailed characterization lesson plan.)
Day Four: Give quick quiz on character types and characterization. Then give character mandala lesson. Use remaining time to work on creating visual symbols. (See detailed character mandala lesson plan.)
Day Five: Students get into groups to discuss using their research to enhance the characters in their short stories. Give time in class for students to start writing story concentrating on the characters. Students who still need more research can go to the resources center.
Week Three Putting the Elements Together
Day One: Continue the lesson on character mandalas by introducing the generated writing portion of the lesson. Using the visual symbols that the students created for their characters have students write metaphoric language that may be used in their short stories.
Day Two: Give figurative language lesson. Use works of literature in small groups to find examples of figurative language. Introduce the concept of guided visualization and give warm up exercises to prepare students for the next class period when they will be doing a more extensive visualization exercise.
Day Three: Give visualizing the setting lesson. Tell students about the use of guided visualization and how to use their imaginations for the setting in their short stories. Have them shut their eyes and guide them through the setting of their short story. When through, have them draw pictures and images of what they encountered.
Day Four: Give the plot diagram lesson and the graphic organizers lesson that focuses on mapping the plot of the students’ short stories. The plot diagram will be in the form of a hand out that contains the setting, the set-up, rising actions, turning point, climax, and resolution. The graphic plot map is a non-linear organizer to aid the students in the structure of their short stories.
Day Five: Group discussion and work on plot and mapping for their short stories.
Week Four Starting the Writing
Day One: Give the Stretch-A-Sentence lesson and have students practice using technique on sentences for their short stories.
Day Two: Peer editing and multiple drafting review lesson on the protocols for listening and helping revise each others writing. Groups get together and review the stretched sentences from the day before.
Day Three: Have students get into peer editing groups and read first drafts to each other for critique. Give time for students to make revisions in class. Return to groups to review revisions if time permits.
Day Four: Give sentence combining lesson. Have class writing in their journals about sentence combining and how they will use it in their short stories.
Day Five: Have them combine some of the sentences that they have already written from the first draft for the second draft. If time permits, have them read combined sentences in peer editing groups.
Week Five Making it Better
Day One: Peer editing of second draft. This draft will be handed into teacher for comments and formative assessment.
Day Two: Writing dialogue and using quotation marks lesson. This lesson is designed to be of actual use to the students in the writing process. Giving this lesson at this time in the writing process helps them to write dialogue in their short stories if they so wish.
Day Three: Sentence patterns lesson. This lesson will help make the students aware of the style and variety of the sentences that they will write in the stories. These patterns will be formatively assessed in the third draft of their short stories. Have the students get into small groups to discuss the implications of sentence patterns in their stories and how they might be able to make use of them.
Day Four: This is an in class writing day with the emphasis on using different sentence patterns. Students who are ready can use the word processing lab to compose.
Day Five: Word processing lab day where students word process their third draft.
Week Six Getting it Done
Day One: Publishing student work lesson where all of the publishing possibilities are discussed again in greater detail. This was first mentioned in the set induction. Students will have time to work on word processing.
Day Two: Peer review and editing day. This is where the almost finished short story is refined. Put an emphasis on reviewing the different sentence patterns that have been written for short story. If there is time, students can go to the word processing lab to work on revisions.
Days Three – Five: More time allowed for word processing or on extra credit projects linked to the short story such as illustrations for the story, a book cover design, an opening poem, or a song.
Week Seven Presentations
Days One – Five: Have the students hang their art work on the walls and read their stories to the whole class. Have a party with snacks on the final day. (Depending on class size, a whole week may not be necessary.) To make it fair, all work is handed into teacher on Monday, and students are randomly selected to give presentations. Accommodations for students unable to read work in class can be made. Volunteer readers or an electronic recording of the story are possible options. After the stories are assessed publish student work in school outlets and online.
Week Number |
Monday |
Tuesday |
Wednesday |
Thursday |
Friday |
One |
Unit launch Web Quest introduction Students into small web groups |
Work on Web Quest in resources center |
Work on Web Quest in resources center
|
Researching for fiction lesson Work on Web Quest in resources center |
Research and writing log lesson Author interview Web Quest Due |
Two |
Library and resources center Read research materials |
Group work on ideas for story using research writing in class |
Character-ization lesson
Form groups for peer review and editing |
Character mandala lesson Quiz on char. Research and writing log Due |
Group work on using research to enhance characters Character traits Due |
Three |
Mandala generated writing lesson
|
Figurative language lesson
Visualization warm up
|
Visualizing the setting lesson
Character mandala/ Writing Due |
The plot diagram & Graphic maps lesson |
Group work on plot and mapping
Setting drawing and writing Due |
Four |
Stretch-A-Sentence lesson
Plot mapping Due |
Peer editing and multiple drafting lesson Review stretched sentences |
Peer editing and review
1st Draft Due |
Sentence combining lesson
Research and writing log Due |
In class writing using sentence combining |
Five |
Peer editing Review sentence combining 2nd Draft Due |
Writing dialogue and using quotation marks lesson |
Sentence patterns lesson
Group discussions |
In class writing using sentence patterns |
Word Processing In Lab |
Six |
Publishing student work lesson Word Processing in Lab or extra credit |
Peer editing Review sentence patterns
3rd Draft Due
|
Word Processing and Extra Credit
|
Word Processing and Extra Credit
|
Word Processing and Extra Credit Research and writing log Due |
Seven |
Student presentations hang art and read work
Final Project Due |
Student presentations hang art and read work |
Student presentations hang art and read work |
Student presentations hang art and read work |
Party Student presentations hang art and read work |
Week Two / Day Two Lesson Plan
Week Two / Day Four Lesson plan
Character Mandala (first part of two-part lesson plan)
Characterization Lesson
Duration: 40 minutes of a 50-minute period
Rationale: Because characterization is such an important element of short fiction, the students will review basic character and characterization concepts before they put their knowledge to use in analysis of literature and in their own writing. Human beings are drawn to other human beings, and the characters in a work of fiction are no exception. We can all learn a little more about ourselves when we look into what makes the characters in the novels and short stories tick. The world will be a better place if we understand ourselves as well as others. Literature can help in that regards.
Objectives: Students will have learned:
► To define the differences between static and dynamic characters.
► To relate the types of characters (static and dynamic) to various literature examples.
► To list direct and indirect characterization techniques.
► To utilize direct and indirect characterization in their own short story using research.
Method:
Anticipatory Set: Show short clip from a movie that has a strong character study such as Alan Rickman as Snape from the Harry Potter movies. Briefly have class describe his character from the short clip and how he works as Harry’s foil.
Direct lesson: Tell students that there will be a short quiz the next day on the following information: Characters do not need to be human, but they should possess human traits. Characters are classified as static or dynamic. “A static character is one who does not change much in the course of a story. A dynamic character, on the other hand, changes in some important was as a result of the story’s action” (1261).
“The process by which the writer reveals the personality of a character is called characterization. A writer can reveal a character is the following ways:
The first method of revealing a character is called direct characterization. When a character uses this method, we do not have to figure out what a character’s personality is like—the writer tells us directly. The other five methods of revealing a character are known as indirect characterization. When a writer uses these methods, we have to exercise our own judgment, putting clues together to figure out what a character is like—just as we do in real life when we are getting to know someone” (1261).
Have students get into small groups and discuss type of characters and characterization in sample flash fiction literature.
Closure: Talk to the students about how they can make their characters come to life through characterization in their upcoming short story. Remind them of the clip from Harry Potter and how interesting even a “minor” character can be.
Tell them that one of the categories on the rubric will be on characterization and that the upcoming projects will help them achieve positive results. Hand out the character traits for short story using research worksheet. Explain. Remind class about the short quiz the next day.
Assessment: Formative assessment will come from monitoring the small group discussions about characterization that follows the direct lesson. There will be a short quiz on types of characters and the different characterization techniques. Each student will fill out a character traits handout and will use it to form their main character for their short story. They will need to keep it in their folder and notebook as part of their ongoing journal/log for the main project. (See journal/log checklist under Supporting Materials.) There is also a characterization category in the rubric for the final short story using research project assessing the material from this lesson. (See Rubric for Short Story Using Research under Supporting Materials.)
Homework: Have students fill out the character traits of one or more of their main characters that they are planning for your short story using the handout. Have ready in two days when the small groups will meet to discuss using research to enhance characters.
* Information on characterization from Elements of Literature: Sixth Course Literature of Britain Holt, Rinehart and Winston, Inc. 1993.
Character Mandala (first part of two-part lesson plan)
Duration: 50-minute class period
Rationale: Mandalas are drawings that use the “ancient idea of the circular shape as an archetype denoting the integration of a number of elements to make a whole” (13). Mandalas and the language generated from the visual exercise assist in the writing of descriptive and metaphoric language used in the students’ short stories. The students are better able to create complex characters by converting their abstract ideas into concrete symbols through drawing. Visual projects in conjunction with student writing also integrate the multiple intelligences into the learning experience and carry over into other aspects of students’ lives.
Objectives: Students will have learned:
► To produce a variety of visual symbols pertaining to a character for their short story.
► To portray the duality inherent in their created characters for short story.
► To generate metaphoric language to use to describe the complexities of their character.
Method:
Anticipatory Set: Children of all cultures draw circular shapes and draw pictures that carry meaning. Many cultures such as the Navaho and countries such as India, China, and Japan have a tradition of using the mandala. Even the rosette stained glass windows in many Christian cathedrals are mandala forms. Fran Claggett describes a mandala in her book Drawing Your Own Conclusions: Graphic Strategies for Reading, Writing, and Thinking as an “ancient idea of the circular shape as an archetype denoting the integration of a number of elements to make a whole” (13). Ask students if they have seen such circular shapes in life or in books that they have read. Discuss.
Explain assignment and rationale to students. This lesson will make use of the students’ characters that they are developing for their short stories. They will develop visual symbols that will portray the duality of a prominent character by depicting the sun and shaded personality traits of that character. The variety of symbols should help the student to understand the motivations and complexities of characters that they are trying to flesh out for their stories.
Selecting the Images: Give students a list of specific visual prompts to come up with depict different character traits. The images are for both the “sun” and the “shaded” aspects of the character. Have students write down responses to the following question. What kind of _____________ is your character? list: animal, plant, color, number, shape, object, gem, season, or element such as fire, water, air, or earth (aspects of these could be beach, desert, breeze, storm, etc.)
The final mandala does not need to use the entire list (six minimum for each side) and may be depicted in any fashion that the students sees fit. The writing aspect of the lesson will come later, but it is important when selecting the images to think of the way they will be used in the writing. Tell students to consider the following phrase when selecting the final images: The character is like the __________ because, like the __________he/she is _________________________________________.
Give out the checklist for assessment expectations. Use remaining class time to have students get into groups to discuss their choices.
Assessment: The mandala will be assessed along with the writing later in the unit. The rubric will have criteria for drawn mandala and generated writing. Rubric is included in Supporting Materials for Teachers section of unit.
Homework: Finish mandala drawing and have ready for Generating Writing lesson a few days later.
* Quote and lesson adapted from Drawing Your Own Conclusions: Graphic Strategies for Reading, Writing, and Thinking by Fran Claggett with Joan Brown.
Stretch-A-Sentence
Duration: One 50-minute class period
Rationale: This collaborative lesson integrates grammar and usage into the writing process. It stresses the importance of adding interesting details and information to short sentences, and it confirms that “how” and “what” they write matters in the world.
Objectives: Students will have learned:
► To use standard English conventions during the creative writing process to add detail,
information, and interest to a short sentence.
► To expand a short sentence using an opening participle phrase modifier with correct
punctuation.
► To connect two related, independent clauses using a semi-colon.
Method:
Anticipatory Set: Write the sample sentences on the board: “The dog ran into the store.” Followed by: “Looking both ways and leaping from the parked car during a thunderous rainstorm, the over-excited, large, black dog ran across the busy street into the convenience store to see if its pokey owner was still purchasing the extra-large Milk Bonesâ and bottle of Avianâ spring water for the dog’s supper; the humongous dog was especially hungry that rain-soaked night.” Ask the students what they think of the first sentence. Most likely, the students will make statements like “it is boring” or “there is not much to it” etc. If not, the instructor leads them into the question of why would we want to make short, uninteresting sentences more exciting and detailed. Talk about how future employers would think of a person who could not write an interesting, complete sentence and how we are judged by our ability to communicate with the written word. Also, talk with the class about the creative aspects of writing a sentence. Point out the title “Stretch-A-Sentence” and give analogy of stretching and molding clay. Let the students know that they too can learn how to write interesting and accurate sentences.
Make the point that there is a lot in the “stretched” sentence. For this lesson, they will be concerned with just two aspects, the participle phrases at the opening of the sample sentence and the semi-colon near the end of the sentence. While pointing out the words “looking” and “leaping” in the sample sentence, the instructor discusses the use of participles (“ing” verbals) and how they modify the subject, “dog.” Then the grammar lesson will be on the use of the semi-colon in the sample sentence and how the two independent clauses relate to each other. Discuss why in the case of the sample sentence a “, and” would not be as effective. (Too many “ands” already.)
Finally, discuss the reason why they will be writing a creative sentence to learn grammar conventions and how they can add detail, information, and interest to a short, core sentence. Hand out rubric for assessment of sentences. Use rubric with the class to evaluate the sample sentence already on the board.
Have the students move into groups of three or four. Have them write an extension to the core sentence, “The student walked into the classroom.” Remind them to use the rubric and to use an opening participle phrase or two and the semi-colon. Also, remind them that this is a creative writing exercise so they should be open to ideas and to have fun. They will sign all names and hand in at the end of the class. Walk around to monitor progress. Have students read aloud the sentences. Discuss.
Closure: Tell the students that there are many ways to create complete, interesting sentences and that the sentences that the class came up with are just a few examples. Make the point that writing is not a formula; the two methods covered today are there to use or not use. We are coving the material so they are familiar with the method and have the choice to use it or not. Come back to the reasons why we would want to write good complete sentences and how we can be creative while doing so.
Assessment: Watch and listen for understanding of the concepts during the lesson. Use rubric to assess the groups’ sentences and the individuals’ sentences. Assessment will also come when the concept is used in actual student writing.
Homework: Use the stretch-a-sentence concept for current student writing.
Character Traits for Short Story Using Research
Character’s Name and Age:
Background / Upbringing:
Friends / Family:
Where Lives / With Whom:
Type of Dwelling:
Occupation/Role in Group:
Financial Status:
Physical Characteristics e.g. color, size, etc:
How Dresses:
State of Mind:
Attitude Towards Others:
Strengths / Weaknesses:
Static / Dynamic: How? Why?
Loves / Hates:
Likes / Dislikes:
Motivations:
How Sees Self:
How Others see Character:
Past Problems/ Successes:
Present Problems/ Successes:
Outlook on Life:
How do you feel about your character?
Why write about him/her/it?
Rubric for Mandala and Metaphoric Writing 15 pts.
Category |
5 |
4 |
3 |
2 |
Visual Symbols |
Exemplary use and number (six or more per side) of abstract character ideas expressed through visual symbols. |
Sufficient use and number (4-5 per side) of abstract character ideas expressed through visual symbols. |
Insufficient use and number (2-3 per side) of abstract character ideas expressed through visual symbols. |
Little or no use or number (1 or less per side) of abstract character ideas expressed through visual symbols. |
Metaphoric Language |
Exemplary conversion of visual symbol into metaphoric language. |
Good conversion of visual symbol into metaphoric language. |
Adequate conversion of visual symbol into metaphoric language. |
Little or no conversion of visual symbol into metaphoric language. |
Creativity |
There are no clichés present in the symbols and writing. The author has really used his/her imagination. |
There are few (1-2) clichés present in the symbols and writing. The author has used his/her imagination. |
There are some (3-4) clichés present in the symbols and writing. The author has tried to use his/her imagination. |
There are many (5 or more) clichés present in the symbols and writing. The author does not seem to have used much imagination. |
1. An initiating event: Either an idea or an action that sets further events in motion.
2. An internal response: The protagonist's inner reaction to the initiating event, in which the protagonist sets a goal or attempts to solve a problem.
3. An attempt: The protagonist's efforts to achieve the goal or alleviate the problem. Several attempts, some failed, may be in an episode.
4. An outcome: The success or failure of the protagonist's attempts.
5. A resolution: An action or state of affairs that evolves from the protagonist's success or failure to achieve the goal or alleviate the problem.
6. A reaction: An idea, an emotion, or a further event that expresses the protagonist's feelings about the success or failure of goal attainment/problem resolution or that relates the events in the story to some broader set of concerns. (Vacca and Vacca 1996, 257)
* From Image Grammar: Using Grammatical Structures to Teach Writing by Harry R. Noden
Category |
15 |
13 |
12 |
11 |
Characterization |
The main characters are named and clearly described using variety of direct and indirect techniques. Most readers could describe the characters accurately. |
The main characters are named and described using some direct and indirect techniques. Most readers would have some idea of what the characters are like. |
The main characters are named using few direct and indirect characterization techniques. The reader knows very little about the characters. |
It is hard to tell who the main characters are and there is little or no use of direct or indirect characterization techniques. |
Setting |
Many vivid, descriptive words are used to tell when and where the story took place. |
Some vivid, descriptive words are used to tell the audience when and where the story took place. |
The reader can figure out when and where the story took place, but the author didn't supply much detail. |
The reader has trouble figuring out when and where the story took place. |
Organization of Plot |
The story is very well organized. One idea or scene follows another in a logical sequence with clear transitions. |
The story is pretty well organized. One idea or scene may seem out of place. Clear transitions are used. |
The story is a little hard to follow. The transitions are sometimes not clear. |
Ideas and scenes seem to be randomly arranged. |
Research for Short Story
|
Research for short story is very effective with three or more sources that are well documented. |
Research for short story somewhat effective with two sources that are documented. |
Research for short story is not effective with one source that is documented. |
Research for short story is not apparent and without any documented sources. |
Creativity |
The story contains many creative details and/or descriptions that contribute to the reader's enjoyment. The author has really used his/her imagination. |
The story contains a few creative details and/or descriptions that contribute to the reader's enjoyment. The author has used his/her imagination. |
The story contains a few creative details and/or descriptions, but they distract from the story. The author has tried to use his/her imagination. |
There is little evidence of creativity in the story. The author does not seem to have used much imagination. |
Sentence Structure (Fluency) |
All sentences are well-constructed with varied and interesting structure patterns. |
Most sentences are well-constructed with varied and interesting structure patterns. |
Most sentences are well-constructed but have similar and uninteresting structure patterns. |
Sentences lack structure and appear incomplete or rambling. |
|
10 |
8 |
4 |
2 |
Grammar and Spelling (Conventions) |
Writer makes no errors in grammar or spelling that distract the reader form the content. |
Writer makes 1-2 errors in grammar or spelling that distract the reader form the content. |
Writer makes 3-4 errors in grammar or spelling that distract the reader form the content. |
Writer makes more than 4 errors in grammar or spelling that distract the reader form the content. |
1. Compound sentence with semicolon and no conjunction
(two short, related sentences now joined)
S V ; S V.
e.g. Caesar, try on this toga; it seems to be your size.
2. Compound sentence with elliptical construction
(comma indicates the omitted verb)
S V DO or SC ; S , DO or SC.
e.g. A red light means stop; a green, go.
3. Compound sentence with explanatory statement
(independent clauses separated by a colon)
General statement : specific statement (example).
e.g. Darwin’s Origin of the Species forcibly states a harsh truth: only the fittest survive.
4. An introductory series of appositives
(with a dash and a summarizing subject)
App , app , app , -- summary word S V.
e.g. The trees on the shore, the water on the lake, the blue sky above – all told their story.
5. An internal series of appositives or modifiers
(enclosed by a pair of dashes)
S – app , app , app – V.
S – mod , mod , mod – V.
e.g. The scholarly disciplines and especially the sciences – physical, biological, social – share the burden of searching for truth.
6. A series if balanced pairs for rhythm
(may be in any slot in sentence)
A and B , C and D , E and F
e.g. Anthony and Cleopatra, Romeo and Jul