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Short Story Writing Project Name _________________________________________

Task requirements Write a fictional story of 800-1600 words (8-16 hand-written pages, 4-8 typed double-spaced pages). Stories will be original (no sequels to books read, no characters from existing books) Ideas must make sense/be believable Story will contain the story elements and writing craft elements listed below.

Class Expectations Every day, bring to class LA notebook/binder, pen/pencil Complete pre-writing and planning activities to create a series of “information banks” to use in stories. Use Writing Workshop time to plan, draft and revise story. Share our writing to encourage each other and for feedback to improve stories. Cooperate, help and respect each other when critiquing. Give feedback and listen to each other.

Story Elements Expectations 1. Characters

1-2 main characters with carefully selected names and a believable problem that can be solved Show characters with FAST (Feelings, Actions, Speech and Thoughts)

2. Plot An interesting series of events, which includes the character having a goal, a problem reaching the

goal (a conflict) and a solution Events and conflict should be believable and consistent with the character and the setting The character should solve the problem, not an outside force or a rescuer To keep this project manageable the action of the story must take place within 24 hours and the final

product may not exceed 8 typed pages!

3. Setting

A clear and imaginable setting that appeals to all senses – but no more than three different settings in the story

4. Point of View The narrator must be clear and remain consistent throughout the story

5. Theme (OPTIONAL) Teach a lesson or show an idea about life

Writing Craft Expectations Qualities outlined on the grading checklist (planning, content, organization, language, usage, sentence

construction and mechanics) Dialogue (25-50%) mixed with narration and correctly formatted Showing (not telling) the story with F A S T Figurative language Imagery/sensory details which create a picture for the reader Consistent verb tense (past or present) Smiley Face Tricks which enhance the story

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Due Dates:

Assignment Due Date

1. Story Ideas CW HW / /

2. Plan-a-Problem CW HW / /

3. Plan-a-Plot CW HW / /

4. Build-a-Story CW HW / /

5. Character Information Bank

CW HW / /

6. Setting Information Bank

CW HW / /

7. Minimum 2 possible story openings

CW HW / /

8. Story Draft 1 – minimum 4 pages (2 typed) complete

CW HW / /

9. Story Draft 1 complete CW HW / /

10. Story Draft 1 revised CW HW / /

11. Story Draft 2 CW HW / /

12. Story Draft 2 revised and edited

CW HW / /

13. Story Final Draft CW HW / /

Table of Contents Hints for Writing Great Short Stories 3 Give Your Characters Problems They Can Handle 4 Examples of Real Life Conflicts 4 Plan-a-Problem 4 Plan-a-Plot 5 Build-a-Story 6 Character Information Bank 7 Setting Information Bank 8 Whose Point Is It Anyway? 9 Strong Story Openings 10 Story Opening Techniques 10 Story Opening Examples 10 Show, Don’t Tell—Create Real Characters 11 Naming Characters 12 Ways to Include Thoughts and Feelings 13 Ways to Develop a Character 14 Consistent Verb Tense Practice 15 Project Grade Sheet 17

Short Story Revising and Editing Checklist

Story fits into assigned space (4-8 pages typed/double spaced)

Writing Craft Elements

Dialogue (25%-50%) mixed with narration

Dialogue formatted correctly

Showing, not telling, the story with F A S T

Figurative language enhances the story

Imagery/sensory details create a picture for the reader

Consistent verb tense (past or present)

Incorporates Smiley Face Tricks

Characters

Believable characters

Characters named with care and thought (starting and ending sounds vary, name lengths vary, names have meaning)

Characters developed with F A S T

Plot

Believable conflict

Believable events that advance the plot and conflict

Satisfying/reasonable ending

Character solves own problem

Setting

Believable/clear/detailed setting

Details of setting developed with a variety of senses

Point of View

Point of view (narrator) clear and consistent

Theme – extra credit

Goes beyond the narrative to show a theme

Format – double spaced, header, page numbers

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Hints for Writing Great Short Stories

1. Use direct, action verbs. “She ran,” instead of “She was running.”

2. Make sure your verb tenses remain consistent throughout the story.

3. Show, don’t tell: “The rose smelled like fine French perfume,” instead of “The rose smelled pretty.”

4. Paint a picture with words. “Saliva drooled unnoticed down his wrinkled face,” instead of “The old man

couldn’t take care of himself.”

5. Use your imagination. What is your character feeling? Why does he make certain choices? What does your character think? What makes him angry, depressed, happy, excited, or confused?

6. Create imagery using metaphors and similes. “Her hair was like wet spaghetti plastered to her face.”

7. Each paragraph should only have one main subject. Change paragraphs when a new person speaks.

8. Keep your stories simple. Make sure you are familiar with the time and place where it takes place. The main character should face a conflict and grow as a result of it.

9. Intersperse narrative and dialogue.

10. Don’t start with, “Once upon a time” and don’t end with, “They lived happily after.” Start with action, not

background information.

11. Write what you know—Part I. Your feelings or experiences can be the beginning of a story. You’ll be able

to write about an event or emotion with greater authenticity if you have experienced it yourself.

12. Write what you know—Part II. If you write about a place that you have visited, you can write with greater

realism. If you haven’t been there, research the area so that you can accurately describe it.

13. Make your character move. Write what your character thinks or feels as he is doing something. How does

his behavior show what he feels or thinks?

14. Keep it short. In a short story the setting must be a small part of the whole. Don’t write long narrative

paragraphs describing the setting.

15. Let your main character do the work. Don’t solve the problem too quickly or too easily. Don’t rely on

magic, God, or a best friend to solve your character’s problem.

16. Keep the characters and settings to a minimum. Don’t include more than two main characters and two to three settings.

17. Keep the problem simple. The more complicated problem you give your character, the more difficult it will be for him to resolve it himself.

18. Don’t moralize. If you are writing a story with a moral, let the character learn it through the events and

people in the story

19. Let your imagination go and have fun!

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Give Your Characters Problems They Can Handle

If you are struggling to create a manageable problem for your character, think of scenes instead of entire stories. The more problems you give your character, the more difficult it will be to resolve them all appropriately. This is a short story, not a novel!

If you focus on a smaller, real-life conflict which you have encountered (jealousy and competition in a class, facing someone on the court who plays “dirty,” watching a teammate stumble and fall while running cross-country) you will be less likely to have to resolve the story with a “magical,” unrealistic ending. These stories may seem less dramatic, but they are easier to write.

If you are writing a genre story, make your character do “ordinary” things (such as try to get out of homework, fight with her siblings, hate chores, be tempted to cheat or lie) in a different environment. This makes the story more believable and enjoyable for you writer and your reader.

Tip: Your reader should be able to identify with some aspect of your main character’s conflict.

Examples of Real Life Conflicts

Person vs. Person(s): parent vs. child, siblings, or best friends; peer pressure at school, gossip, jealousy, teasing

Person vs. Self: self-doubt over one’s looks, grades, or athletic abilities; anger over wrong decision, indecisiveness, worry about making new friends after a move

Person vs. Nature or Animal: encounter with a snake, a nest of hornets, an unfriendly dog; surviving a dark night alone in a forest, getting caught in a hail storm while camping

Person vs. Society/Law: character caught shoplifting or cheating; character protesting a school rule Person vs. God or Uncontrollable Force: sickness keeps student from taking final exams, a fire destroys

valuable family pictures and documents, a major snowstorm keeps character from keeping an important appointment

Person vs. Machine: character loses data on a computer, character can’t open an important lock, wheel on a covered wagon breaks along the Oregon Trail

Plan-a-Problem

© 2007 Carol Baldwin, from Teaching the Story: Fiction Writing in Middle School, www.maupinhouse.com

Goal Problem Solution

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Plan-a-Plot Name _____________________________________ Date _________________

Start

The

End

Character(s)

Event 1 Event 2

Event 3

Event 4

Event 5

Event 6

Climax/Turning Point

Resolution

Conflict (problem)

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Build-a-Story Name _____________________________________ Date _________________

Conflict Goal Problem Solution

Characters Main character Main character

Minor character Minor character Minor character

Point of View Narrator Type of narrator

Setting Setting 1 Setting 2 Setting 3

Theme (optional) Theme Action, thought or speech that will show the theme

Action, thought or speech that will show the theme

Action, thought or speech that will show the theme

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Character Information Bank Name _____________________________________ Date _________________ Character 1 Character 2

Character’s age: Where does this person live? (ci ty, country, castle,

apartment, army camp, jungle, etc.)

How many brothers/sisters does he have? Who does he live with?

What religion? Nationality?

Race?

Likes: (food, color, relative, famous person, hobby/leisure activi ty, sport, people who …, book, school subject, animal, type of clothes, why?)

Dis likes: (food, color, relative,

famous person, hobby/leisure activi ty, sport, people who …, book, school subject, animal,

type of clothes, why?) Hint: What your character dis likes may show more than what he likes.

Background What was the most important thing that happened to your character when he was little? What was his favorite toy?

What i s this person’s most i rri tating habit? Why? What is di fferent about him?

What does he think about

most? What are his dreams? His secrets? What embarrasses him the most?

What i s the one thing in the world your character would do

anything to avoid? Why? What has he already done to avoid it?

What i s your character’s biggest

weakness or flaw?

What i s your character’s biggest s trength?

Character’s Physical Traits Hair (color, s tyle), eyes,

complexion, glasses? contacts? braces? distinguishing facial deta ils, clothing (style, color,

fi t), accessories (jewelry, shoes, hat), body features (size, height,

posture)

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Setting Information Bank Name _____________________________________ Date _________________

Think about your setting. Is it inside or outside? Are there any unusual shapes? Is it night or day? What season is it? What is the weather like? The temperature? Example: Raindrop bubbles popped on the steamy pavement.

What can the main character see? (objects, people, scenery)

Example: Cracker crumbs covered the car seat like a fine layer of desert sand.

What can the main character hear? (teenagers screaming, wind whistling, trees crashing) Example: The lonely trumpet stumbled over a few, solitary notes.

What can the main character smell? (thick chocolate fudge, burnt steak, wet dog, hot bread)

Example: Even after twenty-five years, Creighton could still smell the spicy hot peppers and Italian beef of his favorite Chicago sandwich shop.

What can the main character feel? (rough, smooth, sandy, hairy, fuzzy, cold, sticky)

Example: The dry grass crunched like burnt potato chips under Lydia’s feet.

What can the main character taste? (salty chips, spicy salsa, sour apple) Example: Tart raspberry ice cream swirled around Maity’s tongue as she walked toward the beach.

What colors can the main character see? (gray blue sky, yellowed lace, blackened trees)

Example: Water-washed weeds lay flattened along the creek’s edge.

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Whose Point Is It Anyway?

First Person Point of View: The narrator relates the events that she witnesses and in which she participates. Although a first person narrative is very personal and immediate, the author is limited to including only the events which the narrator can see and hear.

Third Person Limited Point of View: The most common point of view, the story is written about “he” or “she.” The main character is the focus of the action , and the author reveals everything through this character’s feelings, thoughts, or actions. The reader moves through the story along with the main character. Again, the author is limited to only the events which take place in the narrator’s presence.

Third Person Omniscient Point of View: Also written about “he” or “she.” However, the narrator doesn’t have to stick with only one character. The reader can see events in several settings from several characters’ points of view. Third person omniscient is more complicated to write.

Practice: Rewrite the following first person narrative in third person limited, and then in third person omniscient.

“I hate my stupid math teacher,” I announced, plopping my books down on the kitchen

counter. “I just know he has it in for me.”

My father looked up from his morning cup of coffee. “What’s wrong this time, Jared?” he

asked me.

“Look at this grade he gave me!” I shoved my latest math fiasco in front of his newspaper.

“I got every answer right. But he took off all these points for all of this other garbage that he said

I did wrong. Because of him I ended up with a C-! You’re on the school board—I don’t know why

you guys put up with teachers like him!”

I could see my father’s face flush as red as his coffee mug. I knew math hadn’t been his

best subject either, and I was hoping for a little sympathy in that department. Boy, was I wrong.

© 2007 Carol Baldwin, from Teaching the Story: Fiction Writing in Middle School, www.maupinhouse.com

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Strong Story Openings To get your reader’s attention… Set up questions in your reader’s mind (Where is Carlos running to and why? What will happen when he gets there?

Show your character doing something that is interesting or potentially dangerous to themselves or another (Why in the world is Ashley going into that abandoned building? Is she going to get hurt? I someone else in there?)

Show your character’s strong emotion (Why is Chris so mad? What happened? Who else is involved?) Open with dialogue (Who would say something like that? What are these characters talking about?)

Story Opening Techniques

Dialogue—Between two important characters.

Setting—A short descriptive paragraph that shows your reader where your story is taking place, the ti me period, and sets the mood. Don’t lose your reader by making this too long.

A vivid description of an important event—Past, present or future.

Conflict—In the form of narrative or dialogue.

An interesting fact—Have one of your characters state alarming or unusual information to jumpstart your story. The middle of an event—Show your character doing something. Let his or her actions tell the reader something

important about himself or herself.

A cliffhanger—A hook to get your reader interested in your story.

Feelings—Show how your character feels in response to an important person or event.

Story Opening Examples

Dialogue—Between two important characters.

“Sal, I really think you and your father should stop going to Mrs. Cadaver’s house,” Phoebe leane d close and whispered. Sal looked at her friend blankly. “Huh?” she queried. “I think you and your father should avoid Mrs. Cadaver,” Phoebe urged. “Avoid Mrs. Cadaver? Why?” Phoebe looked around nervously. “I think she killed her husband!” Phoebe hissed.

Setting—A short descriptive paragraph that shows your reader where your story is taking place and sets the mood.

Bybanks, Kentucky isn’t much more than a caboodle of houses and farms nestled among gently rolling

hills that cuddle up along the Ohio River. Euclid, Ohio, on the other hand, is pretty much the opposite – rows of

identical birdhouses, each fronted with a patch of grass that would barely ke ep a cow live for five minutes.

A vivid description of an important event

We parked in front of a nondescript white house with a green door. The door opened, almost

immediately, and a tall woman with wild red hair stepped out and rushed toward our car. She stopped abruptly

halfway down the short gray sidewalk leading from the small gray stoop and gave a tentative wave and smile.

This must be Margaret Cadaver, I thought. I did not want to meet Margaret, but, later, I would reluctantly agree

that I needed to meet Margaret.

Conflict—In the form of narrative or dialogue. See example above in “The middle of an event.”

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An interesting fact—Have a character or narrator state alarming or unusual information to jumpstart your story.

“I think Margaret Cadaver killed her husband, chopped him up and buried him in her backyard!” Phoebe,

my new friend hissed, looking nervously up and down the street. “That is why I think you and your father should

stop going to her house. Do you understand now?”

The middle of an event—Show your character doing something. Let actions tell the reader something important

about the character.

We parked in front of a nondescript white house with a green door. The door opened, and a tall woman with wild red hair stepped out and walked toward our car. This must be Margaret Cadaver, I thought. My father confirmed my suspicions. “Come on, let’s go see Margaret,” he suggested a little too brightly.

I crossed my arms over my chest and put my head down, frowning. “No,” I stated quietly.

“Come on, Sal. Don’t be goose! Come meet Margaret,” he coaxed.

“I am not being a goose,” I retorted, my voice trembling. I did not want to get out of the car. I did not want to meet Margaret Cadaver. I did not want to like her. Liking her would be a betrayal.

A cliffhanger—A hook to get your reader interested in your story.

I looked at the clock. They – my grandparents – would arrive in less than an hour. We were going to spend the next week together, driving from Euclid, Ohio to Lewiston, Idaho. “We’ll see the whole ding-dong country!” Gramps had exclaimed over the phone when he and Gram called a few days ago with their plan. We both knew that was not the real reason for this journey, a journey I did not want to take. But, it was a journey that, deep inside, I knew I had to take. My future depended on this trip.

Feelings—Show how your character feels in response to an important person or event.

I never had a brain until Freak came along and let me borrow his for a while. That’s the truth.

Fix this opening paragraph:

The alarm clock woke Travis at the usual time. He hit the snooze alarm three

times before he got out of bed. He put on jeans and a T-shirt. He could hear his

sister singing in the bathroom. She was so annoying! He was mad. Today he

had to walk her to school and so he wouldn’t be able to ride the bus with his

friends.

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Show, Don’t Tell—Create Real Characters

Show, don’t tell, through acharacter’s F A S T:

F = Feelings A = Actions S = Speech (dialogue) T = Thoughts

Examples of telling: 1. Ted is eleven years old. He has brown hair and blue eyes. He has a younger brother named John who Ted

thinks is a brat. Ted’s best friend is Jared and they like to go surfing together. Ted hates to brush his teeth. His mouth smells.

2. Miguel was nervous as he waited for his name to be called to get his driving test. Examples of showing: 1. The way Ted figured it, he wasted at least 2.3 minutes every morning and at least 2.6 every night—counting

the time it took to walk to the bathroom, take the top off the toothpaste, put the stupid stuff on his toothbrush, brush his teeth, recap the tube, and argue with his bratty little brother about who was going to wash the blue blotches from the sink before they dried into mini-stalagmites. That was 4.9 minutes a day, which Ted rounded up to five. That was 35 minutes a week, 1820 minutes a year, over 30 hours a year—a whole extra day!—that he could be playing video games or surfing with his best friend, Jared, instead of brushing his teeth.

As a result, Ted’s mouth stunk like a garbage can that hadn’t been emptied in months. 2. Miguel shifted nervously from one foot to the other and wished there was a bathroom nearby. The line that

stretched down the hall and outside the building hardly seemed to move. Would the examiner ever get around to calling his name? Worse yet, once he was in the car, would he forget to come to a complete stop like the last time he took the test?

© 2007 Carol Baldwin, from Teaching the Story: Fiction Writing in Middle School, www.maupinhouse.com

Without dialogue or FAST:

The name for Lindsay’s next big adventure is “Operation Chocolate Chip.” She wants me to help her break

into the SnackTime Cookie Factory downtown. I ask her what will happen if we get caught and she tells me not to

worry, because the factory is just a vacant old bakery. She wants to see if there’s any left-over dough we can

scrape off the old mixers. I ask how she knows no one will see us and she says she’s been watching the factory all

week and hasn’t seen anyone around.

With dialogue and FAST:

The name for Lindsay’s next big adventure is “Operation Chocolate Chip” and it goes a little something

like this: she wants me to help her break into the SnackTime Cookie Factory downtown.

“But what if we get caught?” I ask.

“Don’t worry,” she says, “it’s just a vacant old bakery. I just want to see if there’s any left-over dough we

can scrape off the old mixers.”

“But how do you know no one will see us?” I ask as I try to dispel that old familiar feeling I get in my

stomach every time Lindsay informs me of our newest “operation.” Why can’t we just sit around gossiping and

painting our nails? I guess by now you’ve postulated that Lindsay’s idea of fun is not what you’d call mainstream.

“I’ve been on Operation Recon all last week and I haven’t caught a glimpse of anyone around there for

days—not even a security guard,” she tells me, sounding way too sure of herself.

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Naming Characters

Names can reflect a time period, place, culture and status.

A character’s name will trigger images in the reader’s mind. Think Charles Dickens’ characters’ names.

Harsh consonants convey feelings of strength: Jack, Rhett, Rackman, Kit

Soft consonants and vowels convey a gentler image: Michelle, Sean, Susannah, Sloan

Forms of a name can indicate age or level of formality: Michael/Mike/Mikey, Elizabeth/Beth/Liz/ Lizzie, Margaret/Maggie, Vincent/Vince/Vinny

Vary the beginning letter of characters’ names: Mark, Michael and Matt will get confusing

Vary the length of characters’ names: Bob, Sue and Tom will get boring.

Some Ways to Include Characters’ Thoughts and Feelings

Character/I thought about…

Character/I wondered if…

Character/I hated it when…

Character/I loved it when…

Character/I noticed…

Character/I realized…

Character/I couldn’t understand…

Character/I couldn’t believe…

Character/I was surprised by…

Character/I considered whether…

Character/I was upset when…

Character/I didn’t see why…

Character/I imagined…

Character/I wished…

Character/I wanted…

Character/I didn’t want…

Character/I remembered…

Character/I began to feel…

Character/I worried about…

Character/I didn’t care about…

Character/I decided…

Character/I hoped…

Character/I was afraid of…

Character/I was reassured by…

Character/I was (feeling) because…

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Consistent Verb Tense Practice Name _____________________________________ Date _________________

Verbs in a piece of writing need to be consistent – that is, they must all be in the same tense. If verbs are

inconsistent, the reader will be confused and distracted. Consciously select a verb tense to use in your

story, then stick with it. When finished the story draft, also carefully edit for consistent verb tense.

Past We walked into the bakery and bought a

dozen donuts.

She picked up the leash and called to the

dog.

“I’m so hungry!” Joey exclaimed.

Demira cried as she read the book.

We took the test today.

Present We walk into the bakery and buy a dozen

donuts.

She picks up the leash and calls to the

dog.

“I’m so hungry!” Joey exclaims.

Demira cries as she reads the book.

We take the test today.

Part 1 – Change all the verbs in this passage into the past tense:

My friend Lindsay is always, in her words, on an adventure. I call it looking for trouble. The

name for her next big adventure is “Operation Chocolate Chip” and it goes a little somethin g like this:

she wants me to help her break into the SnackTime Cookie Factory downtown.

“But what if we get caught?” I ask.

“Don’t worry,” she says, “it’s just a vacant old bakery. I just want to see if there’s any left-over

dough we can scrape off the old mixers.”

“But how do you know no one will see us?” I ask as I try to dispel that old, familiar feeling I get

in my stomach every time Lindsay informs me of our newest “operation.” Why can’t we just sit

around gossiping and painting our nails?

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Part 2 – Change all the verbs in this passage into the present tense.

“I’ve been on Operation Recon all last week and I haven’t caught a glimpse of anyone around

there for days—not even a security guard,” she told me, sounding way too sure of herself.

I knew this “operation” was crazy, so what did I do? I showed up at her house later that night

to join the adventure. Lindsay was dressed in her best intruder outfit—complete with black gloves

and mask—but wore less than functional black chunky heels. I just wore jeans and a hoodie and my

sneakers (in case we need to make a quick retreat). So, we were creeping along the brick bulkhead

that surrounded the factory and I was wondering how Lindsay was going to make it over that brick

wall (which was about a foot taller than both of us) with those crazy heels. She answered my

question before I even got a chance to ask it:

“Here,” she said, locking her fingers and holding out her hands, palms up. “I’ll give you a

boost. You check things out over there, and I’ll keep watch down here.”

Part 3 – Change all the verbs in this passage into the one tense (your choice).

Great, I think, as I step on Lindsay’s hand-cradle. She hoisted me up and I poke my head over.

Right then and there, I almost regurgitated the cookies and milk I had after school. I came face to face

with a huge, drooling German shepherd in a spike collar. Apparently, dogs aren’t just cute and cuddly

pets. Their other function in life is to keep kids like us from intruding in old abandoned cookie

factories!

“Let me down!” I screamed. “Abort! Abort! Guard dog—run! Operation Chocolate Chip is

over!”

We started sprinting down the street, and I hear Lindsay pant over my shoulder, “Oh, don’t

worry. Operation Chocolate Chip is unvanquished. We just need to head back to headquarters (A.K.A

her basement) and recalculate our next move.”

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Short Story Project Grade

Writing Process and Format (10 points)

5 Evidence of revising and editing on drafts Yes = 5 pts. Partial = 3 pts. Little = 1 pts. No = 0 pts.

5 Final version of story fits into assigned space (4-8 pages typed/double spaced, 8-16 hand-written) and

is formatted correctly

Yes = 5 pts. Some errors =

3 pts Many errors =

1 pt. No = 0 pts.

Too short long

Language and Writing Craft Elements (50 points)

5 Dialogue (25% -50% ) mixed with narration Yes = 5 pts. Some = 3 pts. Little to none OR too much dialogue,

little to no narration= 1 pt.

5 Dialogue formatted correctly Few/no errors = 5 pts. Some errors = 3 pts. Many errors = 1 pt.

5 Each story paragraph is about one relevant idea or plot event

Yes = 5 pts. Somewhat = 3 pts. No = 1 pt.

5 Showing, not telling, the story with a variety of descriptive details about characters, setting and

plot events

Yes = 5 pts. Somewhat = 3 pts. No = 1 pt.

5 Smiley Face Tricks, figurative language and imagery/sensory details enhance the story and create a picture for the reader

Yes = 5 pts. Somewhat = 3 pts. No = 1 pt.

5 Correctly forms and uses verbs, especially consistent verb tense (past or present)

Few/no errors = 5 pts.

Some errors = 3 pts.

Many errors = 1 pt.

5

Uses appropriate and varied transitions at the

beginning of and within each paragraph to clarify relationships among ideas and concepts

Yes = 5 pts Somewhat = 3 pts No = 1 pt.

5 Correctly incorporates a variety of simple, compound, complex, and compound-complex

sentences

Yes = 5 pts Somewhat = 3 pts No = 1 pt.

5 Uses precise language and/or domain-specific vocabulary without wordiness and redundancy

Yes = 5 pts Somewhat = 3 pts No = 1 pt.

5 Uses correct mechanics, including spelling, punctuation, capitalization and indention

Yes = 5 pts Somewhat = 3 pts No = 1 pt.

Story Elements: Characters, Plot, Setting, Point of View (50 points)

5 Believable characters named with care and thought Yes = 5 pts. Somewhat = 3 pts. No = 1 pt.

10 Characters developed with F A S T Yes = 10 pts. Somewhat = 5 pts. No = 1 pt.

5 Believable conflict Yes = 5 pts. Somewhat

= 3 pts. No = 1 pt.

No evident conflict = 0

5 Believable events that advance the plot and conflict Yes = 5 pts. Somewhat = 3 pts. No = 1 pt.

5 Satisfying/reasonable ending Yes = 5 pts. Somewhat = 3 pts. No = 1 pt.

5 Character solves own problem Yes = 5 pts. No = 1 pt. Problem unresolved = 0

5 Believable/clear/detailed setting Yes = 5 pts. Somewhat = 3 pts. No = 1 pt.

5 Details of setting developed with a variety of

senses Yes = 5 pts. Somewhat = 3 pts. No = 1 pt.

5 Point of view (narrator) clear and consistent Yes = 5 pts. Somewhat = 3 pts. No = 1 pt.

Story Elements: Theme – extra credit

Goes beyond the narrative to show a theme Yes = 5 pts. Extra No

110 TOTAL