IDEAS AND CONTENT (Development)
As yet, the paper has no clear sense of purpose or central theme. To extract meaning from the text, the reader must make inferences based on sketchy or missing details. The writing reflects more than one of these problems:		The writer is beginning to define the topic, even though development is still basic or general.		This paper is clear and focused. It holds the reader's attention. Relevant anecdotes and details enrich the central theme.
Points	Criterion	Points	Criterion	Points	Criterion
	A. The writer is still in search of a topic, brainstorming, or has not yet decided what the main idea of the piece will be.		A. The topic is fairly broad; however, you can see where the writer is headed.		A. The topic is narrow and manageable.
	B. Information is limited or unclear or the length is not adequate for development.		B. Support is attempted, but doesn't go far enough yet in fleshing out the key issues or story line.		B. Relevant, telling, quality details give the reader important information that goes beyond the obvious or predictable.
	C. The idea is a simple restatement of the topic or an answer to the question with little or no attention to detail.		C. Ideas are reasonably clear, though they may not be detailed, personalized, accurate, or expanded enough to show indepth understanding or a strong sense of purpose.		C. Reasonably accurate details are present to support the main ideas.
	D. The writer has not begun to define the topic in a meaningful, personal way.		D. The writer seems to be drawing on knowledge or experience, but has difficulty going from general observations to specifics.		D. The writer seems to be writing from knowledge or experience; the ideas are fresh and original.
	E. Everything seems as important as everything else; the reader has a hard time sifting out what is important.		E. The reader is left with questions. More information is needed to "fill in the blanks."		E. The reader's questions are anticipated and answered.
	F. The text may be repetitious, or may read like a collection of disconnected, random thoughts with no discernable point.		F. The writer generally stays on the topic but does not develop a clear theme. The writer has not yet focused the topic past the obvious.		F. Insight - an understanding of life and a knack for picking out what is significant — is an indicator of high level performance, though not required.
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ORGANIZATION
The writing lacks a clear sense of direction. Ideas, details, or events seem strung together in a loose or random fashion; there is no identifiable internal structure. The writing reflects more than one of these problems:		The organizational structure is strong enough to move the reader through the text without too much confusion.		The organization enhances and showcases the central idea or theme. The order, structure, or presentation of information is compelling and moves the reader through the text.
Points	Criterion	Points	Criterion	Points	Criterion
	A. There is no real lead to setup what follows, no real conclusion to wrap things up.		A. The paper has a recognizable introduction and conclusion. The introduction may not create a strong sense of anticipation; the conclusion may not tie up all loose ends.		A. An inviting introduction draws the reader in; a satisfying conclusion leaves the reader with a sense of closure and resolution.
	B. Connections between ideas are confusing or not even present.		B. Transitions often work well; at other times, connections between ideas are fuzzy.		B. Thoughtful transitions clearly show how ideas connect.
	C. Sequencing needs lots and lots of work.		C. Sequencing shows some logic, but not under control enough that it consistently supports the ideas. In fact, sometimes it is so predictable and rehearsed that the structure takes attention away from the content.		C. Details seem to fit where they're placed; sequencing is logical and effective.
	D. Pacing feels awkward; the writer slows to a crawl when the reader wants to get on with it, and vice versa.		D. Pacing is fairly well controlled, though the writer sometimes lunges ahead too quickly or spends too much time on details that do not matter.		D. Pacing is well controlled; the writer knows when to slow down and elaborate, and when to pick up the pace and move on.
	E. No title is present (if requested), or if present, does not match well with the content.		E. A title (if desired) is present, although it may be uninspired or an obvious restatement of the prompt or topic.		E. The title, if desired, is original and captures the central theme of the piece.
	F. Problems with organization make it hard for the reader to get a grip on the main point or story line.		F. The organization sometimes supports the main point or storyline; at other times, the reader feels an urge to slip in a transition or move things around.		F. Organization flows so smoothly the reader hardly thinks about it; the choice of structure matches the purpose and audience.
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VOICE					Back to top
The writer seems indifferent, uninvolved, or distanced from the topic and/or the audience. As a result, the paper reflects more than one of the following problems:		The writer seems sincere, but not fully engaged or involved. The result is pleasant or even personable, but not compelling.		The writer speaks directly to the reader in a way that is individual, compelling and engaging. The writer crafts the writing with an awareness and respect for the audience and the purpose for writing.
Points	Criterion	Points	Criterion	Points	Criterion
	A. The writer is not concerned with the audience. The writer's style is a complete mismatch for the intended reader or the writing is so short that little is accomplished beyond introducing the topic.		A. The writer seems aware of an audience but discards personal insights in favor of obvious generalities.		A. The tone of the writing adds interest to the message and is appropriate for the purpose and audience.
	B. The writer speaks in a kind of monotone that flattens all potential highs or lows of the message.		B. The writing communicates in an earnest, pleasing, yet safe manner.		B. The reader feels a strong interaction with the writer, sensing the person behind the words.
	C. The writing is humdrum and "risk-free."		C. Only one or two moments here or there intrigue, delight, or move the reader. These places may emerge strongly for a line or two, but quickly fade away.		C. The writer takes a risk by revealing who he or she is consistently throughout the piece.
	D. The writing is lifeless or mechanical; depending on the topic, it may be overly technical or jargonistic.		D. Expository or persuasive writing lacks consistent engagement with the topic to build credibility.		D. Expository or persuasive writing reflects a strong commitment to the topic by showing why the reader needs to know this and why he or she should care.
	E. The development of the topic is so limited that no point of view is present - zip, zero, zilch, nada.		E. Narrative writing is reasonably sincere, but doesn't reflect unique or individual perspective on the topic.		E. Narrative writing is honest, personal, engaging and makes you think about and react to the author's ideas and point of view.
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WORD CHOICE
The writer struggles with a limited vocabulary, searching for words to convey meaning. The writing reflects more than one of these problems:		The language is functional, even if it lacks much energy. It is easy to figure out the writer's meaning on a general level.		Words convey the intended message in a precise, interesting, and natural way. The words are powerful and engaging.
Points	Criterion	Points	Criterion	Points	Criterion
	A. Language is so vague (e.g., It was a fun time, She was neat, It was nice, We did lots of stuff) that only a limited message comes through.		A. Words are adequate and correct in a general sense; they simply lack much flair and originality.		A. Words are specific and accurate; it is easy to understand just what the writer means.
	B. "Blah, blah, blah" is all that the reader reads and hears.		B. Familiar words and phrases communicate, but rarely capture the reader's imagination. Still, the paper may have one or two fine moments.		B. The words and phrases create pictures and linger in your mind.
	C. Words are used incorrectly, making the message secondary to the misfires with the words.		C. Attempts at colorful language show a willingness to stretch and grow, but sometimes it goes too far (thesaurus overload!).		C. The language is natural and never overdone; both words and phrases are individual and effective.
	D. Limited vocabulary and/or frequent misuse of parts of speech impair understanding.		D. The writing is marked by passive verbs, everyday nouns and adjectives, and lack of interesting adverbs.		D. Striking words and phrases often catch the reader's eye—and linger in the reader's mind. (You can recall a handful as you reflect on the paper.)
	E. Jargon or clichés distract or mislead. Persistent redundancy distracts the reader.		E. The words are only occasionally refined; it's more often, "the first thing that popped into my mind."		E. Lively verbs energize the writing. Precise nouns and modifiers add depth and specificity.
	F. Problems with language leave the reader wondering what the writer is trying to say. The words just don't work in this piece.		F. The words and phrases are functional - with only a moment or two of sparkle.		F. Precision is obvious. The writer has taken care to put just the right word or phrase in just the right spot.
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SENTENCE FLUENCY
The reader has to practice quite a bit in order to give this paper a fair interpretive reading. The writing reflects more than one of the following problems:		The text hums along with a steady beat, but tends to be more pleasant or businesslike than musical, more mechanical than fluid.		The writing has an easy flow, rhythm and cadence. Sentences are well built, with strong and varied structure that invites expressive oral reading.
Points	Criterion	Points	Criterion	Points	Criterion
	A. Sentences are choppy, incomplete, rambling or awkward; they need work. Phrasing does not sound natural. The patterns may create a sing-song rhythm, or a chop-chop cadence that lulls the reader to sleep.		A. Although sentences may not seem artfully crafted or musical, they get the job done in a routine fashion.		A. Sentences are constructed in a way that underscores and enhances the meaning.
	B. There is little to no "sentence sense" present. Even if this piece were flawlessly edited, the sentences would not hang together.		B. Sentences are usually constructed correctly; they hang together; they are sound.		B. Sentences vary in length as well as structure. Fragments, if used, add style. Dialogue, if present, sounds natural.
	C. Many sentences begin the same way — and may follow the same patterns (e.g., subject-verb-object) in a monotonous pattern.		C. Sentence beginnings are not ALL alike; some variety is attempted.		C. Purposeful and varied sentence beginnings add variety and energy.
	D. Endless connectives (and, and so, but then, because, and then, etc.) or a complete lack of connectives create a massive jumble of language.		D. The reader sometimes has to hunt for clues (e.g., connecting words and phrases like however, therefore, naturally, after a while, on the other hand, to be specific, for example, next, first of all, later, but as it turned out, although, etc.) that show how sentences interrelate.		D. The use of creative and appropriate connectives between sentences and thoughts shows how each relates to, and builds upon, the one before it.
	E. The text does not invite expressive oral reading.		E. Parts of the text invite expressive oral reading; others may be stiff, awkward, choppy, or gangly.		E. The writing has cadence; the writer has thought about the sound of the words as well as the meaning. The first time you read it aloud is a breeze.
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CONVENTIONS
Errors in spelling, punctuation, capitalization, usage and grammar and/or paragraphing repeatedly distract the reader and make the text difficult to read. The writing reflects more than one of these problems:		The writer shows reasonable control over a limited range of standard writing conventions. Conventions are sometimes handled well and enhance readability; at other times, errors are distracting and impair readability.		The writer demonstrates a good grasp of standard writing conventions (e.g., spelling, punctuation, capitalization, grammar, usage, paragraphing) and uses conventions effectively to enhance readability. Errors tend to be so few that just minor touch-ups would get this piece ready to publish.
Points	Criterion	Points	Criterion	Points	Criterion
	A. Spelling errors are frequent, even on common words.		A. Spelling is usually correct or reasonably phonetic on common words, but more difficult words are problematic.		A. Spelling is generally correct, even on more difficult words.
	B. Punctuation (including terminal punctuation) is often missing or incorrect.		B. End punctuation is usually correct; internal punctuation (commas, apostrophes, semicolons, dashes, colons, parentheses) is sometimes missing/wrong.		B. The punctuation is accurate, even creative, and guides the reader through the text.
	C. Capitalization is random and only the easiest rules show awareness of correct use.		C. Most words are capitalized correctly; control over more sophisticated capitalization skills may be spotty.		C. A thorough understanding and consistent application of capitalization skills are present.
	D. Errors in grammar or usage are very noticeable, frequent, and affect meaning.		D. Paragraphing is attempted but may run together or begin in the wrong places.		D. Grammar and usage are correct and contribute to clarity and style.
	E. Paragraphing is missing, irregular, or so frequent (every sentence) that it has no relationship to the organizational structure of the text.		E. Problems with grammar or usage are not serious enough to distort meaning but may not be correct or accurately applied all of the time.		E. Paragraphing tends to be sound and reinforces the organizational structure.
	F. The reader must read once to decode, then again for meaning. Extensive editing (virtually every line) would be required to polish the text for publication.		F. Moderate (a little of this, a little of that) editing would be required to polish the text for publication.		F. The writer may manipulate conventions for stylistic effect—and it works! The piece is very close to being ready to publish.
					Grades 7 and up only: The writing is sufficiently complex to allow the writer to show skill in using a wide range of conventions. For writers at younger ages, the writing shows control over those conventions that are grade/age appropriate.
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PRESENTATION (optional)
The reader receives a garbled message due to problems relating to the presentation of the text.		The writer's message is understandable in this format.		The form and presentation of the text enhances the ability for the reader to understand and connect with the message. It is pleasing to the eye.
Points	Criterion	Points	Criterion	Points	Criterion
	A. Because the letters are irregularly slanted, formed inconsistently, or incorrectly, and the spacing is unbalanced or not even present, it is very difficult to read and understand the text.		A. Handwriting is readable, although there may be discrepancies in letter shape and form, slant, and spacing that may make some words or passages easier to read than others.		A. If handwritten (either cursive or printed), the slant is consistent, letters are clearly formed, spacing is uniform between words, and the text is easy to read.
	B. The writer has gone wild with multiple fonts and font sizes. It is a major distraction to the reader.		B. Experimentation with fonts and font sizes is successful in some places, but begins to get fussy and cluttered in others. The effect is not consistent throughout the text.		B. If word-processed, there is appropriate use of fonts and font sizes which invites the reader into the text.
	C. The spacing is random and confusing to the reader. There may be little or no white space on the page.		C. While margins may be present, some text may crowd the edges. Consistent spacing is applied, although a different choice may make text more accessible (e.g., single, double, or triple spacing).		C. The use of white space on the page (spacing, margins, etc.) allows the intended audience to easily focus on the text and message without distractions. There is just the right amount of balance of white space and text on the page. The formatting suits the purpose for writing.
	D. Lack of markers (title, page numbering, bullets, side heads, etc.) leave the reader wondering how one section connects to another and why the text is organized in this manner on the page.		D. Although some markers are present (titles, numbering, bullets, side heads, etc.) they are not used to their fullest potential as a guide for the reader to access the greatest meaning from the text.		D. The use of a title, side heads, page numbering, bullets, and evidence of correct use of a style sheet (when appropriate) makes it easy for the reader to access the desired information and text. These markers allow the hierarchy of information to be clear to the reader.
	E. The visuals do not support or further illustrate key ideas presented in the text. They may be misleading, indecipherable, or too complex to be understood.		E. An attempt is made to integrate visuals and the text although the connections may be limited.		E. When appropriate to the purpose and audience, there is effective integration of text and illustrations, charts, graphs, maps, tables, etc. There is clear alignment between the text and visuals. The visuals support and clarify important information or key points made in the text.
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