Name ______Realistic Fiction short story full or partial
Criteria / 0 / 1 / 2 / 3 / 4Plot
Your story must have a discernable standard plot. / There is no discernable story at all, or the work is clearly a different form; or the story does not fit the requirements of the genre. / There is some shape of a story but not all components; it is missing one or more of the following: problem, resolution, introduction, rising action, denouement; or the piece so shamefully breaks an unforgivable rule that the story makes no sense / The story contains all components of a plot, including all of the following: problem, resolution, introduction, rising action, and denouement, but it relies on tired tropes; the story might break an unforgivable rule but it still stands as a piece. / The story contains all components of a plot, including all of the following: problem, resolution, introduction, rising action, and denouement; the story uses a mix of tired tropes and original ideas; it does not break any unforgivable rules. / The story contains all components of a plot, including all of the following: problem, resolution, introduction, rising action, and denouement; the story is original in nearly all plot elements; it does not break any unforgivable rules.
Character
One or more major characters and the minimum minor characters to complete the plot. / The story contains no characters. / The story contains one or more characters, but they are two-dimensional and clichéd; the presence of some characters or their actions might be confusing or serve no purpose to the story. / The story contains one or more characters who are described or given details, but who are primarily still two-dimensional or clichéd; each character has a clear purpose in the story; it might not be clear what every character wants, but it is clear for one or more. / The story contains one or more characters who are described and given details; there is a mix of two- and three-dimensional characters; it is clear what every character wants. The characters feel real much of the time. / The story contains one or more characters who are described and given details; the characters are primarily three-dimensional and original; it is clear what every character wants, and each is relatable on some level. The characters feel real.
Setting
realistic. This school, or other parts of this community. / There is no clue to the setting of the story. / There are statements or context clues pointing to a time and place, but either they are not both clear or there is conflicting information. The setting does not feel real. / Enough context clues exist to identify the setting; the author relies primarily on telling the setting or on including jarring or unintegrated context clues. The setting is real but doesn’t feel real. / Enough clues exist to identify the setting; the author uses a mix of statements and well-integrated context clues. Some setting information is jarring or out-of-place. The setting feels real much of the time. / Enough clues exist to identify setting; the author smoothly integrates context clues into the writing of the story; the author does not rely on clichéd choices; characters interact with setting. The setting feels real.
Structure
Choice of chronological order (basic) or nonchrono (more sophisticated) / Either nothing happens, or a random string of unrelated events occurs. / Chronology of the events is unclear; the purpose of some events is clear; transitions are abrupt or nonexistent; plants are too obvious or do not exist at all. / Chronology of events is clear; the purpose of all events is clear; transitions are fitting but overly simple or obvious; plants are hidden but transparent. / Chronology of events is clear; the purpose of all events is clear; transitions are smooth and plants are hidden. / Chronology of events is clear and unfolding of story comes in a sophisticated order; the purpose of all events serves either the plot or character development; transitions are seamless; plants exude cleverness or surprise.
Point of View
First or third person. Avoid omniscient—too simple. / Narrator, perspective, and/or narrative distance change with no explanation or purpose or are absent. / Narrator, perspective, and/or narrative distance remain stagnant; some choices might not make sense. / Narrator remains consistent or clear clues are given for changes; perspective and narrative distance choices are appropriate but remain primarily the same throughout. / Narrator is a natural choice and remains consistent or clear clues are given for changes; perspective and narrative distance change on occasion for good reason, but changes might be abrupt. / Narrator is a deliberate choice and remains consistent or clear clues are given for changes; perspective and narrative distance change seamlessly and appropriately throughout the story.
Dialogue
The preferred method for advancing the plot and making the characters realistic / There is no dialogue or it is wildly unrealistic, random, or pointless. / Dialogue exists but sounds forced, unnatural, or is out of place; it is difficult to imagine the characters saying these things. Conversations go on way too long. Dialogue is incorrectly rendered, confusing, or made unclear by errors of punctuation or diction. / Dialogue serves a purpose but relies on clichés. Dialogue is realistic at times but is purposeless—does not enhance characters or advance the plot; dialogue contains few, but consistent, technical errors. / Dialogue mostly feels real. It serves a purpose; it is easy to imagine characters saying these things, and the dialogue progresses the plot or character development; there is an occasional technical error. / Dialogue feels consistently real. It enhances the story and moves the plot and develops character; dialogue is primarily original, natural, and easy to imagine the characters saying it. Few or no technical errors.
Diction
Word choice—an opportunity to create style and sharpen all elements of a story / The author uses uniform diction with no figurative language. / The author attempts a range of diction but uses words incorrectly or remains too basic; the author attempts figurative language but it is extremely clichéd or confusing. / The author employs a range of diction with few, subtle misuses and/or simple language; the author relies on the same types of figurative language repeatedly. / The author employs a variety of diction, sentence length and structure, and figurative language with moments of risk and sophistication. Overall, these examples support the pacing and tone of the story, though there might still be some awkward moments. / The author employs concise and sophisticated diction; the author uses precise verbs and nouns to create imagery, and appropriate and well-placed figurative language and devices which augment the pacing and tone of the story.
Syntax
Sentence structure. Create style and sharpen all elements of the story / The author uses uniform syntax or is made up primarily of run-ons or fragments. / The author attempts a mix of sentence lengths and structures, but language is confusing or rhythm awkward. Several run-ons or fragments exist. / The author uses a mix of sentence lengths and structures, but some moments are distracting or awkward. Few run-ons or fragments exist. / The author uses a mix of sentence lengths and structures which best serve the claim and tone of the essay. Few run-ons or fragments exist; none are distracting. / The author uses a mix of sentence lengths and structures which best serve the plot and tone of the story while controlling the pace. Run-ons or fragments exist only as controlled, stylistic choices.
Description
Serve the reader with clear, effective description to improve the experience / There are no details or descriptions present. / Some details or descriptions exist; they tend to be overly simplistic and/or out of place; they add nothing to the piece; there is little to no sensory detail besides sight. / Details and descriptions exist regularly throughout piece; they serve the characters and setting but tend to rely on clichés; they are not balanced for importance; multiple senses are used, with a general reliance on sight. / Details and descriptions exist regularly throughout piece; they serve the characters and setting but sometimes rely on clichés, sometimes are more original; they are balanced for importance; appropriate senses are used. / Details and descriptions exist regularly throughout piece; they enhance the characters and setting in original ways which feed a controlled tone; they are balanced for importance; all senses are used deliberately to evoke mood.
Polish
Make story memorable, publishable; demonstrate consistent work and multiple read/drafts / The story is not in a discernable format; the story is so riddled with errors it is very difficult to understand. / There are fourteen or more errors or mistakes of grammar, mechanics, spelling, and formatting in the story. / There are thirteen or fewer errors or mistakes of grammar, mechanics, spelling, and formatting in the story. / There are nine or fewer errors or mistakes of grammar, mechanics, spelling, and formatting in the story. / There are five or fewer errors or mistakes of grammar, mechanics, spelling, and formatting in the story.