Rubric for Science Fiction and Fantasy Writers

Rubric for Science Fiction and Fantasy Writers

Created by Scott Ashton

WORKING DRAFT – May 5, 2014

Instructions

1. Assign each question in the rubric a score from 1 (worst) to 5 (best).

2. Keep the following in mind:

Not all questions are of equal importance.

Questions will sometimes repeat, or be very similar.

The best writers sometimes break the rules.

This rubric is meant to help writers, not artificially constrain or overwhelm them.

3. Evaluate the submission by its intended audience, not your personal reading preferences.

4. Focus only on the specific question asked.

Writing Submissions Rubric

Overall

Plot & Pacing

Beginning Chapter

Beginning

Middle

Endings

Contextual Scene Structure

Scene Structure

Character

Long Term Character

Setting

Style 1 – Inner dialogue

Style 2 – Dialogue

Style 3 – Description

Style 4 – Sentence fluency & word choice

Style 5 – Plausibility, logical cohesion, and reader trust

Style 6 – Viewpoint & Tense

Style 7 – Clarity, “flow”, and conciseness

Fight & Action Scenes

Genre Appropriateness

Marketability

Theme, Atmosphere, and Message

English Grammar

Personal Habits Rubric

Motivation Habits

Writing Habits

Creativity Habits

Learning Habits

Workshopping Habits

Instructions

1. Assign each question in the rubric a score from 1 (worst) to 5 (best).

Although you will have to assign a numeric score to each question, this isn't done out of a misguided notion that writing can be reduced to a number. The sole purpose behind the numbers is to make it easier for writers to get a quick at-a-glance summary of strengths and weaknesses readers have found in their writing. Ultimately, the test of your story will be your own opinion and that of the reading public, not a number.

2. Keep the following in mind:

Not all questions are of equal importance.

For example, a question asking whether or not you enjoyed the submission overall is much more important than a question asking whether or not the author uses distracting synonyms for “said”.

Questions will sometimes repeat, or be very similar.

This is by design. Oftentimes the question will be slightly different so as to focus on a different aspect of the rule.

The best writers sometimes break the rules.

The items described in this rubric are more “guidelines” rather than actual rules. Most authors most of the time will want to adhere to them but there will be occasions when the story requires breaking the rules. So if a story marks low on a specific criteria, it may ultimately mean nothing since the story required the rule to be broken.

This rubric is meant to help writers, not artificially constrain or overwhelm them.

If you're the type of free spirited person for whom rubrics like this sap your creativity and motivation, then --please-- don't use it! The ultimate objective of tools like this is to help increase the total number of great stories in the world, but any given tool may work only for some writers and not for others. Try it out to see if it works for you, or even adapt it to fit your needs.

3. Evaluate the submission by its intended audience, not your personal reading preferences.

For example, although a middle aged male would probably not personally enjoy reading Twilight, if he were to evaluate the book by the standards of its genre (e.g. escapist romance) and intended audience (e.g. women aged 12 to 50 looking for an escapist romance), we would expect him to give it high marks since from that perspective, it obviously succeeded wonderfully. If a submission requires you to adopt a mindset too drastically different than your personal reading preferences, then you're probably better off skipping that submission.

4. Focus only on the specific question asked.

Just because you like a piece as a whole doesn't mean that it's good in every respect. Don't be afraid to give good submissions low scores on a specific questions about areas they're weak on. Likewise, even the worst submissions may have good qualities to them. Giving specific, rather than general, feedback will help the author the most during the revision process.

Writing Submissions Rubric

Overall

Overall, I found the submission extremely well written and engaging.
I had a lot of fun reading this story and I want to keep reading.
The story felt fresh and original, with a uniquely engaging hook I haven't found elsewhere in the genre.

Plot & Pacing

Requirements: The reader has completed at least a third of the book, preferably from the beginning

Plot developments are interesting and surprising, not cliched or expected.
Plot developments feel inevitable and logical given what has happened previously in the story.
The central conflict of the novel intrigues me and makes me want to continue reading.
The overarching plot of the book feels fresh and unique.
Throughout the novel, I felt genuinely worried that the protagonist would not obtain their goal.
The opposition (e.g. the villain, the forces of nature, etc.) is as strong or stronger than the hero.
The story's stakes are high, with emotionally resonating negative consequences if the protagonists fail (e.g. an extremely likable character will feel like a failure, the world will end, etcetera).
I feel emotionally invested in the success of the protagonist.
The general arc of the plot doesn't deviate too much from genre fiction's basic structure:
Beginning – characters are established as sympathetic, central plot conflict is introduced, and sufficient backstory is given
Middle – conflict is built and sustained
End – the stakes are higher than they ever have been before and failure appears a very real possibility
The central problem of the novel could be summarized in a sentence or two.
Large developments in the plot, especially resolutions of conflict, are adequately foreshadowed (e.g. The dramatic arrival of a neighboring king's army to save the hero during the climactic moment has been hinted at in prior chapters).
Attempts at foreshadowing are neither too subtle (going unnoticed) or too obvious (ruining suspense).
Scenes always feel fresh, not repetitive or too similar to prior scenes.
At most points throughout the novel, I feel like the plot is heading somewhere and that it is progressing towards some definite end point, even if it's one I don't like.
The protagonist has no easy way to solve his/her problems or accomplish his/her goals.
At most points throughout the novel, there's some mystery or important piece of information that I don't know that keeps me reading (e.g. Will the protagonist be killed? Who is the murderer? Etc.)
When magic or technological devices play a large role in resolution of plot conflict, the author has either foreshadowed its role or has explained the rules of the magic/technology system, such that the resolution feels logical (e.g. When a novice magician calls down a thunderstorm for the first time at a pivotal moment in the story, the event is foreshadowed in previous chapters with the magician being taught to summon a single cloud by his tutor).
Mysteries are clearly identified as such, creating an air of mystery rather than confusion.
Interesting unanswered questions are raised throughout the novel, especially in the beginning without 1) producing a sense of artificial withholding of information, 2) leaving me confused, or 3) info dumping to raise questions that I naturally wouldn't think of.
Changes in viewpoint, location, and timeline (such as flashbacks) follow a reasonably logical structure and don't confuse me.
When characters play a large role in the progression of the plot, their role in the events has been adequately developed and/or foreshadowed (e.g. A romance novel shouldn't end with the heroine falling in love with a character introduced in the last chapter).
Most of the protagonists attempts to solve their problems fail and when they actually succeed, it usually causes more problems (except at the ending).
The novel never veers too far from its central conflict and when seeming tangents are introduced, they appear purposeful and have a strong promise that they will be eventually merged into the body of the book.
The author writes in distinct scenes or episodes, with each episode having a reasonably clear start and end point.
The protagonists are typically under great tension, and even pain, throughout the novel.
The protagonists occasionally experience catastrophic reverses (e.g. their entire army is destroyed).
There's variation between the intense and the more laid-back scenes, with not too many intense scenes in a row, nor too many slow ones in a row.
There is an interesting amount of variation between scenes (i.e., funny scenes, romance scenes, gritty scenes, scary scenes, flashbacks, etc.)
The “flavor” of scenes never veers too far away from the implicit promise of the novel's genre (e.g. A plot-focused thriller doesn't have a chapter focused solely on the protagonists discussing relationship problems, unless of course the scene also involves them dodging bullets as they flee from gunmen).
The protagonists react in interesting ways to forces beyond their control.
The protagonists experience substantial reverses, setbacks, and even moments of pain.
Only the most exciting and interesting events in the overall progression of the plot are given complete scenes. Other necessary-to-know but uninteresting events are concisely summarized.
Periods of time or activities that are secondary to the development of the plot or characters are summarized rather than given complete scenes with moment-by-moment detail.
The author resolves subplots he/she introduces.
When extremely striking images, characters, or situations are presented to the reader, the author follows up on them soon, unless clearly promising to follow up later (e.g. “There's a gorilla in the phone booth” shouldn't be followed by a conversation about the weather unless the speakers acknowledge the presence of the gorilla before continuing their conversation on the weather).
There is a good sense of pacing throughout the novel, neither too fast or too slow.
There is a tangible sense of progression throughout the book (e.g. The protagonists are getting closer to the their goals, characters are experiencing personal growth, mysteries are being revealed, relationships are forming, the time bomb is ticking, etc.)

Beginning Chapter

Requirements: The submission covers the first chapter of the book

The story begins at an interesting point in time that immediately establishes a hook.
The first several sentences of the novel clearly communicate at least one of the following: an unanswered question, a dramatic and vivid scene, an intriguing logical disconnect, a strong character voice, or a promise of interesting action to come.
The first scene presents an ideal opportunity for the protagonist to display some of his/her sympathetic qualities (e.g. A protagonist supposed to be a great warrior has an epic fight, someone clever pulls a marvelous heist).
Within the first several pages the author accomplishes all of the following:
Establishes a three dimensional character with a strong voice
Introduces the basics of the settings
Conveys the basic premise of the plot
Makes it obvious which genre the novel belongs to
Raises an interesting unanswered question or conflict which I must read to find out
The opening paragraphs have a strong visceral component with specific, compelling, and clearly visualizable details, rooting the reader firmly in a definite place and time.
The story has meaningfully progressed by the end of the first chapter.
If the novel has a prologue, it's addition seems logical since it is either disconnected in time or space from the bulk of novel or is seen through the viewpoint of someone other than a protagonist.
In the first chapter or chapters, the protagonists actively demonstrate sympathetic qualities (e.g. wit, wisdom, competence, goodness, unique interests, etc.), even when they're not “good” people in the traditional heroic sense.

Beginning

Requirements: The reader has completed the first third of the book.

The major goals and motivations of the protagonists are established early in the novel.
The beginning of the novel has far more action and drama than it does background information on the characters and setting.
The story doesn't take too long to get to the central conflict of the novel.
The author makes strong promises in the early chapters about the tone, genre, and direction of the book (e.g. A relationship novel opens with relationship drama. An action book begins with an action scene).
Not too much time passes in the early chapters before I feel like I have a good feel for the characters' immediate surroundings and the world at large.
Not too much time passes in the early chapters of the book before I feel like I care about the protagonists and their problems.
From the very start, the protagonists establish themselves as likable or interesting (although not necessarily nice), with strong personalities and unique motivations.
By the end of the early chapters of the novel, I feel like I've got a good idea of what I can expect from the rest of the book and the type of conflicts that will be resolved.
Intriguing, tough-to-fulfill promises are made early in the novel (e.g. Humanity will slowly die from a wasting disease unless an inexperienced and defenseless teen protagonist can find a way to cross into enemy lines and get the cure).
The author establishes the basic setting early on in the novel, including its fantastical elements.
Especially in the beginning chapters of the novel, the author avoids summary and info dumps.
The protagonist immediately establish him/herself as a strongly unique individual, with reactions different from what most people would have to the events occurring around him/her.
The beginning of the novel has a gentle learning curve (e.g. not too many new characters are introduced, unusual setting elements are not explored in depth, etc).
The first chapters of the novel don't feel like simply setup, but rather actively progress the plot.

Middle

Requirements: The reader has completed the first three quarters of the book.

The middle chapters never drag.
In the middle chapters, definite progression seems to be being made towards resolution of the plot.
New nuances and depths to the characters are revealed in the middle chapters of the book that the reader may not have suspected at the novel's beginning.
The character's problems keep getting bigger and bigger in the middle section of the book.
Multiple plot threads are developed in the middle of the book that will dramatically collide in the climax.
Conflict grows during the story's middle: tension rises, emotional intensity grows, obstacles become bigger, confrontations more dramatic, and the stakes larger than ever before.
Chapters in the middle part of the book especially are necessary to the overall progression of the plot, not tangential or unnecessary.
I don't feel a loss of momentum and interest during the middle chapters of the book.
I can easily identify at least one extremely memorable, semi climactic moment during the middle of the book.

Endings

Requirements: The reader has completed the book.

The ending of the book felt extremely satisfying.
The ending of the book could not have believably occurred with even one piece missing from the body of the novel.
The ending of the novel feels simultaneously like 1) an inevitable consequence of everything that has gone before and 2) unexpected. In other words, unexpected but inevitable.
All my expectations for the ending of the novel were more than satisfied.
By the ending of the novel, the protagonists are different people than they were at the start of the novel, such as having become more compassionate, more confident, etc.
The main message and theme of the story comes to a dramatic and satisfying conclusion at the end of the novel.
All the central conflicts of the novel converge to a head in the ending climax.
When the protagonists finally obtain the goal they've been fighting for the entire book, it only comes at great cost and sacrifice.
The unexpected parts of the novel's ending were unobtrusively foreshadowed in the body of the book.
The ending of the novel is satisfying on multiple levels, not just one (e.g. The protagonist becomes a better person, a large mystery is finally made clear, the bad guy goes to jail, the potential lovers finally realize they're perfect for each other, and the holy grail is found).
In retrospect, I can see that the resolution to the central conflict of the novel was hinted at in its beginning.
In the novel's ending, the author subtly references earlier parts of the book in such a way that that the entire arc of the novel seems to converge on the final scenes.
The protagonists probability of failure in the final climactic conflict seems high, with no obvious way to obtain success.
The climax of the novel is more explosive and energy filled than any other part of the story.
The ending of the novel doesn't feel rushed, with an excessive number of last minute revelations.
The ending of the novel is driven directly by the protagonists actions during the novel, and is not a product of non-protagonist action, random luck, or deus ex machina. In other words, the ending could not have occurred the way it did without the body of the novel.
The decisions and actions of the protagonists matter. They make the end of the novel happen, and have to fight tooth and nail for the resolution that occurs (e.g. It would be very unsatisfying to have the hero fight through the demon horde, only to have another fighter suddenly appear at the last minute and kill the demon lord before the hero can get to him.)
There are important revelations near the novel's ending that make me see the body of the novel in a different light.
By the novel's climax, the main conflict of the novel is resolved, not avoided.
The ending of the novel doesn't stray too far from the conventions of its genre (e.g. a romance ends with the lovers getting together).
By the end of the novel, I felt as if the author had never broken any of his implicit promises to me as a reader (e.g. a novel that promised period romance in the early chapters doesn't end as post-modern horror).
The resolution of the novel isn't ambiguous or left to the readers imagination.
I was genuinely surprised but also pleased with the ending of the novel.
The conflict or antagonist dealt with at the conclusion of the novel was that promised at the beginning of the novel.
The climax of the novel isn't just characterized by intense action and plot resolutions, but also intense emotional feeling by the protagonists.
The climax of the novel is similar in tone and content to the body of the novel, but more dramatic and bigger in almost every way.
The ending of the novel has a satisfying sense of closure and all loose ends feel adequately resolved.
The “denouement” or brief section following the climax, adequately wraps up loose plot threads but is not so long that readers have time to forget the emotional impact of the climax.
If a novel is one in a series, the ending feels emotionally satisfying in the sense that some definite and permanent victory has been won but there is still room for sequels.
The length and intensity of the novel's climax is proportional to the length and intensity of the book itself.
During the climax, the protagonist is forced to confront his/her greatest fear and risks losing what he/she wants most.
The characteristic emotion of the novel is evoked strongly during the novel's climax (e.g. an epic fantasy ends epically, a romance ends romantically.)
The very last paragraph on the last page of the story just feels right and emotionally satisfying, and seems to somehow summarize or symbolize the novel as a whole.

Contextual Scene Structure