| A | B | C | D | E | F | |
|---|---|---|---|---|---|---|
1 | Run-On Grading Rubric | |||||
2 | 1 | 2 | 3 | 4 | ||
3 | Presentation (10%) | Numerous errors in all aspects of the mechanics of writing. Spelling and grammar errors interfere with readability. No effort was made to proofread. The content is terribly formatted, making it incredibly difficult to read and transitions between scenes and locations makes little to no sense for a reader. | The story shows no evidence of proofreading from post to post. Aspects of the content are difficult to understand, but the majority can be gathered through some effort. The effort to read is distracting and takes the focus away from the content. Transitions between scenes and locations are often unclear, taking the reader out of the experience. | There are some minor errors in spelling, grammar, or mechanics, though an effort of proofreading is seen from post to post. The overall flow of the story is detracted by a few small mistakes, but the formatting and structure allow for focus to remain on the content and not the errors. Transitions between scenes and locations is clear but sometimes gives the reader a slight pause. | There are few to no errors in spelling, grammar, or mechanics, and the content is properly formatted, including dialogue and how the posts transition between scenes and locations. The mechanics and formatting on display enhance the content without detracting in any way. | |
4 | Covers the syntax, mechanics, and the presented formatting of the Run-On for readability. | |||||
5 | Continuity (25%) | The Run-On lacks any semblence of consistency or cohesion between writers. No effort was made by the writers to coordinate the timing or order of posts, leading to confusion for the reader. | The Run-On shows an attempt at coordinating posts and maintaining consistency from post to post. Disjunction and awkward posts made at key points in the narrative caused confusion for the reader. | The Run-On shows a strong effort to coordinate the timing of posts from writer to writer. The Run-On reads smoothly like a narrative told by multiple writers, but with a few moments of disjunction or breaks in consitency from one post to another. | The Run-On shows a dedicated consistency to coordinating the timing of posts from writer to writer. The Run-On reads like a singular, seamless narrative told by multiple writers. Each post flows from one to the next, and elements of the writer are maintained consistently and cohesively throughout the narrative. | |
6 | Covers the flow and consistency that is maintained from post to post between multiple writers. | |||||
7 | Realism (25%) | The story lacks any semblance of realism, does not properly make use of established DB/SW canon or the differences in Skill or Force Power Level. The characters are not properly represented in the least, and there is no evidence that the writer used their own Character Sheet. Language is inappropriate for the Star Wars universe. The requirements of the fictional prompt may have been addressed, adhered to poorly, or ignored outright. | The writer appears to understand that the Brotherhood has ranks, at least by referencing them, but has made no indication as to the difference in strengths between Force Powers and Skills. They show a basic level of understanding of their own Character Sheet as far as Skills and Force Powers goes. Any additional characters used are shallow at best, but who and what they are is apparent to the reader. There are no grievous errors relating to DB/SW canon. The requirements of the fictional prompt may have been addressed, or adhered to poorly. | The characters and setting are grounded in the reality of SW/DB canon, and adherence to the Character Sheets is apparent. There are minor issues relating to the characters or plot devices being used in unnatural, or inaccurate, ways. The dialogue and action itself remains realistic. The requirements of the fictional prompt have been addressed. | The characters and setting adhere to the reality of SW/DB canon, demonstrating exceptional attention to detail in even the minor aspects of the world. The Character Sheets are used obviously and to great effect. The dialogue and action is unquestionably realistic. The requirements of the fictional prompt are fulfilled entirely. | |
8 | Covers the usage of Character Sheets in regards to skills, abilities, and aspects used when telling the story as well as adherence to the Star Wars universe and Brotherhood Canon. | |||||
9 | Story (40%) | Plot mechanics, including Point of View and reader omnipotence, are in flux and without a clear focus. It is difficult to follow with no defined story arc or conflict. The characters involved are merely talking props while the setting itself is vague or unmentioned. There is seemingly no point to the story and there isn't anything remotely entertaining about it. | Plot mechanics, including Point of View and reader omnipotence, are apparent but inconsistent. The story arc and conflict exists but is difficult to follow. The characters are established but show no sign of development, remaining static from beginning to end. The dialogue and personality of the characters are all similar with no differentiation, while the setting exists but is not properly described. There is a point to the story, but it lacks any interesting or entertaining qualities. | Plot mechanics, including Point of View and reader omnipotence, are used consistently. The story arc and conflict are established clearly. The main character is well-developed, showing development throughout the story, while the additional characters remain static or uninteresting and the setting is detailed. There is an obvious point to the story that is consistent from start to finish. The writing grabs the attention of the reader, though it can occasionally become boring or slow with too mucht attention on unnecessary sequences and events. | Plot mechanics, including Point of View and reader omnipotence, are used effectively. The story arc and conflict is well presented and thought out. The characters used are all well-developed and enhance the story through their presence, while the setting is detailed and clearly understood. There is an interesting and engaging point to the story that draws in the reader, including a conflict or decision making process for the protagonist. Interest is maintained throughout and the reader wants to read from sequence to sequence. | |
10 | Covers the development and direction of the Run-On's story. Point of view, setting, plot mechanics and the use of literary techniques go hand-in-hand with telling a compelling narrative. | |||||
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12 | From Wikipedia: Articulate gradations of quality. These hierarchical categories should concisely describe the levels of quality (ranging from bad to good) or development (ranging from beginning to mastery). They can be based on the discussion of the good versus not-so-good work samples or immature versus developed samples. Using a conservative number of gradations keeps the scoring rubric user-friendly while allowing for fluctuations that exist within the average range. See sample fiction rubric for a general idea. | |||||
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