| Criteria / Topics | 4 points | 0 points |
|---|---|---|
| I create an “exploded moment” that focuses on an interaction between Milo and my character. | I successfully create an “exploded moment” that clearly shows an interaction between Milo and my character. | I do not create an “exploded moment” or it does not focus on the interaction between Milo and my character. |
| I introduce a conflict between Milo and my character related to their ideas about school and learning. | I successfully introduce a conflict between Milo and my character that is related to their ideas about school and learning. | I do not introduce a conflict between Milo and my character or it is not related to their ideas about school and learning. |
| My conflict, resolution, and descriptions of my setting and my character involve a play on the meaning of abandon and my character’s name. | My conflict, resolution, and descriptions of my setting and my character effectively involve a play on the meaning of abandon and my character’s name. | My conflict, resolution, and descriptions of my setting and my character do not involve a play on the meaning of abandon and my character’s name. |
| I use dialogue to move the story forward and to reveal an important learning Milo has. | I effectively use dialogue to move the story forward and reveal an important learning Milo has. | I do not use dialogue to move the story forward or reveal an important learning Milo has. |
| In my lead, I establish characters, including Milo and my character, the setting Abandon Elementary School, a situation or scene in which Milo meets my character. | In my lead, I successfully establish characters, including Milo and my character, the setting Abandon Elementary School, and a situation or scene in which Milo meets my character. | In my lead, I do not establish characters, the setting, or a situation or scene in which Milo meets my character. |
| My story’s action centers mainly on an interaction between Milo and my character, including a conflict between the characters’ ideas about school and learning. | My story’s action effectively centers mainly on an interaction between Milo and my character, including a conflict between the characters’ ideas about school and learning. | My story’s action does not center mainly on an interaction between Milo and my character or does not include a conflict between the characters’ ideas about school and learning. |
| I provide an ending that follows logically from the action and reveals new learning or understanding that Milo gains as a result of this interaction. | I provide an ending that follows logically from the action and effectively reveals new learning or understanding that Milo gains as a result of this interaction. | I do not provide an ending that follows logically from the action or does not reveal new learning or understanding that Milo gains as a result of this interaction. |
| I organize my events in a natural order. | I effectively organize my events in a natural order. | I do not organize my events in a natural order. |
| I use transitions to tie details and events together. | I effectively use transitions to tie details and events together. | I do not use transitions to tie details and events together. |
| I use dialogue between Milo and my character to develop the conflict, show the character’s responses to each other’s ideas, and move the story forward. | I effectively use dialogue between Milo and my character to develop the conflict, show the character’s responses to each other’s ideas, and move the story forward. | I do not use dialogue between Milo and my character to develop the conflict, show the character’s responses to each other’s ideas, or move the story forward. |
| I alternate between dialogue and narration to show what characters are doing and thinking in addition to what they are saying. | I effectively alternate between dialogue and narration to show what characters are doing and thinking in addition to what they are saying. | I do not alternate between dialogue and narration to show what characters are doing and thinking in addition to what they are saying. |
| I use concrete and sensory details to describe my setting and characters and reinforce wordplay with the meaning of abandon and my character’s name. | I effectively use concrete and sensory details to describe my setting and characters and reinforce wordplay with the meaning of abandon and my character’s name. | I do not use concrete and sensory details to describe my setting and characters or reinforce wordplay with the meaning of abandon and my character’s name. |
| My writing style is appropriate for the audience. | My writing style is appropriate for the audience. | My writing style is not appropriate for the audience. |
| I choose precise words – including vivid verbs and concrete, sensory details – to add to my writing and make my character come alive for readers. | I effectively choose precise words – including vivid verbs and concrete, sensory details – to add to my writing and make my character come alive for readers. | I do not choose precise words – including vivid verbs and concrete, sensory details – to add to my writing or make my character come alive for readers. |
| I format dialogue by beginning a new paragraph each time a different person speaks. | I format dialogue by beginning a new paragraph each time a different person speaks. | I do not format dialogue by beginning a new paragraph each time a different person speaks. |
| I punctuate dialogue by placing quotation marks around a speaker’s exact words. | I punctuate dialogue by placing quotation marks around a speaker’s exact words. | I do not punctuate dialogue by placing quotation marks around a speaker’s exact words. |
| I add commas to separate speaker tags (e.g., she said) from the direct quotation. | I add commas to separate speaker tags (e.g., she said) from the direct quotation. | I do not add commas to separate speaker tags (e.g., she said) from the direct quotation. |
| I include at least one interjection in my dialogue and place a comma after it. | I include at least one interjection in my dialogue and place a comma after it. | I do not include at least one interjection in my dialogue or place a comma after it. |
| I include at least one tag question in dialogue and place a comma before it. | I include at least one tag question in dialogue and place a comma before it. | I do not include at least one tag question in dialogue or place a comma before it. |
| I include at least one noun of direct address in dialogue and set it off from the rest of the sentence with a comma or commas. | I include at least one noun of direct address in dialogue and set it off from the rest of the sentence with a comma or commas. | I do not include at least one noun of direct address in dialogue or set it off from the rest of the sentence with a comma or commas. |