personal essay rubric

Rubric Best Practices, Examples, and Templates

A rubric is a scoring tool that identifies the different criteria relevant to an assignment, assessment, or learning outcome and states the possible levels of achievement in a specific, clear, and objective way. Use rubrics to assess project-based student work including essays, group projects, creative endeavors, and oral presentations.

Rubrics can help instructors communicate expectations to students and assess student work fairly, consistently and efficiently. Rubrics can provide students with informative feedback on their strengths and weaknesses so that they can reflect on their performance and work on areas that need improvement.

How to Get Started

Best practices, moodle how-to guides.

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Step 1: Analyze the assignment

The first step in the rubric creation process is to analyze the assignment or assessment for which you are creating a rubric. To do this, consider the following questions:

• What is the purpose of the assignment and your feedback? What do you want students to demonstrate through the completion of this assignment (i.e. what are the learning objectives measured by it)? Is it a summative assessment, or will students use the feedback to create an improved product?
• Does the assignment break down into different or smaller tasks? Are these tasks equally important as the main assignment?
• What would an “excellent” assignment look like? An “acceptable” assignment? One that still needs major work?
• How detailed do you want the feedback you give students to be? Do you want/need to give them a grade?

Step 2: Decide what kind of rubric you will use

Types of rubrics: holistic, analytic/descriptive, single-point

Holistic Rubric. A holistic rubric includes all the criteria (such as clarity, organization, mechanics, etc.) to be considered together and included in a single evaluation. With a holistic rubric, the rater or grader assigns a single score based on an overall judgment of the student’s work, using descriptions of each performance level to assign the score.

Advantages of holistic rubrics:

• Can p lace an emphasis on what learners can demonstrate rather than what they cannot
• Save grader time by minimizing the number of evaluations to be made for each student
• Can be used consistently across raters, provided they have all been trained

Disadvantages of holistic rubrics:

• Provide less specific feedback than analytic/descriptive rubrics
• Can be difficult to choose a score when a student’s work is at varying levels across the criteria
• Any weighting of c riteria cannot be indicated in the rubric

Analytic/Descriptive Rubric . An analytic or descriptive rubric often takes the form of a table with the criteria listed in the left column and with levels of performance listed across the top row. Each cell contains a description of what the specified criterion looks like at a given level of performance. Each of the criteria is scored individually.

Advantages of analytic rubrics:

• Provide detailed feedback on areas of strength or weakness
• Each criterion can be weighted to reflect its relative importance

Disadvantages of analytic rubrics:

• More time-consuming to create and use than a holistic rubric
• May not be used consistently across raters unless the cells are well defined
• May result in giving less personalized feedback

Single-Point Rubric . A single-point rubric is breaks down the components of an assignment into different criteria, but instead of describing different levels of performance, only the “proficient” level is described. Feedback space is provided for instructors to give individualized comments to help students improve and/or show where they excelled beyond the proficiency descriptors.

Advantages of single-point rubrics:

• Easier to create than an analytic/descriptive rubric
• Perhaps more likely that students will read the descriptors
• Areas of concern and excellence are open-ended
• May removes a focus on the grade/points
• May increase student creativity in project-based assignments

Disadvantage of analytic rubrics: Requires more work for instructors writing feedback

Step 3 (Optional): Look for templates and examples.

You might Google, “Rubric for persuasive essay at the college level” and see if there are any publicly available examples to start from. Ask your colleagues if they have used a rubric for a similar assignment. Some examples are also available at the end of this article. These rubrics can be a great starting point for you, but consider steps 3, 4, and 5 below to ensure that the rubric matches your assignment description, learning objectives and expectations.

Step 4: Define the assignment criteria

Make a list of the knowledge and skills are you measuring with the assignment/assessment Refer to your stated learning objectives, the assignment instructions, past examples of student work, etc. for help.

  Helpful strategies for defining grading criteria:

• Collaborate with co-instructors, teaching assistants, and other colleagues
• Brainstorm and discuss with students
• Can they be observed and measured?
• Are they important and essential?
• Are they distinct from other criteria?
• Are they phrased in precise, unambiguous language?
• Revise the criteria as needed
• Consider whether some are more important than others, and how you will weight them.

Step 5: Design the rating scale

Most ratings scales include between 3 and 5 levels. Consider the following questions when designing your rating scale:

• Given what students are able to demonstrate in this assignment/assessment, what are the possible levels of achievement?
• How many levels would you like to include (more levels means more detailed descriptions)
• Will you use numbers and/or descriptive labels for each level of performance? (for example 5, 4, 3, 2, 1 and/or Exceeds expectations, Accomplished, Proficient, Developing, Beginning, etc.)
• Don’t use too many columns, and recognize that some criteria can have more columns that others . The rubric needs to be comprehensible and organized. Pick the right amount of columns so that the criteria flow logically and naturally across levels.

Step 6: Write descriptions for each level of the rating scale

Artificial Intelligence tools like Chat GPT have proven to be useful tools for creating a rubric. You will want to engineer your prompt that you provide the AI assistant to ensure you get what you want. For example, you might provide the assignment description, the criteria you feel are important, and the number of levels of performance you want in your prompt. Use the results as a starting point, and adjust the descriptions as needed.

Building a rubric from scratch

For a single-point rubric , describe what would be considered “proficient,” i.e. B-level work, and provide that description. You might also include suggestions for students outside of the actual rubric about how they might surpass proficient-level work.

For analytic and holistic rubrics , c reate statements of expected performance at each level of the rubric.

• Consider what descriptor is appropriate for each criteria, e.g., presence vs absence, complete vs incomplete, many vs none, major vs minor, consistent vs inconsistent, always vs never. If you have an indicator described in one level, it will need to be described in each level.
• You might start with the top/exemplary level. What does it look like when a student has achieved excellence for each/every criterion? Then, look at the “bottom” level. What does it look like when a student has not achieved the learning goals in any way? Then, complete the in-between levels.
• For an analytic rubric , do this for each particular criterion of the rubric so that every cell in the table is filled. These descriptions help students understand your expectations and their performance in regard to those expectations.

Well-written descriptions:

• Describe observable and measurable behavior
• Use parallel language across the scale
• Indicate the degree to which the standards are met

Step 7: Create your rubric

Create your rubric in a table or spreadsheet in Word, Google Docs, Sheets, etc., and then transfer it by typing it into Moodle. You can also use online tools to create the rubric, but you will still have to type the criteria, indicators, levels, etc., into Moodle. Rubric creators: Rubistar , iRubric

Step 8: Pilot-test your rubric

Prior to implementing your rubric on a live course, obtain feedback from:

• Teacher assistants

Try out your new rubric on a sample of student work. After you pilot-test your rubric, analyze the results to consider its effectiveness and revise accordingly.

• Limit the rubric to a single page for reading and grading ease
• Use parallel language . Use similar language and syntax/wording from column to column. Make sure that the rubric can be easily read from left to right or vice versa.
• Use student-friendly language . Make sure the language is learning-level appropriate. If you use academic language or concepts, you will need to teach those concepts.
• Share and discuss the rubric with your students . Students should understand that the rubric is there to help them learn, reflect, and self-assess. If students use a rubric, they will understand the expectations and their relevance to learning.
• Consider scalability and reusability of rubrics. Create rubric templates that you can alter as needed for multiple assignments.
• Maximize the descriptiveness of your language. Avoid words like “good” and “excellent.” For example, instead of saying, “uses excellent sources,” you might describe what makes a resource excellent so that students will know. You might also consider reducing the reliance on quantity, such as a number of allowable misspelled words. Focus instead, for example, on how distracting any spelling errors are.

Example of an analytic rubric for a final paper

Example of a holistic rubric for a final paper

Single-Point Rubric

More examples:

• Single Point Rubric Template ( variation )
• Analytic Rubric Template make a copy to edit
• A Rubric for Rubrics
• Bank of Online Discussion Rubrics in different formats
• Mathematical Presentations Descriptive Rubric
• Math Proof Assessment Rubric
• Kansas State Sample Rubrics
• Design Single Point Rubric

Technology Tools: Rubrics in Moodle

• Moodle Docs: Rubrics
• Moodle Docs: Grading Guide (use for single-point rubrics)

Tools with rubrics (other than Moodle)

• Google Assignments
• Turnitin Assignments: Rubric or Grading Form

Other resources

• DePaul University (n.d.). Rubrics .
• Gonzalez, J. (2014). Know your terms: Holistic, Analytic, and Single-Point Rubrics . Cult of Pedagogy.
• Goodrich, H. (1996). Understanding rubrics . Teaching for Authentic Student Performance, 54 (4), 14-17. Retrieved from   
• Miller, A. (2012). Tame the beast: tips for designing and using rubrics.
• Ragupathi, K., Lee, A. (2020). Beyond Fairness and Consistency in Grading: The Role of Rubrics in Higher Education. In: Sanger, C., Gleason, N. (eds) Diversity and Inclusion in Global Higher Education. Palgrave Macmillan, Singapore.

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The Personal Narrative Essay

A Rubric-based Guide To Writing about Personal Experience

TheCraftedWord.org

Tell Your Story

Writing a Personal Narrative Essay

Use This Rubric-based Approach To Writing a Five Paragraph Personal Essay

Use the Narrative Paragraph Rubric and the Personal Narrative Essay Rubric to craft a compelling, well-structured and insightful essay that describes the details and explores the deeper meaning and lessons of a personal experience.

Writing with Rubrics

The only way out is through….

Damn! Another long post…

For better and worse–and through thick and thin–I keep piling on rubric after rubric to help guide the content, flow, and direction of my students’ writing pieces.  The greater irony is that I never set out to create or use rubrics with them. I was always (and still am) a great proponent of just writing until  your writing skills reach the omega point–that place where you write well just because you don’t know how else to write, except “well.” 

I don’t believe this because I think it; I believe it because I know it and have seen it hundreds of times over: if you write a prodigious amount and you try to use good and accepted writing skills, you will become a better writer. By “prodigious” I mean something along the lines of 1500-2000 words a week, week in and week out. By good and accepted writing skills I mean that you practice and imitate and hone those skills that have worked for countless generations of writers before you. 

And for those of you with a particular slant of genius, you can be that writer who creates a new way of approaching writing–a way that simply works for whatever audience you envision!

I am not so vain and ignorant to think that I have found a solution for weak writers to become little Billy Shakespeare’s, but I am wise enough to see when something just works. I saw it last weekend when I trawled through the myriad depths of your portfolios and joyfully read post after post that were engaging, enlightening, and edifying. Some of the posts had the raw quality of uncooked food that would benefit from a bit more cooking–more proofreading, organizing, and  revising for clarity, conciseness, and completeness. Some more of the posts were utterly perfect in vision, crafting and follow through.

My dream and hope and intent is that you feel and see what I feel and see. I started The Crafted Word out of a belief that words are the clay of our soul and that crafting, shaping, and forming that clay into the shape of your unique and enduring mind and soul and being in an intentional and disciplined way will transform you into  craftsmen of words  and, ultimately, into fully independent  artists  that seek and desire the perfection that only true artists can attain–and I want to give you the workshop and studio that helps you reach that perfection.

Which to me is why you are here reading this right now, and today is as good a day as any to start or to continue, for one is as important as the other.

I started making rubrics a few years ago as a way to help writers get started. I spent a long time looking, reading–and listening–to how conversations and writing pieces were structured, and I tried to see what patterns those pieces followed and what irrefutable and universal logic was inherent in what I read and heard; and then I tried, and am still trying, to recreate these patterns as a guide to how we, as writers, consciously and unconsciously follow those patterns.

Are there other ways to do this?  

Of course there are other ways. The only true judgment of a writer is in the willingness and desire of a reader or readers to read what you have written–and to want to read more of your writing again and again, but to flail blindly in a thicket of words is no way to reach your destination; while, to boldly carve a new route the same morass is noble and courageous and what every true writer sometimes has to do. Or wants to do! The rubrics are just a map that show “a” way through and out–and sometimes around–a writing block.

All you really need to be a great writer is a realization that once your words are uttered or printed they are no longer yours. They are an intentional gift to an audience. 

Give your audience what they need and want and will cherish. Give yourself the time to make that sea of words. It really does work.

And that becomes your reward and your inspiration to reach that higher level.

Read Fitz’s Essays

Some more cool tips & tricks to help you write well…

 Rubrics…

The Literary Analysis Paragraph Rubric

The literary analysis essay rubric, all quiet video essay rubric.

• Narrative Paragraph Rubric Example

& Resources…

How To Write Opening Paragraphs

How to write essay conclusions, henry david thoreau.

Write often, write upon a thousand themes, rather than long at a time, not trying to turn too many feeble somersets in the air–and so come down upon your head at last. Antaeus-like, be not long absent from the ground. Those sentences are good and well discharged which are like so many little resiliencies from the spring floor of our life–a distinct fruit and kernel itself, springing from  terra firma . Let there be as many distinct plants as the soil and the light can sustain. Take as many bounds in a day as possible. Sentences uttered with your back to the wall. Those are the admirable bounds when the performer has lately touched the spring board. (November 12, 1851)

Kurt Vonneghut

Vonnegut offers eight essential tips on how to write a short story:

• Use the time of a total stranger in such a way that he or she will not feel the time was wasted.
• Give the reader at least one character he or she can root for.
• Every character should want something, even if it is only a glass of water.
• Every sentence must do one of two things–reveal character or advance the action.
• Start as close to the end as possible.
• Be a sadist. No matter how sweet and innocent your leading characters, make awful things happen to them–in order that the reader may see what they are made of.
• Write to please just one person. If you open a window and make love to the world, so to speak, your story will get pneumonia.
• Give your readers as much information as possible as soon as possible. To heck with suspense. Readers should have such complete understanding of what is going on, where and why, that they could finish the story themselves, should cockroaches eat the last few pages.

James Joyce

Better pass boldly into that other world, in the full glory of some passion, than fade and wither dismally with age.

Ralph Waldo Emerson

If you desire to arrest attention, to surprise, do not give me the facts in the order of cause and effect, but drop one or two links in the chain, and give me a cause and an effect two or three times removed.

Annie Dilliard

Why are we reading, if not in hope of beauty laid bare, life heightened and its deepest mystery probed? Can the writer isolate and vivify all in experience that most deeply engages our intellects and our hearts? Can the writer renew our hope for literary forms? Why are we reading if not in hope that the writer will magnify and dramatize our days, will illuminate and inspire us with wisdom, courage, and the possibility of meaningfulness, and will press upon our minds the deepest mysteries, so that we may feel again their majesty and power? What do we ever know that is higher than that power which, from time to time, seizes our lives, and reveals us startlingly to ourselves as creatures set down here bewildered? Why does death so catch us by surprise, and why love? We still and always want waking.

~The Writing Life

The Power of a Narrative Paragraph!

Fitz's Essay Formula

•  Set the scene and state the theme :  Use your first paragraph to lead up to your theme. If the lead in to your essay is dull and uninspired, you will lose your readers before they get to the theme. If you simply state your theme right off the bat, you will only attract the readers who are “already” interested in your topic. Your theme is the main point, idea, thought, or experience you want your writing piece to convey to your audience. (Often it is called a “Thesis Statement.) I suggest making your theme be the last sentence of your opening paragraph because it makes sense to put it there, and so it will guide your reader in a clear and, hopefully, compelling way. In fact, constantly remind yourself to make your theme be clear, concise and memorable. Consciously or unconsciously, your readers constantly refer back to your theme as mnemonic guide for “why” you are writing your essay in the first place! Every writing piece is a journey of discovery, but do everything you possibly can to make the journey worthwhile from the start.
•  Say what you mean :  Write about your theme. Use as many paragraphs as you “need.” A paragraph should be as short as it can be and as long as it has to be. Make the first sentence(s) “be” what the whole paragraph is going to be about. Try and make those sentences be clear, concise and memorable (just like your theme) and make sure everything relates closely to the theme you so clearly expressed in your first paragraph. If your paragraph does not relate to your theme, it would be like opening up the directions for a fire extinguisher and finding directions for baking chocolate chip cookies instead! And finally, do your best to balance the size of your body paragraphs. If they are out of proportion to each other, then an astute reader will make the assumption that some of your points are way better than your other points, and so the seed of cynicism will be sown before your reader even begins the journey.
• Finish it clean:   Conclusions should be as simple and refreshing as possible. In conversations only boring or self important people drag out the end of a conversation. When you are finished saying what you wanted to say, exit confidently and cleanly. DON”T add any new information into the last paragraph; DON’T retell what you’ve already told, and DON’T preen before the mirror of your brilliance. Just “get out of Dodge” in an interesting and thoughtful (and quick) way. Use three sentences or less. It shows your audience that you appreciate their intelligence and literacy by not repeating what you have already presented!

Set the scene; state the theme; say what you mean, and finish it clean  is a simple rubric for writing to keep in your head as you read and comment, and to practice in your writing as you reflect and express yourself with words.

Telling a Narrative Story

How to Tell a Good Story

Call me Ishmael ~Herman Melville

We are born to tell and listen to stories of all kinds, but the most popular and pervasive of these is the narrative story—a story which retells an experience you have had. Every time someone asks you: “how was school? how was your trip? did you catch anything? what do you like about him? “was it a good game”? … and you answer with more than a grunted single-word response, you are telling a narrative story and YOU are the narrator. The only difference between a narrative story and a fictional story is how much you can play with the truth. The art of the story is the same.

Of course, some people tell better stories than other people, but why? The answer is probably because they tell more stories or they read more stories. They are not satisfied with the single grunt because they love and want to recreate the moment as vividly and compellingly as possible, and by the process of elimination and addition they have figured out how to tell a good story. Good storytellers know what goes into a good story, and, just as important, they know what to leave out. They know that a good story, well told, brings great satisfaction to them as the tellers and writers and to their audience as listeners and readers.

Truth be told, if you can’t tell a good story, it will be hard to get people to listen to you when you really want and need them to listen to you, like when you want to get into a certain school, or you want a certain job, or you are meeting new friends, or you are asking someone on a date, or you desperately need to get through that border crossing…really, anytime you are in a position where someone or somebodies want to hear your story, you need to be able to produce—and to produce, you need to practice.

Kind of like I am doing now.

Thankfully, you probably are already a good storyteller, at least in your head. The harder job is to get your mouth to say it like you think it or your hand to write it like you think it—it being the story. Sometimes this means you have to ignore what your teachers may have taught you about writing, for a good story needs to sing and flow with the unique rhythms of your natural way of speaking, which is rarely what a teacher is looking for in your essay. Imagine if your speaking was graded as harshly as your writing pieces? You would barely get out three sentences without being stopped dead in your tracks! Your mouth would be covered in so many red x’s that you probably would never speak again–and that would be the end of good stories. At least from you. (Even now, my grammar checker is underlining way too many phrases and words–even whole sentences–with green scribbly lines asking me to reconsider how I am writing. I just ignore them. For now.)

The irony for you as a writer is that to recreate your inner voice into a story your readers enjoy reading, you have to write deliberately and carefully to be sure that it sounds and “feels” like you, and that (at least for me) takes a good deal of editing and revising and reading aloud–something most of us know how to do. We just don’t do it enough. But if you do, and if you like what you have created: man oh man, what a great feeling!

Hopefully, I have written well enough that you are still with me, and if you are still with me, and if you want to be a better writer and teller of stories, you will “listen” just a bit longer. As Maria sings in “The Sound of Music” when teaching her gaggle of children: “Let’s start at the beginning/ It’s a very good place to start/ When we sing we begin with do, rei, me…”

Rule #1: Get your reader’s attention! (set the scene)

• Your opening line is like the opening whistle in a soccer game, the first pitch in a baseball game, or the kickoff in a football game. It creates excitement and anticipation. No one knows what exactly is coming, but it certainly keeps us in our seats to see what is coming.
• Your opening line (or sometimes even just a word!) should be an expression of your passion for the story you are about to tell. As Robert Frost once said: “If there are no tears for the writer, there are no tears for the reader.” So open with a line that gets you as excited as your reader.
• I enjoy fishing. [NO NO NO: Nobody cares about you!]
• It was a day that every fisherman lives for. [YES YES YES: Every fisherman that has ever fished (or wishes to fish) lives for that day!]
• Sally is a good friend of mine. [Nooooo….]
• A good friend stands by you come hell or high water. [Yessssss! Everybody (especially your readers) wants a friend like that.]

Rule #2: Let your reader know where you are taking them. (state the theme)

• The best place to let your reader know the overall direction and guiding theme of your story is at the end of the first paragraph. Few readers will continue on reading if he or she is not reasonably sure that reading your story is going to be worth the effort.
• Make the last line of your opening paragraph a clear, concise, and compelling statement of where your story is going to take your readers.
• I am going to write about what a good skier I am. [No, no, no, no…no one cares about how good a skier your are!]
• It was that last run through the deep powder that proved to me that even the greatest fears can be overcome. [Yes, yes, yes….now there is some thematic “thing” that any reader–even those who don’t ski–can relate to in a meaningful way; hence, reading your story “might” be worth the effort!

Rule #3: Paint visually rich scenes. (say what you mean)

• Your readers need to see and think and feel the way you see and think and feel. They are not in your head, so you need to put them in your head using images and actions, which are created using nouns and verbs, not vague thoughts. Brain studies have proven that when a brain is presented by words representing images and actions, the part of the brain that commands motion is prompted into action. This is a great time to use similes and metaphors to help make your words feel alive and real ad make your reader feel the motions of your narrative.
• The weather was lousy. [NO NO NO: What do you even mean by lousy weather?]
• The clouds cracked open and dropped unending sheets of pelting rain that scattered the screaming children like startled blackbirds from a muddy field. [YES YES YES: Your readers brain is now saying, “Run, run for cover!” and they are now a part of your story, not just a passive onlooker.]
• The game was really long. [Noooooo: what do you mean by long? Everybody has a different idea of what long means.]
• The game dragged on like a dull movie until even the referee was snoring. [Yessss….Now we know what you mean by loooong.]

Rule #4: Weave your thoughts into the story (say what you mean)

• Tie your thoughts directly to the images and actions of your story. No one really likes to hear or read a story that is just a bunch of one person’s thoughts. Once your readers are engaged in your story, they will relish your thoughts about what is happening, and, if done well, these thoughts will spark their own thoughts, and not only will they be reliving your story, they will be creating a story of their own; they will wonder what they would think and feel and do in that same situation. The story then becomes their wondrous story, too—not just your story.
• The weather was lousy. I wish I wasn’t there. [NO NO NO: Stating the obvious is not stating much at all. And, oh yeah, nobody cares about you–unless you make them care through the miracle work of words strung like emeralds in the sky.
• The clouds cracked open and dropped unending sheets of pelting rain that scattered the screaming children like startled blackbirds from a muddy field. I could almost hear them thinking “Why did I ever come to this godforsaken place!” In the chaos of the  mad cloudburst we must all have been experiencing the same nightmare of being in the wrong place at the wrong time, but at least we were all in it together [YES YES YES: This is not just sorry old you in a rainstorm; it is everybody who has ever been caught in the wrong place at the wrong time—and a universal and vexing conundrum.]

Rule #5: The End is a new beginning (finish it clean)

• Your story may seem to end with the last line, but for your readers, the end is a new beginning full of the thinking and pondering and satisfaction that is evoked from a story well-told. No reader wants to hear or read, “That’s it. It’s over. Move on.” We don’t need to be reminded with some pithy summary that your story is over because we know it’s over. If we are reading your story, we can see it ending; if we are listening to your story, we will hear your story drawing to its close. This is not the time to point in the casket and say, “He’s dead,” as if it is a revelation we need to hear. It is a time, however, to more carefully and precisely craft your words into a final gift to your audience—like a parent, friend, or lover pressing a handful of gems into your palm before you leave on a journey and saying, “Here, take these; use them as you need them!”  Your final words should read more like poetry than prose—a final reward of the best your head can create because the story is no longer yours: it is ours.
• Not… “Sooo, that’s Johnny Fitz’s story about catching a big fish.”
• But, like Norman Maclean in the closing of A River Runs through It :” I am haunted by waters.”
• Not… “This was an experience no one should have to go through.”
• But like Joseph Conrad in the last phrases of The Heart of Darkness : “The Horror, the horror.”
• Not… “It is important that all of us live and think differently.”
• But like Henry David Thoreau in the last words of Walden : “The sun is but a morning star.”

Every story is ultimately given away. It ends when you abandon it to your audience, and it then becomes a new experience—a new beginning—for your audience, and it is these final words they will mince and chew on through eternity, and so they should be crafted with care; however … remember that you have already given your audience the meat and bones of your story, so you do not need to feed them again with any kind of bland and boring summary.

When I finish reading or listening to a really good story, I get an urge to sit down and think for a really, really long time.

The better the story, the longer I think.

Fitz’s Rubric for a Personal Narrative Essay

A Sentence is a thought fully-expressed; A Paragraph is a thought fully-explained; An Essay is a thought fully-explored!

My rubric for writing narrative paragraphs and narrative essays is simply that–a rubric. Not a law, rule, or even always the best way to write a personal essay–but it is a solid and practiced approach that can help anyone construct an essay that is unified in theme, that has a logical and natural flow, and which does what a personal essay need to do: engage, enlighten, and edify your readers.

This rubric is geared towards writing the classic “Five Paragraph Essay,” which seems to be the staple of many academic assignments. In the end, use your best judgment, take risks–and always, always, always write in the way that you think and speak and converse with others. A personal essay that is not personal and real is a worthless collection of drivel and hubris.

To truly understand the “Art of the Essay” you must explore how other writers write; you must write in a sustained and focused way, you must hone your craft as a writer, and you must think deeply about how and why a good piece of writing affects you–and most importantly. Check out my essays and you will see where and when I follow my rules and where and when I ignore them, for every writers journey is a journey of discovery

Try this rubric and see how it works for you. When and where it doesn’t work for you, ignore it, but at least give it a shot. You’ll be surprised by what you write.

And that is pretty cool!

For the best results, especially when first starting out:

• Use the “Narrative Paragraph Rubric” for your body paragraphs (watch the video, too!)
• Read “How to Tell a Good Story” for insights
• Use “How to Write Opening Paragraphs” for your open
• Use “How to Write Conclusions” for your conclusion
• Use the “Personal Essay Rubric” to compile your essay
• Proofread, edit & revise like it is religion
• Share because what your write is worth sharing!

…and have fun… Readers sense when you are not having fun!

Set the Stage

Before anything else a reader “sees” the essay–and often makes his or her first judgment at this point. A well-formatted setting of the stage guides the reader in the direction your essay is going to go.

1. Assignment Details:

• Use a single appropriate and readable font
• Be sure that your assignment information is in the top right of your document:

Name The Crafted Word: Personal Narrative Essay Date

• All paragraphs should be single spaced with double spaces between paragraphs.
• Feel free to include an image or images in your narrative essay.

Chris Ruedigger Fitz English Personal Narrative Essay 12/18/2012

MAIN TITLE:

• Your main title tries to capture the major theme or themes of your essay in a broad and interesting way
• It should be centered on your page in size 18 font two double spaces down from your assignment information.
• Consider inserting an image above your Main Title

Nothing Gold Can Stay

  SUBTITLE:  

• The subtitle points the reader in a more narrow and focused direction and it should contain a reference to the major theme of the essay
• Make this as interesting and compelling as you can.
• Use size 14 italic font centered directly below the main title.

How a Baseball Game Taught Me To Cherish the Moment

Guiding Quote:

• Find a really cool quote to put above your story that captures the major theme of your story.
• A good source for quotes is http://brainyquotes.com but you can use a quote from anywhere if it works
• Use size 12 or 14 font centered on the page.
• The quote is in italics; author’s name in regular font

“The journey of a thousand miles begins with one step.”

The Opening Paragraph

Set the Scene & State the Theme

  The Hook:

• Open your first paragraph with a real hook of a sentence that grabs your reader’s attention and prepares your readers for what is coming.
• Sometimes a single word is all you need!

The dreary dark skies shone over the baseball field as I dug my foot into the soft and chunky dirt on the mound.

Set the Scene:

• Drop your readers into the scene.
• Show us what is happening by describing in vivid detail a single scene from the experience you are retelling.
• Use plenty images and actions (and dialogue if you can) to paint with words a complete picture of the action taking place.
• Remember that your readers were not with you, so be sure to include who was there; what was happening; when it was happening; where it was happening, and why it was happening.

Feel free to use any of the other techniques listed in “How To Write an Essay Opening”

I wiped off the rubber, and stared down my last opponent. I took the signal and wound up from the stretch. I fired in a blazing fastball for strike one. Cheers came from the infield, cheering me (Rudy) on for the next pitch. This time a snapped off a curveball that dropped into the zone, and the batter swung. I weak ground ball came right to our shortstop, who cleanly made the play. In the moment, it seemed like an ordinary out, but after, I realized that was the last pitch I will ever throw at Fenn.

State the Theme:

• stating the theme is a way of creatively and effectively capturing the main reason you are telling this story!
• This is often called the main theme, premise, or thesis of a story.
• a story can always include other themes.
• Don’t promise more than you are going to give; otherwise, a reader will feel cheated!
• Put this sentence (or sentences) right at the end of the first paragraph. It is a logical jumping off place for the any essay, narrative or otherwise.

As I walked off the field ,I nearly started to cry. It wasn’t the last pitch that struck me, it was the sign that this was my last ride and time here at Fenn. For the past five years Fenn has been a crazy ride, but one that I will never forget. Fenn has been so special to me because of the numerous opportunities and warm and caring teachers that support me.

The Body Paragraphs

  Tell Your Story.  Say What you mean.  Write Well. 

• Now tell the whole story using as many paragraphs as you need.
• Consider using the Narrative Paragraph Rubric to write most of your body paragraphs.
• Be sure to include images and actions AND your thoughts and feelings about what is happening as you go along.
• Dialogue is always good to include.
• Remember that whenever a new person is speaking you need to create a new paragraph.

  First Body Paragraph

• Copy and paste your first body paragraph you created using the narrative paragraph rubric.
• Your first body paragraph is the mother of all other body paragraphs: there must feel like there is a natural flow and gravity to the order of your paragraphs.
• Since your first body paragraph is followed by another body paragraph, you want to be sure that your last line “sets up” the next paragraph in a logical way. This is called a transition sentence.
• Not every paragraph needs to use the rubric. A bit of variety is always good!

          “Nobody ever made a mistake if they never tried something new.” Albert Einstein once said. As I went through my time at Fenn, opportunities for growth were pounded all over campus. Over these years, I have grown so much from all of the opportunities, but the most memorable one was Acapella. I came to Fenn as a somewhat shy, timid fourth grader who didn’t have a strong passion for music. In seventh grade I finally decided I would   a try. I had played piano and guitar, but never felt comfortable with signing. After a quick audition I came to the first rehearsal. Ever since that day, I have loved Acapella and become so much more confident on stage. I can really put on a solid performance. Acapella has been a unique and distinct group I will never forget; however, theres plenty more opportunities that I have been apart off. Not many places can say they ofter a broad range of activities for kids to grow and learn from. Sure, I made some mistakes, but I am just like everyone, as Albert Einstein says. I have grown way more than I ever expected, thanks to the opportunities Fenn has provided. It’s not just the opportunities tough, it is the warm and supportive teachers that I also remember.

Second Body Paragraph:

• You may always write more than three body paragraphs, so these point apply to all inner body paragraphs.
• Copy and paste your second body paragraph you created.
• You may need or want to revise the beginning broad theme of your second paragraph, so that you don’t lose the continuity of your main theme.
• At the end of this paragraph (or series of paragraphs) you need to transition to your final body paragraph, so in your last sentence give your readers a clue that there is still more to come!

          Everyone needs care and support. During my days at Fenn, it has been from all the faculty that care so deeply about me. I can trust and feel comfortable around any teacher now; however, it is no more evident than with Mr. Sanborn, my sixth and eighth grade math teacher. As I found myself in his class in sixth grade, I often understood the math work we were doing. Except, one day, I completely zoned out and couldn’t learn any of the material. Nervous and scared, I approached Mr. Sanborn to ask for extra help. Despite my fear, I knew it was the right thing to do: to get caught up. After quietly asking to check some problems, he patted me on the back and sat me down. There, for the next forty-five minutes, we discussed the work and the best way to approach it. It is rare that a teacher can give each student that kind of care and warmth, and I am every so grateful to have had this. It hasn’t just been Mr. Sanborn tough, it is all the loving and supportive teachers that make Fenn the amazing community it is. The care and support that I received is something that I will never forget as I depart from Fenn.

  Third or Final Body Paragraph: 

• Copy and paste your third or final body paragraph you created using the narrative paragraph rubric.
• Be a preacher, philosopher and wise person and “tell” your readers what you learned from this experience.
• This paragraph needs to “feel” like a final paragraph. By the end of this paragraph your readers should feel like you delivered on the promise of your thesis.
• In this paragraph, reflect upon what you learned from this experience and why it was an important experience in your life.
• Since you are not transitioning to a new body paragraph, your final line of this paragraph should be conclusive, confident—and above all—clear and concise.

          It is still bittersweet emotions, and I know I will miss Fenn deeply, especially the opportunities and respect from teachers. As I walked off that rubber, it was walking away from Fenn. Moving on is difficult, but I will take my growth and apply it to my next school. There is no way that you can go through Fenn without accomplishing or trying some new thing. That is special. There is no way that you can go through Fenn without connecting to some teacher. That is special. Acapella and Mr. Sanborn are just two examples of many, but two that will certainly stick with me.

The Conclusion: Parting Words

Finish it Clean

• Remember to finish it clean! Your conclusion wants to remind readers of the promise in your thesis and the overall importance of your main theme or themes that you so amazingly explicated in your body paragraphs.
• Don’t introduce any new experiences in the conclusion–only reference what you have already written.
• There is no need to overdo it, but don’t be dull either. Be sure to include your main theme(s) and a specific reference to the experience you just wrote about.
• If you need more help, go to “How to Write an Essay Conclusion” for more tips and tricks.

It is important to cherish all the moments you get at Fenn, and never take them for granted because someday when you step off the rubber, you will see what I mean.

Cherishing the Moments at Fenn

          T he dreary dark skies shone over the baseball field as I dug my foot into the soft and chunky dirt on the mound. I wiped off the rubber, and stared down my last opponent. I took the signal and wound up from the stretch. I fired in a blazing fastball for strike one. Cheers came from the infield, cheering me (Rudy) on for the next pitch. This time a snapped off a curveball that dropped into the zone, and the batter swung. I weak ground ball came right to our shortstop, who cleanly made the play. In the moment, it seemed like an ordinary out, but after, I realized that was the last pitch I will ever throw at Fenn. As I walked off the field,I nearly started to cry. It wasn’t the last pitch that struck me, it was the sign that this was my last ride and time here at Fenn. For the past five year Fenn has been a crazy ride, but one that I will never forget. Fenn has been so special to me because of the numerous opportunities and warm and caring teachers that support me.

“Nobody ever made a mistake if they never tried something new.” Albert Einstein once said. As I went through my time at Fenn, opportunities for growth were pounded all over campus. Over these years, I have grown so much from   opportunities, but the most memorable one was Acapella. I came to Fenn as a somewhat shy, timid fourth grader who didn’t have a strong passion for music. In seventh grade I finally decided I would give Acapella a try. I had played piano and guitar, but never felt comfortable with signing. After a quick audition I came to the first rehearsal. Ever since that day, I have loved Acapella and become so much more confident on stage. I can really put on a solid performance. Acapella has been a unique and distinct group I will never forget; however, theres plenty more opportunities that I have been apart off. Not many places can say they ofter a broad range of activities for kids to grow and learn from. Sure, I made some mistakes, but I am just like everyone, as Albert Einstein says. I have grown way more than I ever expected, thanks to the opportunities Fenn has provided. It’s not just the opportunities though, it is the warm and supportive teachers that I also remember.

Everyone needs care and support. During my days at Fenn, it has been from all of the faculty that care so deeply about me. I can trust and feel comfortable around any teacher now; however, it is no more evident than with Mr. Sanborn, my sixth and eighth grade math teacher. As I found myself in his class in sixth grade, I often understood the math work we were doing. Except, one day, I completely zoned out and couldn’t learn any of the material. Nervous and scared, I approached Mr. Sanborn to ask for extra help. Despite my fear, I knew it was the right thing to do: to get caught up. After quietly asking to check some problems, he patted me on the back and sat me down. There, for the next forty-five minutes, we discussed the work and the best way to approach it. It is rare that a teacher can give each student that kind of care and warmth, and I am every so grateful to have had this. It hasn’t just been Mr. Sanborn tough, it is all the loving and supportive teachers that make Fenn the amazing community it is. The care and support that I received is something that I will never forget as I depart from Fenn.

It is still bittersweet emotions, and I know I will miss Fenn deeply, especially the opportunities and respect from teachers. As I walked off that rubber, it was walking away from Fenn. Moving on is difficult, but I will take my growth and apply it to my next school. There is no way that you can go through Fenn without accomplishing or trying some new thing. That is special. There is no way that you can go through Fenn without connecting to some teacher. That is special. Acapella and Mr. Sanborn are just two examples of many, but two that will certainly stick with me.

It is important to cherish all the moments you get at Fenn, and never take them for granted; because someday when you step off the rubber, you will see what I mean.

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Reflective essay rubric

This is a grading rubric an instructor uses to assess students’ work on this type of assignment. It is a sample rubric that needs to be edited to reflect the specifics of a particular assignment. Students can self-assess using the rubric as a checklist before submitting their assignment. 

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A personal narrative rubric is a tool used to assess and evaluate a personal narrative essay. It typically includes specific criteria and a rating scale to measure the quality of the writing. Here is an example of a personal narrative rubric:

Criteria: 1. Organization and Structure: The essay has a clear and logical structure, with a strong introduction, body paragraphs that flow smoothly, and a conclusion that wraps up the story effectively. 2. Development of Characters and Setting: The writer effectively develops the characters and setting, providing vivid descriptions and details that engage the reader. 3. Use of Dialogue: The writer incorporates dialogue effectively, using it to enhance the story and reveal the characters’ personalities and emotions. 4. Narrative Techniques: The writer uses a variety of narrative techniques, such as sensory language, figurative language, and pacing, to create a compelling and engaging story. 5. Voice and Tone: The writer’s voice and tone are consistent throughout the essay, reflecting the writer’s personality and emotions. 6. Grammar and Mechanics: The essay demonstrates strong grammar and mechanics, with few errors in spelling, punctuation, and sentence structure. 7. Overall Impact: The essay has a strong impact on the reader, evoking emotions and leaving a lasting impression.

Rating Scale: - 4: Exemplary - The essay exceeds expectations in all criteria and demonstrates exceptional writing skills. - 3: Proficient - The essay meets expectations in all criteria and demonstrates solid writing skills. - 2: Developing - The essay partially meets expectations in some criteria and demonstrates some areas for improvement in writing skills. - 1: Emerging - The essay does not meet expectations in most criteria and demonstrates significant areas for improvement in writing skills.

Using this rubric, a teacher or evaluator can assess a personal narrative essay and provide feedback to the writer on their strengths and areas for improvement.

TWO WRITING TEACHERS

A meeting place for a world of reflective writers.

Personal Essay Rubric

Click here to view the rubric.

As always, I’d appreciate your feedback if you think there are areas that could be clearer on the rubric.

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Published by Stacey Shubitz

I am a literacy consultant who focuses on writing workshop. I've been working with K-6 teachers and students since 2009. Prior to that, I was a fourth and fifth-grade teacher in New York City and Rhode Island. I'm the author of Craft Moves (Stenhouse Publishers, 2016) and the co-author of Jump Into Writing (Zaner-Bloser, 2021), Welcome to Writing Workshop (Stenhouse Publishers, 2019), and Day By Day (Stenhouse, 2010). I live in Central Pennsylvania with my husband and children. In my free time, I enjoy swimming, doing Pilates, cooking, baking, making ice cream, and reading novels. View all posts by Stacey Shubitz

One thought on “ Personal Essay Rubric ”

Dear Stacey, Thank you for the rubric. I found it to be helpful since all our students have to wrtie personal essays. Sincerely, Harriet

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9th-12th grade narrative writing rubric

Rubric for formative and summative assignments with tasks involving writing that tells a story, either personal or literary.

Rubric suitable for formative and summative assignments with tasks involving writing that tells a story, either personal or literary. Use this rubric when asking students to write a personal essay or a fictional narrative.

Consider using the 9th-12th Grade Narrative QuickMark set with this rubric. These drag-and-drop comments were tailor-made by veteran educators to give actionable, formative feedback directly to students. While they were explicitly aligned to this particular rubric, you can edit or add your own content to any QuickMark.

This rubric is available and ready to use in your Feedback Studio account. However, if you would like to customize its criteria, you can "Duplicate this rubric" in your Feedback Studio account and then edit the rubric as needed. Or, you can download this .rbc file and then import to your account to begin editing the content.

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Creating and using rubrics.

Last Updated: 4 March 2024. Click here to view archived versions of this page.

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• What is a rubric?
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• What are the parts of a rubric?
• Developing a rubric
• Sample rubrics
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• Tips for developing a rubric
• Additional resources & sources consulted

Note:  The information and resources contained here serve only as a primers to the exciting and diverse perspectives in the field today. This page will be continually updated to reflect shared understandings of equity-minded theory and practice in learning assessment.

1. What is a rubric?

A rubric is an assessment tool often shaped like a matrix, which describes levels of achievement in a specific area of performance, understanding, or behavior.

There are two main types of rubrics:

Analytic Rubric : An analytic rubric specifies at least two characteristics to be assessed at each performance level and provides a separate score for each characteristic (e.g., a score on “formatting” and a score on “content development”).

• Advantages: provides more detailed feedback on student performance; promotes consistent scoring across students and between raters
• Disadvantages: more time consuming than applying a holistic rubric
• You want to see strengths and weaknesses.
• You want detailed feedback about student performance.

Holistic Rubric: A holistic rubrics provide a single score based on an overall impression of a student’s performance on a task.

• Advantages: quick scoring; provides an overview of student achievement; efficient for large group scoring
• Disadvantages: does not provided detailed information; not diagnostic; may be difficult for scorers to decide on one overall score
• You want a quick snapshot of achievement.
• A single dimension is adequate to define quality.

2. Why use a rubric?

• A rubric creates a common framework and language for assessment.
• Complex products or behaviors can be examined efficiently.
• Well-trained reviewers apply the same criteria and standards.
• Rubrics are criterion-referenced, rather than norm-referenced. Raters ask, “Did the student meet the criteria for level 5 of the rubric?” rather than “How well did this student do compared to other students?”
• Using rubrics can lead to substantive conversations among faculty.
• When faculty members collaborate to develop a rubric, it promotes shared expectations and grading practices.

Faculty members can use rubrics for program assessment. Examples:

The English Department collected essays from students in all sections of English 100. A random sample of essays was selected. A team of faculty members evaluated the essays by applying an analytic scoring rubric. Before applying the rubric, they “normed”–that is, they agreed on how to apply the rubric by scoring the same set of essays and discussing them until consensus was reached (see below: “6. Scoring rubric group orientation and calibration”). Biology laboratory instructors agreed to use a “Biology Lab Report Rubric” to grade students’ lab reports in all Biology lab sections, from 100- to 400-level. At the beginning of each semester, instructors met and discussed sample lab reports. They agreed on how to apply the rubric and their expectations for an “A,” “B,” “C,” etc., report in 100-level, 200-level, and 300- and 400-level lab sections. Every other year, a random sample of students’ lab reports are selected from 300- and 400-level sections. Each of those reports are then scored by a Biology professor. The score given by the course instructor is compared to the score given by the Biology professor. In addition, the scores are reported as part of the program’s assessment report. In this way, the program determines how well it is meeting its outcome, “Students will be able to write biology laboratory reports.”

3. What are the parts of a rubric?

Rubrics are composed of four basic parts. In its simplest form, the rubric includes:

• A task description . The outcome being assessed or instructions students received for an assignment.
• The characteristics to be rated (rows) . The skills, knowledge, and/or behavior to be demonstrated.
• Beginning, approaching, meeting, exceeding
• Emerging, developing, proficient, exemplary 
• Novice, intermediate, intermediate high, advanced 
• Beginning, striving, succeeding, soaring
• Also called a “performance description.” Explains what a student will have done to demonstrate they are at a given level of mastery for a given characteristic.

4. Developing a rubric

Step 1: Identify what you want to assess

Step 2: Identify the characteristics to be rated (rows). These are also called “dimensions.”

• Specify the skills, knowledge, and/or behaviors that you will be looking for.
• Limit the characteristics to those that are most important to the assessment.

Step 3: Identify the levels of mastery/scale (columns).

Tip: Aim for an even number (4 or 6) because when an odd number is used, the middle tends to become the “catch-all” category.

Step 4: Describe each level of mastery for each characteristic/dimension (cells).

• Describe the best work you could expect using these characteristics. This describes the top category.
• Describe an unacceptable product. This describes the lowest category.
• Develop descriptions of intermediate-level products for intermediate categories.

Important: Each description and each characteristic should be mutually exclusive.

Step 5: Test rubric.

• Apply the rubric to an assignment.
• Share with colleagues.

Tip: Faculty members often find it useful to establish the minimum score needed for the student work to be deemed passable. For example, faculty members may decided that a “1” or “2” on a 4-point scale (4=exemplary, 3=proficient, 2=marginal, 1=unacceptable), does not meet the minimum quality expectations. We encourage a standard setting session to set the score needed to meet expectations (also called a “cutscore”). Monica has posted materials from standard setting workshops, one offered on campus and the other at a national conference (includes speaker notes with the presentation slides). They may set their criteria for success as 90% of the students must score 3 or higher. If assessment study results fall short, action will need to be taken.

Step 6: Discuss with colleagues. Review feedback and revise.

Important: When developing a rubric for program assessment, enlist the help of colleagues. Rubrics promote shared expectations and consistent grading practices which benefit faculty members and students in the program.

5. Sample rubrics

Rubrics are on our Rubric Bank page and in our Rubric Repository (Graduate Degree Programs) . More are available at the Assessment and Curriculum Support Center in Crawford Hall (hard copy).

These open as Word documents and are examples from outside UH.

• Group Participation (analytic rubric)
• Participation (holistic rubric)
• Design Project (analytic rubric)
• Critical Thinking (analytic rubric)
• Media and Design Elements (analytic rubric; portfolio)
• Writing (holistic rubric; portfolio)

6. Scoring rubric group orientation and calibration

When using a rubric for program assessment purposes, faculty members apply the rubric to pieces of student work (e.g., reports, oral presentations, design projects). To produce dependable scores, each faculty member needs to interpret the rubric in the same way. The process of training faculty members to apply the rubric is called “norming.” It’s a way to calibrate the faculty members so that scores are accurate and consistent across the faculty. Below are directions for an assessment coordinator carrying out this process.

Suggested materials for a scoring session:

• Copies of the rubric
• Copies of the “anchors”: pieces of student work that illustrate each level of mastery. Suggestion: have 6 anchor pieces (2 low, 2 middle, 2 high)
• Score sheets
• Extra pens, tape, post-its, paper clips, stapler, rubber bands, etc.

Hold the scoring session in a room that:

• Allows the scorers to spread out as they rate the student pieces
• Has a chalk or white board, smart board, or flip chart
• Describe the purpose of the activity, stressing how it fits into program assessment plans. Explain that the purpose is to assess the program, not individual students or faculty, and describe ethical guidelines, including respect for confidentiality and privacy.
• Describe the nature of the products that will be reviewed, briefly summarizing how they were obtained.
• Describe the scoring rubric and its categories. Explain how it was developed.
• Analytic: Explain that readers should rate each dimension of an analytic rubric separately, and they should apply the criteria without concern for how often each score (level of mastery) is used. Holistic: Explain that readers should assign the score or level of mastery that best describes the whole piece; some aspects of the piece may not appear in that score and that is okay. They should apply the criteria without concern for how often each score is used.
• Give each scorer a copy of several student products that are exemplars of different levels of performance. Ask each scorer to independently apply the rubric to each of these products, writing their ratings on a scrap sheet of paper.
• Once everyone is done, collect everyone’s ratings and display them so everyone can see the degree of agreement. This is often done on a blackboard, with each person in turn announcing his/her ratings as they are entered on the board. Alternatively, the facilitator could ask raters to raise their hands when their rating category is announced, making the extent of agreement very clear to everyone and making it very easy to identify raters who routinely give unusually high or low ratings.
• Guide the group in a discussion of their ratings. There will be differences. This discussion is important to establish standards. Attempt to reach consensus on the most appropriate rating for each of the products being examined by inviting people who gave different ratings to explain their judgments. Raters should be encouraged to explain by making explicit references to the rubric. Usually consensus is possible, but sometimes a split decision is developed, e.g., the group may agree that a product is a “3-4” split because it has elements of both categories. This is usually not a problem. You might allow the group to revise the rubric to clarify its use but avoid allowing the group to drift away from the rubric and learning outcome(s) being assessed.
• Once the group is comfortable with how the rubric is applied, the rating begins. Explain how to record ratings using the score sheet and explain the procedures. Reviewers begin scoring.
• Are results sufficiently reliable?
• What do the results mean? Are we satisfied with the extent of students’ learning?
• Who needs to know the results?
• What are the implications of the results for curriculum, pedagogy, or student support services?
• How might the assessment process, itself, be improved?

7. Suggestions for using rubrics in courses

• Use the rubric to grade student work. Hand out the rubric with the assignment so students will know your expectations and how they’ll be graded. This should help students master your learning outcomes by guiding their work in appropriate directions.
• Use a rubric for grading student work and return the rubric with the grading on it. Faculty save time writing extensive comments; they just circle or highlight relevant segments of the rubric. Some faculty members include room for additional comments on the rubric page, either within each section or at the end.
• Develop a rubric with your students for an assignment or group project. Students can the monitor themselves and their peers using agreed-upon criteria that they helped develop. Many faculty members find that students will create higher standards for themselves than faculty members would impose on them.
• Have students apply your rubric to sample products before they create their own. Faculty members report that students are quite accurate when doing this, and this process should help them evaluate their own projects as they are being developed. The ability to evaluate, edit, and improve draft documents is an important skill.
• Have students exchange paper drafts and give peer feedback using the rubric. Then, give students a few days to revise before submitting the final draft to you. You might also require that they turn in the draft and peer-scored rubric with their final paper.
• Have students self-assess their products using the rubric and hand in their self-assessment with the product; then, faculty members and students can compare self- and faculty-generated evaluations.

8. Equity-minded considerations for rubric development

Ensure transparency by making rubric criteria public, explicit, and accessible

Transparency is a core tenet of equity-minded assessment practice. Students should know and understand how they are being evaluated as early as possible.

• Ensure the rubric is publicly available & easily accessible. We recommend publishing on your program or department website.
• Have course instructors introduce and use the program rubric in their own courses. Instructors should explain to students connections between the rubric criteria and the course and program SLOs.
• Write rubric criteria using student-focused and culturally-relevant language to ensure students understand the rubric’s purpose, the expectations it sets, and how criteria will be applied in assessing their work.
• For example, instructors can provide annotated examples of student work using the rubric language as a resource for students.

Meaningfully involve students and engage multiple perspectives

Rubrics created by faculty alone risk perpetuating unseen biases as the evaluation criteria used will inherently reflect faculty perspectives, values, and assumptions. Including students and other stakeholders in developing criteria helps to ensure performance expectations are aligned between faculty, students, and community members. Additional perspectives to be engaged might include community members, alumni, co-curricular faculty/staff, field supervisors, potential employers, or current professionals. Consider the following strategies to meaningfully involve students and engage multiple perspectives:

• Have students read each evaluation criteria and talk out loud about what they think it means. This will allow you to identify what language is clear and where there is still confusion.
• Ask students to use their language to interpret the rubric and provide a student version of the rubric.
• If you use this strategy, it is essential to create an inclusive environment where students and faculty have equal opportunity to provide input.
• Be sure to incorporate feedback from faculty and instructors who teach diverse courses, levels, and in different sub-disciplinary topics. Faculty and instructors who teach introductory courses have valuable experiences and perspectives that may differ from those who teach higher-level courses.
• Engage multiple perspectives including co-curricular faculty/staff, alumni, potential employers, and community members for feedback on evaluation criteria and rubric language. This will ensure evaluation criteria reflect what is important for all stakeholders.
• Elevate historically silenced voices in discussions on rubric development. Ensure stakeholders from historically underrepresented communities have their voices heard and valued.

Honor students’ strengths in performance descriptions

When describing students’ performance at different levels of mastery, use language that describes what students can do rather than what they cannot do. For example:

• Instead of: Students cannot make coherent arguments consistently.
• Use: Students can make coherent arguments occasionally.

9. Tips for developing a rubric

• Find and adapt an existing rubric! It is rare to find a rubric that is exactly right for your situation, but you can adapt an already existing rubric that has worked well for others and save a great deal of time. A faculty member in your program may already have a good one.
• Evaluate the rubric . Ask yourself: A) Does the rubric relate to the outcome(s) being assessed? (If yes, success!) B) Does it address anything extraneous? (If yes, delete.) C) Is the rubric useful, feasible, manageable, and practical? (If yes, find multiple ways to use the rubric: program assessment, assignment grading, peer review, student self assessment.)
• Collect samples of student work that exemplify each point on the scale or level. A rubric will not be meaningful to students or colleagues until the anchors/benchmarks/exemplars are available.
• Expect to revise.
• When you have a good rubric, SHARE IT!

10. Additional resources & sources consulted:

Rubric examples:

• Rubrics primarily for undergraduate outcomes and programs
• Rubric repository for graduate degree programs

Workshop presentation slides and handouts:

• Workshop handout (Word document)
• How to Use a Rubric for Program Assessment (2010)
• Techniques for Using Rubrics in Program Assessment by guest speaker Dannelle Stevens (2010)
• Rubrics: Save Grading Time & Engage Students in Learning by guest speaker Dannelle Stevens (2009)
• Rubric Library , Institutional Research, Assessment & Planning, California State University-Fresno
• The Basics of Rubrics [PDF], Schreyer Institute, Penn State
• Creating Rubrics , Teaching Methods and Management, TeacherVision
• Allen, Mary – University of Hawai’i at Manoa Spring 2008 Assessment Workshops, May 13-14, 2008 [available at the Assessment and Curriculum Support Center]
• Mertler, Craig A. (2001). Designing scoring rubrics for your classroom. Practical Assessment, Research & Evaluation , 7(25).
• NPEC Sourcebook on Assessment: Definitions and Assessment Methods for Communication, Leadership, Information Literacy, Quantitative Reasoning, and Quantitative Skills . [PDF] (June 2005)

Contributors: Monica Stitt-Bergh, Ph.D., TJ Buckley, Yao Z. Hill Ph.D.

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Personal Essay Rubric

A rubric for grading personal narrative essays. The rubric is specifically designed for essays relating an amusing incident, but can be adapted for any topic.

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