graded essay definition

In a world where and often determine a student’s grade, what criteria does the writing teacher use to evaluate the work of his or her students? After all, with essay writing you cannot simply mark some answers correct and others incorrect and figure out a percentage. The good news is that

. The essay should have good and show the right level of . It should be organized, and the content should be appropriate and effective. Teachers also look at the overall effectiveness of the piece. When evaluating specific writing samples, you may also want to include other criteria for the essay based on material you have covered in class. You may choose to grade on the type of essay they have written and whether your students have followed the specific direction you gave. You may want to evaluate their use of information and whether they correctly presented the content material you taught. When you write your own rubric, you can evaluate anything you think is important when it comes to your students’ writing abilities. .

, and ) we will write a rubric to evaluate students’ essays. The most straightforward evaluation uses a four-point scale for each of the criteria. Taking the criteria one at a time, articulate what your expectations are for an , a and so on. Taking grammar as an example, an would be free of most grammatical errors appropriate for the student’s language learning level. A would have some mistakes but use generally good grammar. A would show frequent grammatical errors. A would show that the student did not have the grammatical knowledge appropriate for his language learning level. Taking these definitions, we now put them into the rubric.

The next step is to take each of the other criteria and define success for each of those, assigning a value to A, B, C and D papers. Those definitions then go into the rubric in the appropriate locations to complete the chart.

Each of the criteria will score points for the essay. The descriptions in the first column are each worth 4 points, the second column 3 points, the third 2 points and the fourth 1 point.

What is the grading process?

Now that your criteria are defined, grading the essay is easy. When grading a student essay with a rubric, it is best to read through the essay once before evaluating for grades . Then reading through the piece a second time, determine where on the scale the writing sample falls for each of the criteria. If the student shows excellent grammar, good organization and a good overall effect, he would score a total of ten points. Divide that by the total criteria, three in this case, and he finishes with a 3.33. which on a four-point scale is a B+. If you use five criteria to evaluate your essays, divide the total points scored by five to determine the student’s grade.

Once you have written your grading rubric, you may decide to share your criteria with your students.

If you do, they will know exactly what your expectations are and what they need to accomplish to get the grade they desire. You may even choose to make a copy of the rubric for each paper and circle where the student lands for each criterion. That way, each person knows where he needs to focus his attention to improve his grade. The clearer your expectations are and the more feedback you give your students, the more successful your students will be. If you use a rubric in your essay grading, you can communicate those standards as well as make your grading more objective with more practical suggestions for your students. In addition, once you write your rubric you can use it for all future evaluations.

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Grading Essays

Grade for Learning Objectives Response to Writing Errors Commenting on Student Papers Plagiarism and Grading

Information about grading student writing also appears in the Grading Student Work section of the Teaching Guide. Here are some general guidelines to keep in mind when grading student writing.

Grade for Learning Objectives

Know what the objective of the assignment is and grade according to a standard (a rubric) that assesses precisely that. If the purpose of the assignment is to analyze a process, focus on the analysis in the essay. If the paper is unreadable, however, consult with the professor and other GSIs about how to proceed. It may be wise to have a shared policy about the level of readiness or comprehensibility expected and what is unacceptable.

Response to Writing Errors

The research is clear: do not even attempt to mark every error in students’ papers. There are several reasons for this. Teachers do not agree about what constitutes an error (so there is an unavoidable element of subjectivity); students do not learn when confronted by too many markings; and exhaustive marking takes way too much of the instructor’s time. Resist the urge to edit or proofread your students’ papers for superficial errors. At most, mark errors on one page or errors of only two or three types. One approach to avoid the temptation of marking every error is to read or skim the whole essay quickly once without marking anything on the page – or at least, with very minimal marks. Some instructors find this a useful method in order to get a general sense of the essay’s organization and argument, thus enabling them to better identify the major areas of concern. Your second pass can then focus more in-depth on a few select areas that require improvement.

Commenting on Student Papers

The scholarly literature in this area distinguishes formative from summative comments. Summative comments are the more traditional approach. They render judgment about an essay after it has been completed. They explain the instructor’s judgment of a student’s performance. If the instructor’s comments contain several critical statements, the student often becomes protective of his or her ego by filtering them out; learning from mistakes becomes more difficult. If the assignment is over with, the student may see no reason to revisit it to learn from the comments.

Formative comments, on the other hand, give the student feedback in an ongoing process of learning and skill building. Through formative comments, particularly in the draft stage of a writing assignment, instructors guide students on a strategic selection of the most important aspects of the essay. These include both what to keep because it is (at least relatively) well done and what requires revision. Formative comments let the student know clearly how to revise and why.

For the purposes of this guide, we have distinguished commenting on student writing (which is treated here) from grading student writing (which is treated in the Teaching Guide section on grading ). While it is true that instructors’ comments on student writing should give reasons for the grade assigned to it, we want to emphasize here that the comments on a student’s paper can function as instruction , not simply as justification. Here are ten tips.

• Use your comments on a student’s paper to highlight things the paper accomplishes well and a few major things that would most improve the paper.
• Always observe at least one or two strengths in the student’s paper, even if they seem to you to be low-level accomplishments — but avoid condescension. Writing is a complex activity, and students really do need to know they’re doing something right.
• Don’t make exhaustive comments. They take up too much of your time and leave the student with no sense of priority among them.
• Don’t proofread. If the paper is painfully replete with errors and you want to emphasize writing mechanics, count the first ten errors on the page, draw a line at that point, and ask the student to identify them and to show their corrections to you in office hours. Students do not learn much from instructors’ proofreading marks. Direct students to a writing reference guide such as the Random House Handbook.
• Notice patterns or repeated errors (in content or form). Choose the three or four most disabling ones and direct your comments toward helping the students understand what they need to learn to do differently to correct this kind of error.
• Use marginal notes to locate and comment on specific passages in the paper (for example “Interesting idea — develop it more” or “I lost the thread of the argument in this section” or “Very useful summary here before you transition to the next point”). Use final or end comments to discuss more global issues (e.g., “Work on paragraph structure” or “The argument from analogy is ineffective. A better way to make the point would be…”)
• Use questions to help the student unpack areas  that are unclear or require more explanation and analysis. E.g.: “Can you explain more about what you mean by “x”?”; “What in the text shows this statement?”; “Is “y” consistent with what you’ve argued about “z”?” This approach can help the student recognize your comments less as a form of judgment than a form of dialogue with their work. As well, it can help you avoid “telling” the student how they should revise certain areas that remain undeveloped. Often, students just need a little more encouragement to focus on an area they haven’t considered in-depth or that they might have envisioned clearly in their head but did not translate to the page.
• Maintain a catalogue of positive end comments: “Good beginning for a 1B course.” “Very perceptive reading.” “Good engagement with the material.” “Gets at the most relevant material/issues/passages.” Anything that connects specific aspects of the student’s product with the grading rubric is useful. (For more on grading rubrics , see the Grading section of the Teaching Guide.)
• Diplomatic but firm suggestions for improvement: Here you must be specific and concrete. Global negative statements tend to enter students’ self-image (“I’m a bad writer”). This creates an attitudinal barrier to learning and makes your job harder and less satisfying. Instead, try “The most strategic improvement you could make is…” Again, don’t try to comment on everything. Select only the most essential areas for improvement, and watch the student’s progress on the next draft or paper.
• Typical in-text marks: Provide your students with a legend of your reading marks. Does a straight underline indicate “good stuff”? Does a wavy underline mean something different? Do you use abbreviations in the margins? You can find examples of standard editing marks in many writing guides, such as the Random House Handbook.
• The tone of your comments on student writing is important to students. Avoid sarcasm and jokes — students who take offense are less disposed to learn. Address the student by name before your end-comments, and sign your name after your remarks. Be professional, and bear in mind the sorts of comments that help you with your work.

Plagiarism and Grading

Students can be genuinely uninformed or misinformed about what constitutes plagiarism. In some instances students will knowingly resort to cutting and pasting from unacknowledged sources; a few may even pay for a paper written by someone else; more recently, students may attempt to pass off AI-generated essays as their own work. Your section syllabus should include a clear policy notice about plagiarism and AI so that students cannot miss it, and instructors should work with students to be sure they understand how to incorporate outside sources appropriately.

Plagiarism can be largely prevented by stipulating that larger writing assignments be completed in steps that the students must turn in for instructor review, or that students visit the instructor periodically for a brief but substantive chat about how their projects are developing, or that students turn in their research log and notes at intermediate points in the research process.

All of these strategies also deter students from using AI to substitute for their own critical thinking and writing. In addition, you may want to craft prompts that are specific to the course materials rather than overly-general ones; and you may also require students to provide detailed analysis about specific texts or cases. AI tools like ChatGPT tend to struggle significantly in both of these areas.

For further guidance on preventing academic misconduct, please see Academic Misconduct — Preventing Plagiarism .

You can also find more information and advice about AI technology like ChatGPT at the Berkeley Center for Teaching & Learning.

UC Berkeley has a campus license to use Turnitin to check the originality of students’ papers and to generate feedback to students about their integration of written sources into their papers. The tool is available in bCourses as an add-on to the Grading tool, and in the Assignments tool SpeedGrader. Even with the results of the originality check, instructors are obligated to exercise judgment in determining the degree to which a given use of source material was fair or unfair.

If a GSI does find a very likely instance of plagiarism, the faculty member in charge of the course must be notified and provided with the evidence. The faculty member is responsible for any sanctions against the student. Some faculty members give an automatic failing grade for the assignment or for the course, according to their own course policy. Instances of plagiarism should be reported to the Center for Student Conduct; please see If You Encounter Academic Misconduct .

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SAT Essay Rubric: Full Analysis and Writing Strategies

We're about to dive deep into the details of that least beloved* of SAT sections, the SAT essay . Prepare for a discussion of the SAT essay rubric and how the SAT essay is graded based on that. I'll break down what each item on the rubric means and what you need to do to meet those requirements.

On the SAT, the last section you'll encounter is the (optional) essay. You have 50 minutes to read a passage, analyze the author's argument, and write an essay. If you don’t write on the assignment, plagiarize, or don't use your own original work, you'll get a 0 on your essay. Otherwise, your essay scoring is done by two graders - each one grades you on a scale of 1-4 in Reading, Analysis, and Writing, for a total essay score out of 8 in each of those three areas . But how do these graders assign your writing a numerical grade? By using an essay scoring guide, or rubric.

*may not actually be the least belovèd.

Feature image credit: Day 148: the end of time by Bruce Guenter , used under CC BY 2.0 /Cropped from original. 

UPDATE: SAT Essay No Longer Offered

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In January 2021, the College Board announced that after June 2021, it would no longer offer the Essay portion of the SAT (except at schools who opt in during School Day Testing). It is now no longer possible to take the SAT Essay, unless your school is one of the small number who choose to offer it during SAT School Day Testing.

While most colleges had already made SAT Essay scores optional, this move by the College Board means no colleges now require the SAT Essay. It will also likely lead to additional college application changes such not looking at essay scores at all for the SAT or ACT, as well as potentially requiring additional writing samples for placement.

What does the end of the SAT Essay mean for your college applications? Check out our article on the College Board's SAT Essay decision for everything you need to know.

The Complete SAT Essay Grading Rubric: Item-by-Item Breakdown

Based on the CollegeBoard’s stated Reading, Analysis, and Writing criteria, I've created the below charts (for easier comparison across score points). For the purpose of going deeper into just what the SAT is looking for in your essay, I've then broken down each category further (with examples).

The information in all three charts is taken from the College Board site .

The biggest change to the SAT essay (and the thing that really distinguishes it from the ACT essay) is that you are required to read and analyze a text , then write about your analysis of the author's argument in your essay. Your "Reading" grade on the SAT essay reflects how well you were able to demonstrate your understanding of the text and the author's argument in your essay.

You'll need to show your understanding of the text on two different levels: the surface level of getting your facts right and the deeper level of getting the relationship of the details and the central ideas right.

Surface Level: Factual Accuracy

One of the most important ways you can show you've actually read the passage is making sure you stick to what is said in the text . If you’re writing about things the author didn’t say, or things that contradict other things the author said, your argument will be fundamentally flawed.

For instance, take this quotation from a (made-up) passage about why a hot dog is not a sandwich:

“The fact that you can’t, or wouldn’t, cut a hot dog in half and eat it that way, proves that a hot dog is once and for all NOT a sandwich”

Here's an example of a factually inaccurate paraphrasing of this quotation:

The author builds his argument by discussing how, since hot-dogs are often served cut in half, this makes them different from sandwiches.

The paraphrase contradicts the passage, and so would negatively affect your reading score. Now let's look at an accurate paraphrasing of the quotation:

The author builds his argument by discussing how, since hot-dogs are never served cut in half, they are therefore different from sandwiches.

It's also important to be faithful to the text when you're using direct quotations from the passage. Misquoting or badly paraphrasing the author’s words weakens your essay, because the evidence you’re using to support your points is faulty.

Higher Level: Understanding of Central Ideas

The next step beyond being factually accurate about the passage is showing that you understand the central ideas of the text and how details of the passage relate back to this central idea.

Why does this matter? In order to be able to explain why the author is persuasive, you need to be able to explain the structure of the argument. And you can’t deconstruct the author's argument if you don’t understand the central idea of the passage and how the details relate to it.

Here's an example of a statement about our fictional "hot dogs are sandwiches" passage that shows understanding of the central idea of the passage:

Hodgman’s third primary defense of why hot dogs are not sandwiches is that a hot dog is not a subset of any other type of food. He uses the analogy of asking the question “is cereal milk a broth, sauce, or gravy?” to show that making such a comparison between hot dogs and sandwiches is patently illogical.

The above statement takes one step beyond merely being factually accurate to explain the relation between different parts of the passage (in this case, the relation between the "what is cereal milk?" analogy and the hot dog/sandwich debate).

Of course, if you want to score well in all three essay areas, you’ll need to do more in your essay than merely summarizing the author’s argument. This leads directly into the next grading area of the SAT Essay.

The items covered under this criterion are the most important when it comes to writing a strong essay. You can use well-spelled vocabulary in sentences with varied structure all you want, but if you don't analyze the author's argument, demonstrate critical thinking, and support your position, you will not get a high Analysis score .

Because this category is so important, I've broken it down even further into its two different (but equally important) component parts to make sure everything is as clearly explained as possible.

Part I: Critical Thinking (Logic)

Critical thinking, also known as critical reasoning, also known as logic, is the skill that SAT essay graders are really looking to see displayed in the essay. You need to be able to evaluate and analyze the claim put forward in the prompt. This is where a lot of students may get tripped up, because they think “oh, well, if I can just write a lot, then I’ll do well.” While there is some truth to the assertion that longer essays tend to score higher , if you don’t display critical thinking you won’t be able to get a top score on your essay.

What do I mean by critical thinking? Let's take the previous prompt example:

Write an essay in which you explain how Hodgman builds an argument to persuade his audience that the hot dog cannot, and never should be, considered a sandwich.

An answer to this prompt that does not display critical thinking (and would fall into a 1 or 2 on the rubric) would be something like:

The author argues that hot dogs aren’t sandwiches, which is persuasive to the reader.

While this does evaluate the prompt (by providing a statement that the author's claim "is persuasive to the reader"), there is no corresponding analysis. An answer to this prompt that displays critical thinking (and would net a higher score on the rubric) could be something like this:

The author uses analogies to hammer home his point that hot dogs are not sandwiches. Because the readers will readily believe the first part of the analogy is true, they will be more likely to accept that the second part (that hot dogs aren't sandwiches) is true as well.

See the difference? Critical thinking involves reasoning your way through a situation (analysis) as well as making a judgement (evaluation) . On the SAT essay, however, you can’t just stop at abstract critical reasoning - analysis involves one more crucial step...

Part II: Examples, Reasons, and Other Evidence (Support)

The other piece of the puzzle (apparently this is a tiny puzzle) is making sure you are able to back up your point of view and critical thinking with concrete evidence . The SAT essay rubric says that the best (that is, 4-scoring) essay uses “ relevant, sufficient, and strategically chosen support for claim(s) or point(s) made. ” This means you can’t just stick to abstract reasoning like this:

That explanation is a good starting point, but if you don't back up your point of view with quoted or paraphrased information from the text to support your discussion of the way the author builds his/her argument, you will not be able to get above a 3 on the Analysis portion of the essay (and possibly the Reading portion as well, if you don't show you've read the passage). Let's take a look of an example of how you might support an interpretation of the author's effect on the reader using facts from the passage :

The author’s reference to the Biblical story about King Solomon elevates the debate about hot dogs from a petty squabble between friends to a life-or-death disagreement. The reader cannot help but see the parallels between the two situations and thus find themselves agreeing with the author on this point.

Does the author's reference to King Solomon actually "elevate the debate," causing the reader to agree with the author? From the sentences above, it certainly seems plausible that it might. While your facts do need to be correct,  you get a little more leeway with your interpretations of how the author’s persuasive techniques might affect the audience. As long as you can make a convincing argument for the effect a technique the author uses might have on the reader, you’ll be good.

Say whaaat?! #tbt by tradlands , used under CC BY 2.0 /Cropped and color-adjusted from original.

Did I just blow your mind? Read more about the secrets the SAT doesn’t want you to know in this article . 

Your Writing score on the SAT essay is not just a reflection of your grasp of the conventions of written English (although it is that as well). You'll also need to be focused, organized, and precise.

Because there's a lot of different factors that go into calculating your Writing score, I've divided the discussion of this rubric area into five separate items:

Precise Central Claim

Organization, vocab and word choice, sentence structure, grammar, etc..

One of the most basic rules of the SAT essay is that you need to express a clear opinion on the "assignment" (the prompt) . While in school (and everywhere else in life, pretty much) you’re encouraged to take into account all sides of a topic, it behooves you to NOT do this on the SAT essay. Why? Because you only have 50 minutes to read the passage, analyze the author's argument, and write the essay, there's no way you can discuss every single way in which the author builds his/her argument, every single detail of the passage, or a nuanced argument about what works and what doesn't work.

Instead, I recommend focusing your discussion on a few key ways the author is successful in persuading his/her audience of his/her claim.

Let’s go back to the assignment we've been using as an example throughout this article:

"Write an essay in which you explain how Hodgman builds an argument to persuade his audience that the hot dog cannot, and never should be, considered a sandwich."

Your instinct (trained from many years of schooling) might be to answer:

"There are a variety of ways in which the author builds his argument."

This is a nice, vague statement that leaves you a lot of wiggle room. If you disagree with the author, it's also a way of avoiding having to say that the author is persuasive. Don't fall into this trap! You do not necessarily have to agree with the author's claim in order to analyze how the author persuades his/her readers that the claim is true.

Here's an example of a precise central claim about the example assignment:

The author effectively builds his argument that hot dogs are not sandwiches by using logic, allusions to history and mythology, and factual evidence.

In contrast to the vague claim that "There are a variety of ways in which the author builds his argument," this thesis both specifies what the author's argument is and the ways in which he builds the argument (that you'll be discussing in the essay).

While it's extremely important to make sure your essay has a clear point of view, strong critical reasoning, and support for your position, that's not enough to get you a top score. You need to make sure that your essay  "demonstrates a deliberate and highly effective progression of ideas both within paragraphs and throughout the essay."

What does this mean? Part of the way you can make sure your essay is "well organized" has to do with following standard essay construction points. Don't write your essay in one huge paragraph; instead, include an introduction (with your thesis stating your point of view), body paragraphs (one for each example, usually), and a conclusion. This structure might seem boring, but it really works to keep your essay organized, and the more clearly organized your essay is, the easier it will be for the essay grader to understand your critical reasoning.

The second part of this criteria has to do with keeping your essay focused, making sure it contains "a deliberate and highly effective progression of ideas." You can't just say "well, I have an introduction, body paragraphs, and a conclusion, so I guess my essay is organized" and expect to get a 4/4 on your essay. You need to make sure that each paragraph is also organized . Recall the sample prompt:

“Write an essay in which you explain how Hodgman builds an argument to persuade his audience that the hot dog cannot, and never should be, considered a sandwich.”

And our hypothetical thesis:

Let's say that you're writing the paragraph about the author's use of logic to persuade his reader that hot dogs aren't sandwiches. You should NOT just list ways that the author is logical in support of his claim, then explain why logic in general is an effective persuasive device. While your points might all be valid, your essay would be better served by connecting each instance of logic in the passage with an explanation of how that example of logic persuades the reader to agree with the author.

Above all, it is imperative that you make your thesis (your central claim) clear in the opening paragraph of your essay - this helps the grader keep track of your argument. There's no reason you’d want to make following your reasoning more difficult for the person grading your essay (unless you’re cranky and don’t want to do well on the essay. Listen, I don’t want to tell you how to live your life).

In your essay, you should use a wide array of vocabulary (and use it correctly). An essay that scores a 4 in Writing on the grading rubric “demonstrates a consistent use of precise word choice.”

You’re allowed a few errors, even on a 4-scoring essay, so you can sometimes get away with misusing a word or two. In general, though, it’s best to stick to using words you are certain you not only know the meaning of, but also know how to use. If you’ve been studying up on vocab, make sure you practice using the words you’ve learned in sentences, and have those sentences checked by someone who is good at writing (in English), before you use those words in an SAT essay.

Creating elegant, non-awkward sentences is the thing I struggle most with under time pressure. For instance, here’s my first try at the previous sentence: “Making sure a sentence structure makes sense is the thing that I have the most problems with when I’m writing in a short amount of time” (hahaha NOPE - way too convoluted and wordy, self). As another example, take a look at these two excerpts from the hypothetical essay discussing how the author persuaded his readers that a hot dog is not a sandwich:

Score of 2: "The author makes his point by critiquing the argument against him. The author pointed out the logical fallacy of saying a hot dog was a sandwich because it was meat "sandwiched" between two breads. The author thus persuades the reader his point makes sense to be agreed with and convinces them."

The above sentences lack variety in structure (they all begin with the words "the author"), and the last sentence has serious flaws in its structure (it makes no sense).

Score of 4: "The author's rigorous examination of his opponent's position invites the reader, too, to consider this issue seriously. By laying out his reasoning, step by step, Hodgman makes it easy for the reader to follow along with his train of thought and arrive at the same destination that he has. This destination is Hodgman's claim that a hot dog is not a sandwich."

The above sentences demonstrate variety in sentence structure (they don't all begin with the same word and don't have the same underlying structure) that presumably forward the point of the essay.

In general, if you're doing well in all the other Writing areas, your sentence structures will also naturally vary. If you're really worried that your sentences are not varied enough, however, my advice for working on "demonstrating meaningful variety in sentence structure" (without ending up with terribly worded sentences) is twofold:

• Read over what you’ve written before you hand it in and change any wordings that seem awkward, clunky, or just plain incorrect.
• As you’re doing practice essays, have a friend, family member, or teacher who is good at (English) writing look over your essays and point out any issues that arise. 

This part of the Writing grade is all about the nitty gritty details of writing: grammar, punctuation, and spelling . It's rare that an essay with serious flaws in this area can score a 4/4 in Reading, Analysis, or Writing, because such persistent errors often "interfere with meaning" (that is, persistent errors make it difficult for the grader to understand what you're trying to get across).

On the other hand, if they occur in small quantities, grammar/punctuation/spelling errors are also the things that are most likely to be overlooked. If two essays are otherwise of equal quality, but one writer misspells "definitely" as "definately" and the other writer fails to explain how one of her examples supports her thesis, the first writer will receive a higher essay score. It's only when poor grammar, use of punctuation, and spelling start to make it difficult to understand your essay that the graders start penalizing you.

My advice for working on this rubric area is the same advice as for sentence structure: look over what you’ve written to double check for mistakes, and ask someone who’s good at writing to look over your practice essays and point out your errors. If you're really struggling with spelling, simply typing up your (handwritten) essay into a program like Microsoft Word and running spellcheck can alert you to problems. We've also got a great set of articles up on our blog about SAT Writing questions that may help you better understand any grammatical errors you are making.

How Do I Use The SAT Essay Grading Rubric?

Now that you understand the SAT essay rubric, how can you use it in your SAT prep? There are a couple of different ways.

Use The SAT Essay Rubric To...Shape Your Essays

Since you know what the SAT is looking for in an essay, you can now use that knowledge to guide what you write about in your essays!

A tale from my youth: when I was preparing to take the SAT for the first time, I did not really know what the essay was looking for, and assumed that since I was a good writer, I’d be fine.

Not true! The most important part of the SAT essay is using specific examples from the passage and explaining how they convince the reader of the author's point. By reading this article and realizing there's more to the essay than "being a strong writer," you’re already doing better than high school me.

Change the object in that girl’s left hand from a mirror to a textbook and you have a pretty good sketch of what my junior year of high school looked like.

Use The SAT Essay Rubric To...Grade Your Practice Essays

The SAT can’t exactly give you an answer key to the essay. Even when an example of an essay that scored a particular score is provided, that essay will probably use different examples than you did, make different arguments, maybe even argue different interpretations of the text...making it difficult to compare the two. The SAT essay rubric is the next best thing to an answer key for the essay - use it as a lens through which to view and assess your essay.

Of course, you don’t have the time to become an expert SAT essay grader - that’s not your job. You just have to apply the rubric as best as you can to your essays and work on fixing your weak areas . For the sentence structure, grammar, usage, and mechanics stuff I highly recommend asking a friend, teacher, or family member who is really good at (English) writing to take a look over your practice essays and point out the mistakes.

If you really want custom feedback on your practice essays from experienced essay graders, may I also suggest the PrepScholar test prep platform ? I manage the essay grading and so happen to know quite a bit about the essay part of this platform, which gives you both an essay grade and custom feedback for each essay you complete. Learn more about how it all works here .

What’s Next?

Are you so excited by this article that you want to read even more articles on the SAT essay? Of course you are. Don't worry, I’ve got you covered. Learn how to write an SAT essay step-by-step and read about the 6 types of SAT essay prompts .

Want to go even more in depth with the SAT essay? We have a complete list of past SAT essay prompts as well as tips and strategies for how to get a 12 on the SAT essay .

Still not satisfied? Maybe a five-day free trial of our very own PrepScholar test prep platform (which includes essay practice and feedback) is just what you need.

Trying to figure out whether the old or new SAT essay is better for you? Take a look at our article on the new SAT essay assignment to find out!

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Laura graduated magna cum laude from Wellesley College with a BA in Music and Psychology, and earned a Master's degree in Composition from the Longy School of Music of Bard College. She scored 99 percentile scores on the SAT and GRE and loves advising students on how to excel in high school.

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The Beginner's Guide to Writing an Essay | Steps & Examples

An academic essay is a focused piece of writing that develops an idea or argument using evidence, analysis, and interpretation.

There are many types of essays you might write as a student. The content and length of an essay depends on your level, subject of study, and course requirements. However, most essays at university level are argumentative — they aim to persuade the reader of a particular position or perspective on a topic.

The essay writing process consists of three main stages:

• Preparation: Decide on your topic, do your research, and create an essay outline.
• Writing : Set out your argument in the introduction, develop it with evidence in the main body, and wrap it up with a conclusion.
• Revision:  Check your essay on the content, organization, grammar, spelling, and formatting of your essay.

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Table of contents

Essay writing process, preparation for writing an essay, writing the introduction, writing the main body, writing the conclusion, essay checklist, lecture slides, frequently asked questions about writing an essay.

The writing process of preparation, writing, and revisions applies to every essay or paper, but the time and effort spent on each stage depends on the type of essay .

For example, if you’ve been assigned a five-paragraph expository essay for a high school class, you’ll probably spend the most time on the writing stage; for a college-level argumentative essay , on the other hand, you’ll need to spend more time researching your topic and developing an original argument before you start writing.

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Before you start writing, you should make sure you have a clear idea of what you want to say and how you’re going to say it. There are a few key steps you can follow to make sure you’re prepared:

• Understand your assignment: What is the goal of this essay? What is the length and deadline of the assignment? Is there anything you need to clarify with your teacher or professor?
• Define a topic: If you’re allowed to choose your own topic , try to pick something that you already know a bit about and that will hold your interest.
• Do your research: Read  primary and secondary sources and take notes to help you work out your position and angle on the topic. You’ll use these as evidence for your points.
• Come up with a thesis:  The thesis is the central point or argument that you want to make. A clear thesis is essential for a focused essay—you should keep referring back to it as you write.
• Create an outline: Map out the rough structure of your essay in an outline . This makes it easier to start writing and keeps you on track as you go.

Once you’ve got a clear idea of what you want to discuss, in what order, and what evidence you’ll use, you’re ready to start writing.

The introduction sets the tone for your essay. It should grab the reader’s interest and inform them of what to expect. The introduction generally comprises 10–20% of the text.

1. Hook your reader

The first sentence of the introduction should pique your reader’s interest and curiosity. This sentence is sometimes called the hook. It might be an intriguing question, a surprising fact, or a bold statement emphasizing the relevance of the topic.

Let’s say we’re writing an essay about the development of Braille (the raised-dot reading and writing system used by visually impaired people). Our hook can make a strong statement about the topic:

The invention of Braille was a major turning point in the history of disability.

2. Provide background on your topic

Next, it’s important to give context that will help your reader understand your argument. This might involve providing background information, giving an overview of important academic work or debates on the topic, and explaining difficult terms. Don’t provide too much detail in the introduction—you can elaborate in the body of your essay.

3. Present the thesis statement

Next, you should formulate your thesis statement— the central argument you’re going to make. The thesis statement provides focus and signals your position on the topic. It is usually one or two sentences long. The thesis statement for our essay on Braille could look like this:

As the first writing system designed for blind people’s needs, Braille was a groundbreaking new accessibility tool. It not only provided practical benefits, but also helped change the cultural status of blindness.

4. Map the structure

In longer essays, you can end the introduction by briefly describing what will be covered in each part of the essay. This guides the reader through your structure and gives a preview of how your argument will develop.

The invention of Braille marked a major turning point in the history of disability. The writing system of raised dots used by blind and visually impaired people was developed by Louis Braille in nineteenth-century France. In a society that did not value disabled people in general, blindness was particularly stigmatized, and lack of access to reading and writing was a significant barrier to social participation. The idea of tactile reading was not entirely new, but existing methods based on sighted systems were difficult to learn and use. As the first writing system designed for blind people’s needs, Braille was a groundbreaking new accessibility tool. It not only provided practical benefits, but also helped change the cultural status of blindness. This essay begins by discussing the situation of blind people in nineteenth-century Europe. It then describes the invention of Braille and the gradual process of its acceptance within blind education. Subsequently, it explores the wide-ranging effects of this invention on blind people’s social and cultural lives.

Write your essay introduction

The body of your essay is where you make arguments supporting your thesis, provide evidence, and develop your ideas. Its purpose is to present, interpret, and analyze the information and sources you have gathered to support your argument.

Length of the body text

The length of the body depends on the type of essay. On average, the body comprises 60–80% of your essay. For a high school essay, this could be just three paragraphs, but for a graduate school essay of 6,000 words, the body could take up 8–10 pages.

Paragraph structure

To give your essay a clear structure , it is important to organize it into paragraphs . Each paragraph should be centered around one main point or idea.

That idea is introduced in a  topic sentence . The topic sentence should generally lead on from the previous paragraph and introduce the point to be made in this paragraph. Transition words can be used to create clear connections between sentences.

After the topic sentence, present evidence such as data, examples, or quotes from relevant sources. Be sure to interpret and explain the evidence, and show how it helps develop your overall argument.

Lack of access to reading and writing put blind people at a serious disadvantage in nineteenth-century society. Text was one of the primary methods through which people engaged with culture, communicated with others, and accessed information; without a well-developed reading system that did not rely on sight, blind people were excluded from social participation (Weygand, 2009). While disabled people in general suffered from discrimination, blindness was widely viewed as the worst disability, and it was commonly believed that blind people were incapable of pursuing a profession or improving themselves through culture (Weygand, 2009). This demonstrates the importance of reading and writing to social status at the time: without access to text, it was considered impossible to fully participate in society. Blind people were excluded from the sighted world, but also entirely dependent on sighted people for information and education.

See the full essay example

The conclusion is the final paragraph of an essay. It should generally take up no more than 10–15% of the text . A strong essay conclusion :

• Returns to your thesis
• Ties together your main points
• Shows why your argument matters

A great conclusion should finish with a memorable or impactful sentence that leaves the reader with a strong final impression.

What not to include in a conclusion

To make your essay’s conclusion as strong as possible, there are a few things you should avoid. The most common mistakes are:

• Including new arguments or evidence
• Undermining your arguments (e.g. “This is just one approach of many”)
• Using concluding phrases like “To sum up…” or “In conclusion…”

Braille paved the way for dramatic cultural changes in the way blind people were treated and the opportunities available to them. Louis Braille’s innovation was to reimagine existing reading systems from a blind perspective, and the success of this invention required sighted teachers to adapt to their students’ reality instead of the other way around. In this sense, Braille helped drive broader social changes in the status of blindness. New accessibility tools provide practical advantages to those who need them, but they can also change the perspectives and attitudes of those who do not.

Write your essay conclusion

Checklist: Essay

My essay follows the requirements of the assignment (topic and length ).

My introduction sparks the reader’s interest and provides any necessary background information on the topic.

My introduction contains a thesis statement that states the focus and position of the essay.

I use paragraphs to structure the essay.

I use topic sentences to introduce each paragraph.

Each paragraph has a single focus and a clear connection to the thesis statement.

I make clear transitions between paragraphs and ideas.

My conclusion doesn’t just repeat my points, but draws connections between arguments.

I don’t introduce new arguments or evidence in the conclusion.

I have given an in-text citation for every quote or piece of information I got from another source.

I have included a reference page at the end of my essay, listing full details of all my sources.

My citations and references are correctly formatted according to the required citation style .

My essay has an interesting and informative title.

I have followed all formatting guidelines (e.g. font, page numbers, line spacing).

Your essay meets all the most important requirements. Our editors can give it a final check to help you submit with confidence.

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An essay is a focused piece of writing that explains, argues, describes, or narrates.

In high school, you may have to write many different types of essays to develop your writing skills.

Academic essays at college level are usually argumentative : you develop a clear thesis about your topic and make a case for your position using evidence, analysis and interpretation.

The structure of an essay is divided into an introduction that presents your topic and thesis statement , a body containing your in-depth analysis and arguments, and a conclusion wrapping up your ideas.

The structure of the body is flexible, but you should always spend some time thinking about how you can organize your essay to best serve your ideas.

Your essay introduction should include three main things, in this order:

• An opening hook to catch the reader’s attention.
• Relevant background information that the reader needs to know.
• A thesis statement that presents your main point or argument.

The length of each part depends on the length and complexity of your essay .

A thesis statement is a sentence that sums up the central point of your paper or essay . Everything else you write should relate to this key idea.

The thesis statement is essential in any academic essay or research paper for two main reasons:

• It gives your writing direction and focus.
• It gives the reader a concise summary of your main point.

Without a clear thesis statement, an essay can end up rambling and unfocused, leaving your reader unsure of exactly what you want to say.

A topic sentence is a sentence that expresses the main point of a paragraph . Everything else in the paragraph should relate to the topic sentence.

At college level, you must properly cite your sources in all essays , research papers , and other academic texts (except exams and in-class exercises).

Add a citation whenever you quote , paraphrase , or summarize information or ideas from a source. You should also give full source details in a bibliography or reference list at the end of your text.

The exact format of your citations depends on which citation style you are instructed to use. The most common styles are APA , MLA , and Chicago .

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Criteria for Grading Essays

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How to Grade Essays Faster | My Top 10 Grading Tips and Tricks

Are you looking for ways to grade essays faster? I get it. Grading essays can be a daunting task for ELA teachers. Following these essay grading tips and tricks can save you time and energy on grading without giving up quality feedback to your students.

Are you Googling “How to Grade Essays Faster” because that never-ending pile of essays is starting to haunt you? (Yup. I’ve been there.) Teachers of all disciplines understand the work-life struggle of the profession. Throw in 60, 80, 100, or more essays, and you’re likely giving up evenings and weekends until that pile is gone.

Truthfully, while there are many aspects of being an ELA teacher I love , grading essays doesn’t quite make the list. However, it’s a necessary aspect of the ELA classroom to hold students accountable and help them improve. But what if I told you there were some tips and tricks you could use to make grading much easier and faster? Because there are. That means saying goodbye to spending your weekends lost in a sea of student essays. It means no more living at school the weeks following students turning in an essay. Instead, prepare to celebrate getting your time (and sanity) back.

Start By Reframing Your Definition of Grading an Essay

Before you can implement my time-saving grading tips and tricks, you need to be willing to shift your mindset regarding grading. Afterall, where does it say we have to give up hours upon hours of our time to get it done? It’s time to start redefining and reframing what it even means to grade an essay.

The key to reframing your definition (and, therefore, expectations) about grading student essays is thinking about helping your students, not correcting them. Of course, there’s nothing wrong with pointing out grammatical and structural errors. However, it’s essential to focus on leaving constructive feedback that can help students improve their craft. Now, how can that be done without spending hours filling the margins with comments?

I’m glad you asked.

Grade Essays Faster with These Tips and Tricks

Since we can’t avoid grading altogether, I hope these tips and tricks can help you grade essays faster and increase student performance. And while I love rubrics, and they can certainly save time grading, they aren’t your only option. So here are eight other tips and tricks to try.

Tip 1: Get Focused.

This has been one of my biggest grading time-savers. And I’m not just talking about limiting your distractions while you grade (more on that in a minute), but I mean narrow your focus on what it is you’re grading. Often, we spend so much time correcting every single grammatical mistake that we miss opportunities to give feedback on the skills we’re currently teaching. Try to focus your feedback on the specific skills your students just learned, like writing a strong thesis, embedding quotations, providing supporting evidence, or transitioning from paragraph to paragraph.

Taking this approach to grading will lead to less overwhelm for both you and your students. In fact, your students will have a clearer understanding of what they need to continue working on. Just be sure to make the specific skill (or skills) that you’re looking for (and grading) clear at the start of the assignment.

Tip 2: Give Student Choice.

Let’s say you’ve been working on a particular skill for a few weeks and have had your students practice using various writing prompts. Instead of feeling forced to provide feedback on every written response, let your students choose their best work for you to grade. I find that this grading technique works best on shorter assignments.

However, that doesn’t mean you can’t apply this to longer essays. If you’ve been working on a certain aspect of essay writing, you can let your students pick the paragraph from their essay they want you to grade. Either way, encourage your students to select the writing they believe best represents their skills and knowledge for the task at hand. Not only will this cut down on your grading time, but it will also encourage a sense of ownership over students’ grades.

Tip 3: Check Mark Revisions.

The checkmark revision approach is a great way to put more ownership and accountability on your students. Instead of grading a student essay by telling them exactly what to fix, turn it into a learning opportunity! As you review the student essay, simply use check marks to note areas that need to be corrected or could be improved. Then, give students time in class to work through their essays, identifying what the check mark indicates and making proper adjustments.

However, make sure your students have a clear list (or rubric) outlining the expectations for the essay. They can use this list to refer to when trying to figure out what revisions they need to make to improve their work. Alternatively, if you’re not ready to jump straight to checkmarks, you can create a comment code that provides a bit more guidance for students without taking up a lot of your time.

Tip 4: Use Conferences.

Have you ever thought about holding student-teacher conferences in lieu of providing written feedback? If not, you totally should! Students are so used to teachers doing the heavy lifting for them. Alternatively, turn the revision process into an active experience for them. Instead of going through the essay on your own, marking errors, and making suggestions, talk it through with each student.

When it comes to student-teacher conferences, make sure to set a reasonable time limit for each conference to ensure you’re not spending days conducting these meetings. Just make sure your time limit is enough to review their written work and provide verbal feedback. I require each student to mark their essay as we review it so they know exactly what to work on. While I’m more than willing to answer questions, I encourage students to make an appointment with me after school if they need extensive help.

Tip 5: Skim and Review

I can’t be the only one who wants to shed a tear of frustration when I watch a student toss a comment-covered essay right into recycling. So, instead of spending hours leaving comments on each and every student’s essay, skim through their rough drafts while noting common errors. That way, instead of waiting until students turn in their final draft to address their mistakes, you can review common errors in class before they submit a final draft.  Trust me. This will make grading those final drafts much easier– especially if you have a clear rubric or grading checklist to follow.

This is a great way to review common grammar mistakes that we don’t always take time to teach at the secondary level. It’s also a great way for you to address aspects of your target skills that students are still struggling with. Lastly, I find this shift in focus from the final product to the revision process helps students better understand (and, perhaps, appreciate) the writing process as more than a grade but a learning experience.

Tip 6: Leave a Comment at the End.

This is a huge time-saver, and it’s pretty simple. Although be warned, it might challenge you to go against all of your grading instincts! We’re so used to marking every single error or making all the suggestions with student essays. But, students are often overwhelmed by the mere look of ink-filled margins. What if, instead, you save your comments for the end and limit yourself to one or two celebrations and one or two areas for improvement? This is a simple yet clear way to provide feedback to your students on a final draft, especially if you’ve already gone through a more in-depth revision process from draft to draft.

Okay fine. If you must, you can fix the grammatical errors using a red pen, but save your energy by avoiding writing the same thing over and over again. If you’ve marked the same error three times, let that be it. If they don’t get it after three examples, they should probably make time to see you after school.

Tip 7: Grade Paragraph-by-Paragraph.

Instead of feeling overwhelmed by grading a tall stack of essays, consider breaking your grading– and writing– process down by paragraph. Assessing a single paragraph is far more time-friendly than an entire essay. So, have your students work on their essay paragraph by paragraph, turning each component in as they are completed. That way, you can provide quick and effective feedback they can apply when revising that paragraph and writing any future paragraphs for the final piece. Take it a step further by breaking it down into specific skills and components of an essay. For example, maybe you grade students’ thesis statements and supporting evidence as two separate steps. Grading each of these components takes far less time and, by the time students put it all together for their final essay, their writing should be much more polished and easier to grade. Plus, since you gave immediate feedback throughout the process, you don’t have to worry about spending hours writing comments throughout their entire paper. Instead, give the students a “final” grade using a simple rubric. And since you gave them opportunities to apply your feedback throughout the writing process, you can even have an “improvement” section of the rubric. This is an easy way to acknowledge student effort and progress with their writing.

Tip 8: Mark-up a Model Paragraph.

Take some of the work off your plate by grading a paragraph and letting the students do the rest. (You read that right.) Here’s how it works: instead of grading an entire paper, rewriting the same comments paragraph after paragraph, just mark up a model paragraph. Alternatively, you can grade the intro and conclusion paragraphs, while marking up one body paragraph as a model for the remaining body paragraphs. Give them a score on a smaller scale, such as 1 to 10, as a phase one grade.

Then, set aside time in class to have your students review your model paragraph and use it to mark up the rest of their paper before fixing their errors. I like giving them time in class to do this so they can ask me any clarifying questions in real-time. Once they turn in their revised essay, you can give them a phase two grade without having to worry about diving too deep into feedback. A comment per paragraph or page would suffice.

More Teacher Tricks to Help You Grade Essays Faster

T ip 9: set realistic goals..

Just like we set our students up for success, set yourself up for success too. If you know you can’t get through a class worth of essays during your prep period, don’t set it as your goal. You’ll only feel overwhelmed, disappointed, and discouraged when you only make it through half of your stack. Instead, only tackle your grading when you have the time to do so, and set realistic goals when you do. Grading more essays than you planned on? You feel on top of the world. Grading fewer? You feel like it’s neverending.

Tip 10: Avoid Distractions.

Instagram? Facebook? I know how easy it is to wander over to your phone and take a scroll break. But, we both know a few minutes can turn into an hour real fast. So, do yourself a favor, and when you know it’s time to grade a stack of essays, free your space of any distractions and set a timer. You’d be surprised by how much you can get done in an hour of uninterrupted essay grading.

The bottom line is that grading is an unavoidable aspect of being an ELA teacher. However, I hope one or more of these ideas can help you grade essays faster. The truth is, with these essay grading tips and tricks, you won’t only grade essays more efficiently, but you’ll provide better feedback for students as well. In fact, the longer we take to grade (or procrastinate grading) those essays, the less effective the feedback is for students, period.

So, here’s to more effective grading– faster!

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Center for Teaching

Grading student work.

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What Purposes Do Grades Serve?

Developing grading criteria, making grading more efficient, providing meaningful feedback to students.

• Maintaining Grading Consistency in Multi-Sectioned Courses

Minimizing Student Complaints about Grading

Barbara Walvoord and Virginia Anderson identify the multiple roles that grades serve:

• as an  evaluation of student work;
• as a  means of communicating to students, parents, graduate schools, professional schools, and future employers about a student’s  performance in college and potential for further success;
• as a  source of motivation to students for continued learning and improvement;
• as a  means of organizing a lesson, a unit, or a semester in that grades mark transitions in a course and bring closure to it.

Additionally, grading provides students with feedback on their own learning , clarifying for them what they understand, what they don’t understand, and where they can improve. Grading also provides feedback to instructors on their students’ learning , information that can inform future teaching decisions.

Why is grading often a challenge? Because grades are used as evaluations of student work, it’s important that grades accurately reflect the quality of student work and that student work is graded fairly. Grading with accuracy and fairness can take a lot of time, which is often in short supply for college instructors. Students who aren’t satisfied with their grades can sometimes protest their grades in ways that cause headaches for instructors. Also, some instructors find that their students’ focus or even their own focus on assigning numbers to student work gets in the way of promoting actual learning.

Given all that grades do and represent, it’s no surprise that they are a source of anxiety for students and that grading is often a stressful process for instructors.

Incorporating the strategies below will not eliminate the stress of grading for instructors, but it will decrease that stress and make the process of grading seem less arbitrary — to instructors and students alike.

Source: Walvoord, B. & V. Anderson (1998).  Effective Grading: A Tool for Learning and Assessment . San Francisco : Jossey-Bass.

• Consider the different kinds of work you’ll ask students to do for your course.  This work might include: quizzes, examinations, lab reports, essays, class participation, and oral presentations.
• For the work that’s most significant to you and/or will carry the most weight, identify what’s most important to you.  Is it clarity? Creativity? Rigor? Thoroughness? Precision? Demonstration of knowledge? Critical inquiry?
• Transform the characteristics you’ve identified into grading criteria for the work most significant to you, distinguishing excellent work (A-level) from very good (B-level), fair to good (C-level), poor (D-level), and unacceptable work.

Developing criteria may seem like a lot of work, but having clear criteria can

• save time in the grading process
• make that process more consistent and fair
• communicate your expectations to students
• help you to decide what and how to teach
• help students understand how their work is graded

Sample criteria are available via the following link.

• Analytic Rubrics from the CFT’s September 2010 Virtual Brownbag
• Create assignments that have clear goals and criteria for assessment.  The better students understand what you’re asking them to do the more likely they’ll do it!
• letter grades with pluses and minuses (for papers, essays, essay exams, etc.)
• 100-point numerical scale (for exams, certain types of projects, etc.)
• check +, check, check- (for quizzes, homework, response papers, quick reports or presentations, etc.)
• pass-fail or credit-no-credit (for preparatory work)
• Limit your comments or notations to those your students can use for further learning or improvement.
• Spend more time on guiding students in the process of doing work than on grading it.
• For each significant assignment, establish a grading schedule and stick to it.

Light Grading – Bear in mind that not every piece of student work may need your full attention. Sometimes it’s sufficient to grade student work on a simplified scale (minus / check / check-plus or even zero points / one point) to motivate them to engage in the work you want them to do. In particular, if you have students do some small assignment before class, you might not need to give them much feedback on that assignment if you’re going to discuss it in class.

Multiple-Choice Questions – These are easy to grade but can be challenging to write. Look for common student misconceptions and misunderstandings you can use to construct answer choices for your multiple-choice questions, perhaps by looking for patterns in student responses to past open-ended questions. And while multiple-choice questions are great for assessing recall of factual information, they can also work well to assess conceptual understanding and applications.

Test Corrections – Giving students points back for test corrections motivates them to learn from their mistakes, which can be critical in a course in which the material on one test is important for understanding material later in the term. Moreover, test corrections can actually save time grading, since grading the test the first time requires less feedback to students and grading the corrections often goes quickly because the student responses are mostly correct.

Spreadsheets – Many instructors use spreadsheets (e.g. Excel) to keep track of student grades. A spreadsheet program can automate most or all of the calculations you might need to perform to compute student grades. A grading spreadsheet can also reveal informative patterns in student grades. To learn a few tips and tricks for using Excel as a gradebook take a look at this sample Excel gradebook .

• Use your comments to teach rather than to justify your grade, focusing on what you’d most like students to address in future work.
• Link your comments and feedback to the goals for an assignment.
• Comment primarily on patterns — representative strengths and weaknesses.
• Avoid over-commenting or “picking apart” students’ work.
• In your final comments, ask questions that will guide further inquiry by students rather than provide answers for them.

Maintaining Grading Consistency in Multi-sectioned Courses (for course heads)

• Communicate your grading policies, standards, and criteria to teaching assistants, graders, and students in your course.
• Discuss your expectations about all facets of grading (criteria, timeliness, consistency, grade disputes, etc) with your teaching assistants and graders.
• Encourage teaching assistants and graders to share grading concerns and questions with you.
• have teaching assistants grade assignments for students not in their section or lab to curb favoritism (N.B. this strategy puts the emphasis on the evaluative, rather than the teaching, function of grading);
• have each section of an exam graded by only one teaching assistant or grader to ensure consistency across the board;
• have teaching assistants and graders grade student work at the same time in the same place so they can compare their grades on certain sections and arrive at consensus.
• Include your grading policies, procedures, and standards in your syllabus.
• Avoid modifying your policies, including those on late work, once you’ve communicated them to students.
• Distribute your grading criteria to students at the beginning of the term and remind them of the relevant criteria when assigning and returning work.
• Keep in-class discussion of grades to a minimum, focusing rather on course learning goals.

For a comprehensive look at grading, see the chapter “Grading Practices” from Barbara Gross Davis’s  Tools for Teaching.

Teaching Guides

• Online Course Development Resources
• Principles & Frameworks
• Pedagogies & Strategies
• Reflecting & Assessing
• Challenges & Opportunities
• Populations & Contexts

Quick Links

• Services for Departments and Schools
• Examples of Online Instructional Modules

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15 What Are We Being Graded On?

Jeremy Levine

Grades are an (often) unmentioned but all-powerful force in the writing classroom. We know that grades mean a great deal to students, motivating many of their decisions in the classroom. [1] But because grading is uncomfortable and inexact work, we rarely discuss it openly in class — a silence that can leave students in the dark about the standards toward which they should write. This essay is a guide to that imprecision; it seeks to lay out for students the different considerations that go into a grading policy so that they can read assignments and rubrics with a more discerning eye. In showing students the many ways that grading standards shift across writing situations, this essay will help students adjust to new and even unclear sets of standards as well as equip students to assess their own writing on terms other than grades.

I’ve heard from students over the years about papers they’d been proud of that got bad grades. Usually, these stories involve a lot of time and energy that a student invested in the paper, learning quite a lot along the way and creating something better than they thought they could when they started — only for that work to not be rewarded with a good grade. When I ask my students why they might have gotten the bad grade, they usually say something to the effect of “I didn’t write what they were looking for.”

After hearing a few of these stories, I decided to try to do something about it. As the writing teacher, I figured that it was my job to help my students understand what their instructors were looking for, which meant showing them what a teacher thinks about when grading writing. To do this, I decided that we would take a day out of each of our units, right before papers were due, to write our grading rubric as a class. This process would supposedly help students think through the different issues that teachers come across when grading papers, so that they didn’t end up with so many grading miscommunications—and it would leave everyone perfectly clear on the standards for that particular essay. Since we were having the conversation at the end of the writing process, we would have a common understanding of what constituted quality for that particular assignment based on what we covered in class. We would quickly arrive at a happy consensus.

It only took two papers for this idea to completely implode. For that second assignment, my students wrote responses to music albums. Each student picked an album they liked and wrote an essay that extended its meaning or put it in a new perspective. It was a vague prompt — my hope was that we would get a bunch of different kinds of papers and everyone would see that each writer in the class had a different writing approach. Even though parts of that assignment idea still hold up, one student from that class explains why these different approaches caused a problem when it came to grading: “I think the main issue with a student-designed rubric was that it wasn’t exactly clear what we were supposed to focus on in our writing….There was a lack of direction with the essay that came from the lack of rubric, it was very challenging to write an essay on a vague prompt without a rubric.” Based on this student’s report, I can see that the students knew that designing the rubric would eventually require us to reach some standards — and writing the paper without knowing the standards would mean that there was a chance that they would do it wrong.

That’s exactly what happened. On rubric day, we ended up with a bunch of writing-related words up on the whiteboard (“Style!” “Purpose!” “Audience!” “Organization!”), but no consensus around what counted as success in any of those categories. The different approaches the students took made it impossible to assess everyone’s writing fairly under one definition of these words. Some definitions were too narrow, like “a well-organized paper talks about the artist’s background first, and then this album specifically,” which is not necessarily true. If someone wrote about how the album makes them feel, then the artist’s background may not be important. It would be unfair to grade that essay under that definition. On the other side of the spectrum, the definition could also get too broad, like “A well-organized paper is easy to understand.” How do we judge that? What’s easy for one reader to understand might not be easy for another, which could lead to students to be surprised by a bad grade when they thought that their paper was easy to follow.

We went in circles like this for a long time and eventually threw out the idea of the class-designed rubric. The student who first proposed we change our approach explained that “Introducing [the rubric] after my paper was almost complete meant many different interpretations could take place in both writing style, organization, and key aspects of the paper, [which] made me feel lost and incorrect in the way my paper was written.” She wanted to change our strategy to avoid these kinds of feelings. I did, too; anyone who read her paper would tell you that it was great — definitely not incorrect. She helped me realize that having everyone advocate for a definition of something like organization or style meant that I was actually inviting them to impose that definition on everyone else, just like the professors giving students those bad grades had done. We ended up caught between two equally bad options: come up with clear, narrow definitions that would fail to recognize the quality of some essays in the class, or come up with criteria that are so broad (such as “the organization of the paper makes sense”) that they don’t actually guide the writing or grading process.

This class session turned out to exemplify the complex issue at the heart of grading writing: In order to assess something, you have to define it and have a list of criteria you use to execute your judgment, but writing is complex and often defies that easy categorization. If a teacher’s definition of good writing is rather particular, or is somehow unclear to you, then high-quality writing that does not match that definition is liable to get a bad score. This issue is the subject of this essay: I am going to focus on the reason why different definitions of writing are perfectly natural, even if they do make grading complicated. With that knowledge, we can approach some solutions — methods for reading expectations critically, as well as some ways that both teachers and students can leverage the judgment of writing in a way to make it more inclusive and helpful for your learning. I don’t mean to imply that writing for a grade is the best way to grow as a writer, or that it is good that grades can have such a strong influence on writing (I don’t think that it is — but that’s a conversation for another time). My goal with this essay is to explain why the grading of writing happens a certain way, so that you can decide how, when, or why you choose to meet these expectations.

Defining “Good Writing”

I write every day. I write academic essays, grocery lists, journal entries, text messages to my friends, among many other things. The metric I use to assess “good writing” in each of these situations changes dramatically — a well-written grocery list helps me move through the store efficiently, whereas a well-written journal entry helps me process my thoughts and feelings about the day. (If I’m feeling sad, listing off vegetables is not going to help me feel better.) “Good writing” looks different in every situation, which means that there is no definition of “good writing” that applies to every situation.

Sure, you might say, but when we’re talking about writing in school, we’re not talking about grocery lists and journal entries. We’re talking about academic writing. That’s true, but not all academic writing is the same. Academic writing in history is different from English, or biology, or political science. Even within one academic discipline, or even one genre within that discipline, there are many different measures of success. Anne Herrington, a writing teacher and researcher, once did a study focusing on how college engineering students and instructors interpreted the same assignment. Her results show us that a genre — in this case, the lab report — can be interpreted in different, equally valid ways. Herrington explains that, for that assignment, “the students perceived their audience as quite knowledgeable of detail, theory, and technical terms while the faculty perceived the audience as less knowledgeable, particularly of details and theory” (345-6). The two groups imagined the assignment’s intended audience differently, which led to the students writing in a way that did not match the instructors’ expectations. They would leave out information that they assumed that their audience already had, while instructors were reading the papers trying to figure out why the very same information was missing. Because the two sides understood the premise of the assignment in different ways, students were unable to meet their instructors’ expectations even though they might have done the assignment perfectly according to their own understanding of it. This means that matching someone’s definition of good writing means making sure that you understand the writing situation in similar ways.

“Writing situation” can mean a lot of different things. We don’t quite have space in this essay to get into all of the complexities of a writing situation, but there are three ideas here that you might find helpful when thinking about grading specifically. You might recognize two of them (reader preferences and reader/writer relationships) from the rhetorical situation that may be part of your composition course. The other concept (genre) is also related to the rhetorical situation; a genre is a typical way of responding to a common rhetorical situation.

• Let’s start with genres. If your writing situation is “I need to express gratitude,” then you’ll write a thank-you note. There are certain conventions that you’re supposed to meet in order to signal to your reader that you’re participating in the thank-you note genre (starting with “Dear,” telling them that you are grateful, explaining why their gift or favor was meaningful to you). If you succeed, your reader will recognize your writing as a thank-you note (because they also know the rules and conventions of the genre), and feel appreciated.
• A situation could also involve the preferences of a particular reader. If I give my friend in her twenties a handwritten thank-you card for dropping off a book at my house, she might think that it’s strangely old-fashioned. I could have sent her a text. But, if I wanted to send a thank-you card to my elderly neighbor, who does not text or email, I would have to write my note by hand and drop it off at her house. This doesn’t have much to do with my own writing preferences, but with what my reader needs or wants.
• Still, thank-you notes do not all look the same because the relationship between giver and receiver will affect what is said — the thank-you note you write for your favorite high school teacher that expresses gratitude for years of mentorship will be different from the thank-you note you write to your uncle for feeding your cat while you were away for the weekend. One is an expression of emotional or intellectual gratitude, the other is an indication that a favor did not go unnoticed. A different tone is probably warranted.

So, genres, relationships, and individual reader preferences all help us come to an understanding of what “good writing” ought to look like in a given circumstance. What does this have to do with grades? Well, in college, you’re likely to meet many different writing situations as you go from assignment to assignment and class to class. The writing situations embedded in each of these assignments will be different, but not always obviously so. It’s then important to do some detective work in figuring out a) what the situation is and b) what the expectations are for that situation. This is a complex process, but here are some quick strategies you can use to get to know the different writing situations you’ll come across in college.

Learning Genres

• I was trying to do X .
• My instructor said that this was good/bad for reason Y .
• Next time I will try Z .Framing feedback in terms of what you were trying to do will help you be successful when you encounter similar situations in the future — and be sure to catalogue the good things your instructors say, too!
• Think about what you’re not supposed to do in a given situation. While this might feel restrictive, it will help you figure out which writing strategies actually are available to you. Something like “I’m not supposed to write a five-paragraph essay for this ten-page paper” starts you in a place of figuring out a new organizational strategy (Reiff and Bawarshi 329).
• Ask for models. If you’re not sure about what a particular genre should look like, ask your instructor for an example. Don’t copy the model directly; use it as a way to get an idea for what sort of approach you should be after.

Learning Relationships

• Most academic assignments have some kind of framing — your instructor wants you to occupy a certain role and write to a particular audience. On an assignment sheet you might read “make a case to a general audience,” which should signal that you should explain key terms that a layperson might not understand, or spend some time telling them why a particular issue is important. You also might read something like “imagine you work at a company and a supervisor has asked you for a report,” which should signal that you should write your report toward that company’s needs, rather than about the topic in general. Always write to the audience indicated on the assignment, even if it feels artificial (Hinton 22).
• If there is no stated relationship on an assignment sheet, that does not mean that there isn’t one. Feel free to ask your instructor “what kind of audience are we writing for?” which will often give you a hint about how to approach your writing.
• Think of yourself as contributing to an ongoing conversation about the topic. Even though it’s tempting to just think of yourself as a student writing for a grade, if you instead start to think of yourself as answering a question with your instructor, rather than for your instructor, you can feel more like an insider. This can lead to deeper engagement with the work. (McCarthy 256-7).

Learning Preferences

• Look for clues in assignment sheets and syllabi about what good writing might be, but ask questions about slippery words such as “clear,” “well-written,” or “academic.”
• Early in a course, if you’re unsure about expectations, submit a draft of a piece for feedback. Ask specifically about whether what you have written meets the instructor’s expectations.
• Check the syllabus to see if there are any grade expectations articulated there, or any particular formatting/structural requirements.

Definitions and Exclusion

Sometimes, it can be a challenge to make sense of the instructor’s preferences. Certain things might seem really important to this instructor that, to you, don’t seem important at all. Of course, there will be instructors who will be very clear about what they expect, and why. But, for those situations where it’s less obvious, let’s turn to James Paul Gee, a well-respected linguist, who has a useful way of thinking about this issue.

Gee uses the word discourse to refer to a “saying-doing-being-valuing-believing combination” (6), meaning a Discourse is a way of understanding and talking about the world. A Discourse can include members of an academic discipline (like history or chemistry), or players of a particular sport (say, basketball), or musicians in a particular genre (such as country). At the very core of a Discourse is a belief system: maybe the academic discipline values a certain kind of knowledge, or the basketball players have a certain ethic of how to play the game. This means that, as you work your way into specific academic disciplines, you’re really learning the beliefs and values of that Discourse. These belief systems are often invisible, but they form the foundation of your belonging.

To someone grading your writing, determining whether or not something is done correctly is then often a question of whether or not it fits in with the expectations and value systems of a Discourse. But, because it’s hard to tell whether someone shares a belief system with you just by glancing at the way they talk or write, people sometimes rely on “superficial features” to see who belongs to their Discourse and who doesn’t. Superficial features are things that rest on the surface of writing or speaking that somehow reveal the writer as not belonging in the Discourse (Gee 11). For the basketball players, superficial features might involve using certain terminology to describe a play. For the country musicians, it might be having a singing voice with twang. Examples of superficial features in academic writing might involve punctuation, formatting, sentence structure, vocabulary, or even the structure of a piece. Missing these qualities could certainly be perceived as a mistake, but none indicate that the person in question doesn’t believe in the values of an academic discipline, basketball, or country music. It just looks that way to an insider.

This is what makes it possible to miss the expectations of an assignment without knowing it: you might write something in a way that is perfectly acceptable to the Discourses that are familiar to you, but don’t belong to the one that you’re becoming part of by taking the class. It might be the case that you understand the values of the Discourses, but your superficial features give you away as a newcomer. It’s worth paying attention to this distinction in your own classes: is the grading scale assessing the part of the Discourse that is about beliefs and values, or the part that is about superficial features? If it is focusing on superficial features, which ones?

What To Do with Grading

It might feel like all of this is irrelevant to you as a student. Teachers are the ones who set the grading criteria, and only rarely do they bring students into this process. All of this is true. At the same time, it is important for you to know why the grading of writing is such unstable business. This background will let you ask the right questions that allow you to do well in the face of the many different assessment systems you’ll face in college. Plenty of people will say “writing is subjective and there’s no one way to grade it,” but that’s only part of the issue. The real issue is the very specific way that writing is subjective — the way that conflicting definitions of good writing can mark someone as an outsider to a community. Going into a college writing situation with this information makes it more possible for you to understand what, exactly, you’re being graded on.

It’s also possible to use the imperfection of grading to pull different kinds of meaning and validation out of your writing projects. We now know that an instructor’s grading scale is only one way to measure a writing project, which means that you can also try to assign your own markers of quality. Maybe you’ve always organized your paper in one particular way and you decide to try a new strategy. A grade might not recognize the success that you have in trying this new method, but that does not mean it wasn’t important or helpful in your development as a writer. Working with the limitations of grading gives you the space to assess your writing on your own terms, a process that can help you improve as a writer over time. After all, you’re the only one who is tracking your growth from one class to the next. You also might decide that pursuing the grade is not the most important thing to you — that there are other things that you want to do or say with your writing that your instructor might not be actively looking for.

There’s another reason why it’s important to recognize that all writing assessment deals with narrow definitions of “good writing.” Even though you don’t spend your nights and weekends grading stacks of student writing, you assess writing (and speaking) all the time. You can immediately recognize when someone is an outsider to your Discourse — maybe you play a sport and can easily tell when someone is inexperienced, or you can identify someone who isn’t from your city because they mispronounce a street name. The immediate reaction, most of the time, is to label this person as an outsider, which makes it difficult for that person to contribute to the group with any credibility (even if they believe in its values). This is just like what happens when you get a bad grade on a project because of some formatting rule that you didn’t know about — you labelled yourself as an outsider to the discourse.

In plenty of situations, this kind of judgment around language happens because of differences in language, dialect, and accent — factors that are often (but not always) traceable to race, nationality, and class. For example, I remember a teacher telling my whole sixth-grade class to never say “ax” instead of “ask,” because it seems unprofessional. It’s important to point out that “ax” is a pronunciation that is grounded in Black American speech (McWhorter) and is not “unprofessional” in and of itself. It is merely labeled unprofessional — graded that way — by people who have been told that it doesn’t fit. It’s another superficial feature.

None of this is to say that the superficial features are necessarily bad. These communal ways of speaking evolved for a reason: they help get across complicated ideas quickly and they help bind a group together. (If you’re playing basketball, it’s much easier to shout “box out” than it is to say “you there, please block the opposing player from getting near the basket for a rebound.”) The problem arises when superficial features are used as a way of keeping people from participating in a community without good reason — especially when the communities in question, like the academic community, or the community of a given workplace, have a lot to offer to people who are included. When these exclusionary judgments are made on a large scale because of understandings of language assessment that are dependent on these superficial features, they can make racism, xenophobia, and classism worse. To learn more about how this happens, see Alvarez et al. in this volume of Writing Spaces . The only way to undo that is to pay closer attention to the way that we judge the way people express themselves, and bring attention to how those judgments are taught to new generations in schools. To do this, it might be helpful to take up some reflective activities around race and language (see Grayson, also this volume).

I propose that we channel frustrations with the limited definitions of good writing that we encounter in school toward developing more generous definitions of good writing and speaking in everyday life. A lot of the time, when I tell people that I think that we should grade the writing of students on whether or not they have exciting ideas that speak to the values of a Discourse, rather than the superficial features, someone usually responds: “Sure, but then when that person applies for a job and they’re still making mistakes on superficial features, they’ll never get hired.” I believe that this is only true because we make it true — because we choose to continue to judge writing in this way. This is where you come in: I think that people who make mistakes on Standard Edited Academic English are only excluded because that’s the way most people were told to judge writing and speaking in schools and other professional settings. If, instead, we had a population of people who knew to interpret people’s differences in language as interesting and productive, then we could begin to chip away at the way day-to-day language assessment facilitates exclusion from those spaces. Just as we need a critical mass of teachers to see student writing as valuable even if it has not yet mastered (or actively rejects) these superficial features, we need a large group of generous readers and listeners in everyday life. Cristina Sánchez-Martín’s article in this volume of Writing Spaces shares many more ideas on how we can develop this more generous approach to our language.

When it comes to the academic community, it’s also important to think about how writing instructors can grade differently so that we do not replicate these exclusionary systems. The good news is that many teachers are already doing this. Asao Inoue, for example, has written many articles about his labor-based grading contract, a grading scheme that assesses how much time a student spends on a project. The goal of this method is to separate grading from a student’s knowledge of a dominant academic discourse that they were not raised speaking, which diminishes the role of racially-driven judgments in his class (61). Maja Wilson takes a different approach, saying that an individual teacher’s opinions aren’t “a problem to be solved,” in grading because all writing is read by people with opinions. For her, this means a focus on narrative feedback, in which teachers focus their energy on what students are trying to do, rather than comparing to an ideal (45). These efforts from teachers, along with work that you can do in accepting and celebrating differences in Discourses, can help make our schools and the rest of our world a more inclusive place.

We went on a bit of a journey. We started with a problem that happened in my class: in trying to bring students into the rubric-designing process, I ended up inviting a flurry of different possible ways to assess one particular assignment, none of which would be fair to every student in my class. We found that this happened because assessing writing means defining good writing, which sometimes is done in narrow, Discourse-specific ways. We then explored some ways that you can take up that conversation yourself and covered more generous ways that writing can be assessed both in schools and everyday life.

How does this affect your day-to-day writing in school? Apart from trying to start conversations about how writing is assessed in your classes, this perspective on the narrowness of standards helps us think about writing in school differently. A lot of the time, it’s easy to think that you are writing to a vast standard of “good writing” that remains the same across every class. With the knowledge that writing is assessed differently in every situation, you can approach each assignment as its own entity with its own complex relationship between speaker, audience, genre, and subject. Asking “how is ‘good writing’ defined according to this assignment?” will help set you up to be more nimble as you move from one situation to the next.

Works Cited

Alvarez, Sara P., et al. “Workin’ Languages: Who We are Matters in our Writing.” Writing Spaces: Readings on Writing , Volume 4, edited by Dana Driscoll, Mary Stewart, and Matt Vetter. Parlor Press, 2021.

Gee, James Paul. “Literacy, Discourse, and Linguistics: Introduction.”  Journal of Education , vol. 17, no. 1, 1989, pp. 5-17.

Grayson, Mara Lee. “Writing toward Racial Literacy.” Writing Spaces: Readings on Writing , Volume 4, edited by Dana Driscoll, Mary Stewart, and Matt Vetter. Parlor Press, 2021.

Herrington, Anne J. “Writing in Academic Settings: A Study of the Contexts for Writing in Two College Chemical Engineering Courses.”  Research in the Teaching of English , vol. 19, no. 4, 1985, pp. 331-61.

Hinton, Corrine E. “So You’ve Got a Writing Assignment. Now What?”  Writing Spaces: Readings on Writing , Vol. 1, edited by Charles Lowe and Pavel Zemliansky. Parlor Press, 2010, pp. 18-33.

Inoue, Asao B.  Labor-Based Grading Contracts: Building Equity and Inclusion in the Compassionate Writing Classroom . WAC Clearinghouse, 2019.

McCarthy, Lucille Parkinson. “A Stranger in Strange lands: A College Student Writing Across the Curriculum.”  Research in the Teaching of English , vol. 21, no. 3, 1987, 233-65.

McWhorter, John. “The ‘Ax’ Versus ‘Ask’ Question.” The Los Angeles Times , 19 January 2014. https://www.latimes.com/opinion/la-xpm-2014-jan-19-la-oe-mcwhorter-black-speech-ax-20140119-story.html . Accessed 17 August, 2020.

Reiff, Mary Jo, and Anis Bawarshi. “Tracing Discursive Resources: How Students Use Prior Genre Knowledge to Negotiate New Writing Contexts in First-Year Composition.”  Written Communication , vol. 28, no. 3, 2011, pp. 312-37.

Sánchez-Martín, Cristina. “Beyond Language Difference in Writing: Investigating Complex and Equitable Language Practices.” Writing Spaces: Readings on Writing , Volume 4, edited by Dana Driscoll, Megan Heise, Mary Stewart, and Matt Vetter. Parlor Press, 2021.

Wilson, Maja. Reimagining Writing Assessment: From Scales to Stories . Heinemann, 2018.

Teacher Resources for What Are We Being Graded On?

Writing teachers know that grading is fraught with questions about what writing is in the first place. This essay takes the position that students should be aware of this complexity so that they can redefine the grading of writing as not the application of static standards but instead something that changes from one situation to the next. In the big picture, this understanding of grading helps students understand more about writing itself. The essay also gives students practical tips on how to interpret grading standards, and offers some new ways to think about how their writing is graded.

To do so, this essay relies on an illustrative anecdote from my own teaching where a failure to define clear standards led to an unfair grading situation. It then moves to contextualize that example within the notion of situational writing, and uses James Paul Gee’s theory of Discourse to explain how students may be marked as outsiders when writing in college.

Teaching Strategies

Because of its multiple purposes (its practical advice and its broader theoretical basis), this essay can be helpful at various points in the semester. The essay may help in the beginning, when students are just acclimating to college and are unsure of what will be expected of them — this essay might give them a useful framework for interpreting the many assignments that will come their way.

It also might be a helpful essay to give out in conjunction with the first writing assignment of the semester. It can help students read the assignment sheet or rubric closely, and you can invite the class to construct definitions of certain words (“clear,” “original,” “well-organized”) in an attempt to build consensus around the standards for an assignment. One method may be to assign students to investigate particular components of your rubric in small groups, and allowing groups to present to each other about what they think constitutes success in each of these categories, which invites you to enter a productive conversation with your students about your own expectations.

If assigning this essay early in the semester, it might be worth bringing the feedback log to class as an in-class assignment. Students could keep the feedback log privately in a writing notebook, documenting the responses that you or their peers had to the choices that they made. You could also assign the feedback log as small-group work, where students can discuss what they learned from the feedback, or come up with some new strategies for achieving their goals.

This essay also may fit near the end of the semester, when students are working on high-stakes final projects in your class (or in other classes) and may want to know how to navigate expectations. You might ask students to compare different evaluative terms across different assignments in your class or in other classes that they have taken so that they can practice identifying these slippery terms in the future.

This piece may be helpful for a teacher revising their own syllabi or rubrics. Some teachers may rely on the abstract terms that are mentioned in this piece (like organization, or purpose) and doing a deep dive on how those words can get picked up by students could help a teacher clarify how they are using those words in their materials. It also presents an opportunity to consider the role of surface-level features in grading — there isn’t a problem with showing students discourse-specific language, but this piece offers a framework for reflecting on the relationship between those features and course grades.

Discussion Questions

• When reading this essay, could you think of any specific writing assignments from your past where you felt like there was a miscommunication of expectations? What happened? What was the teacher expecting, and what did you offer instead?
• What should the writer of this essay have done with the problem he posed in the beginning? What would have been a fair way to grade all of these essays while still offering guidance on how to meet expectations?
• Near the end of the essay, the writer suggests that you can set your own assessment standards for yourself. Think about a paper that you have coming up: what do you want to get out of it? How do you think you can use it to improve your writing?
• How does hearing about the imprecision of grading methods make you feel?
• How else can students get to know the expectations of a given writing assignment? What strategies have you used in the past?
• Can you think of a time that your writing or speaking marked you as an outsider to a group, or where you noticed someone did not belong to a group you are part of because of the way they spoke or wrote? What was the marker of difference, and what happened?
• This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0) and is subject to the Writing Spaces Terms of Use. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/4.0/ , email [email protected] , or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. To view the Writing Spaces Terms of Use, visit http://writingspaces.org/terms-of-use . ↵

What Are We Being Graded On? Copyright © 2021 by Jeremy Levine is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License , except where otherwise noted.

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• Grading and Assessment Toolbox

What is a Grade?

Grading is used to evaluate and provide feedback on student work. In this way, instructors communicate to students how they are performing in the course and where they need more help to achieve the course’s goals. For instructors, grades help to assess what information, concepts, and skills students have successfully understood and which ones they have not. This kind of information helps you know what you may need to reiterate in class and what may require reworking in the course design. Grades also provide a standardized way of communicating student performance to third parties, including the departments in which students are enrolled, and students themselves.

To ensure that grades are fair and to motivate students to improve their performance, instructors should think about the alignment of their assignments to the course’s overarching goals and communicate their expectations and grading practices in a transparent manner. Students are generally highly motivated to improve their work when the instructions of an assignment are clear and achievable, when the standards the instructor uses for grading are clear and fair, and when the feedback is timely and well aligned with the assignment in question. This kind of transparency will also enable students to understand what skills and content they have learned and what they are still struggling with in the course.

It helps to consider grading as a process. It is not simply a matter of assigning number or letter grades. As a process, grading may involve some or all of these activities:

• Setting expectations with students through a grading policy
• Designing assignments and exams that promote the course objectives
• Establishing standards and criteria
• Calibrating the application of a grading standard for consistency and fairness
• Making decisions about effort and improvement
• Deciding which comments would be the most useful in guiding each student’s learning
• Returning assignments and helping students understand their grades

What Purpose Do Grades Serve?

Grades are essentially a way to measure or quantify learning and intellectual progress using objective criteria. They can serve many purposes:

• As an evaluation of student work, effort, understanding of course content, skill development, and progress;
• As a source of self-motivation to students for continued learning and improvement;
• As a means of communicating feedback to students on their performance;
• As a means of communicating to students, parents, graduate schools, professional schools, and future employers about a student’s potential in college and predictor for further success;
• As a means of organizing a lesson, a unit, or a semester in that grades mark transitions in a course and bring closure to it (i.e. a summative assessment).

As feedback, grades can also inform:

• Students as to their own learning, clarifying for them what they understand, what they don’t understand, and where they can improve.
• Instructors on their students’ learning to help inform future teaching decisions.

Grades vs. Learning Assessment

Grades on assignments, tests, and activities communicate feedback to students.  How do grades differ from assessment?  Essentially grades are symbols of relative achievement among students in a class section and reflect teacher’s pedagogy and their class’s unique array of student abilities. Whereas, the fundamental purpose of assessment is to determine how effective a course’s assignments and tests are in meeting specific learning goals to understand and improve student learning, the quality of knowledge, skills, attitudes, and beliefs that students have acquired, most often as the result of learning in their courses. While assessment is at certain levels a process that involves goal setting and evidence gathering (at an institution-, college-, or department-level), when viewed in a separate context it can also mean actions undertaken by teachers and students to document student learning in a given course.

Differences Between Grades and Assessment

• Student Assessment in Teaching and Learning

Grading Student Work

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Definition of grade

 (Entry 1 of 4)

Definition of grade  (Entry 2 of 4)

transitive verb

intransitive verb

Definition of grade  (Entry 3 of 4)

Definition of -grade  (Entry 4 of 4)

• compartment
• compartmentalize
• distinguish

Examples of grade in a Sentence

These examples are programmatically compiled from various online sources to illustrate current usage of the word 'grade.' Any opinions expressed in the examples do not represent those of Merriam-Webster or its editors. Send us feedback about these examples.

Word History

Noun, Verb, and Adjective

Latin gradus step, degree, from Latin gradi to step, go; akin to Lithuanian gridyti to go, wander

Adjective combining form

French, from Latin -gradus , from gradi

1796, in the meaning defined at sense 1c(2)

1659, in the meaning defined at transitive sense 1b

1852, in the meaning defined above

Phrases Containing grade

• failing grade / mark
• field grade
• grade crossing
• grade inflation
• grade point
• grade point average
• grade school
• grade separation
• high - grade
• lieutenant junior grade
• low - grade
• make the grade

Dictionary Entries Near grade

Cite this entry.

“Grade.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/grade. Accessed 9 Jul. 2024.

Kids Definition

Kids definition of grade.

 (Entry 1 of 2)

Kids Definition of grade  (Entry 2 of 2)

Medical Definition

Medical definition of grade, more from merriam-webster on grade.

Nglish: Translation of grade for Spanish Speakers

Britannica English: Translation of grade for Arabic Speakers

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15.7 Definition Essay

Learning objective.

• Read an example of the definition rhetorical mode.

Defining Good Students Means More Than Just Grades

Many people define good students as those who receive the best grades. While it is true that good students often earn high grades, I contend that grades are just one aspect of how we define a good student. In fact, even poor students can earn high grades sometimes, so grades are not the best indicator of a student’s quality. Rather, a good student pursues scholarship, actively participates in class, and maintains a positive, professional relationship with instructors and peers.

Good students have a passion for learning that drives them to fully understand class material rather than just worry about what grades they receive in the course. Good students are actively engaged in scholarship, which means they enjoy reading and learning about their subject matter not just because readings and assignments are required. Of course, good students will complete their homework and all assignments, and they may even continue to perform research and learn more on the subject after the course ends. In some cases, good students will pursue a subject that interests them but might not be one of their strongest academic areas, so they will not earn the highest grades. Pushing oneself to learn and try new things can be difficult, but good students will challenge themselves rather than remain at their educational comfort level for the sake of a high grade. The pursuit of scholarship and education rather than concern over grades is the hallmark of a good student.

Class participation and behavior are another aspect of the definition of a good student. Simply attending class is not enough; good students arrive punctually because they understand that tardiness disrupts the class and disrespects the professors. They might occasionally arrive a few minutes early to ask the professor questions about class materials or mentally prepare for the day’s work. Good students consistently pay attention during class discussions and take notes in lectures rather than engage in off-task behaviors, such as checking their cell phones or daydreaming. Excellent class participation requires a balance between speaking and listening, so good students will share their views when appropriate but also respect their classmates’ views when they differ from their own. It is easy to mistake quantity of class discussion comments with quality, but good students know the difference and do not try to dominate the conversation. Sometimes class participation is counted toward a student’s grade, but even without such clear rewards, good students understand how to perform and excel among their peers in the classroom.

Finally, good students maintain a positive and professional relationship with their professors. They respect their instructor’s authority in the classroom as well as the instructor’s privacy outside of the classroom. Prying into a professor’s personal life is inappropriate, but attending office hours to discuss course material is an appropriate, effective way for students to demonstrate their dedication and interest in learning. Good students go to their professor’s office during posted office hours or make an appointment if necessary. While instructors can be very busy, they are usually happy to offer guidance to students during office hours; after all, availability outside the classroom is a part of their job. Attending office hours can also help good students become memorable and stand out from the rest, particularly in lectures with hundreds enrolled. Maintaining positive, professional relationships with professors is especially important for those students who hope to attend graduate school and will need letters of recommendation in the future.

Although good grades often accompany good students, grades are not the only way to indicate what it means to be a good student. The definition of a good student means demonstrating such traits as engaging with course material, participating in class, and creating a professional relationship with professors. While every professor will have different criteria for earning an A in their course, most would agree on these characteristics for defining good students.

Online Definition Essay Alternatives

Judy Brady provides a humorous look at responsibilities and relationships in I Want a Wife :

• http://www.columbia.edu/~sss31/rainbow/wife.html

Gayle Rosenwald Smith shares her dislike of the name for a sleeveless T-shirt, The Wife-Beater :

• http://faculty.gordonstate.edu/cperkowski/1101/WifeBeater.pdf

Philip Levine defines What Work Is :

• http://www.ibiblio.org/ipa/poems/levine/what_work_is.php
• http://www.poemhunter.com/poem/what-work-is

Writing for Success Copyright © 2015 by University of Minnesota is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

• How to Write a Definition Essay

A definition essay can be deceivingly difficult to write. This type of paper requires you to write a personal yet academic definition of one specific word. The definition must be thorough and lengthy. It is essential that you choose a word that will give you plenty to write about, and there are a few standard tactics you can use to elaborate on the term. Here are a few guidelines to keep in mind when writing a definition essay.

Part 1 of 3: Choosing the Right Word

1: choose an abstract word with a complex meaning. [1].

A simple word that refers to a concrete word will not give you much to write about, but a complex word that refers to an abstract concept provides more material to explore.

• Typically, nouns that refer to a person, place, or thing are too simple for a definition essay. Nouns that refer to an idea work better, however, as do most adjectives.
• For example, the word “house” is fairly simple and an essay written around it may be dull. By switching to something slightly more abstract like “home,” however, you can play around with the definition more. A “home” is a concept, and there are many elements involved in the creation of a “home.” In comparison, a “house” is merely a structure.

2: Make sure that the word is disputable.

Aside from being complex, the word should also refer to something that can mean different things to different people.

• A definition essay is somewhat subjective by nature since it requires you to analyze and define a word from your own perspective. If the answer you come up with after analyzing a word is the same answer anyone else would come up with, your essay may appear to lack depth.

3: Choose a word you have some familiarity with.

Dictionary definitions can only tell you so much. Since you need to elaborate on the word you choose to define, you will need to have your own base of knowledge or experience with the concept you choose.

• For instance, if you have never heard the term “pedantic,” your understanding of the word will be limited. You can introduce yourself to the word for your essay, but without previous understanding of the concept, you will not know if the definition you describe is truly fitting.

4: Read the dictionary definition.

While you will not be relying completely on the dictionary definition for your essay, familiarizing yourself with the official definition will allow you to compare your own understanding of the concept with the simplest, most academic explanation of it.

• As an example, one definition of “friend” is “a person attached to another by feelings of affection or personal regard.” [2] Your own ideas or beliefs about what a “friend” really is likely include much more information, but this basic definition can present you with a good starting point in forming your own.

5:  Research the word’s origins.

Look up your chosen word in the Oxford English Dictionary or in another etymology dictionary. [3]

• These sources can tell you the history behind a word, which can provide further insight on a general definition as well as information about how a word came to mean what it means today.

Part 2 of 3: Potential Elements of an Effective Definition

1: write an analysis. [4].

Separate a word into various parts. Analyze and define each part in its own paragraph.

• You can separate “return” into “re-” and “turn.” The word “friendship” can be separated into “friend” and “ship.”
• In order to analyze each portion of a word, you will still need to use additional defining tactics like negation and classification.
• Note that this tactic only works for words that contain multiple parts. The word “love,” for instance, cannot be broken down any further. If defining “platonic love,” though, you could define both “platonic” and “love” separately within your essay.

2:  Classify the term.

Specify what classes and parts of speech a word belongs to according to a standard dictionary definition.

• While this information is very basic and dry, it can provide helpful context about the way that a given word is used.

3: Compare an unfamiliar term to something familiar.

An unfamiliar or uncommon concept can be explained using concepts that are more accessible to the average person.

• Many people have never heard of the term “confrere,” for instance. One basic definition is “a fellow member of a profession, fraternity, etc.” As such, you could compare “confrere” with “colleague,” which is a similar yet more familiar concept. [5]

4:  Provide traditional details about the term.

Explain any physical characteristics or traditional thoughts used to describe your term of choice.

• The term “home” is often visualized physically as a house or apartment. In more abstract terms, “home” is traditionally thought to be a warm, cozy, and safe environment. You can include all of these features in a definition essay on “home.”

5: Use examples to illustrate the meaning.

People often relate to stories and vivid images, so using a fitting story or image that relates to the term can be used in clarifying an abstract, formless concept.

• In a definition essay about “kindness,” for example, you could write about an act of kindness you recently witnessed. Someone who mows the lawn of an elderly neighbor is a valid example, just as someone who gave you an encouraging word when you were feeling down might be.

6: Use negation to explain what the term does not mean.

If a term is often misused or misunderstood, mentioning what it is not is an effective way to bring the concept into focus.

• A common example would be the term “courage.” The term is often associated with a lack of fear, but many will argue that “courage” is more accurately described as acting in spite of fear.

7: Provide background information.

This is when your research about the etymology of a word will come in handy. Explain where the term originated and how it came to mean what it currently means.

Part 3 of 3: Definition Essay Structure

1: introduce the standard definition..

You need to clearly state what your word is along with its traditional or dictionary definition in your introductory paragraph.

• By opening with the dictionary definition of your term, you create context and a basic level of knowledge about the word. This will allow you to introduce and elaborate on your own definition.
• This is especially significant when the traditional definition of your term varies from your own definition in notable ways.

2: Define the term in your own words in your thesis.

Your actual thesis statement should define the term in your own words.

• Keep the definition in your thesis brief and basic. You will elaborate on it more in the body of your paper.
• Avoid using passive phrases involving the word “is” when defining your term. The phrases “is where” and “is when” are especially clunky. [6]
• Do not repeat part of the defined term in your definition.

3:  Separate different parts of the definition into separate paragraphs.

Each tactic or method used to define your term should be explored in a separate paragraph.

• Note that you do not need to use all the possible methods of defining a term in your essay. You should use a variety of different methods in order to create a full, well-rounded picture of the term, but some tactics will work great with some terms but not with others.

4: Conclude with a summary of your main points.

Briefly summarize your main points around the start of your concluding paragraph.

• This summary does not need to be elaborate. Usually, looking at the topic sentence of each body paragraph is a good way to form a simple list of your main points.
• You can also draw the essay to a close by referring to phrases or images evoked in your introduction.

5: Mention how the definition has affected you, if desired.

If the term you define plays a part in your own life and experiences, your final concluding remarks are a good place to briefly mention the role it plays.

• Relate your experience with the term to the definition you created for it in your thesis. Avoid sharing experiences that relate to the term but contradict everything you wrote in your essay.

Sources and Citations

• http://www.roanestate.edu/owl/Definition.html
• http://dictionary.reference.com/browse/friend?s=t
• http://www.etymonline.com/
• http://leo.stcloudstate.edu/acadwrite/definition.html
• http://dictionary.reference.com/browse/confrere?s=t
• http://grammar.ccc.commnet.edu/grammar/composition/definition.htm
• How to Write a Definition Essay. Provided by : WikiHow. Located at : http://www.wikihow.com/Write-a-Definition-Essay . License : CC BY-NC-SA: Attribution-NonCommercial-ShareAlike
• Table of Contents

Instructor Resources (Access Requires Login)

• Overview of Instructor Resources

An Overview of the Writing Process

• Introduction to the Writing Process
• Introduction to Writing
• Your Role as a Learner
• What is an Essay?
• Reading to Write
• Defining the Writing Process
• Videos: Prewriting Techniques
• Thesis Statements
• Organizing an Essay
• Creating Paragraphs
• Conclusions
• Editing and Proofreading
• Matters of Grammar, Mechanics, and Style
• Peer Review Checklist
• Comparative Chart of Writing Strategies

Using Sources

• Quoting, Paraphrasing, and Avoiding Plagiarism
• Formatting the Works Cited Page (MLA)
• Citing Paraphrases and Summaries (APA)
• APA Citation Style, 6th edition: General Style Guidelines

Definition Essay

• Definitional Argument Essay
• Critical Thinking
• Video: Thesis Explained
• Effective Thesis Statements
• Student Sample: Definition Essay

Narrative Essay

• Introduction to Narrative Essay
• Student Sample: Narrative Essay
• "Shooting an Elephant" by George Orwell
• "Sixty-nine Cents" by Gary Shteyngart
• Video: The Danger of a Single Story
• How to Write an Annotation
• How to Write a Summary
• Writing for Success: Narration

Illustration/Example Essay

• Introduction to Illustration/Example Essay
• "She's Your Basic L.O.L. in N.A.D" by Perri Klass
• "April & Paris" by David Sedaris
• Writing for Success: Illustration/Example
• Student Sample: Illustration/Example Essay

Compare/Contrast Essay

• Introduction to Compare/Contrast Essay
• "Disability" by Nancy Mairs
• "Friending, Ancient or Otherwise" by Alex Wright
• "A South African Storm" by Allison Howard
• Writing for Success: Compare/Contrast
• Student Sample: Compare/Contrast Essay

Cause-and-Effect Essay

• Introduction to Cause-and-Effect Essay
• "Cultural Baggage" by Barbara Ehrenreich
• "Women in Science" by K.C. Cole
• Writing for Success: Cause and Effect
• Student Sample: Cause-and-Effect Essay

Argument Essay

• Introduction to Argument Essay
• Rogerian Argument
• "The Case Against Torture," by Alisa Soloman
• "The Case for Torture" by Michael Levin
• How to Write a Summary by Paraphrasing Source Material
• Writing for Success: Argument
• Student Sample: Argument Essay
• Grammar/Mechanics Mini-lessons
• Mini-lesson: Subjects and Verbs, Irregular Verbs, Subject Verb Agreement
• Mini-lesson: Sentence Types
• Mini-lesson: Fragments I
• Mini-lesson: Run-ons and Comma Splices I
• Mini-lesson: Comma Usage
• Mini-lesson: Parallelism
• Mini-lesson: The Apostrophe
• Mini-lesson: Capital Letters
• Grammar Practice - Interactive Quizzes
• De Copia - Demonstration of the Variety of Language
• Style Exercise: Voice

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An Antidote to the Cult of Self-Discipline

A new novel sees procrastination as one of the last bastions of the creative mind.

Procrastination, or the art of doing the wrong things at one specifically wrong time, has become a bugbear of our productivity-obsessed era. Wasting resources? Everybody’s doing it! But wasting time? God forbid. Schemes to keep ourselves in efficiency mode—the rebranding of rest into self-care, and of hobbies into side hustles—have made procrastinating a tic that people are desperate to dispel; “life hacks” now govern life. As the anti-productivity champion Oliver Burkeman once put it , “Today’s cacophony of anti-procrastination advice seems rather sinister: a subtle way of inducing conformity, to get you to do what you ‘should’ be doing.” By that measure, the procrastinator is doing something revolutionary: using their time without aim. Take to the barricades, soldiers, and when you get there, do absolutely nothing!

The novel has been sniffily maligned throughout its history as a particularly potent vehicle for wasting time—unless, of course, it improves the reader in some way. (See: the 19th-century trend of silly female characters contracting brain rot from reading, which Jane Austen hilariously skewered with Northanger Abbey ’s Catherine Morland.) Which makes Rosalind Brown’s tight, sly debut, Practice , a welcome gift for those who dither about their dithering. It presents procrastination as a vital, life-affirming antidote to the cult of self-discipline, while also giving the reader a delicious text with which to while away her leisure time.

In Practice , Annabel, a second-year Oxford student, wakes long before sunrise on a misty Sunday morning “at the worn-out end of January.” The day holds only one task—to write a paper on Shakespeare’s sonnets—but Annabel is a routinized being and must act accordingly: “The things she does, she does properly.” So first she makes herself tea (coffee will rattle her stomach) and leaves the radiator turned off to keep the room “cold and dim and full of quiet.” She settles in with a plan: a morning spent reading and note-taking, a lunch of raw veggies, a solo yoga session in the afternoon, writing, a perfectly timed post-dinner bowel movement. A day, in short, that is brimming with possibilities for producing an optimized self. Except that self keeps getting in its own way: Her mind and body, those dueling forces that alternately grab at our attention, repeatedly turn her away from Shakespeare. Very little writing actually takes place in Practice ; Annabel’s vaunted self-discipline encounters barrier after barrier. She wants to “thicken her own concentration,” but instead she takes walks, pees, fidgets, ambles down the unkept byways of her mind. She procrastinates like a champ.

Read: How to spend your time ‘poorly’

Brown’s novel elevates procrastination into an essential act, arguing that those pockets of time between stretches of productivity are where living and creating actually happen. Which makes procrastination one of the last bastions of the creative mind, a way to silently fight a hundred tiny rebellions a day. Screwing around, on the job and otherwise, isn’t just revenge against capitalism; it’s part of the work of living. And what better format for examining this anarchy than the novel, a form that is created by underpaid wandering minds?

Practice is technically a campus novel, but it makes far more sense as a complement to the recent spate of workplace fiction that wonders what exactly we’re all doing with our precious waking weekly hours. Some Millennial novelists, born in an era of prosperity and then launched into adulthood just as the usual signposts of success slid out of reach, have fixated on the workplace as a source of our discontent. Many of us were told in childhood that we can do anything we want, that “if you love what you do, you’ll never work a day in your life.” Work was supposed to be a promised land of fulfillment, a place where your aptitudes would flourish and— bonus —you’d get paid. But no job could live up to such a high standard. It doesn’t help that a torrent of systemic issues—inadequate health care, drastic rent hikes, underfunding of the arts—have left members of this generation feeling like they’re dedicating 40-plus hours a week to treading water.

Recent literature has been flush with examples. In Helen Phillips’s The Beautiful Bureaucrat , a 20-something spends her workdays entering inexplicable series of numbers into “The Database” at a labyrinthine office. The job itself turns out to be vital to humanity, but compensation, explication, and basic human dignity aren’t on offer. Halle Butler’s The New Me features a 30-year-old working as a temp at a design firm, the kind of place populated by ash-blondes in “incomprehensible furry vests.” Her try-hard personality keeps her from climbing the office social ladder, which in turn leaves her pathetically shuffling papers and slipping further into loneliness, both at work and in her personal life. The young narrator of Hilary Leichter’s barely surreal Temporary takes gigs as a mannequin, a human barnacle, a ghost, and a murderer—but all she really wants is what she and the other temps call “the steadiness,” an existence in which work and life feel benignly predictable. According to these novels, the contemporary workplace turns us into machines, chops our intellect into disparate bits, and hands our precious attention over to the C-suite.

What’s missing in each of these characters’ lives is the space for rumination, the necessary lapses our brains need to live creatively, no matter our careers. Brown exquisitely spells out how procrastination is intrinsic to the imaginative process. Despite her professed allegiance to a schedule, Annabel interrupts her own routine early and often. Just after waking, she opens a window and then immediately wishes she could experience the feeling of opening it again: “She wants to know exactly how the cold blue light feels when it begins to appear, she doesn’t want to miss a single detail of the slow dawn , the reluctant winter morning .” While settled at her desk under a cape-like blue blanket, she spends as much time considering how to spend her time as she does actually spending it. She imagines her old tutor advising her to “look away from the text and out the window if you have to, try and pause your mind on the one thing.” Sure, she jots down occasional adjectives to describe Shakespeare and the mystery lover he courts in the sonnets, but most of Annabel’s focus is in the moment, in the rabbit hole of lightly connected memories and notions her brain accesses when it’s drifting off piste. Rather than turn her ideas into a work product, she listens to a robin sing, thinks through an unconsummated relationship from the past year, and fondly recollects her time studying Virginia Woolf—a writer who herself dwelled in the interstices of passing time.

Read: Procrastinating ourselves to death

Like Woolf, Brown understands that life is lived in the in-between moments, and that buckling down to produce a piece of art does not necessarily have the intended effect. (Anyone who has sat at a desk, desperate for the words to come, can affirm.) It’s no surprise, then, that Annabel admires Woolf, whose churning novels of the mind revolve around ordinary activities that are often waylaid by characters’ fancies and distractions. Mrs. Dalloway’s party planning ends up on the back burner as she considers alternate versions of her life; the Ramsay family fails to reach the tower at Godrevy in To the Lighthouse because their musings intervene; the children of The Waves spend as much time dallying as they do putting on their play. Similarly, Practice places Annabel’s decision making—what to write about the sonnets, whether her much-older boyfriend should visit her at college—on the same footing as her daydreams.

What Annabel senses, and Brown beautifully drives home, is that it’s the strange mental collisions between the thinking mind and the wandering mind that yield the most interesting results. These are the moments when artistry sneaks in unbidden; Annabel understands that if art is created out of life, the latter has to have space to happen. She copies out a line from the poetry critic Helen Vendler: “A critical ‘reading’ is the end product of an internalisation so complete that the word reading is not the right word for what happens when a text is on your mind. The text is part of what has made you who you are.” The creative life isn’t about doling a self out into different portions—it’s about sitting in the stew that a whole life makes and offering your perspective on it.

Annabel’s day turns extraordinary, albeit in small ways. She breaks a treasured brown mug, the one thing she’d rescue in a fire; this slash through her routine almost makes her cry. She finally decides whether to invite her boyfriend for a weekend, and maybe invite him deeper into her life. A tragedy in the bedroom next door jerks her toward the understanding that all lives are as complicated as her own. She also ends the day with no more than some notes and a few words on Shakespeare’s poems: “slick — bitter — nimble.” Who is to say if she’s been productive or not?

The art of procrastination requires confrontation—with our inefficiencies, with the allure of easy pleasure, with the fact that time will someday end for us. But we can melt into it. We can let ourselves float in the in-between. Perhaps with a meaningful, self-aware novel.

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