Theatre Lab - "The Impracticality of Modern-Day Mastodons"

presents

in conjunction with a production featuring

The Impracticality of Modern-Day Mastodons by Rachel Teagle September 4-19, 2021

Hello Wonderful Theatre Educator, Thank you for partnering with Theatre Lab for the Fall 2021 installation of the Future PAGES Project. We are thrilled to have you back in person to see the show we spent the last year in pre-production for, The Impracticality of Modern Day Mastodons, by Rachel Teagle!

Following is a bit of information on the process, supplemental information for your classes, and as always, the initial story submission will give all students the opportunity to apply for the 6-week intensive.

The Process Step 1: Participate in the Parts of a Story workshop (online or at your school) Step 2: Come to the FAU University Theatre for the show (covid regulations permitting) Step 3: Share a Google folder with your students’ stories, or collect them for pickup The Writing Assignment Following the Parts of a Story workshop and theatrical experience, your students will be asked to complete a short creative writing response using the theme of “Upside Down.” Use the ideas below to get stuck writers started. ● Write a true story about a time in your life (or the life of someone you know) when something was turned Upside Down. This can be literally or figuratively - think outside the box! Use discussion questions for inspiration. ● “The day everything changed…” ● “The thing that turned my life/world upside down…” *Note: Rubrics for grading writing are included at the end of this guide, if you wish to include this assignment in your lesson plans.

The Curriculum Guide Throughout this guide you will find lessons, activities, worksheets, discussion questions, and projects, along with rubrics for grading. These are meant to enrich your experience at the show, create cross-curricular learning opportunities, and support your planning and process. Feel free to use what you need, modify content to best fit your classes, and leave what you don’t need. Theatre Lab is dedicated to supporting teachers and students as we all work together as a family of artists to create and celebrate theatre arts, despite the challenges we’ve faced. Teachers – you are amazing! Thank you for all you do!

If you have any questions or need further information, contact Theatre Lab’s Director of Education & Community Outreach, Jill Carr at carrj@fau.edu or 561-289-4702, anytime.

The Future PAGES Project - Common Core Standards Currently, the following Common Core standards are addressed by The Future PAGES Project through participation in the program, as well as the implementation of the curriculum guide provided. Any of the standards listed below can be used by educators to create and support their own theatre and language arts lesson plans in the classroom, and others not listed can be easily added through adaptation in the classroom to tailor the experience to meet the needs and goals of that particular group and educator.

Grade 3 Theatre Standards Critical Thinking and Reflection: TH.3.C.2.2, TH.3.3.1 Innovation, Technology, and the Future: TH.3.F.2.1 Historical and Global Connections: TH.3.H.1.1, TH.3.H.2.1, TH.3.H. 2.2, TH.3.H.3.1 Organizational Structure: TH.3.O.1.1, TH.3.O.2.1 Skills, Techniques, and Processes: TH.3.S.1.1, TH.3.S.1.2, TH.3.S.1.3, TH.3.S.3.3 Language Arts Standards Language Standards: LAFS.3.L.2.3 Standards for Speaking and Listening: LAFS.3.SL.1.1, LAFS.3.SL.1.2, LAFS.3.SL.1.3 Writing Standards: LAFS.3.W.1.3, LAFS.3.W.2.4 Grade 4 Theatre Standards Critical Thinking and Reflection: TH.4.C.1.1, TH.4.3.1 Innovation, Technology, and the Future: TH.4.F.2.1, TH.4.F.3.1 Historical and Global Connections: TH.4.H.3.1, TH.4.H.3.3 Organizational Structure: TH.4.O.3.1 Skills, Techniques, and Processes: TH.4.S.1.1, TH.4.S.1.3 Language Arts Standards Language Standards: LAFS.4.L.2.3 Standards for Speaking and Listening: LAFS.4.SL.1.1 Writing Standards: LAFS.4.W.1.3, LAFS.4.W.2.4 Grade 5 Theatre Standards Critical Thinking and Reflection: TH.5.C.2.4, TH.5.C.3.1 Innovation, Technology, and the Future: TH.5.F.2.1, TH.5.F.3.1 Historical and Global Connections: TH.5.H.2.1, TH.5.H.3.2 Organizational Structure: TH.5.O.1.3, TH.5.O.3.1, TH.5.O.3.2 Skills, Techniques, and Processes: TH.5.S.1.1, TH.5.S.1.3 Language Arts Standards Language Standards: LAFS.4.L.2.3

Standards for Speaking and Listening: LAFS.4.SL.1.1 Writing Standards: LAFS.4.W.1.3, LAFS.4.W.2.4 Grade 6-8 Theatre Standards Critical Thinking and Reflection: TH.68.C.1.3, TH.68.C.1.5, TH.68.C.2.14 Historical and Global Connections: TH.68.H.1.2, TH.68.H.1.5, TH.68.H.3.1,TH.68.H.3.5 Organizational Structure: TH.68.O.1.3, TH.68.O.1.4, TH.68.O.2.1, TH.68.O.2.2, TH.68.O.3.3 Skills, Techniques, and Processes: TH.68.S.1.1, TH.68.S.2.3 Language Arts Standards - Grade 6 Language Standards: LAFS.6.L.2.3 Standards for Speaking and Listening: LAFS.6.SL.1.1 Writing Standards: LAFS.6.W.1.3, LAFS.6.W.2.4 Language Arts Standards - Grade 7 Language Standards: LAFS.7.L.2.3 Standards for Speaking and Listening: LAFS.7.SL.1.1 Writing Standards: LAFS.7.W.1.3, LAFS.7.W.2.4 Language Arts Standards - Grade 8 Language Standards: LAFS.8.L.2.3 Standards for Speaking and Listening: LAFS.8.SL.1.1 Writing Standards: LAFS.8.W.1.3, LAFS.8.W.2.4 Grade 9-12 Theatre Standards Critical Thinking and Reflection: TH.912.C.1.3, TH.912.C.1.6, TH.912.C.1.7, TH.912.C.1.8, TH.912.C.3.3 Innovation, Technology, and the Future: TH.912.F.3.4, TH.912.F.3.6 Historical and Global Connections: TH.912.H.1.1, TH.912.H.1.5, TH.912.H.2.3, TH.912.H.2.6, TH.912.H.2.8, TH.912.H.3.5 Organizational Structure: TH.912.O.2.5 Skills, Techniques, and Processes: TH.912.S.1.4, TH.912.S.1.5 Language Arts Standards – Grade 9-10 Standards for Speaking and Listening: LAFS.910.SL.1.1 Writing Standards: LAFS.910.W.1.3, LAFS.910.W.2.4 Language Arts Standards – Grades 11-12 Standards for Speaking and Listening: LAFS.1112.SL.1.1 Writing Standards: LAFS.1112.W.1.3, LAFS.1112.W.2.4

LIVE THEATRE ETIQUETTE: POLICIES & PROCEDURES THE PERFORMANCE ALWAYS BEGINS ON TIME. Please be on time. We recommend you arrive at the theatre 30 minutes prior to the performance to allow enough time for seating.

Latecomers will be seated at the discretion of the theatre staff.

BUS DROP OFF HAPPENS IN THE CIRCLE AT THE END OF ARTS AVENUE, NEXT TO THE PARKING GARAGE. A staff member will meet students/teachers at the entrance and direct the bus drivers to where they may park for the duration of the show. The staff member will then escort the entire group of students into the theatre and explain seating.

If you are travelling in personal vehicles, please contact us in advance to discuss parking.

WHERE YOU SIT IS WHERE YOU STAY. Schools will be seated as a group. We ask that teachers come prepared with the number of students attending the performance. For reasons of safety, efficiency and courtesy, we ask that students do not trade seats. Teachers and chaperones should sit evenly distributed throughout the theatre.

THERE IS NO REWIND. Stay seated and avoid talking during the performance. Moving about the theatre and talking can distract the other audience members, even causing them to miss important moments and lines. There are no pause buttons, rewind options or volume controls in live theatre. What is missed cannot be recaptured! (If you absolutely must leave during the performance, an adult must accompany you. Otherwise, you will not be permitted to exit or enter the theatre once the performance has begun. If you need to use the restroom, please wait for the intermission.)

CAMERAS, CELL PHONES AND BACKPACKS SHOULD BE LEFT BEHIND. Cameras are strictly prohibited in the theatre. Cell phones must be turned off (as well as any other device that makes noise). Backpacks need to be left on the bus or at school.

NO FOOD, DRINK, OR GUM. Theatre Lab is not a movie theatre. Please do not bring food or beverages into the theatre; it makes noise and causes distractions.

GIVE YOUR ENERGY AND ATTENTION TO THE PERFORMERS. As you watch the show, keep in mind that the biggest difference between live theatre and film or television is that the actors can see and hear you. Our space is known for its intimacy, and your behavior affects the actors’ performance. Let the actors know you enjoy the show by applauding and laughing at appropriate times. Please save your comments for the discussion with the actors following the performance.

The Impracticality of Modern-Day Mastodons runs approximately 90 minutes with NO intermission. A talkback with the performers will immediately follow the performance. This is a great time to share questions or thoughts you developed during the performance.

GLOSSARY OF THEATRICAL TERMS Aesthetic Values – the lighting, costumes, sets, or other elements that make up the production’s sense of beauty and style Antagonist – the person or circumstance causing the conflict for the protagonist; the antagonist can include nature, the universe, or even the protagonist himself Antecedent Action – the events of the plot that took place before the play started and must be related to the audience to facilitate a proper understanding of the action Climax – the highest point in the rising action of a drama; the “point of no return” Conflict – the main issue or problem that the play presents; without it, there is no drama Dialogue – conversation between two or more characters in a play Falling Action - this follows the climax; the conflict has been resolved, ties up loose ends Fourth Wall – the imaginary wall that separates the audience from the actors and allows us to believe that we are “looking in” on the action Genre – a category of art characterized by a particular style, form, or content EXAMPLES: Comedy, Tragedy, Mystery, Horror, etc.

Inciting Incident – the event that occurs in a story that sets the rest of the events into action Monologue – one actor speaking at length to themself, another character(s), the audience Plot – specific moments of a story illustrated by the playwright and brought to life on stage; it must have a beginning, middle, and ending Protagonist – the person the story is about; the main character Resolution – how the play solves the inciting incident (may not be “happily ever after”) Rising Action - a series of mini-conflicts, climaxes, and resolutions that build toward the main climax of a story Story – the entire chronological series of events that tell of a play’s happenings and events Theme – the main idea behind the play (there can be more than one)

Rachel Teagle - Playwright The Impracticality of Modern-Day Mastodons Rachel Teagle is a playwright, librettist, and comedian who grew up in the Silicon Valley, moved around the country, and settled in Minnesota.

She helped found the Atlanta Fringe Festival and the Twin Cities Playwright Cabal. She was awarded the Leah Ryan’s Fund for Emerging Women Writers prize for her play The Ever and After. She currently resides in St. Paul with her family. More at rachelteagle.com

Fun note from the Playwright: “This play was originally written for a contest that called for mastodon plays (from Centenary Stage in New Jersey, near the swamp where the "Harvard Mastodon" was found). What was supposed to be a quickie ten minute play evolved into a whole world that I couldn't get out of. Just goes to show that you never know where inspiration will come from.”

Time: Present Day

Setting: Various locations in The city

Synopsis Suddenly all childhood dreams have come true, and the world is full of astronauts, ballerinas, cowboys, and princesses. It’s a brave and glorious new world for everyone but Jess, who wanted to be a mastodon when she grew up. With the help of her friendly vocational adviser and her super-spy boyfriend, Jess embarks on a journey to find her place in the world, and discover why it seems to be unraveling. An offbeat comedy about ambition, vocation, and restlessness.

BEFORE THE PLAY Doing a little bit of research will help you better understand the context of the play. Split the research among your classmates and take turns presenting it to each other. You’ll have a plethora of information in no time!

Websites to Visit The Playwright: Rachel Teagle’s website https://rachelteagle.com/ Rachel Teagle’s plays on New Play Exchange https://newplayexchange.org/users/2006/rachel-teagle The Play: An interview with a previous production’s puppeteer https://www.youtube.com/watch?v=LBtcZkHRMb0 Other information: Fun facts about mastodons https://www.thoughtco.com/facts-about-mastodons-1093330 https://kids.kiddle.co/Mastodon https://www.smithsonianmag.com/science-nature/mammoths-and-mastodons-all-americ an-monsters-8898672/ The use of chorus in a play https://www.britannica.com/art/chorus-theatre Vocation https://www.merriam-webster.com/dictionary/vocation

TOPICS TO CONSIDER This can be used to facilitate a discussion prior to attending, or after the show.

BACKGROUND FOR THE PLAY What is a mastodon?

What is the difference between a mammoth and a mastodon?

What animal or animals that still exist today remind you of a mastodon? Do you think they could be related?

What is the traditional use of a chorus in a play? Where did the chorus first originate?

Look up the definition of vocation. Does it mean what you thought it meant? If not, does it have a deeper value to you now?

What role does ambition play in your life? How does feeling ambitious help you throughout your day?

THEME – UPSIDE DOWN What does it mean to you if things (life, objects, etc.) are turned upside down? How can it have a positive connotation? How can it have a negative connotation?

Think of a time when something changed in your life very quickly - even if it wasn’t overnight. How did you respond? What other things were affected by this event or situation? What was the outcome?

OTHER THEMES THROUGHOUT THE PLAY Have you ever told another person they didn’t belong because they were different? If so, why? What did they say or do in response to you?

Do you have a big dream that you don’t want to share with anyone because you think it might be too big? What would you do if you could do anything at all? What would it take to make that dream a reality?

Adults often ask younger generations what they want to be when they grow up. Why do you think this is? What is your answer when you get this question?

Assignments & Activities The next few pages include assignments and activities that you can incorporate into your lesson plans if you choose to create a unit from this experience. Rubrics for grading follow.

Make a MASTODON! Cut out the pieces on the next page and glue or tape them onto another sheet of paper.

Look at all those bones! Have you ever seen a mastodon skeleton in a museum before?

Let's Play! Acting Exercises for students BECOMING OUR DREAM Take a moment to think of what you might have woken up as if you were a character in the play. What or who would you be? Think of all the different ways you might change if this happened to you.

Without speaking, begin to take up space as this thing! How would you stand differently?

Would you be bigger or smaller?

GREAT! Now, start to move your body like this person or thing. Remember, the SILLIER AND BIGGER the BETTER. Now, move around the space as your character. Really think of what makes them DISTINCT. And finally, interact with the other characters! How would your character introduce themselves? How would they feel about being around others?

After the exercise is over, discuss the experience. What was easy? Hard? What do you wish you could keep in your everyday life? If you could be anything at all, what would it be?

RE-TELLING THE STORY The story we just saw had a specific time limit and lines that are the same each time the play is presented, BUT…what if we only had two minutes to tell the story to someone who had never heard it? Let’s try it! You now should be pretty familiar with the story, reenact what you saw on stage in just 2 MINUTES! Next, cut that in half and use what you created the first time to act it out in 1 MINUTE! Now… what if you only had 30 SECONDS? Awesome! Finally… act out the story in only 10 SECONDS! After the exercises, discuss the experience. Where did you feel most successful? What parts did you keep to be able to tell this story? What did you cut out?

After the Play These questions can be used to facilitate a discussion prior to writing their story, a way to, or as an assignment to be handed in for a grade.

Just to see if you were paying attention…

1. Where does this play take place?

2. Why does everything suddenly change?

3. What does Jess turn into when she wakes up?

4. What is the significance of the bunny Clarence finds?

5. What did Clarence want to be when he grew up?

6. Why does Jess go to see Delores?

7. Who is Inga and what is her relationship to Clarence/Clint?

8. What happens to everyone at the end of the story?

First Impressions…

9. What was your first impression of the play? How did watching it make you feel?

10. Do you relate to any of the characters in the play? If so, which ones and why? If not, why not?

11. After your initial experience, what do you see as the mood of the play?

12. Where did you notice sound, lighting, set, or costume design choices that supported and enhanced the mood of the play? Did you like these choices? If you were a designer, what would you do differently?

Now let’s take your understanding a little further…

13. Think about the conflict(s) in the play. Which are the most obvious to you? Which are less obvious (but equally important)?

14. What do you think happens to Jess at the end? If you were going to continue the play, what would you want to see happen?

15. Explain the meaning of the play’s title, The Impracticality of Modern Day Mastodons.

If you had to come up with an alternate title, what would it be?

16. How does the use of a chorus in the show affect your experience of the play? Where else have you seen a chorus used? How is this one similar? How is it different?

17. How is identity or sense of self addressed in this play? Do you have a personal connection to any of the issues presented in the play?

Let’s go even deeper…

18. How do you define symbolism in a theatrical production? Where do you see symbolism throughout this play? What do you think is the underlying meaning of the symbols?

19. Jess is the only mastodon that exists, as far as she knows. What would you do if you were the only one of your kind? In what ways would that uniqueness be a gift? In what ways would it be a challenge?

20. From what you read and saw so far, would you consider this play a Comedy or a Drama? Are there elements of both? Do you think a story works better if it sticks to one primary element or is it better to mix genres? Why or why not?

The Impracticality of Modern Day Mastodons Creative Writing Assignment Directions: After completing the Parts of a Story workshop and viewing the production, it’s your turn to create a true story of your own. Using the theme discussed in class, write your own true story about a time in your life when everything was suddenly “Upside Down.”

Tips for writing: ● ● ● ●

Use the 5 parts of a story like a map to make your process smooth and easy.

This is a draft; don’t worry about making it perfect.

Creative writing is play. Have fun - write a story that YOU would want to read!

Write from your heart – all ideas are good ideas! Don’t censor yourself - use the first ideas that pop into your head. ● The most important part of your work is YOUR VOICE. This should sound like you.

Write like you speak and you can’t go wrong!

After The Play - Student Response Sheet (Based on Bloom’s Taxonomy) (Do this quickly- as soon as possible after seeing the performance! Option: Take any one or two questions and expound on them- use as many pages as necessary!)

1. List some of the lines or images in the play that stick in your head. (These don’t have to be complete sentences; just a brainstorm of what “grabbed” you.)

2. What questions do you have? (For the characters, for the playwright, about the story, anything at all…)

3. What would you change? What didn’t you like? (Be specific.)

4. What do you think some of the themes were?

5. From what you have read so far, what do you think the playwright’s message is? Do you agree or disagree with it? Why?

The Impracticality of Modern Day Mastodons Publicity Poster Instructions Create a Publicity Poster! Based on what you saw, how would you use color, symbol, and your own interpretation to entice the audience to see this show?

Necessary information: 1.

2.

3.

4.

5.

Title of the play Name of the theatre where the play will take place Date and time of showings Ticket cost and how to buy tickets How can you contact the theatre?

Keep in mind as you create: 1. Target audience – who do you want to see this play?

2. Make sure your advertisement is well-organized, colorful & creative.

3. What ideas/thoughts/feelings do you want to convey to people when they see the poster?

4. What about your poster will convince someone to come see this play?

5. Proofread for spelling, grammar, & punctuation errors.

6. Be ready to present and justify your design to the class.

Play Review Reviewing the Play: Guidelines for the Young Theatre Critic* Here are a few tips on what to consider when writing a review of a play or performance.

Use these as guidelines and add your own points of interest to the review.

Remember that the opening and closing paragraphs are just as important as the body of the review. The five sections below are designed to help you construct the body of the review - what you observed in the performance. The opening and closing paragraphs should reflect like or dislike of the performance – but it must be supported by the body. In other words, don’t start by saying you “liked” a performance and then trash its set, costumes, and actors – or vice versa.

What to pay attention to at the performance for the body of the review: Acting • Were the actors believable? Did you buy into their character’s journey? Why or why not?

• Was there a line or moment that sticks in your mind? Did a certain actor/character really make an impact on you? Can you remember specifics, i.e. vocal inflection, facial expression, emotion?

• Were there moments you did NOT believe? Was it the actor or the character you didn’t believe? Why or why not? Give specific examples (i.e. a certain line, gesture, etc.)

Directing • Did you follow the director’s idea or concept of the play? Was it obvious to you or did you find yourself feeling a little lost?

• Did elements like the scenery, lights, sound, etc., seem to be cohesive or complimentary? Why or why not? Give examples of what worked together and what did not.

• Was the blocking natural, or did the movement of the actors seem stiff or too planned out? Why or why not? Give specific examples using character names.

• How did the show move? Did it seem like time flew by, or was it taking forever just to get to intermission? Why or why not?

Technical Elements • How did the theatre’s space affect the play? What was the atmosphere like? Did the audience feel connected or detached from the action on stage? Give specific examples.

• Did the scenery (and its design) help establish time and place? Did it seem to help or hinder the characters and their journey? Why? Give specific examples (i.e. the angular nature of the set added to the feeling of being imprisoned; the color of the walls didn’t match the feeling of chaos in the language, etc.…)

• How did the costumes add to or detract from the overall concept of the play? Did they contribute to the director’s vision (as you interpreted it) or “take you out” of the life of the play? Give specific examples of why the costumes did, or didn’t, work.

• Were you aware of the lighting design, or did it feel natural? Did you notice any special lighting that affected the mood of the performance (i.e. color, images, or patterns)?

Give specific examples.

Text • What kind of text was it? Modern? Classical? Easy or difficult to follow?

• How did the word choice affect the story or the characters? Did the words seem to “fit” the type of people on stage? Why or why not?

• Was it easy to identify the different elements of the text: conflict, rising action, climax, resolution, etc.? Or, did you find it difficult to follow the flow of the words/story?

• Did the message of the play come across in the words and actions of the characters, or did you have to fill in lots of blanks to follow the story? Give specific examples.

Characters • Was it easy to identify the goals/objectives of the characters? Why or why not? Give at least two examples for one of the leading characters.

• Did the minor characters contribute to the story? How? • Did some characters have more impact than others? Why? Give examples.

• Did you feel that the characters were realistic – people you might actually know in real life, or did they seem to be people that you would never meet? Give an example using one of the leading and one of the minor characters.

• Was there a character you seemed to connect with more than the others? Why? Can you remember what they did/said that makes them memorable to you?

Now, take your answers to the above questions and string them together into a few good, active paragraphs. Cite specific events/moments from the play that support your like or dislike of the performance.

You might start the review with your overall impression of the performance, and then close by reaffirming your opinion.

RUBRICS FOR ASSIGNMENTS PLAY REVIEW Name: _________________________________________________________________ Date:___________________________________________________________________ Opening Paragraph _________/25_ ● Does the opening include: ○ Play details (title, playwright, heme, short summary) ○ How to see the play (location, times, price) ○ Credits (director, notable cast/crew) Body of the Review _________/50 ● Does this section include: ○ Play details ■ Basic summary (no spoilers!)

■ Theme ■ Genre ○ Production details ■ Performance analysis (acting, directing, movement) ■ Technical elements (Costumes, set, lighting, sound) ■ Information on Director, Actors, past credits, etc.

■ Is this a premiere? Remount? New play? Classic? ○ Personal opinion ■ Do you like it?

■ Specifics on why or why not Closing Paragraph __________/25_ ● Does this include: ○ Recommendation ■ Will you recommend this play to others?

■ Why or why not?

Total Score: ___________/100_ Notes:

*Suggested Sunshine State Standards LA 910.3.2.1; LA 1112. 3.2.1; TH D.1.4

The Impracticality of Modern Day Mastodons - Publicity Poster Rubric Name:____________________________________________ Category

Date:_________________________

Description

Points Possible

Title of Play/author’s Title is included and correct name

5

Date/time of show

Show dates and times included

5

Cost

Ticket prices are included

5

Where/how to buy tickets

Phone number, box office, or website information included

5

Spelling, grammar, & Spelling, punctuation, and punctuation grammar are correct

10

Target audience

Overall advertisement is suitable for its target audience

15

Design

Design is a creative and accurate representation of the script.

25

Presentation/ Discussion

Designer is able to present their design to the class and defend

30

Comments:

100

Points Earned

Story Score Sheet Name: ____________________________________ Date:________________________________________ Title: ___________________________________________________________________________________ SKILL VOICE Score: _________ STORY STRUCTURE

BEGINNING = 1 The story minimally uses the author’s unique storytelling voice.

DEVELOPING =2 There are 1-2 parts of the story that show the author’s unique storytelling voice.

ACCOMPLISHED = 3 The storytelling voice is clear and consistent.

The story is missing one or The story has all five parts, The story uses all five more or the five parts but they are used out of parts, and needs more learned in the workshop. order. detail or editing.

EXEMPLARY = 4 The story has a unique voice with many supporting details – it sounds like me!

The story uses all five parts well, with the appropriate amount of detail.

Score: _________ ARTISTIC CHOICES The story contains little or / IMAGINATION no imaginative details or artistic choices.

Score: _________

The story uses a few The story is imaginative The story uses many creative artistic choices, but they do and uses artistic choices to elements and keeps the reader not support the main idea. support the main idea. interested from start to finish.

THEME – UPSIDE DOWN Score: _________

The story has some elements that use the theme.

The story does not use the theme.

The story uses the theme The theme is used well and would benefit from throughout the entire story. more detailed information.

Total Score: ____________ Category Definitions Voice: The way the author uses his or her voice and personality to make the story their own.

Story structure: the use of the five parts of a story – inciting incident, rising action, climax, falling action, resolution.

Artistic choices/imagination: the use of feelings, imagery, personal experiences, and descriptions to bring the story to life.

Theme: the main idea of the story.