essay assessment sheet

Essay Exams

What this handout is about.

At some time in your undergraduate career, you’re going to have to write an essay exam. This thought can inspire a fair amount of fear: we struggle enough with essays when they aren’t timed events based on unknown questions. The goal of this handout is to give you some easy and effective strategies that will help you take control of the situation and do your best.

Why do instructors give essay exams?

Essay exams are a useful tool for finding out if you can sort through a large body of information, figure out what is important, and explain why it is important. Essay exams challenge you to come up with key course ideas and put them in your own words and to use the interpretive or analytical skills you’ve practiced in the course. Instructors want to see whether:

• You understand concepts that provide the basis for the course
• You can use those concepts to interpret specific materials
• You can make connections, see relationships, draw comparisons and contrasts
• You can synthesize diverse information in support of an original assertion
• You can justify your own evaluations based on appropriate criteria
• You can argue your own opinions with convincing evidence
• You can think critically and analytically about a subject

What essay questions require

Exam questions can reach pretty far into the course materials, so you cannot hope to do well on them if you do not keep up with the readings and assignments from the beginning of the course. The most successful essay exam takers are prepared for anything reasonable, and they probably have some intelligent guesses about the content of the exam before they take it. How can you be a prepared exam taker? Try some of the following suggestions during the semester:

• Do the reading as the syllabus dictates; keeping up with the reading while the related concepts are being discussed in class saves you double the effort later.
• Go to lectures (and put away your phone, the newspaper, and that crossword puzzle!).
• Take careful notes that you’ll understand months later. If this is not your strong suit or the conventions for a particular discipline are different from what you are used to, ask your TA or the Learning Center for advice.
• Participate in your discussion sections; this will help you absorb the material better so you don’t have to study as hard.
• Organize small study groups with classmates to explore and review course materials throughout the semester. Others will catch things you might miss even when paying attention. This is not cheating. As long as what you write on the essay is your own work, formulating ideas and sharing notes is okay. In fact, it is a big part of the learning process.
• As an exam approaches, find out what you can about the form it will take. This will help you forecast the questions that will be on the exam, and prepare for them.

These suggestions will save you lots of time and misery later. Remember that you can’t cram weeks of information into a single day or night of study. So why put yourself in that position?

Now let’s focus on studying for the exam. You’ll notice the following suggestions are all based on organizing your study materials into manageable chunks of related material. If you have a plan of attack, you’ll feel more confident and your answers will be more clear. Here are some tips: 

• Don’t just memorize aimlessly; clarify the important issues of the course and use these issues to focus your understanding of specific facts and particular readings.
• Try to organize and prioritize the information into a thematic pattern. Look at what you’ve studied and find a way to put things into related groups. Find the fundamental ideas that have been emphasized throughout the course and organize your notes into broad categories. Think about how different categories relate to each other.
• Find out what you don’t know, but need to know, by making up test questions and trying to answer them. Studying in groups helps as well.

Taking the exam

Read the exam carefully.

• If you are given the entire exam at once and can determine your approach on your own, read the entire exam before you get started.
• Look at how many points each part earns you, and find hints for how long your answers should be.
• Figure out how much time you have and how best to use it. Write down the actual clock time that you expect to take in each section, and stick to it. This will help you avoid spending all your time on only one section. One strategy is to divide the available time according to percentage worth of the question. You don’t want to spend half of your time on something that is only worth one tenth of the total points.
• As you read, make tentative choices of the questions you will answer (if you have a choice). Don’t just answer the first essay question you encounter. Instead, read through all of the options. Jot down really brief ideas for each question before deciding.
• Remember that the easiest-looking question is not always as easy as it looks. Focus your attention on questions for which you can explain your answer most thoroughly, rather than settle on questions where you know the answer but can’t say why.

Analyze the questions

• Decide what you are being asked to do. If you skim the question to find the main “topic” and then rush to grasp any related ideas you can recall, you may become flustered, lose concentration, and even go blank. Try looking closely at what the question is directing you to do, and try to understand the sort of writing that will be required.
• Focus on what you do know about the question, not on what you don’t.
• Look at the active verbs in the assignment—they tell you what you should be doing. We’ve included some of these below, with some suggestions on what they might mean. (For help with this sort of detective work, see the Writing Center handout titled Reading Assignments.)

Information words, such as who, what, when, where, how, and why ask you to demonstrate what you know about the subject. Information words may include:

• define—give the subject’s meaning (according to someone or something). Sometimes you have to give more than one view on the subject’s meaning.
• explain why/how—give reasons why or examples of how something happened.
• illustrate—give descriptive examples of the subject and show how each is connected with the subject.
• summarize—briefly cover the important ideas you learned about the subject.
• trace—outline how something has changed or developed from an earlier time to its current form.
• research—gather material from outside sources about the subject, often with the implication or requirement that you will analyze what you’ve found.

Relation words ask you to demonstrate how things are connected. Relation words may include:

• compare—show how two or more things are similar (and, sometimes, different).
• contrast—show how two or more things are dissimilar.
• apply—use details that you’ve been given to demonstrate how an idea, theory, or concept works in a particular situation.
• cause—show how one event or series of events made something else happen.
• relate—show or describe the connections between things.

Interpretation words ask you to defend ideas of your own about the subject. Don’t see these words as requesting opinion alone (unless the assignment specifically says so), but as requiring opinion that is supported by concrete evidence. Remember examples, principles, definitions, or concepts from class or research and use them in your interpretation. Interpretation words may include:

• prove, justify—give reasons or examples to demonstrate how or why something is the truth.
• evaluate, respond, assess—state your opinion of the subject as good, bad, or some combination of the two, with examples and reasons (you may want to compare your subject to something else).
• support—give reasons or evidence for something you believe (be sure to state clearly what it is that you believe).
• synthesize—put two or more things together that haven’t been put together before; don’t just summarize one and then the other, and say that they are similar or different—you must provide a reason for putting them together (as opposed to compare and contrast—see above).
• analyze—look closely at the components of something to figure out how it works, what it might mean, or why it is important.
• argue—take a side and defend it (with proof) against the other side.

Plan your answers

Think about your time again. How much planning time you should take depends on how much time you have for each question and how many points each question is worth. Here are some general guidelines: 

• For short-answer definitions and identifications, just take a few seconds. Skip over any you don’t recognize fairly quickly, and come back to them when another question jogs your memory.
• For answers that require a paragraph or two, jot down several important ideas or specific examples that help to focus your thoughts.
• For longer answers, you will need to develop a much more definite strategy of organization. You only have time for one draft, so allow a reasonable amount of time—as much as a quarter of the time you’ve allotted for the question—for making notes, determining a thesis, and developing an outline.
• For questions with several parts (different requests or directions, a sequence of questions), make a list of the parts so that you do not miss or minimize one part. One way to be sure you answer them all is to number them in the question and in your outline.
• You may have to try two or three outlines or clusters before you hit on a workable plan. But be realistic—you want a plan you can develop within the limited time allotted for your answer. Your outline will have to be selective—not everything you know, but what you know that you can state clearly and keep to the point in the time available.

Again, focus on what you do know about the question, not on what you don’t.

Writing your answers

As with planning, your strategy for writing depends on the length of your answer:

• For short identifications and definitions, it is usually best to start with a general identifying statement and then move on to describe specific applications or explanations. Two sentences will almost always suffice, but make sure they are complete sentences. Find out whether the instructor wants definition alone, or definition and significance. Why is the identification term or object important?
• For longer answers, begin by stating your forecasting statement or thesis clearly and explicitly. Strive for focus, simplicity, and clarity. In stating your point and developing your answers, you may want to use important course vocabulary words from the question. For example, if the question is, “How does wisteria function as a representation of memory in Faulkner’s Absalom, Absalom?” you may want to use the words wisteria, representation, memory, and Faulkner) in your thesis statement and answer. Use these important words or concepts throughout the answer.
• If you have devised a promising outline for your answer, then you will be able to forecast your overall plan and its subpoints in your opening sentence. Forecasting impresses readers and has the very practical advantage of making your answer easier to read. Also, if you don’t finish writing, it tells your reader what you would have said if you had finished (and may get you partial points).
• You might want to use briefer paragraphs than you ordinarily do and signal clear relations between paragraphs with transition phrases or sentences.
• As you move ahead with the writing, you may think of new subpoints or ideas to include in the essay. Stop briefly to make a note of these on your original outline. If they are most appropriately inserted in a section you’ve already written, write them neatly in the margin, at the top of the page, or on the last page, with arrows or marks to alert the reader to where they fit in your answer. Be as neat and clear as possible.
• Don’t pad your answer with irrelevancies and repetitions just to fill up space. Within the time available, write a comprehensive, specific answer.
• Watch the clock carefully to ensure that you do not spend too much time on one answer. You must be realistic about the time constraints of an essay exam. If you write one dazzling answer on an exam with three equally-weighted required questions, you earn only 33 points—not enough to pass at most colleges. This may seem unfair, but keep in mind that instructors plan exams to be reasonably comprehensive. They want you to write about the course materials in two or three or more ways, not just one way. Hint: if you finish a half-hour essay in 10 minutes, you may need to develop some of your ideas more fully.
• If you run out of time when you are writing an answer, jot down the remaining main ideas from your outline, just to show that you know the material and with more time could have continued your exposition.
• Double-space to leave room for additions, and strike through errors or changes with one straight line (avoid erasing or scribbling over). Keep things as clean as possible. You never know what will earn you partial credit.
• Write legibly and proofread. Remember that your instructor will likely be reading a large pile of exams. The more difficult they are to read, the more exasperated the instructor might become. Your instructor also cannot give you credit for what they cannot understand. A few minutes of careful proofreading can improve your grade.

Perhaps the most important thing to keep in mind in writing essay exams is that you have a limited amount of time and space in which to get across the knowledge you have acquired and your ability to use it. Essay exams are not the place to be subtle or vague. It’s okay to have an obvious structure, even the five-paragraph essay format you may have been taught in high school. Introduce your main idea, have several paragraphs of support—each with a single point defended by specific examples, and conclude with a restatement of your main point and its significance.

Some physiological tips

Just think—we expect athletes to practice constantly and use everything in their abilities and situations in order to achieve success. Yet, somehow many students are convinced that one day’s worth of studying, no sleep, and some well-placed compliments (“Gee, Dr. So-and-so, I really enjoyed your last lecture”) are good preparation for a test. Essay exams are like any other testing situation in life: you’ll do best if you are prepared for what is expected of you, have practiced doing it before, and have arrived in the best shape to do it. You may not want to believe this, but it’s true: a good night’s sleep and a relaxed mind and body can do as much or more for you as any last-minute cram session. Colleges abound with tales of woe about students who slept through exams because they stayed up all night, wrote an essay on the wrong topic, forgot everything they studied, or freaked out in the exam and hyperventilated. If you are rested, breathing normally, and have brought along some healthy, energy-boosting snacks that you can eat or drink quietly, you are in a much better position to do a good job on the test. You aren’t going to write a good essay on something you figured out at 4 a.m. that morning. If you prepare yourself well throughout the semester, you don’t risk your whole grade on an overloaded, undernourished brain.

If for some reason you get yourself into this situation, take a minute every once in a while during the test to breathe deeply, stretch, and clear your brain. You need to be especially aware of the likelihood of errors, so check your essays thoroughly before you hand them in to make sure they answer the right questions and don’t have big oversights or mistakes (like saying “Hitler” when you really mean “Churchill”).

If you tend to go blank during exams, try studying in the same classroom in which the test will be given. Some research suggests that people attach ideas to their surroundings, so it might jog your memory to see the same things you were looking at while you studied.

Try good luck charms. Bring in something you associate with success or the support of your loved ones, and use it as a psychological boost.

Take all of the time you’ve been allotted. Reread, rework, and rethink your answers if you have extra time at the end, rather than giving up and handing the exam in the minute you’ve written your last sentence. Use every advantage you are given.

Remember that instructors do not want to see you trip up—they want to see you do well. With this in mind, try to relax and just do the best you can. The more you panic, the more mistakes you are liable to make. Put the test in perspective: will you die from a poor performance? Will you lose all of your friends? Will your entire future be destroyed? Remember: it’s just a test.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Axelrod, Rise B., and Charles R. Cooper. 2016. The St. Martin’s Guide to Writing , 11th ed. Boston: Bedford/St Martin’s.

Fowler, Ramsay H., and Jane E. Aaron. 2016. The Little, Brown Handbook , 13th ed. Boston: Pearson.

Gefvert, Constance J. 1988. The Confident Writer: A Norton Handbook , 2nd ed. New York: W.W. Norton and Company.

Kirszner, Laurie G. 1988. Writing: A College Rhetoric , 2nd ed. New York: Holt, Rinehart, and Winston.

Lunsford, Andrea A. 2015. The St. Martin’s Handbook , 8th ed. Boston: Bedford/St Martin’s.

Woodman, Leonara, and Thomas P. Adler. 1988. The Writer’s Choices , 2nd ed. Northbrook, Illinois: Scott Foresman.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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• Example of a great essay | Explanations, tips & tricks

Example of a Great Essay | Explanations, Tips & Tricks

Published on February 9, 2015 by Shane Bryson . Revised on July 23, 2023 by Shona McCombes.

This example guides you through the structure of an essay. It shows how to build an effective introduction , focused paragraphs , clear transitions between ideas, and a strong conclusion .

Each paragraph addresses a single central point, introduced by a topic sentence , and each point is directly related to the thesis statement .

As you read, hover over the highlighted parts to learn what they do and why they work.

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Table of contents

Other interesting articles, frequently asked questions about writing an essay, an appeal to the senses: the development of the braille system in nineteenth-century france.

The invention of Braille was a major turning point in the history of disability. The writing system of raised dots used by 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.

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.

In France, debates about how to deal with disability led to the adoption of different strategies over time. While people with temporary difficulties were able to access public welfare, the most common response to people with long-term disabilities, such as hearing or vision loss, was to group them together in institutions (Tombs, 1996). At first, a joint institute for the blind and deaf was created, and although the partnership was motivated more by financial considerations than by the well-being of the residents, the institute aimed to help people develop skills valuable to society (Weygand, 2009). Eventually blind institutions were separated from deaf institutions, and the focus shifted towards education of the blind, as was the case for the Royal Institute for Blind Youth, which Louis Braille attended (Jimenez et al, 2009). The growing acknowledgement of the uniqueness of different disabilities led to more targeted education strategies, fostering an environment in which the benefits of a specifically blind education could be more widely recognized.

Several different systems of tactile reading can be seen as forerunners to the method Louis Braille developed, but these systems were all developed based on the sighted system. The Royal Institute for Blind Youth in Paris taught the students to read embossed roman letters, a method created by the school’s founder, Valentin Hauy (Jimenez et al., 2009). Reading this way proved to be a rather arduous task, as the letters were difficult to distinguish by touch. The embossed letter method was based on the reading system of sighted people, with minimal adaptation for those with vision loss. As a result, this method did not gain significant success among blind students.

Louis Braille was bound to be influenced by his school’s founder, but the most influential pre-Braille tactile reading system was Charles Barbier’s night writing. A soldier in Napoleon’s army, Barbier developed a system in 1819 that used 12 dots with a five line musical staff (Kersten, 1997). His intention was to develop a system that would allow the military to communicate at night without the need for light (Herron, 2009). The code developed by Barbier was phonetic (Jimenez et al., 2009); in other words, the code was designed for sighted people and was based on the sounds of words, not on an actual alphabet. Barbier discovered that variants of raised dots within a square were the easiest method of reading by touch (Jimenez et al., 2009). This system proved effective for the transmission of short messages between military personnel, but the symbols were too large for the fingertip, greatly reducing the speed at which a message could be read (Herron, 2009). For this reason, it was unsuitable for daily use and was not widely adopted in the blind community.

Nevertheless, Barbier’s military dot system was more efficient than Hauy’s embossed letters, and it provided the framework within which Louis Braille developed his method. Barbier’s system, with its dashes and dots, could form over 4000 combinations (Jimenez et al., 2009). Compared to the 26 letters of the Latin alphabet, this was an absurdly high number. Braille kept the raised dot form, but developed a more manageable system that would reflect the sighted alphabet. He replaced Barbier’s dashes and dots with just six dots in a rectangular configuration (Jimenez et al., 2009). The result was that the blind population in France had a tactile reading system using dots (like Barbier’s) that was based on the structure of the sighted alphabet (like Hauy’s); crucially, this system was the first developed specifically for the purposes of the blind.

While the Braille system gained immediate popularity with the blind students at the Institute in Paris, it had to gain acceptance among the sighted before its adoption throughout France. This support was necessary because sighted teachers and leaders had ultimate control over the propagation of Braille resources. Many of the teachers at the Royal Institute for Blind Youth resisted learning Braille’s system because they found the tactile method of reading difficult to learn (Bullock & Galst, 2009). This resistance was symptomatic of the prevalent attitude that the blind population had to adapt to the sighted world rather than develop their own tools and methods. Over time, however, with the increasing impetus to make social contribution possible for all, teachers began to appreciate the usefulness of Braille’s system (Bullock & Galst, 2009), realizing that access to reading could help improve the productivity and integration of people with vision loss. It took approximately 30 years, but the French government eventually approved the Braille system, and it was established throughout the country (Bullock & Galst, 2009).

Although Blind people remained marginalized throughout the nineteenth century, the Braille system granted them growing opportunities for social participation. Most obviously, Braille allowed people with vision loss to read the same alphabet used by sighted people (Bullock & Galst, 2009), allowing them to participate in certain cultural experiences previously unavailable to them. Written works, such as books and poetry, had previously been inaccessible to the blind population without the aid of a reader, limiting their autonomy. As books began to be distributed in Braille, this barrier was reduced, enabling people with vision loss to access information autonomously. The closing of the gap between the abilities of blind and the sighted contributed to a gradual shift in blind people’s status, lessening the cultural perception of the blind as essentially different and facilitating greater social integration.

The Braille system also had important cultural effects beyond the sphere of written culture. Its invention later led to the development of a music notation system for the blind, although Louis Braille did not develop this system himself (Jimenez, et al., 2009). This development helped remove a cultural obstacle that had been introduced by the popularization of written musical notation in the early 1500s. While music had previously been an arena in which the blind could participate on equal footing, the transition from memory-based performance to notation-based performance meant that blind musicians were no longer able to compete with sighted musicians (Kersten, 1997). As a result, a tactile musical notation system became necessary for professional equality between blind and sighted musicians (Kersten, 1997).

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.

Bullock, J. D., & Galst, J. M. (2009). The Story of Louis Braille. Archives of Ophthalmology , 127(11), 1532. https://​doi.org/10.1001/​archophthalmol.2009.286.

Herron, M. (2009, May 6). Blind visionary. Retrieved from https://​eandt.theiet.org/​content/​articles/2009/05/​blind-visionary/.

Jiménez, J., Olea, J., Torres, J., Alonso, I., Harder, D., & Fischer, K. (2009). Biography of Louis Braille and Invention of the Braille Alphabet. Survey of Ophthalmology , 54(1), 142–149. https://​doi.org/10.1016/​j.survophthal.2008.10.006.

Kersten, F.G. (1997). The history and development of Braille music methodology. The Bulletin of Historical Research in Music Education , 18(2). Retrieved from https://​www.jstor.org/​stable/40214926.

Mellor, C.M. (2006). Louis Braille: A touch of genius . Boston: National Braille Press.

Tombs, R. (1996). France: 1814-1914 . London: Pearson Education Ltd.

Weygand, Z. (2009). The blind in French society from the Middle Ages to the century of Louis Braille . Stanford: Stanford University Press.

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
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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.

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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Bryson, S. (2023, July 23). Example of a Great Essay | Explanations, Tips & Tricks. Scribbr. Retrieved July 1, 2024, from https://www.scribbr.com/academic-essay/example-essay-structure/

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Assessment Tasks: Essays

• About This Guide
• Presentations
• Poster Presentations
• Reflective Writing
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The parts of an essay

Typically, an essay includes these parts:

Introduction

• Introduce the topic & open the discussion
• Capture the reader's attention

Main body of the essay

• Introduce each new point with a new paragraph
• Provide supporting evidence for each point made
• Summarise the main ideas
• Demonstrate how you have proven the point
• Reaffirm the introduction

(Content adapted from University of Queensland, 2019, Planning your assignment )  

How to write a better paragraph

Paragraph Tips:  5 steps on how to write a paragraph (This LibGuide material was last checked and edited in 2020).  

Essay writing: what's in it for you?

Essay writing is more than just an assessment task.  It also helps you in other ways.

Essay Writing Tips

• Read the question carefully
• Notetake as you read
• Use relevant sources of information
• Write a plan
• Stay on topic by referring back to the question as your write
• Highlight keywords in the question to begin researching the topic
• Record reference sources as you go
• Keep to the word limit
• Cite all sources using the style designated by your lecturer or teacher
• Proof read before submitting

(NSW Department of Education & Training, July 2020, Essay Writing Checklist .)  ( CC-BY-4.0-Int )

Task Words: Some Examples

Task words provide you with direction on how to answer your essay question

Glossary of Task Words

Illustration adapted from:  University of NSW, Academic Skills, Glossary of Task Words ,  December 2019.   

@ Melbourne Polytechnic Library ...

Tips for better essay writing

• Know your purpose
• Understand your audience
• Brainstorm about your topic
• Decide on a thesis
• Develop your essay
• Create an essay structure
• Connect ideas
• Choose memorable language
• Invent a strong title
• Edit and proofread

Source: Top Tips for Writing Better Essays (Oxford Dictionaries) https://www.lexico.com/grammar/top-tips-for-writing-better-essays

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Evaluation Checklist for Essay Writing

202.448-7036

I. Introduction

II. Body A. Topic One (the first reason/example why you believe what you stated in your thesis)

B. Topic Two (the second reason/example why you believe what you stated in your thesis)

C. Topic Three (the third topic is only necessary if you need to provide additional support for your thesis)

III. Conclusion

IV. Overall Structure

202-448-7036

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17.6: What are the benefits of essay tests?

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• Page ID 87692

• Jennfer Kidd, Jamie Kaufman, Peter Baker, Patrick O'Shea, Dwight Allen, & Old Dominion U students
• Old Dominion University

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Learning Objectives

• Understand the benefits of essay questions for both Students and Teachers
• Identify when essays are useful

Introduction

Essays, along with multiple choice, are a very common method of assessment. Essays offer a means completely different than that of multiple choice. When thinking of a means of assessment, the essay along with multiple choice are the two that most come to mind (Schouller).The essay lends itself to specific subjects; for example, a math test would not have an essay question. The essay is more common in the arts, humanities and the social sciences(Scouller). On occasion an essay can be used used in both physical and natural sciences as well(Scouller). As a future history teacher, I will find that essays will be an essential part of my teaching structure.

The Benefits for Students

By utilizing essays as a mean of assessments, teachers are able to better survey what the student has learned. Multiple choice questions, by their very design, can be worked around. The student can guess, and has decent chance of getting the question right, even if they did not know the answer. This blind guessing does not benefit the student at all. In addition, some multiple choices can deceive the student(Moore). Short answers, and their big brother the essay, work in an entirely different way. Essays remove this factor. in a addition, rather than simply recognize the subject matter, the student must recall the material covered. This challenges the student more, and by forcing the student to remember the information needed, causes the student to retain it better. This in turn reinforces understanding(Moore). Scouller adds to this observation, determining that essay assessment "encourages students' development of higher order intellectual skills and the employment of deeper learning approaches; and secondly, allows students to demonstrate their development."

"Essay questions provide more opportunity to communicate ideas. Whereas multiple choice limits the options, an essay allows the student express ideas that would otherwise not be communicated." (Moore)

The Benefits for Teachers

The matter of preparation must also be considered when comparing multiple choice and essays. For multiple choice questions, the instructor must choose several questions that cover the material covered. After doing so, then the teacher has to come up with multiple possible answers. This is much more difficult than one might assume. With the essay question, the teacher will still need to be creative. However, the teacher only has to come up with a topic, and what the student is expected to cover. This saves the teacher time. When grading, the teacher knows what he or she is looking for in the paper, so the time spent reading is not necessarily more. The teacher also benefits from a better understanding of what they are teaching. The process of selecting a good essay question requires some critical thought of its own, which reflects onto the teacher(Moore).

Multiple Choice. True or False. Short Answer. Essay. All are forms of assessment. All have their pros and cons. For some, they are better suited for particular subjects. Others, not so much. Some students may even find essays to be easier. It is vital to understand when it is best to utilize the essay. Obviously for teachers of younger students, essays are not as useful. However, as the age of the student increase, the importance of the essay follows suit. That essays are utilized in essential exams such as the SAT, SOLs and in our case the PRAXIS demonstrates how important essays are. However, what it ultimately comes down to is what the teacher feels what will best assess what has been covered.

Exercise \(\PageIndex{1}\)

1)What Subject would most benefit from essays?

B: Mathematics for the Liberal Arts

C: Survey of American Literature

2)What is an advantage of essay assessment for the student?

A) They allow for better expression

B) There is little probability for randomness

C) The time taken is less overall

D) A & B

3)What is NOT a benefit of essay assessment for the teacher

A)They help the instructor better understand the subject

B)They remove some the work required for multiple choice

C)The time spent on preparation is less

D) There is no noticeable benefit.

4)Issac is a teacher making up a test. The test will have multiple sections: Short answer, multiple choice, and an essay. What subject does Issac MOST LIKELY teach?

References Cited

1)Moore, S.(2008) Interview with Scott Moore, Professor at Old Dominion University

2)Scouller, K. (1998). The influence of assessment method on students' learning approaches: multiple Choice question examination versus assignment essay. Higher Education 35(4), pp. 453–472

Example of an Assessment Topic

Below is an example of an assessment reading and question in the style you can expect for the BWA. 

• Read the passage and the essay topic that follows. Respond to the topic by writing an essay that is controlled by a central idea and is developed by discussing specific examples.
• You will have two hours to read the passage and complete your essay. You may print out the passage, make notes, or highlight parts of the passage. Plan your essay before you start writing. Allow time to reread and proofread your essay to make any revisions or corrections.
• Your essay will be evaluated on the basis of your ability to develop the central idea, to express yourself clearly, and to use the conventions of written English. The topic has no "correct" response.Sample Reading Passage

Introductory Note

Daniel J. Levitin is a professor of psychology and neuroscience at McGill University, where he directs the Laboratory for Musical Perception, Cognition, and Expertise. The following passage is adapted from This Is Your Brain on Music by Daniel J. Levitin, copyright© 2006 by Daniel J. Levitin. Used by permission of Dutton, a division of Penguin Group (USA) Inc.

Expertise Dissected

How do people become expert musicians? And why is it that of the millions of people who take music lessons as children, relatively few continue to play music as adults? When they find out what I do for a living, many people tell me that they love music, but that their music lessons "didn't take." I think they're being too hard on themselves. Although many people say that music lessons didn't take, cognitive neuroscientists have found otherwise in their laboratories. Even a small exposure to music lessons as a child creates neural circuits for music processing that are more efficient than those of people who lack training. Music lessons teach us to listen better, and they accelerate our ability to discern structure and form in music, making it easier for us to tell what music we like and what we don't like.

But what about those classes of people that we all acknowledge are true musical experts--the Alfred Brendels, Sarah Changs, Wynton Marsalises, and Tori Amoses? How did they get what most of us don't have, an extraordinary facility to play and perform?

The scientific study of expertise has been a major topic within cognitive science for the past thirty years, and musical expertise has tended to be studied within the context of general expertise. In almost all cases, musical expertise has been defined as technical achievement--mastery of an instrument or of compositional skills. The late Michael Howe, and his collaborators Jane Davidson and John Sloboda, launched an international debate when they asked whether the popular notion of "talent" is scientifically defensible. They assumed the following alternatives: either high levels of musical achievement are based on innate brain structures (what people refer to as talent) or they are simply the result of training and practice. They define talent as something (1) that originates in genetic structures and (2) that is identifiable at an early stage by trained people who can recognize it even before exceptional levels of performance have been acquired.

It is evident that some children acquire skills more rapidly than others: the ages of onset for walking, talking, and toilet training vary widely from one child to another, even within the same household. There may be genetic factors at work, but it is difficult to separate genetic factors from factors with a presumably environmental component, such as motivation, personality, and family dynamics. Similar factors can influence musical development and can mask the contributions of genetics to musical ability. Brain studies, so far, haven't been of much use in sorting out the issue because it has been difficult to separate cause from effect. For example, studies of violin players by Thomas Elbert have shown that the region of the brain responsible for moving the left hand--the hand that requires the most precision in violin playing--increases in size as a result of practice. We do not know yet if the propensity for increase preexists in the genetics of some people and not others.

The strongest evidence for the talent position is that some people simply acquire musical skills more rapidly than others. The evidence against the talent position--or, rather, in favor of the view that practice makes perfect--comes from research on how much training the experts or high achievement people actually do. Like experts in mathematics, chess, or sports, experts in music require lengthy periods of instruction and practice the most, sometimes twice as much as those who weren't judged as good.

In one study, students were secretly divided into two groups (not revealed to the students so as not to bias them) based on teachers' perceptions of their talent. Several years later, the students who achieved the highest performance ratings were those who had practiced the most, irrespective of which "talent" group they had been assigned to previously. This suggests that practice is the cause of achievement, not merely something correlated with it. It further suggests that talent is a label that we're using in a circular fashion: when we say that someone is talented, we think we mean that they have some innate predisposition to excel, but in the end, we only apply the term retrospectively, after they have made significant achievements.

Anders Ericsson at Florida State University and his colleagues approach the topic of musical expertise as a general problem in cognitive psychology involving how humans become experts in general. In other words, he takes as a starting assumption that there are certain issues involved in becoming an expert at anything, that we can learn about musical expertise by studying expert writers, chess players, athletes, artists, mathematicians, in addition to musicians. The emerging picture from studies of high achievers in many fields is that ten thousand hours of practice are required to achieve the level of mastery associated with being a world-class expert-in anything. In study after study--of composers, basketball players, fiction writers, ice skaters, concert pianists, chess players, master criminals, and what have you--this number comes up again and again. Ten thousand hours is equivalent to roughly three hours a day, or twenty hours a week, of practice over ten years. Of course, this doesn't address why some people don't seem to get anywhere when they practice, and why some people get more out of their practice sessions than others. But no one has yet found a case in which true world-class expertise was accomplished in less time. It seems that it takes the brain this long to assimilate all that it needs to know to achieve true mastery.

[Copyright© 2014 by the University of California. All rights reserved. Produced for the University of California.]

Essay Topic

According to Levitin, what roles do talent and practice play in enabling people to reach outstanding achievements in any field? What do you think of his views? Write an essay responding to these two questions. To develop your own position, be sure to discuss  our own specific examples. Those examples can be drawn from anything you've read as well as from your own observation and experience.

Center for Teaching

Assessing student learning.

Forms and Purposes of Student Assessment

Assessment is more than grading, assessment plans, methods of student assessment, generative and reflective assessment, teaching guides related to student assessment, references and additional resources.

Student assessment is, arguably, the centerpiece of the teaching and learning process and therefore the subject of much discussion in the scholarship of teaching and learning. Without some method of obtaining and analyzing evidence of student learning, we can never know whether our teaching is making a difference. That is, teaching requires some process through which we can come to know whether students are developing the desired knowledge and skills, and therefore whether our instruction is effective. Learning assessment is like a magnifying glass we hold up to students’ learning to discern whether the teaching and learning process is functioning well or is in need of change.

To provide an overview of learning assessment, this teaching guide has several goals, 1) to define student learning assessment and why it is important, 2) to discuss several approaches that may help to guide and refine student assessment, 3) to address various methods of student assessment, including the test and the essay, and 4) to offer several resources for further research. In addition, you may find helfpul this five-part video series on assessment that was part of the Center for Teaching’s Online Course Design Institute.

What is student assessment and why is it Important?

In their handbook for course-based review and assessment, Martha L. A. Stassen et al. define assessment as “the systematic collection and analysis of information to improve student learning” (2001, p. 5). An intentional and thorough assessment of student learning is vital because it provides useful feedback to both instructors and students about the extent to which students are successfully meeting learning objectives. In their book Understanding by Design , Grant Wiggins and Jay McTighe offer a framework for classroom instruction — “Backward Design”— that emphasizes the critical role of assessment. For Wiggins and McTighe, assessment enables instructors to determine the metrics of measurement for student understanding of and proficiency in course goals. Assessment provides the evidence needed to document and validate that meaningful learning has occurred (2005, p. 18). Their approach “encourages teachers and curriculum planners to first ‘think like an assessor’ before designing specific units and lessons, and thus to consider up front how they will determine if students have attained the desired understandings” (Wiggins and McTighe, 2005, p. 18). [1]

Not only does effective assessment provide us with valuable information to support student growth, but it also enables critically reflective teaching. Stephen Brookfield, in Becoming a Critically Reflective Teacher, argues that critical reflection on one’s teaching is an essential part of developing as an educator and enhancing the learning experience of students (1995). Critical reflection on one’s teaching has a multitude of benefits for instructors, including the intentional and meaningful development of one’s teaching philosophy and practices. According to Brookfield, referencing higher education faculty, “A critically reflective teacher is much better placed to communicate to colleagues and students (as well as to herself) the rationale behind her practice. She works from a position of informed commitment” (Brookfield, 1995, p. 17). One important lens through which we may reflect on our teaching is our student evaluations and student learning assessments. This reflection allows educators to determine where their teaching has been effective in meeting learning goals and where it has not, allowing for improvements. Student assessment, then, both develop the rationale for pedagogical choices, and enables teachers to measure the effectiveness of their teaching.

The scholarship of teaching and learning discusses two general forms of assessment. The first, summative assessment , is one that is implemented at the end of the course of study, for example via comprehensive final exams or papers. Its primary purpose is to produce an evaluation that “sums up” student learning. Summative assessment is comprehensive in nature and is fundamentally concerned with learning outcomes. While summative assessment is often useful for communicating final evaluations of student achievement, it does so without providing opportunities for students to reflect on their progress, alter their learning, and demonstrate growth or improvement; nor does it allow instructors to modify their teaching strategies before student learning in a course has concluded (Maki, 2002).

The second form, formative assessment , involves the evaluation of student learning at intermediate points before any summative form. Its fundamental purpose is to help students during the learning process by enabling them to reflect on their challenges and growth so they may improve. By analyzing students’ performance through formative assessment and sharing the results with them, instructors help students to “understand their strengths and weaknesses and to reflect on how they need to improve over the course of their remaining studies” (Maki, 2002, p. 11). Pat Hutchings refers to as “assessment behind outcomes”: “the promise of assessment—mandated or otherwise—is improved student learning, and improvement requires attention not only to final results but also to how results occur. Assessment behind outcomes means looking more carefully at the process and conditions that lead to the learning we care about…” (Hutchings, 1992, p. 6, original emphasis). Formative assessment includes all manner of coursework with feedback, discussions between instructors and students, and end-of-unit examinations that provide an opportunity for students to identify important areas for necessary growth and development for themselves (Brown and Knight, 1994).

It is important to recognize that both summative and formative assessment indicate the purpose of assessment, not the method . Different methods of assessment (discussed below) can either be summative or formative depending on when and how the instructor implements them. Sally Brown and Peter Knight in Assessing Learners in Higher Education caution against a conflation of the method (e.g., an essay) with the goal (formative or summative): “Often the mistake is made of assuming that it is the method which is summative or formative, and not the purpose. This, we suggest, is a serious mistake because it turns the assessor’s attention away from the crucial issue of feedback” (1994, p. 17). If an instructor believes that a particular method is formative, but he or she does not take the requisite time or effort to provide extensive feedback to students, the assessment effectively functions as a summative assessment despite the instructor’s intentions (Brown and Knight, 1994). Indeed, feedback and discussion are critical factors that distinguish between formative and summative assessment; formative assessment is only as good as the feedback that accompanies it.

It is not uncommon to conflate assessment with grading, but this would be a mistake. Student assessment is more than just grading. Assessment links student performance to specific learning objectives in order to provide useful information to students and instructors about learning and teaching, respectively. Grading, on the other hand, according to Stassen et al. (2001) merely involves affixing a number or letter to an assignment, giving students only the most minimal indication of their performance relative to a set of criteria or to their peers: “Because grades don’t tell you about student performance on individual (or specific) learning goals or outcomes, they provide little information on the overall success of your course in helping students to attain the specific and distinct learning objectives of interest” (Stassen et al., 2001, p. 6). Grades are only the broadest of indicators of achievement or status, and as such do not provide very meaningful information about students’ learning of knowledge or skills, how they have developed, and what may yet improve. Unfortunately, despite the limited information grades provide students about their learning, grades do provide students with significant indicators of their status – their academic rank, their credits towards graduation, their post-graduation opportunities, their eligibility for grants and aid, etc. – which can distract students from the primary goal of assessment: learning. Indeed, shifting the focus of assessment away from grades and towards more meaningful understandings of intellectual growth can encourage students (as well as instructors and institutions) to attend to the primary goal of education.

Barbara Walvoord (2010) argues that assessment is more likely to be successful if there is a clear plan, whether one is assessing learning in a course or in an entire curriculum (see also Gelmon, Holland, and Spring, 2018). Without some intentional and careful plan, assessment can fall prey to unclear goals, vague criteria, limited communication of criteria or feedback, invalid or unreliable assessments, unfairness in student evaluations, or insufficient or even unmeasured learning. There are several steps in this planning process.

• Defining learning goals. An assessment plan usually begins with a clearly articulated set of learning goals.
• Defining assessment methods. Once goals are clear, an instructor must decide on what evidence – assignment(s) – will best reveal whether students are meeting the goals. We discuss several common methods below, but these need not be limited by anything but the learning goals and the teaching context.
• Developing the assessment. The next step would be to formulate clear formats, prompts, and performance criteria that ensure students can prepare effectively and provide valid, reliable evidence of their learning.
• Integrating assessment with other course elements. Then the remainder of the course design process can be completed. In both integrated (Fink 2013) and backward course design models (Wiggins & McTighe 2005), the primary assessment methods, once chosen, become the basis for other smaller reading and skill-building assignments as well as daily learning experiences such as lectures, discussions, and other activities that will prepare students for their best effort in the assessments.
• Communicate about the assessment. Once the course has begun, it is possible and necessary to communicate the assignment and its performance criteria to students. This communication may take many and preferably multiple forms to ensure student clarity and preparation, including assignment overviews in the syllabus, handouts with prompts and assessment criteria, rubrics with learning goals, model assignments (e.g., papers), in-class discussions, and collaborative decision-making about prompts or criteria, among others.
• Administer the assessment. Instructors then can implement the assessment at the appropriate time, collecting evidence of student learning – e.g., receiving papers or administering tests.
• Analyze the results. Analysis of the results can take various forms – from reading essays to computer-assisted test scoring – but always involves comparing student work to the performance criteria and the relevant scholarly research from the field(s).
• Communicate the results. Instructors then compose an assessment complete with areas of strength and improvement, and communicate it to students along with grades (if the assignment is graded), hopefully within a reasonable time frame. This also is the time to determine whether the assessment was valid and reliable, and if not, how to communicate this to students and adjust feedback and grades fairly. For instance, were the test or essay questions confusing, yielding invalid and unreliable assessments of student knowledge.
• Reflect and revise. Once the assessment is complete, instructors and students can develop learning plans for the remainder of the course so as to ensure improvements, and the assignment may be changed for future courses, as necessary.

Let’s see how this might work in practice through an example. An instructor in a Political Science course on American Environmental Policy may have a learning goal (among others) of students understanding the historical precursors of various environmental policies and how these both enabled and constrained the resulting legislation and its impacts on environmental conservation and health. The instructor therefore decides that the course will be organized around a series of short papers that will combine to make a thorough policy report, one that will also be the subject of student presentations and discussions in the last third of the course. Each student will write about an American environmental policy of their choice, with a first paper addressing its historical precursors, a second focused on the process of policy formation, and a third analyzing the extent of its impacts on environmental conservation or health. This will help students to meet the content knowledge goals of the course, in addition to its goals of improving students’ research, writing, and oral presentation skills. The instructor then develops the prompts, guidelines, and performance criteria that will be used to assess student skills, in addition to other course elements to best prepare them for this work – e.g., scaffolded units with quizzes, readings, lectures, debates, and other activities. Once the course has begun, the instructor communicates with the students about the learning goals, the assignments, and the criteria used to assess them, giving them the necessary context (goals, assessment plan) in the syllabus, handouts on the policy papers, rubrics with assessment criteria, model papers (if possible), and discussions with them as they need to prepare. The instructor then collects the papers at the appropriate due dates, assesses their conceptual and writing quality against the criteria and field’s scholarship, and then provides written feedback and grades in a manner that is reasonably prompt and sufficiently thorough for students to make improvements. Then the instructor can make determinations about whether the assessment method was effective and what changes might be necessary.

Assessment can vary widely from informal checks on understanding, to quizzes, to blogs, to essays, and to elaborate performance tasks such as written or audiovisual projects (Wiggins & McTighe, 2005). Below are a few common methods of assessment identified by Brown and Knight (1994) that are important to consider.

According to Euan S. Henderson, essays make two important contributions to learning and assessment: the development of skills and the cultivation of a learning style (1980). The American Association of Colleges & Universities (AAC&U) also has found that intensive writing is a “high impact” teaching practice likely to help students in their engagement, learning, and academic attainment (Kuh 2008).

Things to Keep in Mind about Essays

• Essays are a common form of writing assignment in courses and can be either a summative or formative form of assessment depending on how the instructor utilizes them.
• Essays encompass a wide array of narrative forms and lengths, from short descriptive essays to long analytical or creative ones. Shorter essays are often best suited to assess student’s understanding of threshold concepts and discrete analytical or writing skills, while longer essays afford assessments of higher order concepts and more complex learning goals, such as rigorous analysis, synthetic writing, problem solving, or creative tasks.
• A common challenge of the essay is that students can use them simply to regurgitate rather than analyze and synthesize information to make arguments. Students need performance criteria and prompts that urge them to go beyond mere memorization and comprehension, but encourage the highest levels of learning on Bloom’s Taxonomy . This may open the possibility for essay assignments that go beyond the common summary or descriptive essay on a given topic, but demand, for example, narrative or persuasive essays or more creative projects.
• Instructors commonly assume that students know how to write essays and can encounter disappointment or frustration when they discover that this is sometimes not the case. For this reason, it is important for instructors to make their expectations clear and be prepared to assist, or provide students to resources that will enhance their writing skills. Faculty may also encourage students to attend writing workshops at university writing centers, such as Vanderbilt University’s Writing Studio .

Exams and time-constrained, individual assessment

Examinations have traditionally been a gold standard of assessment, particularly in post-secondary education. Many educators prefer them because they can be highly effective, they can be standardized, they are easily integrated into disciplines with certification standards, and they are efficient to implement since they can allow for less labor-intensive feedback and grading. They can involve multiple forms of questions, be of varying lengths, and can be used to assess multiple levels of student learning. Like essays they can be summative or formative forms of assessment.

Things to Keep in Mind about Exams

• Exams typically focus on the assessment of students’ knowledge of facts, figures, and other discrete information crucial to a course. While they can involve questioning that demands students to engage in higher order demonstrations of comprehension, problem solving, analysis, synthesis, critique, and even creativity, such exams often require more time to prepare and validate.
• Exam questions can be multiple choice, true/false, or other discrete answer formats, or they can be essay or problem-solving. For more on how to write good multiple choice questions, see this guide .
• Exams can make significant demands on students’ factual knowledge and therefore can have the side-effect of encouraging cramming and surface learning. Further, when exams are offered infrequently, or when they have high stakes by virtue of their heavy weighting in course grade schemes or in student goals, they may accompany violations of academic integrity.
• In the process of designing an exam, instructors should consider the following questions. What are the learning objectives that the exam seeks to evaluate? Have students been adequately prepared to meet exam expectations? What are the skills and abilities that students need to do well on the exam? How will this exam be utilized to enhance the student learning process?

Self-Assessment

The goal of implementing self-assessment in a course is to enable students to develop their own judgment and the capacities for critical meta-cognition – to learn how to learn. In self-assessment students are expected to assess both the processes and products of their learning. While the assessment of the product is often the task of the instructor, implementing student self-assessment in the classroom ensures students evaluate their performance and the process of learning that led to it. Self-assessment thus provides a sense of student ownership of their learning and can lead to greater investment and engagement. It also enables students to develop transferable skills in other areas of learning that involve group projects and teamwork, critical thinking and problem-solving, as well as leadership roles in the teaching and learning process with their peers.

Things to Keep in Mind about Self-Assessment

• Self-assessment is not self-grading. According to Brown and Knight, “Self-assessment involves the use of evaluative processes in which judgement is involved, where self-grading is the marking of one’s own work against a set of criteria and potential outcomes provided by a third person, usually the [instructor]” (1994, p. 52). Self-assessment can involve self-grading, but instructors of record retain the final authority to determine and assign grades.
• To accurately and thoroughly self-assess, students require clear learning goals for the assignment in question, as well as rubrics that clarify different performance criteria and levels of achievement for each. These rubrics may be instructor-designed, or they may be fashioned through a collaborative dialogue with students. Rubrics need not include any grade assignation, but merely descriptive academic standards for different criteria.
• Students may not have the expertise to assess themselves thoroughly, so it is helpful to build students’ capacities for self-evaluation, and it is important that they always be supplemented with faculty assessments.
• Students may initially resist instructor attempts to involve themselves in the assessment process. This is usually due to insecurities or lack of confidence in their ability to objectively evaluate their own work, or possibly because of habituation to more passive roles in the learning process. Brown and Knight note, however, that when students are asked to evaluate their work, frequently student-determined outcomes are very similar to those of instructors, particularly when the criteria and expectations have been made explicit in advance (1994).
• Methods of self-assessment vary widely and can be as unique as the instructor or the course. Common forms of self-assessment involve written or oral reflection on a student’s own work, including portfolio, logs, instructor-student interviews, learner diaries and dialog journals, post-test reflections, and the like.

Peer Assessment

Peer assessment is a type of collaborative learning technique where students evaluate the work of their peers and, in return, have their own work evaluated as well. This dimension of assessment is significantly grounded in theoretical approaches to active learning and adult learning . Like self-assessment, peer assessment gives learners ownership of learning and focuses on the process of learning as students are able to “share with one another the experiences that they have undertaken” (Brown and Knight, 1994, p. 52).  However, it also provides students with other models of performance (e.g., different styles or narrative forms of writing), as well as the opportunity to teach, which can enable greater preparation, reflection, and meta-cognitive organization.

Things to Keep in Mind about Peer Assessment

• Similar to self-assessment, students benefit from clear and specific learning goals and rubrics. Again, these may be instructor-defined or determined through collaborative dialogue.
• Also similar to self-assessment, it is important to not conflate peer assessment and peer grading, since grading authority is retained by the instructor of record.
• While student peer assessments are most often fair and accurate, they sometimes can be subject to bias. In competitive educational contexts, for example when students are graded normatively (“on a curve”), students can be biased or potentially game their peer assessments, giving their fellow students unmerited low evaluations. Conversely, in more cooperative teaching environments or in cases when they are friends with their peers, students may provide overly favorable evaluations. Also, other biases associated with identity (e.g., race, gender, or class) and personality differences can shape student assessments in unfair ways. Therefore, it is important for instructors to encourage fairness, to establish processes based on clear evidence and identifiable criteria, and to provide instructor assessments as accompaniments or correctives to peer evaluations.
• Students may not have the disciplinary expertise or assessment experience of the instructor, and therefore can issue unsophisticated judgments of their peers. Therefore, to avoid unfairness, inaccuracy, and limited comments, formative peer assessments may need to be supplemented with instructor feedback.

As Brown and Knight assert, utilizing multiple methods of assessment, including more than one assessor when possible, improves the reliability of the assessment data. It also ensures that students with diverse aptitudes and abilities can be assessed accurately and have equal opportunities to excel. However, a primary challenge to the multiple methods approach is how to weigh the scores produced by multiple methods of assessment. When particular methods produce higher range of marks than others, instructors can potentially misinterpret and mis-evaluate student learning. Ultimately, they caution that, when multiple methods produce different messages about the same student, instructors should be mindful that the methods are likely assessing different forms of achievement (Brown and Knight, 1994).

These are only a few of the many forms of assessment that one might use to evaluate and enhance student learning (see also ideas present in Brown and Knight, 1994). To this list of assessment forms and methods we may add many more that encourage students to produce anything from research papers to films, theatrical productions to travel logs, op-eds to photo essays, manifestos to short stories. The limits of what may be assigned as a form of assessment is as varied as the subjects and skills we seek to empower in our students. Vanderbilt’s Center for Teaching has an ever-expanding array of guides on creative models of assessment that are present below, so please visit them to learn more about other assessment innovations and subjects.

Whatever plan and method you use, assessment often begins with an intentional clarification of the values that drive it. While many in higher education may argue that values do not have a role in assessment, we contend that values (for example, rigor) always motivate and shape even the most objective of learning assessments. Therefore, as in other aspects of assessment planning, it is helpful to be intentional and critically reflective about what values animate your teaching and the learning assessments it requires. There are many values that may direct learning assessment, but common ones include rigor, generativity, practicability, co-creativity, and full participation (Bandy et al., 2018). What do these characteristics mean in practice?

Rigor. In the context of learning assessment, rigor means aligning our methods with the goals we have for students, principles of validity and reliability, ethics of fairness and doing no harm, critical examinations of the meaning we make from the results, and good faith efforts to improve teaching and learning. In short, rigor suggests understanding learning assessment as we would any other form of intentional, thoroughgoing, critical, and ethical inquiry.

Generativity. Learning assessments may be most effective when they create conditions for the emergence of new knowledge and practice, including student learning and skill development, as well as instructor pedagogy and teaching methods. Generativity opens up rather than closes down possibilities for discovery, reflection, growth, and transformation.

Practicability. Practicability recommends that learning assessment be grounded in the realities of the world as it is, fitting within the boundaries of both instructor’s and students’ time and labor. While this may, at times, advise a method of learning assessment that seems to conflict with the other values, we believe that assessment fails to be rigorous, generative, participatory, or co-creative if it is not feasible and manageable for instructors and students.

Full Participation. Assessments should be equally accessible to, and encouraging of, learning for all students, empowering all to thrive regardless of identity or background. This requires multiple and varied methods of assessment that are inclusive of diverse identities – racial, ethnic, national, linguistic, gendered, sexual, class, etcetera – and their varied perspectives, skills, and cultures of learning.

Co-creation. As alluded to above regarding self- and peer-assessment, co-creative approaches empower students to become subjects of, not just objects of, learning assessment. That is, learning assessments may be more effective and generative when assessment is done with, not just for or to, students. This is consistent with feminist, social, and community engagement pedagogies, in which values of co-creation encourage us to critically interrogate and break down hierarchies between knowledge producers (traditionally, instructors) and consumers (traditionally, students) (e.g., Saltmarsh, Hartley, & Clayton, 2009, p. 10; Weimer, 2013). In co-creative approaches, students’ involvement enhances the meaningfulness, engagement, motivation, and meta-cognitive reflection of assessments, yielding greater learning (Bass & Elmendorf, 2019). The principle of students being co-creators of their own education is what motivates the course design and professional development work Vanderbilt University’s Center for Teaching has organized around the Students as Producers theme.

Below is a list of other CFT teaching guides that supplement this one and may be of assistance as you consider all of the factors that shape your assessment plan.

• Active Learning
• An Introduction to Lecturing
• Beyond the Essay: Making Student Thinking Visible in the Humanities
• Bloom’s Taxonomy
• Classroom Assessment Techniques (CATs)
• Classroom Response Systems
• How People Learn
• Service-Learning and Community Engagement
• Syllabus Construction
• Teaching with Blogs
• Test-Enhanced Learning
• Assessing Student Learning (a five-part video series for the CFT’s Online Course Design Institute)

Angelo, Thomas A., and K. Patricia Cross. Classroom Assessment Techniques: A Handbook for College Teachers . 2 nd edition. San Francisco: Jossey-Bass, 1993. Print.

Bandy, Joe, Mary Price, Patti Clayton, Julia Metzker, Georgia Nigro, Sarah Stanlick, Stephani Etheridge Woodson, Anna Bartel, & Sylvia Gale. Democratically engaged assessment: Reimagining the purposes and practices of assessment in community engagement . Davis, CA: Imagining America, 2018. Web.

Bass, Randy and Heidi Elmendorf. 2019. “ Designing for Difficulty: Social Pedagogies as a Framework for Course Design .” Social Pedagogies: Teagle Foundation White Paper. Georgetown University, 2019. Web.

Brookfield, Stephen D. Becoming a Critically Reflective Teacher . San Francisco: Jossey-Bass, 1995. Print

Brown, Sally, and Peter Knight. Assessing Learners in Higher Education . 1 edition. London ;Philadelphia: Routledge, 1998. Print.

Cameron, Jeanne et al. “Assessment as Critical Praxis: A Community College Experience.” Teaching Sociology 30.4 (2002): 414–429. JSTOR . Web.

Fink, L. Dee. Creating Significant Learning Experiences: An Integrated Approach to Designing College Courses. Second Edition. San Francisco, CA: Jossey-Bass, 2013. Print.

Gibbs, Graham and Claire Simpson. “Conditions under which Assessment Supports Student Learning. Learning and Teaching in Higher Education 1 (2004): 3-31. Print.

Henderson, Euan S. “The Essay in Continuous Assessment.” Studies in Higher Education 5.2 (1980): 197–203. Taylor and Francis+NEJM . Web.

Gelmon, Sherril B., Barbara Holland, and Amy Spring. Assessing Service-Learning and Civic Engagement: Principles and Techniques. Second Edition . Stylus, 2018. Print.

Kuh, George. High-Impact Educational Practices: What They Are, Who Has Access to Them, and Why They Matter , American Association of Colleges & Universities, 2008. Web.

Maki, Peggy L. “Developing an Assessment Plan to Learn about Student Learning.” The Journal of Academic Librarianship 28.1 (2002): 8–13. ScienceDirect . Web. The Journal of Academic Librarianship. Print.

Sharkey, Stephen, and William S. Johnson. Assessing Undergraduate Learning in Sociology . ASA Teaching Resource Center, 1992. Print.

Walvoord, Barbara. Assessment Clear and Simple: A Practical Guide for Institutions, Departments, and General Education. Second Edition . San Francisco, CA: Jossey-Bass, 2010. Print.

Weimer, Maryellen. Learner-Centered Teaching: Five Key Changes to Practice. Second Edition . San Francisco, CA: Jossey-Bass, 2013. Print.

Wiggins, Grant, and Jay McTighe. Understanding By Design . 2nd Expanded edition. Alexandria,

VA: Assn. for Supervision & Curriculum Development, 2005. Print.

[1] For more on Wiggins and McTighe’s “Backward Design” model, see our teaching guide here .

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Assessing student writing, what does it mean to assess writing.

• Suggestions for Assessing Writing

Means of Responding

Rubrics: tools for response and assessment, constructing a rubric.

Assessment is the gathering of information about student learning. It can be used for formative purposes−−to adjust instruction−−or summative purposes: to render a judgment about the quality of student work. It is a key instructional activity, and teachers engage in it every day in a variety of informal and formal ways.

Assessment of student writing is a process. Assessment of student writing and performance in the class should occur at many different stages throughout the course and could come in many different forms. At various points in the assessment process, teachers usually take on different roles such as motivator, collaborator, critic, evaluator, etc., (see Brooke Horvath for more on these roles) and give different types of response.

One of the major purposes of writing assessment is to provide feedback to students. We know that feedback is crucial to writing development. The 2004 Harvard Study of Writing concluded, "Feedback emerged as the hero and the anti-hero of our study−powerful enough to convince students that they could or couldn't do the work in a given field, to push them toward or away from selecting their majors, and contributed, more than any other single factor, to students' sense of academic belonging or alienation" (http://www.fas.harvard.edu/~expos/index.cgi?section=study).

Source: Horvath, Brooke K. "The Components of Written Response: A Practical Synthesis of Current Views." Rhetoric Review 2 (January 1985): 136−56. Rpt. in C Corbett, Edward P. J., Nancy Myers, and Gary Tate. The Writing Teacher's Sourcebook . 4th ed. New York: Oxford Univ. Press, 2000.

Suggestions for Assessing Student Writing

Be sure to know what you want students to be able to do and why. Good assessment practices start with a pedagogically sound assignment description and learning goals for the writing task at hand. The type of feedback given on any task should depend on the learning goals you have for students and the purpose of the assignment. Think early on about why you want students to complete a given writing project (see guide to writing strong assignments page). What do you want them to know? What do you want students to be able to do? Why? How will you know when they have reached these goals? What methods of assessment will allow you to see that students have accomplished these goals (portfolio assessment assigning multiple drafts, rubric, etc)? What will distinguish the strongest projects from the weakest?

Begin designing writing assignments with your learning goals and methods of assessment in mind.

Plan and implement activities that support students in meeting the learning goals. How will you support students in meeting these goals? What writing activities will you allow time for? How can you help students meet these learning goals?

Begin giving feedback early in the writing process. Give multiple types of feedback early in the writing process. For example, talking with students about ideas, write written responses on drafts, have students respond to their peers' drafts in process, etc. These are all ways for students to receive feedback while they are still in the process of revising.

Structure opportunities for feedback at various points in the writing process. Students should also have opportunities to receive feedback on their writing at various stages in the writing process. This does not mean that teachers need to respond to every draft of a writing project. Structuring time for peer response and group workshops can be a very effective way for students to receive feedback from other writers in the class and for them to begin to learn to revise and edit their own writing.

Be open with students about your expectations and the purposes of the assignments. Students respond better to writing projects when they understand why the project is important and what they can learn through the process of completing it. Be explicit about your goals for them as writers and why those goals are important to their learning. Additionally, talk with students about methods of assessment. Some teachers have students help collaboratively design rubrics for the grading of writing. Whatever methods of assessment you choose, be sure to let students in on how they will be evaluated.

 Do not burden students with excessive feedback. Our instinct as teachers, especially when we are really interested in students´ writing is to offer as many comments and suggestions as we can. However, providing too much feedback can leave students feeling daunted and uncertain where to start in terms of revision. Try to choose one or two things to focus on when responding to a draft. Offer students concrete possibilities or strategies for revision.

Allow students to maintain control over their paper. Instead of acting as an editor, suggest options or open-ended alternatives the student can choose for their revision path. Help students learn to assess their own writing and the advice they get about it.

Purposes of Responding We provide different kinds of response at different moments. But we might also fall into a kind of "default" mode, working to get through the papers without making a conscious choice about how and why we want to respond to a given assignment. So it might be helpful to identify the two major kinds of response we provide:

• Formative Response: response that aims primarily to help students develop their writing. Might focus on confidence-building, on engaging the student in a conversation about her ideas or writing choices so as to help student to see herself as a successful and promising writer. Might focus on helping student develop a particular writing project, from one draft to next. Or, might suggest to student some general skills she could focus on developing over the course of a semester.
• Evaluative Response: response that focuses on evaluation of how well a student has done. Might be related to a grade. Might be used primarily on a final product or portfolio. Tends to emphasize whether or not student has met the criteria operative for specific assignment and to explain that judgment.

We respond to many kinds of writing and at different stages in the process, from reading responses, to exercises, to generation or brainstorming, to drafts, to source critiques, to final drafts. It is also helpful to think of the various forms that response can take.

• Conferencing: verbal, interactive response. This might happen in class or during scheduled sessions in offices. Conferencing can be more dynamic: we can ask students questions about their work, modeling a process of reflecting on and revising a piece of writing. Students can also ask us questions and receive immediate feedback. Conference is typically a formative response mechanism, but might also serve usefully to convey evaluative response.
• Written Comments on Drafts
• Local: when we focus on "local" moments in a piece of writing, we are calling attention to specifics in the paper. Perhaps certain patterns of grammar or moments where the essay takes a sudden, unexpected turn. We might also use local comments to emphasize a powerful turn of phrase, or a compelling and well-developed moment in a piece. Local commenting tends to happen in the margins, to call attention to specific moments in the piece by highlighting them and explaining their significance. We tend to use local commenting more often on drafts and when doing formative response.
• Global: when we focus more on the overall piece of writing and less on the specific moments in and of themselves. Global comments tend to come at the end of a piece, in narrative-form response. We might use these to step back and tell the writer what we learned overall, or to comment on a pieces' general organizational structure or focus. We tend to use these for evaluative response and often, deliberately or not, as a means of justifying the grade we assigned.
• Rubrics: charts or grids on which we identify the central requirements or goals of a specific project. Then, we evaluate whether or not, and how effectively, students met those criteria. These can be written with students as a means of helping them see and articulate the goals a given project.

Rubrics are tools teachers and students use to evaluate and classify writing, whether individual pieces or portfolios. They identify and articulate what is being evaluated in the writing, and offer "descriptors" to classify writing into certain categories (1-5, for instance, or A-F). Narrative rubrics and chart rubrics are the two most common forms. Here is an example of each, using the same classification descriptors:

Example: Narrative Rubric for Inquiring into Family & Community History

An "A" project clearly and compellingly demonstrates how the public event influenced the family/community. It shows strong audience awareness, engaging readers throughout. The form and structure are appropriate for the purpose(s) and audience(s) of the piece. The final product is virtually error-free. The piece seamlessly weaves in several other voices, drawn from appropriate archival, secondary, and primary research. Drafts - at least two beyond the initial draft - show extensive, effective revision. Writer's notes and final learning letter demonstrate thoughtful reflection and growing awareness of writer's strengths and challenges.

A "B" project clearly and compellingly demonstrates how the public event influenced the family/community. It shows strong audience awareness, and usually engages readers. The form and structure are appropriate for the audience(s) and purpose(s) of the piece, though the organization may not be tight in a couple places. The final product includes a few errors, but these do no interfere with readers' comprehension. The piece effectively, if not always seamlessly, weaves several other voices, drawn from appropriate archival, secondary, and primary research. One area of research may not be as strong as the other two. Drafts - at least two beyond the initial drafts - show extensive, effective revision. Writer's notes and final learning letter demonstrate thoughtful reflection and growing awareness of writer's strengths and challenges.

A "C" project demonstrates how the public event influenced the family/community. It shows audience awareness, sometimes engaging readers. The form and structure are appropriate for the audience(s) and purpose(s), but the organization breaks down at times. The piece includes several, apparent errors, which at times compromises the clarity of the piece. The piece incorporates other voices, drawn from at least two kinds of research, but in a generally forced or awkward way. There is unevenness in the quality and appropriateness of the research. Drafts - at least one beyond the initial draft - show some evidence of revision. Writer's notes and final learning letter show some reflection and growth in awareness of writer's strengths and challenges.

A "D" project discusses a public event and a family/community, but the connections may not be clear. It shows little audience awareness. The form and structure is poorly chosen or poorly executed. The piece includes many errors, which regularly compromise the comprehensibility of the piece. There is an attempt to incorporate other voices, but this is done awkwardly or is drawn from incomplete or inappropriate research. There is little evidence of revision. Writer's notes and learning letter are missing or show little reflection or growth.

An "F" project is not responsive to the prompt. It shows little or no audience awareness. The purpose is unclear and the form and structure are poorly chosen and poorly executed. The piece includes many errors, compromising the clarity of the piece throughout. There is little or no evidence of research. There is little or no evidence of revision. Writer's notes and learning letter are missing or show no reflection or growth.

Chart Rubric for Community/Family History Inquiry Project

All good rubrics begin (and end) with solid criteria. We always start working on rubrics by generating a list - by ourselves or with students - of what we value for a particular project or portfolio. We generally list far more items than we could use in a single rubric. Then, we narrow this list down to the most important items - between 5 and 7, ideally. We do not usually rank these items in importance, but it is certainly possible to create a hierarchy of criteria on a rubric (usually by listing the most important criteria at the top of the chart or at the beginning of the narrative description).

Once we have our final list of criteria, we begin to imagine how writing would fit into a certain classification category (1-5, A-F, etc.). How would an "A" essay differ from a "B" essay in Organization? How would a "B" story differ from a "C" story in Character Development? The key here is to identify useful descriptors - drawing the line at appropriate places. Sometimes, these gradations will be precise: the difference between handing in 80% and 90% of weekly writing, for instance. Other times, they will be vague: the difference between "effective revisions" and "mostly effective revisions", for instance. While it is important to be as precise as possible, it is also important to remember that rubric writing (especially in writing classrooms) is more art than science, and will never - and nor should it - stand in for algorithms. When we find ourselves getting caught up in minute gradations, we tend to be overlegislating students´- writing and losing sight of the purpose of the exercise: to support students' development as writers. At the moment when rubric-writing thwarts rather than supports students' writing, we should discontinue the practice. Until then, many students will find rubrics helpful -- and sometimes even motivating.

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Writing self-assessment checklist.

Developed after a training session with Geoff Petty, I use this self-assessment checklist for mixed level groups. 

Although colour-coded to various levels, the idea is that any learner, regardless of level, can use the checklist to assess their own writing, and map their strengths and weaknesses.  It also helps  teachers to see how effectively learners are able to self-evaluate.   I have found it to be a really good tool to foster independent learning.

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IB Extended Essay: Assessment Criteria

• Research Questions
• Past Essays
• Notes & Outlines
• Works Cited Page
• In-Text Citations
• Assessment Criteria
• Reflections
• Supervisor Info
• Net Valley Library This link opens in a new window

Score Descriptors for each Criterion:

• A - Focus and Method
• B - Knowledge and Understanding
• C - Critical Thinking
• D - Presentation
• E - Engagement

Printable: Full Rubric  for all subjects

To view details for your SUBJECT, open the correct page below.

• Choose "Interpreting the EE Assessment Criteria" on the sidebar to see how to score well in YOUR subject area

Language & literature (language A)

Language acquisition (language B)

Mathematics

Visual Arts

World Studies

Business Management

Grade Boundaries

What's Expected?

• A: Focus/Method
• B: Knowledge
• C: Critical Thinking
• D: Presentation
• E: Engagement
• A: Focus and Method (6 marks)
• B: Knowledge and Understanding (6 marks)
• C: Critical Thinking (12 marks)
• D: Presentation (4 marks)
• E: Engagement (6 marks)
• Total marks possible: 34 (see grade boundaries below)
• Printable:  Full Rubric
• Printable: A3 size with details
• Printable:  Details for each criterion , via the Oxford guide

Criterion A:  Focus and Method (6 points)

What It Means:   This criterion focuses on the topic, the research question and the methodology. It assesses the explanation of the focus of the research (this includes the topic and the research question), how the research will be undertaken, and how the focus is maintained throughout the essay.

Questions to ask:  

• Does this essay meet the requirements for the subject for which you are registering it?
• Is your research question stated as a question?
• Have you explained how your research question relates to the subject that you selected for the extended essay?
• Have you given an insight into why your area of study is important?
• Is your research question feasible within the scope of the task? Could your research question be “answered” or it is too vague?
• Did you refer to your research question throughout the essay (not only in the introduction and conclusion)?
• Did you explain why you selected your methodology?
• Are there other possible methods that could be used or applied to answer your research question? How might this change the direction of your research?
• If you stated a particular methodology in the introduction of your essay, or specific sources, have you used them?
• Are there any references listed in the bibliography that were not directly cited in the text?

(Source: Susan Trower, via West Sound Academy)

Criterion B:  Knowledge and Understanding (6 points)

What It Means:   This criterion assesses the extent to which the research relates to the subject area/discipline used to explore the research question; or in the case of the world studies extended essay, the issue addressed and the two disciplinary perspectives applied; and additionally, the way in which this knowledge and understanding is demonstrated through the use of appropriate terminology and concepts.

• Have you explained how your research question relates to a specific subject you selected for the extended essay?
• Have you used relevant terminology and concepts throughout your essay as they relate to your particular area of research?
• Is it clear that the sources you are using are relevant and appropriate to your research question?
• Do you have a range of sources, or have you only relied on one particular type, for example internet sources?
• Is there a reason why you might not have a range? Is this justified?

(Source: Oxford EE manual, p. 110)

Criterion C:  Critical Thinking (12 points)

What It Means:   This criterion assesses the extent to which critical thinking skills have been used to analyze and evaluate the research undertaken.

• Have you made links between your results and data collected and your research question?
• If you included data or information that is not directly related to your research question have you explained its importance?
• Are your conclusions supported by your data?
• If you found unexpected information or data have you discussed its importance?
• Have you provided a critical evaluation of the methods you selected?
• Have you considered the reliability of your sources (peer-reviewed journals, internet, and so on)?
• Have you mentioned and evaluated the significance of possible errors that may have occurred in your research?
• Are all your suggestions of errors or improvements relevant?
• Have you evaluated your research question?
• Have you compared your results or findings with any other sources?
• Is there an argument that is clear and easy to follow and directly linked to answering your research question, and which is supported by evidence? Are there other possible methods that could be used or applied to answer your research question? How might this change the direction of your research?

(Source: Oxford EE Manual p. 111)

Handy Links:

• Presentation One Pager  via Catalina Bordoy
• Presentation Checklist
• Sample Title page   (see below - top half of the page)

Criterion D:  Presentation ( 4 points)

What It Means:   This criterion assesses the extent to which the presentation follows the standard format expected for academic writing and the extent to which this aids effective communication.

• Have you read and understood the presentation requirements of the extended essay?
• Have you chosen a font that will be easy for examiners to read on-screen?
• Is your essay double-spaced and size 12 font?
• Are the title and research question mentioned on the cover page?
• Are all pages numbered?
• Have you prepared a correct table of contents?
• Do the page numbers in the table of contents match the page numbers in the text?
• Is your essay subdivided into correct sub-sections, if this is applicable to the subject?
• Are all figures and tables properly numbered and labelled?
• Does your bibliography contain only the sources cited in the text?
• Did you use the same reference system throughout the essay?
• Does the essay have less than 4,000 words?
• Is all the material presented in the appendices relevant and necessary?
• Have you proofread the text for spelling or grammar errors?

Criterion E: Engagement

• Three reflections (best after meeting with your supervisor)
• 500 words TOTAL (100 + 150 + 250?)
• Reflections are done in Managebac on your Reflection space
• See the "Reflections" tab above for prompts to write about

(Source: Oxford EE Manual p.135)

(Source: Oxford EE Manual p.133)

• Sample Reflections
• Full chapter on Reflections from the Oxford Guide

Criterion E:  Engagement (6 points)

What It Means:   This criterion assesses the student’s engagement with their research focus and the research process. It will be applied by the examiner at the end of the assessment of the essay, after considering the student’s RPPF (Reflections on planning and progress form).

• Have you demonstrated your engagement with your research topic and the research process?
• Have you highlighted challenges you faced and how you overcame them?
• Will the examiner get a sense of your intellectual and skills development?
• Will the examiner get a sense of your creativity and intellectual initiative?
• For prompts to deepen your reflections, go  here  and then to the bottom of the page
• Presentation Quick Guide
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• Last Updated: Apr 9, 2024 9:39 AM
• URL: https://sis-cn.libguides.com/ExtendedEssay

Extended Essay: Assessment

• Extended Essay- The Basics
• Step 1. Choose a Subject
• Step 2. Educate yourself!
• Using Brainstorming and Mind Maps
• Identify Keywords
• Do Background Reading
• Define Your Topic
• Conduct Research in a Specific Discipline
• Step 5. Draft a Research Question
• Step 6. Create a Timeline
• Find Articles
• Find Primary Sources
• Get Help from Experts
• Search Engines, Repositories, & Directories
• Databases and Websites by Subject Area
• Create an Annotated Bibliography
• Advice (and Warnings) from the IB
• Chicago Citation Syle
• MLA Works Cited & In-Text Citations
• Step 9. Set Deadlines for Yourself
• Step 10. Plan a structure for your essay
• Evaluate & Select: the CRAAP Test
• Conducting Secondary Research
• Conducting Primary Research
• Formal vs. Informal Writing
• Presentation Requirements
• Evaluating Your Work

Assessment of the Extended Essay

See below for guidance on evaluating your research, writing, and reflections:

EE Assessment - Questions to Ask

Or see the box to the right for a link to a PDF of the list.

EE Assessment - Questions for Students to Consider

Use this list to help you think about the assessment criteria and whether you have addressed the expectations within your essay.  You do not need to address all of the questions posed, but they do provide some guidance in terms of what to consider.

Criterion A:  Focus and Method

Questions to ask:  

• Does this essay meet the requirements for the subject for which you are registering it?
• Is your research question stated as a question?
• Have you explained how your research question relates to the subject that you selected for the extended essay?
• Have you given an insight into why your area of study is important?
• Is your research question feasible within the scope of the task? Could your research question be “answered” or it is too vague?
• Did you refer to your research question throughout the essay (not only in the introduction and conclusion)?
• Did you explain why you selected your methodology?
• Are there other possible methods that could be used or applied to answer your research question? How might this change the direction of your research?
• If you stated a particular methodology in the introduction of your essay, or specific sources, have you used them?
• Are there any references listed in the bibliography that were not directly cited in the text?

Criterion B:  Knowledge and Understanding

• Have you explained how your research question relates to a specific subject you selected for the extended essay?
• Have you used relevant terminology and concepts throughout your essay as they relate to your particular area of research?
• Is it clear that the sources you are using are relevant and appropriate to your research question?
• Do you have a range of sources, or have you only relied on one particular type, for example internet sources?
• Is there a reason why you might not have a range? Is this justified?

Criterion C:  Critical Thinking

• Have you made links between your results and data collected and your research question?
• If you included data or information that is not directly related to your research question have you explained its importance?
• Are your conclusions supported by your data?
• If you found unexpected information or data have you discussed its importance?
• Have you provided a critical evaluation of the methods you selected?
• Have you considered the reliability of your sources (peer-reviewed journals, internet, and so on)?
• Have you mentioned and evaluated the significance of possible errors that may have occurred in your research?
• Are all your suggestions of errors or improvements relevant?
• Have you evaluated your research question?
• Have you compared your results or findings with any other sources?
• Is there an argument that is clear and easy to follow and directly linked to answering your research question, and which is supported by evidence? Are there other possible methods that could be used or applied to answer your research question? How might this change the direction of your research?

Criterion D:  Presentation

• Have you read and understood the presentation requirements of the extended essay?
• Have you chosen a font that will be easy for examiners to read on-screen?
• Is your essay double-spaced and size 12 font?
• Are the title and research question mentioned on the cover page?
• Are all pages numbered?
• Have you prepared a correct table of contents?
• Do the page numbers in the table of contents match the page numbers in the text?
• Is your essay subdivided into correct sub-sections, if this is applicable to the subject?
• Are all figures and tables properly numbered and labelled?
• Does your bibliography contain only the sources cited in the text?
• Did you use the same reference system throughout the essay?
• Does the essay have less than 4,000 words?
• Is all the material presented in the appendices relevant and necessary?
• Have you proofread the text for spelling or grammar errors?

Criterion E:  Engagement

• Have you demonstrated your engagement with your research topic and the research process?
• Have you highlighted challenges you faced and how you overcame them?
• Will the examiner get a sense of your intellectual and skills development?
• Will the examiner get a sense of your creativity and intellectual initiative?
• Will the examiner get a sense of how you responded to actions and ideas in the research process?

EE Assessment - Advice for Students

Assessment Grade Descriptors

All extended essays are externally assessed by examiners appointed by the IB. The total marks available are 34.  However, when your supervisor marks your essay in order to arrive at a predicted grade, the grading will be based on the  qualitative  grade descriptors for the Extended Essay (see below), not a translation of a number score into a letter grade.

Assessment Criteria and Objectives

• << Previous: Evaluating Your Work
• Last Updated: Jun 26, 2024 12:25 PM
• URL: https://libguides.westsoundacademy.org/ee