I read Susan Blum’s Ungrading as a first-year graduate student and was immediately smitten. At the same time, COVID-19 forced many seasoned instructors to grapple with assessing their students, making alternative assessment more mainstream. My first attempt at alternative assessment didn’t go very well. I failed to appreciate the value of clear expectations and the inescapable necessity that my students needed to walk out of my class with a grade. I struggled to make my system transparent, to emphasize growth over perfection, and to implement a good rubric. For the next four years, I used Kevin Gannon’s grading contract to implement more structure and Barbara Schapiro’s ‘third space’ to reflect on what worked for me and my students. My system improved. Now, as a fifth-year graduate student approaching completion of my degree, I use contract grading. Each assignment has 1-10 points, with a total of 100 points. Each point corresponds to a specific objective and is graded complete/incomplete. In my more recent students’ evaluations, students say they are less stressed, they are more motivated, and they understand assignment expectations at the beginning of the semester.
My Journey in Alternative Grading: From Curiosity to Clarity
The first time I stood in front of 20 bored freshmen, all alone, teaching a course I had designed, also all alone, I was teaching a general education writing and speaking course at the University of Iowa. After using traditional grading the first semester, I turned to alternative assessment in the second. In brief, my students received a complete/incomplete grade for any given assignment and then a cumulative midterm and final grade. I wanted to deemphasize grading entirely, but in retrospect the flaws were glaring. Halfway through the semester, in the middle of class, a student burst out in confusion and frustration, “Where did my grade even come from?” What a good question. My first system failed to appreciate the value of clear expectations and the inescapable necessity that at the end of the day my students needed to walk out of my class with a grade.
As a first-year graduate student, I had read Susan Blum’s Ungrading and was immediately smitten. Blum (2020) argues that grades provide minimal feedback, they deemphasize learning, and what they actually measure is inconsistent (10-14). I came to alternative assessment alongside many other instructors as COVID-19 forced seasoned instructors to grapple with assessment policies. In 2021, a Faculty Learning Community formed at the University of Iowa to address assessment practices and, spurred on by their work, in 2023 the University changed their grading policy page to include alternative assessment (“Grades: Undergraduate Policies”).
During the next four years, I implemented Barbara Schapiro’s (2009) ‘third space,’ which takes into account what benefits both me and my students (423-439). I took a more structured approach, first using Kevin Gannon’s contract and Asao Inoue’s labor-based grading model and eventually designing my own contract. I struggled to make contract grading transparent, to emphasize growth over perfection, and to implement a good rubric. But the system improved. Now, as a fifth-year graduate student approaching completion of my degree, I use a blend of labor-based, or specifications, grading, and contract grading. In specifications grading “the instructor designates bundles of assignments that map to different letter grades” and in contract grading “each student signs a contract indicating what grade they plan to work towards” (“Alternative Approaches to Assessment”). In evaluations, students say they are less stressed, they are more motivated, and they understand assignment expectations better.
Despite the flaws in my first grading system, it taught me that I functioned better in a classroom when I use alternative assessment, and I have maintained some semblance of the complete/incomplete system ever since. Traditional grading felt too subjective, based on a sliding scale of bad, average, or great. As a TA, I even received rubrics with that language. As much as it was my job to teach students to write, I also felt the grading system disadvantaged those students who came in with subpar high school educations and less writing experience. I wanted to design a system that addressed those problems.
Gannon’s Contract Grading: A Transparent Framework
Kevin Gannon’s (2022) grading contract (see Figure 1) heavily influenced my third semester of teaching. In Gannon’s model, students begin with a B- and achieving, or failing to achieve, specific requirements raise or lower their grade. His system was easy to explain and students responded positively. When I introduced Gannon’s system, I used the word ‘labor’ a lot. In Asao Inoue’s (2022) labor-based grading model, he defines labor as “the engine that runs all learning. You can’t learn without laboring” (76). But, on my own, I doubted whether I could evaluate a student’s labor when it mostly took place outside of the classroom. I aimed, therefore, to bring the writing process further into the classroom, including proposals, drafts, and revisions. I especially wanted students to understand that the ‘final’ assignment was anything but. Usually written in one to three weeks (if not one to three days), ‘final’ assignments are first thoughts, or, if we’re lucky, second thoughts. Drafts and revisions help students embrace what Gannon (2020) calls “not-yetness,” the recognition that they are still learning and the goal is not perfection (146).
Figure 1: Gannon’s Contact System
| Grade | Number of Non-Participation Days | Number of Late Assignments | Number of Ignored Assignments |
| B-minus | 0-4 | 0-4 | 0 |
| C-minus | 5-6 | 5 | 1 |
| D-minus | more than 6 | 6 or more | more than 1 |
Despite the overall success of the system, I had problems. Students were still demotivated by a lack of clear expectations. Because everything was graded complete/incomplete, three-sentence reading responses held the same weight as thousand-word essays, making it unclear how much time I expected them to spend on a given assignment. My assignments also didn’t have detailed enough rubrics and some students felt quality didn’t matter.
My Grading Design and Process
At this point, I started teaching general education in literature, which had different grading expectations. Needing to change my system anyway, I created a contract with 100 points, each assignment assigned 1-10 points (See supplementary materials). I like this system. I’m still using it two years later. But my first go-around had only middling success. The system seemed straightforward to me, but my students were confused, as nearly all of them pointed out in their evaluations. Although students understood what the assignments were, my rubrics were sparse – perceptive readers might notice this as a reoccurring problem.
So, here’s how I fixed it: On the first day of class, I explain my system and give everyone a copy of the contract, which I ask them to fill out with their desired grade. Being in physical contact with the contract helps them understand it better and immediately establish a goal for the semester. I explain the larger purpose of the contract, but I also boiled the system down to some simple numbers: if a student successfully completes all the main assignments and three revisions, they get an A.
And, at long last, I have a functioning rubric. I still grade each point complete/incomplete. For simple assignments like reading responses, where I just want students to get their thoughts down, it’s a simple question of “Did you do the assignment?” For more complicated assignments, I assign each point an objective, and each objective introduces a new skill or concept. For example, in an eight-point paper, I assign four points to close reading (See Figure 2). The objectives build from including close reading consistently in the paper to synthesizing the new skill they’re learning (close reading) with the class content (monster theory). The objectives become more difficult and the final objective requires the most subjective grading. But overall, the system allows the students to see whether they’re meeting requirements even before I’ve given them a grade, and the system highlights what skills or content they are struggling with.
Figure 2: Analysis Rubric
| 1 point | Close reading throughout the paper that addresses specific, quoted moments from your song |
| 1 point | Close reading that makes an argument about why those specific moments are there throughout the paper |
| 1 point | The paper addresses monstrosity as we have discussed it in class (i.e. have you told us what the monster is a metaphor for? |
| 1 point | Analysis heavily relies throughout on an argument about monstrosity that goes beyond ‘monster as metaphor.’ |
Conclusion
I find alternative assessment highly effective. Even though I recently received the comment, “Never do contract grading again,” student evaluations are overwhelmingly positive and more often sound like, “So helpful, literally my favorite thing ever.” Stress reduction and increased motivation appear frequently in evaluations. But more than that, alternative assessment taught me how to be a teacher. Improving my grading system required me to create clearer rubrics, state the purpose of my lessons, design assignments that gave my students more agency, and provide more concrete methods of measuring participation. This meant a lot of big changes at once, but alternative assessment can be implemented in much smaller steps, like using it for one assignment or rewriting one rubric. Now that I have a good system, I’m working on those smaller steps, like making assignments more time effective and integrating revisions more effectively. Implementing alternative assessment was really hard, but I hope as more teachers take it up, there will be more resources for those who want to take the plunge.
Supplementary Materials
Contract Checklist & Rubric for Close Reading Paper: https://www.facultyfocus.com/wp-content/uploads/2025/06/My-Journey-in-Alternative-Grading_From-Curiosity-to-Clarity-Supplementary-Material.pdf
Sarah Barringer is a graduate student at the University of Iowa. Her dissertation, “Transmasculine Narratives in Medieval Literature,” argues that transmasculine characters in medieval literature allowed medieval audiences to imagine a gender that comprised both feminine and masculine elements. She teaches general education in literature courses at the University of Iowa on monstrosity and identity.
References
“Alternative Approaches to Assessment.” The Derek Bok Center for Teaching and Learning, Harvard University. https://bokcenter.harvard.edu/beyond-the-grade.
Blum, Susan. Ungrading: Why Rating Students Undermines Learning: And What to Do Instead. West Virginia University Press, 2020.
Gannon, Kevin. Radical Hope: A Teaching Manifesto. West Virginia University Press, 2020.
Gannon, Kevin. “Some Thoughts on Moving into Labor-Based Grading Contracts.” The Tattooed Professor, 2020, https://thetattooedprof.com/2022/01/04/some-thoughts-on-moving-into-labor-based-grading-contracts/
“Grades: Undergraduate policies.” College of Liberal Arts and Sciences, University of Iowa, 2024, https://policy.clas.uiowa.edu/clas-policies-and-procedures/undergraduate-education/grades-undergraduate-policies.
Inoue, Asoa. Labor-Based Grading Contracts: Building Equity and Inclusion in the Compassionate Writing Classroom. University Press of Colorado, 2022.
Schapiro, Barbara. “Negotiating a Third Space in the Classroom.” Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 9, no. 3 (2009): 423-439.
