40 Days of Worksheets

40 Days of Worksheets – Day 11

by Ramona DeFelice Long

cropped-ramonagravitar.jpgWorksheet # 11 – WHY

Why addresses the reasons characters act as they do, the author’s reasons for writing this story,  and why changes happens as a result of the action.

Questions only today. Have a good weekend!

  1. Why are you writing this story?
  2. Why is this protagonist right for this story?
  3. Why is the protagonist compelled to answer the story question?
  4. Why does the protagonist embark on the emotional journey?
  5. Why does the protagonist feel a hole, an ache, a need to change his/her situation?
  6. Why is he/she changed (or not) by the end of the story?
  7. Why are secrets held between/from characters?
  8. Why did the crime happen?
  9. Why was the crime committed by this particular person?
  10. Why did the particular victims die and particular survivors survive?
  11. Why will a reader find uniqueness in this story?
  12. Why will a reader turn the page at the end of each chapter?
  13. Why is this story compelling beyond answering the story question?
  14. Why is it entertaining?
  15. Why is this a series or a standalone?

Please note: All worksheets posted are my original work and intellectual property. I ask that you share the links on social media, and you are welcome to share the worksheets with your critique groups and writing friends with credit given. That being said, these worksheets—despite being posted on the Internet—may not be copied, distributed, or published as anyone’s work but mine. In short: sharing is good, plagiarism is bad.

Disclaimer #2: You may post your completed worksheet if you’d like, but please remember that, by doing so, you are sharing your ideas with all of the Internet. You’ve been warnedbeen warned.

40 Days of Worksheets – Day 10

by Ramona DeFelice Long

cropped-ramonagravitar.jpgWorksheet #10 – WHERE

Like when, where is a double-sided consideration when writing a story.

The big where is the story world, which can be a contemporary small town, a bygone era in a city, a fantasy world, a dystopian future world, a fictional version of your home town, or a galaxy far, far away.

The smaller where addresses scenes: in what spot in the story world does each scene occur?

While writing about where, think about place: The story world is place, and scenes are places.

In scenes writing classes, I give an exercise called All the Places You Character Will Go. This can also be called Get Out of the Kitchen! Some writers have a habit of putting the same characters in the same spot doing the same thing—many times chatting with someone in the kitchen. That’s what most of us do when we have a problem or a sticky situation, right? We call a pal and hash it out over coffee. This is fine if home is the character’s base, but you’ve selected a setting for a reason, and you do a disservice to your characters, and your readers, if you tie them to only a few spots. Send them out into the world. Anything can happen out there!

Think of all the places you go each week: home, work, friend’s house, grocery store, church, evening class, poetry reading, shopping, dinner at a restaurant, school drop-off, kid’s swim meet, yoga, hairdresser, massage, doctor’s appointment, corner deli, shoe store, etc. Every time you send a character to a new place, you’re sending the reader there, too. Show off your setting! Every time you send your character out into the world, they have a chance of encountering someone who may be important to the story. If you are like me, there’s limited access to your kitchen. Only so much real action can happen there. Once you step out into the setting, there’s a whole big world full of mayhem out there. Use it.

Exercise: List every place your character/s go in the story, beginning to end. Is there a lot of movement to many different places? Or are your characters stuck drinking endless cups of tea in someone’s kitchen?

WHERE Questions

  1. Where (and when) does this story take place?
  2. Where (how far into the story) is a unique story world revealed?
  3. Where (what particular location) does the story begin?
  4. Where (what particular location) does it end?
  5. Where does the inciting incident take place?
  6. Where do crimes take place?
  7. Where does the protagonist live?
  8. Where does the antagonist live?
  9. Where does the protagonist go every day, as part of job/life?
  10. Where does the protagonist hang out for fun?
  11. Where is the protagonist obligated to go or visit on a personal level?
  12. Where does the protagonist go related to the Story Question?
  13. Where are places the protagonist can go for comfort?
  14. Where are places the protagonist might visit as backstory?
  15. Where has the protagonist lived or worked before now?
  16. Where is the sleuth’s home base, to solve the crime?
  17. Where are meaningful places in the story?
  18. Where does the killer/bad guy go after committing the crime/s?
  19. Where does the killer/bad guy hide from discovery?
  20. Where does the climax take place?
  21. Where does the main character appear when introduced?
  22. Where is the last place the reader sees the main character?

Please note: All worksheets posted are my original work and intellectual property. I ask that you share the links on social media, and you are welcome to share the worksheets with your critique groups and writing friends with credit given. That being said, these worksheets—despite being posted on the Internet—may not be copied, distributed, or published as anyone’s work but mine. In short: sharing is good, plagiarism is bad.

Disclaimer #2: You may post your completed worksheet if you’d like, but please remember that, by doing so, you are sharing your ideas with all of the Internet. You’ve been warned.

 

40 Days of Worksheets – Day 9

by Ramona DeFelice Long

cropped-ramonagravitar.jpgWorksheet # 9 – WHEN

There are two types of time an author should consider when crafting a story: book time and structure time.

In the story, an event happens on Wednesday afternoon, but its placement in the story will be in Act 1, 2, or 3. Why is placement important?  First, events in a story should appear in some logical order. Second, if an author fills the opening with dramatic events but lets the tension ease in the middle, that author may be front-loading Act 1 with action and setting up Act 2 to be a drag. Think about the “when” for important story events as part of the story’s chronology AND as part of the story’s arc to spread out action more evenly.

This worksheet addresses the placement of significant events in the story. You can answer two ways:

Q: When is a second crime discovered?

A: These two responses address the same event: 

  1. The second body is discovered on Wednesday, four days after the first body is found.
  2. The second crime occurs early in Act 2, to reinforce the sleuth’s suspicion that the first young man’s death was not a freak accident.

Answering in this double-duty way might be time consuming, but you will know your plot and structure well if you think about “when” as placement as well as time. (Note: This worksheet was developed for a course aimed at crime writers, so the questions will skew in that direction.)

WHEN Questions

  1. When does this story really begin?
  2. is the Story Question introduced?
  3. When does the protagonist get involved?
  4. When did the antagonist decide to commit the crime?
  5. When do subsequent crimes occur?
  6. When do police get involved?
  7. When does tension mount?
  8. When does it spike?
  9. When is the protagonist or police wrong?
  10. When does the evidence help or hurt the case?
  11. When does the antagonist outsmart the police?
  12. When does the antagonist strike a second time?
  13. When does the status quo change?
  14. When is there danger?
  15. When do stakes appear?
  16. When does the protagonist make difficult choices?
  17. When does the climax begin to take shape?
  18. When does each suspect get cleared?
  19. When does investigating start to impact the sleuth’s private life?
  20. When do allies appear?
  21. When do foes put pressure on the sleuth?
  22. When does backstory appear?
  23. When is the reason for the crime revealed?
  24. When does the sleuth figure out the puzzle?
  25. When do you surprise the reader?
  26. When does an unreliable narrator reveal herself/himself?
  27. When are secondary storylines introduced?
  28. When are secondary storylines concluded?
  29. When do dual or multiple narrators switch off?
  30. When, for a series, do you employ holdovers?
  31. When are the protagonist or sleuth’s skills presented?
  32. When are special skills used?
  33. When does a romance begin/end/resume?

Please note: All worksheets posted are my original work and intellectual property. I ask that you share the links on social media, and you are welcome to share the worksheets with your critique groups and writing friends with credit given. That being said, these worksheets—despite being posted on the Internet—may not be copied, distributed, or published as anyone’s work but mine. In short: sharing is good, plagiarism is bad.

Disclaimer #2: You may post your completed worksheet if you’d like, but please remember that, by doing so, you are sharing your ideas with all of the Internet. You’ve been warned.

40 Days of Worksheets – Day 8

by Ramona DeFelice Long

RamonaGravitarWorksheet # 8 – WHAT

In the 5 Ws, the “what” would refer to the inciting incident—whatever event or situation gives the story its raison d’etre. What happened? What is the reaction? What will happen next?

The inciting incident or crime might not be fully explained to the reader until the denouement, many pages ahead. For the writer, a more complete understanding is necessary to write the story. Using the 5 Ws as a guide, complete the WHAT exercise and answer WHAT questions to help you think about how well you know your story.

WHAT EXERCISES

#1 Write a news story describing the inciting incident, discovery of a body/victim, or whatever sets off the story.

The story can be brief —whatever would appear in the local newspaper the day after the event or discovery—that includes the who, what, when, where, and why. Some of that information may not be known to the characters, so use only what is known so far.

#2 Answer the following WHAT questions:

  1. What is the story question?
  2. What type of story is this: sleuth, survivor, savior? (For crime story)
  3. What is this story about? (theme)
  4. What does the protagonist want?
  5. What does the antagonist want?
  6. What is the front story?
  7. What are the secondary storylines?
  8. What is the initial crime? What is the inciting incident? What is the sleuth’s VGR/motivation?
  9. What is different/special/unique/haunting about this case? What connects this case to something personal in the sleuth’s life or past?
  10. What type of structure will you use to tell this story?
  11. What is the first thing the reader sees in the opening scene?
  12. What happens in the opening scene?
  13. What decision did the victim make that put him/her into the victim position?
  14. What made the antagonist decide to commit this crime?
  15. What clears the various suspects?
  16. What else is going on in the story world?
  17. What prevents police from solving this crime quickly?
  18. What secrets or mysteries apart from the crime are in the story?
  19. What are the stakes to the protagonist?
  20. What terrible thing/s will happen to what character/s if this crime is not solved?
  21. What makes an innocent character appear guilty?
  22. What is the crime’s affect on the community?
  23. What is the purpose of romance or personal relationships?
  24. What are the valid clues or evidence that help solve the crime?
  25. What red herrings, misdirections, false assumptions, or errors impede the investigation?
  26. What does the protagonist use to save himself/herself or others?
  27. What does the protagonist do that might be TSTL? (too stupid to live)
  28. What do other characters do that are TSTL?
  29. What is the antagonist doing while police investigate?
  30. What other book or story is similar to this one that could be used as a comp?
  31. What do you want a reader to take away from this story?

Please note: All worksheets posted are my original work and intellectual property. I ask that you share the links on social media, and you are welcome to share the worksheets with your critique groups and writing friends with credit given. That being said, these worksheets—despite being posted on the Internet—may not be copied, distributed, or published as anyone’s work but mine. In short: sharing is good, plagiarism is bad.

Disclaimer #2: You may post your completed worksheet if you’d like, but please remember that, by doing so, you are sharing your ideas with all of the Internet. You’ve been warned.

40 Days of Worksheets – Day 7

by Ramona DeFelice Long

cropped-ramonagravitar.jpgWorksheet #7 – Who

Who will appear in your story? This worksheet has two parts: identifying a cast and “who” questions to help you think about character roles. (This worksheet was created for a mystery-writing course, so the questions skew in that direction.)

Part 1 – BUILDING A CAST

Primary characters take the lead roles in the story: protagonist, antagonist, victim, investigator, love interest, major suspects. Primary characters have the most page time and are vital to the success of the mission: answering the Story Question and/or provide a crucial part of the protagonist’s personal life. Each of the primary characters in your list should be so integral to the story that it falls apart without their participation.

Secondary characters provide backup. They contribute in a material way to the overall plot or protagonist’s life—family, friends, exes, colleagues, coroner, suspects, dispatcher, town bartender who knows all secrets, PI hired for special duty, witnesses, victim’s family, etc. In a series, a secondary character may be important in a single installment but does not appear again because his work, while important in this story, is over when this Story Question is answered.

Minor characters perform small but necessary functions in the story. They may have one important job in one important scene, or they may provide a texture to the story. In movie terms, minor characters are the extras—EMTs/doctors/nurses who treat victims, minor witnesses, nosy neighbor, babysitter, patrol officer or first responder, young nieces & nephews. These characters may do only one job in the story, but the job needs to be done. Otherwise, why is this character in the story?

Who are the primary characters in your story?

Who are the secondary characters in your story?

Who are the minor characters in your story?

For a series:  Who are the recurring characters in your series?

Part 2  – WHO QUESTIONS

  1. Whose story is this? (Main Character)
  2. Who tells the story? (Narrator)
  3. Who drives the action of the story?
  4. Who is the primary antagonist?
  5. Who is the primary protagonist?
  6. Who is the sleuth, the victim, law enforcement? (For a mystery)
  7. Who are allies (secondary protagonists)?
  8. Who are foes (secondary antagonists)?
  9. Who is a romantic interest, past or present?
  10. Who are exes – lovers, bosses, spouses, friends?
  11. Who is in the MC’s family?
  12. Who is in the suspect pool, persons of interest? (For a mystery)
  13. Who do police believe is guilty? Who does the sleuth believe is guilty?(For a mystery)
  14. Who looks/acts/seems guilty but is not? (For a mystery)
  15. Who provides comic relief or humor?
  16. Who is a confidante?
  17. Who is a partner, sidekick, best friend, helper, assistant, tagalong?
  18. Who represents the community or society?
  19. Who is putting pressure on the police to solve the crime? (For a mystery)
  20. Who represents good? Who represents evil?
  21. What brings calm or order? Who brings chaos or disorder?
  22. Who challenges the MC, internally and externally?

Please note: All worksheets posted are my original work and intellectual property. I ask that you share the links on social media, and you are welcome to share the worksheets with your critique groups and writing friends with credit given. That being said, these worksheets—despite being posted on the Internet—may not be copied, distributed, or published as anyone’s work but mine. In short: sharing is good, plagiarism is bad.

Disclaimer #2: You may post your completed worksheet if you’d like, but please remember that, by doing so, you are sharing your ideas with all of the Internet. You’ve been warned.

40 Days of Worksheets – Day 6

by Ramona DeFelice Long

cropped-ramonagravitar.jpgWorksheet #6 – The 5 Ws

Who, What, When, Where, Why – These are the building blocks of stories.

In journalism school, a reporter in training learns to identify these basics as a guide to what goes into a news or feature article. The 5 Ws are helpful to fiction writers as well, for the same reason: to make sure that everything that belongs in a scene is present, and anything that doesn’t belong in a scene is not.

In scene writing classes, I have student use the 5 Ws as a checklist. After you write a scene, run through the 5 Ws with this primary question in mind: Does this scene advance the story?

WHO is in the scene—and does each character present need to be there?

WHAT happens—and how does this scene lead to a next scene?

WHEN does this happen—in real time, as well as timeline?

WHERE does the scene take place—is there a significant meaning to the site of the scene?

WHY must this scene appear in the manuscript—will the story fall apart if it is cut?

Please note: All worksheets posted are my original work and intellectual property. I ask that you share the links on social media, and you are welcome to share the worksheets with your critique groups and writing friends with credit given. That being said, these worksheets—despite being posted on the Internet—may not be copied, distributed, or published as anyone’s work but mine. In short: sharing is good, plagiarism is bad.

Disclaimer #2: You may post your completed worksheet if you’d like, but please remember that, by doing so, you are sharing your ideas with all of the Internet. You’ve been warned.

40 Days of Worksheets – Day 5

by Ramona DeFelice Long

cropped-ramonalogofinal.jpgWorksheet #5 – Weekly Goals

Sunday is traditionally a day of rest and relaxation, or reflection and renewal. In my online courses, I give a day off for a mental break, but because this a short-term project, no breaks!

The Sunday worksheet will be on goal setting. I will use a repeat worksheet on Sundays for planning your writing week and reviewing what you did  last week.

Goals for this week:

1 – How much will you write on your WIP this week? (# of words, # of pages, # of chapters, # of hours–whatever measuring stick you’d like to use)

2 – What other tasks do you need to handle this week? (revisions or research for your WIP, blog posts, submissions, PR, etc.)

Next Sunday, I will add a “How did you do on last week’s goals?” question.

As you set goals, remember to be realistic! Doable goals are the ones people achieve. It’s great to push yourself, but if you aim for the unrealistic or unreachable, you’re setting yourself up for failure.  Be reasonable with yourself as you plan this week–and good luck!

 

 

40 Days of Worksheets – Day 4

by Ramona DeFelice Long

cropped-ramonagravitar.jpgWorksheet #4 – Therapy

Your manuscript is a mess, or maybe you don’t know where to go with it, or maybe you doubt this is a story you can write, or maybe you’re just frustrated. For whatever reason, you are sorry you ever started the thing.

You and your WIP need help. This workshop will send you to therapy.

Step 1: Find a quiet spot where you can write–longhand or on screen–for a few uninterrupted minutes.

Step 2: Use some kind of timer. Set it for 15 minutes.

Step 3: You will free write everything that is bugging you about this MS, uninterrupted, for 15 minutes.

Step 4: Start your timer and go.

Step 5: Stop writing. Walk around or take a break for another 15 minutes, then settle back into your quiet writing spot.

Step 6: You will free write everything that drew you to this story and why you wanted to write it.

Step 7: Start your timer and go.

Step 8: Read both free writes. Do you want to continue with this WIP?

Please note: All worksheets posted are my original work and intellectual property. I ask that you share the links on social media, and you are welcome to share the worksheets with your critique groups and writing friends with credit given. That being said, these worksheets—despite being posted on the Internet—may not be copied, distributed, or published as anyone’s work but mine. In short: sharing is good, plagiarism is bad.

Disclaimer #2: You may post your completed worksheet if you’d like, but please remember that, by doing so, you are sharing your ideas with all of the Internet. You’ve been warned.

40 Days of Worksheets – Day 3

by Ramona DeFelice Long

cropped-ramonagravitar.jpgWorksheet #3 – Pre-writing Questions

Before you begin writing, some decisions must be made about how the story will be presented. These questions should help in making some of those decisions. If any of the terms used are not familiar, search this site.

  1. What is your Story Idea? (Front Story)
  2. Who/how will tell your story be told? (POV and narrators)
  3. What is the tone? (voice)
  4. What is your Story Question? (plot question)
  5. What is the Controlling Idea? (theme)
  6. What is your log line? (premise)
  7. What is the story world? (setting)
  8. How will you introduce your main character? (first impression)
  9. What is the inciting incident? (conflict)
  10. Where does the story begin? (Normal world)
  11. How will the story be presented? (structure)
  12. How much (if any) research will be necessary?

Please note: All worksheets posted are my original work and intellectual property. I ask that you share the links on social media, and you are welcome to share the worksheets with your critique groups and writing friends with credit given. That being said, these worksheets—despite being posted on the Internet—may not be copied, distributed, or published as anyone’s work but mine. In short: sharing is good, plagiarism is bad.

Disclaimer #2: You may post your completed worksheet if you’d like, but please remember that, by doing so, you are sharing your ideas with all of the Internet. You’ve been warned.

40 Days of Worksheets – Day 2

by Ramona DeFelice Long

cropped-ramonagravitar.jpgWorksheet #2 – Concept Pyramid

A concept pyramid takes a broad story idea (Nebraska farmer falsely accused of domestic terrorism) and narrows the inherent conflict into a plot (federal agents show up after a childhood friend tricks the farmer into buying what looks like bomb making materials at the feed store) and then a short description of the story in full (His life falls apart and he no longer knows who to trust when the government questions him, locals turn against him, and his friend mysteriously disappears ) into a one sentence description. (In the thriller Bad Sale, a Nebraska farmer is falsely accused of domestic terrorism after a childhood friend tricks him into buying bomb making materials.)

 

What is your broad story idea—person, place, problem?

 

Refine it to describe the primary plot and Story Question.

 

Narrow it down to a Summary Paragraph (100 words).

 

Write a one-sentence Log Line.*

 

*A Log Line = Title + genre + character + plot. Search this site for more on log lines.

Please note: All worksheets posted are my original work and intellectual property. I ask that you share the links on social media, and you are welcome to share the worksheets with your critique groups and writing friends with credit given. That being said, these worksheets—despite being posted on the Internet—may not be copied, distributed, or published as anyone’s work but mine. In short: sharing is good, plagiarism is bad.

Disclaimer #2: You may post your completed worksheet if you’d like, but please remember that, by doing so, you are sharing your ideas with all of the Internet. You’ve been warned.