Me Write A Synopsis

Me Write A Synopsis?

by Vivian Teresa Beck

The first time I was called upon to do a workshop, I felt I was the last person on this earth to speak on how to write a synopsis. It certainly wasn't something that had come easily to me, I learned after a lot of tears and many moments of frustration. However, I'm living proof that you CAN write a synopsis and do it well. No, it isn't easy, it's going to take a lot of hard work, dedication and practice before you get it right.

When I attended my first Moonlight and Magnolia Conference , I spoke with an editor from Silhouette. Wonder of wonders, she asked to see a synopsis, and the complete manuscript of my first novel. Ignorant of what lay ahead, I was over the moon. For the rest of the conference, I swear my feet were ten feet off the ground.

It didn't take long for reality to set in. When I left for Atlanta, I had written the first six chapters of my manuscript. No problem, I thought, this story has been whirling around inside my head for years. All I have to do is park my butt in front of my computer and write the darn thing. Right?

Writing fourteen to sixteen hours a day, I completed my novel. Though it was an exhilarating experience, by the time I typed "The End" and printed my manuscript, I was physically and emotionally drained. Staring with vacant eyes at the neatly stacked pages, I wiped the sweat from my brow. Now, all I had to do was write the synopsis.

I wrote the synopsis, all twenty-five pages of it. Feeling smug, I checked Silhouette's submission requirements and almost feel off my chair -- Silhouette wants a two page, singe spaced synopsis? I took a deep breath. Okay, if I double space and stretch the requirements just a bit, I'll only have twenty extra pages. Yikes!

I panicked! There is no other word for it. I threw those twenty-five pages up in the air then burst into tears as they settled on the floor around my chair. "I can't do this," I yelled at the four walls of my office. I'm sure my poor husband, who had just walked into the room, thought I'd completely lost my mind. However, this wonderful man calmly picked up the scattered pages, looked at me and said, "You can."

It really wasn't that simple, but those two words filled with so much loving confidence, calmed me. Always known for my stubbornness, I decided to use that quirk in my personality to my advantage. I believed in myself, and in my story. I'd learn how to write a good synopsis or die trying!

I learned three major points from this experience. One, NEVER promise an editor/agent what you do not have. Two, ALWAYS check a publisher's submission requirements. And three, ALWAYS write your synopsis before you begin your story. This will prevent your cluttering up your synopsis with excessive details.

A synopsis provides two very important purposes.

It's a road map to keep you in control of your story and keep your characters on track.
It provides a great opportunity to create a fantastic sales pitch for yourself and your work.

There are several ways to write a "correct" synopsis. What works for one individual may not work for another. Through trial and error, I've found what works for me. However, there are a few general rules whatever method you use.

Write your synopsis using present tense. Example: Jane ran to the store. Not - Jane is going to the store.
Double space -- even if the submission requirements state two single-spaced pages, always double-space. The editor/agent will appreciate your thoughtful consideration.
Use the same format that you use on your manuscript. Your name, page number, and title at the top of every page.
Wide margins all the way around -- 1" to 1½".
Twenty-five-twenty-seven lines per page.
Courier New font.
White bond paper.
A good ink cartridge or ribbon.

Think of your synopsis as a sales presentation which should be pleasing to the eye. The overall appearance should always be professional and perfect.

Before you start writing your synopsis, you need to know the following:

Who is the main character (s)? What is their background? Why do they act the way they do, and what do they want?
What is the character's problem? What do they plan to do about it?
What is the character's goal? What does he/she want? (In a romance this goal is usually the conflict between the hero and heroine.)
Why can't the character easily achieve his/her goal?
How will the character's life be affected if he/she does not reach their goal?

You should know the answer to these questions for all your main characters, including the villain. This will allow you to make sure every thing a character does is motivated and logical for this particular character. Many synopsis make what may be great action in the manuscript, read as contrived and unbelievable.

The first paragraph of your synopsis is the most important. Just as we want to "hook" the reader with the first page of our book, we want to grab the editor/agent's attention from the very first sentence. Remember, this paragraph will set the mood for the entire synopsis. It should be written like the blurb on the back of a book cover.

Each synopsis you write may begin differently. In one you may use the blurb method, in another an interesting situation. Or, you might use an intriguing real-life event, character, or setting. Decide on what method will work best to highlight your story. Your goal is to make the editor/agent want to read your story and request your completed manuscript.

Below is an example of the beginning of a synopsis.

EXAMPLE

It's November, the beginning of the Season When Thunder Sleeps. A senator’s daughter disappears and an old man finds his sheep slaughtered and swears a witch killed them. Rumors flourish, evil has come to the stark arid land of the Navajo Nation. Around their campfires the elders caution, "If you must go out after the sun goes down, go quickly and do not stray. The chindis, the evil spirits of the dead, ride on the north wind at night."

MARIAH CONNOR . . . a white woman who left the reservation to seek her dreams. She returns a strong, independent woman who will do anything to protect the family of the man she once loved.

WALKER NATANNIE . . . sensual, arrogant, mysteriously complex, an innocent Navajo man who served time in prison for a crime he did not commit. The need to clear his name consumes him, yet no man has ever taken his place in Mariah's heart.

JAMES ROSS . . . doctor . . . friend . . . outwardly dedicated to his people. He will let nothing stand in the way of his own selfish desires.

SAM BITSI . . . a bully and smalltime drug dealer . . . a pawn in a deadly game of deception.

A family crisis brings Mariah back into the fold of the Natannie family, but someone seems determined to destroy the man she once loved. Mariah vows to help Walker in his quest to clear his name, but can she trust the man who thinks she rejected his love?

Next, briefly describe your heroine, her motivation, the story problem, internal conflict and her goals. In other words: Why is she doing what she's doing? What does she want? What keeps her from getting what she wants? And, how does she plan to go about solving her problem? (Note: In a romance, think of internal conflict as the obstacle that prevents the hero and heroine from declaring their love.)

Now, do the same thing for your hero and any other characters that play an integral part of your story. Except for the hero, keep these descriptions brief. Usually their motives can be explained in a sentence or two.

Next, hitting only the high points, present your story in a clear, orderly way that leads to the resolution of the love story. It might help if you pretend that you have to tell your story out loud. Don't go overboard with vivid descriptions, save them for your manuscript.

Use active voice with strong verbs and specific nouns. The use of passive voice is a major cause of weak writing. Use the active voice instead of passive wherever possible.

EXAMPLE

Passive Voice - The recommendation has been considered. (Who considered the recommendation?)

Active Voice - I considered the recommendation.

Passive Voice - The computer should be turned off.

Active Voice - Turn off the computer.

Even Better - Turn off the computer when there is lightning.

Keep the tone and style of your synopsis consistent with the type and genre of your book. Include enough detail to show you've done your research and know your subject and setting. But, here again, don't overload the synopsis. Be brief, cover only the barebones of your plot.

Pacing is critical to your synopsis. Summarize only the key scenes, building them, one on top of another. This will force your characters to make decisions, then act on them until the climactic moment. Show that the plot is well thought out and resolved. Make certain your characters' motivations are clear and convincing.

Always write as clean and tightly as you possibly can. Cut out all those extra adverbs, adjectives and excess description. Ax anything that bogs down the pace of your synopsis and will cause and editor/agent to turn down your submission. She doesn't have the time or interest to wade through a lot of clutter to find your dynamite story.

To recap: Start with a hook, then introduce your main characters. Construct the body of your synopsis using short paragraphs to write the high points of your story. Write the crisis and resolution of your story, never leave the editor/agent guessing. Then rewrite your synopsis until each sentence is polished to perfection. Use strong adjectives and verbs, and make every word count.

Remember, a synopsis is a summary of your book in narrative form. It explains a series of motivations, actions and reactions that build to a crisis then a satisfactory, believable resolution. It's the first thing an editor/agent reads to determine if your manuscript is worth considering. As your key sales tool, it should illustrate your writing at its very best, showcasing your skills and telling a compelling, well-balanced story.

Good luck and happy writing.

Page uploaded: May 29th, 2003

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