Writing the Synopsis
Therese Walsh on Jan 15 2008 | Filed under: Business, CRAFT
I should’ve followed it, but I’ve blown the good advice regarding synopses: that you’re supposed to write them sometime between the first and third drafts of your wip, then leave them to improve like fine wine. I’ve finished my third draft, but I haven’t yet begun my synopsis.
Oops.
Agents at the Backspace Agent Seminar I attended in November provided a few pointers I’ll use, though.
CONTENT:
* The synopsis should provide a snapshot of what your book is about.
* Be sure your synopsis is a accurate distillation of your story and holds together all major plot points, internal and external conflicts, and character arcs.
* It doesn’t have to be chronological (“first this happened, and then that, and then…”). Weave your synopsis in a way that’ll read most smoothly to an outsider. In fact, go ahead and test it on an outsider before you send it to an agent, just to be sure your story is understandable to anyone not wearing your skin.
* Whether or not to incorporate flashbacks into your synopsis depends on one rule: If the flashbacks are WHAT happens, the info should be in the synopsis, but if the flashbacks merely explain WHY something happens, leave the info out.
* The synopsis should generally be under 3000 words, though check agent websites for custom guidelines.
* Always include the ending to your story, no matter what. Agents will slam dunk your synopsis if you neglect to include this info.
STYLE:
* Write your synopsis in present tense, omniscient POV.
* Dribble the flavor of your work into your synopsis for easier agent digestion.
* Don’t worry about CAPITALIZING all proper names. Some agents find this annoying.
* In fact, don’t worry about naming every character. Secondary characters with bit roles probably don’t need to be mentioned at all, and sometimes a simple character description is enough, e.g. “the bellboy unwittingly delivered the poison to the suite.”
* Guidelines differ over whether you should single or double space your synopsis, but west-coast agent Nathan Bransford says to double space. And he seems like a nice guy.
* For what it’s worth, Nathan Bransford also likes Times New Roman.
* Minimize your use of adjectives and adverbs.
If well-written, portions of your synopsis can be used later by your agent as a marketing tool, so be sure to invest in it the time it deserves.
Have any juicy synopsis tips you’d like to share? The floor is yours.
Write on, all!
Kathleen Bolton
Therese Walsh
Ann Aguirre
Porter Anderson
Brunonia Barry
Carleen Brice
Sarah Callender
Keith Cronin
Anna Elliott
Jane Friedman
Robin LaFevers
Donald Maass
Juliet Marillier
Sophie Masson
Jael McHenry
Jan O'Hara
Debbie Ohi
Barbara O'Neal
Crystal Patriarche
Ray Rhamey
M.J. Rose
Chuck Sambuchino
John Vorhaus
Yuvi Zalkow
Sharon Bially
Anne Greenwood Brown
Tracy Hahn-Burkett
Suzannah Windsor Freeman
Kristan Hoffman
Jeanne Kisacky
Erika Robuck
Lydia Sharp
Allison on 
Frank on 
Teri,
Pure gold. Thanks for your insights. I’d rather write three novels and have a root canal than do a synopsis. If others feel that way, no wonder they put off writing one.
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Oh, the dreaded synopsis. Hate. Them. So. Much.
My tip is to wait until the book is 100% done unless you want to re-do your synopsis over and over. This is experience talking. :-(
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I find a synopsis to be a good tool to help with revising. If my plot is too convoluted, it will come out in the synopsis, as will weak character motivation.
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I’m just getting started with writing, and just finished my first-ever manuscript. When I tried to write the synopsis, I realized that it had no plot, no villain and the main character had no backbone. So for my next attempt I thought I should try to get the synopsis ironed out first, and then I would wind up with a better product. But that seems to be the opposite of what you’re all saying.
I would love some advice on this subject, if someone will take pity on a novice. Or is this another one of those things that varies so widely from writer to writer that you just have to go through the pain in order to find out how you work best?
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Hi Therese,
I see the synopsis and query letter as an evolving document always changing to bring about a different approach while the core basically stays the same. I’m on my tenth version of my query/synopsis letter and this latest version gets the best reaction from agents. It has evolved from comments I received from agents and articles I’ve read about writing the synopsis/query letter. I see less and less form letters and more personal letters giving reasons why the agent cannot take on my project.
Here are some teaser heads I wrote for my thriller DARK END OF THE SPECTRUM:
DARK END OF THE SPECTRUM will make you think twice before turning on your cell phone or PDA!
DARK END OF THE SPECTRUM is a frighteningly plausible and headline ripping tale of the real threats that loom in cyberspace and beyond with a Michael Crichton realism.
DARK END OF THE SPECTRUM is a thriller that will connect with everyone with a cell phone, PDA or wireless device!
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First of all, Amy, CONGRATS for finishing your first manuscript! That’s a huge accomplishment. As for whether to write a synopsis first or last, I think it’s a personal choice. I also think it’s a matter of symantics in some respects: What some call a synopsis might, for others, be called an outline. I used an outline for my current story, and revised extensively as I wrote my wip. I plan on using that same outline to help quickly ID the plot twists and character arcs that I’ll need for my synopsis. So, just my opinion here, I’d recommend a detailed-outline approach.
Sherri, do you revise the synopsis quite a lot, or just once at the end?
Thanks, Richard! Yes, a root canal would be a more attractive option.
Anthony, maybe we should get you on for a guest post about evolving query letters! Good luck with yours.
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I’m with Kathleen, I think. Had to re-do my synopsis three times. Next time, I’ll just wait till the bitter end. (Assuming I’ll put myself through it all again. Writing: the ultimate love/hate relationship.)
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my first book, the synopsis was 20 pages! my second, which is still in progress, the synopsis is one page. i was entering a first chapter contest with an unjudged synopsis requirement. i was in a hurry so i just whipped it out. so of course, it’s the best and shortest one i’ve ever written. and the judges liked it too!! i’m sure it won’t ever happen that way again! ter, good luck with that synopsis!!! and amy, wow, finished your first book! congrats!
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Thanks for the advice, Therese! I think that might have been my problem- I was getting “synopsis” and “detailed outline” confused. My critiquers couldn’t see the plot twists and character arcs that I’d thought through so carefully when they looked at my synopsis-outline. It sounds like your outline calls those things out more clearly, and the synopsis is where they’re worked in more subtly. I think attacking the project with that perspective will help.
And thanks to you and Thea for the congratulations! Writing isn’t one of those things I really want to share with people I know, especially when I’m just getting my feet wet, so my congratulations have been limited to my hubby and my writing buddies.
If any of your contributors finds themselves without a topic for their post, it would be fascinating to see a sample of an outline, or maybe some advice on what level of detail to use.
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I keep a 1-, 3- and 5-page version of the synopsis and that seems to cover most agent needs.
I’ll never view it as a chore – it’s a great way to check your story structure. My first synopsis of my new manuscript revealed a large patch near the end of the book where nothing really happened. I quickly revised the story and did something horrible to one of the main characters.
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