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# Wednesday, July 07, 2010
Let Me Critique Your Synopsis: Webinar This Thursday, July 8
Posted by Chuck

Those pesky synopses for novels and memoirs are very tricky to do. Questions abound. How long should they be? Which characters should you mention? Should you have plenty of detail or just sparse mentions? If these questions are crossing your mind, you've come to the right place.

I'm teaching a webinar this Thursday, July 8, called "Critique Series: Novel Synopses" where you can get your synopsis critiqued!


  


DETAILS

The webinar happens at 1 p.m., EST, Thursday, July 8, 2010, and lasts for 75 minutes. Sign up here.


YOUR CRITIQUE

All registered attendees are invited to submit a 1-page synopsis for critique. Every writer who registers is guaranteed one critique. The page can be single-spaced or you can submit two pages double-spaced (which adds up to the same length). If you don't want your synopsis shared, say so and I will not share it. 


4 Reasons to Attend

  1. Plenty of agents are still requesting synopses with their queries, and you have to be ready to submit whatever an agent asks for.
  2. Synopses used to be quite lengthy (and therefore easier to do), but nowadays agents want them short and sweet. I'll show you some basic tricks to cut down length.
  3. With the critique, you'll get another opinion on your writing and the layout and structure of your story. 
  4. You can ask questions in real time. If you have questions specific to you, we'll address them live!


Who should attend? Writers of novels, kids novels and memoir. If you're writing any of those categories, you will need a synopsis to submit to agents. Sign up for the webinar here!





If you're confused as to what a synopsis
should look like, seek out the formatting
guidebook Formatting & Submitting
Your Manuscript, 3rd. Ed.

Synopsis Writing | Webinars
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Wednesday, July 07, 2010 9:20:39 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
# Saturday, May 08, 2010
Synopsis Example (Literary/Mainstream): ''The Wrestler''
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good, and you will get a sense of how they work. Or—you could just let find good ones for you and edit them a bit.
 
This time it's The Wrestler (2008), which would probably be called either literary or mainstream fiction. I had to leave a lot out concerning Pam/Cassidy and Stephanie, because the story really is about Randy and his experiences.


RANDY "THE RAM" ROBINSON is a professional wrestler who gained celebrity in the 1980s. Now twenty years past his prime, he wrestles at various independent matches in the New Jersey area for meager paydays. After a show, a promoter proposes an anniversary rematch of his most notable wrestling match, which sold out Madison Square Garden twenty years ago. Randy agrees.

Randy goes home and is locked out of his trailer for not paying the rent. His daily routine involves steroid usage, bleaching his hair, tanning, and loading boxes at a supermarket for extra cash. He also frequents a strip club, where he has befriended a faded stripper named PAM (stage name Cassidy). Following a wrestling match against a brutal "hardcore" opponent, Randy is backstage when he suffers a heart attack and collapses. He receives a coronary artery bypass and is warned that his weakened heart cannot stand the stresses of steroids or wrestling. Randy cancels his upcoming matches and starts to make changes in his life.

He begins working as a deli counter operator to get more work. He tells Pam about his heart attack and tries to woo her while out for a drink. She declines his advances, but does offer Randy advice on reconnecting with his estranged daughter, STEPHANIE, whom he had left years before. His first visit to Stephanie's house goes poorly, and she curses him out. Randy later returns with a gift and apologizes for being a bad father. The two bond over a visit to an abandoned beachfront boardwalk, and agree to meet for a dinner.

After Pam rejects his advances once more, Randy attends a wrestling match as a spectator and receives attention from his fans and fellow athletes. After the match, Randy gets drunk, snorts cocaine, and has sex with a younger woman—sleeping the entire next day and missing his dinner date with Stephanie. He tries to apologize, but Stephanie instructs him to get out of her sight and never return. At work, after a fan recognizes him and causes a scene, Randy purposefully cuts himself in the deli meat slicer and quits. He reschedules the previously-canceled anniversary match and sets out for the venue, despite his doctor's warnings.

Moments before the match starts, Pam unexpectedly arrives, having quit the strip club to come see him. She apologizes for being cold, and tells him that he is no longer alone. This time, Randy rebuffs her; he says that the fans are his true family and the only place he belongs is in the ring. Randy enters the ring to applause and gives an emotional speech to the large crowd before the fight begins. As the match progresses, his chest pain worsens. Randy painfully climbs the ropes to deliver his signature finishing move as the crowd cheers. Brought to tears, he salutes his fans and leaps from the ropes with the last of his strength, leaving his fate uncertain.



If you're confused as to what a synopsis
should look like, seek out the formatting
guidebook Formatting & Submitting
Your Manuscript, 3rd. Ed.



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Saturday, May 08, 2010 1:25:29 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [1]
# Sunday, May 02, 2010
Synopsis Example (Thriller): ''Spartan''
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good, and you will get a sense of how they work. Or—you could just let find good ones for you and edit them a bit.
 
This time it's Spartan (2004), a tightly-wound thriller. As with thrillers, there are lots of twists and turns, and I had to leave a lot out of the synopsis so it would flow quickly. One thing to notice here is that the character of Bobby Scott, who is by far the biggest character in the movie, is not well defined in this synopsis. That's because Bobby is kind of an enigma in the film, and he is a man who has put his country first above his life and identity. But in your own synopsis, make sure you leak out details about your protagonist. You can see all posted synopsis examples by clicking on the "Synopsis Writing" category on the left-hand side of this page.


BOBBY SCOTT is a former Marine Recon Master Gunnery Sergeant who now trains soldiers for American covert operations. He is sent to Boston for an emergency operation: LAURA NEWTON, a Harvard student and daughter of the President, is missing. Scott and other members of his unit are enlisted to find Laura before the media learn of her disappearance.

Scott discovers that Laura went to a bar to possibly prostitute herself, but she was drugged, taken to a brothel, then moved to a beach house. Along with CURTIS, a young trainee, Scott enters the beach house. The two men inside become violent and Scott quickly kills them in self defense. Scott and his unit believe Laura was abducted by a white slavery ring, a group of international sex traffickers unaware of her identity. A local convict named TARIQ is connected to the slavery ring. While in transport for medical attention, Tariq's police escorts are "killed" by a shotgun-wielding criminal (actually Scott, who is orchestrating the whole ruse). Tariq thanks Scott for freeing him, and promises him a flight to a Dubai safe haven and "many girls in Mascala." Scott's plan to infiltrate the slavery ring is working, but Tariq soon notices other cops nearby, and must be killed after he opens fire. The media announces that Laura's body was discovered off Martha's Vineyard, apparently the result of drowning. The rescue operation is called off and Scott returns home, where his neighbors believe he is a salesman who is often absent on business trips.

Months later, Scott is approached by the trainee Curtis, who makes a case that Laura is alive. Upon inspecting the beach house again, Curtis is killed by a sniper. Scott escapes, and realizes Laura is indeed overseas, and that the government as well as some of his own men lied to cover up the truth. Scott meets a female secret service agent who raised Laura like a daughter. The agent begs Scott to find Laura.

Deprived of the support of his unit, Scott turns to independent contacts for help and supplies. He flies to Dubai and meets an Australian contact. They inspect Mascala that night and, upon seeing Laura outside a house, move in immediately. There is a brief firefight; the Australian is killed, but Scott grabs Laura and gets away. Distraught at the way she has been treated by her father and his people, she at first objects to returning home, but eventually yields.

Scott takes her to his cargo container at the airport so she can fly safely to Geneva. Suddenly, operatives from Scott's unit arrive, seeking to apprehend them. Scott's own men confirm Laura's death was faked, and that she must now be killed the ensure the cover-up is secure. Scott is shot, but he manages to kill the operatives and buy time for Laura, who runs into the open by an airplane hangar and is rescued by Swedish journalists. Laura escapes on their plane. Some time later, Scott, now recuperating in London in secret, watches Laura's reunion with her father on TV. The media reports that, as a result of what happened, the U.S. government is now committed to end the international traffic in prostitutes. 


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Sunday, May 02, 2010 8:37:37 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [1]
# Monday, January 25, 2010
The 'Fearless' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good, and you will get a sense of how they work. Or—you could just let find good ones for you and edit them a bit.
 
This time it's Fearless (1993). I chose this movie for several reasons. A commenter asked me to compose another literary fiction synopsis; Jeff Bridges is the man and discovers his forthcoming Oscar; and I just watched this movie recently.
You can see all posted synopsis examples by clicking on the "Synopsis Writing" category on the left-hand side of this page.


MAX KLEIN survives a horrible airliner crash in a California cornfield. Many aboard the plane died just moments ago, including his business partner. Walking away from the crash site wreckage, he enters an altered consciousness—a heightened state of reality—rethinking life, death, God and the afterlife. He believes himself invulnerable, and to prove it, he walks across dangerous highways and even eats several strawberries though he is deathly allergic to them.
 
Upon returning home, Max is unable to reconnect with his young son, job, or wife, LAURA. He feels disconnected from the world, yet "in the moment" and invigorated. The media hounds him because he saved several people on the plane before leaving. He refuses to elaborate about the crash, though survivors explain that Max calmly guided them outside "to the light." Encouraged by an airline-contracted psychiatrist, Max visits another plane crash survivor, CARLA RODRIGO, who lost her baby son during the crash. Though Max does not break her depression, Carla is fascinated by him, while he feels an inexplicable swell of "love" for her; the two begin to see each other.
 
Meanwhile, a lawyer, BRILLSTEIN, is fighting on behalf of Carla's family as well as Max and Max's dead partner's wife to sue the airlines and collect large settlements. The legal battles draw wedges between relationships, and Max hesitantly agrees to exaggerate a deposition so his partner's widow can collect more money. He "cleanses" himself of the lie by standing precariously on a rooftop edge high above the city and releasing the last of his worldly fears.
 
Max and Laura's relationship detiorates; when she reaches out to him, he explains that his behavior is making no sense because he likes it that way. Max moves out. He sees Carla again and the pair spend a happy afternoon together before she breaks down. She reveals she could have held her baby tighter on the plane, and her child would be alive if she did more—thus explaining the true foundation of her chronic depression. To prove she could not have done anything more, Max has Carla hold a fake baby as tight as she can, then he runs his car into a brick wall to recreate the crash. The fake baby goes through the windshield, and Max and Carla are rushed to the hospital.
 
The experience changes Carla, and she is now ready to forgive herself and move on (or "live on Planet Earth for a while"). This decision saddens Max, who had hoped they may disappear together. Max is suddenly alone, and for the first time in many months, scared. He returns home a vulnerable man and asks Laura to "save him." Minutes later, Brillstein appears with a gift basket to celebrate a huge settlement, and Max gulps down another strawberry—but this time, his throat closes up. As Laura frantically tries to save him, Max actually does die for a moment, and finally relives the minutes after the crash when he leads several people to safety. Max then breathes again, coming back to life, and holds him wife tight as they both laugh and cry.


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Literary Fiction | Synopsis Writing
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Monday, January 25, 2010 8:53:50 PM (Eastern Standard Time, UTC-05:00)  #  Comments [1]
# Sunday, January 10, 2010
'The Rock' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good, and you will get a sense of how they work. Or—you could just let find good ones for you and edit them a bit.
 
This time it's The Rock, my second attempt at a thriller. The story is high-concept, but I didn't want to glance over the three lead characters, as they are all pretty cool. A lot of the story takes place on the island, so I had to do plenty of summarizing there.

Besides this synopsis, I've also posted examples of a young adult story (Bill & Ted), a middle-grade adventure (Flight of the Navigator), a thriller (Proof of Life), women's fiction (Peggy Sue Got Married), science fiction (Starman), fantasy (Dragonslayer), mainstream fiction (Witness), literary fiction (Punch-Drunk Love) and historical/epic (Gladiator). You can see all posted synopsis examples by clicking on the "Synopsis Writing" category on the left-hand side of this page.


STANLEY GOODSPEED is an FBI biological weapons expert and self-declared "chemical super-nerd." After diffusing a chemical bomb at the San Francisco FBI office and nearly dying as a result, he returns home to decompress only to learn that his long-time girlfriend is pregnant. She asks him to get married; frazzled, he hesitates, but soon says yes.
 
Meanwhile, a group of rogue Marines led by disenchanted Brigadier General HUMMEL, capture a stockpile of rockets armed with a VX nerve agent. The Marines seize Alcatraz Island during a guided tour and take 81 tourists hostage. Hummel threatens the Pentagon with launching VX rockets against the population of the Bay Area unless the government pays reparations to fallen soldiers, including compensation to the families of Marines who died on illegal, clandestine missions.
 
The Pentagon decides to deploy a Navy SEAL team to retake the island and free Hummel's hostages by stealth. Goodspeed is (unwillingly) brought along to neutralize the chemical threat, though he's basically never set foot outside an office. The team still lacks first-hand knowledge of Alcatraz, though, and turns to 60-year-old convict JOHN MASON, the only inmate of Alcatraz who ever successfully escaped. The SEAL team is deployed at night, via helicopter, and successfully infiltrates Alcatraz by following Mason's instructions through a maze of tunnels. Before they can carry out their mission, however, the SEAL team is ambushed by the Marines and all SEALs are killed, though Mason and Goodspeed survive. Mason wants to walk, but realizes his only living relative - his daughter - could be killed if Hummel launches the gas. Mason also explains why he has been in jail for almost three decades: He stole American intelligence microfilm and hid it, and has been held without trial ever since.
 
Mason and Goodspeed move through Alcatraz looking for VX weapons. Mason's past as a British operative comes in handy when he skillfully dispatches of some Marines. Goodspeed, meanwhile, renders several rockets useless. A frustrated General Hummel threatens hostages, forcing Mason and Goodspeed into revealing their position and being taken captive. As dawn breaks, they escape their captors and continue disarming rockets.
 
Hummel's ransom deadline passes, and the general reveals he was never prepared to kill innocent people. The whole thing was a bluff. A firefight ensues between soldiers loyal to Hummel and not. An injured Hummel is rescued by Goodspeed and reveals the location of the final rocket before dying. Goodspeed disarms the final rocket. With the deadline gone and fearing an imminent attack, the Pentagon OK's a "last resort option" - blanketing Alcatraz with thermite-plasma weapons to destroy everything and everyone, in order to prevent a larger catastrophe. An exhausted Goodspeed uses flares to signal success, and the bomber planes pull up at the last moment. Mason thanks Goodspeed and leaves to experience the freedom he's always wanted, enigmatically urging Goodspeed to visit a church in Kansas for his honeymoon. Goodspeed tells the Pentagon that Mason was "vaporized," covering his tracks.
 
A few months later, Goodspeed and his pregnant bride run out of a Kansas church with the microfilm Mason stole, and Goodspeed asks his new wife if she wants to know who really killed JFK.


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Sunday, January 10, 2010 2:03:05 AM (Eastern Standard Time, UTC-05:00)  #  Comments [0]
# Sunday, January 03, 2010
Footnotes: 8 Articles on Synopsis Writing
Posted by Chuck

"We write to taste life twice, in the moment
and in retrospection." ~Anais Nin

Footnotes is a recurring series on the GLA blog where I pick a subject and provide several interesting articles on said topic. Writing a good synopsis for your novel or memoir can be one of the hardest and most frustrating things we have to do as writers. Today I’m serving up 8 articles to help de-mystify the process.


1. A synopsis can sell your story. Agent Caren Estesen discusses why you need a good summary. 

2. The advice "show, don't tell," doesn’t apply to a synopsis. Author Diana Peterfreund explains why

3. Here's how to write one. Agent Nathan Bransford shares his guidelines on writing the synopsis.

4. Ask yourself five questions. Writer Beth Anderson asks five questions in order to write a tight synopsis. Find out what they are.
 

5. Keep it simple. Romance novelist Brenda Coulter suggests dropping the pretense and just tell your story.

6. A writer answers common questions. Writer Sally Hanan answers commonly asked questions about the synopsis.

7. Grab readers, even with a synopsis. Romance Author Meredith Bond believes you have to “grab them by their eyeballs and don’t let go” and that’s just the first paragraph. 

8. See examples of fiction synopses. On this very GLA blog, you can see many posts related to synopsis writing - including several actual examples of synopses in all genres.

This guest series by writer
Nancy Parish, who runs her
blog, The Sound and Furry.


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Sunday, January 03, 2010 1:00:02 AM (Eastern Standard Time, UTC-05:00)  #  Comments [2]
# Thursday, December 31, 2009
The 'Punch-Drunk Love' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good, and you will get a sense of how they work. Or—you could just let find good ones for you and edit them a bit.
 
This time it's Punch-Drunk Love, my second attempt at a "literary fiction" story. The female lead here, Lena, is somewhat bland, so the synopsis rests on showing the strange-yet-likeable nature of Barry, and explaining his arc, because it is a big one.

Besides this synopsis, I've also posted examples of a young adult story (Bill & Ted), a middle-grade adventure (Flight of the Navigator), a thriller (Proof of Life), women's fiction (Peggy Sue Got Married), science fiction (Starman), fantasy (Dragonslayer), mainstream fiction (Witness), and historical/epic (Gladiator). You can see all posted synopsis examples by clicking on the "Synopsis Writing" category on the left-hand side of this page.



BARRY EGAN owns a company that markets themed toilet plungers ("fungers") and other novelty items. He has seven overbearing sisters who ridicule him regularly, and leads a lonely, depressed life punctuated by fits of rage. In the span of one morning, he witnesses a bizarre car accident, picks up an abandoned musical instrument in the street, and encounters LENA, a sweet, somewhat mysterious woman who orchestrated the meeting after hearing about Barry from one of his sisters with whom she works.

Barry calls a phone sex hotline for conversation, and the female operator correctly surmises he’s a weak man with money in the bank. The sex line “supervisor,” DEAN, sends four henchmen from Utah to Southern California, where they quickly threaten and extort Barry, forcing him to take out money from a cash machine. This complicates his budding relationship with Lena, as well as his plan to exploit a loophole in a frequent flier miles promotion where he can amass a million miles by buying large quantities of Healthy Choice pudding and mailing in UPC bar codes. After Lena leaves for Hawaii on a business trip, Barry decides to follow her. Upon meeting her, Barry explains that he is in Hawaii on a business trip by coincidence, but he soon admits that he came to pursue a romantic relationship. She kisses him and the pair retreat to a hotel room for more.

After returning home, the four sex-line henchmen ram their car into Barry's, mildly injuring Lena. Normally not confrontational, an outraged Barry attacks his attackers in the street, and fights them off despite being outnumbered. He awkwardly leaves Lena at the hospital to try and end the harassment, and drives to Utah. When he arrives, Dean meets a changed and powerful Barry who explains “I have so much strength in me you have no idea. I have a love in my life. It makes me stronger than anything you can imagine.” Dean agrees to leave Barry alone.

Returning home, Barry asks forgiveness from Lena for abandoning her at after the accident. He plays a simple song for her on the instrument he found and pledges to use his frequent-flier miles to accompany her on all future trips to Hawaii or wherever she goes. She forgives him, and they embrace; lastly, Lena says "So, here we go."


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Thursday, December 31, 2009 12:03:15 AM (Eastern Standard Time, UTC-05:00)  #  Comments [2]
# Wednesday, December 09, 2009
The 'Eternal Sunshine of the Spotless Mind' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good, and you will get a sense of how they work. Or—you could just let find good ones for you and edit them a bit.
 
This time it's Eternal Sunshine of the Spotless Mind, my first real attempt at a "literary fiction" story. A lot of the magic of this story is in the dialogue and character interaction, but those are tough things to show in a synopsis. But don't be worried
—the point of a synopsis is just to show the framework and front-to-back vision of the story. Agents want to see that your Act II isn't murky, or that your story doesn't have an ending. Also, I realize that Dr. Howard's real name is actually Dr. Howard Mierzwiak, but we're trying to keep things simple here.

Besides this literary fiction synopsis, I've also posted examples of a young adult story (Bill & Ted), a middle-grade adventure (Flight of the Navigator), a thriller (Proof of Life), women's fiction (Peggy Sue Got Married), science fiction (Starman), fantasy (Dragonslayer), mainstream fiction (Witness), and historical/epic (Gladiator). You can see all posted synopsis examples by clicking on the "Synopsis Writing" category on the left-hand side of this page.




Emotionally withdrawn JOEL BARISH is headed to work in New York City one morning when he feels an inexplicable draw to call off from his job and get on a train to Montauk, Long Island. On the train, he strikes up a conversation with CLEMENTINE, a dysfunctional free spirit whose hair changes colors with her mood. Despite radically different personalities, they are attracted to each other and agree to a date. What they do not realize, and what friends soon reveal, is that Joel and Clementine are in fact former lovers, but both had their memories of one another erased following a nasty break-up.

Weeks prior, Joel and Clementine end their two-year relationship on a bad note, and Clementine hires a local firm—Lacuna, Inc.—to erase all her memories of Joel. Upon discovering this, Joel is devastated. He wants the same procedure as Clementine, and meets with Lacuna's top technician, DR. HOWARD, who reassures Joel that the erasure is painless (or "on par with a night of heavy drinking"). As the procedure transpires, Joel begins reliving his memories with Clementine, starting with the most recent (the bad break-up) but he soon sees pleasant earlier times. He regrets his decision to hire Lacuna and wishes to call the procedure off, but cannot (as he is, in fact, asleep), and his moments with Clementine are slowly erased. To buy some time, he hides Clementine in his subconscious and childhood memories, where he hopes Lacuna technicians will not look. While the pair journey through Joel's mind, they also journey through the ups and downs of their relationship.

Meanwhile, the employees of Lacuna are monitoring Joel during his memory erasure when MARY, a young employee, makes a pass at Dr. Howard. The doctor's wife discovers them together, and Howard is forced to reveal to Mary that they actually "have a past"—meaning he and she previously had an affair, but the indiscretion was wiped from her memory at Lacuna. Once Mary learns this, she steals the company's records and sends them to all of its clients.

In Joel's mind, his memories of Clementine continue to be erased right in front of his eyes. Their final time together in his mind is their first meeting at a beach party at Montauk two years back. Despite Joel's efforts, the last glimpses of their relationship are tragically taken away, though Clementine tells Joel to "Meet me in Montauk." Joel wakes up from the procedure, unaware of even having it. He heads to work but feels pulled to take the day off (and thus meet Clementine on the train). Just before their second date of this "new" relationship, Joel and Clementine come upon their Lacuna records sent out by Mary. They react with shock and bewilderment, given that they have no clear memory of each other, let alone electing to have memories of a previous romance erased. Despite knowing their past relationship failed, they decide to try again and hope for the best.

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Wednesday, December 09, 2009 10:52:16 AM (Eastern Standard Time, UTC-05:00)  #  Comments [1]
# Saturday, November 28, 2009
The 'Gladiator' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good, and you will get a sense of how they work. Or—you could just let find good ones for you and edit them a bit.
 
This time it's Gladiator. A story like this is big and bold, so you have to keep it moving. You can't spend too much time detailing historical locations or anything like that. Garden variety example: Before Maximus meets Commodus in the Colosseum, he is reenacting a specific battle from the past. Does this detail matter? No—at least not when you're worried about word count. Also notice how the synopsis starts with a short paragraph telling about the hook—this is acceptable.

With this synopsis, I've posted examples of a young adult story (Bill & Ted), a middle-grade adventure (Flight of the Navigator), a thriller (Proof of Life), women's fiction (Peggy Sue Got Married), science fiction (Starman), fantasy (Dragonslayer), mainstream fiction (Witness), and historical/epic (Gladiator). You can see all posted synopsis examples by clicking on the "Synopsis Writing" category on the left-hand side of this page.


Gladiator is the story of Maximus, a general who became a slave, a slave who became a gladiator, a gladiator who defied an emperor.
 
MAXIMUS, a general in the Roman Army, leads his soldiers to victory against Germanic barbarians in the year 180 AD, thus ending a prolonged war, and earning the esteem of elderly emperor MARCUS AURELIUS. Because Maximus is a respected man of simple morals, the dying Aurelius decides to appoint him as the new leader of Rome, and transition the empire into a true Republic. Maximus first declines the offer ("With all my heart, no") but agrees to consider it.
 
The decision to appoint Maximus is not taken lightly by the Emporer's ambitious son, COMMODUS, who feels passed over and unappreciated. Commodus smothers his father in a bout of jealousy. Recognizing foulplay in his emporer's death, Maximus refuses to pledge loyalty to Commodus, who has declared himself "the new ruler of Rome." As punishment for disloyalty, Maximus is set for execution, and told his wife and son back in Hispania (modern day Spain) will be killed, as well. In the woods, Maximus escapes his captors then races across Europe on horse, only to discover his wife and son crucified in the smoldering ruins of his home. After burying them, he succumbs to exhaustion and collapses. Upon awakening days later, he finds himself in the custody of slave traders en route to North Africa.
 
Far from his military brethren, Maximus is mistaken as a common deserter, and is purchased by PROXIMO, the head of a gladiator school. Though he initially refuses to fight, Maximus—known only as "The Spaniard"—finally defends himself in the arena, and does so quite well. His formidable combat skills lead to popularity with audiences and fighters alike. He soon finds himself on the road back to Rome, as the new emporer Commodus has reopened the gladiatorial games to pay tribute to his dead father.
 
During the games, Maximus leads the gladiators to a decisive victory. Impressed, Commodus meets with "The Spaniard" on the floor of the Colosseum, and, to his horror, discovers not only is Maximus still alive, but is all-consumed by revenge. The Emperor, unable to kill Maximus because of the crowd's approval for him, pits him in several weighted battles, but Maximus continues to win—and defy Rome's new leader. Maximus seeks help from the emporer's sister, LUCILLA, with whom he had a romance years ago. A bold escape plan is formed, with the plan for Maximus to reunite with his troops then return to Rome and overthrow Commodus. The escape goes awry, however, as Proximo and other gladiators are killed, while Maximus is arrested at the city walls by a legion of Praetorian guards.
 
To unconditionally show his power and strength, Commodus challenges Maximus to a duel in front of a full audience in the Colosseum. Acknowledging that Maximus's skill exceeds his own, Commodus stabs him with a stiletto before the battle and has the wound concealed. In the arena, the two exchange blows before Commodus is finally slain. The dying Maximus's last words are instructions to free his fellow gladiators and restore Rome to a Senate-based government ("This was the last wish of a dying man"). Maximus dies, and a coalition of gladiators, soldiers and senators carry his body out of the Colosseum. Maximus arrives in the afterlife, seeing his home in Hispania, with his wife and son alive and excited at his safe return.


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Saturday, November 28, 2009 5:13:19 PM (Eastern Standard Time, UTC-05:00)  #  Comments [1]
# Saturday, November 21, 2009
The 'Flight of the Navigator' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good, and you will get a sense of how they work. Or—you could just let find good ones for you and edit them a bit.
 
This time it's Flight of the Navigator. In book terms, this would be considered fun middle grade, considering the protagonist is 12. More specifically, it would probably be a science fiction adventure.
Concerning this synopsis, I cut all out mentions that Max's home planet was called Phaelon. I cut all info about how the craft could fly at high speeds. I left in one little moment about the freefall, because I felt it showed David's arc in taking control of the situation after starting as a guinea pig at NASA. I had to lose a lot of specifics about how Max got stuck on Earth and what exactly he did with David's brain. You're starting to see a pattern here - cut, combine, cut, combine, cut. Smooth and fast—that's how a short synopsis has to look.



 

Twelve-year-old DAVID FREEMAN is trekking through the woods at night when he falls into a ravine and blacks out. Waking a short time later, David heads home only to find an older couple in his house and no visible trace of his parents or brother. Police arrive and start asking questions, but David’s answers are met with puzzlement. His parents are located in a nearby city in Florida, but upon meeting them, David is shocked to see they have visibly aged. He faints and is taken to a hospital. There, he has a conversation with his younger (now older) brother, JEFF, who explains that eight years have passed since that night in the woods and David was declared dead long ago. Everyone in the family is overjoyed with this miraculous reunion, though no one can explain David’s disappearance or lack of aging. 
 
NASA official DR. FARADAY arrives at David’s home and asks for testing. David agrees. At the NASA base, David receives garbled messages in his head, apparently coming from something or someone in a nearby hangar. During tests, Faraday discovers that David’s brain now holds incredible amounts of information related to a strange flying craft, galaxy maps, bizarre languages, and more. Faraday theorizes that an alien spacecraft picked up David in the woods and took him to another galaxy and back. The light-speed trip only took four hours, but everyone on Earth aged eight years. Scared at this revelation, David runs out of the testing room, screaming that he wants his old life back. He hears more from the voice, and follows its directions to a hangar. There, he discovers the spacecraft his mind projected on screens earlier. Inside, he meets the ship’s robotic pilot, whom he nicknames MAX.
 
Max escapes the base with David onboard. It turns out that David, along with creatures from other planets, was taken for study on Max’s peaceful home planet. Unlike usual, Max did not return David to his original timeline (eight years prior), fearing that humans as a species are too delicate to survive time travel. While Max explains how he got caught in power lines trying to leave Earth (then captured by NASA), David takes a liking to a small friendly creature whose home planet was destroyed by a comet.
 
David and Max realize they both need each other to get home. David needs Max to pilot to Florida, and Max needs star chart information in David's head to navigate back to his home galaxy. Max performs a scan of David's subconscious to extract the information but accidentally gets some of David’s memories and personality. Max’s voice immediately changes, becoming less robotic and more humorous and erratic. David and Max bicker as to their next course of action, to which Max's response is to shut down in a freefall, forcing David to take control and drive the ship. The two bond, and David heads for his family in Fort Lauderdale, though Max warns him NASA will anticipate this move.
 
They locate David’s house when Jeff sets off fireworks from the roof. David’s initial happiness to see home wears off when he discovers NASA is waiting for him for more "guinea pig tests." He urges Max to return him to his own timeline, despite the danger. Max and David share a heartfelt good-bye, having become friends. Max speeds up the ship until David passes out. Awakening in the ravine like before, David walks home and finds everything the way he left it. He hugs his family (yes, even his little brother Jeff) and gets a pleasant souvenir from his adventure: The "orphaned" alien creature he bonded with seems to have stowed away in his backpack.


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# Saturday, November 14, 2009
The 'Bill and Ted's Excellent Adventure' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good—and you will get a sense of how they work. Or—you could just let find good ones for you and edit them a bit. Synopses I edited and posted in the past include Starman (see that one here) and Witness (see that one here). 
 
This time it's Bill and Ted's Excellent Adventure. In book terms, this would be considered fun YA (maybe even a "boy book"). I've tried to break up the synopsis below into the three acts of the movie, with the first two paragraphs being Act I, then the next one Act II, then the next one Act III, and the final one is the resolution (denouement?). We get a few quotes to spice it up and the whole thing moves nice and quick. Remember, synopses are designed to show the three acts of the story, not the skill of your prose.


Two best friends, BILL and TED, are fun-loving Valley boys who'd rather rock out than study. Their lives revolve around their band, "Wyld Stallyns," despite the fact that they are mediocre musicians at best. As senior year winds down, the two are on course to fail history class, and, as a result, flunk out of school. They brainstorm ideas for their final history report (due tomorrow!) but come up blank. TED'S FATHER, a strict police captain, tells Ted that failing school means enrolling in an Alaskan military academy, effectively ending any dreams of forming a band.
 
That night, while asking history questions to bystanders in a convenience store parking lot, a flying phone booth drops out of the sky miraculously. A strangely-dressed man introducing himself as RUFUS steps out of the phone booth and explains that he is from the future and here to help the boys with their report. Frightened and skeptical ("Dude ... strange things are afoot at the Circle K"), Bill and Ted are only convinced after a second flying phone booth lands, and from it steps future versions of themselves, who implore them to trust Rufus and follow his every instruction. Rufus reveals that the phone booths are time machines that can travel to anywhere at any time. He takes the pair to Austria, year 1805, and shows them Napoleon in battle. When Rufus brings the teens back to present-day California, Napoleon is inadvertently dragged along. This gives the boys an idea: To pass their exam, they will kidnap other historical figures and have them explain what they think of the present.
 
Rufus departs, wishing the boys luck and leaving them with a phone booth of their own. Bill and Ted set off into the past. They survive a Wild West gunfight to nab Billy the Kid then visit ancient Greece to rope in Socrates (whose name they constantly mispronounce)—but the pair run into trouble in medieval Europe. Smitten with two princesses who are betrothed to "royal ugly dudes," Bill and Ted sneak into a castle and meet the girls, but are captured and set for execution. Only a rescue by Billy the Kid and Socrates saves them. Bill and Ted quickly continue their time-traveling adventure, picking up Sigmund Freud, Joan of Arc, Genghis Khan, Abraham Lincoln, and Beethoven. They also accidentally travel to the far future (where they are unexpectedly recognized) then stop back at the Circle K and end up on other side of the original conversation with themselves. They then successfully return to their present timeline.
 
With mere hours left before the report, Napoleon has gone missing. The boys discover him at a waterpark ("Waterloo") but return to find that all their historical figures were arrested by Ted's father after causing chaos in a shopping mall. Bill and Ted free the prisoners, using prearranged items around the police station they intend to place there later using the time machine. Arriving with no time to spare, the boys give their report and everything is an extraordinary success. The two pass history and Ted stays in California. 
 
In the summer, playing the same chords in the same garage as always, the boys finally decide to get focused and become better musicians. Rufus unexpectedly shows up, and explains how the music of Wyld Stallyns will, in the future, serve as the core of the world's Utopian society. That's why it was imperative the two remain together as friends and bandmates. Rufus leaves the boys with two more surprises: new guitars, and the medieval princesses, as they, too, are destined to be part of Wyld Stallyns.


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# Friday, November 06, 2009
The 'Witness' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good - and you will get a sense of how they work.

Or - you could just let find good ones for you and edit them a bit. The first great synopses I edited and posted were Starman (see that one here) and Peggy Sue Got Married (see that one here). This time it's Witness.  Witness is kind of strange category - probably mainstream fiction in book terms.  It's got the Amish elements, a dash of crime stuff at the beginning and end.

Look at the synopsis below. I like how it's pretty short. There could be a lot more said about the culture clash in Philadelphia and then how Book adapts to Amish life on the farm, but just enough is there. Like other synopses posted here, this one has a quote or two - just enough spice to flavor the whole thing. Don't use quotes often.




Several days after her husband's funeral, Amish widow RACHEL LAPP and her six-year-old son, SAMUEL, depart for Baltimore to visit her sister. At the train station in Philadelphia, young Samuel enters a public restroom and is the sole witness to a brutal murder.

JOHN BOOK, the investigating detective in charge, consoles Rachel and Samuel. He also reveals that the murdered man was a police officer. Samuel says two men were involved in the crime, but he could only see one—a tall African-American man. Despite Rachel wanting nothing to do with Book's laws, Samuel is taken around town to identify suspects, but fails to find a match. At the police station, Samuel sees a displayed press photograph of Lieutenant MCFEE, and identifies him as the murderer. Worried, Book turns to his mentor, Chief SCHAEFFER, for help.

Shortly after, McFee engages Book in a parking garage gunfight and Book is hit in the abdomen. The injured Book deduces Schaeffer and McFee are both dirty and working together. After destroying records to hide the location of Samuel’s home, Book sneaks Rachel and the boy out of the city and drives them to their farm in rural Lancaster County. Moments after dropping them off, Book passes out from loss of blood. Rachel's father-in-law, ELI, reluctantly agrees to put up the "English" man, and arranges for an Amish apothecary to treat the bullet wound using traditional methods.

Adopting Amish dress to be more inconspicuous as he recovers, Book, an amateur carpenter, fits into the community fairly well—making toys for Samuel and helping in a barn raising. As the weeks pass, he sees more Amish culture, and also begins to fall in love with Rachel, who has mutual feelings for him. Their attraction is met by disapproval of Eli and the elders, who consider having Rachel shunned. Meanwhile, Eli lectures young Samuel about the English man’s use of the "gun of the hand" and tendency for violence ("What you take into your hands you take into your heart").

In town, Book witnesses some youths harassing the Amish. Book severely beats the youths and, as the Amish are strict pacifists, word of this unusual occurrence spreads quickly. Book realizes his cover is blown and Schaeffer will soon find him. Book prepares to leave the farm, sharing a passionate embrace with Rachel in farewell.

Schaeffer, McFee, and a third corrupt officer (the second murderer) arrive at farm the next morning to kill Book. Unarmed, Book uses his wits to defeat the two cops before Schaeffer holds him at gunpoint. Thinking quick, Samuel rings the farm bell, alerting his neighbors to a problem.  Schaeffer, knowing he cannot kill all the amassed Amish witnesses, surrenders. Afterward, as Book prepares to leave, he shares a quiet moment with Samuel, then exchanges a silent, loving gaze with Rachel before driving back to Philadelphia. Eli caringly tells Book to "be careful out among them English."


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Friday, November 06, 2009 10:30:45 AM (Eastern Standard Time, UTC-05:00)  #  Comments [1]
# Sunday, November 01, 2009
The 'Dragonslayer' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis should look, simply go to Wikipedia. Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis. A lot of them are too long; a lot of them are poorly written; but some are good - and you will get a sense of how they work.

Or - you could just let find good ones for you. The first great synopses I edited and posted were Starman (see that one here) and Peggy Sue Got Married (see that one here). This time it's Dragonslayer, a fantasy!  I know a lot of people are writing fantasy stories and it's a category I don't read as much as I should.

Look at the synopsis below. Note how the reader can get lost with a lot of names, so only five names are mentioned throughout - Galen, Urlich, the King, Valerian and Elspeth. Also notice how the kingdom is not named nor is the dragon. Remember: more names and places = more confusion. Keep it simple. I consider Dragonslayer to be adult fiction, but this is not far from YA fantasy either. If Galen were, say, 16 years old, then this would be YA. Fantasy is hard to summarize; even after I edited the heck out of this, it was still 125 words long. For what it's worth, see the synopsis below.




Galen in Dragonslayer


A sixth century post-Roman kingdom is being terrorized by a 400-year-old dragon.
 
A group of men from the kingdom travel far to the house of ULRICH, the last sorcerer in the land. The frail Ulrich is assisted by his young apprentice, GALEN, who also seeks to be a wielder of magic. The men of the expedition explain that they need help, and how the dragon is only appeased by an offering of two virgins each year. The wizard Ulrich, despite foreseeing his own death, agrees to help. Before he can leave his home, however, a skeptical man in the group demands proof of sorcery. Ulrich invites the skeptic to stab him to prove his magical powers. The wizard dies instantly when stabbed, however, much to the horror of Galen. The young apprentice burns his master’s body and collects the ashes.
 
When the dead wizard’s amulet begins to obey Galen’s Latin incantations, the ambitious apprentice decides to take up the task of defeating the dragon. On the journey to the kingdom, Galen discovers that a smart y
oung man in the expedition, VALERIAN, is actually a girl in disguise. She was passed off as a boy to spare her “the lottery,” where virgins are chosen at random for sacrifice to the dragon. Arriving at the kingdom, Galen inspects the dragon’s lair and blocks the entrance by causing boulders to fall. Though a clumsy and overconfident move, the landslide appears to cause a successful entombment. The village celebrates Galen’s success and Valerian abandons her manly disguise. The feast is interrupted by the KING, who guesses that they boy is not a real wizard and that the “entombment” has only served to anger the dragon.
 
The king confiscates the amulet and locks Galen away. Meanwhile, the dragon has stormed its way through the rubble and emerges with a vengeance. The dragon attacks the village with fireballs; much is destroyed. In the confusion, the king’s daughter releases Galen. The next morning, the King reinstates the lottery.
 
Galen, meanwhile, is hiding with Valerian while plotti
ng to reclaim his amulet. At the lottery, the king's daughter rigs the draw so that only her name can be chosen. The King is appalled but unable to overrule the decision. When Galen is caught searching for the amulet, the monarch returns it to him so that he might save the princess. Valerian gathers dragon scales and makes Galen a fireproof shield. She also discovers that the beast has a brood of dragonets.
 
Galen sets out to rescue the princess. Before he leaves, he shares a tender moment with Valerian and they kiss. At the lair, Galen frees the princess, but she chooses to sacrifice herself and die. Galen slays the dragon babies before confronting the beast itself. After wounding it, Galen breaks his spear, and only the shield saves him from incineration. The villagers fear another attack is imminent and leave the village, turning to religion and priests. As Galen and Valerian prepare to leave, the amulet gives Galen a vision that reveals his master, Ulrich, had planned everything from the beginning. The old sorcerer was too frail to make the long journey himself, so he had his apprentice make the trip for him by carrying his ashes. Galen releases the ashes in a lake of fire and Ulrich is resurrected.
 
Despite the disappointment of realizing he had n
o powers after all and was merely channeling Ulrich via the amulet, Galen is overjoyed to have his master returned. Ulrich reveals he is not back for long, and that Galen must destroy the amulet when the moment is right. As the sun is eclipsed, Ulrich battles the dragon; the beast soon grabs him and flies away. As instructed, Galen destroys the amulet, causing Ulrich to explode and the dragon with him. The King arrives at the scene and claims glory for himself. As Galen and Valerian leave the kingdom together, Galen reflects again on how he had failed to conjure any real magic. But when he says, "I just wish we had a horse," a white horse appears out of nowhere to take the incredulous lovers away.


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# Sunday, October 25, 2009
The 'Proof of Life' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis should look, simply go to Wikipedia.  Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis.  A lot of them are too long; a lot of them are poorly written; but some are good—and you will start to get a sense of how they work.

Or—you could just let me do that for you. The first great synopses I showed readers were Starman (see that one here) and Peggy Sue Got Married (see that one here). This time it's Proof of Life, a good example of a thriller/action story.  Look at what this synopsis does right. I like how the story starts quickly. Alice is a big character and she is unhappy with her situation. Her husband is kidnapped and the story is in motion. The climax (a battle) is told quickly, and there is no blow-by-blow of the gunshots.



ALICE BOWMAN moves to the (fictional) South American country of Tecala because her husband, PETER, has been hired to build a dam. Though their marriage is strained with yet another move, Alice agrees to again hit the ground running. Mere weeks later, Peter is in the city when a convoy of automobiles - including his - is ambushed by guerilla rebels. Believing that Peter works for an oil company, soldiers abduct him and lead him into the country’s jungles to hold him for ransom.

TERRY THORNE, an ex-Australian Special Air Service Regiment soldier, arrives in Tecala to assist in the situation. Thorne, fresh from a successful hostage rescue near Russia, is an expert in kidnapping-and-ransom cases. He is hired by Peter’s company to bring about Peter’s safe return. Unfortunately, it turns out that Peter’s company actually has no insurance coverage for kidnapping, so they cannot afford Thorne’s services nor pay a ransom. Despite Alice’s pleas to stay, Thorne leaves the country. Alice gets teamed up with a local hostage negotiator, who immediately suggests a questionable money payment. Not knowing what to do, Alice agrees, but the transaction is stopped by Thorne, who, following his conscience, has returned to help. He is aided by DINO, another ex-military man.

Over the next several months, Thorne uses a radio to talk with a guerilla contact, and the two argue over terms for Peter’s release—including a ransom payment that Alice can afford. With much downtime between conversations, Thorne and Alice bond, and an attraction between the two grows. Thorne's cold exterior begins to melt, and Dino warns him that the budding relationship can have no happy ending.

Meanwhile, Peter is led through the jungle by a group of younger rebels before arriving at the main camp. There, he meets another hostage: KESSLER, a missionary and former member of the French Foreign Legion who’s lived in the camp for nineteen months. The two immediately conspire to escape.

After much negotiation, the guerillas agrees to release Peter for a sum of $650,000. But before the deal goes through, Peter and Kessler make a run for it into the jungle. Kessler falls into a river and evades the rebels, but Peter steps on a trap and is recaptured. Kessler is found and hospitalized. In the hospital, he meets Alice and, having heard a gunshot, confesses to Alice that her husband is dead. Thorne refuses to believe this, but is unable to contact his negotiator. Acting on a tip, Thorne visits a high-ranking Tecala government official, who turns out to be the contact he was communicating with this whole time. The contact confirms that Peter is indeed alive, but has seen secret rebel maps and will likely soon be killed. 

Thorne, Dino, and several associates decide to risk a rescue. Before leaving, Thorne shares tender words and a kiss with Alice. In the jungle, Thorne and his men travel by helicopter and attack the ELT base. They free not only Peter, but other hostages held there as well. Peter returns to Alice, emaciated but alive. Thorne and Alice have a final moment together before Alice thanks him and leaves to be with her husband. Thorne watches her leave, and talks with Dino about what might lie in store for them next.


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# Sunday, October 18, 2009
The Essential Parts of a Novel Synopsis
Posted by Chuck

1. The Opening Hook

You must start strong with the novel synopsis. Agents and editors want to be engaged when they're up at night, plowing through submissions. If they don't like the opening, they won't get through the rest of it. Here is an example of an intriguing synopsis opening, from Monster by John Tigges:

"MAL and JONNA EVANS, in an effort to save their marriage, which has been been jeopardized by Jonna's extramarital affair, go backpacking near Garibaldi Provincial Park, British Columbia. On their first night, while preparing their evening meal, a Sasquatch barges into their camp and grabs Jonna."

These tips excerpted from Give 'Em What They Want, a book
by Blythe Camenson and Marshall J. Cook. The book is a great
resource for information on query writing, synopsis writing, and
outline writing. It's all about "the right way to pitch you novel
to editors and agents." Buy it here.

2. Character Sketches

You need to provide a sense of your main characters' motivations, especially those that will bring the characters into conflict with one another. "The characters' physical descriptions are not vital, but their motivations are," Marilyn Campbell says. Here is a part of the synopsis for Broken Connections, which earned the author a television movie option with this quick sketch of her heroine's backstory:

"Twenty-six-year-old JULIE HAMPTON, author of several gardening books, has returned to her native Boston from California after separating from her philandering husband, JOEL GREGG. Julie had fled to California seven years earlier to attend UC Berkeley and to put as much distance as she could between herself and her mother."

3. Plot Highlights

"Detail the beginning and ending scenes and one or two in the middle that give an indication of the kind of emotional intensity or type of action to be expected," Campbell says. So what constitutes a major scene worth noting? Consider: 1) Do I need this scene to make the primary plot hang together? 2) Do I need this scene for the ending to make sense? Your synopsis should reveal how much and what kind of trouble your poor protagonist is going to encounter.

4. Core Confict

If your conflict isn't implicit in your first few sentences (a "hook"), spell it out. Your core conflict may, of course, overlap categories and could even touch on multiple types of conflict. Consider this:

"Tortured by grief and loss (person vs. self) and fleeing a wrong conviction for a crime he didn't commit (person vs. society), DR. RICHARD KIMBALL struggles to survive (person vs. nature) while fleeing the relentless lawman who pursues him (person vs. person).

5. The Conclusion

Don't close with a cliffhanger. Revealing the ending to your novel won't spoil the story for the editor or agent. It will show that you've successfully finished your novel.  "Make sure every loose thread is tied up and never leave an editor guessing about anything," Campbell says. If your novel is one of a series, your ending can point to the sequel.


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Sunday, October 18, 2009 7:20:50 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [5]
# Friday, October 16, 2009
The 'Peggy Sue Got Married' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis should look, simply go to Wikipedia.  Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis.  A lot of them are too long; a lot of them are poorly written; but some are good - and you will start to get a sense of how they work.

Or - you could just let me do that for you. The first great synopsis I showed readers was Starman (see that one here). This time it's Peggy Sue Got Married, a good example of a humorous women's fiction story.  Look at what this synopsis does right. Peggy Sue is quickly introduced and we see her issues. By the end of the first paragraph the whole story is motion. Since the story is filled with laughs, the synopsis tries to get several of them across. Also, in this story, there are plenty of characters, but a synopsis can get bogged down with characters being introduced, so see how the names of her classmate friends and even her sister are not mentioned here. Their individual names do not matter, so the synopsis keeps moving.




In 1985, PEGGY SUE BODELL sets off for her 25-year high school reunion, albeit hesitantly, with her daughter coming along as company. Peggy Sue has just separated from her former high school sweetheart, now husband, CHARLIE, and is wary of attending the reunion because of everyone questioning her about his absence. (They have been married since she became pregnant at the end of high school.) Peggy Sue arrives at the reunion, happily reconnecting with old friends and commenting on high school memories and how times/classmates have changed. Charlie unexpectedly arrives, causing an awkward scene. The awkwardness is ended when the event MC announces the reunion’s "king and queen." The king is RICHARD NORVIK, a former class geek turned multi-millionaire computer whiz. Peggy Sue is named the queen; but upon arriving at the stage, she faints.

When Peggy Sue awakens, she finds herself in the spring of 1960, her senior year of high school, having apparently passed out after donating blood. Peggy at first believes she died, but then comes to accept that she has somehow gone back in time. She’s in shock to see old family members so young and to talk to relatives who have since died. She atten
ds high school classes and meets with old (now-young) friends, though she now answers questions strangely. For example, when her mother asks if she and Charlie had a fight, she replies yesbut about "house payments." She also briefly considers a get-rich-quick reference of going to England to discover The Beatles.

Peggy Sue is confused by this new/old world, but she’s fascinated to get to live high school all over again and say things she always wanted to say, such as telling off rude classmates and informing a math teacher she knows—for a fact
that she will never need algebra in her life. She also uses this opportunity to repair an estranged relationship with her younger sister. One thing Peggy Sue is not happy about is that she’s still dating Charlie. She promptly breaks up with him and has a one-night stand with MICHAEL FITZSIMMONS, the "one guy in school she always wished she’d slept with."

But Peggy Sue soon sees that this Charlie (at 18 years) is not the same as the adulterous Charlie she left in 1985
and she starts to fall in love with him all over again, though the relationship still has its problems. Meanwhile, she contacts the young (ever geeky) Richard Norvik and asks for his advice on time travel and getting "home." Her inquiries into time travel lead to her GRANDFATHER, who agrees to try a strange séance ritual with buddies to send her forward in time.

During the
séance, Peggy is kidnapped by Charlie, while all Grandfather's buddies think the time travel worked. Charlie takes her to a greenhouse and tells Peggy Sue that he loves her then gives her the locket she will wear to the reunion. After she resists him ("I'm not stupid enough to marry you twice"), she realizes she cannot cheat fate. She kisses Charlie and they make love, which would again lead to Peggy Sue getting pregnant and marrying him. In the next moment, Peggy Sue is revived at the reunion back in 1985. She's taken to a hospital and meets "old" Charlie, who seems shaken by the whole event and deeply regretful of his recent ways. She looks at him with new eyes and it seems there's hope for them possibly reconciling their differences. However, the idea that she may have dreamed the entire ordeal is unclear when her daughter mentions that Michael Fitzsimmons has dedicated a book to her and their night together.

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Friday, October 16, 2009 10:50:19 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [1]
# Monday, October 05, 2009
The 'Starman' Synopsis
Posted by Chuck

I always tell people that if they're confused as to how a novel synopsis should look, simply go to Wikipedia.  Search any movie made in the last five years and the first thing on the page is the long "Plot" section, which is essentially a front-to-back synopsis.  A lot of them are too long; a lot of them are poorly written; but some are good - and you will start to get a sense of how they work.

Now, while wasting some time on Wikipedia the other day, I came across the page for the 1984 sci-fi movie, Starman.  I've heard of the movie, sure, but never seen it. Anyway, upon reading the plot, I was captivated - and wanted to show you an example of an excellent synopsis. Read it below. See how characters are introduced, conflict is introduced, the three-act structure is apparent, and it slows down at the moments where we need to slow down and taste the story.



In 1977, a small scout vessel of an alien race comes to Earth but is shot down by the U.S. Government.  Crashing in Wisconsin, the alien, as a blue ball of energy, finds a lock of hair of the deceased Scott Hayden in a photo album and uses it to clone a new adult body in the likeness of Scott. This “STARMAN” then sends a message to his people that the environment is hostile and requests extraction in three days at “Landing Area One.”
 
The cloning occurs in the home of Scott's young widow, JENNY HAYDEN. After being awakened by intense light, Jenny first believes her husband has miraculously returned, but soon realizes this creature is not Scott.  Meanwhile, the Starman reveals his only possession: seven small spheres that he turns into pure energy to perform mirac
ulous feats. He uses one to create a map in order to compel the dumbstruck Jenny to take him to Arizona.
 
The trip to Arizona begins, and Jenny is both hostile and frightened of her new guest.  After repeated unsuccessful escape attempts, she finally implores the Starman to kill her and get it over with. Instead, the Starman releases the pistol's magazine and tells her he means her no harm. As they continue on their journey, the Starman, who has a rough understanding of English syntax, learns to communicate his presence to Jenny, and Jenny teaches the Starman that humanity is not completely savage.
 
Jenny understands the Starman needs her help to get to a meteor crater in three days or he will die, so she teaches him how to drive an automobile and use credit cards—intending on escaping so he can continue his journey alone. However, she witnesses him miraculously resuscitate a deer that had been shot by a hunter. Deeply moved by the action, she resolves to help him at whatever cost.
 
Along the way, the couple is pursued by the U.S. Army, who detected the crash. The contingent is led by a cold-blooded NSA
chief GEORGE FOX, who is reluctantly assisted by a decidedly more humane civilian scientist, MARK SHERMIN.  While investigating the Starman’s downed craft, Shermin finds a Voyager II phonographic disk, explaining the Starman’s rough understanding of Earth’s languages, and also revealing that the Starman is here in peace after being invited. 
 
As they make their way to Arizona, the Starman's understanding of humanity (and being human) increases through direct experience and from some explanations by Jenny, who in turn finds the Starman to be a tender, sincere, vulnerable, and loving being. Jenny asks the Starman about his world, and he explains they are one people with one language and one law, and there is no hunger or hurt or war, but they have “lost something”—the vibrancy that comes from diversity, such as can be found on Earth.
 
Police find and attack Jenny’s car, and she is injured.  The Starman, down to his last two silver spheres, uses one to heal her. He then leaves her to attempt to reach the crater alone, as he is afraid she will be hurt again. Jenny catches up to him and they continue together. While hitching a ride on a boxcar, the couple connect and make love. Later that night, the Starman tells Jenny she is pregnant with a son.  When Jenny tries to explain she is barren, the Starman tells her to believe him—and that the baby will be not only the son of her dead husband, but also his son, that he will know all that the Starman knows, and when he grows up, he will become a “teacher.” Jen
ny asks the Starman to show her his star, so she can show the baby where his father came from.
 
At the end of the journey, the Starman is captured by the government in a cafe. There, the dying Starman tells Shermin that his people are interested in mankind because they are a beautiful species (“You are at you best when things are at their worst”). Shermin decides to ruin his career to help the Starman and Jenny escape. The couple reach the crater as Army helicopters buzz them. A large reflective sphere appears in the sky and enters the crater. The Starman tells Jenny he will never see her again. Jenny confesses her love and begs him to take her with him, but he says she would die on his world. He then gives her his last silver sphere, telling her the baby will know what to do with it. The ship rises, taking her Starman away forever.
 

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Monday, October 05, 2009 10:01:53 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [6]
# Thursday, July 09, 2009
How to Write a Novel Synopsis
Posted by Chuck

This is a "Blast From the
Past" post.  To celebrate the
GLA Blog's 2nd birthday, I am
re-posting some of the best
"older" content that writers
likely missed.


If you write a novel and want to sell it, you'll need a good synopsis to hook a literary agent. A synopsis, simply put, is a long summary of your fictional story, detailing the events and characters.

At a recent writers' conference, I critiqued several synopses from amateur writers. When I met with the writers, I found myself repeating the same things over and over regarding formatting, content and length. I'll try and relay some tips in this post, so writers don't follow in their footsteps.

  • First of all, synopses have a specific format. They begin on a new page and should have all your contact information in the upper left corner of the first page. Just below your contact info, centered, should be the book's title, its genre and your name.
  • The body of the synopsis is double-spaced.
  • Use dialogue sparingly, if at all.
  • You can get to the point, meaning you can say if a character is "a hopeless romantic."
  • Starting on the second page, there should be a header at the top of all pages, looking like this: Author/TITLE/Synopsis. That should be pushed left while the page number should be pushed right.
  • Things must be explained. You can't say a character has "psychic powers" or "finds a surprise around the corner" without saying what these things mean. I find that writers, when questioned about confusing details, will often say, "Well that's explained in the book." Then I say, "OK ... but an agent won't read the book if they're confused by the synopsis. Make sense?
  • Try to stick with main plot points and characters. This will help cut down on confusion. Ideally, an agent won't get any name/character confusion because the synopsis doesn't detail needless subplots or minor characters.
  • When characters are mentioned for the first time, CAPITALIZE their name.
  • I read somewhere that a synopsis should read like you've summarizing a story for a 12-year-old. This is good advice. To practice, read a novel. Then explain the plot and characters of the story to a child as if it were a bedtime story. Tell the tale from beginning to end in 5-10 minutes. That's a synopsis.
  • Remember that queries and synopses are different things. You would never find a synopsis in a query.  A query is a one-page letter that explains what you've written, who you are, and why the agent should represent you.  In a query letter will be a pitch, which is a explanation of your story in 3-8 sentences.  It's like the text you see on the back of a DVD box.  It's designed to pique your interest.  A pitch, like the back of a book or DVD, will not spill the beans regarding the ending.
  • I recommend having TWO versions of your synopsis - a "long synopsis" and a "short synopsis."  Let me explain.  In past years, there used to be a fairly universal system regarding synopses.  For every 35 or so pages of text you had, you would have one page of synopsis explanation.  So if your book was 245 pages, double-spaced, your synopsis would be seven pages approximately.  This was fairly standard, and allowed writers a decent amount of space to explain their story.  I recommend doing this first.  This will be your "long synopsis."  The problem is: Sometime in the past few years, agents started to get really busy and they want to hear your story now now now.  They started asking for synopses of no more than two pages.  Many agents today request specifically just that - two pages max.  Some may even say one page, but two pages is generally acceptable.  You have to draft a new, more concise synopsis - the "short synopsis."  So which one do you submit?  Good question.  If you think your short synopsis (1-2 pages) is tight and effective, always use that.  However, if you think the long synopsis is much more effective, then you will sometimes submit one and sometimes submit the other.  If an agent requests two pages max, send the short one (because, naturally, you've been instructed to).  If they just say "Send a synopsis," and you feel your longer synopsis is far superior, and your long synopsis isn't more than eight pages, I say just submit the long one. 

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Thursday, July 09, 2009 11:08:44 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [6]
# Thursday, April 30, 2009
Agents Talk Synopses, Literary Journals and More in Interview
Posted by Chuck

I really enjoy the "Agents & Editors" series in Poets & Writers magazine.  I just read the most recent article, and you should, too, because it's here online for free.  Agents sit down in kind of a roundtable discussion and talk about publishers, queries, writing and everything else.

Here are some notes from the May/June installment of this series, which features Maria Massie of Lippincott Massie McQuilkin, Jim Rutman of Sterling Lord Literistic, Anna Stein of Irene Skolnick Literary Agency, and Peter Steinberg of the Steinberg Agency. There is too much good information to really explain here, but I will share some good points that I found interesting and may be not widely known.



Synopses
       Stein and Steinberg both said they hated synopses and didn't read them.  Strangely enough, someone at the Boston writers' conference the other day mentioned to me that synopses are often not read by agents.  This was news to me.  I think that, for genre fiction especially, they are valuable.  For literary fiction, where the quality of the prose is paramount, they are somewhat worthless - and Rutman actually mentioned that exact point in the article. 

How Agents Find Writers
       The agents talked about how they don't find fiction writers online.  (Though unspoken, they may find nonfiction writers that way.)  They find fiction writers in literary magazines, but even there - agents are likely too late.  The consensus was that the majority of good writers getting good stuff published in literary journals were either already repped by an agent, or an agent saw the story first and just called the writer five minutes ago. 

Writers Editing Their Work
       All four agents had a lot to say on how writers submit work too soon.  Their advice was to find brutally honest writing peers and request no positive feedback - only negative feedback.   Rutman mentioned how college professors (and possibly friends and family, too) will encourage you to send it out there and get the process moving, but that is dangerous because the work is likely not ready yet. 

Advice to New Middle America Novelists
       Massie said: If you're in middle America and you just wrote a novel but have no idea what to do now, you should try to get great short work published in quality literary journals.  Do that, and agents will flock to you.

On Switching Agents
       One of the agents (unknown as to which one) remarked that this is almost always a bad idea, and that writers need to have more patience and more trust.   


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Thursday, April 30, 2009 1:44:40 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [1]
# Friday, January 30, 2009
A Pitch vs. A Synopsis: The Difference and Definitions (and 'What is a Good Synopsis Length?')
Posted by Chuck

Q. In a query, should the synopsis tell the whole story in a short form or should it leave mystery to the story like on the back of the book?

A. Queries and synopses are different things. You would never find a synopsis in a query.
        A query is a one-page letter that explains what you've written, who you are, and why the agent should represent you.  In a query letter will be a pitch, which is a explanation of your story in 3-8 sentences.  It's like the text you see on the back of a DVD box.  It's designed to pique your interest.  A pitch, like the back of a book or DVD, will not spill the beans regarding the ending.
       A synopsis is a front-to-back telling of what happens in your story.  It's like sitting down with a 12-year-old and explaining your entire story in about five minutes.  You explain who the characters are, what the conflict is, the three acts, and finally, what happens at the end (e.g., the villain dies).  So, in a synopsis, you do indeed give away the ending.  You would not do so in a pitch, and a pitch is what appears in a query.

FOLLOW-UP QUESTION FROM ANN:

Q. What length is a good synopsis? I recently sent out a query & synopsis. I managed to reduce the synopsis to one page, but now I'm wondering if it was too short for a multivoiced novel.

A.  I recommend having TWO versions of your synopsis - a "long synopsis" and a "short synopsis."  Let me explain.
       In past years, there used to be a fairly universal system regarding synopses.  For every 35 or so pages of text you had, you would have one page of synopsis explanation.  So if your book was 245 pages, double-spaced, your synopsis would be seven pages approximately.  This was fairly standard, and allowed writers a decent amount of space to explain their story.  I recommend doing this first.  This will be your "long synopsis."
       The problem is: Sometime in the past few years, agents started to get really busy and they want to hear your story now now now.  They started asking for synopses of no more than two pages. 
Many agents today request specifically just that - two pages max.  Some may even say one page, but two pages is generally acceptable.  You have to draft a new, more concise synopsis - the "short synopsis." 
       So which one do you submit?  Good question.  If you think your short synopsis (1-2 pages) is tight and effective, always use that.  However, if you think the long synopsis is much more effective, then you will sometimes submit one and sometimes submit the other.  If an agent requests two pages max, send the short one (because, naturally, you've been instructed to).  If they just say "Send a synopsis," and you feel your longer synopsis is far superior, and your long synopsis isn't more than eight pages, I say just submit the long one. 
       Long answer.  Hope it helps.

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Friday, January 30, 2009 10:30:11 AM (Eastern Standard Time, UTC-05:00)  #  Comments [8]
# Wednesday, February 27, 2008
Concerning Names and Backstory in a Synopsis
Posted by Chuck

Q. In a novel synopsis, how much should you go into detail about a character in terms of their backstory and past?  I want to keep my synopsis short, as you suggest, so I don't know how to approach this.
      - Angela

A. Simply because of length, you will need to keep backstory to a minimum. But info needs to be in there, sure. Try and squeeze in as much as you can. Start by combining sentences. "Following an injury that derailed his hopes of playing professional football, Jack hit the bottle hard, and had trouble getting to all his dead-end jobs on time." With this sentence, I'm trying to squeeze in lots of info. You don't have to give the agents much more detail, because they know that detail is in the manuscript itself.
      This brings up another point. Don't let your synopsis nor your pitch be bogged down with character names. If you meet an agent in person and pitch her, throwing out all kinds of names in the pitch ("Sally," "Colonel Byrd," "Billy Bob," "Randolph Inky the Clown Guy," "Officer Shane Matthews") will more than likely leave her very confused. Stick to the basics. Use the name of the protagonist, the antagonist and the love interest in a pitch. If a cab driver enters the story briefly, call him "the cab driver." Don't say "Etienne, the French cab driver who's hard of hearing and loves a good joke."  Even that little unnecessary tangent can affect your pitch.
      Synopses are longer than pitches, so you have more time to mention characters, but avoid their proper names if you can. What you want to avoid is an agent reading your synopsis and seeing a name, then backtracking to refamiliarize herself with who exactly this character is.


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Wednesday, February 27, 2008 11:42:10 PM (Eastern Standard Time, UTC-05:00)  #  Comments [0]
# Thursday, January 03, 2008
Answering Your Questions III
Posted by Chuck

More questions come in concerning
agents, queries, and all the rest.
Questions from Dean.

Q: The query letter, as I understand it, is supposed to contain no more than one paragraph devoted to summarizing the entire novel. In the sample query letter you provide (in the 2008 Guide to Literary Agents), the paragraph, in this case, ends with three questions (intended to make the agent want to invite the author to submit a synopsis). So, I'm confused. Do I construct a single paragraph that summarizes the story in full or do I just tease the agent like this author did?

A: If you can pitch your novel in one paragraph, great. Some queries have two paragraphs, and that's OK as well. Just make it concise and effective. 
      You do not want to summarize the entire story (e.g., bad guy dies at the end). You want to leave the ending open, much like you would see on the back of a DVD in a videostore. So, yes, you will tease the agent, though using questions isn't necessarily the best way - it just worked for that query in the 2008 GLA. Most pitches I read don't use questions such as "Will he make it to the island in time?" It all just depends...

Q: As the author of a fictional manuscript, should I prepare a short synopsis (3-5 pages) or forget about this and put together a much longer and more formal proposal if/when I'm invited to submit more information subsequent to the query letter?

A: Real quick: It's a fiction manuscript. A fictional manuscript would mean that the manuscript itself does not exist! 
      Yes, start putting together a synopsis now. In fact, many agents request "a query and a synopsis." To learn about writing synopses, see this previous post and this post as well.

Q: If I'm invited to submit the entire manuscript, should it be sent single-or double-sided? Single- or double-spaced? Is there a particular cover material and binding I should use? Is a title page required?

A: Double-space your text. I've heard some people say that they use a "larger font" such as Courier New so that it's easily readable. You can do this if you like, but it will take up more pages and cost more. No title page is required but you can have a "Contact Page" where you have all your information as well as the title. Make sure you list all your contact info at the top of the first page of the manuscript (where the text starts). Number your pages and have a header. 
      Use single-sided text. You don't need to bind it. Using a large black binder clip should be good enough.


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Thursday, January 03, 2008 3:37:38 PM (Eastern Standard Time, UTC-05:00)  #  Comments [4]
# Tuesday, July 31, 2007
Crafting a Novel Synopsis
Posted by Chuck

If you write a novel and want to sell it, you'll need a good synopsis to hook a literary agent. A synopsis, simply put, is a long summary of your fictional story, detailing the events and characters.

At a recent writers' conference, I critiqued several synopses from amateur writers. When I met with the writers, I found myself repeating the same things over and over regarding formatting, content and length. I'll try and relay some tips in this post, so writers don't follow in their footsteps.

      - First of all, synopses have a specific format. They begin on a new page and should have all your contact information in the upper left corner of the first page. Just below your contact info, centered, should be the book's title, its genre and your name. 
      - The body of the synopsis is double-spaced.
      - Use dialogue sparingly, if at all.
      - You can get to the point, meaning you can say if a character is "a hopeless romantic."

      - Starting on the second page, there should be a header at the top of all pages, looking like this: Author/TITLE/Synopsis. That should be pushed left while the page number should be pushed right.
      - Synopses should be as short as you can make them. The average length is 7-8 pages. A general rule is to have 1 page of synopsis for every 25 pages of your work, but rememberthe shorter the better.
      - Things must be explained. You can't say a character has "psychic powers" or "finds a surprise around the corner" without saying what these things mean. I find that writers, when questioned about confusing details, will often say, "Well that's explained in the book." Then I say, "OK ... but an agent won't read the book if they're confused by the synopsis. Make sense?"
      - Try to stick with main plot points and characters. This will help cut down on confusion. Ideally, an agent won't get any name/character confusion because the synopsis doesn't detail needless subplots or minor characters.
      - When characters are mentioned for the first time, CAPITALIZE their name.
      - I read somewhere that a synopsis should read like you've summarizing a story for a 12-year-old. This is good advice. To practice, read a novel. Then explain the plot and characters of the story to a child as if it were a bedtime story. Tell the tale from beginning to end in 5-10 minutes. That's a synopsis.


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Tuesday, July 31, 2007 2:49:58 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [7]
# Monday, July 23, 2007
One Story? You Need 5 Versions
Posted by Chuck

I've seen a lot of novel synopses recently, and thought I should post some information on how writers need many versions of their one tale.

OK, so you've written a novel and had it edited by peers or a professional. Now you need a literary agent. Along the road to an agent, you'll constantly be asked for shorter versions of your story. Here are five versions of your work that you should have on hand.

1. The pitch line: This is a one-sentence pitch of your work. (In films, this is called a "log line.") Example: A treasure hunter travels to the Himalayas to find a fabled artifact. Writers can put this pitch line at the beginning of their full synopsis, so agents immediately get the gist.

2. The pitch: This is a one- to two-paragraph explanation of your manuscript. You will include the pitch on your query letter to agents, and you'll essentially say the pitch out loud when talking with agents in person. The pitch is commonly called "an elevator pitch," because you must keep it short enough so that an agent can hear your idea while traveling in an elevator. Appropriate length: 3 to 6 sentences.

3. The synopsis: A long description of what happens in the book (i.e., a summary). I will post more on writing a synopsis soon. For now, know that synopses are usually 2-12 pages in length and introduce all the major characters, as well as their backgrounds and motivations. The average synopsis should be double-spaced and approximately 6-7 pages.

4. The short synopsis: All agents have their specific requests for what they like to see in a submission. Some agents will request a 1-page or 2-page synopsis. Now your challenge lies in taking your long synopsis and cutting it down as much as possible—just in case an overly particular agent wants a super-short plot summary of your work.

5. The full manuscript: Naturally!


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Monday, July 23, 2007 11:31:41 AM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
# Wednesday, July 18, 2007
Defining Book Proposals, Outlines and Synopses
Posted by Chuck

Q: When submitting to agents, 1) Do sample chapters need to be consecutive or should they be random? 2) What is a proposal package? 3) Why send a synopsis and bio since both are in the query letter?
                           - Randy L.

A: Sample chapters do not have to be sequential unless you want them to be or the agent requests this. In fact, some agents will specifically ask for your book's first chapter, a chapter from the middle of the book, and then the last chapter. They do this to see if your writing quality is consistent throughout the first, second and third acts. Bottom line: It's up to you.

A proposal package (or a "proposal/outline") is a full book proposal—sent in place of a nonfiction manuscript. If you want to write a nonfiction book, you don't have to write the manuscript before querying an agent. (Seriously.)
      A novel is sold on the quality of the writing, which is why the entire book has to be completed and polished before querying an agent. Nonfiction books, on the other hand, are usually sold on 1) the book's concept/idea, 2) its place in the market, and 3) the author's platform and promotional abilities. With that in mind, a nonfiction book does not need to be complete when you pitch the idea. 
      What's sent in place of the manuscript is a book proposal, which essentially details what the book is, why it should be written, how it will be structured, and all the means the author has to reach prospective markets/audiences. Proposals can be lengthy (say, 20-25 pages on average) and they are difficult to write, but plenty of resources exist to help you through them. The new 2008 GLA has an article on writing a proposal; also check out Bulletproof Book Proposals by Pam Brodowsky and Eric Neuhaus.

      Next, and very importantly: A synopsis is not a pitch. In your query letter, you will have 1-2 paragraphs to summarize your story for the agent. This is called "a pitch."
      A "synopsis" is a long, detailed explanation of what happens in a novel. They are anywhere from 2-12 pages usually. The synopsis allows you to take the agent/editor through the story from beginning to end, introducing all the major characters, their backgrounds and motivations, as well as the twists and turns. The ending is fully revealed and all is laid out on the table. The synopsis immediately lets an agent know what the entire story is, who the characters are, and how it ends. If that gets them intrigued, your writing will have to carry you past the finish line.
      Synopses have very specific formats, so make sure you read up on them before writing one. (In the near future, I'll post much more on how to write a book synopsis. I'm critiquing several now.)

Lastly, the bio. Although you will have some space on the query letter to write a bio, you will likely need to have a separate section within the book proposal called "About the Author," where you detail who you are, your accomplishments, and your credentials that allow you to be the best author to propose this book. For example, in the query, you may mention that you're an "award-winning short story writer." In the true "bio," you will list all your short story accolades—the publications names, the dates, the specific stories, and the exact awards.

Bulletproof Book Proposals


Guest Columns | Queries and Synopses and Proposals | Synopsis Writing
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Wednesday, July 18, 2007 2:18:24 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [2]
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