The Painless Synopsis
By Jacqueline Floyd
Many authors would rather suffer through a root canal than write a synopsis. I felt the same way until I devised a system that works for me. The following is a template I've learned to use through extensive trial and error. It's primarily designed for romance novels, but with a few adjustments, it will work for any type of genre fiction.
When to write your synopsis
In my experience, the later the better. I normally write one when I absolutely must, either for submission to an editor or for a contest that requires one. Write a synopsis too soon and the synopsis tends to be to sketchy. But be careful, waiting until after the manuscript is complete can result in a synopsis that includes to much detail.
How do you know what should be included?
A multi-published author once cautioned me not to include any information in a synopsis that raises more questions than the synopsis has time or room to answer. A good rule of thumb is to provide only the information that is absolutely necessary to the internal and external plot lines. The color of the heroine's hair? Probably not important. The drowning death of the heroine's brother? Only important if it is the root of the heroine's external fear of water and/or her internal fear of loss. Especially when writing a romance, it is imperative to include the characters' emotional responses to each scene.
Where to begin
The introductory paragraph of the synopsis is the first impression you make. Be sure it is as strong as possible with information you want the editor or judge to have immediately. Do you have a unique hook, a high concept, a compelling theme, an unusual premise? Let the reader know up front. This is also the place to define your word count, time period, setting and genre. If the synopsis will be included with a query letter to an agent or editor, this information can go in the letter instead of the synopsis.
Second Paragraph -- Give a brief character sketch of the heroine. This is also where you should indicate her goals, motivation and conflicts.
Third Paragraph -- Give the hero equal time.
Fourth and possibly, fifth paragraphs -- Provide any back story that the editor will need in order to understand the plot and the hero/heroine's goals, motivations, and conflicts.
Sixth and possibly, seventh paragraphs -- The opening scene, the meeting of the hero and heroine, their response to one another, the conflict that will keep them apart
Eight paragraph -- Turning point.
Ninth paragraph -- Second turning point.
Tenth and eleventh paragraphs -- (Or wherever these two fit in the scheme of your story) The moment the hero and heroine realize they are in love, how they react to that knowledge, the circumstances under which the declaration is made, how and when they first make love (if they do).
Twelfth paragraph -- The black moment.
Thirteenth paragraph -- Resolution.
Concluding paragraph -- Happily Ever After.
Of course, these are not hard and fast numbers. Expand or condense paragraphs as necessary.
How long should the synopsis be?
The rule used to be one page for every ten thousand words. I personally cannot remember the last time an editor wanted to see more than a five-page synopsis from me. I write a basic five or six pages, then shorten or lengthen as the submission guidelines or request warrants.
The tone of the synopsis should match the tone of your story. Don't write a light and breezy synopsis for an intense psychological thriller. Don't write a dark and serious synopsis for chick lit.
Only include the names of the characters essential to the plot, normally the hero and heroine. Unless you've written a long and involved tale with the Scope of War and Peace, limit naming secondary characters to one or two.
Dialogue should not be included. Tell don't show. The synopsis is the place to 'tell' the reader what is going to happen; it's not a place where the 'showing' rule applies.
And when I say tell, I mean tell 'all.' From beginning to end. Don't tease your reader by ending with 'wait and see' what's going to happen. An editor, agent or even contest judge needs to know that you have a plan, that you know where you're going, that you can wrap up your story in a reasonable, satisfying and timely manner.
And last, but not least, write your synopsis in present tense.
Follow or break the rules I've presented here as you see fit. If you have a system that works well for you, by all means, continue to follow it.
Now sit down and write the blasted thing. A root canal really is much worse.
Jacqueline Floyd is a member of RWA, OVRWA, OIRW, and the Golden Network. As well as frequently submitting manuscripts to agents and editors, she's won and placed in numerous contests including the Georgia Romance Writers Maggie Award of Excellence, RWA's Golden Heart, and OVRWA's first chapter contest. She writes short contemporary and single title. |
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