Rachel Here:
Most writers dread crafting the synopsis. We feel constrained and pressured. How can we boil down a 70,000 or 100,000 word manuscript into 3, 5, even 10 pages?
We can! And we will. I’ve never dreaded writing a synopsis because it enabled me to hash out my story points, to see in a consise manner what my book was going to be.
Most writers dread this process because they don’t know what the book is about, they don’t really know the characters and their story arc very well, and most likely don’t want to take the time to find out. It’s more fun to write.
Or, an author might feel the story is so good with so many layers they can’t possibly leave any out, so a 20 pager ensues. Their agent comes back with, “Can you cut this down to five?” Ack!
For plotters, writing a synopsis is not so difficult. They’ve plotted out the story so well they can pick the key pieces to link together in a synopsis.
For pantsers, those who write by the seat of their pants, story discovery is all the fun. They don’t want to stop and figure out the details. Besides, why labor over a synopsis that’s going to tell about a story the author ends up NOT writing?
A synopsis is a guideline. Even pantsers needa guideline. I know, I know, you don’t want one, but trust me, you’ll go farther and write faster if you have some loosely based idea of where the story is going and what obstacle your characters will overcome.
More than once Susie May was struggling with a story point only to return to her synopsis where she’d alread planned out what was supposed to happen. Sure enough, it was what she needed.
One of the biggest hindrences to writing a synopsis is fear. We’re so worried we’re not going to get it right. We’ll turn off the editor because we have too many or too little pages. Are we saying the right things? Oh, how do we do this? What is the editor or agent going to like? Hand wringing. Sweat. Worry. Blah. Blah.
Let’s just say right now, No to synopsis fear! In Jesus name, even.
I came to a new revelation recently about the power and beauty of a synopsis.
While going to church one Sunday morning, I was telling my husband about a synopsis I’d read from an up and coming writer who had a phenomenal story idea. One where you think, “Dang, why didn’t I think of this?” But as I read the proposal and synopsis, I never understood the struggle of the main character. What did he face? What would he overcome? What would he learn at the end? What was his story question and journey? What inciting incident would launch him on his journey?
I said to hubby, kind of off the cuff, “If I was an editor, I’d love this concept, but I’d reject it based on the synopsis.”
My words were a revelation to me! Previously, I was flummoxed over why or how an editor would reject a book based on they synopsis. But that morning, I gained understanding.
The synopsis didn’t draw me into the heart of the characters. I had a 20,000 foot overview of a great story, but nothing that told me what made the character tick. What he was afraid of, and what he’d do to avoid pain. Or what he’d do to overcome. So, even if I requested a full manuscript (in my fictional editor world) I’d be doubtful the author captured the heart of the character in the book. Why? IT WASN’T REVEALED IN THE SYNOPSIS.
A synopsis, I concluded, is about telling the editor what the story is about — “she ran, she won, she loved,” — but it’s also to demonstrate that YOU, the author, know what the story is about. You know the characters struggle. You know the story question, and the journey to the conclusion.
What I wanted from the synopsis was the heart of the character. What he was like, his home world, his career, his struggle. It was missing.
Do YOU know what your story is about and how the protagonist wins? Even pantsers need to know this much to get a good story going.
When writing a synopsis, think first and foremost, “I want to let the editor or agent know that I KNOW what this story is about and how the characters live and move and breathe.”
If you’re scratching your head, here’s an example:
Jane is a twenty-nine year old single mom who just wants to find love. She meets John at the mall while shopping for new clothes for her baby girl. When her credit card is denied, she loses it and starts to cry. Out of nowhere, John steps up and pays for the purchase.”
Okay… interesting. But it’s a summary, an overview. What will make an editor JUMP at this story?
Jane is a twenty-nine year old single mom who wants to find love. After her parents died when she was eighteen, Jane worked her way through college and into the corporate world. A bad decision on a date with a man she thought she might like to make a future with resulted in her daughter, Chloe. The date abandoned her, even though he knows he’s the father. Now, he’s made life on her job miserable. She lost her promotion and raise which she needed to catch up on her bills. When her mechanic calls with a $1500 car bill, Jane loses it. She can’t even buy clothes for her daughter. Maybe she should just give her up for adoption. What kind of mother is she.
John needs a present for his niece. But it’s been a long day. His “for the people” law firm is plenty busy but barely running in the black. And, one of his clients just went back to jail after John plea bargained him a deal. And, his best friend is getting married on Saturday to John’s ex fiance. A romantic at heart, he wants to find true love, but at thirty-three, his heart is becoming cynical.”
OKAY — The second example is longer, but wow, so much more detail. As an editor, I’m way more interested in this story. I feel like the author has really done her/his home work and thought the story through. I see conflict. Character flaws. Weakness with a huge window for triumph. I see Jane the self sufficient career girl butting heads with soft hearted, rescuer John. I like this story.
Are you seeing what a synopsis can do for you? Now, go write a GREAT synopsis. Chat on VOICES if you have quetions
Rachel