Synopsis
Basic Definitions/Tips

Definition of a Synopsis:

 

A condensed version of your novel, which must contain a dynamic opening hook, an escalating series of turning points, a strong central crisis, a dramatic climax and a satisfying resolution. NOT TO MENTION detailed character motivations, physical descriptions, a compelling emotional landscape, story and personal goals, rising conflict, backstory, tone, tension, theme, suspense, solutions, location, time period--AND all of this in only two pages. Or 5, or 15, or more--depending on the individual editor you're trying to sell it to.

 

The secret to a good synopsis is a compelling, emotionally and motivationally rich story. The secret to a compelling, emotionally and motivationally rich story is planning.

 

I always write a synopsis before I start any chapters. Every idea needs a foundation of granite, so I look for something strong by which I can prove my thesis, or the dreaded---theme.

 

The heroine's defining character trait should be her greatest strength as well as her greatest weakness, and as such, should be the source of the major conflict. Matching that character trait with her most ruthlessly opposite hero will propel the story toward a powerful ending with no time for a sagging middle.

 

Definition of Turning Point:

 

A change in the direction of the relationship between the major characters and/or the major obstacles, often a shift in power. Can happen as a result of: a significant event, an emotional realization, or new information. Each turning point must spring from the one before it, and be an escalation of the tensions between characters, the overall suspense or an upping of the story stakes. I don't grade turning points: major v. minor. There may be 40 in your story. Mine seem to have 18-21.

 

Synopsis Basics:

• Use the format that your publishing target prefers.
• Start with a hook.
• Always answer basic who, what, where, when, why--early in the synopsis.
• Clearly convey the central question of the story, and what the resolution looks like. And resolve it at the end -- to keep the editor guessing, as if she were reading the actual book.

 

Episodes/Scenes:

 

Only use to set a tone or to keep from confusing the editor, because scene tags snag the characters in time, use too many words. Instead of describing episodes, show the effects of a collection of impressions.

 

Example from The Wedding Night synopsis: Jack's reference to Mairey's sisters as mischief in crinoline, describes many scenes worth of giggling girls. And the text: Mairey sets up her office like a fortress, excluding Rushford as much as she can, disguising her progress by misdirecting him with false information, is actually a general description of how Mairey functions within the conflict, though the book includes a series of ever-escalating scenes that lead to her final betrayal.

Locations: Generally unnecessary, unless critical to the turning point.

 

Secondary Characters:

 

Don't use unless they are absolutely critical to the emotional turning points of the relationship. Even then, try to get by with the using the secondary's relationship to the major characters (sister, teacher, boss.) They are too hard to keep up with and only add clutter. Only name them when absolutely necessary.

 

Nix the Detailed Prose:

 

In a synopsis, the editors don't need to know that your heroine was standing on a beach, in a gossamer nightgown, wiggling her toes in the warm sands of Waikiki, watching a beautiful July sunset glinting like fire diamonds off the tranquil cerulean sea when the mysterious hero glides up in his catamaran, dressed in a white Armani tuxedo, his sun-bronzed hand outstretched to her and holding a glass of Dom Perignom. Don't waste the words or the time. The editor wants to know what the hero and the heroine feel about the meeting at that point. The motivation that causes their reactions to each other is far more important and compelling, than those priceless, full-bodied images you craft so well. Leave those to your ms.

 

Finally:

• Make the experience of reading your synopsis as exciting to the editor as your book is. Make her laugh out loud, make her weep; razzle-dazzle her with fast paced action and deep emotions and she'll want more and more.
• Use high-stakes words and phrases when describing goals and motivations, then hype the conflicting emotions that ensue when those goals and motivations come between them. Ex: Merciless, dizzying temptation, plundered her heart, terrifying sense of foreboding, ruthless mining baron.
• Think POV: change from his emotional landscape, to hers as the power of each turning point shifts.
• Always resolve the external plot question before you resolve the internal and relationship question.
• If it's not a turning point, it doesn't belong in the synopsis.

 

And always remember:

• It's the Romance, __________.

Copyright © 1999 Linda Needham.
Permission is granted to copy for personal use.
For other purposes, please contact the author at Linda@LindaNeedham.com