The synopsis is one of the most essential tools for writers,
yet it’s also one of the most dreaded.
Why?
Because how does one squeeze a 100,000+ word novel into a few
thousand quality words? How do we decide what to leave in and what to leave
out? And then how should we structure these necessary details in a way that is
engaging and interesting to the reader? This is the clincher.
I’ve critiqued and judged many many synopses over the years,
and few have really captured either my imagination or interest.
Why? Again, that million dollar question.
Because the writer has missed the point of the synopsis.
Soooo, what is the
point of a synopsis?
To showcase your skills as a story teller and as a writer.
And in the case of a romance, it should also demonstrate your skills as a credible
matchmaker.
Immediately, the above paragraph should tell you that a list
of dry, matter-of-fact plot points won’t cut it. Your synopsis should tell a
story in the same way your story does – with emotion and imagination. It should
be fresh, engaging and unputdownable.
And it should sell your story and your talent to an agent,
editor or screen director.
But winning a publishing deal or contract is not the sole
purpose of a synopsis. If structured properly, a well-crafted synopsis will
pinpoint pacing problems, plot holes or characterization deficiencies. And
more, it will help identify the high concept of your story, to ensure you stay
true to your theme and characters.
There are several things
to bear in mind when crafting your synopsis. Key words like ‘central plot’,
‘central characters’ and ‘concise’. With every word, every paragraph, make sure
you stay true to these three vital points.
And how?
I’m glad you asked J
By following my Simply
Synopsis structure.
There are four critical
components of a synopsis:
1. Orientation
2. Major Plot Points
3. Resolution
4. Conclusion
Let’s take a look at these
in a little more depth.
1.
ORIENTATION
This comprises the
opening paragraphs of a synopsis and is made up of four vital parts:
a. The Hook – The opening line that nabs your reader’s interest
and builds their expectations.
Example:
Lies never stay secret forever (Mr & Mrs
Smith)
b. World-building
- If your story takes place in a
world or time that’s not our own, or involves different rules or species, it’s
important to set the scene immediately. Whatever the setting, include only
enough information to orient the reader without bogging them down in a quagmire
of detail.
Example:
In a time where machines rule the world, the only hope
for human survival lies in the past (Terminator)
c. Central
Theme - This is your premise. It's
high concept, consolidating all the plotlines of your story into one simple
idea that immediately attracts interest and can be quickly and easily
communicated. Like a tagline or elevator pitch, it should be no more than ten
words.
Example:
Men and women can never be friends (When Harry Met
Sally)
d. Central
Characters - Your characters and what
drives them through your plot is the lynchpin of your story, and therefore the
lynchpin of your synopsis introduction. In a romance your central characters
are your main love interests.
Each and every
character in your story MUST have a goal, motivation and conflict (GMC). What
does your character want? Why do they want it? What’s stopping them from
getting it? Without a rock-solid GMC, your characters will be nothing more than
cardboard cut-outs who'll fail to grab your readers’ interest.
And so, that completes the four elements of
the orientation paragraphs. Just remember, they are not mutually exclusive. You can hook a reader
with your world-building statement or your central theme. And your central
theme will link very closely to one or both of your characters and their GMC.
Just make sure when you’re
done that your orientation paragraphs tick all four component boxes.
So, now we know what makes a
killer synopsis orientation, let’s write one:
Example: Disney’s Aladdin
In the Arabian town of Agrabah, only a prince can marry a princess.
Street urchin ALADDIN wants the family he never had, the security of a
home and to win the heart of a princess, if only he weren’t poor, penniless and
as far from a prince as a boy can be.
Ninety-two words and we have a sense of the town of Agrabah - how it differs from other such towns - as well as the central characters and what's driving them through the story. Revisit that first sentence. How well does it act as a hook, a world-building statement and an indication of the central theme?
Now that we have our opening paragraphs, let's visit the body of the synopsis.
Ninety-two words and we have a sense of the town of Agrabah - how it differs from other such towns - as well as the central characters and what's driving them through the story. Revisit that first sentence. How well does it act as a hook, a world-building statement and an indication of the central theme?
Now that we have our opening paragraphs, let's visit the body of the synopsis.
2.
MAJOR TURNING POINTS
These are moments within your story that result in a
fundamental change in direction or motion. When analyzing these plot points, choose
the major points that showcase your characters’ GMC, move them forward in their
journey and bring them closer to their goals. In a romance, look for the plot
points that play a critical role in the development of your central characters’
relationship. This includes events such as the first moments of intimacy and
first signs of trust.
Now you’ve identified the turning points to include in your
synopsis, structure each paragraph taking into consideration six factors:
a. Plot - what plot point led to this event taking place?
b. Character - who is driving this plot point?
c. Action - what action does this character take as a result of
this plot point?
d. Motivation - what motivated the action?
e. Reaction – how do both central characters feel during and
after the action? What are their thoughts and how do they react?
f. Impact - what impact or change does this action have on them
and/or their ongoing relationship?
By taking these six-steps into
consideration, you won’t only give the reader a sense of your story, but you’ll
also provide a sense of your characters’ growth and emotional state.
3. RESOLUTION
Just as no unresolved tensions or conflicts should
remain at the end of your story, the same goes for your synopsis.
Whilst the synopsis will not include ALL the conflicts
in your book, it will contain the main ones. And those should all be resolved
by this point.
4. CONCLUSION
Everything is resolved. There is no conflict. No
tension. No reason for your central characters to be apart. They have their
HEA. Now all we need is a line or short paragraph showing how the story leaves
them in those critical, final pages.
Sometimes this will form part of the
resolution. Sometimes, especially in the case of an epilogue, it will require its
own paragraph. This is particularly important with issues that require a time
lapse to show that all is well in the world that is their romance.
And there it is. Four simple steps to break down the
components of a synopsis and then build them back up again using my method –
the Simply
Synopsis way.
Of course, there are so many other factors to consider when crafting a synopsis. Factors such
as backstory, how to create tension and emotion, and how much of secondary
plotlines and characters to include.
If you’d like to find out more about these, more about
crafting a synopsis or what makes a killer story, contact me via my website HERE or
grab a copy of my book, Simply Synopsis by clicking HERE.
Between books, she runs workshops – both face-to-face
and online – for writers wanting to hone their craft and kick creative butt.
You can find out all about Michelle, her adventures and her books at michelle-somers.com
Please pop by and say 'hi' 😊
Wishing you all a wonderful festive season and all the best for the New Year. Even Emmie is joining in the fun 😊
