FORMATTING YOUR SYNOPSIS

In my last post we discussed what a synopsis is and what it should and should not include. Now lets discuss the format of a synopsis.

A synopsis should usually be formatted like a regular manuscript. There is however some latitude here. If the agent/publisher has requested a one or three page manuscript, using double spacing will not allow you to cover a lot. I prefer to single space my synopsis, after all we are not expecting the reader to make editorial comments so a lot of white space is not needed. I have seen authors use a separate cover page for the title, author's name and contact information and the word count. Again I put this info at the top left of a single-spaced synopsis.

How long should the synopsis be? Again, refer to the agent/publisher's submission guidelines. A single page synopsis restricts you to between two hundred and five hundred words (depending on line spacing), if there are no page limitations stated in either the response to your query or in the guidelines, a general rule is to allow one page for every ten thousand words of your novel. Under no circumstances should a synopsis exceed ten pages. Remember the golden rule of writing "Say as much as possible in as few words as possible" Shorter is better. This is the place to dazzle the reader with your brilliance, not baffle them with BS.

A synopsis should always be written in present tense: "Mike and Anne investigate a series of sniper shootings in Boston." Keep paragraphs short, avoid long blocks of narrative and text.

The first time a character name appears use either ALL CAPS or boldface.  While we're on the subject of characters, do not list every character who appears in your novel, restrict your self to the main characters. No one wants to read a Dr. Zhivago type synopsis, by this I mean you have to keep a list of character names to understand who's who.

I know that by now you are probably saying "So what's the big deal?" The big deal is this, after the query letter, the synopsis may be the first thing the agent/publisher reads. Therefore keep it a marketing tool, the only difference is that instead of a large market all you have to sell to is a single person.

I would have a synopsis written and ready to go before you mail out that query...in fact many agents/publishers ask for it in the initial query package.

THE DREADED Synopsis

Many literary agents and publishers in the United States require that a synopsis (usually one page) accompany a query letter. I cannot think of anything that will make a writer shudder and curse more than being required to write a synopsis. In fact, many with whom I have spoken with don’t really know what a synopsis should be and what one should not be. So with that in mind, let’s discuss the synopsis.


If requested (I recommend you never send a literary agent or an editor more than they ask for. Unless you are very, very confident in your abilities, each additional item you include with the query letter may give the agent/editor another source of information to reject you.) include a one page synopsis of your book. Unlike the query letter, whose purpose is to peak the agent/editor’s interest, the object of the synopsis is to provide a short overview of the book’s plot and major themes. Don’t make the mistake I made several years ago of trying to summarize the entire novel in two paragraphs; this is a pitch, not an outline. Therefore you should concentrate on those elements that are most likely to attract the attention of a reader/agent/editor. Some of these are: The primary characters, the basic plot, the setting, the primary source of conflict, and the theme. Let’s briefly look at each of these.

The Primary Characters. In the query you may only have room to introduce two or three major characters. The synopsis is where you should introduce all the major players (The first time I introduce a character I always type the name in CAPs).

The Basic Plot. Identify the basic what if? Keep in mind that plot is more than the sequence of events—it’s also the reason for them.

The Setting. When and where does the story take place? If the setting is crucial to the plot, say so. However, if the setting is merely background, don’t spend a lot of time describing it. There is nothing that will turn me off quicker than a travelogue that does nothing to move the plot along.

The Primary Source of Conflict. What are the key obstacles your protagonist must overcome? From where does the conflict originate? Is it external or internal or both. Is it with another character, society or nature? Focus on the conflict that is central to the plot.

The Theme. Is there an underlying message to the story? If there is what is it that is beyond the basic plot. Are any important issues revealed as a consequence of the theme? Be careful that you don’t sound as if you’re in a pulpit; you can raise questions or ideas without giving the reader a sermon.

Remember that the synopsis is supposed to illustrate that your novel is coherent, logical, carefully thought out and well written.

In the next post I will discuss synopsis format.

Character Building

This post features a guest blogger, Wendy Koenig. Wendy is a writer, poet, editor and quilter extrordinaire. When not busy pursuing the aforementioned, she operates a used bookstore from her home in Drummond, New Brunswick, Canada. For more information on Wendy, checkout her website at http://wlkoenig.com/ where you will also find links to her books.

Character Building

Wendy L. Koenig

People are multi-faceted. They all have hopes and fears, hates, likes and failures. Yet, when we think of their personalities, we tend to key on one or two dominant traits. We describe someone we know to another person as, "He's the pushy one." Or "She's so sweet, but a bit ditsy." It's what, in our minds, makes these people individuals to us.

So, too, the characters we write are multi-faceted. When we write them as such, they all blend one into another, with no personality distinctions. Their physical attributes are different, but you could probably swap around and notice little difference. The most recent rejection letter says, "Your characters are cookie cutter." Of course, in your mind, you (as the writer) see all these "people" as distinct.

Remember the way we describe people? Define your characters the same way. Give your hero two or three traits. That's all. Give him two good and one bad (or two bad and one good, if your character is evil). Lesser characters get fewer traits.

I'm currently working on a piece where my protagonist is gentle (good) and long-suffering in patience (good), but when he's had enough, he's brutal (bad). My antagonist, by necessity is almost the opposite: arrogant (bad) and insecure (bad), which makes him a bully. However, he's eventually willing to admit that he needs the protagonist's help (good).

Most of my stories are character driven, so even though there's a "bad guy" in my story, he's not necessarily the antagonist. In this story, he's a supporting character (they get only two traits, both consistent with which side of the moral question they're on): angry and consuming. I have another supporting character who is friendly and focused.

Two more characters round out my cast. Since they're both minor characters, they only get one trait. One is trusting and the other is in-love.

It's important to remember that sometimes stories change as we write them. A minor character could suddenly become important and move into a supporting character role. If this happens, give that character one more trait. But only one; you don't want to interfere with the importance of the primary characters.

Likewise, a supporting character may fall back to supporting status. In that case, focus on just one of his chosen traits.

The most important thing to remember: the place your character plays in the hierarchy. If you lose that, then your characters will begin to show too many traits and once again, they'll become cookie cutter people with different haircuts.