Tips for Writing a Synopsis (Fiction Submissions)

These tips have been culled from various online and printed sources. Much of the advice comes from The Bar on this site. There is a special forum created where you can discuss what works in a pitch letter and a synopsis and see examples from other authors.

You can submit your own synopsis and receive crits and suggestions. This part of the forum is within 'The Lab' so you will need to apply for membership of that part of the site.

Writing a synopsis is often seen by authors as being the hardest part of putting together a package and submitting your work to agents and publishers. It doesn't have to be dull, if you take some time to plan your approach and edit/rewrite it with the same passion you apply to the novel itself.

Writers will spend years writing, lovingly polishing and then marketing a novel, and yet they shrug off the synopsis with a comment like "I hate writing synopses."

What's worse, most agents and publishers will freely admit that the pitch letter and the opening page of your manuscript is what they look at first, yet they still want to see one. Most editors look at the synopsis when they've read your opening chapters. You need to convince them you can hold the story together long after the dazzling first six to ten thousand words.

It isn't enough that you've lovingly crafted your manuscript. For some reason people in publishing seem to want a crib sheet - you might even wonder if this will be something that saves them having to actually read your work.

Crib Sheets

And this is where the problem starts. A synopsis isn't a crib sheet. It won't replace your work. A crucial part of the process of getting published is having a realistic awareness of your writing, and it is exactly the kind of thing those in publishing look for in submissions and pitches. They like to be told in a nutshell what they are dealing with and whether it's worth while pursuing it or even reading what arrives in their inbox or mail tray.

So if it isn't a crib sheet, what is it? It is a sales tool for your work. You need to capture how your novel begins, the hook, the major events along the way and the climax at the end. Between these points a good synopsis will introduce the major characters and their relationships.

Myths

One of the most popular myths about a good synopsis is that it must not give the ending away. That if you do, the agent or publisher won't need to read your work.

Why kid yourself they'll read more than a few lines anyhow unless they can tell from your synopsis that you can tell a story, structure the plot and bring it all to a satisfactory ending. These people are not really buying your work; they're going to be in the business of selling it. The end users or readers won't see your synopsis, so quit worrying.

Another myth is that if you're sending the first three chapters, you can start the synopsis at chapter four. Again don't assume anyone will take the time to read the three chapters you lovingly slaved over and then decided to have a sneaky peak at what comes next. If they like the plot you've offered, enjoy your first chapters, then they'll ask for more, if you didn't already give them the whole novel.

Tantalise the reader

For all this, a good synopsis doesn't need to reveal the entire plot; it should serve more as an appetiser, to give a flavour of what's to come, to tantalise. So stick to the plot, avoid the many incidentals - you don't need to tell the reader about every single character - and distil the essence of your story onto the page. Cover the main characters, their motivations and major plot points only. Avoid the temptation to fit in physical descriptions unless they are vital to the plot.

All writers fret over the perfect opening line to their novel. Do the same for your synopsis. The rest of the synopsis will need to be precise and tightly written, so use the opening sentence to set up a strong hook. Create a hook to lure the editor into reading further into your storyline. Open with a bold, evocative sequence that forces the reader to want to continue.

Many agents recommend writing a synopsis in the style of your novel. It needs to make the work come alive. If you have a knockabout funny book, keep the synopsis in this style. If your work is ridden with angst and suspense, don't try and slip in jokes.

Determine your intended audience, or market, before you begin. This will help you to aim your pitch to the editor, and appeal to the market he knows at the same time. For example, if you write Science Fantasy and you are pitching to a publishing house more used to science fiction, place more emphasis on the science fiction portions of the novel, and play down the fantasy.

The same is true for all genres. In the field of romance, the distinction is particularly important, as romance publishers tend to lean strongly toward one favored genre over another.

Know your target publisher's priorities before you write your synopsis, then write accordingly. It shows professionalism, and the editor will be more likely to continue.

As a rule, tell the tale in third person, even if your novel is in first. In most cases you'll use present tense. This gives the outline a sense of urgency, and reminds the editor that he is reading a much-condensed version of something bigger and better.

Sometimes you can try writing in the voice of your main character, but this rarely works for someone who is coming to the words cold and has no sympathy for or relationship with your characters. An objective overview works better.

Mimic book copy

Many authors try to mimic book cover copy when writing their synopsis and this isn't a bad idea. That sort of text sells the book to buyers. Your synopsis is part of a sales package, so think in the same way. That said, your synopsis still needs to grab the attention of your reader. The general rule of thumb is to be as concise as possible without being bland.

One exercise in how to do it is to write on paper (not screen) the main plot points, cross out what isn't needed to carry the story, then read a few chapters of the work to get the tone in your head again. If you are still struggling to get the tone right, try writing a few lines as your main character. You can always de-personalise them later.

Convey the conflicts in your story carefully, though economically. And if it all still looks too long, edit it. Don't know what to cut? Lose the adjectives and adverbs; keep the motivation and "flavour" of the story. If it still seems too long how important is it to have all of the characters you describe feature, how many are just props and could easily go without the plot line suffering? Even in the most complicated of stories, there is usually one main protagonist and one main antagonist, even if you have more, which ones stand to gain or lose the most by the conflicts in your story?

Is it just dull?

When you're done, put it aside and do something else. Come back to it with fresh eyes and see if what you've written is dull. If so, come away from it, read your work again, get into the atmosphere of the words and draft it again. Whatever you do though, don't suck the life out of the novel just to keep things brief.

Synopsis length varies. Like a novel though, it must be long enough to tell the tale without outstaying its welcome. Some agents and publishers specify lengths, but unless you're told otherwise aim at one to three pages double-spaced as a maximum. On the subject of whether to single or double space, there is probably more discussion than there needs to be. If in doubt, stick to the formatting you use for your novel.

Formatting and stuff

There is also the suggestion that the first time you use a character's name in the synopsis, type it in CAPITAL letters. Do this only the first time. You also need to avoid confusion by referring to a character the same way throughout (not "Dr. Evans" the first time, "Jerry" the next, and "the doctor" another time).

Others suggest opening your synopsis with an 'elevator pitch' or two sentences that convey the whole theme or point of the story. Some like the idea of including notes on the characters separate from the plot. It saves you having to go into too much depth in the synopsis itself.

Try reading your synopsis aloud to yourself. Listen to the flow of your sentences. You'll find room for reconstruction by doing this and it will make all the difference for your synopsis. Also have someone read it out loud and listen to how it sounds as a second party – this will give you a good indication of what the editor will read/hear in your synopsis.

Synopsis Checklist

Does the opening paragraph have a hook to keep the reader reading?

Are your main characters' conflicts clearly defined?

Are your characters sympathetic?

Can the reader relate to them and worry about them?

Have you avoided all grammar, spelling, and punctuation mistakes?

Have you hit on the major scenes, the major plot points of your book?

Did you resolve all important conflicts?

Did you use present tense?

The bottom line always has to be what works for each individual writer. If we were all the same there wouldn't be any point in writing because we'd be clones of each other.