Writing a Kick-Butt Synopsis That Sells
Here's the article I promised... Hope you enjoy!WRITING A KICK-BUTT SYNOPSIS THAT SELLS by Heidi Betts
The hardest part of a writer's job is often creating a sparkling synopsis for his/her story. Unfortunately, a synopsis is also a writer's strongest selling tool. And for anyone who thinks that after they sell, they won't need to write a synopsis anymore...I'm here to tell you you're wrong, wrong, wrong! In fact, after you sell, you will probably (eventually) start to sell only on synopsis.
There are several steps I take when I sit down to write a new synopsis. For one, I plot my book using a simple point-by-point method. Now, everyone plots differently, but I've found this is the easiest way for me to both map out the story and slide immediately into the synopsis. It's not hard at all. I just sit down with a tablet and pencil and start making notes about the characters and what will happen in the story, in the order the events occur. Sort of like, This happens, then this happens, then this happens... I include anything pertinent to the characters or story, but the points do not have to be only plot/action related; conflict and motivation are extremely important, as well. For instance, I might jot down that because the heroine is depressed about turning thirty, she dresses up and goes to a club she's never been to before. That's not only the action that gets her to the club where the hero is, but the emotion and motivation behind the action, and I build from there, both where the characters' conflict/motivation and the story's plotline are concerned.
Once I've plotted my story in this point-by-point fashion, I use that list as a guide for the synopsis. Every plot point gets embellished and smoothed out in my normal writing voice and style. This is important, because although a synopsis tells what happens in your story, you don't want your synopsis to be at all boring or stilted. It should read very much like the book it's pitching, including your personal voice and style, emotion, sexual tension, the five senses where appropriate, etc. If your story is funny, use some of that humor in the synopsis. If it's scary, build some of that fear and tension. However, where your story will be written in past tense, the synopsis should be written in present tense. In other words, if, in your story, the heroine opens the front door to find the hero on the other side, you would write: She opened the door to find him standing there, looking as sinfully handsome as ever. In the synopsis, you might write: [The heroine] opens the door to find [the hero] standing there, as sinfully handsome as ever.
In a synopsis, you always want to stick to the main characters only--the hero and heroine, or the hero, heroine, and possibly a villain or very important secondary character(s). Don't include any secondary characters who aren't absolutely pertinent to the plot. This is because editors read a lot of synopses and manuscripts every day and don't have time for superfluous information. Keep it simple. Focus mainly on the growing relationship between the hero and heroine and the points of the story that directly affect them. I say this because I assume we're all writing romance. If you're writing a Romantic Suspense or a Futuristic, then sure, there are going to be more plot elements you need to mention. But if you're writing straight romance, then remember that the romance matters more than a million plot points. And as much as possible, use the characters' names rather than general nouns such as "he" and "she". This makes the story feel more immediate and reminds the editor that these are your main characters, these are the people the story is about, these are people she (and the reader) will care about.
As a rule of thumb, you should have one or two synopsis pages for every 10,000 words of your manuscript. For Silhouette Desire, the word count is 50,000, so my synopses are usually five or ten pages long. (Usually closer to ten, because the more detailed I am in the synopsis, the smoother the writing of the story goes later.) For a 400-page/100,000-word single title manuscript, you would probably want fifteen or twenty pages to your synopsis. This always depends, of course, on the structure of the story; a simpler plot may not garner you as many synopsis pages, while a longer storyline might need a few extra.
The next thing I do is to follow a simple five-step formula for every synopsis I write. Those steps include: 1.) blurb, 2.) what the hero wants, 3.) what the heroine wants 4.) what keeps them from getting what they want, and 5.) the conclusion. This formula can also help you plot your story, since those are the basic elements you need to focus on--conflict, motivation, etc.--when you write a romance novel. For each of these points, I write at least one paragraph of the synopsis, usually more.
And always share all of the pertinent information about your story in the synopsis. You do not need to mention what your heroine eats for lunch in chapter three, but you do need to say why she shows up on the hero's doorstep in the middle of the night. Don't leave any loose threads or unanswered questions to pique the editor's interest--you won't, you'll only annoy her and cause her to send you a rejection sooner rather than later. If you want to build the suspense or keep readers guessing until the last minute, do that within your story, not with the tool you're using to sell that story to a publisher.
Here is one of the synopses I used to sell my June 2005 Silhouette Desire, BLAME IT ON THE BLACKOUT so you can see an example of what I've talked about above:
For two long years, Lucy Grainger has worked as Peter Reynolds's personal, in-home assistant. And from day one, she's fought to hide the fact that she's half in love with her brilliant but ruffled, sinfully handsome boss. He, on the other hand, doesn't seem to know Lucy exists.
Peter Reynolds spends every spare moment of his life struggling to create unique computer programs and make his freshman software company a success. But as far as he's concerned, a man can't build a thriving business and maintain a healthy family life. His own father had all but abandoned him and his mother in the quest for corporate achievement, teaching Peter that rather than hurt the innocent people in his life, he has to choose. And Peter has chosen to cut himself off from any inkling of emotional attachment. No woman is worth the distraction or risk to his growing business endeavors.
If he were to get romantically involved, however, it would be with a woman like Lucy Grainger. Not only is she the best damn assistant he's ever had, but Lucy's pretty face and drop-dead gorgeous body are the things erotic dreams are made of.
As she's done on and off for the past year, Lucy is contemplating finding a new job, away from her mouth-watering but emotionally unavailable boss, when Peter asks her to accompany him to a black tie affair where he may be able to meet up with potential backers for his software packages. Reluctantly, Lucy agrees. She knows how important the budding software company is to Peter and will do anything she can to help him achieve his goal.
As Lucy and Peter are leaving the flashy event, a city-wide blackout hits, trapping them alone together in the hotel's elevator. For all the years she's been acquainted with Peter, Lucy never realized he was claustrophobic. In the dark, enclosed space, he begins to hyperventilate. Lucy tries everything she can think of to calm Peter down, but finally only a kiss distracts him from his panic. The kiss leads to a moment of unbridled passion--something Lucy has imagined and hoped for, but never thought to actually experience.
When the power comes back on, Lucy and Peter quickly straighten their clothes and try to look as though nothing has happened between them before the elevator doors open. But pretending for a group of strangers can't remove the memory of Lucy's warm, willing body from Peter's mind. Suddenly, he's thinking of Lucy in ways he never before allowed. And given his attitude about personal relationships ruining professional fulfillment, his thoughts and feelings for Lucy after that night come as a complete and unpleasant surprise.
Peter is also concerned about an unexpected pregnancy, since they didn't use protection during their ardent encounter in the elevator. For a few weeks afterwards, he hounds Lucy about her health, watching carefully for signs that she may be carrying his child. When it becomes clear that Lucy isn't pregnant, Peter has no more reason to shadow her every move. But what bothers him is how much he wants to stay near her.
An out-of-town business trip arises, giving Peter the perfect excuse to keep Lucy in close proximity. He insists she accompany him, using the pretext that he may need a personal secretary to take notes or run errands. While they are there, they end up once again making love.
This time, Lucy knows she can't go on this way. Her feelings for Peter are out of control and she realizes she will never get over him by sticking around and letting her unattainable fantasies get the best of her. A job opens up across town and she accepts, deciding that being away from Peter is the only way she'll ever be able to heal her battered heart and get on with her life.
When Lucy's letter of resignation crosses Peter's desk, his world comes crashing down around him. Though he hadn't admitted his feelings for Lucy even to himself, he never thought the day would come when she wouldn't be there . . . bringing him coffee in the morning, reminding him of his appointments in the afternoon, listening to his exuberant plans for the company, making him toss and turn in his bed each night. She's been steadfast and reliable, and is one of the biggest reasons he looks forward to waking up and getting to work every morning.
Now Peter realizes his life is about to change forever--not for the better--and he doesn't like it one bit. But Lucy will never agree to come back to work for him simply because he asks her to or doesn't want his comfortable routine to change.
Peter knows what he has to do, and for once it doesn't include putting business first. He goes to Lucy and makes her an offer he hopes she won't be able to refuse: whatever the other company is offering her, he'll beat it. Plus, he'll make her full partner in his corporation--she can remain his personal assistant or take over another aspect of the business (which he's noticed before she's very talented at), whatever she wishes. The only catch is, she has to marry him.
Lucy is stunned by Peter's proposal. She has never cared about money or professional success as much as love and family, but Peter has always been the exact opposite and she didn't expect him ever to change. Now, though, he seems completely sincere, ready to start a new chapter of his life and put love ahead of everything else. And he wants to do it with her.
With all of her dreams suddenly coming true, Lucy is only too happy to marry Peter and show him how wonderful life can be when you're successful in both business and love.
Notice how I begin with a couple of paragraphs that could easily be found on a back cover blurb. Notice how I use the hero's and heroine's names as often as possible and focus on their budding romance and growing relationship This synopsis is also a pretty good representation of my writing style and voice. I don't tell what happens in a monotone, but try to liven things up and make it as much like a short, entertaining little story as possible.
Remember, this is your main tool in selling your work. Sad, but true. Think of a synopsis as a media sound bite or flashy advertising campaign that tells the basic storyline of your product in a very succinct and engaging way.
Once you master the art of designing a kick-butt synopsis, it will forever make your job as a writer easier and hopefully gain you an equally kick-butt publishing contract.
[Note: I couldn't resist adding this... I have a writer friend who, for the first time, is writing her synopsis before she writes a book. I've been harping on her for quite a while to do it this way, not only so she can get a really clear picture of how the story will move along, but because using a synopsis as a detailed outline is the best way I know to stay on track while you're writing.
So anyway, she took an online synopsis-writing class a couple months ago & is just now trying to apply what she learned to her own synopsis, & this is what she told me: "Heidi, you give better advice on writing synopses...I worked with her tips all Saturday, then Sunday--not liking what I was producing--ditched it all & started over using your approach. I'm halfway finished already & like it much better. You're the best, girlfriend!" (Well, of course I am, but that's beside the point. :-P)
All joking aside, I'm not saying I know everything about writing synopses or even that every one I do is a gem, but I do know that my life has gotten much easier since I began using this approach. Synopses are no longer hair-pullers for me, & I can usually get one written in an afternoon...sometimes an hour or two. So if you're struggling with them yourself, give this method a try & see how it works.]
