This term is all about developing the individual novels that will become our final projects, so my next few blog posts might get a bit… focused. I’ll try to keep them generally useful, still!
Start at the very beginning
We’ve been looking at the synopsis to start with. This is comprised of two (or sometimes three) parts. The first is the pitch – a short opening paragraph that shouldn’t be more than two sentences long (around 75 words) which describes the book as a whole. For example:
Pride and Prejudice is a literary romance about a woman who falls in love with a man she thinks she hates.
Your pitch needs to include your title, an indication of genre, time period, and primary theme. It also needs to pique the interest enough for agents to read further. They’re busy people – if they can get away with just reading one or two sentences before deciding the book isn’t for them, they will. Give them a reason to keep reading.
My pitch – prior to input from the tutor, which I’ve not had yet – looks like this:
London Under, an urban fantasy, follows DI Mariko Sato as she investigates a murder that could trigger a gang war. As Mariko falls for the main murder suspect, who draws her deeper into London’s fantastical underworld, she must choose between duty and desire.
Would that make you want to keep reading? Any suggestions for improvement?!
The term ‘pitch’, by the way, apparently comes from the delightful habit the Spanish Inquisition developed when torturing playwrights. Grand Inquisitor Tomas de Torquemada told them that, if they could interest him in an idea, he would let them live long enough to write it. If they failed they were dropped into a large vat of boiling tar, or pitch. No pressure, then.
A brief description of the contents of something
That’s the dictionary definition of a synopsis. The key word there is ‘brief’ – no more than 500 words. Writing effective summaries is hard work, y’all, especially when you know the details in so much depth that you’re not sure how to leave them out. Or especially when you don’t know the details and are slightly woolly on the structure of the story.
There’s a couple of stylistic guidelines you should stick to when writing a synopsis:
- Use present tense. Apparently it makes it ‘immediate’. No idea, but they all are so just go with it.
- When you first introduce a character name, use capital letters.
- Limit the number of character names you mention, as hard as possible. No more than five.
- DO specify time period.
- DO specify the setting (end of Thatcher’s government? American backwater town? Bustling space-port?).
- DON’T give a chapter-by-chapter breakdown. This is an overview of the key dramatic points.
On the subject of overviews, the thing I found hardest was excluding information on sub-plots. My book has at least three sub-plots going on and they all tie into the main plot somehow. Not including them in the synopsis feels almost like misleading the agent on what the story is about, because what you end up presenting is just bare bones. But including them whilst keeping to the word limit of 500 makes the synopsis crowded with details to the point of unreadability.
One question which came up is the style in which you introduce your protagonist. I started my synopsis like this:
MARIKO SATO is single, a detective, and too busy to do the washing up – all things her mother deplores. She’s also developing a serious crush on the niece of her current homicide victim.
Now, technically a good two-thirds of that first sentence aren’t critical to the main plot (although they do tie into some of the subplots). One of my colleagues on the course questioned whether it was worth the word count to include it. Another asked why I hadn’t introduced any of the other characters with flavour text like this – they got a good sense of who Mariko was, but nobody else. I suspect, like all things, there’s a balance to be achieved here but I don’t know what it is. I’m hoping the course tutor will have some words of wisdom on the subject – if so, I’ll share them next week!
The third, and optional, bit is the theme. If your book is about a wider idea – if you’re examining something about society outside the fictional – then one brief sentence outlining what that is can be included. This is more common for film synopsis than written ones, but I found it quite helpful. Theme isn’t the same thing as plot, by the way. It’s a bit more conceptual than that.
Here’s mine, by way of example:
How far people will go for duty, and how far they’ll go for love.
There was also quite a lot of discussion about what ‘plot’ actually means, as compared to ‘story’. Aristotle got quoted. Tune in next week to find out why that whole conversation is important in the first place!