Stupid Synopsis Part 1

Before we get started, I want to remind you that today is your last chance to enter the Hollow Blog Hop for your chance to win a 30 page critique, a query critique or a synopsis critique. Getting agent feedback before you query is priceless so don't miss this opportunity. Click on the big pumpkin over there. ----->

Now let's talk about the synopsis.

I have to say, that as hateful as these buggers are, they are immeasurably helpful when evaluating a query. A well written query illustrates a writer's ability to plot their story and create a satisfying ending. A synopsis shows you know how to boil down your story to it's core elements.

Source

And if that doesn't sell you on why you need a good one, keep in mind that if you're writing a series, publishers will want to see one for your future books so they can decide if they want to buy more than one. A girl can dream right?

So what is a synopsis? According to Merriam-Webster:

Definition of SYNOPSIS: a condensed statement or outline (as of a narrative or treatise)

Examples of SYNOPSIS: I don't need to know every little plot twist; just give me a synopsis of the movie.

Couldn't have said it better myself.

When writing your synopsis there are a few things to keep in mind:

* Do not start your synopsis with As our story begins, On page one, or At the beginning of the novel. Your novel will need to establish normal before blowing everything up for your main character. All of this normal should be condensed into a single sentence immediately followed by the big hiccup set to change everything.

* Do not name every character in your novel. In fact, you should probably mention less than half of them. The more secondary characters you bring to light the more secondary plot you're including. Bad ideas on both account. Include your main character, a minimum of secondary characters that directly impact the main plot line and the Antagonist.

*  Do not be vague. The line The main character X encounters many set backs on her journey to finding Y may work for back cover copy, but has no place in your synopsis. Clearly identify the main obstacles in the way of the core plot and how your protagonist overcomes them.

* Do give away the end. This feels counter-intuitive, like telling someone the ending of a movie they want to see this weekend. However, this is a key component of the synopsis. Without it, an agent will be left to wonder if you know how to end a book. 

* Do exclude anything not related to the main plot line. This is maybe the hardest rule to follow. You've written a fully fleshed novel with tons of great twists, turns and intricacies. It's natural that you want to let an interested agent know about you brilliance. But don't do this in the synopsis. It's just not possible to fully explain all that's going on in your novel in a 1-2 page synopsis. Any attempt to do so is going to result in a jumbled mess of Huh? Stick to the key conflicts and let your work speak for itself.

Now that you know my "rules" for writing a synopsis, come back on Friday and I'll share my secret tips for how to write your synopsis in five easy steps.

Synopsis Part 2

The downfall of Ctrl+F

Editing this novel has become a bit of a writerly journey for me. Since this is the first time I've considered something I wrote good enough to bother editing, each step has been a new journey. I've worked through lots of steps and re-written the first chapter dozens of times.

This week will be my last week of editing for this piece which is way ahead of schedule for my May 15th deadline to start querying. I've done all the structural changes that I think need to be made and now I'm just down to fixing words.



I recently wrote about the joys of Ctrl+F to seek and destroy words that bogged down my writing. However, I think I may have taken my joy too far. As I slash words with glee, I'm noticing a trend. Sure, my writing is getting tighter (read better) in a lot of places, but in some spots the change in wording is altering my voice.

Gasp in horror! The voice is often considered a crucially important consideration for a potential agent/editor. Dozens of agent wishlists specify things like 'an adult romance with a cynical voice' or 'a fantasy with a strong female driven voice'. Voice is something that is unique to each writer and can't be duplicated.

So if the changes I'm making distort my voice, is it ok to leave 163 instances of the word 'like' in my manuscript?

For now, I'm going to say 'yes'. I could be wrong and my betas might rip this thing to shreds. But right now, every word I change feels like I'm tearing the soul out of my story. Maybe this is what it feels like when a writer reaches the end of editing.

So that's it. No more. I offer up my work to the betas and then I'll make one more sweep to fix anything they find that needs fixing.

I guess it's time to get serious about that agent list cause this ship is about to sail.

How do you know you're done?

It should be pretty easy to know when you are done writing a story.  If you write chronologically, you're done when you get to the end.  If you write scenes and then plug them in, you're done when all the scenes are written.  Maybe you're a total seat-of-your-pants kind of writer.  If that's the case, you know you're done when there just isn't anymore story to write.

When I finished my first draft, I knew it without a doubt when I was done.  No questions about it.  I typed the final words and stopped.  What I had was rough, unedited and probably not very good (yet), but it was done.

Now that I'm editing, I'm suddenly struck with the realization that I don't know how I'll know that I'm done.  I've been slowly going through each chapter.  Removing weak spots, rewriting sloppy writing, filling in holes and all the things I know need to be done.  But how will I know when I've done enough.

For example, this blessed first chapter just might kill me.  I've edited this thing so many times I've lost track.  Even as I move through the rest of my chapters, the first one keeps pulling me back in.  And each time I read it, I find more things to change.  A word here, a sentence there.  I know it's better each time, but will it ever be good enough?

I've read enough cautionary tales to know that I'm not going to query until I think this piece is polished to perfection.  But will I ever get to that point?

As is my practice when I am stumped by a writing question, I turned to the internet and found Diane Gaston.  God bless her! Diane gave a couple of ways to create a stopping point for editing. She suggested limiting the number of revisions to three, or making a check-list.  My favorite was to set a time deadline.  Deadlines I can work with.  They create a definite point of closure.  Plus, I deal with them all the time in my day job.

So, I've created a deadline.  I am currently considering attending  DFWCON.  The conference starts May 19th and, like most, offers the chance to pitch your work.  So that's my new deadline.  Even if I can't go (there's a potential scheduling conflict) I am committing to stop editing and start querying by that date.  Of course, that gives me all kinds of butterflies and the likes.  But that is why I am so grateful for Diane.  This is what she wrote at the end of her blog:

Yeah, you say, that is all well and good, but how does this guarantee my manuscript is the best it can be?
It doesn’t guarantee anything, but, then, you will never know if your manuscript is the best it can be, even if you go through it ten times. No one ever knows, because expecting that kind of perfection is unrealistic. The question you should ask yourself is not if your manuscript is the best it can be, but if it is good enough for submission, if you’ve covered all the important elements, the ones on your checklist. If your answer is yes, stop editing and SEND IT IN.
Give the editor her turn to go through the manuscript. Even if she loves it, even if she buys it, she’ll suggest changes.
And you will have a chance to edit your manuscript all over again.