Just wrote a synopsis for my book.

[SteveWhy]

It came out to about 3100 words, which is kind of a monster for a synopsis. (This book has a lot of plot. Lots of things happen in only 76,000 words.)

I didn't want to write one, but agents often request them. I found there was no way to adequately summarize the plot in one or two pages, so I've decided to include a "thick" synopsis (the monster) as well as the "thin" one (one page), which frankly feels pretty skeletal.

Not sure if this the best way, but it's all I can think of.

 

[KateESal]

Writing a synopsis...ugh. Well done for doing it

 

[Jonny]

Hey Steve,

Fist thing to bear in mind is I'm no expert - but 3100 words sounds pretty hefty.

I found this item online (Link), but as I'm sure you know only too well, for every blog post that says 'do it this way' there will be a couple of thousand others saying 'don't do it that way, that's wrong. Do it this way instead.' And so on and so on.

Suggest if you're Huddling the week after next then run it past Pete and see what he thinks.

And as Kate says, well done for doing it. I hate them with a passion.

 

[Barbara]

That sounds long. I did that with my first novel, thinking everything was important and needed to go in there. Then I realised: it isnt and doesn't. Are you sure you're not trying to cram too much into the synopsis? A page should be doable, and, yes, it will feel bare. I suspect agents just want an idea of the story to see the base bones. They understand there will be more. Trust them.

This following is what I do: I usually start by making a bullet point list of major plot points (beginning, inciting incident, complication, midpoint, another complication, climax, ending), then build from there into 1 page of (sensible) sentences. This may or may not work for you.

I agree with Jonny. Huddle.

 

[SteveWhy]

That sounds long. I did that with my first novel, thinking everything was important and needed to go in there. Then I realised: it isnt and doesn't. Are you sure you're not trying to cram too much into the synopsis? A page should be doable, and, yes, it will feel bare. I suspect agents just want an idea of the story to see the base bones. They understand there will be more. Trust them.

This following is what I do: I usually start by making a bullet point list of major plot points (beginning, inciting incident, complication, midpoint, another complication, climax, ending), then build from there into 1 page of (sensible) sentences. This may or may not work for you.

I agree with Jonny. Huddle.

I suppose I can use the long one to write a short one. But I am going to include the long one too when I query.

 

[Hannah F]

Agents often stipulate one page synopsis or even one page synopsis double spaced! (I have one of each which I'm forever tweaking and improving.)
In your long one, anything that's subplot - delete. Anything that's mentioning minor characters - delete.
Imagine you're in a 10 minute one-to-one meeting with a prospective agent and they say, "tell me a brief synopsis."
What would you say?

 

[SteveWhy]

Agents often stipulate one page synopsis or even one page synopsis double spaced! (I have one of each which I'm forever tweaking and improving.)
In your long one, anything that's subplot - delete. Anything that's mentioning minor characters - delete.
Imagine you're in a 10 minute one-to-one meeting with a prospective agent and they say, "tell me a brief synopsis."
What would you say?

I have cut it from 3100 to about 2500.

There is nothing I would describe as a subplot. This is a one POV book. The plot presents special difficulties for the summarizer.

I do have a one page version. It's like turning War and Peace into a haiku.

 

[RK Wallis]

First, I echo everyone else, well done for completing something that's a bitch to write

I fear, with that length, you'll scare agents away. The synopsis is a skill that needs lots and lots of practice. It's a different form of writing, whatever you choose it to be. You should put it in the Writing Groups. Start practising.

@Barbara offers a great tip. I've tried that, but from the other way this time, because I use my too long synopsis to keep the plot on track. Then, I'll pare it back to the main plot beats Barbara mentioned, filling out as necessary, but not too much.

In your long one, anything that's subplot - delete. Anything that's mentioning minor characters - delete.

This is also good advice. You need to make the main plot thread shine. What is your character's journey?

Good luck! Synopses suck.

And when in doubt, huddle

 

[Steve C]

The good thing about self-publishing is that you don't need to write a synopsis

 

[Barbara]

I fear, with that length, you'll scare agents away.

I agree.

As for sending two: they probably wouldn't bother reading the long one. Agents are short on time and most have another fifty to a hundred submissions to wade through after yours. I suspect they'd read the short synopsis and decide from there. If they see something in that (plus your sample pages and letter) which hooks them, they'll ask for the manuscript. The synopsis is a sales tool. By sending a long one, you risk talking yourself out of a sale because they may see something in there, they don't like (but which would work in the actual MS).

Last year, when I was submitting, I read on some agents website that the reason for them requesting one page is partly to get a short overview of the story, but also to see if the author is in control over their storytelling. They said something along the lines of: if the author can't condense their story, it shows us they may not be in charge of their storytelling. - Can't remember which agent that was, but it was a big one.

 

[RK Wallis]

I read on some agents website that the reason for them requesting one page is partly to get a short overview of the story, but also to see if the author is in control over their storytelling. They said something along the lines of: if the author can't condense their story, it show us they may not be in charge of their storytelling. - Can't remember which agent that was, but it was a big one.

Totally agree, I've read that too

 

[Hannah F]

Totally agree, I've read that too

I've read that too.

 

[Steve C]

When I wrote my synopsis I did a short and a long one. Short was 250 words and long 500. = 1 page and 2 pages.
Anything longer agents simply won't read. Try hooking one first then if he wants a 12 pager send him one but only by request.
I absolutely agree that if an author can't write a short synopsis then he has lost touch with the essence of his book and has gone walkabout, which we all tend to do at some point.

 

[SteveWhy]

Been cutting and tightening. I have it down to just under 1700 words.

I actually rather like the result, because it gives a good idea of the overall design of the book, which is its strength, not its sentence by sentence (im)perfection. Anyway, I think I will submit it to the Huddle for comment.

 

[gbhunt]

Looking forward to seeing it @SteveWhy !

 

[Marko]

It came out to about 3100 words, which is kind of a monster for a synopsis. (This book has a lot of plot. Lots of things happen in only 76,000 words.)

I didn't want to write one, but agents often request them. I found there was no way to adequately summarize the plot in one or two pages, so I've decided to include a "thick" synopsis (the monster) as well as the "thin" one (one page), which frankly feels pretty skeletal.

Not sure if this the best way, but it's all I can think of.

Hi Steve. If it's 3,100 words long then it isn't really a Synopsis, or at least as agents define them. It's a bit like the blurb on the back cover - it just can't be 3,100 words long. Agents all ask for them to be in the range of 1-3 pages. I've spent quite a long time over the past month creating a Synopsis, as part of the process of submitting my novel. I have to sat I found it REALLY difficult, but it has been a really useful process, as it forced me to ask myself difficult questions about what the essence of the book is. I now have 3 versions of my Synopsis (1,2 and 3 pages long) and I still think the one page version sells it short, but I've got it as good as it can be I think.
My take-away learning was that it doesn't have to contain all of the plot twists, but it should show the general plot arc and progression and give the reader a flavour of what the book is about.
My final point is that all the agents I've spoken to say don't worry too much about the Synopsis. It's useful for them to see, but by far the most important thing is how the first few pages of your novel reads. I think of it now as like a job interview: the first page is like how you've dressed, how you walk into the room, your handshake, your eye contact and your first words all rolled into one.