Village Hall request

[Howard]

Whenever the next one takes place, @AgentPete , would it be possible to focus on writing synopses and story pitches? I know this was mentioned over the past few weeks, but I just wanted to put it back in the spotlight.

Please and thank you!

 

[AgentPete]

Of course. Expand a bit, please... give me some context... p.

 

[Katie-Ellen]

Pitches: what makes for a great log line as opposed to tag line?

 

[Howard]

Of course. Expand a bit, please... give me some context... p.

Fair point. To be honest, any advice is welcome, but specifically:

• What do you look for when reading a synopsis? Are you looking for just factual information, or are you expecting some showmanship; some pizazz?
• Do you like/expect references to similar works? Does that help you categorise what you read?
• To be blunt, how honest should we be with a pitch/synopsis? Given the small sample of work you are viewing, there is room to spin any book into any genre and wildly overplay components as being central. Is it just playing the game to stretch the truth in these things?
• A question more specific to my needs: how does one pitch a series? Most pitches (and indeed, synopses) tend to be very brief, with barely enough time to explain the first book. The draw of series can be the overarching plots and the developing characters. How the heck do you sell that in under 300 words?
• Difference, both factual and in expectation, between log line, tag line, pitch and synopsis.

All this is rather hypothetical, I grant, but the demands of publishers are, frankly, crazy. I have been asked for everything from a one line (I kid not!) synopsis to a four page brief with chapter breakdowns and full spoilers of all major events. I try to accommodate such things as best I can (hoop-jumping is now my career) but having a good grasp of what people are truly after, even if their requests are a little strange, might help.

(As a note, one would think that examining the dust jackets of published books would help, but it does not, I find. All it makes me think is that the most creative writing that goes on in the publishing industry is that which is done outside of the book in an attempt to sell it, as the connection between synopsis and plot is often tenuous at best.)