I've been working on my synopsis for some time. At the first workshop I attended, we were told that a synopsis was, basically, the story told in the order it's written - ie similar to a chapter breakdown. On a Myslexia workshop, I learned that a synopsis is 'not a piece of creative writing' - that it's there to show the agent that you can handle the material and construct a plot. Then, on a third workshop, we were shown an example of a synopsis for a women's fiction novel which was being published, and which read more like an extended blurb - most definitely a marketing tool. So, two questions: What kind of synopsis should today's writers be constructing? And, on a more personal level, how do I convey the symbolism of my story, which is just as important as the factual story?
Any thoughts or ideas?
Susiex

how do I convey the symbolism of my story, which is just as important as the factual story?

Very simply you post your synopsis and see if readers 'get' the symbolism, and, if not, rework it until they do.

As for the 'extended blurb', yes it can work very well when done right, and is probably more applicable for the 'chick-lit' type of novel with a fairly straight forward plot line, but where there is a more complex character development going on. As opposed to, say, a crime novel where the action/plot twists rather than character development, is more important: ie similar to a chapter breakdown

So in answer to your question:
What kind of synopsis should today's writers be constructing?
- One that suits the novel you've written.
ie. The 'bespoke' synopsis, rather than a 'one size fits all'.


- NaomiM


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At it's most basic it is about crafting the synopsis until the reader 'gets' the book that you've written.

Susie, I'm a great believer that whatever route you take (and I do personally subscribe to the basic premise that you ought to include an outline of the story - including the ending - in roughly chronological order, or it wouldn't really be a synopisis!) one important thing is to write it recognisably in your own authorial voice. It ought not only to summarise events but also to give a flavour of the book - including the style in which it is written. I also think that if wider themes are as vital to the book at the actual plot events, they need to be in there, too.

Rosy

one important thing is to write it recognisably in your own authorial voice

There has been a WW discussion about this recently, and it really does depend on the style of book you have written. If it is a straight forward contempory thriller, or a light hearted chick-lit, then using one's own authorial voice is fine.

But if one is writing a Young Adult or historical fiction novel, strewn with patos/lingo, then writing the synopsis in a similar style would not be suitable.

Also if the novel is written in first person present, then that style would not be suitable in a synopsis.


I have been on the synopsis and outline group for a few months now, seeing if there were 'tricks' to writing them, but it has boiled down to just a handful of generalities.
Character development/description comes across better if written in a blurby style.
Plot development should be written in straight forward prose: It is Tell, not Show.
Don't bother mentioning minor characters or minor details.
Keep it short.
Always include the ending, and - most importantly - don't skimp on the ending.
Keep rewriting it until it's right.

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And:
Preferably get someone else to write it.

Thanks, both of you.
I like the idea of a 'bespoke' synopsis and of writing it in the author's voice. This is very helpful. I can see, too that I do need to keep writing it until Iget it and recognise it as my novel - because so far the synopsis hasn't felt very recognisable as my own work. It's a women's fiction novel aimed at women of 40 upwards. Although it's fairly plot-driven, it deals with deeper issues.

Remember that an Agent will most probably read through it only the once, so the crux of the story has to be crystal clear on the first run through.
Also they will be looking for an original take on what may be a well-worn storyline (NB. there are only so many basic stories in the world, so don't expect them not to have read several dozen novels written along similar lines just that month), so you need to find something that will hook them in. Again a few lines in a humourous, blurby-style, can help here.

I got the impression that you needed a hooky blurb of a couple of paras for your covering letter, and then a one-page synopsis written in a matter of fact 'this happens, and then that happens' style. So my short answer would be: both!

Rachel

There's always the possibility of a single paragraph outlining the structure of the symbolism, rather than trying to squeeze a mention in alongside every turn of the plot, which can obscure your telling of the main drive of the plot. Rather as you might have single para describing all the small incidents that ran through the novel to show the MC's growing away from their partner, or the political rumblings underpinning the MC's career, or whatever

Emma

I got the impression that you needed a hooky blurb of a couple of paras for your covering letter

Would there be room for a couple, Rachel?
I sort of agree, but maybe a short paragraph rather than a large block of text in the middle of the letter . Probably more suited to genre fiction, and an alternative to quoting a paragraph of prose in the synopsis. It would have to jostle for room with the 'why I think it fit's your list/It's comparable to x,y,z author(s) on your list/I think we'd make the perfect marriage' paragraph.

(- Ok, maybe including a marriage proposal is a tad OTT )

The thing to remember about synopsis is there is no 'one size fits all' solution.

- NaomiM

Thanks, Emma and Naomi. Emma, I like the idea of a paragraph about the symbolism. Naomi, your previous comment about getting someone else to write it may be the best option of all (if only!). I wonder if anyone actually does offer such a service? I guess it wouldn't really be viable, as they'd have to read the whole novel in order to write a one or two page synopsis.
Susiex

I got the impression that you needed a hooky blurb of a couple of paras for your covering letter,

I go for the minimalist approach in covering letters. I put the title, genre, length and "would appeal to readers of..." and that's it. About three lines. I cut my synopsis up like Leatherface weilding a chainsaw - which goes against all the advice really, because I end up with a kind of blurby thing, ending with a single line summary (ie "this is a contemporary coming of age thriller") just in case it wasn't clear enough. Then I let the sample chapters do the hard work.

I'm not really recommending this approach; it's just what I do. It probably says more about me than I realise, just as a very verbose and detailed covering letter says things about that author.

Colin M

Would there be room for a couple, Rachel? I sort of agree, but maybe a short paragraph rather than a large block of text in the middle of the letter.

Sure, why not - although you're right, it does depend on what other information you want to provide/asked to provide. An interesting example of a query letter is:

http://pubrants.blogspot.com/2007/09/query-for-demons-lexicon-that-landed-me.html

I think she does include a bit too much info - but it's fun to see successful query letters (she got a very good book deal with Simon & Schuster I believe).

The thing to remember about synopsis is there is no 'one size fits all' solution.

Of course!

Thanks for the link, dreamrabbit, we could certainly pick up some tips from that, which is done in the style of a sales pitch - although perhaps we should bear in mind that the example on the blog is a 'Query Letter' for the US market, and written very much in the 'authorial style' of the novel, since they tend not to send out the first 3 chapters of the book as we do, but rather wait for the chapters to be requested. Also it does not include the ending, which a UK Agent would definitely expect.

- NaomiM