The book synopsis -- what it is and what it isn't

For those of you ready to start submitting your work to agents, today is the start of kind of a mini book synopsis writing seminar. Today is what a synopsis is and isn't. Then tomorrow through Saturday, I'll post the synops that I wrote for Magic Lost Trouble Found, Armed & Magical, and The Trouble With Demons.

For those of you who haven't read one of more of those books yet, avert your eyes -- needless to say, a synop is chock full of spoilers. In fact, it's nothing buy spoilers. I know I learn better by reading an example, and I think it might help some things click for you writers out there if you read a synop of a book that you've actually read that also won over a publisher. Hope it helps.

For me, coming up with a plot for a book and writing a synopsis isn't quite the same thing, but one leads to the other by necessity. (Editors like to see before they buy.) I'm highly organized and methodical -- my writing brain is the exact opposite (kinda like Felix and Oscar for you fans of classic TV). Books come to me in snippets of dialogue, pieces of scenes, chunks of chapters. I know there's a book in there somewhere, but it's up to me to lay all the puzzle pieces out then put them together to find out what the final picture looks like.

Some writers swear by having a synposis to go by, some swear at it. These writers get an idea, love the idea, and jump into the idea with both feet. They don't want to plot anything out or write a synopsis first. It's all about the journey and the joy of discovery. Writing anything down before starting would ruin it.

What a synopsis is not -- A synopsis is not every bit of action that will go into your book. It's the "40,000 feet/big picture" view. You include only the main plot points. A book synopsis should ideally cover the book from beginning to end (but only the main points), introduce only your main characters, and be written in the tone of your book. My synopsis for TTWD was in first person, Raine's point of view (just like the books), and it is also in present tense. It gives the action a more immediate impact. Immediate impact is good for drawing an agent into your story.

But when you're first starting to write your synopsis, feel free to include anything and everything you want to. That way you've got something to work with (and to whittle down). By having everything together in one document, you can see the big picture and begin to weed out the stuff you really don't need to include, and come up with other really cool stuff. Chances are it will start off looking like a convoluted mess (mine do). As you edit, delete, add, refine, tweak -- the synopsis will start to take shape (and most importantly, so will your plot).

Most agents start off wanting a query letter with a one paragraph synopsis (I'll cover how I wrote my query letters in a future series of posts). If they like what they read, they'll request sample chapters. Some agents will also want to see a synopsis at this point before asking for the entire manuscript. All agents are different; Kristin Nelson (my agent) didn't want to see a synopsis of Magic Lost, Trouble Found. She prefers to read the full manuscript without knowing what's going to happen, to get a more authentic reader reaction.

When your agent is marketing your book to publishers, they will want a synopsis. And once you're published and trying for that next contract, your publisher will most likely want a synopsis and the first 50 pages of the book before they decide to make your agent an offer. writing the synopsis is unavoidable. Sorry to have to be the bearer of bad news.

Once you have a polished version, some writers stick to it like glue. I don't. At least not entirely. While I'm writing, a lot of the time I'll come up with something even better. Believe me, my editor did not mind -- and yours won't either.

Starting tomorrow through Saturday, I'll post my synops for Magic Lost, Trouble Found, Armed & Magical, and The Trouble With Demons.