Tip: My personal writing process follows these steps, and they are in this order: Pitch, Query, Outline, Synopsis, Book.
If you learn to write those things in that order, you will save yourself one hell of a headache--especially if you are creating a series as interwoven and meticulous as my Leviathans series, which is 17 years of failure and determined rewrites. Twice over ten thousand handwritten pages, front and back--all of which had miniscule serial-killer sized writing, and all of which has been scrapped. I mean a literal 10,000 pages. Twice. Over fifty large spiral bound notebooks and 12 reams of computer paper.
Trust me when I say that following the aforementioned pattern could save you time and sanity. Especially if you are like me and love to be thorough, and can't bring yourself to officially publish until it is just right. Or if you are easily lost. :P
If you find yourself more prone to write as a pantser, and you find plotting difficult, that's okay, and that's normal. It's a skill that doesn't come natural to many, but which can be hugely beneficial once learned. It takes practice and determination, and then your workflow goes sooooo much more quickly. It becomes far less likely you'll write yourself into a corner that requires throwing out 500 pages or more. Or 20,000 pages from seventeen years of writing.
Did I mention already that some friends of mine started calling me Extra? I like it, heheh.
That being said, don't let shortcuts or rules take away from your creativity! Freewrite whenever you can if you prefer that method. Just remember that it is more messy and difficult to write commercially published books in any way other than with some kind of order to the madness. You can always do it, but the works you complete will never be as close to perfect on a first pass-through as with this technique (or your preferred variation).
This technique truly saves time, and it's a skill you can build and become familiar with, just like any other. You're crap at first, then you're less crap. Then you become good, then you're expert: The Shit, as I mentioned before. Being The Shit takes a lot of talent, skill, experience--you have the ability. You have the technology. You have the awesome...You're one of the shades-wearing cool people, pal.
Anyway, the subject of writing a synopsis has been broken into three chapters in this book, and for good reason. First, I explain the formatting and some important things NOT to do. Second, I cover the synopsis-writing process itself, what should be included on it. Third, I give an example synopsis, and then I break it down piece by piece.
The synopsis should be very concise, telling the agent / publisher exactly what happens in the book--the main plot. (As mentioned before, if you're an Indie or Indie-to-be, this may not appear to be a helpful tool, but it can truly help you to spot holes, lacking character development, and more issues. It's a powerful tool. That's why editors and agents want it so bad. That's why it's part of the package writers have to put together to send to them. Hell, it even gives them some idea how long your book is and where they can cut it to focus it.
The process of creating the synopsis is very particular, and it must be learned properly for the benefit of agents and editors, although minor infractions are okay if you're Indie.
Many writers get rejections because their synopses are imperfect.
If you have already completed your pitch, query, and outline, that means you have figured out what your book will be out. (Sa-weet! Now go treat yourself to something tasty.) However, remember that you have not yet finished focusing your story. My chapters on writing a synopsis will help you with the next stages of story development. They will also help you to get ready to try finding an agent or a publisher.
Creating the synopsis before you write the actual book helps you to flesh out the skeleton of the book and to decide when to end it, how long each chapter will be, et cetera. The flesh of the story will be draped upon it (characters; character interaction, and drama; dialogue; all of the details, exposition, and scene setting; and story events). That gives you a LOT of leeway in writing the darned thing, so don't worry that it might constrict your creativity.
If you have to rewrite part of the synopsis because you thought of a better way to do the book, or it suddenly took off in another direction while you were writing it, that's much better than having to rewrite most of the book because the synopsis made you realize there were GIANT holes in the plot, and that it was incomplete in several other ways.
This is why my Leviathans series twice reached 10,000 pages between multiple books, and then why it also got dumped in my scrap pile both times. The Violet Curse is the final version of the story, void of all the mistakes of the prior seventeen years, perfect in all its glory. I want you to be able to develop the ability to know good writing from bad writing, and the ability to cut out wasted time and horrible mistakes. I don't want you to despair the way I did after the series evolved multiple times as I discovered plot holes after hundreds of thousands of words each and every time I rewrote the series.
That kind of thing gives a girl who claims to be a writer a really shoddy feeling, and it deflates her will, her passion, her self worth, and even her heart as a whole. Life begins to feel like one failure after another.
But it really doesn't have to.
It doesn't!
If you've ever gone through anything remotely close to this with writing, you know the feeling I'm talking about. Every major reboot is worse. The emotions are stronger, and the struggle to bounce back is harder every time. I've almost walked away from writing and resigned myself to permanent depression multiple times because of it. It's a horrible way to live.
But I digress. Back to the chapter.
The skeleton of a story is the layout, so to speak. It can be changed or adjusted as you write the actual story, but try to write a very clear, concise synopsis. Even if you have to rewrite it because your brain came up with an even more awesome idea.
First, I will tell you how to lay out the synopsis, starting with the font and size.
Font and size:
The synopsis should have the same size and font as the rest of your book and your query letter. It should be easy on the eyes, and black. A good rule of thumb is Arial, 12-point font, but for those seeking agents or publishing house deals, check with the submissions guidelines because agents and publishers may state different requirements. (My personal favorite is Calibri Light, 10-point, but I'm not submitting to publishers, and I do my own developmental, line, and copyedits, and I also do my own ebook and print book formatting. When I submit bulleted lists of stuff I take out of the manuscript, plus sample chapters I want to outsource, I always convert those to the standard before sending them.)
Point of View, and Tense:
Regardless of the book's POV and tense, always write the synopsis in third-person, present tense. Same as academic writing in college.
Pretty much every agent and publisher I've crossed wants the synopsis formatted to a specific standard. There is no freedom to be creative here. Doing anything else will be a quick trip down Rejection Lane.
The heading:
This should be located at the left-hand top of the page. It should be single-spaced, unless it is longer than one page, in which case it is usually double-spaced. (Check the agent's / publisher's guidelines). I have included a sample heading for your convenience.
Working Title: Planet Dragon
Genre: Fantasy / Adventure
Word Count: 70,000 words
Setting: A cursed kingdom where dragons once roamed freely.
The Body of the Synopsis:
Now you will hit the enter button twice and begin filling out the body of the synopsis. Here are the general rules for that:
If paragraphs are indented, no spaces between paragraphs.
If they are not indented, include a space between paragraphs. (Synopses are not usually written with indented paragraphs.) Check the agent's or publisher's guidelines. If they do not mention a preference or requirement, the best choice is to write the synopsis without indents. It looks neater with spacing between paragraphs, and it is easier on the eyes. As much as they read? Yeah, you'll want to make things easier for them--it means you will have a better chance at getting a positive response rather than a rejection.
Character Names:
The first time you mention each character's name, make sure you put that name entirely in CAPITAL LETTERS. After that, you should write the names normally. Only include the names of characters who are pertinent to the main story plot. Do not name side characters unless they are pertinent.
Example opening:
ERIK, king of the Eldor discovers that his mother NALISA is killing dragons to steal their power. Her obsession with regaining the crown endangers his right to rule...
Remember that your very first line must have that wow-factor. It's your pitch line! (Aka: "the hook.") But it is turned into a full sentence, so if you previously had a sentence fragment, here is your chance to redeem it for an awesome-point. Woot-woot! Always remember that each sentence must build upon the previous, and embellish it, while progressing along the plot line. You are looking to drive the nail deeper with each "pound of the hammer" --aka-- "stroke of the pen."
Length:
Make an attempt to keep your synopsis at one page. If you have to, make it longer, but as a warning, there are publishers and agents out there who want the synopsis to be one page--nothing more. Three pages is most common, I believe. It was the limit at the forty-something-odd agencies I've queried, and I'm sure little has changed. I still find that rule often in agents' and publishers' guidelines. Again, double-check the submissions guidelines for their preferences or requirements. One thing you do not want? A very long synopsis. Be concise. They already read a lot, so give them a break and work some ninja con...cision? Concise-sion? Meh. "Tactical sorcery."
To keep your synopsis at the one-page or three-page length, only write about the main plot. If you still have room left when you are done, go ahead and begin adding in the next most important subplots. Only the ones that are most important.
What not to do:
DO NOT try to be vague, or to cover anything up. Reveal everything that you can. Several years ago, one of my previous Wattpad consults (@Cytolene) told me not to try to surprise the agent. Agents need to know what they are getting their hands on. They don't like nasty surprises that make the book something other than what you told them it was. So, if your main character gets a sex change in order to hide his identity (wow, that would be extreme, right?), then make sure you show this in your synopsis. Don't surprise the agent. Let him know, step-by-step, what is happening in the story. And why. The only thing that should surprise them is the fact that you didn't go out of your way to be a freaky Jack-in-the-box...Too many beginners do that. It is not professional, or even liked. It is much better to be concise. Remember that tactical sorcery.
Do not fill out the body of the synopsis thusly: "First this happens, then this happens, then this happens..." That is boring, and it will cause you to get a rejection.
I will explain a better way to write the body of the synopsis in the second synopsis chapter. The third synopsis chapter will show you an actual synopsis, and it will break it down for you, piece by piece. This should help you quite a bit.
Also, do NOT get wordy. Cut every excessive word and phrase, and keep to the main points of the plot. Use your word processing program to find and search your favorite words in order to delete extras.
I once wrote an academic paper where I found I had written the word even thirteen times in three pages. Seriously? Too much. Three times would have been a bit more balanced. So cut excessive words, and ensure the main plot points are apparent. This is also where that outline I told you about comes in handy. (Again, I will further explain this in the next chapter.)
Heavier editing needs to go into the synopsis, too. Don't just remove crutch words and phrases, or repetitions. Your ability to use good grammar, mechanics, and syntax will show in your synopsis, which lets the submissions agent / team, and the editors who may take on the project, know how much editing they'll be investing into your work. They're making a product with quality standards, which means they must rid it of flaws. If you can't even spell "you" correctly, or use emojis, it'll be a no-go.
One common tip I often hear is to make sure you kill your adverbs like they are all a disease! Trust me, when you have deleted every one of them that you can stand to, you still haven't gotten rid of enough of them. You'll be a stronger writer for deleting them, though.
If I could have less than one in a synopsis, I'd remove it. One is tolerable in three pages, though...But then there are things called adverbial and adjectival phrases, and it gets very complicated from there. Research is key! Get yourself a copy of The Chicago Manual of Style, and learn that turd back to front. I've looked mine over enough that I think I've memorized the exact page and section number to look up the word half. Hahaha! Section 7.89, page 453. Hyphenation rules for whether to write half full or half-full. If used as an adverb after a noun, no hyphen, if used as an adjective before a noun, use a hyphen.)
I'm too tedius, heheh. Here's a couple pics of how I spent six months in editorial training, marking up my copy...
A bit of a side note...when you highlight that heavily, it kind of becomes impossible to follow anymore. But it does break it up into visual blocks so that it can be transferred into another notebook in better sections, or put in a digital format. These are a couple of ways I transferred the notes...and notice that I love color-coding everything. It's easier to find, read, and understand it all.
Back to the chapter.
Avoid purple prose in your synopsis. You aren't trying to give the agent or publisher a stinky bouquet of word flowers that they turn out to be allergic to. Overexposure = mental allergies, trust me. Avoid this, and take a closer look at what you write. Think of the descriptions in a literal sense. "Gaping like a fish" is purple prose--people don't really gape like fish do anyway, and a beginner putting something so descriptive into a synopsis is...well...can lead to bad experiences. The gaping fish is both awkard and disturbing, and picturing it can be ridiculous. Neither is it normal for a person to shake his fists at the sky whenever he is angry. I've seen it written so many times as a crutch by some Noobs. It's cute to imagine, but it's not worthy of higher, more realistic writing. Also, remember the Funny Writing chapter. Stuff like "I walked to the center of the room and searched my eyes" will earn a book the Slush Pile.
Also think about the literal meanings of your double prepositions, such as "on around." Grammatically and stylistically, it is an awkward construction that does not make sense. A thing cannot both be on something while also being around it. That's a colloquial term. Slang, if you will. It works if that's how a character talks, or if that character's voice is narrating the story...but not anywhere else. (Even after six months of editorial training, I miss this. Other editors can miss it, too. It's not the end of the world, but at least trying to improve will increase likelihood of publication exponentially.)
Kill off the words "almost, seemed, nearly, suddenly." There are more like them. There is no reason for those words, except in very particular places, and very far apart. Maybe once a book, or twice. (Guilty there, too.) Otherwise, you'll develop a habit of leaning on them. I'll talk more on concise language later, probably in the Punctuation section of this book.
Do not worry about subplots unless they strongly affect the skeleton of the story, making it bend a new way or go down some unexpected path. Seriously, nobody needs to know your main character's cat choked to death on a chicken bone last year, and that today is the first anniversary of his death. Not even if this is a cat story...Unless you are a genius and have figured out how to make it unretractably relative. I mean seriously relative, like his cat's ghost has come back to kill him, and he is now on the run from that phantom furball's wrath.
That aside, I've learned a lot, and I can share a lot.
But I am not perfect and therefore do still employ to this day these hideous writing crimes in my own works. The rules of writing are vast and difficult to recall, and they are subject to voice, tone, region, country, narrative style, and general acceptance. The rules are vast and difficult to recall, which is why you'll still find typos in traditionally published works, or bad sentence structure here and there.
So, yes, even editors and agents working at major houses miss stuff when they're editing.
I can't tell you how many imperfect books I've found published by Random House, Bantam, HarperCollins, Simon & Schuster, Penguin, and other major publishing companies--books which have had errors, misspellings, and even stylistic and grammatical inconsistencies in them. It's not even just author preference. The word the twice in a row, giant inconsistencies in uses of commas within a single book, misspellings, incorrect words, etc. It happens. I've even found multiple mistakes in college math books--shocked some teachers cuz they'd never even noticed them and had been teaching from some of them for years. Ha! But an eye for detail does not always a perfect person make.
What is my point? It's okay if you're not perfect, either. We're all learning, all trying, and all supporting each other. Because writers and artists are some of the most awesome and open people there are...Except for rude Grammar Nazis and Know-It-Alls, that is. It's one thing to be helpful and just point out errors, another entirely to be a jerk. If someone is being a jerk, give them a boundary, or get rid of them by blocking them. You don't need that. You need to stay focused on being your awesome self. And there are plenty of us who will give great, constructive feedback.