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Sally Walker is a great teacher. Here is her lesson on writing a synopsis:
SKELETAL SYNOPSIS STRUCTURE
BEGINNING'S Paragraph One: Summary of the Beginning's 1/4 of the
story. The setup of the "Ordinary World" the main character (Protag)
is living in...and encountering "threat" or glimpse of how life could
change. (In Vogler's THE WRITER'S JOURNEY and Joseph Campbell's concepts
this is the "Call to Adventure" the Protag chooses to ignore or
sublimate). The final sentence of that paragraph is the active telling of the
event that FORCES the Protag to choose to step into a NEW life, heretofore not
wanted. When Main Characters are introduced give title/role and personality
trait that immediately "classifies" them in the reader's mind. Select
characteristics that are vital to the evolution and outcome of the story.
(Avoid inane physical description unless "linebacker" or
"petite" size or "witch-like black hair and green eyes" are
pertinent to the story's outcome).
>
>
>
> Signposts of Beginning, Paragraph One:
>
> Opening Scene.
>
> Main Characters introduced with succinct characterization.
>
> Summarize "ordinary life" and its trials.
>
> Glimpse of pending threat.
>
> Life-changing event forcing Protag ACTION
>
>
>
> MIDDLE'S Paragraphs Two-Three-Four: Summaries of the KEY
confrontations the Protag faces in the "New Life," that 1/2 middle
portion of the story that has the reader on the edge of the seat. Main plot
events are
essential. Subplots and supporting characters are NOT necessary
in these
paragraphs, even though you see them adding depth and dimension.
The ONLY names you should mention are the leads, the characters the story is
focused on, the hero-heroine-antagonist Avoid exposition and explanation. A synopsis
is TELLING of cause-effect events, not explaining the logic of WHY.
> Paragraph Two will be a summary of complications confronting
Protag in
> this new life, the main tests and the main players
(referred to by ROLE,
> not by name).
>
>
>
> Signposts of Middle, Paragraph Two:
>
> Protag facing new life, new tests, new people
>
> Antagonist inserting threat.
>
> Protag's glimpse of "worst fear" becoming real
>
> Protag trying new skills, taking risks
>
>
>
> Paragraph Three will be the summary of the event that leads
to another
> life-changing experience, the MID-POINT where the PROTAG is
tested and recognizes the importance of the adventure, the moment when the
Protag's motivation intensifies thus the stakes of the ultimate outcome are
higher. Frequently, in a romance, that is when one of the lovers acknowledges
love or the first time the pair make love.
>
>
>
> Signposts of Middle, Paragraph Three:
>
> Protag chooses to assert "power"
>
> Protag experiences internal "denouement"
>
> Protag acts on awareness of exciting possibilities
>
> Others shown as critical or puzzled observers of Protag
>
>
>
> Paragraph Four is the summary of the growing strength of
the Antagonist
> (or antagonistic elements), the confident exertions of the
Protag to be
> worthy, and the final sentence summary of the crushing
moment when the Antagonist is at his strongest and has backed the Protag into a
corner.
> The action of the final sentence implies the Protag COULD
be defeated and is at the lowest ebb of confidence, thus must surrender in
defeat or choose to FIGHT. (This sentence summary is what forces the Protag to
CAUSE the Ending to happen as it does.)
>
>
>
> Signposts of Middle, Paragraph Four:
>
> Protag proves worthiness to Observers
>
> Antagonist demonstrates vivid growth in power
>
> Protag experiences a moment of startling success
>
> Antagonist's power evolves
>
> Life changing moment of Antagonist cornering Protag in
near-defeat
>
>
>
> ENDING'S Paragraph Five is the intense, high energy summary
of Protag's preparations to fight as Antagonist blithely carries out plans.
Succinct yet vivid fireworks of the "Climactic Battle" of wills or
events where the Protagonist succeeds and Antagonist is defeated.
>
>
>
> Signposts of Ending, Paragraph Five:
>
> Protag's reaction and preparation for battle
>
> Antagonist's confident arrogance
>
> Climactic Battle.
>
> Defeat of Antagonist
>
>
>
> FINAL SCENE'S Paragraph Six is the punch that concludes
everything. Make it in one sentence summary of the rewarding results of the
Resolution (that implies an "After-story").
Key: Force yourself to keep your paragraphs to 75-100 words
and, yes, you count "the" and "a" or every word. The font
is usually 12-pt, though I have been known to “fudge” to 11-pt AND I have been known
to tweak the margins to less than standard to get it to the one-page.
>
>
> Sally J. Walker
> Letting Go of Sacred Things, Desert Time, The Seduction of
Temperance
> A Writer's Year, Screenwriting Secrets in Genre Film,
> Intro to Screenwriting, Romantic Screenplays 101
Writing a synopsis used to scare the heck out of me, but I have a great formula now from a fellow C-N member. This one is similar.
ReplyDeleteMy only problem is I can only write a synopsis after I've written the story. If I ever had to sell on a synopsis and a proposal, I'd be in trouble.
Great outline to follow, Ana. Thanks!
ReplyDeleteAfter reading all this, I am so glad I no longer have to write a synopsis for my publisher!
ReplyDeleteI won't have to write one to self-publish. Maybe for the screenplay...
ReplyDeleteAwesome! :)
DeleteAna, thanks for the excellent outline! Will be bookmarking this post.
ReplyDelete