Tag: Synopsis

The Writer’s Achilles’ Heel | Part 1

Ink Slaying, Kim Koning, Notes on Wrestling The Muse, Querying/Pitching, Writing Tips
The Achilles Heel
Image by texmex5 via Flickr

There are two words that strike fear and tension into a writer’s mind:

Synopsis

Query

But if you want to be published, these are two steps that you will need to take to walk through the gateway of publishing. 

Why do these seemingly simple processes strike such fear into most writers?

It is time to take the arrow from Achilles’ Heel and use it to point you in the direction of Success.

After all haven’t you already achieved something incredible by creating a plot, writing a story and finishing a manuscript. Why then should these words stop so many writers in their tracks? Why are these two steps sometimes the ultimate Achilles’ Heel in a writer’s path to publishing success?

There are so many different “standardized” versions of a synopsis and a query. Perhaps this is one of the reasons that these two words can turn a confident creative into an unsure person filled with doubts. Wouldn’t it be fantastic if there was a definitive list of rules of writing a good synopsis and thereby insuring an effective query. 

Most writers will try to put the SYNOPSIS off as long as possible until eventually we get that magic call/email that our manuscript has been found interesting enough to submit it. The excitement is soon paled by the looming terror of having to sit down and write a synopsis.

Perhaps as writers we are looking at this process back to front. Perhaps instead of leaving the synopsis to the end of the manuscript completion, we need to start compiling the synopsis during the writing process or even before we even start writing the story.

This is what I do. I start writing the synopsis while I am writing the first half of my first draft. For me a synopsis is not just a summarized version of the story that I am creating but it is a map that I am using to help plot my journey to my final destination: the climax and resolution of the story. 

There are no fail-proof methods to attack a synopsis, but here are some points that help me create a synopsis.

Every story I write or read starts with a character. Whether this be the Antagonist or the Protagonist, a story cannot happen without the main characters. You cannot stage a play without the principal actors. Once the main character is introduced, the story can begin. Everything else is just back-story that helps set a scene for the character to step into. Every protagonist needs an antagonist. This creates the CONFLICT which leads to the CLIMAX. The antagonist is usually the spark that sets the whole story alight. He/She is the reason that the Protagonist needs to ACT.

  • Think: Climax | Resolution | Beginning


This is the ultimate breakdown of your story. These are the most important points in your story, no matter what genre you write. Funnily enough, when I first get a story idea, what comes to me first is the crisis point then the what ifs start happening. That’s when I dig some more to get the beginning of the incident/story. Everything else in the plot arc of a story is just padding of these three plot points.

  • Voice & POV (Point of View)         

Who is telling this story? Are you, the writer, narrating it? Is your Protagonist telling the story? Is your Antagonist telling the story? Or is there a secondary character telling the story? These are the questions you need to think of to hear the VOICE of the story. The POV and the Voice gives the story and the characters life. Depending on which POV (who is telling the story?) you choose, the Voice will change. Like chinese whispers, each different person never tells the same story. The core elements may remain similar but the story is guided by who tells it.

  • The Story Arc | Conflict

This is your check list to make sure your story makes sense. Fiction must make sense. Truth can bend the rules of sense vs nonsense but fiction needs to be believable. Your story needs to have a timeline that works smoothly and each step in the journey needs to lead both the writer and the reader into the next step.

Once I have these four points worked out, I can write my story’s synopsis. Sometimes if I find that I am not sure of my character’s pathway to this story or their motivation, I will also use these four points to write a character synopsis. The synopsis does not need to be difficult nor does it need to be put off until the last unavoidable minute before you have to scratch one together in a wild panic. I also find that when I write a synopsis at the beginning of my first draft, it keeps me from hitting a block or stumbling point. Like a map, it gives me a clear path to my final destination. There may still end up being unexpected roadblocks but with just a few minutes looking back at my road map (SYNOPSIS) I am back on track.

If your story’s synopsis has become your Achilles’ Heel, try simplifying it for yourself. Even if you find you struggle with road blocks in your story, this way may just help you past them. By targeting these four points you may just find that writing a synopsis can in fact be a key to the difference between a good story and a great story. Don’t complicate things for yourself by over-analyzing the synopsis. You already have enough to do with writing and finishing the story as well as submitting it for acceptance or rejection.

Part 2 – Query will be posted on Friday so look out for that.

Coming up on Thursday, there is a guest post on a very common writing road block: Middle Book Blues.

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Puzzled by Plotting? | #1

Ink Slaying, Kim Koning, Notes on Wrestling The Muse, Writing Tips

Free Stock Photos - Final Piece© Photographer: Dana Rothstein | Agency: Dreamstime.com

Writers tend to belong to one of two main story structure camps:

Plotting vs Pantsing

There are of course those writers who are hybrids and use the best of both worlds. For myself, I am for the most part, Pantsing is the camp I align myself to. But there are benefits of plotting. Sometimes when you get to a midway point, pantsing can simply run out of steam.

At the beginning of the year I signed up to a class offered by Savvy Authors. I found it incredibly useful for that midway point in a WIP when my pantsing just runs out of steam. The class offered a number of questions that basically help you flesh out a synopsis/plot line.

So if you are more of a panster but sometimes could use some form of plotting, this may help you. These 12 questions really helped solidify my story line for me and helped me flesh out a synopsis. Try it out. Afterall, you have nothing to lose. You may just find those elusive last pieces of your WIP puzzle.

  • What’s my idea?

Without an idea, there is no foundation, and the idea has to have some solidity to it.

  • Where does my story take place?

This sets the tone and mood of the story, an old dilapidated Victorian mansion gives one connotation while a skyscraper gives another and a space station quite another.

  • When does my story take place?

You need to establish a time period. Is your story contemporary, historical, a few years back, a few years forward, etc.

  • What is the timeline?

If you leave this to chance, you might find yourself a hundred pages into a story and still be on the first day of the story. This is great if that was your plan, but if you’re writing a generational novel, you’re in trrrrrrroooooouubbble!

  • Why is this happening?

There are only so many ideas and stories out there that can be told, you need to know your particular bent or twist that will make your story stand apart from all the others.
Who are my characters?

  • What’s my point of view?

You need to know who will be telling the story. First, decide if it is in first person, third person, objective, or omniscient and then decide if it is multi-perception or told by just one character. Even if told in first person, you can switch POV by placing a character’s name at the beginning of a scene.

  • Who are my characters?

Protagonist – main character(s)
Antagonist – villain(s)
Secondary characters – (all others)
At this point you don’t need to know the fine points of your character, or even their name, but you do need to have a sense of them, male or female, strong or weak, their impact on the story.

  • How will I begin my story?

The beginning Introduces the protagonist/s and tells the reason the story.

  • What is my plot?

This is the basic structure of the story. For example, boy meets girl, girl hates boy, boy doesn’t give up, girl begins to respond, her dog bites boy, boy sues, and then falls in love with his lawyer and drops the girl and the lawsuit, girl opens a kennel for wayward dogs, and they all live happily ever after.

  • What is my complication?

The wrench in the story. It is what moves the story along and aids the plot. Like nails in a coffin. The corpse might pop out if ya don’t nail the lid down.

  • What is my climax?

The climax is the point of the story where everything comes together. This is it, the moment when Indiana Jones picks up the Holy Grail while the Gestapo stands by to claim it , when Scarlett realizes she’s in love with Rhett and he already walked out the door, when Dorothy presents the witch’s broom to the Wizard and he says come back later. It’s not the conclusion. It’s not the end. It’s the high point, and the point when the protagonist could lose it all.

  • What is my resolution and anti-climax?

This is when the main character/s solve the problem and the story winds down. It comes quickly after the climax and you must resolve all the issues, untie the knots , bring home the bacon, put away the horse, bring in the hay….

Questions courtesy of Savvy Authors.

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Synopsis: Are you in or out of Sync?

Kim Koning, Monday Mental Muscles, Notes on Wrestling The Muse, Postaday / Postaweek 2011
Unique Selling Proposition / Unique Selling Po...

Recently I completed an online workshop run by Savvy Authors. The course was called Pass the Shovel. In this course each lesson was about breaking down your story, your plot, your voice, your dialogue and your characters. I found the whole course very worthwhile but the lesson that I found the most enlightening was lesson 1. Lesson 1 was about breaking down your book into a summary or what the writing industry calls a synopsis.

synopsis |səˈnäpsis|noun ( pl. -sesˌsēz|)a brief summary or general survey of something : a synopsis of the accident.

• an outline of the plot of a book, play, movie, or episode of a television show.

DERIVATIVES synopsize |-ˌsīz| |səˈnɑpˈsaɪz| verb

ORIGIN early 17th cent.: via late Latin from Greek, from sun- ‘together’ + opsis ‘seeing.’

synopsis – noun

the synopsis was so intriguing that I just had to buy the book summary, summarization, précis, abstract, outline,

digest, rundown, roundup, abridgment.

Then on my writing groups that I belong to, there have been various discussions about the horrors and necessities of the Synopsis. So I thought today’s post should be about the topic of the month: Synopsis ~ Are you in or out of sync with your synopsis?

So why is a synopsis necessary?

  • A synopsis is needed when you write your query letter and you pitch your book.
  • An agent does not have the time to read the first 50 pages of every manuscript that lands on their desk. They need a “taster” to see if your book is going to be featured on their menu. Cue in your synopsis.
  • An editor does not have the time to read the first 50 pages of every manuscript that an agent lands them. They also need a “taster” to see if your book is up their alley. Cue in your synopsis.
  • Your synopsis is your billboard advertisement that gets the passing agent’s/editor’s attention on the highway to a sold and published book.
  • Your synopsis is the clincher in getting your book from your bottom desk drawer to the hands of an agent then an editor and finally your reader.
  • Your synopsis is a SELLING TOOL. It is a way to convert your manuscript from a story to a published and saleable book.
  • To write a successful synopsis you need to think with a sales mind and not a writer’s mind.
  • The synopsis is your SPIN-DOCTOR for your book.

So we have just a few reasons here to tell you that a synopsis is vital to the success of you finding an agent, an editor and a publisher. So now we come to the crux of the matter:

How do you write a synopsis?

How do you get “in sync” with your synopsis?

One of the tips that I have learnt about over the last few months has been the value of being able to write a maximum 50 word synopsis. This will encapsulate the Hook of your story. Then from there build that up to a paragraph long synopsis. Next try building that up to a page long synopsis. Finally try building that up to a 2 page synopsis. Now you may still be reading this and scratching your head in consternation. You are still stuck with the idea that you have to hone down a 70 000 – 100 000 word novel into 50 words then finally into 2 pages. Well here are some questions that may help you break down your novel into synopsis form.

  • What’s my idea?
  • Where does my story take place?
  • When does my story take place?
  • What is my timeline?
  • Why is this happening?
  • What is my POV – Point Of View?
  • Who are my characters?
  • How will I begin my story?
  • What is my plot?
  • What is my complication?
  • What is my climax?
  • What is my resolution and anti-climax?

The main points that should be in your synopsis are:

  1. The HOOK – This is your USP or UNIQUE SELLING POINT. This is the part that you want to put front and centre and at the top of your synopsis. This is going to be the GRABBER.
  2. The CHARACTERS – Stories are about people. Tell us about your Main Characters. Tug at our heart-strings. The main points here should be: Motivation / Conflict / Goals. What makes this character’s story interesting? Why would a reader want to invest time and emotion in this story/this character?
  3. The BODY of the STORY – Here is where you want to focus on the PLOT of the story. Keep your writing tight and concise. Only put the necessary plot points here. Tie together your plot with your main characters.
  4. The CLIMAX / ANTI-CLIMAX / RESOLUTION – This will pull the whole story together. This is the part where you tie all your different colours of strings into one seamless ribbon. This is where all the questions of your story will be answered. This is where your character will change and grow. These will be the A-HA moments in your story.
  5. Use present tense at all times. Irregardless of whether your book is set in the past or the future, the present tense of a synopsis will put the agent / editor directly into the heart of your story and allow them to walk in your character’s shoes. This will create an emotional pull for them.
  6. Use strong adjectives and emotive language when writing your synopsis. This is your one chance to get the agent/ the editor’s attention. Use your best written skills for this synopsis. Do not waste space or words.

How are you feeling now? Are you feeling more confident with tackling The SYNOPSIS? Are you feeling more “in sync” with your synopsis?

Now lastly, when do you write a synopsis? There is no hard and fast rule that you can only write the synopsis at the end of the novel. In fact, if you leave it til then the nerves and doubt will kick in. Try your hand at writing a loose synopsis at the beginning stages of your novel. You will have the bare bones of your final synopsis. You may even find that your synopsis may be a guiding point for your story. I have written a synopsis both at the end of a WIP and now I have written one at the beginning of my current WIP. In this latter synopsis, I reached a moment of EPIPHANY in the conflict and the anti-climax of my story. Now I can tackle my WIP with renewed vigour and when it comes to the final synopsis, I have already completed half the task by writing my synopsis first.

Now it is time to get IN SYNC with your SYNOPSIS!

© All rights reserved Kim Koning.

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Scene 1, Chapter 1, “ACTION”, Take 2

Ink Slaying, Kim Koning, Notes on Wrestling The Muse, Writing
A possum and a movie camera 1943
Image by Australian War Memorial collection via Flickr

I have been rehearsing the first few scenes of my novel in my head this week. I decided I needed a break from the actual writing of the WIP to allow for the critique to marinade in my mind for a bit. After attending my first conference, I came away feeling refreshed and challenged. However, I also started looking at my WIP properly and realised that I needed to take a step back to be able to see it clearly.

One of the speakers at the conference was the talented Chris Vogler. Chris works in two mediums, story-telling and movies. Chris gave an inspiring talk on inspiration. A lot of his workshop though was an equal blend of movie talk and writing talk. This got me thinking. If I looked at my WIP with the eyes of a director, would I be happy with my scenes or would I need to do a couple more takes? This fresh perspective has allowed me to critique my novel from a removed space.

So, thinking like a film director, I began:

Scene 1, Chapter 1, “ACTION”

Cutting and editing a WIP is necessary to get to the fresh new branches needed for blossoms. Prior to the conference, we had been told to submit the first two pages of our WIP for a cold read and critique. Looking at the first two pages of my WIP, it struck me that I was “explaining” the story rather than “telling” the story. So I experimented with cutting the first 2 chapters of my WIP and making the third chapter the starting point. All of a sudden, I had action and movement with the first few words of the story. I decided to submit the edited WIP from the third chapter to see what reaction I would get in the cold read. The editor liked the language of the story and her interest was piqued, however I was “explaining” too much. At first, I was annoyed with this critique. Did she not know that I had already cut – very painfully I may add – the first two chapters of this WIP? Now I needed to cut more?! Again, I reminded myself to take a step back. I did not cut anything else from my WIP. Over the next few workshops, I let the critique from the cold read marinade in my mind. I started adding info from all the workshops into the critique.

I have now taken a week off from the actual “writing” and “cutting” of my WIP. This week has been a week of “cooking”. I needed to turn all the info and critiques from the conference into some sort of stew that would make a gourmet meal out of my very basic meal of a novel. At the same time, I have been using the editing part of my brain and been critiquing a WIP from my critique partner.

Now I sit here, one week after the conference, with fresh eyes and ready fingers. I am brought back again to looking at my WIP with the eyes of a director viewing a scene. I realise that, annoyed as I was initially by the cold read and subsequent critique, the editor was correct. I was “explaining” too much. I was not giving the reader the benefit of the doubt and was actually “dumbing down” the WIP.

Epiphany • a moment of sudden revelation or insight.

It was also during one of the workshops that I had an epiphany. It was not my first epiphany of the conference and it would not be my last. I have realised that in my fantasy WIP I was spending too much time “explaining” because I was trying to build my world for the reader. There was a key ingredient I was overlooking. It would mean a complete restart but it would give me the bones of this story with ACTION rather than BACKSTORY through EXPLANATION. To tell the story of my 2 MCs, I needed to start with the conflict that created their world. So this brings me to “TAKE 2”.

So I do not need to throw out what I have already written but I realise that I have enough story here for 2 – 3 stories. I was trying to fit too much into one WIP. I also realised that I was starting with story 2 and that I needed to start with story 1. So now it is time for TAKE 2.

Before I begin TAKE 2, I am going to remember the first words called out at the first filming of a scene: “ACTION”. I need to start with ACTION. I need to give the reader the benefit of the doubt. I also need to keep the reader/viewer hooked with a little teasing. I realised I do not need to explain the story away with too much backstory. Backstory has its place but for the beginning ACTION is key.

Time to begin: Scene 1, Chapter 1, “ACTION”, “CUT”, “Take 2″…

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Food for thought….

What is your editing/cutting method?

If your WIP was a film, would it have people on the edge of their seats or would it leave them yawning and frustrated?

Have you done a cold read of your own WIP as if it was another writer’s WIP?

© All rights reserved Kim Koning

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