Some Thoughts on… The Synopsis

So you’ve written a novel, and it has been beta read, revised, edited, re-written, and buffed and polished until it shines, sings, and dances tangos around your typewriter. (Okay, so you don’t use a typewriter. But your manuscript probably doesn’t sing and dance either. Stay with me on this.) In other words, you’re ready to query.

You start going down your agent list, and Agent Number One, the “Dream Agent” (which you really shouldn’t have, but you do–can’t help it… we’ll talk about that another time), wants this thing called a “Synopsis.” What’s that? Well, etymologically speaking, the word comes from the Greek words sun and opsis, which together mean something like “seeing together.” (The Greek verb horao means “to see”; its future form, opsomai, has the same root as the noun opsis. Yes, in Classical Greek two tenses of the same verb can have different root forms. Isn’t Greek fun?) The first three Gospels in the New Testament are referred to as “Synoptic” because they have many stories in common that can be read in parallel. Over time, however, the word “synopsis” has come to mean (at least in English) a compressed overview of something. “Don’t go into detail; just give me a synopsis.” This could be a summary of the results of some experiment. Or, more commonly, a heavily abbreviated re-telling of a story. So when an agent asks for a synopsis, she’s asking for a 2-5 page summary of the novel, including all main plot points, even how it ends.

What’s the difference between a synopsis, and your 250-word query blurb? Your query blurb is meant to entice the agent to read your novel. You’ll introduce the main character and briefly describe the driving conflict behind the novel. You’re not giving away plot points, or the ending. The point is to make the agent request the manuscript so she can read what happens. Your blurb will be engaging, full of voice, and reflect the style of the story (witty? dramatic? creepy?). The synopsis, on the other hand, will be a pretty dry recounting of the events, so the agent can see how well you work out the plot, and whether the ending is worth the effort.

Here’s a pictorial representation of the difference between a query blurb, and a synopsis. First, this is your novel:

Now, here’s the query blurb.

See? Aren’t you enticed to find out more? And this is the synopsis:

Get the idea? The synopsis gives you a rough idea of the picture without any of the color, detail, or artistry that went into writing the novel.

And this is why many writers hate writing synopses. I mean, who in their right mind thinks that depiction of the Mona Lisa does da Vinci’s original justice? Sure, you get the idea that it’s a picture of a lady sitting outside somewhere. But where’s the skin tone? Where’s the detail on the trees? And where’s that enigmatic smile? The synopsis doesn’t entice. There’s no character, no depth, no artistry. You might pay millions for the original Mona Lisa, but you wouldn’t give a penny for the synopsis.

Those who want a synopsis would probably argue that the reason they want one is because they have already been enticed by the query, and like what they see of the writing in the first few pages. Before they offer representation, however, they need to know quickly whether you can construct a plot, and see it through to a satisfying conclusion. They know you can write, but can you write a marketable story? Basically, the synopsis will tell them whether or not its worth taking the time to read the entire manuscript.

Personally, I don’t think that’s fair. If an agent likes the query, and likes the writing, he should at least read the manuscript and discover the rest of the story with all the voice and color the writer intended. If he gets to the end and isn’t satisfied, he may still love the writing enough to ask for a “revise and resend” (i.e., suggest changes and ask the writer to re-submit when those changes have been made). Or he may pass on it anyway. The point is, reading a synopsis doesn’t do anything more for the agent than would reading the manuscript, other than save time because it won’t take as long. This doesn’t do justice to the work as a whole.

But what can you do? Not much. If an agent asks for a synopsis, unless you don’t really want to be represented by that agent, you have to follow the submission guidelines. On the plus side, writing a synopsis of your novel can be a useful exercise. If there are weaknesses in the plot, a synopsis will show them pretty starkly. No fluffy language hiding the fact that the dead waitress in chapter 5 is alive and well in chapter 7. Or that the major piece of evidence revealed in chapter 20 couldn’t exist because of a plot point in chapter 3.

And, so I’m told, even when you get a publishing deal, the demand for synopses won’t go away. Publishers will want to see a synopsis of each novel you write, and you will be the one to write them. So my advice is to suck it up and get used to it. Who said this writing gig was easy? Not me. Probably Harvey Q. Brakklehauser. Heard of him? No? My point.

What thoughts do you have about synopses? Any advice? Horror stories? Or do you actually like writing them?