Over the past few weeks, I’ve been helping writing buddies prepare submissions for various writing contests. From PitchWars through to RWNZ’s Great Beginning, each of these contest required a synopsis as part of the submission packet. PitchWars required a query letter too. However, there was one thing that seemed to be a constant theme: there was confusion about the difference between a synopsis and a blurb.
To put it simply, a blurb is the short teaser that snags the interest of a reader, enticing them to read more. This is what is typically used on the back cover of a printed book. It’s a blurb that one will find in a query letter.
A synopsis is the spoiler alert, containing ALL plot points from the main thread of the story from start to finish, including the ending. It’s an editing tool that the public will never see unless you let them.
Let’s break this down a bit further.
The Blurb (also known as a Summary)
A blurb for a manuscript (what is found in a query letter) should mimic what one would find on the back cover of a book. Granted, with the introduction of eBooks, back covers have become a thing of the past; however, the blurbs are still required on the About section for books. It doesn’t matter if you are looking at traditional or self-publication: at some point, you will NEED to write a blurb for your book.
Any blurb should be able to clearly define the following points:
- Who is the story about? (main character)
- What choice does the main character face?
- What is at stake if he/she makes the wrong choice?
Your blurb should have that “what if” feel, but not phrased as a “what if”.
Traditionally, a blurb will contain only one character; however, if you are writing a romance, both your heroine and hero should have the same screen time, hence, both characters play an important role in the blurb.
Information such as backstory is irrelevant to the blurb. Only motivational factors should be included. A blurb should end with a cliff-hanger feeling. More importantly, the blurb highlights what is unique about your story. If you are unable to identify what is truly unique about your story, it is going to be difficult for an agent or acquisition editor, or your average reader, to see it too. No one can be a better champion for the story wrote than yourself.
Saying this, many writers look at the task of writing a blurb and quickly become overwhelmed. It’s so easy to write the order of events (a mini-synopsis) and be done with it. But this is NOT what will sell your book.
The best advice I was ever given about writing blurbs is to take the first 50 – 100 pages of the manuscript and write the blurb based on that. Leave a reader hanging, so they want to read the manuscript to find out what happens next. Whatever is included in the blurb should match the beginning of your book. Everything after approximately 50 – 100 pages is irrelevant. When looked at it that way, the task of compressing a story into a few short paragraphs becomes much easier.
(On a side note: if the action of your story doesn’t really get started until well and truly after page 50, then you started your story in the wrong spot. World building balance is always an issue within certain genres, particularly fantasy and science fiction, but there are ways to just land a reader in the middle of it and captivate them with the world even though they know nothing about it.)
A Thought About Stakes
Stakes need to be BIG. Let me say that again. Stakes are BIG with MASSIVE impacts.
Within romance, it’s not good enough to mention your heroine and hero are risking love. It’s a romance. ALL romances end with that “Happy For Now” moment. The heroine and the hero ALWAYS fall in love. So what is really at stake? Look at it more deeply. Why is their love so important to have?
Within high action stories, saying that your main character is risking her life is NOT enough. In too many thrillers, fantasies, science fictions and other high action stories, the main character will be risking their life at some point. This is what forms part of the common tropes used within these genres. No, what will happen to the rest of the world if your main character dies? What if they fail at their task?
I’m not a fan of using Lord of the Rings as an example, but most people at least have a sense of the story, even if they’ve never read the books or seen the movies. Frodo in many ways is the main character, and the number of times that his life is at risk is insane. However, if Frodo fails to deliver the One Ring to Mordor, then the rest of the world will be consumed by darkness and fall prey to the Orcs and Sauron’s armies.
For those murder mysteries and crime stories, it’s not good enough to leave the stakes at “will they catch the bad guy?” Umm… Duh! Of course that question is hanging over their head, and in most instances, you know they will. (Pink Panther had a bad habit of slipping past the Inspector at the last possible moment, so no, the bad guy is not always caught.)
Whatever you believe is the obvious stakes, go deeper. Look at the consequences of failure on a wider scale.
The Synopsis
Synopses are a spoiler alert, containing every single plot point from the main thread, including the ending. There is no “what’s next” feeling about it.
I have written on several occasions about how the synopsis is an editing tool, explaining how to craft an editorial synopsis, but a submission synopsis really does possess a certain flare to it. There are rules to follow, and tight writing is required.
The length of a submission synopsis will vary from agent, editor, contest, etc. Many agents and publishers require a synopsis that is 1–2 pages in length (250 to 600 words). I’ve seen some submission requirements specify 3000 words (that’s over 10 pages). There really doesn’t seem to be a magic number that matches everyone’s requirements. They might have formatting requirements (e.g. double spaced vs single spaced, or on letter paper), and many of them really are boring to read, simply because all of the juicy action is compressed into a single sentence.
The level of emotional engagement shown in synopses will depend on genre. For high action stories, the synopsis will focus on plot, whereas for romance, the synopsis will have a mixture of plot and emotional impact.
Do what you can to show your writing style and voice in your synopsis writing, particularly for a submission synopsis, but this is not always easy, especially when you throw in the added rules.
The Added Quirks of a Submission Synopsis
When writing a submission synopsis, there are a few conventions that you should always follow:
- Regardless of the narrative voice used within your manuscript, a synopsis uses Third-Person, Present Tense.
- The first time you mention a character by name, put that character’s name in All Caps. Every instance thereafter reverts to normal Title Case conventions.
- A synopsis is loaded with Tell. Leave the Show for your manuscript.
- The number of characters in a synopsis is restricted to three characters: protagonist, antagonist and love interest (or other significant character).
- If you need to use more characters, there better be a good reason for it.
- Stick to the main plot only. All subplots are insignificant.
Compressing 100K Words into 500 Words
For those freaking out about the prospect of compressing your 100K-word manuscript into 500 words, I’m totally there with you. It’s a daunting task in the extreme. However, if you are wanting to head down the traditional publication road, you will need to eventually do this.
There are many different philosophies about how to construct a synopsis. Some will start with the tag line (the one-sentence premise), then continually expand it out. Others will start with a single sentence to describe the main events in each chapter, then write connective flesh.
For myself, I tend to use the latter method, forcing myself to examine each chapter in turn. I ask myself if that chapter is actually important to the overall plot, or just a subplot, or random fluff that needs to be removed from the manuscript entirely. I will look at each sentence, and tighten it as much as possible, losing any and all extra words.
The sad truth: writing and editing a synopsis often takes me just as long as editing a full-length manuscript. Unfortunately, there are no shortcuts to learning how to write a good submission synopsis; it’s just something that you have to suck-it-up and do.
On the positive side: if you are determined to head down the self-publication road, you will never need a submission synopsis, but I do still recommend writing at least an editorial synopsis.
Other Eyes are Good, but Too Many Cooks…
Having a good blurb will help you snatch potential readers, enticing them to actually open the cover of your book. A good submission synopsis will help the agent or acquisition editor see that you know how to craft a complete story. As such, it is important to get another set of eyes on your submission materials before you send them out the door. However, everyone will have their own opinions on what makes a good blurb or a good synopsis. Just like all forms of writing, it’s highly subjective. Be leery of too many cooks on that blurb or synopsis.
My recommendation: focus on your manuscript and your story. It actually doesn’t matter how well written that blurb or synopsis is if your manuscript just isn’t up to snuff.
The job of your submission materials is to entice. If you are getting requests for more materials on a regular basis, then your query letter is doing its job. You have written a blurb that is working. But if you fail to capture that deal, the issue won’t be with your blurb or your synopsis. The issue will be with your manuscript. And believe it or not, it might have nothing to do with your writing either. It might be that your manuscript is too similar to another one sitting on the editor’s desk that already has a signed contract.
For all those who are have submitted to any number of contests recently, or are venturing into the slush piles, I wish you luck.
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© Copyright, Judy L Mohr 2018