DIANA COSBY: WRITING THE SYNOPSIS

©2009 Diana Cosby

No question, one of the most powerful tools in a writer’s arsenal is the synopsis. It ensures your story is a cohesive, well motivated marketing tool that’s tailored to fit a publisher’s line. In addition, the synopsis is used as an outline when crafting your story.

I understand a lot of writers approach writing synopses with trepidation, understandably as the synopsis challenges the author to ensure they have a sound, well motivated plot/story on every level. Instead of asking, “How do I write a solid synopsis?” A better question may be, “How can I write a brief narrative of my story that will portray the full impact of my novel and ensure all story points have strong motivation? To do this we need to get back to basics.

The story is about the characters, their lives, the decisions they make under pressure along with the emotions and feelings that arise from these situations. Only through forcing our characters to make decisions under pressure can we ‘show’ the reader exactly who the character is. Over the years in writing synopses, I’ve noticed that my protagonists’ introductions have lengthened with emphases on who they are and what significant events have crafted them into the people they’ve evolved into at the beginning of the story. The reason for the increased character time is because our synopsis tells the editor a story, but it’s our characters who hook the editor emotionally and make them care.

The external conflict’s purpose in the story is to force the characters to deal with their internal conflict, which is why the “black moment” is really the time of truth as the plot reaches its critical point. Essentially, the black moment is when despite everything obstacle the character has overcome from page one, they realize that what they thought they wanted [outer goal] isn’t what they want at all, but their inner goal.

The outer goal must be important enough to drive the story forward. If the outer goal could wait, it’s too weak. The inner goal is a personal issue that characters have yet to face; even though the characters begins their journey with an outer goal in mind, the story must turn personal. This is how I view the story. Whatever the outer goal is, the protagonist MUST sacrifice it during the black moment. The key word here is sacrifice. The good things a hero and heroine do throughout the story are nice, but what makes us really love and respect our characters is what they sacrifice. And to the reader, it’s this ultimate sacrifice that makes them heroic.

The middle of the book should be an exciting time. It’s where romances are recognized whether the hero and heroine want it or not, where the stakes increase, because now they have emotional involvement which convolutes the protagonists original intent. And suddenly, the goal that started out so clear, is growing confused. Another tip, the middle is usually where a major plot point occurs.

As I go through each step of writing the synopsis, I ask myself, “How can I make it worse.” For me, this is the key question to ignite my mind’s creativity. My goal is to write each paragraph in a clear and concise manner that transitions the story smoothly forward from one major event to the next while keeping true to my characters. To do this, I’ve created guidelines for each paragraph I write, they are: Goa. Problem/Romantic Problem. Decision/Action. And at times a Transition Line. Remember, there is no right or wrong way to set up your synopsis, but the way that works for you. Also, when you’re writing a synopsis, it’s imperative to be concise, to make each word count. Be specific! Note: The synopsis is written in the present tense.

*Using the above stated guidelines, here is a paragraph example from my synopsis of my first MacGruder Brother’s book, His Captive:

Nichola wonders when Alexander will give in to his obvious lust and take her.[Problem] Before then, she is determined to escape.[Goal] The next day as they travel, Nichola feigns illness. After Alexander helps her dismount, when he turns, she strikes him with a tree limb. As he lays on the ground, she presses her ear against his chest for a heartbeat, but finds none. Horrified, Nichola believes she’s killed him.[Problem] She’s devastated. Though he abducted her, she doesn’t hate him, nor meant him any serious harm. Grief-stricken, she starts home.[Decision/Action]

*If you are having feel your synopsis is weak in an area, this formula will show you why. By having to define the Goal, Problem, Decision and at times using a Transition Line for each paragraph within the synopsis, you, the writer, are forced to write clear, well-motivated synopsis and you instantly see where your story needs to be strengthened. For additional story layers, you can have more than one problem in a paragraph. Besides the outer or plot problems, you can add romantic issues, which is your romantic conflict. The Goal, Problem and Decision format can also be used to condense your book for a cover letter blurb. Example from my second MacGruder Brother’s book, His Woman:

On a death bed plea, Sir Duncan MacGruder vows to save Lady Isabel Adair, [Goal] the one woman he despises. But when their escape turns deadly and unearths secrets that could threaten Scotland’s freedom,[Problem] Duncan must choose between his country and a woman whom he realizes he’s never stopped loving.[Decision]

A really great book that breaks down the story well is “The Comic Toolbox,” by John Vorhaus. Chapter seven is called, “The Comic Throughline.” It is the most incredible and easily understood breakdown of how a solid story works, I would recommend it highly for anyone who would like a solid yet simple to digest view of a riveting plot.

http://www.vorza.com/comic_throughline.html

With this arsenal of information at your fingertips, you’re now ready to have fun with the story you want to write, are writing, or have written. Don’t fear writing the synopsis, enjoy and savor each plot twist. That’s why we write isn’t it? For the love of the story.

Diana Cosby

http://www.dianacosby.com/

His Captive/Alexander MacGruder

His Woman/Duncan MacGruder - 4 star Romantic Times review

Title TBA/Seathan MacGruder - Date TBA

Title TBA/Patrik [Cleary] MacGruder

___________________________

U.S. Navy Chief Meteorologist/Oceanographer, Diana Cosby began her last tour in the military by re-enlisting on the back of a camel in Tangier, Africa. With 31 moves and an incredible career, she decided to create characters who reflected the amazing cultures and people she’s met over the years. Her years of living in Europe influenced her decision to write in the medieval time frame, hence the MacGruder brothers were born. Diana now lives in Texas with her husband who recently retired from the Navy after 24 years and their youngest son. Her older son is serving in the Marine Corps, and her daughter is attending college to become an art therapist.