Essential synopsis-writing and querying tips from 20 amazing Australian authors: Part 2 of 4

What is the central conflict? ponders Joanne Anderton.

A few weeks ago, I asked an author pal of mine for help with synopsis-writing. Lucky me – I received some fantastic advice. So fantastic in fact, I thought I’d share what I learnt with my readers. With that in mind, I asked a whole heap of other authors for their advice too, and you can read what some of them told me about writing a synopsis here: Part 1.

Now here’s what more of them told me – I’ll share what the rest said in Part 3 and Part 4! There’s advice to come on query letters and extra resources too.

The Synopsis

Joanne Anderton, author of “Debris” and “Suited” (read more about Joanne here):

Drill right down, what is the central conflict? Conflict is more interesting that all the plot and worldbuilding put together. Put that into a sentence or two and start there.

Add small amounts of plot and worldbuilding around that, but stick to the basics.

Deborah Kalin, author of “The Binding” books (read more about Deborah here):

Aim for the emotional heart of the story, wherever possible.

Sometimes it helps to just summarise down and down and down – it can be interesting what boils out!

Have you heard of the snowflake method of plotting? It can also help pin that ‘blurb/pitch’ phrase.

Nicole Murphy, author of urban fantasty trilogy “The Dream of Asarlai” (read more about Nicole here):

Try summarising your manuscript into a couple of sentences.

First, write your elevator pitch – a couple of sentences that sum up the main thrust of your story. From there, flesh it out until it’s about a hundred words. Then flesh that out until it’s about 250 words. At that point, you’ve got the main point of the book. Add in some character backstory and motivaiton and there you have it – a one to two page synopsis!

Another idea is to start with dot points. Go through each scene in the book, and write down one sentence that describes that scene. Then go through that list and get rid of anything that’s not related to moving the plot forward. Then look at the list again, and get rid of any scene descriptions that don’t move the plot forward a big step. From what’s left, you should have a pretty good plan of what to include in your synopsis.

When you’re actually writing it, think about it in terms of narrative structure. There needs to be a beginning, middle and ending. Each paragraph needs to make sense within itself. Each transition from idea to idea should flow smoothly. And remember that the synopsis must show the ending.

Nansi Kunze, author of young-adult novels “Mishaps” and “Dangerously Placed” (read more about Nansi here):

I think with synopses the key is to make the style the same as the style your ms is written in.

Start with a single-sentence synopsis & then expand.

Greg Barron, author of “Rotten Gods” (read more about Greg here):

Tell the story as vividly as you can, then cut/rewrite until it shines.

Graham Storrs, author of sci-fi thriller “TimeSplash” (read more about Graham here):

Maybe have different versions ready to go?

First check the submission requirements. Some want a synopsis, some don’t. Personally, whenever I finish a book, I write three synopses – a one-page synopsis, a two-page synopsis and a three-page synopsis, all single-spaced – on the grounds that I’ll use all three eventually for different submissions.

Make the synopsis interesting and lively. If possible, try to hint at the voice you use in the book – it won’t be possible, but you can suggest what to expect.

Cover the whole MS, even in the one-pager. The idea is to show the reader how your story develops, unfolds and is resolved. Focus on the main character and the main plot, show what is at stake, the obstacles and the way they are overcome. Don’t waffle on about “themes” and such, just tell the story – but very, very briefly.

Abigail Nathan, author of “Bothersome Words Blog” and principal of Bothersome Words Writing & Editing Services (read more about Abigail here):

Make the opening sound mysterious and exciting by avoiding specifics, don’t just list out action like A-leads-to-B-leads-to-C.

The synopsis has to “sell” the story and the flavour and excitement of the whole.

If you’re having trouble injecting excitement, possibly because you’re too close to the story, take a step away, pretend you’re working on someone else’s work. Make sure the suspense and intrigue doesn’t drop off as the synopsis continues.

Kylie Mason, author of blogspot “Internal Laundry” and freelance editor (read more about Kylie here):

I think simple, straight forward query letters & synopses are best – then let your ms show your talent. The best submissions generally leave the bells and whistles to the manuscript.

The only other thing I’d say is read everything carefully a couple of times before sending it – it’ll give you peace of mind that everything is looking as it should.

Looking for a ray of light? Then read on…

Which leads us nicely into next time: what my author buddies told me about query letters, and what extra resources you must consult before you approach an agent or editor!

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