How to Write a Synopsis

Whether you are submitting your book to an agent or directly to a publisher, a synopsis is an essential part of your submission packet.

Nobody likes writing synopses, in part because there is a natural desire on the part of writers to resist stripping their works of art down to the bare bones of plot points.

Writing a synopsis is also not particularly fun. If your strong suit is snappy dialogue or lyrical descriptions, you will be forced to leave all your little darlings behind.

The truth is you don't have to sacrifice creativity to write a synopsis. You can include descriptive adjectives and power verbs (avoid all forms of the verb "to be" and "to have" whenever possible). You can also include short dialogue if it is relevant to the plot.

How long is a synopsis?

Back in the day, synopses used to be quite long, roughly one page per every 25 pages of manuscript. (A 200-page book would have a synopsis of  8 pages.) But agents and editors are increasingly pressed for time, which means synopses have shrunk. The length now depends entirely on what the agent/editor requires.

It is a good idea to have several synopses on hand: a 3-5 paragraph synopsis (one page, or roughly 300 words), a 2-page synopsis, and a one-paragraph synopsis. Chances are the agent or house you are querying will ask for one of these.

Remember: A synopsis is a summary. It is designed to give an agent or editor a clear, concise idea of your story, not show your dexterity as a wordsmith.

Here are the basics for writing a synopsis

1) A synopsis must include all of your plot, including the ending. You can't end a synopsis with a cliffhanger or a question. "John dies" may seem like a spoiler, but that is exactly what an editor wants to know.

2) Be explicit. Details are important in a synopsis. A character should not experience "something unexpected." Say what that something is. For example,"The unexpected arrival of her father leaves Clarissa confused and angry." (It's important to include how your character feels. That provides a basis for motivation.)

3) Make sure your synopsis is structured. It must have a clear beginning, middle, and end, corresponding to the beginning, middle, and end of your book. The beginning introduces your characters, identifies the main conflict, and describes the setting. The middle outlines the main plot points. And the end resolves the conflict and tells us what happens to the characters.

4) Don't include too many twists and turns. It is not essential to include absolutely everything. If there are too many extraneous characters and subplots, it will be impossible to follow the story. Simplify wherever you can.

5) Make your synopsis stand out. If there is something unique about your story, make sure to give it the attention it deserves.

6) Write in present tense.

Before you start ...

It's a good idea to write a couple of synopses for books you did not write before you tackle your own. Like every other aspect of writing, synopsis writing is a skill, and all skills benefit from practice.

For a great list of synopsis examples, check out Writers Digest: Synopsis Writing

Reddit for Writers

Updated 1/6/22

Reddit calls itself the "front page of the internet." They may be right, at least for one demographic.

Most Redditors are college-educated young men living on the west coast with a moderate income. They are hip, smart, and like to talk about whatever is trending. (If you are a sci-fi writer, Redditors are your audience.)

Aside from being the best place to get the latest news, Reddit is a great resource if you know how to navigate it.

At first it may seem like a manic hodge-podge of random questions, comments, and news items. There is that, but there is also a world of mind-expanding specialized knowledge. (The most popular reddits, however, have nothing to do with any consistent topic.)

There is a wide range of subreddits for those who are looking for specific topics and areas of interest, some of which are well-trafficked, and some that are voices crying in the wilderness - for example, those having to do with writing. But, as it happens, sometimes a small, intimate group can be more productive than 8 million subscribers who simply want a laugh. (Funny is one of reddit's most popular subreddit.)

The best way for writers to use reddit is not as a marketing tool. It's true there are subreddits that will allow you to post your freebies, but the best use you can make of Reddit is as a source of information and/or critique.  If you are looking for publishing or marketing advice, for example, you can ask a question and get useful - and accurate - answers from professionals and from people who are willing to share their personal experience.

There are also a number of active writing critique groups on Reddit. The critiques I've read have been right on the mark, and written by people who clearly understand the craft of writing. You may even find yourself willing to offer some suggestions of your own.

So, check out the subreddit list below. 

Not on this list, but deserving of mention is /r/books. This is where books get discovered.

General

Subreddits

Subreddit	Readers	About
/r/writing	2.1m
/r/write	20.3K
/r/shutupandwrite	9,416 (Private)	About
/r/KeepWriting	81K	About
/r/writers	131K

Genre

Subreddit	Readers	About
/r/fantasywriters	371K
/r/Erotica	136K
/r/comedywriting	13.9K
/r/scifiwriting	50.1K	About
/r/WritersOfHorror	8.8K	About
/r/EroticWriting	9.7K	About
/r/JournalingIsArt	17.6K
/r/YAwriters	14.2K

Medium

Subreddit	Readers	About
/r/Screenwriting	1.3m
/r/webfiction	1.5K
/r/yourserial	151
/r/fictionmagazines	186	About

Skillset-specific

Subreddit	Readers	About
/r/freelanceWriters	86.3K
/r/Newbwriters	4.7K
/r/HighSchoolWriters	1.9K	About
/r/AmateurWriting	2.9K

Length

Subreddit	Readers	About
/r/sixwordstories	62.2K
/r/OneParagraph	8.5K
/r/ShortyStories	2.1K

Publishing

Subreddit	Readers	About
/r/selfpublish	77K
/r/epublication	964
/r/coverdesign	801

Critique and Workshops

Subreddit	Readers	About
/r/WritersGroup	29.4K
/r/LitWorkshop	2.8K
/r/ShortStoriesCritique	4K
/r/PracticeWriting	2.4K
/r/writingfeedback	1.8K	About
/r/WriteWithMe	5.4K	About
/r/writingclinic	239	About
		About

Prewriting

Subreddit	Readers	About
/r/worldbuilding	828K
/r/IAmAFiction	7.5K	About
/r/streamwriting	140

Story Sharing

Subreddit	Readers	About
/r/readitnow	6.3K
/r/shortstoryaday	4.4K

Fanfiction

Subreddit	Readers	About
/r/FanFiction	225K
/r/Sherlock_Fanfiction	3.6K
/r/SuperWhoLock	1.2K
/r/masseffectfics	2.7K

Contests and Events

Subreddit	Readers	About
/r/nanowrimo	36.1K	About
/r/writingcontests	7.5K
/r/CampNaNoWriMo	2K	About

Number Enthusiasts

Subreddit	Readers	About
/r/wordcount	3K

Writing Prompts

Subreddit	Readers	About
/r/WritingPrompts	15.6K	About
/r/promptoftheday	14.9K
/r/creativechallenge	852
/r/Artprompt	2K

Gender-specific

Subreddit	Readers	About
/r/femalewriters	1.9K
/r/malewriters	60

Inactive

Subreddit	Readers	About
/r/DarkWorkshop	305

Neil Gaiman on Writing: "Your first draft doesn't count."

Neil Gaiman always has good advice for writers, including how to overcome writers' block.

While Gaiman is specifically talking about how he approaches writing, all of these observations are applicable to any writer, regardless of their medium.

Here are some of his major points:

1) "Your first draft doesn't count."

This is probably the most important piece of writing advice you will ever get, not only because it will free you to face the terror of a blank page, but because it is the truth.

Aside from you, nobody will ever see your first draft, because you will never show it to anybody.

In the euphoria of having finished your novel, or short story, you may be tempted to submit it to publishers, agents, friends - DON'T DO IT! Instead, let it pumpkinate. Put it away, and come back to it after you are well into another project. Otherwise, you will never see the mistakes you have made - but everyone else will.

2) "Write even when you are not inspired."

Gaiman says to "just put one word after the other" as if you were building a rock wall. If you wait until you are inspired you will not finish your project. I agree with Gaiman completely on this piece of advice. Paradoxically, even if the muse has deserted you, once you start writing she will return. The trick is to write something - every day -  in order to get the juices flowing. (It's called discipline.) Successful writers approach their work as if it were a job.

3) "Read outside your comfort zone."

Ray Bradbury also offered the same advice, and for a good reason. If you only read in your genre, you won't be exposed to different styles, different points of view, and different solutions to age-old problems. (Problem-solving is at the heart of every great novel.) So, read nonfiction, read poetry (especially poetry), read Shakespeare, read essays, read anything that isn't what you are writing. It will stretch your mind.

4) "In the beginning you will imitate other writers, but only you can tell your story."

The process of imitation is important. Those writers are your models, so choose them well. But, as you get your writing legs, you will naturally develop your own style, If you have a story to tell, your voice will shine through.

___________________

Related posts:

"If you don't know what's impossible, it's easier to do it ..." ~ Neil Gaiman

Ray Bradbury's Words of Wisdom - Write Like Hell!

Writing Advice from Frank Herbert: Concentrate on story

MFA Prof Raises Writers' Wrath, Incites Ire

Two weeks ago a former MFA professor named Ryan Boudinot published what can only be called a diatribe about MFA programs in a Seattle alternative paper.

The article, in which Boudinot skewers the majority of students who enter MFA programs - and more specifically his own students - drew not only 211 irate comments, but a counter article from one of his students pithily entitled "I Was the MFA Student Who Made Ryan Boudinot Cry: A Response to the Insensitive, Shit-Stirring Rant That Made a Lot of People—Including Me—So Mad."

Having never taught in a graduate writing program, I can't comment on what they do, or don't, accomplish. However, having taught in a number of other disciplines - artistic and academic -  I can address some of Boudinot's academic requirements for success in the arts.

1) Talent, as Boudinot says, is required to be a good artist - of any type. No matter how many years of training you have under your belt, if you don't have that ineffable quality of talent (which is like porn; you know it when you see it) you can't succeed at being good. You can, however, succeed commercially. There are plenty of atrocious writers out there who have earned big bucks because they had a marketable idea. (I'm not naming names, here. Just saying ...)

2) I take issue with Boudinot's assertion that taking writing seriously in your teens is required to be a successful writer. Isak Dinesen, author of Out of Africa, began to write at age 40. James Michener wrote his debut novel, Tales of the South Pacific (which won the Pulitzer Prize for Fiction in 1948) at age 40. Annie Proulx, author of The Shipping News, was 53 when she published her first full work of fiction, the short story collection Heart Songs. And at 41 years of age Mark Twain published his first novel, The Adventures of Tom Sawyer ... the list goes on and on. Writing at an early age is not necessary; what is necessary is to love reading. (And since when do teenagers take anything seriously anyhow ... apart from sex, that is.)

3) "If you complain about not having time to write, please do us both a favor and drop out." This complaint should have been modified as "If you complain about not having time to do the work I assign you, please drop out." All grad programs are demanding, and students should be aware of that before entering one. I am with Boudinot on this point. However, if you are a writer who is not in school, and have a day job and/or a family, feel free to complain liberally. The only mature adults who have enough time to write are either independently wealthy or in solitary confinement.

4) "If you aren't a serious reader, don't expect anyone to read what you write." Again, not true. "Hard" books are not necessarily good ones. More to the point, writers should read everything - the good, the bad and the really bad. Dissecting bad writing is just as valuable as dissecting good writing. Developing an "ear" means you should have an intuitive grasp of what sounds good, and what doesn't.

5) "It's important to woodshed." By this, Boudinot means that it is not always the best idea to rush into publication. Your writing will benefit, he says, if you take some time off, let it simmer for a while, then go back to it. I couldn't agree more.  

Although Boudinot has made some valid points, it is more than apparent that he is a mean-spirited man whose heart is two sizes too small. Still, it is worth reading his article if only to give some context to the counter article written by his student, J.C. Sevcik ("I Was the MFA Student Who Made Ryan Boudinot Cry"). Sevcik makes a lot of good points about writing, and about MFA programs - their benefits as well as their drawbacks.

On a personal note, I would like to point out that I did not begin writing seriously until I was in my 40s. My first novel was published by Random House when I was 50. And not only did I never take a graduate course in writing, the only writing class I took as an undergraduate was a single workshop in poetry. (I think I took a few English classes in high school. As I recall, they were okay.)

For those who enjoy poking fun at MFA programs, click HERE to read The Toast's hilarious spoof of MFA workshops.

________________________________________

Things I Can Say About MFA Writing Programs Now That I No Longer Teach in One

By Ryan Boudinot, The Stranger, 2/27/15

I recently left a teaching position in a master of fine arts creative-writing program. I had a handful of students whose work changed my life. The vast majority of my students were hardworking, thoughtful people devoted to improving their craft despite having nothing interesting to express and no interesting way to express it. My hope for them was that they would become better readers. And then there were students whose work was so awful that it literally put me to sleep. Here are some things I learned from these experiences.

Writers are born with talent.

Either you have a propensity for creative expression or you don't. Some people have more talent than others. That's not to say that someone with minimal talent can't work her ass off and maximize it and write something great, or that a writer born with great talent can't squander it. It's simply that writers are not all born equal. The MFA student who is the Real Deal is exceedingly rare, and nothing excites a faculty adviser more than discovering one. I can count my Real Deal students on one hand, with fingers to spare.

If you didn't decide to take writing seriously by the time you were a teenager, you're probably not going to make it.

There are notable exceptions to this rule, Haruki Murakami being one. But for most people, deciding to begin pursuing creative writing in one's 30s or 40s is probably too late. Being a writer means developing a lifelong intimacy with language. You have to be crazy about books as a kid to establish the neural architecture required to write one.

Read the rest of Boudinot's diatribe HERE. 

Read Sevcik's retort HERE.

12 Writers Conferences in March 2015

March is a popular month for conferences. Shaw Guides lists 27 conferences this month, including annual events for several state and national writers organizations.

The larger conferences are jam-packed with speakers, workshops, book signings, readings, and, of course, pitch sessions with agents.

But there are also smaller, more intimate gatherings this month, focused on the craft of writing and niche markets.

Registration is still open for all of these conferences. You can see their full schedule of events by clicking on the links.





______________________

Puerto Vallarta International Writers Conference 2015, March 6-8, Puerto Vallarta, Mexico. Speakers: Elise Capron of Dijkstra Agency, Caleb Pirtle III, Sarah Cortez, James R. Callan, Carmen Rodriguez, Thomas Pulley, Donna Dahl, Melissa Frost, Evelyn Bryn.

LA Writers Conference 2015, March 14, 2015. Los Angeles, CA. "Learn how to sell your book idea in the boot camp and practice your pitch to an agent in the pitch session. Led by brand specialist and book consultant, Ruth Klein."

EPICon-2015, March 12 - 14, 2015, Menger Hotel, San Antonio, Texas. This conference is truly epic, with workshops on marketing, book production, distribution, sales, and information on epublishing from the top experts in the field.

New York Writers Workshop Fiction Pitch Conference, March 13-15, 2015, Ripley-Grier Studios (NY Spaces) 520 Eighth Ave (36th/37th), 16th Fl. Participants polish their pitches with the help of conference leaders who are members of the New York Writers Workshop faculty, then they present them to three different editors from major New York publishing houses. Editors provide feedback and may request proposals and manuscripts after the conference.

Virginia Festival of the Book, March 18-22, 2015. Book exhibits, talks by authors, readings, workshops on book promotion, finding an agent, poetry, publishing, agents roundtable - you name it, this conference has it.

Algonkian Writers New York Pitch Conference, March 19-22, 2015. "The event focuses on the art of the novel pitch as the best method not only for communicating your work, but for having you and your work taken seriously by industry professionals. More importantly though, it is also a diagnostic method for workshopping the plot, premise, and other elements of the story to determine quality and marketability. Simply put, you cannot successfully pitch a viable commercial novel if you don't have a viable commercial novel. Our goal, therefore, is to set you on a realistic path to publication. "

Create Something Magical Conference, March 21 - 22, 2015. Iselin, NJ. The conference includes a writers track, a readers track, book fair, author signings, workshops, editor and agent appointments, and social events. Ten agents from NY agencies, and seven agents will be attending. Click HERE for a checklist of agent preferences (genres they represent).

PubSense Summit, March 22-24, Charleston, SC. Featuring keynote speakers Cevin Bryerman, publisher of Publishers Weekly, and Joanna Penn, best-selling author and founder of The Creative Penn. Workshops on: how editors/agents can further your publishing goals, steps to build your author platform, brand and persona, insights from publishing pros including agents, editors, marketers and social media gurus, where book publishing and marketing is headed right now, how to build book sales through reviewers, mass media and book clubs, today’s methods of crowdfunding, using discoverability tools and increasing distribution. Featuring keynote speakers Cevin Bryerman, publisher of Publishers Weekly, and Joanna Penn, best-selling author and founder of The Creative Penn.

The Chesapeake Writing Conferences, Baltimore (March 27) and Washington DC (March 28)  a full-day of  “How to Get Published” workshops. Attending agents: Jeff Kleinman (Folio Literary); Ella Kennen (Corvisiero Literary); Jamie Bodnar Drowley (Inklings Literary); Laura Strachan (The Strachan Literary Agency).

Northern Colorado Writers Conference, Mar 27 - 28, 2015, Fort Collins CO. Sessions: script writing, self-publishing, maximizing sales, agent roundtables, children's books, writing for TV, building your author platform, how to write an effective hook, and more.

California Dreamin' Writers Conference, Mar 27 - 29, 2015, Brea CA. Agents attending: Laura Bradford (Bradford Literary Agency), Courtney Miller-Callihan (Greenburger Associates), Lucienne Diver (The Knight Agency); editors from Avon Romance, Boroughs Publishing Group, Entangled Publishing, ImaJinn/Belle Books, Random House, and Samhaim Publishing. Over 60 workshops: writing, publishing business, pitching to agents, book covers, and anything else you can think of.

Writers' Day, March 28. Hooksett, NH. Workshops and seminars led by professional writers, editors, agents, and publishers. The conference includes the option of face-to-face manuscript critiques and agent/publisher one-on-one pitch sessions.

12 Writing Contests in March - No Entry Fees

March is a long, cold month that has Ides. (They all do, but the Ides of March is Shakespearian!) It's a great month to focus on writing, and everything that getting published entails.

There are lots of writing contests with deadlines in March (some even fall on the Ides), and they cover the spectrum from poetry to Hoosier lit. Short story contests abound.

So, don't be shy. Take a chance and enter a contest. Who knows, you may win!



____________________

The Naomi Long Madgett Poetry Award is sponsored by Broadside Lotus Press. Restrictions: This competition is open to African American poets only. If you have already had a book published by Lotus Press, you are ineligible. However, inclusion in a Lotus Press anthology does not disqualify you. Genres: Poetry collections of approximately 60-90 pages. Prize: $500 in cash and publication  by Broadside Lotus Press within the first three months of 2016 as well as free copies and discounts. Deadline: March 1, 2015. How to enter: Read submission guidelines HERE.

Wicwas Anthology 2015. Genres: Beekeeping stories (fiction and nonfiction). Restrictions: US residents only. Prize: First prize - $500.00; Second prize - $300.00; Third prize - $200.00. Deadline: March 1, 2015. How to enter: Read submission guidelines HERE.

Ottawa Magazine Short Fiction Contest. Restrictions: Open only to residents of Ottawa. Genre: Entries must be no longer than 3,000 words. Entries can be short stories or excerpts but must not have been published elsewhere. Prize: The winner will receive $700, the runner up $300, and both stories will be published in the Summer 2015 issue of Ottawa Magazine. Deadline: March 1, 2015. How to enter: Read submission guidelines HERE.

2015 RBC Bronwen Wallace Award for Emerging Writers. Genre: Poetry. Restrictions: Candidates must be: A Canadian citizen or permanent resident; Under the age of 35 as of March 2, 2015; Previously published in an independently edited magazine or anthology; Unpublished in book form and without a book contract. Prizes: Winner: $5,000; Finalists: $1,000. Deadline: March 2, 2015. How to enter: Read submission guidelines HERE.

The John Gardner Fiction Award is sponsored by the Binghamton Center for Writers-State University of New York with support from the Office of the Dean of Binghamton University's Harpur College of the Arts & Sciences. Genre: Novel or collection of fiction published in 2014. Prizes: Winner: $1,000. Deadline: March 1, 2015. How to enter: Read submission guidelines HERE.

NEA Literature Fellowships are sponsored by the National Endowment for the Arts. Prize: $25,000 grants in prose (fiction and creative nonfiction) and poetry to published creative writers that enable recipients to set aside time for writing, research, travel, and general career advancement. Deadline: March 11, 2015. How to enter: Read submission guidelines HERE.

McLaughlin-Esstman-Stearns First Novel Prize is awarded to the a author of the best first novel published in the previous calendar year (2014). Restrictions: Only American authors publishing in English are eligible. Non-eligible books include short story collections, flash fiction, memoirs, biographies and books published solely in electronic format. Prize: $500. Deadline: March 15, 2015. How to enter: Read submission guidelines HERE.

The Lakefly Writers Conference Writing Contest. Restrictions: Open to residents of Wisconsin only. Genres: Short story fiction:  2500 words or less. Any genre that includes the theme: Temptation Flash fiction:  500 words or less; any genre. First Five Pages:  A maximum of the first five pages of an original, unpublished novel; any genre. It must be accompanied by a two-paragraph synopsis. The novel does not need to be completed at the time of submission. The Jean Nelson Essay: 2500 words or less. Theme: Literary character I would most like to meet. Prizes: First place winners will receive a cash prize of $100; second place winners will receive $75; and third place winners will receive $50. Deadline: March 15, 2015. How to enter: Read submission guidelines HERE.

The Modern Love Contest, sponsored by the New York Times, is inviting college students nationwide to open their hearts and laptops and write an essay that describes what love is like for them today. Restrictions: Open to college students. Genre: Essay (1,500 to 1,700 words). Prize: The winning author will receive $1,000 and his or her essay will be published in a special Modern Love column in May 2015, and on nytimes.com. Deadline: 3/15/2015. How to enter: Read submission guidelines HERE.

The Eugene & Marilyn Glick Indiana Authors Award seeks to elevate the written arts in Indiana. Restrictions: Any living published writer who was born in Indiana or has lived in Indiana for at least five years will be eligible. Authors who have published works of fiction, prose, poetry and/or non-fiction are eligible; reference works, scholarly monographs and books of photography will not be considered. Self-published authors are considered. Prize: National Author: $10,000 cash prize and $2,500 grant for his or her hometown Indiana public library. Regional Author: $7,500 cash prize and $2,500 grant for his or her hometown Indiana public library. Emerging Author: $5,000 cash prize and $2,500 grant for his or her hometown Indiana public library.. Deadline: March 20, 2015. How to enter: Read submission guidelines HERE.

2015 Short Story Contest - Lost Voices. Genre: Stories must be Science Fiction, Fantasy, or Horror genre. Stories must be original, unpublished, unsold and no more than 3500 words in length. Prizes: First Prize:  $200, and story published in the 2015 Confluence program book. Second Prize: $100 Third Prize:  $50. Deadline: 3/31/2015. How to enter: Read submission guidelines HERE.

The BEVEL SUMMERS PRIZE for Short Short Stories will be awarded to a short short (under 1000 words) submitted between March 15 and March 31, 2015. Send up to three stories.  The winner and finalists will be published in the fall 2015 issue of Shenandoah. Prize: $1000. Deadline: 3/31/2015. How to enter: Print submissions only. Read submission guidelines HERE.