Fiction and Screenwriting Neil Workshops Writing a Synopsis This isn’t a template, but rather some guidelines that might help you produce an effective synopsis. In the end, when you think you’ve finished, you’ve got to look at what you’ve written and ask yourself if it does what it needs to do. Your reason for writing the synopsis has some bearing on the end result. If it’s intended as a guide for yourself and others at the start of your writing project, your primary objective is clarity about the core story. If you are writing it to send out to agents, publishers, producers, broadcasters, in an attempt to interest them in your project when it’s completed, your choice of language and your tone will be subtly different because now your goal is also to seduce. You need whoever is reading your synopsis to be powerfully engaged by the story and desperate to find out more. With regard to length and content for the latter type of synopsis, take a look at the submission guidelines of whoever you’re sending it to. Agents, publishers and production companies all have different requirements, most of which, for convenience, are generalised to include all submissions. If guidelines are given, you need to comply with them. Some are more flexible than others. If you can talk to them before you make your submission, do so. I’m afraid there’s a lot of bad advice online about what should go into a synopsis, so be cautious and critical if you’re reading around on the subject. Of one thing, though, you can be certain: a good synopsis takes a great deal of thinking, crafting and revising. If you dash it off, it won’t be any good and you won’t have done the all-important thinking about your story. And when you’re writing a synopsis as an aid to developing your story, this thinking is the whole point. Ingredients: 1. Basics A synopsis is written in the third person, present tense. Don’t try to put the whole plot in. But you might want to mention some of the following: The inciting incident. Key turning points. The climax - the decisive event that determines whether the goal will be achieved. The resolution or the aftermath of the climax, which illustrates whether or not the goal was achieved. If you give too much of the plot away, the reader of your synopsis is not going to be motivated to go on and read your screenplay. Basic psychology. Hint where the story is heading, but don’t spell it out. 2. Main character's arc Who is your main character? What kind of person are they? Are they thrust into a situation where they are pressured to make important choices, difficult decisions? Do they take a leap of faith and change, adopting a new approach or take some uncharacteristic action? Or do they hold true to who they are and become more entrenched in their ways? 3. Impact of other major characters Other major characters may be responsible for the dilemmas and play a key role in the resulting shifts in your central character. Consider whether any character’s influence is important enough to merit a mention. Probably not by name unless their role is absolutely central to the story. 4. Is there a central relationship? The progression of the relationship (if there is one) between the central character and another should get a mention. Consider: How their relationship stands at the beginning of the story. How their relationship develops or is tested in the course of the story. The climax of their relationship (a decisive change). Their relationship at the end of the story. How is it different? In addition: The tone and style of your synopsis should reflect that of the series/episode it is summarising. Your synopsis should also demonstrate all of the following: Your story has a fresh, original idea or premise. You have a fascinating protagonist everyone would like to know better. Your subject and theme are engaging, thrilling, seductive, intriguing, etc. You can tell a story: the tension should build and the whole synopsis should point towards (but not reveal) a conclusion we sense will be ultimately deeply satisfying.

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