The Synopsis - how much detail?

Depends. In a query they are kept to 3 paragraphs. In an accompanying one page, in a full synopsis as much as ten pages.

This is what I do when I'm stuck on a synopsis. The one page you aren't going to get a lot in there. Try doing a list of the main points and only the main points. Cut out subplots, side characters, don't mention them by name it just muddles the story. Then flesh out those points until you have a page, then refine.

And that is a synopsis.

Teralynna said:

Thank you, Icerose.

I have a one page synopsis, and a two page synopsis, and a query ...

Is it better to leave the reader hanging at the end of the synopsis, or do they want to see the ending of the story?

Do I customize every synopsis based on the information I can get out of the receptionist at each agency I call?

Has anyone ever asked you for a ten page synopsis?

Click to expand...

My experience thusfar favours the one-page treatment. Nobody wants to read a ten page treatment for an idea they know nothing about. A one page should outline the story in a very general way. It should be an expanded logline, detailing the main characters, their set up, their challenges, the obstacles they have to overcome and what is at stake. The treatment should also detail what genre you are writing for and who the material is aimed at.

I tend to not reveal the ending at the initial pitching stage. If someone requested a ten page outline then that document should lay out every story beat from start to finish. If your one page is good enough then a general understanding of the kind of ending the reader can expect will be hinted at - most films have a satisfying resolution with the hero coming out on top so a certain expectation of that ending is expected anyway.

Synopsis or treatment, as opposed to a "pitch" should always include the ending.

My rules of thumbs are: keep it to a handful of main characters, cut subplots, be specific but not too detailed ("he's murdered" instead of "he's killed by a shady person with a knife who stabbed him three times"), use strong verbs and nouns instead of vague adjectives and adverbs, and only reveal the major plot points.

I really hate treatments, but now they are expected.

A good way to write them is to go back to your outline. The treatment still needs three acts, but act II is relatively shorter to I and III in the script version. I haven't read any threads about structure in treatments, but it seems sensible that they have the same structure as the screenplay.

I would also think one page suffices for a written script, if they don't like it after a whole page, you're wasting your time with them. I have seen treatments of 40 and 50+ pages, why? Just read the friggin' screenplay then.

Teralynna said:

I thought that a treatment was distinctly different from a synopsis.

Also, although the book industry expects to see the ending in a synopsis, in the script industry... it seems to be an unknown. I remember a working script writer said in an article he does not include his ending in his synopsis. He thought it was better to leave the reader wanting more.

Click to expand...

A synopsis is a general summary of your idea and varies in length. A treatment is a selling document, designed to accurately and effectively market your work and also varies in length.

It would be easier to help you decide what is best for you if you could tell us what your mission is. Are you pitching an idea to a producer? Are you querying an agency? The best tool for the job will be dependent on these things.

I need to clarify the treatment comments I made. The previous comments are about screenplay treatments only.

TV Pilot treatments are vital, plus they are really a blast to write. They tend to be really really long, and detail where the cast and story is going. Spec writers can then plug right into the story for their contributions.

Two current treatment examples: Lost vrs Heros. Seems to me Heros had a much more cohesive, flexible treatment. Lost seems lost, no direction, no flexibility.

I would love to write a show for Heros, add a new character. I'd definately write for the Hiro character. What a hoot. Where in time would we go? What mutant skill does he need to team up with to fulfill his quest? Man, I'd kill to intern on this staff.

But Lost, what would I write? Beat up Sawyer. Kate gets teary eyed, can't choose between the two hunks. Beat up Sawyer some more. The others do dastardly deeds. Flashback on Sawyer getting the snot kicked out of him. I really liked this show, too.

A synopsis should go from about here........











....To about here...........................................In My opinion.

Logline:.................................................................................
......................

Synopsis:.........................................................................................
.............................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................................
.....................................................................................................
.....................................................................................................
....................................................................................................
...........................................................................................................................................................................................................
.....................................................................................................
.....................................................................................................

This is how I query.

Dear _______,

Logline, introduction to self, title of the piece.

2-3 paragraphs about the story.

Close with credits and nitty-gritties such as page count and genre.

Thank you for your time.

name,
Contact info.

I've gotten very good responses using this format. Of course the synopsis and logline have to be attention-grabbing for it to work.

The TV industry is a world apart from film.

Major caution here: before writing for any TV show, find out all you can about it first. Look for signs that the show might end its run. Few shows last longer than five years. Contract problems with the stars, lackluster ratings, anything which might lead to canellation.

It takes a while for a spec script to make it through the process, you don't want the show cancelled after all your work. That happened to me twice. Figure about a year, unless you really write a knock-out.

Make sure the show accepts spec, most comedies do not.

Know the show inside and out. Know who the staff writers and script super are by name and rep.

Have your outline, logline, and treatment ready. Have your phone pitch ready. Then call the show to ask if they are accepting spec scripts. If they are, you might get transferred to a script supervisor who might want to hear a little about your idea, be ready. More likely, if they want new input, they will want to send you a bible. Then write the script.

Keep the script cheap. Watch the effects. If they like it, but don't use it, they might want to see more. Be prepared to pitch other ideas. Be prepared to move to Lala land if they want you to intern or whatever. It happens.

Yes, TV writing and film writing are different animals.

I'm just saying, the screenwriting tips thread has links to query letter and synopsis articles. Just do a search for "query" or "synopsis" in the thread.

-Derek

Here is an example of a query letter I use that has gotten many favorable responses.


Dear ______,

Trapped in the clutches of a serial killer, Carolyn has six days to escape or die. Hi, my name is Sara Price and I would like to submit Six Days for your consideration.

When Carolyn Walker loses her best friend to a serial killer dubbed The Rose Bay Killer, who keeps his victims for six days, tallying the days in their skin before killing them Unable to let it go, she follows the sparse trail and tracks him down moving ever closer to uncovering his identity.

Revealing her quest over the phone to her newfound love, Jack Davidson, she fails to realize the killer is closer than she thinks. Chosen as his sixth victim in the city, Carolyn finds herself in a cell, with only six days to live, hoping someone will find her but not betting her life on it she struggles alone, fighting against the fast approaching deadline. Jack, meanwhile, works with a small team to track down the same clues she did, due to the police inability to find her.

As Carolyn is forced to edure captivity under a madman who believes it is love. Her nightmarish past forces her to recall dark events she thought she had burried, but may yet help her find the will to live. Carolyn fights to overcome it and escape with her life, but she can't do it alone.

If you are interested in reading this, please let me know. I have optioned two other scripts, one of which is entering production, and published a few short stories.

Thank you for your time,

Name
Contact info