How long should a synopsis be?

I'm told a synopsis should be just one page and no longer, while a treatment can be anywhere from 2 pages to 40.

Whenever writing article gurus talk about a synopsis as opposed to an outline or a treatment, they seem to be referring to the one-page query letter, Dear Bob love your work, 25-word logline, three short/succinct/punchy synopsis paragraphs (that could be equated to the three acts), contact details + thank you!

I'm just saying, you might want to take a peek at this thread on the DD board: The Futility of Pursuing an Agent ...which is a realistic insider look at the agent situation. The thread title speaks for itself, so be prepared for disappointment. But who knows, there may be exceptions, so query away, and obviously if you've already made contact with interested parties you can ignore completely.

Also, if you haven't already, check out the screenwriting tips thread which contains suggestions on how to find prodco info for queries.

-Derek

Synopsis...

A query letter, a logline and a synopsis are three different things. Are you referring to the synopsis that is part of your query letter? If so, you want to keep that short and to the point. Perhaps a handful of paragraphs and that’s it. If you’re referring to a synopsis that you’d send to a producer prior to sending a script, then that would be in the 2-4 page range (single-spaced). Anything more than that and you could be asking for trouble.

Feel free to check out the Questions & Answers section of my website for more answers...

www.TheWorkingScreenwriter.com

The first thing

you do when seeking an agent, COLD, is send a query.
That should be very short, focusing on the three acts of the script.

THEN if the studio/agent is interested they may ask for a snyopsis.
At this point you want to go for as Jay Vee said only a couple of pages.
Explain your major plot points and really hit the story bits that sell the script.

And then you may be asked for a treatment which is 15 to 20 or so pages outlining the plot points, characters, and major bits of dialog that shape the story.

SOMEBODY

needs to make a freakin standard dictionary of Film Industry terms
and get us all on the same page.

To Scripter1
Well said!
That would be helpful.
Hey! Wait a minute,maybe there is one out there already....Yeah,and why wouldn't there be one?
A Screenwriting book void of IF'S ,BUT'S AND MAYBE'S.
Like that old saying in the DETECTIVE MOVIES,when it comes to questioning time,and the Detective says"Just the Facts,Lady".
Yes,nothing but the facts, sounds too good to be true.
And so begins the quest.....
Daniel.

I can see this screenwriter's guidebook in my mind's eye right now:

dpaterso's "I told you a thousand times, two brads, two."

Right now there are a bunch of screenwriting gurus duking it out for the title of reiging king and last word on screenwriting terminology.

Anyone recall the tempest in a teapot we all had a few weeks back over the correct usage of the terms "inciting incident" vs. "plot point 1"?? (And a few of us prefered "inciting moment" over and above "inciting incident".) Some posters quoted Syd Field, some quoted McKee. And it went round and round.

I think the only way this is going to be resolved is if a summit meeting between the various writing gurus and some key industry leaders leaders (like key producers, key directors, key studio heads, etc) is called and they hash it out themselves and publish a definitive stance on these thnigs. Some kind of a Hollywood Accord ranking right up there with the Council of Nicene.