Synopsis Help

Here's what I've done for half page long synopsies in the past:

* Since it is only half a page long, keep it as simple as possible.
* Avoid mentioning subplots and names of minor characters.
* I'd even kill B plots altogether - you can't include everything after all.
* Make it as interesting as possible.

It has been successful enough to get interest in projects and scripts requested.

(It's only after they read the script that the projects stalled!)

Good luck,

Mac

That's great advice, Mac! There's not much to add to that except that when you write it, pretend it is a pitch - in other words, avoid telling the story like this:

Jack throws a grenade into the car. It explodes killing Reginald. The next day Jack drinks himself into a stupor but then he gets robbed.

But go for something more like this:

Jack lobs a grenade into the car when - BLAM - it explodes, killing Reginald instantly. Drunk, guilty and stumbling, Jack gets robbed the next day in an alley.

Try to spice it up a little; you want a synopsis to actually be an entertaining read in and of itself. Don't go overboard with that; don't overlook getting the main gist of the narrative down - but when your synopsis is a dry read, it doesn't bode well that your script will be very interesting either.

I personally wouldn't put the ending in the synopsis. If you've written it well enough, they'll want the script and can find out the ending that way. I said this poorly, but it's late and I just got done grocery shopping.

Good advice from the above, as well.

The way it was explained to me, a logline tickles curiosity (i.e. you don't need to reveal the ending, just the setup and conflict potential), but a synopsis tells the whole story, including the ending... or at least hinting strongly what it will be... and/or revealing the dramatic twist in the tail, if any.

PS - welcome to the forum, Julie!

-Derek

adding

yep - tell the complete story. and by giving it spice make it sound like this fantastic movie you just watched!

break it down into 3 very short paragraphs - 1 for each act. setup, conflict, resolution.

They make more sense, listen to them.

Hi Derek - thank you.

When I do a synopsis for a production company, they want everything and of course the ending. And they want more detail in the set up and in the third act than in the second act and they want it written in a compelling way.

It goes like this: if the exec reads the logline you put on the coverage and likes, then he/she will read the synopsis. If they like that, then they'll read the script. So I'd really put your best foot forward when you write that synopsis. It is a skill-set in and of itself, believe me - I write them all the time and it's taken awhile to get pretty good at it.

Interesting curiosity: whenever I read a bad, dull or otherwise just plain not working script? The synopsis, despite my best efforts, also reads poorly. I just can't spin a summary in a better direction than the script was. When I read a really great script, the synopsis is pretty great as well. You're thinking - well, duh - no, it's not that, it's not that it's hard to synopsize a script that is all over the place, because what we do is just truncate it, mentally cut and paste and make it make some kind of sense (it's our job on the line) but it's the inspiration of it. When I read something great, I write the synopsis enthusiastically. So that's why I said earlier - write a GREAT synopsis - make it fun to read. It's your shot, your ticket, your billboard for the script. Draw them in NOW. A boring blow-by-blow will not inspire an exec unless your premise has such a HOOK and is so damn original that they're blown away simply by that. That happens very rarely. Believe me on that one.

That's why I say this:

1) Do tell everything*

2) Focus on the 1st and 3rd acts, with less detail in the 2nd act (but don't leave out the midpoint)

3) Choose colorful, kinetic, inspired language so your synopsis reads entertainingly.

*IMO to leave out the ending will only irk the executive. In a query letter, sure, you're going to be a little coy and only tell them the fundamental premise but make them want to know more. But if an exec asks for a synopsis? Send a synopsis. Synopses aren't teasers. They are summaries.

I read for some A-list production companies and this is my experience with synopses. I'm sure someone will differ so take it for what it's worth.

hey julie - just to clarify... there can be diff versions of your synopsis. in this case the original poster wanted a version for a contest and it needed to be 1/2 page in length. a full synopsis requested by a producer would be more like you suggest.

You're right, Nike - there are different versions. I've had like three different versions for my own work: producer, manager, competition. I hear ya. For a competition you can afford to be more succinct and less WOW because they are not using it as a tool to judge your script; it's kind of to know which pile to toss it in. Producers, yes, are a much harder sell; you better have one sexy synopsis. lol

Hey Dan,
To add to what these others have said, when I have to write a short synopsis and even with the longer ones, I do a point by point of what I want to cover, and then expand. It keeps me focused, on task, and it makes for a sharper synopsis because it cuts down on wandering tendancies.