Posted on - 1 Comment on Countdown to a contest entry, part X: or shall I say 10…9…8…

Countdown to a contest entry, part X: or shall I say 10…9…8…


Well, the day has finally arrived campers — or, rather, the eve has arrived: the deadline for entering this year’s William Faulkner/William Wisdom Literary Competition is, if I am reading my calendar correctly, tomorrow. As I promised way back at the beginning of this series, although I shall continue talking about the larger issues of contest entry preparation over the next week and a half or so (I have a special treat in store for you for Memorial Day weekend), this evening, I shall be demonstrating how to do something that every conscientious writing contest entrant should be doing immediately before hitting SEND or popping that entry in the mail: going over the rules of the contest in question with, if not the proverbial fine-toothed comb, than at least a great big ol’ magnifying glass.

Because the deadline is so close — tomorrow at midnight for e-mailed entries! — I am going to try to keep this post brief. I realize that I’m writing for two constituencies here, those of you planning to enter this particular contest this year and those who are interested in improving your familiarity with the contest-entry process in general. Rest assured, I shall return to longer, in-depth analyses the day after tomorrow, but for tonight and tomorrow, I shall try to keep it brief and to the point.

Let’s dive right in, then. Most contests require entrants to submit an entry form, and the Faulkner/Wisdom competition is no exception. Their form is quite straightforward, though, so in the interests of time, I shall keep my remarks minimal.

Like many contests, although it specifies electronic entries, it asks entrants to download the form, print it out, fill it out, and submit it via regular mail along with the entry fee. Generally speaking, when contests list this quite common requirement, the form and check must be postmarked by the contest’s deadline.

The thing to notice about the form itself: check for a signature line. Virtually any contest will require entrants to sign something, either literally or electronically, indicating that they agree to the terms of the contest. That means, in practice, that if there is any fine print indicating that a writer is signing away rights to submission — in this case, first publication rights for short pieces, or excerpts for longer works — it tends to appear on the entry form, just above the signature line. It is in your best interest to read this section very carefully before you either sign or submit the entry fee.

“But Anne,” impatient contest entrants across the English-speaking world shout, “I’m in a hurry to get this out the door! I don’t have time to take a magnifying glass to the fine print!”

I know, I know — but I’m telling you to do it, anyway. The more reputable a contest is, the less likely you are to find surprises there, but just as you should never sign a representation or publication contract without first (a) reading it, (b) making sure you understand to what you are agreeing by signing it, and if you have any doubts about (b), (c) asking relevant questions and/or (d) getting someone conversant with such contracts to give you some advice (the Authors’ Guild offers (d) to its members, I’m told), you should not sign a contest form unless you are positive that you understand what you are empowering contest’s organizers to do with the writing you enter.

And no, I am not going to walk you through this contest’s fine print or any other. I am not an attorney; please do not ask me for advice on writing-related contracts. All I can legitimately do is urge you to be careful what you sign — and to whom you send your work.

But if you joined this series late and want some tips on how to figure out if a literary contest is legit — and not all are, alas, I can certainly help you there: you will find several posts’ worth of sifting criteria beginning here.

So much for the form. The next thing you are going to want to check for is for general entry guidelines. Don’t be surprised if, as is the case for the contest we’ve been discussing, you need to scroll down the page from the category guidelines or even click to a different page to find them. It is the entrant’s responsibility to follow every rule the sponsoring organization has established for its contest, whether it has elected to post them in one place or not. Double-check that you have not missed some provisions.

Oh, I hear some of you snickering, but you would not believe how often contest entries will adhere strictly to, say, the category guidelines, while totally ignoring the general rules. Or vice-versa. Don’t expect Mehitabel the contest judge to cut you any slack; the judging restrictions will probably forbid it.

Stop rolling your eyes. That’s not a matter of meanness: those rules were established for a reason. Remember, ignorance of posted rules is not a valid excuse here; if the organizers took the time to post them, they will expect all successful entrants to abide by them.

Pretty much every set of general guidelines will include a section on who is and is not eligible to enter the contest. Check these restrictions carefully: as we discussed earlier in this series, it is a waste of a writer’s time, energy, and entry fee to enter a contest he does not have a realistic chance of winning.

Unless, of course, he’s doing it just for the practice in entering contests. That’s not the world’s worst idea, actually: as we have been seeing, there’s more to preparing a winning contest entry than just printing up what you’ve already written, signing a check for the entry fee, and popping it in the mail. Some of this stuff is genuinely counterintuitive. A dry run now might improve your chances down the line.

And then there will be the general rules. This is the part you are going to want to check, double-check — and then go through it again with a pad and pen, making your own list of what’s required. Then, if you’re prudent, you’ll have someone with good reading skills go over both your list and the rules, to make sure that they jibe.

Oh, you may laugh, but believe me, there’s nothing sadder for Mehitabel to see than a well-written entry that scuttles itself because it’s missing a required element. Or is formatted incorrectly, by the contest’s individual standards. Or is instantly disqualified because the entrant forgot to sign the entry form.

Fair warning: the rules may not be presented in a format that’s particularly easy on the eyes, or even organized as a list. They also might not be labeled as straightforwardly as CONTEST RULES. It’s up to the entrant to track them down and read them carefully, to catch the nuances.

Let’s go over the rules for our example contest together, to see what that might entail in practice. If you’re having trouble reading individual words, try holding down the COMMAND key and pressing + to enlarge the image.

I wasn’t kidding about it’s being hard on the eyes. Grab a pen and paper, please, and go back through the Manuscript Requirements, making two lists: a to-do list for pulling together your entry, and an eligibility requirement list.

Yes, yes, I know: it’s a tedious exercise, and this particular contest, like most, had a separate general statement about eligibility. What I’m talking about here are the specific entry requirements, not the disclaimers. Besides, but wouldn’t you rather do this for the first time when I’m doing it, too, so we can compare notes?

How’d you do? Here’s my gleaned list of eligibility requirements:

1. If I want to submit more than one piece of writing — whether in the same category or different ones — I will need to e-mail them separately, as well as filling out a separate entry form and paying a separate entry fee.

Although this provision appears late in the Manuscript Requirements, I’m placing it front and center, due to its importance to the entrant’s decision about what to send. Each short story, poem, novel-in-progress excerpt, etc. will require a separate entrance fee, and must be presented separately.

Please take both the fees and the time per entry seriously. And don’t even think of trying to get around this provision by trying to pass off a collection as an individual entry. As we shall see below, their Mehitabels have no patience for that kind of rules origami.

2. Any writing I enter cannot have been published before in its current form.

Remember last week, when we were discussing what would happen if a book you entered in a contest got picked up by an agent or acquired by a publisher between the time you entered it and the time the winners were announced? Helpfully, this contest’s rules have spelled out explicitly what would happen in this instance; in other contests, you may have to search the aforementioned fine print for this information.

3. If what I want to enter has been published anywhere — even online — at least of 50% of its current phrasing must be different than the published version. It’s fine if it’s been quoted at length elsewhere, though.

Again, this is spelled out much more carefully than your garden-variety contest rules; that’s nice for the entrants. No fine points of law here: if it’s been published before in a mostly similar form, don’t enter it.

4. Self-publishing counts toward (2) and (3), if it sold more than 500 copies.

Nice to see this spelled out, too. Count only sales as of the contest’s entry deadline.

5. Online publishing counts toward (2) and (3), too.

I’m rather glad to see this one, actually: technically, writing posted online is published. The key phrase here is published in its entirety on the Internet ; if you’re in doubt about reusing material that’s been part or in a different form, consult rule #2.

6. I should not even consider entering anybody’s writing but my own. Oh, and it must be in English.

This is just common sense, really. So why might a contest’s organizers think to include provisions like this? Probably because they have been burned by plagiarized entries in foreign languages in the past. Or perhaps just one or the other. At the very least, they have heard of another contest’s winner being caught doing so.

Don’t laugh — it’s not all that uncommon for a contest’s rules to reflect the organization’s experience at contest-throwing. Speaking of which…

7. If I try to enter a short story or essay collection in a book-length category, it will be disqualified.

Again, that reads like the result of experience. As does this provision:

8. I must commit to what I want Mehitabel to judge: “please do not send us your collections and expect us to select one piece as the entry.”

I quoted this one, so we could sense the tension in that brief admonition. Lest you be tempted to dismiss what this clearly suggests happened at least once, allow me to remind you of our recent discussion of whether it is ever acceptable to submit non-consecutive excerpts in a contest for book-length works that calls for a specific number of pages. Contest entrants sometimes read rules in wacky ways.

But that’s starting to make more sense now, isn’t it? Let’s press on.

9. That goes double if I’m submitting poetry: “Poets! Do not send us multiple poems and expect us to select one.”

Wow, this cri de coeur even features an exclamation point. Translation: if you want to submit more that one poem, see rule #1.

10. On the bright side, I can send in as many separate entries as I have time, money, and patience to assemble.

Bearing in mind that…

11. I must submit each entry as a Word attachment to an e-mail. Each entry must be in its own e-mail, and I must mail a separate entry form and check for each.

If you don’t have the e-mail experience to be confident about this part, recruit somebody that does. You’ll only have one chance to get this right.

12. If I copy and paste my entry into an e-mail, I will be disqualified.

Sorry to phrase it so baldly, but I wanted to make sure that all of you caught the implication here. Take it seriously.

How did you do? Coming up with that list wasn’t as easy as you thought it would be, was it?

Note, too, that the criteria on this list were gleaned from across both of the sections above; that should also be true of the to-do list. That’s the result of careful reading. Please, for your own sake, never assume that all of the rules that apply to your category appear in only one part of the contest’s website or rules document.

But you did, didn’t you? How do I know? Because I stacked the deck, that’s how. Hadn’t you been wondering what the entry fee was?

Oh, hadn’t you noticed that it did not appear in our earlier explanatory documents? It’s located in a completely different section of the rules, under Divisions of this Competition — and it turns out that the entry fee varies depending upon what is being entered. On the website, this information appears quite a bit above the general rules.

See? A savvy contest entrant isn’t afraid to do a bit of exploring. Since it’s broken down by category, I’m not going to reproduce it all here. Since most of my readers write books, let’s take a gander at that category designation.

Have I sufficiently made my point about reading contest rules IN THEIR ENTIRETY and VERY CAREFULLY INDEED? This part throws quite a different complexion on the decision to enter: unlike the vast majority of literary contests (and, indeed, agencies), these kind folks recognize that sometimes, a story takes more than 400 pages to tell. They allow prolific writers to enter longer manuscripts; they merely charge a non-unreasonable extra handling fee.

Which gives us a two more entry criteria, right?

13. I shall need to read every relevant contest category’s information IN ITS ENTIRETY, to check for any special requirements specific to that category — and to find out how much the entry fee will be.

Spoiler alert: every category in the competition has its own additional criteria. I shall not list them all here; do check.

14. I need to do an honest word count of my manuscript — and think very carefully whether I want to pay extra to cover additional length, or to revise the work to make it shorter.

Only you can decide this, of course. While you are deliberating, however, do bear in mind that actual word counts tend to be a whole heck of a lot higher than publishing industry estimates. By current estimation techniques, a 400-page manuscript in standard format in Times New Roman is 100,000 words (250 words/page x # of pages). An actual count of precisely the same pages would probably run closer to 120,000 words.

“But wait!” some of you shout, and with good reason. “I notice there’s nothing here about whether I can enter the same piece of writing in multiple years of the same contest. What if I placed in Novel-in-Progress last year — could I enter it again this year, since it’s still in progress?”

Excellent question, repeat entrant-wannabes. I had to wander all the way down to the bottom of an exceedingly well-stuffed webpage to find the answer to that one: “Winners in one competition year will not be eligible to win again in the same category. Work for different categories, however, will be accepted from previous winners. Entries rejected in one competition year will be eligible for entry in subsequent years with significant revisions if accompanied by a letter explaining briefly how the manuscript has been revised.”

That’s nice and clear, right? Fringe benefit: while I was poking around down there, I dug up a few hints about what criteria Mehitabel might be weighing extra-heavily in assessing entries. Take a gander: “We strongly suggest that authors have their work read by disinterested third parties for purposes of correcting spelling, grammar, and typographical mistakes, prior to finalizing entries. We also strongly suggest that authors give major attention to beginnings and endings, dialogue, transitions, and character development, as our experience has been that these are the areas which preliminary judges focus on when selecting work to progress to final rounds.”

That’s helpful, isn’t it? I love it when contest guidelines give this kind of hint — it’s generous to entrants.

Now that you have a complete list of entry criteria in hand, make it useful. Consider very carefully, please, whether what you had planned to enter meets all of the requirements on that list. If it doesn’t, save your time, money, and hope: the contest’s organizers have already told you that such an entry cannot win.

Is all of that clear? Now is the time to speak up, if not.

Let’s move on to my to-do list for preparing an entry — recognizing, of course, that since every writing contest has its own rules, the to-do list for this contest cannot be applied usefully to preparing an entry for any other contest out there. Specificity is the name of the game here, people.

1. Prepare a separate checklist for each piece of writing I’m entering, because each is considered a separate entry — and thus entering more than one piece of writing will require filling out a separate entry form and entry fee.

Again, I’m opening with this one because it will affect everything that comes thereafter. If you are planning to prepare more than one entry, maintain a separate checklist for each one. Otherwise, it’s just too easy for a stressed-out mind to reason, “Oh, I’ve already done step 8 for all of my entries,” whereas in fact Entry #3 is winging its way across the continent unaccompanied by the material step 8 would have provided.

Yes, it does happen. All the time. Yet another phenomenon that makes Mehitabel sad.

2. Save any writing I plan to enter as its own Word document, as a .doc file, not .docx, so I may send it as an attachment to an e-mail.

Please take this restriction seriously — not all versions of Word can open .docx files. If you want to submit your entry as a .docx file, or in any other format other than Word, do not bother to enter.

I’m serious about this. Mehitabel will not care that you prefer to work with PDFs or fell in love with WordPerfect. Microsoft Word is the current industry standard for manuscripts, period, and she knows it. She will disqualify entries that do not meet this criterion without thinking twice.

Do not, whatever you do, simply plan on attaching your working file of your manuscript. If it is currently in standard format, it violates a contest rule.

3. Go to the header of this document and remove the author’s name from the slug line.

The slug line, if you will recall, is the bit in the upper left-hand margin of a properly-formatted book manuscript that reads: Author’s Last Name/Title/page #. The manuscript may not be numbered anywhere else on the page.

Obviously, though, for a blind-judged contest, an ordinary slug line would result in disqualification, as it contains the entrant’s last name. Your contest entry slug line should look like this: Title/#

That means, incidentally, that if you are entering a memoir, you must change all of the names before you enter it in this contest. Because this is such a common means of disqualification for memoir entries, I would go the extra mile and place a note on the bottom of the title page, reading: To preserve anonymity, all names have been changed.

A bit paranoid? Perhaps. But to coin a phrase, better safe than sorry. Let’s move on.

4. Figure out the actual word count for each piece I am entering.

Careful here: the contest’s rules are asking for something different than what an agent would. Do not estimate the word count: highlight the entire text and use the WORD COUNT feature in Word to come up with an actual number.

5. Print out one entry form for each piece of writing I plan to enter and fill it out.

Remember, for this contest, the filled-out entry form — signed, mind you — and the check for the entry fee must be mailed, while the entry itself is e-mailed. Plan to get both on their way before the deadline.

Don’t write in cursive — yes, really. Use either block printing or track down somebody with a typewriter.

Why do this at this particular juncture? So you may double-check that all the information on it matches exactly what you say on…

6. Prepare a separate Word document (again, saved as a .doc file) with all of the requested contact sheet information.

What was that information again? Let’s recap:

(a) My name (real name, please — this is not the time to take your nom de plume for a test drive. If you win, you’ll want the contest organizers to write the check in the name by which your bank manager knows you, right?

(b) My mailing address (don’t assume that since you are sending this via e-mail, they can just hit REPLY)

(c) My e-mail address (ditto)

(d) Daytime phone number, designated as such (Oh, you didn’t catch that one? That’s because this was not on the list of required elements in the Manuscript Requirements section; it was in the What Constitutes an Entry section. Didn’t I tell you to read everything very carefully?)

(e) Evening phone number, designated as such (ditto)

(f) FAX number (ditto again. If you don’t have a FAX sitting on your desk — and who does, these days? — just say no FAX number

(g) The title of the piece I am submitting in this entry (yes, entrants mix up multiple entries all the time)

(h) The actual word count of the entry (aren’t you glad you figured that above?)

(i) The category of the contest I am entering (more on that later)

Save the whole shebang as a .doc file, not as a .docx file and set it aside. You’re going to be attaching it to your entry e-mail.

7. Reopen the Word document I created in Step #2 (saved as a .doc file, of course) and add a new page 1, a page break, then the 1-page synopsis, followed by another page break.

In other words, this document should include, in the following order:

(a) A title page containing ONLY the title and category
It should not be numbered, nor should it be included in the word count.

(b) That 1-page synopsis we discussed at such great length this past weekend
If the entry is a book-length work, that is. In the current Word document, this should be page 1, but not included in the word count.

(c) The writing you are planning to enter, in standard format EXCEPT for not having your last name in the slug line.
Because of the requested order here, the first page of the text of your book will be page 2. Try not to let it bug you.

Do not include a second title page, an epigraph on a separate page (those nifty quotes so often seen at the beginning of books), or a table of contents. Just the text in standard format — except, of course, for the altered slug line.

What you should have now is a single Word document (.doc, please!) with all three of these elements. Save it. This, too, is going to be attached to your entry e-mail.

8. If I am writing memoir, do a search of this second document for my own first name — and then for my own last name.

Oh, you thought your entry couldn’t get disqualified if you changed your name from Irma Grub to Bella Butterfly — and then the guy to whom Bella refers consistently as Dad is identified in the text as Mr. Grub?

9. Oh, heck, no matter what I’m writing, I’m going to want to go back and make ABSOLUTELY CERTAIN that my name does not appear anywhere in my entry except in the two specified places.

Remember, your name can appear only on the contact sheet from Step #6 (which will be a separate attachment from your entry, the entry form (which you will be sending via regular mail), and, presumably, your check (which you shall gracefully tuck into the envelope with the entry form, perhaps shuddering slightly as you do so).

Wait — how much should that check be written for, and to whom? Thank goodness, the rules are explicit about that.

10. Check the word count from Step #4 against the pricing list in the category section. Write check/money order/traveler’s check accordingly.

You think you’re done now, don’t you? Ah, not so fast. Since the price of making even a relatively small mistake is so high — getting points knocked off at best, getting disqualified at worst — I’d like you to do two more things. No, make that three.

11. Go back through this checklist and make sure that I have actually done every single thing on it.

Honestly, you would be surprised how often even the most conscientious contest entrant misses something. Then…

12. Go back though the entry requirements checklist to make absolutely certain that what I’m about to enter still meets all of those criteria.

Don’t make that face at me. Your sense of this may well have changed over the course of preparing the entry.

Still have a few moments left before you have to hit SEND and/or rush the entry form to the post office? If you can possibly manage it, take this extra step.

13. Hand the checklist to someone I trust and ask him or her to quadruple-check that my entry contains all of the required elements.

Humor me on this one. Sometimes, a second set of eyes can catch a previously unnoticed problem — especially if the first set of eyes is bleary and bloodshot from having stayed up for days on end, preparing a contest entry.

Everything in its place? Excellent. Now you’re ready to send it off. Or are you?

14. Compose a nice, polite e-mail to the contest’s organizers, and attach the two Word documents to it.

Oh, you were planning to attach them to a blank e-mail? Isn’t that a trifle rude to the stalwart volunteers who will, out of the goodness of their hearts and their deep devotion to literature, be opening all of those entries and making sure that none of them have violated the rules?

But before you send it off…

15. At any point in this process, did it occur to you to spell- and grammar-check your entry?

You would be flabbergasted at how often the answer seems to be no. Certainly, Mehitabel and I are pretty flummoxed by it. Spelling counts here, people.

Obviously, my preference would be for you to read your entry IN ITS ENTIRETY, IN HARD COPY, and OUT LOUD before you send it off, but working against a tight deadline, you may not have that luxury. Do be aware, though, that tired people do occasionally hit CHANGE when the spell-checker makes a ridiculous suggestion (“Cotillion instead of coalition? When did I agree to that universal change?”), and that for some reason I cannot fathom, my version of Word occasionally suggests that I change a contextually correct their to an incorrect there. Let the check-user beware.

16. Now you can hit SEND, seal the envelope with the entry form and fee, and toddle off to the mailbox.

Phew! That was a lot of work, wasn’t it? And that was just to make sure that the entry clung to the rules like an unusually tenacious leech; polishing your actual writing to the high shine requisite to impress Mehitabel will take time over and above all of this.

Ah, the things we do for Eye-Catching Query Letter Candy. Best of luck, everyone, and keep up the good work!

Posted on - 10 Comments on Countdown to a contest entry, part 8.7: but how can I tell if the synopsis I have written is good enough to leave alone?

Countdown to a contest entry, part 8.7: but how can I tell if the synopsis I have written is good enough to leave alone?

centurians in bondage

Hello again, campers —
Okay, I promise that this is the last time I shall post an extra post (for this weekend, at least), but after the last couple of days’ intensive discussion of how to write a 1-page synopsis, I thought some of you might appreciate a little guidance on how to tell whether what you have come up with is ready to be sent off.

As it happens, I had such a post rattling around my archives. Who knew?

For the last few posts, I’ve been concentrating upon that bane of writers everywhere, the 1-page synopsis. A 1-page synopsis should be a quick, pithy introduction to the premise, the protagonist, and the central conflict of the book. Or, to cast it in terms that those of you who followed my recent Querypalooza series should find very familiar, an extended version of the descriptive paragraph in a query letter.

So hey, all of you queriers who have been clutching your temples and moaning about the incredible difficulty of describing your 400-page manuscript in a single, pithy paragraph: I’ve got some good news. There are agencies out there who will give you a whole page to do it!

Does that deafening collective groan mean that you’re not grateful for triple or even quadruple the page space in which to describe your book? Is there no pleasing you people?

Okay, okay — so it may not be a piece o’ proverbial cake to introduce the premise, the protagonist, and the central conflict of the boo within a single page in standard format, but by this point in the series, I hope the prospect at least seems preferable to, say, confronting an angry cobra or trying to reason with pack of wolves. Constructing an eye-catching 1-page synopsis is more of a weeding-the-back-yard level of annoyance, really: a necessarily-but-tedious chore.

Seriously, successfully producing a 1-page synopsis is largely a matter of strategy, not creativity, and not even necessarily talent. As long as you don’t fall down the rabbit hole of one of the most common short synopsis-writing mistakes — trying to replicate each twist and turn of the plot/argument; generalizing so much that the book sounds generic; writing book jacket promotional copy rather than introducing the story — it’s simply a matter of telling Millicent what your book is ABOUT.

Preferably in a tone and at a vocabulary level at least vaguely reminiscent of the manuscript. Is that really so much — or so little, depending upon how you chose to look at it — to ask?

By contrast, the 5-page synopsis – which, until fairly recently, was far and away the most common requested length, as it still is for those already signed with agents and/or working with editors at publishing houses — should tell the STORY of your book (or state its argument) in as much vivid, eye-catching detail as you may reasonably cram into so few pages. Preferably by describing actual scenes, rather than simply summarizing general plot trends, in language that is both reflective of the manuscript’s and is enjoyable to read.

Why concentrate upon how you tell the story here, you ask, rather than merely cramming the entire plot onto a few scant pages? Why, to cause the agent, editor, or contest judge reading it exclaim spontaneously, “Wow — this sounds like one terrific book; this writer is a magnificent storyteller,” obviously.

Again, piece of cake to pull off in just a few pages, right?

Well, no, but don’t avert your eyes, please, if you are not yet at the querying stage — as with the author bio, I strongly recommend getting your synopsis ready well before you anticipate needing it. As I MAY have mentioned before, even if you do not intend to approach an agent whose website or agency guide listing asks for a synopsis to be tucked into your query packet, you will be substantially happier if you walk into any marketing situation with your synopsis already polished, all ready to send out to the first agent or editor who asks for it, rather than running around in a fearful dither after the request, trying to pull your submission packet together.

Even if you think that both of the reasons I have just given are, to put it politely, intended to help lesser mortals not anywhere near as talented than your good self, whatever you do, try not to save writing your synopsis for the very last moments before you stuff a submission or entry into an envelope. That route virtually guarantees uncaught mistakes, even for the most gifted of writers and savviest of self-promoters.

In fact, you take nothing else away from Synopsispalooza, please remember this: writing a synopsis well is hard, even for the most seasoned of pros; be sure to budget adequate time for it. Forcing yourself to do it at the last minute may allow you to meet the technical requirement, but it is not conducive to producing a synopsis that will do what you want it to do and sound like you want it to sound.

If the task feels overwhelming — which would certainly be understandable — remind yourself that even though it may feel as though you effectively need to reproduce the entire book in condensed format, you actually don’t. Even a comparatively long synopsis shouldn’t depict every twist and turn of the plot.

Yes, even if the agency or contest of your desires asks for an 8- or 10-page synopsis. Trust me, people who work with manuscripts for a living are fully aware that cutting down a 370-page book to the length of a standard college term paper is not only impossible, but undesirable. So don’t even try.

What should you aim for instead? Glad you asked: in a 3-8 page synopsis, just strive to give a solid feel of the mood of the book and a basic summary of the primary plot, rather than all of the subplots. Show where the major conflicts lie, introduce the main characters, interspersed with a few scenes described with a wealth of sensual detail, to make it more readable.

Sound vaguely familiar? It should; it’s an extension of our list of goals for the 1-page synopsis. Let’s revisit those, shall we?

(1) introduce the major characters and premise,

(2) demonstrate the primary conflict(s),

(3) show what’s at stake for the protagonist, and

(4) ideally, give some indication of the tone and voice of the book.

Now let’s add in the loftier additional goals of the slightly longer synopsis:

(5) show the primary story arc through BRIEF descriptions of the most important scenes. (For nonfiction that isn’t story-based, present the planks of the overarching argument in logical order, along with some indication of how you intend to prove each point.)

(6) show how the plot’s primary conflict is resolved or what the result of adopting the book’s argument would be.

I sense some squirming from the summary-resistant out there. “But Anne,” some of you protest, “am I missing something here? You’ve just told us not to try to summarize the entire book — yet what you’re suggesting here sounds a heck of a lot like sitting down and doing just that!”

Actually, I’m not doing any such thing, summary-resisters. The distinction lies in the details: I’m advising you to winnow the story down to its most essential elements, rather than trying to list everything that happens.

Yes, of course, there’s a difference. What an appallingly cynical thought.

If you’re having serious difficulty separating the essential from the merely really, really important or decorative in your storyline, you may be staring too closely at it. Try to think of your story as a reader would — if a prospective reader asked you what your book was about and you had only a couple of minutes to answer, what would you say?

And no, I’m not talking about that ubiquitous writerly response that begins with a gigantic sigh and includes a fifteen-minute digression on what scenes in the novel are based on real life. I’m talking about how you would describe it if you were trying to sound like a professional writer trying to get published — or, if it helps to think of it this way, like an agent describing a terrific new client’s work to an editor.

You wouldn’t waste the editor’s time rhapsodizing about the quality of the writing or what a major bestseller it was destined to be, would you? No, that would be a waste of energy: pretty much every agent thinks his own clients’ work is well-written and marketable. Instead, you would relate the story or argument in the terms most likely to appeal to readers who already buy similar books.

If you absolutely can’t get that account down to 5 minutes or so, try giving the 20-minute version to a good listener who hasn’t read a syllable of your manuscript, then asking her to tell the plot of the book back to you. The elements she remembers to include are probably — wait for it — the most memorable.

Or, if you don’t want to go out on a limb by recruiting others to help you, sit down all by your lonesome, picture your favorite English teacher standing over you, set the actual happenings of the novel aside for a moment, and write a brief summary of the book’s themes.

Oh, stop rolling your eyes; most authors are delighted to analyze their own books. Pretend that your book has just been assigned in a college English class — what would you expect the students to be able to say about it on the final?

No, the result will almost certainly not be a professional synopsis; this is an exercise intended to help you identify the bare bones of your storyline. It will also help you separate the plot or argument’s essentials from the secondary issues.

Why is that a necessary step? Well, lest we forget, a synopsis is a writing sample. It would hardly show off your scintillating literary voice or world-class storytelling acumen to provide Millicent with a simple laundry list of events, would it?

Please at least shake your head, if you cannot provide me with a ringing, “No, by jingo!” If you can’t even muster that, take a gander at how such a list might read:

SUZIE MILQUETOAST (34) arrives at work one day to find her desk occupied by a 300-pound gorilla (MR. BUBBLES, 10). She goes and asks her supervisor, VERLANDA MCFUNNYNAME (47) what is going on. Verlanda isn’t sure, but she calls Human Resources, to find out if Suzie has been replaced. She has not, but who is going to ask a 300-pound gorilla to give up his seat to a lady? Next, Verlanda asks her boss, JAMES SPADER (52), what to do, and he advises calling the local zoo to see if any primates might by any chance have escaped. Well, that seems like a good idea, but the zoo’s number seems to have been disconnected, so Suzie and Verlanda traipse to Highlander Park, only to discover…

Well, you get the picture: it reads as though the writer had no idea what to leave out. Not entirely coincidentally, it reads like a transcript of what most aspiring writers do when asked, “So what’s your book about?”

How does a seasoned author answer that question? As though she’s just been asked to give a pitch:

GORILLAS IN OUR MIDST is a humorous novel about how rumors get out of hand — and how power structures tend to cater to our fears, not our desires. It’s aimed at the 58 million office workers in the US, because who understands how frustrating it can be to get a bureaucracy to move than someone who actually works within one? See how this grabs you: Suzie Milquetoast arrives at work one day to find a 300-pound gorilla sitting at her desk. Is the zoo missing an inmate, or did HR make another hideously inappropriate hire?

A full synopsis? Of course not — but you have to admit, it’s a pretty good elevator pitch. It also wouldn’t be a bad centerpiece for a query letter, would it?

Which means, by the way, that it could easily be fleshed out with juicy, interesting, unique details lifted from the book itself. Add a couple of paragraphs’ worth, and you’ve got yourself a 1-page synopsis. Add more of the story arc, including the ending, toss in a few scene descriptions, stir, and voilà! You’ve got yourself a 3-page synopsis.

And how might you turn that into a recipe for a 5-page synopsis? Get a bigger bowl and add more ingredients, naturally.

But in order to select your ingredients effectively, you’re going to have to figure out what is essential to include and what merely optional. A few quiz questions, to get you started:

(a) Who is the protagonist, and why is s/he interesting? (You’d be astonished at how few novel synopses give any clear indication of the latter.)

To put it another way, what about this character in this situation is fresh? What about this story will a Millicent who screens submissions in this book category not have seen within the last week?

(b) What does my protagonist want more than anything else? What or who is standing in the way of her/his getting it?

(c) Why is getting it so important to her/him? What will happen if s/he doesn’t get it?

(d) How does the protagonist grow and change throughout pursuing this goal? What are the most important turning points in her/his development?

(e) How does the protagonist go about achieving this goal?

See? Piece of proverbial…hey, wait just a minute! Why, those questions sound a mite familiar, don’t they?

Again, they should: they’re the underlying issues of goals 1-3 and 5-6, above. If you answer them in roughly the same voice as the book, you will have met goal #4, as well — and, almost without noticing it, you will have the basic material for a dandy synopsis.

I told you: piece of cake.

Don’t, I implore you, make the extremely common mistake of leaving out point #6 — the one that specifies that you should include the story’s ending in the synopsis. Too many aspiring writers omit this in a misguided endeavor to goad Millicent and her ilk into a frenzy of wonder about what is going to happen next.

“But I want to make them want to read the book!” such strategists invariably claim. “I don’t want to give away the ending. Leaving the synopsis on a cliffhanger will make them ask to see it right away. Besides, how do I know that someone won’t steal my plot and write it as their own?”

To professional eyes, leaving out the ending is a rookie mistake, at least in a synopsis longer than a page. In fact, it’s frowned-upon enough that some Millicents have been known to reject projects on this basis alone.

Half of you who currently have synopses out circulating just went pale, didn’t you?

Perhaps I should have broken it to you a bit more gently. Here goes: from a professional point of view, part of the goal of an extended synopsis is to demonstrate to someone who presumably hasn’t sat down and read your entire book that you can in fact plot out an entire novel plausibly. Agents and editors regard it as the writer’s job to demonstrate this in an extended synopsis, not theirs to guess how the plot might conceivably come to a halt.

I hate to be the one to break it to you (at least before I’ve helped you all to a slice of cake), but a talented sentence-writer’s possessing the skills, finesse, and tenacity to follow a story to its logical conclusions is not a foregone conclusion. In practice, the assumption tends to run in the opposite direction: if the synopsis leaves out the how the plot resolves, Millicent and her cousin Maury (the editorial assistant at a major publishing house) will tend to leap to one of four conclusions, none of which are good for a submitter. They are left to surmise that:

a) the synopsis’ writer isn’t aware of the purpose of an extended synopsis, having confused it with back jacket copy, and thus is a fish that should be thrown back into the sea until it grows up a little.

In other words, next!

b) the synopsis’ author is a tireless self-promoter and/or inveterate tease, determined not to cough up the goods until there is actual money on the table. Since this is simply not how the publishing industry works, the fish analogy above may reasonably be applied here as well.

Again, next!

c) the synopsis’ author is one of the many, many writers exceptionally talented at coming up with stupendous premises, but less adept at fleshing them out. S/he evidently hopes to conceal this weakness from Millicent and Maury until after they have already fallen in love with the beauty of her/his prose and plotting in the early part of the book, in an attempt to cajole their respective bosses into editing the heck out of the novel before it could possibly be ready to market.

The wily fiend! Next!

d) or, less charitably, the synopsis’ author hasn’t yet written the ending, and thus is wasting their respective boss’ time by submitting an incomplete novel.

All together now: next!

Include some indication of how the plot resolves. Millicent, Maury, and their Aunt Mehitabel (the veteran contest judge) will thank you for it. They might even give you a piece of that delicious cake I keep mentioning.

Does that monumental gusty sigh I just heard out there in the ether mean that I have convinced you on that point? “All right, Anne,” synopsizers everywhere murmur with resignation, “I’ll give away the goods. But I have a lingering question about #4 on your list above, the one about writing the synopsis in roughly the same voice and in the same tone as the novel it summarizes. I get that a comic novel’s synopsis should contain a few chuckles; an ultra-serious one shouldn’t. A steamy romance’s synopsis should be at least a little bit sexy, a thriller’s a trifle scary, and so forth. But I keep getting so wrapped up in the necessity of swift summarization that my synopsis ends up sounding nothing like the book! How should I remedy this — by pretending I’m the protagonist and writing it from his point of view?”

Um, no. Nor should you even consider writing it in the first person, unless you happen to have written a memoir.

Nor is there any need to get obsessed with making sure the tone is absolutely identical to the book’s — in the same ballpark will do. You just want to show that you are familiar with the type of writing expected in the type of book you’ve written and can produce it consistently, even in a relatively dry document.

Piece of — oh, never mind.

There’s a practical reason for demonstrating this skill at the querying and submission stages: it’s a minor selling point for a new writer. Increasingly, authors are expected to promote their own books; it’s not at all uncommon these days for a publishing house to ask the author of a soon-to-be-released book to write a magazine or online article in the book’s voice, for promotional purposes, for instance. Or a blog, like yours truly.

Yes, I know; you want to concentrate on your writing, not its promotion. The muses love you for that impulse. But would you rather that I lied to you about the realities of being a working author?

I thought not. Let’s move on.

What you should also not do — but, alas, all too many aspiring writers attempt — is to replicate the voice of the book by lifting actual sentences from the novel itself, cramming them indiscriminately into the synopsis. I know that you want to show off your best writing, but trust me, you’re going to want to make up some new verbiage here.

Why, you ask? Hint: people who go into the manuscript-reading business tend to have pretty good memories.

Trust me, they recall what they’ve read. When I was teaching at a university, I was notorious for spotting verbiage lifted from papers I’d graded in previous terms; the fraternities that maintained A paper files actively told their members to avoid my classes.

Similarly, a really on-the-ball Millicent might recognize a sentence she read a year ago — and certainly one that she scanned ten minutes ago in a synopsis if it turns up on page 1 of the attached manuscript.

See the problem? No? What if I tell you that in a submission packet, the chapters containing the lifted verbiage and the synopsis are often read back-to-back?

Ditto with query packets. And good 30% of contest entries make this mistake, reproducing in the synopsis entire sentences or even entire paragraphs from the chapters included in the entry. Invariably, the practice ends up costing the entry originality points.

Do I see some raised hands from those of you who habitually recall what you’ve read? “But Anne,” some of you point out huffily, and who could blame you? “Didn’t you tell us just yesterday that it was a grave error to assume that Millicent, Maury , and/or Mehitabel will necessarily read both our synopses and the rest of our submissions?”

Excellent point, sharp-eyed readers: the operative word here is necessarily. While it’s never safe to assume that EVERYONE who reads your synopsis will also read your opening chapter, it’s also not a very good idea to assume that NO ONE will. Shooting for a happy medium — including enough overlap that someone who read only one of them could follow the plot without indulging in phrase redundancy — tends to work best here.

Should you be tempted to repeat yourself, I implore you to counter that impulse by asking this question with all possible speed: “Is there a vibrantly interesting detail that I could insert here instead?”

To over-writers, it may seem a trifle odd to suggest adding detail to a piece of writing as short as 5 pages, but actually, most synopses suffer from overgrowths of generalization and an insufficiency of specifics. So once you have a solid draft, read it over and ask yourself: is what I have here honestly a reader-friendly telling of my story or a convincing presentation of my argument (don’t worry, NF writers: I’ll deal with your concerns at length in a separate post), or is it merely a presentation of the premise of the book and a cursory overview of its major themes?

For most synopses, it is the latter.

Do I hear some questions amid the general wailing and gnashing of teeth out there? “But Anne,” a couple of voices cry from the wilderness, “How can I tell the difference between a necessary summary statement and a generalization?”

Again, excellent question. The short answer: it’s hard. Here’s a useful litmus test.

(1) Print up a hard copy of the synopsis, find yourself a highlighting pen, and mark every summary statement about character, every time you have wrapped up a scene or plot twist description with a sentence along the lines of and in the process, Sheila learns an important lesson about herself.

(2) Go back through and take a careful look at these highlighted lines.

(3) Ask yourself for each: would a briefly-described scene SHOW the conclusion stated there better than just TELLING the reader about it? Is there a telling character detail or an interesting plot nuance that might supplement these general statements, making them more interesting to read?

I heard that gasp of recognition out there — yes, campers, the all-pervasive directive to SHOW, DON’T TELL should be applied to synopses as well. Generally speaking, the fewer generalities you can use in a synopsis, the better.

I’ll let those of you into brevity for brevity’s sake in on a little secret: given a choice, specifics are almost always more interesting to a reader than vague generalities. Think about it from Millicent’s perspective — to someone who reads 100 synopses per week, wouldn’t general statements about lessons learned and hearts broken start to sound rather similar after awhile?

But a genuinely quirky detail in a particular synopsis — wouldn’t that stand out in your mind? And if that unique grabber appeared on page 1 of the synopsis, or even in the first couple of paragraphs, wouldn’t you pay more attention to the rest of the summary?

Uh-huh. So would Millicent.

It’s very easy to forget in the heat of pulling together a synopsis that agency screeners are readers, too, not just decision-makers. They like to be entertained, so the more entertaining you can make your synopsis, the more likely Millicent is to be wowed by it. So are Maury and Mehitabel.

Isn’t it fortunate that you’re a writer with the skills to pull that off?

If your synopsis has the opposite problem and runs long (like, I must admit, today’s post), you can also employ the method I described above, but with an editorial twist:

(1) Sit down and read your synopsis over with a highlighter gripped tightly in your warm little hand. On your first pass through, mark any sentence that does not deal with the primary plot or argument of the book.

(2) Go back through and read the UNMARKED sentences in sequence, ignoring the highlighted ones.

(3) Ask yourself honestly: does the shorter version give an accurate impression of the book?

(4) If so — take a deep breath here, please; some writers will find the rest of this question upsetting – do the marked sentences really need to be there at all?

If you’ve strenuously applied the steps above and your synopsis still runs too long, try this trick of the pros: minimize the amount of space you devote to the book’s premise and the actions that occur in Chapter 1.

Sounds wacky, I know, but the vast majority of synopses spend to long on it. Here’s a startling statistic: in the average novel synopsis, over a quarter of the text deals with premise and character introduction.

So why not be original and trim that part down to just a few sentences and moving on to the rest of the plot?

This is an especially good strategy if you’re constructing a synopsis to accompany requested pages or even unrequested pages that an agency’s website or agency guide listing says to tuck into your query packet, or contest entry. Think about it: if you’re sending Chapter 1 or the first 50 pages, and if you place the chapter BEFORE the synopsis in your submission or query packet (its usual location), the reader will already be familiar with both the initial premise AND the basic characters AND what occurs at the beginning in the book before stumbling upon the synopsis.

So I ask you: since space is at a premium on the synopsis page, how is it in your interest to be repetitious?

Allow me show you how this might play out in practice. Let’s continue this series’ tradition of pretending that you are Jane Austen, pitching SENSE AND SENSIBILITY to an agent at a conference. (Which I suspect would be a pretty tough sell in the current market, actually.) Let’s further assume that you gave a solid, professional pitch, and the agent is charmed by the story. (Because, no doubt, you were very clever indeed, and did enough solid research before you signed up for your agent appointment to have a pretty fair certainty that this particular agent is habitually charmed by this sort of story.) The agent asks to see a synopsis and the first 50 pages.

See? Advance research really does pay off, Jane.

Naturally, you dance home in a terrible rush to get those pages in the mail. As luck would have it, you already have a partially-written synopsis on your computer. (Our Jane’s very into 21st-century technology.) In it, the first 50 pages’ worth of action look something like this:

Now, all of this does in fact occur in the first 50 pages of SENSE AND SENSIBILITY, at least in my well-worn little paperback addition. However, all of the plot shown above would be in the materials the agent requested, right? Do you really need to spend 2 of your allotted 5 pages on this small a section of the plot, even if it is the set-up for what happens later on?

Of course not. Being a wise Aunt Jane, you would streamline this portion of your submission synopsis so it looked a bit more like this:

And then go on with the rest of the story, of course.

See what space-saving wonders may be wrought by cutting down on the premise-establishing facts? The second synopsis is less than half the length of the first, yet still shows enough detail to show the agent how the submitted 50 pp. feeds into the rest of the book. Well done, Jane!

While all of you novelists are hard at work, trying to perform a similar miracle upon your synopses, next time, I shall be tackling the specialized problems of the nonfiction synopsis. Yes, that’s right: we’re going to have our cake and eat it, too.

Don’t just ignore that 300-pound gorilla; work with him. And, of course, keep up the good work!

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Countdown to a contest entry, part 8.6: you tell your side of the story, Hamlet; I’ll tell mine. Later, perhaps.

sarah-bernhardt_hamlet

Hello, campers —

My apologies to those of you who spent the afternoon and evening yesterday holding your breath, symbolically at least, in anticipation of my promised run-down on how to read, interpret, and follow contest entry rules. I honestly did mean to go into that last night — I’m all too aware that the postmark deadline for the William Faulkner/William Wisdom Literary Competition is this coming Tuesday — but health matters, alas, intervened. Long story. And if I have one rule I like to follow in life it’s not to give contest advice while on painkillers.

I’m still a bit groggy, so I’m going to cling to that excellent precept for at least a few hours longer. In the meantime, here is another of my favorite posts on how to write a 1-page synopsis. This one tackles the always-daunting challenge of trying to construct a synopsis for a multiple-perspective narrative.

Just in case anyone who might be thinking of entering a contest could use a few tips on the subject. Enjoy!

Still hanging in there, campers? I hope so, because we’ve been covering a whole lot of material in this expedited Synopsispalooza weekend: various lengths of novel synopsis on Saturday morning, an assortment of memoir synopses that evening, and this morning, different flavors of nonfiction synopsis. This evening, I had planned on blithely tossing off 1-, 3-, and 5-page versions of HAMLET told from multiple perspectives, as an aid to the many, many writers out there struggling with queries and submissions for multiple-protagonist novels — and then I noticed something disturbing.

As I often do when I’m about to revisit a topic, I went back and checked our last substantive Author! Author! discussion of diverse perspective choices. Upon scrolling through last April’s lively discussion of multiple-protagonist narratives (which began here, if you missed it), I realized that I had inadvertently left all of you perspective-switchers with a cliffhanger when I injured my back last spring: I devoted a post to writing a 1-page synopsis for a multiple-protagonist novel, fully intending — and, heaven help us, promising — that I would return to deal with 3- and 5-page synopses on the morrow.

You poor patient souls are still waiting, are you not? I’m so sorry — after my injury, I took a two-week hiatus from blogging, and I completely forgot about finishing the series. Then, to add insult to injury, I’ve been chattering about complex novel synopses under the misconception that those of you who followed last April’s discussion were already conversant with the basic strategy of synopsizing a multiple-protagonist novel.

Why on earth didn’t any of you patient waiters tell me that I had left you hanging? Who knows better than a writer juggling multiple perspectives that no single actor in a drama, however important, has access to the same sets of information that each other actor does?

No matter: I’m going to make it up to you perspective-jugglers, pronto. This post and the next will be entirely about writing a synopsis for a multiple-protagonist novel.

So that those new to the discussion will not have to play catch-up, this evening, with your permission, I would like to revisit the substance of that last post before I went silent, as it honestly does (in my humble opinion, at least) contain some awfully good guidelines for pulling off one of the more difficult tricks in the fiction synopsizer’s repertoire, boiling down a story told from several perspectives into a 1-page synopsis. To render this discussion more relevant to this weekend’s festivities, I shall be both updating it and pulling in examples from our favorite story, HAMLET.

You didn’t expect me to banish the melancholy fellow before the weekend was over, did you?

Let’s leap back into the wonderful world of the 1-page synopsis, then. I would not be going very far out on a limb, I suspect, in saying that virtually every working writer, whether aspiring or established — loathes having to construct synopses, and the tighter the length restriction, the more we hate ‘em. As a group, we just don’t like having to cram our complex plots into such short spaces, and who can blame us? Obviously, someone who believes 382 pages constituted the minimum necessary space to tell a story is not going to much enjoy reducing it to a single page.

Unfortunately, if one intends to be a published writer, particularly one who successfully places more than one manuscript with an agent or editor, there’s just no way around having to sit down and write a synopsis from time to time. The good news is that synopsis-writing is a learned skill, just as query-writing and pitching are. It’s going to be hard until you learn the ropes, but once you’ve been swinging around in the rigging for a while, you’re going to be able to shimmy up to the crow’s nest in no time.

Okay, so maybe that wasn’t the happiest metaphor in the world. But it is rather apt, as the bad news — you knew it was coming, right? — is that even those of us who can toss off a synopsis for an 800-page trilogy in an hour tend to turn pale at the prospect of penning a synopsis for a multiple-protagonist novel. It makes even the most harden synopsizer feel, well, treed.

Why? Well, our usual m.o. involves concentrating upon using the scant space to tell the protagonist’s (singular) story, establishing him as an interesting person in an interesting situation, pursuing interesting goals by overcoming interesting obstacles. Even if you happen to be dealing with a single protagonist, that prospect be quite daunting — but if you have chosen to juggle multiple protagonists, the mere thought of attempting to show each of their learning curves within a 1-page synopsis may well make you feel as if all of the air has been sucked out of your lungs.

Nice, deep breaths, everybody. It’s a tall order, but I assure you, it can be done. The synopsis-writing part, not just returning air to your lungs.

How? By clinging tenaciously to our general rule of thumb for querying a multiple-protagonist novel: the key lies in telling the story of the book, not of the individual protagonists.

Indeed, in a 1-page synopsis, you have no other option. So let’s spend the rest of this post talking about a few strategies for folding a multiple-protagonist novel into a 1-page synopsis. Not all of these will work for every storyline, but they will help you figure out what is and isn’t essential to include — and what will drive you completely insane if you insist upon presenting. Here goes.

1. Stick to the basics.
Let’s face it, a 1-page synopsis is only about three times the length of the average descriptive paragraph in a query letter. Basically, that gives you a paragraph to set up the premise, a paragraph to show how the conflict comes to a climax, and a paragraph to give some indication of how you’re going to resolve the plot.

Not a lot of room for character development, is it? The most you can hope to do in that space is tell the story with aplomb, cramming in enough unusual details to prompt Millicent the agency screener to murmur, “Hey, this story sounds fresh and potentially marketable — and my, is this ever unusually well-written for a single-page synopsis,” right?

To those of you who didn’t answer, “Right, by jingo!” right away: attempting to accomplish more in a single-page synopsis will drive you completely nuts. Reducing the plot to its most basic elements will not only save you a lot of headaches in coming up with a synopsis — it will usually yield more room to add individual flourishes than being more ambitious.

Admittedly, this is a tall order to pull off in a single page, even for a novel with a relatively simple plotline. For a manuscript where the fortunes of several at first seemingly unrelated characters cross and intertwine for hundreds of pages on end, it can seem at first impossible, unless you…

2. Tell the overall story of the book as a unified whole, rather than attempting to keep the various protagonists’ stories distinct.
This suggestion doesn’t come as a very great surprise, does it, at this late point in the weekend? Purely as a matter of space, the more protagonists featured in your manuscript, the more difficulty you may expect to have in cramming all of their stories into 20-odd lines of text. And from Millicent’s perspective, it isn’t really necessary: if her agency asks for a synopsis as short as a single page, it’s a safe bet that they’re not looking for a blow-by-blow of what happens to every major character.

Still not convinced? Okay, step into Millicent’s dainty slippers for a moment and consider which species of 1-page synopsis would be more likely to make her request the manuscript (or, in the case of a synopsis submitted with a partial, the rest of the manuscript). First, consider the common multiple-perspective strategy of turning the synopsis into a laundry list of what parts of the story are told from which characters’ perspectives:

Hamlet 1 p synopsis bad

Poor Will is so busy accounting for all of his narrative perspectives that he does not have room to present much of the plot, does he? This structural choice forces him to cover the same plot elements over and over again. Compare this to the same story told as a single storyline, a smooth, coherent narrative that gives Millicent a sense of the actual plot of the book:

1-page Hamlet

There really is no contest about which presents Shakespeare as the better novelist, is there? That’s no accident: remember, in a 1-page synopsis, the primary goal is not to produce a carbon-copy of the entire book, but to tell what the book is about in a manner that will prompt the reader to want to hear more.

So tell Millicent just that, as clearly as possible: show her what a good storyteller you are by regaling her with an entertaining story, rather than merely listing as many of the events in the book in the order they appear.

In other words: jettison the subplots. However intriguing and beautifully-written they may be, there’s just not room for them in the 1-page synopsis. Trust me, Millicent is not going to think the worse of your book for having to wait until she actually has the manuscript in her hand to find out every nuance of the plot — or, indeed, how many individual perspectives you have chosen to weave together into a beautifully rich and coherent whole.

That last paragraph stirred up as many fears as it calmed, didn’t it? “But Anne,” complexity-lovers everywhere cry out in anguish, “I wrote a complicated book because I feel it is an accurate reflection of the intricacies of real life. I realize that I must be brief in a 1-page synopsis, but I fear that if I stick purely to the basics, I will cut too much. How can I tell what is necessary to include and what is not?

Excellent question, complexity-huggers. The short answer is that in a 1-page synopsis, almost everything should be excluded except for the book’s central conflict, the primary characters involved with it, and what they have to gain or lose from it.

If you still fear that you have trimmed too much, try this classic editors’ trick: write up a basic overview of your storyline, then ask yourself: if a reader had no information about my book other than this synopsis, would the story make sense? Equally important, does the story sound like a good read?

Note, please, that I most emphatically did not suggest that you ask yourself whether the synopsis in your trembling hand was a particularly accurate representation of the narrative as it appears in the manuscript. Remember, what you’re going for here is a recognizable version of the story, not a substitute for reading your manuscript.

Which leads me to suggest…

3. Be open to the possibility that the best way to tell the story in your synopsis may not be the same way you’ve chosen to tell it in the manuscript.
Amazingly, rearranging the running order in the interests of story brevity is something that never even occurs to most struggling synopsizers to try. Yet in a multiple-perspective novel that skips around in time and space, as so many do, or one that contains many flashbacks, telling the overarching story simply and clearly may necessitate setting aside the novel’s actual order of events in favor of reverting to — gasp! — a straightforward chronological presentation of cause and effect.

Chronological order may not be your only option, however: consider organizing by theme, by a dominant plotline, or another structure that will enable you to present your complex story in an entertaining manner on a single page. Opting for clarity may well mean showing the story in logical order, rather than in the order the elements currently appear in the manuscript — yes, even if doing so necessitates leaping over those five chapters’ worth of subplot or ten of closely-observed character development.

Oh, stop hyperventilating. I’m not suggesting revising the book, just making your life easier while you’re trying to synopsize it. If you try to do too much here, you’ll only drive yourself into a Hamlet-like state of indecisive nuttiness: because no version can possibly be complete in this limited amount of space, no over-stuffed option will seem to be right.

For those of you still huffing indignantly into paper bags in a vain attempt to regularize your breathing again: believe me, #3 is in no way a commentary on the way you may have chosen to structure your novel — or, indeed, upon the complexity that tends to characterize the multiple-perspective novel. It’s a purely reflection of the fact that a 1-page synopsis is really, really short.

Besides, achieving clarity in a short piece and maintaining a reader’s interest over the course of several hundred pages can require different strategies. You can accept that, right?

I’m choosing to take that chorus of tearful sniffles for a yes. Let’s move on.

Storyline rearrangement is worth considering even if — brace yourselves; this is going to be an emotionally difficult one — the book itself relies upon not revealing certain facts in order to build suspense. Think about it strategically: if Millicent’s understanding what the story is about is dependent upon learning a piece of information that the reader currently doesn’t receive until page 258, what does a writer gain by not presenting that fact until the end of the synopsis — or not presenting it at all? Not suspense, usually.

And before any of you shoot your hands into the air, eager to assure me that you don’t want to give away your main plot twist in the synopsis, let me remind you that part of purpose of any fiction synopsis is to demonstrate that you can plot a book intriguingly, not just come up with a good premise. If that twist is integral to understanding the plot, it had better be in your synopsis.

But not necessarily in the same place it occupies in the manuscript’s running order. It may lacerate your heartstrings to the utmost to blurt out on line 3 of your synopsis the secret that Protagonist #5 doesn’t know until Chapter 27, but if Protagonists 1-4 know it from page 1, and Protagonists 6-13’s actions are purely motivated by that secret, it may well cut pages and pages of explanation from your synopsis to reveal it in the first paragraph of your 1-page synopsis.

Some of those sniffles have turned into shouts now, haven’t they? “But Anne, I don’t understand. You’ve said that I need to use even a synopsis as short as a single page to demonstrate my fine storytelling skills, but isn’t part of that virtuoso trick showing that I can handle suspense? If my current running order works to build suspense in the book, why should I bother to come up with another way to tell the story for the purposes of a synopsis that no one outside a few agencies and publishing houses will ever see?”

You needn’t bother, if you can manage to relate your storyline entertainingly in the order it appears in the book within a requested synopsis’ length restriction. If your 1-page synopsis effectively builds suspense, then alleviates it, heaven forfend that you should mess with it.

All I’m suggesting is that slavishly reflecting how suspense builds in a manuscript is often not the most effective way of making a story come across as suspenseful in a synopsis, especially a super-short one. Fidelity to running order in synopses is not rewarded, after all — it’s not as though Millicent is going to be screening your manuscript with the synopsis resting at her elbow, so she can check compulsively whether the latter reproduces every plot twist with absolute accuracy, just so she can try to trip you up.

In fact, meticulous cross-checking wouldn’t even serve her self-interest. Do you have any idea how much extra time that kind of comparison would add to her already-rushed screening day?

Instead of worrying about making the synopsis a shrunken replica of the book, concentrate upon making it a compelling road map. Try a couple of different running orders, then ask yourself about each: does this synopsis tell the plot of the book AS a story, building suspense and then relieving it? Do the events appear to follow logically upon one another? Is it clear where the climax falls? Or does it merely list plot events?

Or do those frown lines on your collective forehead indicate that you’re just worried about carving out more space to tell your story? That’s a perfectly reasonable concern. Let’s make a couple of easy cuts.

4. Don’t invest any of your scant page space in talking about narrative structure.
Again, this should sound familiar to those of you who have been following this Synopsispalooza. It’s not merely a waste of valuable sentences to include such English Lit class-type sentiments as the first protagonist is Evelyn, and her antagonist is Benjamin. Nor is it in your best interest to come right out and say, the theme of this book is…

Why? Long-time readers, chant it with me now: just as this kind of language would strike Millicent as odd in a query letter, industry types tend to react to this type of academic-speak as unprofessional in a synopsis.

Again you ask why? Veteran synopsis-writers, pull out your hymnals and sing along: because a good novel synopsis doesn’t talk about the book in the manner of an English department essay, but rather tells the story directly. Ideally, through the use of vivid imagery, interesting details, and presentation of a selected few important scenes.

Don’t believe me? I’m not entirely surprised: convinced that the proliferation of narrators is the single most interesting and marketable aspect of the novel — not true, if the manuscript is well-written — most perspective-juggling aspiring writers believe, wrongly, that a narrator-by-narrator approach is the only reasonable way to organize a synopsis.

On the page, though, this seldom works well, especially in a 1-page synopsis. Compare the second example above with the following, a synopsis entirely devoted to analyzing the book as a critic might, rather than telling its story:

Hamlet 1 p synopsis bad 2

Not particularly effective at giving Millicent a sense of the overall plot, is it? Because the story is so complex and the individual characters’ perspectives so divergent, the seemingly simple task of setting out each in turn does not even result in an easily-comprehended description of the premise. Heck, the first three perspectives ran so long that our Will was forced to compress his fourth protagonist’s perspective into a partial sentence in the last paragraph.

Minimizing one or more narrators in an attempt to save space is a tactic Millicent and her aunt, Mehitabel the veteran literary contest judge, see all the time in synopses for multiple-protagonist novels, by the way. Protagonist-juggling writers frequently concentrate so hard on making the first-named protagonist bear the burden of the book’s primary premise that they just run out of room to deal with some of the others. In a synopsis that relies for its interest upon a diversity of perspectives, that’s a problem: as we saw above, an uneven presentation of points of view makes some look more important than others.

I sense the writers who love to work with multiple protagonists squirming in their chairs. “But Anne,” these experimental souls cry, “my novel has five different protagonists! I certainly don’t want to puzzle Millicent or end up crushing the last two or three into a single sentence at the bottom of the page, but it would be flatly misleading to pretend that my plot followed only one character. What should I do, just pick a couple randomly and let the rest be a surprise?”

Actually, you could, in a synopsis this short — which brings me back to another suggestion from earlier in this series:

5. Pick a protagonist and try presenting only that story arc in the 1-page synopsis.
This wouldn’t necessarily be my first choice for synopsizing a multiple-protagonist novel, but it’s just a defensible an option for a 1-page synopsis as for a descriptive paragraph or a pitch. As I pointed out above, the required format doesn’t always leave the humble synopsizer a whole lot of strategic wiggle room.

Concentrate on making it sound like a terrific story. You might even want to try writing a couple of versions, to see which protagonist’s storyline comes across as the best read.

Dishonest? Not at all — unless, of course, the character you ultimately select doesn’t appear in the first 50 pages of the book, or isn’t a major character at all. There’s no law, though, requiring that you give each protagonist equal time in the synopsis. In fact…

6. If you have more than two or three protagonists, don’t even try to introduce all of them in the 1-page synopsis.
Once again, this is a sensible response to an inescapable logistical problem: even if you spent a mere sentence on each of your nine protagonists, that might well up to half a page. And a half-page that looked more like a program for a play than a synopsis at that.

Remember, the goal here is brevity, not completeness, and the last thing you want to do is confuse our Millicent. Which is a very real possibility in a name-heavy synopsis, by the way: the more characters that appear on the page, the harder it will be for a swiftly-skimming pair of eyes to keep track of who is doing what to whom.

Even with all of those potential cuts, is compressing your narrative into a page still seeming like an impossible task? Don’t panic — there’s still one more wrench left in our writer’s tool belt.

7. Consider just making the 1-page synopsis a really strong, vivid introduction to the book’s premise and central conflict, rather than a vague summary of the entire plot.
Again, this wouldn’t be my first choice, even for a 1-page synopsis — I wouldn’t advise starting with this strategy before you’d tried a few of the others — but it is a recognized way of going about it. Not all of us will admit it, but many an agented writer has been known to toss together this kind of synopsis five minutes before a deadline. That’s a very good reason that we might elect to go this route: for the writer who has to throw together a very brief synopsis in a hurry, it’s undeniably quicker to write a pitch (which this style of synopsis is, yes?) than to take the time to make decisions about what is and is not essential to the plot.

Yes, yes, I know: I said quite distinctly farther up in this very post that the most fundamental difference between a descriptive paragraph and a synopsis is that the latter demonstrates the entire story arc. In a very complex plot, however, sketching out even the basic twists in a single page may result in flattening the story, rather than presenting it as a good read.

This can happen, incidentally, even if the synopsis is well-written. Compare, for instance, this limited-scope synopsis (which is neither for a genuinely multi-protagonist novel nor for HAMLET, but bear with me here; these are useful examples):

pride-and-prejudice-synop

with one that covers the plot in more detail:

P&P synop vague

See how easy it is to lose track of what’s going on in that flurry of names and events? (And see, while we’re at it, proof that it is indeed possible to hit the highlights of a complicated plot within a single page? Practice, my dears, practice.) Again, a pitch-style synopsis wouldn’t be my first choice, but for a 1-page synopsis, it is a respectable last-ditch option.

An overstuffed 1-page synopsis often falls prey to another storytelling problem — one that the last example exhibits in spades but the one just before it avoids completely. Did you catch it?

If you instantly leapt to your feet, shouting, “Yes, Anne, I did — the second synopsis presents Elizabeth primarily as being acted-upon, while the first shows her as the primary mover and shaker of the plot!” give yourself seventeen gold stars for the day. (Hey, it’s been a long post.) Over-crammed synopses frequently make protagonists come across as — gasp! — passive.

And we all know how Millicent feels about that, do we not? Can you imagine how easy it would be to present Hamlet’s story as if he never budged an inch on his own steam throughout the entire story?

Because the 1-page synopsis is so short, and multiple-protagonist novels tend to feature so many different actors, the line between the acting and the acted-upon can very easily blur. If there is not a single character who appears to be moving the plot along, the various protagonists can start to seem to be buffeted about by the plot, rather than being the engines that drive it.

How might a savvy submitter side-step that impression? Well, several of the suggestions above might help. As might our last for the day.

8. If your draft synopsis makes one of your protagonists come across as passive, consider minimizing or eliminating that character from the synopsis altogether.
This is a particularly good idea if that protagonist in question happens to be a less prominent one — and yes, most multiple-protagonists do contain some hierarchy. Let’s face it, even in an evenly-structured multi-player narrative, most writers will tend to favor some perspectives over others, or at any rate give certain characters more power to drive the plot.

When in doubt, focus on the protagonist(s) closest to the central conflicts of the book. Please don’t feel as if you’re slighting anyone you cut — many a character who is perfectly charming on the manuscript page, contributing a much-needed alternate perspective, turns out to be distracting in a brief synopsis.

Keep up the good work!

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Countdown to a contest entry, part 8.4: to be or not to be — 1, 3, or 5 pages

olivier hamlet

Still hanging in there, campers? For those of you joining us late — which is to say, those of you who blinked for a minute or didn’t happen to have tuned in yesterday, when I changed my mind about how I was going to handle our series-in progress — I imagine you are a trifle stunned by how many posts on the mysteries and challenges of writing a 1-page synopsis I have managed to toss up here in a remarkably short time.

“What happened?” I hear the newcomers shouting. “There we were, working our way through a hasty yet thorough discussion on contest entry preparation — and all of a sudden, here are three posts on how to construct a 1-page synopsis! Ack, there’s a fourth! What fresh madness is this?”

Actually, it’s an ongoing madness. Since the postmark deadline for the writing contest I have been planning to use this very evening as a rule exemplar, the William Faulkner/William Wisdom Literary Competition is this coming Tuesday, and as part of its complicated charm lies in (a) its being one of the relatively few contests for previously-unpublished writers that accept book-length entries (yes, really), (b) it also has a Novel-in Progress category, (c) entering either category requires the construction of a 1-page synopsis, and I know from lengthy experience that (d) most aspiring writers would cheerfully opt for wrestling seven live alligators if it would get them out of writing a 1-page synopsis for a 350-page book, I though this might be a dandy time for a crash review of how to write one.

Don’t understand why writing a page of text might be a daunting challenge for someone who, after all, likes to write? Well, let me put it this way: see that gigantic second sentence in the last paragraph? That’s 129 words. A double-spaced 1-page synopsis runs about 400 words. And I wasn’t trying to describe a complex plot.

Those alligators are looking better now, aren’t they?

Last night’s three posts were about how to figure out what does and does not belong in a 1-page synopsis. Today’s extra posts — oh, you thought I wasn’t still going to post on contest rules and how to follow them this evening? How long have you known me? — will focus on the differences between a 1-page synopsis and its longer siblings. Should help those of you trying to pull that contest entry together figure out how to streamline your synopsis.

I have to say, I’m kind of tickled to have the excuse to re-run this post. It’s one of my all-time favorites — and, appropriately enough, it was written in the course of another blogging orgy.

Besides, its subject matter had also been on my mind this week, as I had been reading Nicole Galland’s terrific new retelling of OTHELLO, I, Iago. Could not put it down, as they say, until I finished it in the wee hours. And you know how closely I read text; it’s not easy to draw me that deeply into a story unless the writing is impeccable.

So I have a lot of Shakespeare rattling around in my brain at the moment. Ho there! Enjoy!

Welcome to this weekend’s expedited Synopsispalooza offerings. For those of you who missed yesterday evening’s teaser, I shall be posting twice per day this weekend (at roughly 10:30 am and 7:30 pm Pacific time) in order to cram as many practical examples of solid synopses of various lengths in front of my readers’ astonished eyes.

Why go to such great lengths? Well, perhaps I’m mistaken, but my bet is that most of you have never seen a professional synopsis before, other than the few fleeting glimpses I’ve given you throughout Synopsispalooza. So while I’ve given you formatting examples, a few 1-pagers, counterexamples, and a whole lot of guidelines, some of you may still be having difficulty picturing the target at which you are shooting.

Amazing how often that’s the case with the pieces of paper commonly tucked into a query or submission packet, isn’t it? The overwhelming majority of queriers have never seen a successful query; a hefty proportion of synopsizers have never clapped eyes upon a professionally-written synopsis; herds and herds of submitters have never been within half a mile of a manuscript in standard format, and a vast multitude of newly-signed writers have absolutely no idea even how to begin to organize an author bio on the page.

And some people wonder why I keep blogging on the basics. I’m not a big fan of guess what color I’m thinking submission standards.

Since my brief for this weekend is to generate a small library of practical examples, contrary to my usual practice, I’m not going to dissect each synopsis immediately after they appear. Instead, I’m going to leave them to you to analyze. In the comments, if you like, or in the privacy of your own head.

I can already feel some of you beginning to panic, but fear not — you already have the tools to analyze these yourself. We’ve just spent 13 posts going over what does and doesn’t work well in a synopsis, right? I’m confident that you are more than capable of figuring out why the various elements in these examples render them effective.

My goal here today is to give you a sense of the scope of storytelling appropriate to three commonly-requested lengths of synopsis. Because deny it as some of you might, I still harbor the sneaking suspicion that there are a whole lot of aspiring writers out there who are mistakenly trying to cram the level of detail appropriate to a 5-page synopsis into a 3- or 1-page synopsis.

That way lies madness, of the O, that this too too solid text would melt, thaw and resolve itself into a shorter synopsis! variety. Trust me, unless you actively long to be complaining that the Everlasting had not fix’d
His canon ‘gainst self-slaughter, you don’t want to venture down that primrose path.

Besides, the ever-popular cram-it-all-in strategy isn’t likely to produce a successful shorter synopsis. As I’ve pointed out repeatedly throughout this series, the goal of a 1-page synopsis is not the same as a longer one. No one who requests a single-page synopsis seriously expects to see the entire plot summarized in it, as is routinely expected in a 5-page synopsis.

What might those different expectations yield on the synopsis page? Glad you asked; read on.

A quick caveat or two before you do: these are not intended to be the only possible synopses for this particular story; they’re quick-and-dirty stabs at it in a couple of hours while icing my knee. (I overdid this week; I’m reclining on pillows as I write this.) So kindly spare me quibbles about how I could have improved these or made them conform more closely to the text. I already know that once or twice, I presented some of the events out of chronological order, for ease of storytelling.

But guess what? If Millicent the agency screener asks to read your entire manuscript based upon your synopsis, she is not going to call you up to yell at you because they did not match up precisely. Nor will her boss, the agent of your dreams, or a contest judge. In fact, there is literally no point along the road to publication, except perhaps in a writing class, that anyone with the authority to yell at you is at all likely to perform a compare-and-contrast between your synopsis and your manuscript, checking for discrepancies.

Again, absolute literal accuracy is not expected in a synopsis; the pros are aware that plotlines will change slightly with subsequent revisions. What’s important here is presenting the story arc well — and that it comes across as a good story.

I am anticipating that many of you will know the story well enough to catch minor chronological rearrangement, by the way; this is a far more useful exercise if the story being presented is one with which you’re familiar. Besides, I wanted to stick with something in the public domain.

With those broad hints, and the assistance of that moody pick of Sir Larry above, most of you have probably tumbled to it already: you’re about to read several synopses of HAMLET.

Why HAMLET, and not, say, ROMEO AND JULIET, which is a bit better-known in this country? Partially, I chose it because in many ways, it’s the ultimate literary fiction storyline: it’s about a passive guy who sits around thinking about all of the negative things going on in his life and planning that someday he’ll do something about them.

Okay, so that’s a stereotype about literary fiction, but it’s a clich? for a reason. As any Millicent working in a LF-representing agency would happily tell you, far too many would-be LF writers mistakenly believe that the less that happens in a manuscript, the more literary it is.

That’s a misconception: what differentiates LF from other fiction is usually the vocabulary and sentence structure choices; LF assumes a college-educated readership (whereas most mainstream fiction is pitched at about a 10th-grade reading level), and often engages in experimental storytelling practices. Let’s face it, the kinds of sentences that Toni Morrison can make sing most emphatically would not work in other book categories. But I digress.

The other reason to choose HAMLET is that while most of you have probably seen it at least once, I’m betting that very few of you have ever seen it performed live in its entirety. Even the most text-hugging of theatre companies usually cuts an hour or so out of the play. (The major exception: Kenneth Branaugh’s film version does in fact contain every word. You’ll feel as though you’ve spent a month watching it, but there is a lovely Hamlet-Horatio scene that I’ve never seen performed in any other version.)

So I’m synopsizing a story that pretty much everybody has seen or heard synopsized, at least a little. That should prove helpful in understanding what I have chosen to include and exclude in each version.

To head off whining at the pass: yes, the lettering here is rather small and a bit fuzzy at the edges; that’s the nature of the format. To get a clearer view, try holding down the COMMAND key and hitting + repeatedly, to enlarge the image.

But before anybody out there gets the bright idea to steal any of this and turn it in as a term paper, this is copyrighted material, buddy. So you wouldn’t just be cheating; you’d be breaking the law.

So there. I didn’t go to all of this trouble so some con artist could avoid reading a classic. (Hey, I said that writing synopses was easy for a pro, not that it was even remotely enjoyable.)

Caveats completed; time to leap into the fray. Here, for your perusing pleasure, is a 5-page synopsis of The Tragedy of Hamlet, Prince of Denmark:

Hamlet 5 page 1

Hamlet-5-page-2

Hamlet-5-page-3

Hamlet-5-page-41

Hamlet-5-page-5

Pop quiz: I’ve deliberately made a really, really common mistake here, to show you all just how easy it is not to notice when tossing together a synopsis in a hurry. Did anyone catch it?

If you immediately raised your hand and shouted, “You misspelled Yorick’s name!” give yourself a gold star. You wouldn’t believe how often writers misspell the names of their own characters in synopses — or forget that between the time they originally wrote the synopsis for that contest that sounded so promising and when an agent asked for the first 50 pages and a 5-page synopsis, the protagonist’s best friend’s name had changed from Monica to Yvette, because Monica might strike a skimming reader as too similar to Mordred, the villain’s name.

And what’s the cure for that type of gaffe, everyone? Sing out loudly, please: read your synopsis IN HARD COPY, IN ITS ENTIRETY, and OUT LOUD before you send it anywhere, anytime. And do it every single time you are asked to send it out; things change.

The 5-page synopsis was the industry standard for many years, and probably still the one you will be asked to produce after you have signed with an agent. In these decadent days of wildly different submission guidelines across agencies and contests, however, aspiring writers are asked to produce something shorter.

As I believe I have mentioned about 1700 times on the blog at this point, read the guidelines several times over before you submit or enter so much as a syllable. If the requester doesn’t specify how long the synopsis should be, then the length is up to you.

Just keep it under 5 pages. Longer than that, and you’ll just look as though you don’t have any idea how long it should be. If you go less than 5, fill the pages in their entirety (or close to it), so the length will seem intentional.

Tell the entire story in a 3- or 4-page synopsis. If you already have a 5-page version handy, you can often get there by simply lightening the level of detail. Like so:

Hamlet-3-page-1

Hamlet 3 page 2

Hamlet 3 page 3

For a 1- or 2-page synopsis, the goal is different. While it is perfectly acceptable to depict the entire story arc, introducing the major characters, central conflict, and what’s at stake will do very nicely.

Which is to say: don’t even try to cut down a 5-page synopsis into a 1-page; it will only irritate you to the hair-yanking stage. Instead, start fresh:

1-page Hamlet

As you may see, I actually have covered the entire plot here, if a bit lightly. I’ve introduced the major characters and their main conflicts — and no more. I didn’t waste a paragraph describing the castle; I didn’t feel compelled to show what the characters looked like; I avoided incorporating clich?s about procrastination. Yet I’ve demonstrated that this story is interesting and holds together.

In other words, I did the writer’s job: I wrote a 1-page overview of the plot. Ta da!

Or rather, I wrote a 1-page synopsis geared toward convincing a literary or mainstream fiction-representing agent to ask to see the manuscript. If I were trying to market HAMLET as, say, a paranormal thriller, I would present it differently.

How differently, you ask? Take a gander. Just to keep things interesting, this time, I’ll do it as a 2-page synopsis:

Hamlet ghost page 1

Hamlet ghost page 2

Reads like quite a different story, does it not? Yet all that was required to pull that off was a slight tone shift, a tighter focus on the grislier aspects of the story, and an increased emphasis on the ghost’s role in the plot, and voil? ! Paranormal thriller!

That was rather fun, actually. Want to see the same story as a YA paranormal? Here you go:

YA Hamlet page 1

YA Hamlet page 2

The moral, should you care to know it: although most first-time novelists feel utterly controlled by the length restrictions of a requested synopsis, ultimately, the writer is the one who decides how to present the story. Only you get to choose what elements to include, the tone in which you describe them, and the phrasing that lets Millicent know what kind of book this is.

Makes you feel a bit more powerful, doesn’t it?

Tune in this evening for more empowering examples. Enjoy the control, campers, and keep up the good work!

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Countdown to a contest entry, part VIII: embracing the offbeat strategy

Hey, I’ve got some great news for all of you penny-pinchers — and who doesn’t make a penny scream occasionally these days? FAAB Dave McChesney reports that Outskirts Press is currently offering a 10% discount on his new release, Beyond the Ocean’s Edge if you buy it directly from the publisher’s site. If you can stop tormenting those coins for a moment, you’ll find the blurb for this exciting adventure story in this earlier post. Thanks for letting us know, Dave!

Back to business. I feel a trifle guilty about not posting yesterday, I must admit. Oh, I had pretty good reasons — the pollen count was through the roof, or rather through my studio’s window. The lilac tree has evidently hit its adolescent growth spurt, and like all developing things that bid fair to be fascinating adults, it’s asserting its independence by breaking away from the bonds I have set for it and is getting in my face. I’ll spare you a description of the resultant sneezing.

The postmark deadline for the writing contest I have been planning to use as a rule exemplar, the William Faulkner/William Wisdom Literary Competition is this coming Tuesday, however, so I regret the loss of time. I have time to go over the rules and how to follow them, as well as answer any contest prep questions you might care to post this weekend, of course, so no need to panic. However, while I was sneezing my pretty little head off, I came up with a glorious plan to make the lost Thursday up to you.

Since the contest requires a 1-page synopsis to accompany book-length entries, and since most aspiring writers would, in my extensive and sympathetic experience, rather waltz with a live rattlesnake than sit down and write a 1-page synopsis, am I correct in assuming that more than a few of you planning to enter the contest have been putting it off until this weekend? Am I further correct in assuming that it would save you some time if you didn’t have to dig through my extensive archives for pointers on how to write one from scratch? And would I be crawling too far onto that interpretive limb if I presumed that it would save you a little time and more than a little chagrin if I abruptly presented you with the relevant how-to posts?

I’ll take those vague nods, exasperated sighs, and chorus of sneezes as yes, yes, and no. So I’ll tell you what I’m going to do: because I love you people and would like to be shaking several of your respective hands at the awards ceremony, I shall be reposting my ever-popular series on how to write a 1-page synopsis successfully, if hurriedly.

Tonight. All of it. Back-to-back, so you have it at your itchy fingertips.

You’re welcome. It will take a while to post them all, but if you tune in sometime after 8 p.m. Pacific time, I believe I can promise you enough to read to keep you busy.

To prepare you to turn that practical gift to its best advantage for you, right now, I’m going to polish off my observations on the touches that differentiate a successful contest synopsis from one that you might tuck with confidence into a query or submission packet.

Since most writing contests that offer prizes to unpublished books do not accept entire manuscripts — although the Faulkner/Wisdom competition does, one of the many things I like about it; I also like that it features an unusual Novel-in-Progress category, as well as a special prize for a short story by a high school student — judge that book by the first chapter (or some portion thereof) and a synopsis, the synopsis is quite a bit more important to an entry’s chances of making the finalist round than most entrants assume. Effectively, the contest synopsis is the substitute for the rest of the book.

Oh, you hadn’t been thinking of it that way? It’s only sensible: that page (or 3 or 5, depending upon the individual contest’s rules) is where you demonstrate to judges that you are not merely a writer who can hold a reader in thrall for a few isolated pages. The synopsis is where you show that you have the vision, tenacity, and — feel free to sing along; you should know the words by now — storytelling ability to take the compelling characters you have begun to reveal in your first chapter through an interesting story to a satisfying conclusion.

Or, if you happen to be entering a memoir, that you can tell your life story so compellingly and honestly, while simultaneously presenting it with a dramatically-satisfying story arc, that a reader will indeed feel as though s/he has walked the proverbial mile in your moccasins, and returned from the journey edified, enlightened, and entertained.

Or, should your tastes run toward other stripes of nonfiction, that you can articulate an important problem or unresolved question, illuminate the relevant circumstances, and offer a solution or interpretation so subtle and complex that Cicero himself would stand up and applaud. Nothing dry or mundane about the story you’re telling.

Sounds noble expressed in those terms, doesn’t it? Actually, it is: the synopsis is where you show that you have the writerly chops to plot out a BOOK, baby.

For this reason, it is imperative that your synopsis makes it very, very clear how the chapter or excerpt you are submitting to the contest fits into the overall story arc or argument of the book, regardless of whether you are submitting fiction or nonfiction. And although it pains me to tell you this, it’s exceedingly rare that a synopsis included with an entry even attempts that not-particularly-difficult feat.

Did I just notice many, many eyebrows shooting hairline-ward? “But Anne,” those of you about to pop your entries into the nearest mailboxes shout, “isn’t it self-evident where that chapter or excerpt falls? Why would I be submitting anything other than the first chapter(s) of my book to a literary contest that judges book-length work?”

Well, for starters: the rules. Quite a few contests allow writers to submit chapters other than the first. Still more do not explicitly specify: they merely tell the entrant to send X number of pages and a synopsis. And surprisingly often, rules do not insist explicitly that the entered pages fall consecutively in the book.

So ostensibly, it’s can appear to be up to the writer to decide which pages are most likely to wow Mehitabel, the veteran contest judge. Who — spoiler alert — may not have read the contest rules recently enough to recall that entering anything but the opening of the book is technically acceptable.

Well might you clutch your throat and mutter inarticulately. “What was this entrant thinking?” Mehitabel wonders, leafing through the four-page excerpt from Chapter 8, the six-page passage from Chapter 10, and the totality of Chapter 18 that make up the 25-page contest entry before her. “This reads like random notes for a planned book, not a legitimate taste of a book already written. No agent would accept this as a submission; why on earth would this writer think we accept it as a contest entry?”

In all likelihood, because the rules allowed for the possibility, even if they did not encourage it. You’d be astonished at how often contest entrants will take advantage of what they perceive to be a loophole operating in their favor, only to find that they have inadvertently violated the judges’ expectations.

Here comes the first iteration of an axiom you are going to be seeing many, many times over the next few days: read contest rules carefully. All too often, entrants merely glance at them and assume that they understand what’s expected. And then those entrants get disqualified.

Let’s say for the sake of argument, though, that feel that your best writing falls in, say, Chapter 16, not in Chapter 1. Like a sensible person, before you printed out Chapter 16 and pop it into the entry envelope, you have read through a contest’s rules with great care. You borrowed your spouse’s fine-toothed comb to go over them again, in case you missed something. Then you had your spouse, your neighbor, and your son Joey’s third-grade teacher peruse those rules, so you could compare notes.

In caucus, all of you agree that the rules do seem to allow entering an excerpt from the middle of the book. And the contest deadline is Monday, so you don’t have time to e-mail the contest’s organizers to double-check that this is indeed an acceptable option. Even if you did have time and they wrote back with their blessing, however, if you elect to pursuit this strategy, your synopsis had better make it absolutely plain where the enclosed excerpt will fall in the finished work.

Truth be told, I think it is seldom wise to submit either chapters other than the initial ones or non-consecutive excerpts from a book, even if later chapters contain writing that is truly wonderful. Why? Well, presumably, you chose to begin your manuscript at a certain point in the story for a reason; asking Mehitabel to jump into it somewhere else might well require her to know information that the chapter you submit does not contain. If a reader would normally know by page 5 that angel-faced Georgette is a murderous maniac in cheerleader’s clothing, and Mehitabel reads only pp. 57-82, she may well be confused when Georgie slashes up that nice math teacher on page 76.

Non-consecutive excerpts are even more likely to confuse. They require the judge to make the logical connections between them — which the judge may not be inclined to do in a way that is in your best interest. An uncharitable judge might, for instance, draw the unkind inference that you had submitted the excerpts you chose because they were the only parts of the book you had written — a poor message to send in a category devoted to book-length works. Or that you simply can’t stand your introductory chapter, the pages upon which Millicent the agency screener would naturally base her opinion if you submitted the manuscript to an agency.

Did some of you just do a double-take? No agent or editor in the world, is going to accept random excerpts from a book for which she’s been queried: she is going to expect to see the first chapter, or first three chapters, or some other increment up to and possibly including the entire manuscript. But no way, no how is an agent or editor going to ask to see unrelated excerpts out of running order.

Well, okay, not unless the submitter is a celebrity for whom it would be a stunning surprise to the industry if s/he could string three coherent English sentences together. But in that case, the celebrity would be selling a platform more than the writing itself, right? And in any case, that’s why God invented ghostwriters.

Since reputable contest judging is blind, that last scenario is unlikely to arise, anyway. So a judge might safely conclude that the entrant who mailed in this patchwork document isn’t anywhere near ready to submit work to professionals. In other words: next!

This is not, in short, a situation where it pays to rely upon the kindness of strangers, but I can already hear some of you quietly tucking page 147 into your entry packet. Fine. If you have decided, over my strenuous objections, to use non-contiguous excerpts, here is some advice on how to do it in the manner least likely to annoy Mehitabel.

First, place your synopsis at the top of your entry packet, before the manuscript pages, unless the rules absolutely forbid you to do so. That way, you will maximize the probability that the judge will read it first. Second, make sure that the synopsis makes it pellucidly clear that these excerpts are far and away the most important parts of the book for some reason other than the beauty of the writing.

Oh, you may giggle, but by embracing the offbeat strategy, you’ve added another responsibility to the synopsis’ usual task of showing the overall story arc or argument of the book. Basically, the role of the synopsis in this instance is to make the judges eager to read these particular excerpts.

Obviously, this means that your storytelling skills had better be at their most polished, to meet the challenge. But really, why would you want to raise an already lofty bar this much higher?

As for selecting a chapter other than the first for submission, effectively starting midway through the book, I would advise against it, too, even if when contest rules explicitly permit the possibility. If you must, however, you should again position your synopsis on the top of the pile, and that synopsis should present the chapter you are including as the climax of the book.

Yes, even if it isn’t. I can only assume that you have your reasons for wanting to stick Chapter 17, rather than Chapter 1, under Mehitabel’s bloodshot eyes; since that is the case, surely you can make a convincing argument that it’s the correct choice, despite the significant disadvantage any judge will face in figuring out what happened in Chs. 1-16.

“But Anne,” I hear some of you point out, “the opening to my Chapter 58 knocked the socks off my mother, nearly slayed my writing teacher, and left my critique group in a state of panting incoherence. Are you saying that I shouldn’t loose that level of brilliance upon a contest judge, just because she might — silly person — want to know what anyone else who read that far in the book would already know?”

Before I answer that directly, let me acquaint you with some of the more salient’ arguments against beginning your entry at any point other than the beginning of the book. In the first place, the judge may well draw the same set of uncharitable inferences as with the non-continuous excerpts, and dismiss your submission as not ready for the big time.

Remember, they are typically judging marketability as well as writing quality. As I have mentioned repeatedly over the last couple of weeks, contest organizers love it when their winners move on quickly to publication. If your submission looks like it needs a couple of years’ worth of polishing to become market-ready, it is unlikely to win a contest, even if you are extremely talented.

In the second place, while your best writing may well lie later in your book, the advantage of starting at the beginning is that the judge and the everyday reader will have an equal amount of information going in. I’ve known a LOT of contest judges who resent having to go back and forth between the synopsis and the chapters to figure out what is going on.

Oh, please don’t look so sad. There is a sneaky way to get around this problem — but I’m afraid I would have to scold you if you did it.

So while you did not, of course, hear it from me, there is no contest in the world that is going to make you sign an affidavit swearing that your entry is identical to what you are submitting to agents and editors. If you win, no one is later going to come after you and say, “Hey, your book doesn’t start with the scene you entered in the contest!”

And even if someone did, so what? Professional writers change the running orders of their books all the time. And titles. And the name of the protagonist’s baby sister. Pretty much no one in the industry regards a manuscript as beyond revision until it is sitting on a shelf at Barnes & Noble. With nonfiction books that go into subsequent editions, sometimes not even then.

Thus, in theory, a clever entrant who feels her best writing occurs fifty pages into her novel might, for the purposes of competition alone, place her strongest scene first by starting the entry on page 50. Labeling it as page 1, of course, precisely as if the crafty soul’s book actually did begin there.

To put it in a less clever way: go ahead and submit your strongest chapter, tricky one — but for heaven’s sake, do not label it as Chapter 8. Label it as Chapter 1, and write a new synopsis for a book where Chapter 8 IS Chapter 1. Just make sure that your synopsis is compelling and lucid enough that it makes sense as a story told in that order.

“Is there a problem, officer?” this shifty-eyed writer could then say, batting large, innocent eyes. “I just don’t like linear narratives, that’s all. I simply wanted to open with a prologue from later in the story, then leap back to Chapter 1.”

The synopsis would have to be revised, naturally, to make it appear that this was indeed the usual running order of the book. Then, too our heroine would have to edit the submitted pages carefully, to make sure that there is nothing in the skipped-over pages that is vital to understanding what happens in the chapters presented in the entry.

The job of the synopsis, then, in the hands of this tricky writer, would be to cover up the fact that the entry starts in the middle of the book. It would be just our little secret. Or it would be, if I knew about it.

Which I don’t. Look, isn’t that Superman flying by the window?

Are those eyebrows creeping skyward again? “But Anne,” some of you tireless running order-huggers maintain, “my story doesn’t make sense told out of order, but I don’t feel that the book’s opening shows off my writing skills more effectively than a section later in the book. Does that mean I am I doomed to submit Chapter 1, just so the synopsis makes sense?”

Okay, come closer, and I’ll whisper a little secret that the pros use all the time: it’s perfectly acceptable in most fiction genres, and certainly in memoir, to open the book with a stunningly exciting scene that does not fall at the beginning of the story, chronologically speaking. It’s usually called a prologue, and it’s slapped onto the beginning of the book, before the set-up begins.

Does this seem a tad dishonest? It isn’t, really; it’s an accepted trick o’ the trade. If you trawl in bookstores much, you’ve probably seen this technique used in a novel or twelve lately. It’s become rather common in submissions, for the simple reason that a book that bursts into flame — literarily speaking — on page 1 tends to be a heck of a lot easier to sell to agents and editors than one that doesn’t really get going until page 27.

And that’s doubly true of contest entries, which judges are often reading for free and in their spare time. Don’t underestimate the competitive value of not boring them; a staggeringly high percentage of manuscripts start pretty slowly.

You can and should take advantage of that fact, you know. Generally speaking, anything you can do to place your best writing within the first few pages of your contest entry, you should do. Judges’ impressions tend to be formed very quickly, and if you can wow ’em before page 3, you absolutely should.

Just as with work you submit to agents, the first page of your entry is far and away the most important thing the judges see — which is why, unless an entry features mid-book excerpts, the author’s platform is truly stellar, or the contest’s rules specify a particular order for the entry packet, I advise placing the synopsis AFTER the chapters in the stack of papers or e-mailed document, not before.

That way, your brilliant first page of text can jump out at the judges. (After the title page, of course.) And if you can include some very memorable incident or imagery within the first few paragraphs of your chapter, so much the better.

Why, yes, that is a different running order than I advised for the tricky. How observant of you.

One final word to the wise: whatever you do, try not to save writing your synopsis for a contest for the very last moments before you stuff the entry into an envelope. Synopsis-writing is hard; budget adequate time for it. You’re going to want to make absolutely sure that the synopsis you submit supports the image of the book you want your submitted chapter to send.

Okay, so I’ll admit that’s kind of strange advice, coming from someone planning to provide a crash course in one-page synopsis-writing this very evening, with an eye to contest entries going out on Monday. I can only provide guidance; I cannot bend the space-time continuum to my will. And heaven knows I’ve tried.

Tomorrow, I shall begin to cover the super-common entry mistakes that tend to raise even the most tolerant judges’ hackles, due to sheer repetition. Feel free to keep posting questions about synopses as you write them, though, and keep up the good work!

Posted on - No Comments on Countdown to a contest entry, part VI: what do you mean, the contest page limit includes a synopsis? Or, how to be brief without feeling as though you’ve just sailed off the ocean’s edge

Countdown to a contest entry, part VI: what do you mean, the contest page limit includes a synopsis? Or, how to be brief without feeling as though you’ve just sailed off the ocean’s edge

Okay, I’m just going to accept it: the universe has been conspiring to slow this series down. Not to a crawl, by any means — have you been enjoying my posting on a daily basis again, Author! Author! habitu?s? — but not at the accelerated, oh-my-God-the-deadline-for-the-William Faulkner/William Wisdom Literary Competition-is-next-Monday (yes, really) pace I had anticipated.

Had I mentioned that there are cash prizes? And that I shall be there to shake the winners’ hands at this year’s award ceremony?

I shall press on as swiftly as I can — including, those of you planning to enter that particular contest this year (not that I’m trying to influence you or anything) will be glad to hear, a close examination of its entry guidelines over the weekend — but before I launch into today’s topic, I am going to pause for just a moment.

It’s more than worth it, for I have joyous news to report: D. Andrew McChesney, Author! Author!’s very first commenter, blogger, and a genteel fellow better known in these parts as Dave, has released his first novel, Beyond the Ocean’s Edge today! Congratulations on the successful completion of a long and fruitful voyage, Dave!

Just between us, I’m hoping to blandish our Dave to share his thoughts on the publication process with us later this month. As you may recall, he was generous enough to write a guest post last September on the ins and outs of self-publishing, a piece that provoked quite a bit of fascinating discussion. I am an inveterate blandisher, so I suspect I shall succeed.

I’m also an inveterate cheerleader for good writers’ work, so allow me to add: you may purchase the book here. And would I deprive you of the blurb?

Hotchkiss continued on. “Ed! You didn’t see it?” The use of his captain’s first name on deck attested to the first lieutenant’s growing apprehension and maddening confusion.

“See what, Isaac, my old friend?” Pierce recognized his comrade’s state of mind and did not correct his lapse of quarterdeck etiquette. Clearly, a more personal and comfortable approach was needed.

“The stars! The stars, sir! We weren’t just looking up at ‘em. We were amongst them. There was the sea, and then there wasn’t. An’ the stars were below us as well! And we were there, right among them, like we were the stars themselves, or the moon, or. . .”?

“I’m sure you saw what you’ve described. Unfortunately, I chanced not to see it, although I have had a strange feeling of timelessness.”?

Is it possible to sail beyond the ocean’s edge to another world? In 1802, Royal Navy Lieutenant Edward Pierce is ashore on half-pay because of the Peace of Amiens. He fortunately gains command of a vessel searching for a lost, legendary island. When the island is found, Pierce and his shipmates discover that it exists in an entirely different but similar world. Exploring the seas around Stone Island, HMS Island Expedition sails headlong into an arena of mistaken identities, violent naval battles, strange truces, dangerous liaisons, international intrigue, superstition, and ancient prophecies.

I’m not saying that I’m excited about this, mind you. I’m saying that I’ve already ordered my copy and already have a pencil ready to take notes for my Amazon review. (One of the nicer things a writer can do for a fellow keyboard-tapper, by the way, and something I hope you take the time to do for your favorite living authors.)

Aglow with that fine resolution, let’s move onward and upward. I’ve spent the last week talking about the various types of literary contest that an agent-seeking writer might conceivably want to enter. Today and tomorrow, I’m going to concentrate on an aspect of contest entry that seems to frustrate nearly every entrant: the synopsis.

Already, the chorus of groans shakes the skies. And frankly, I can’t say that I blame those of you who feel that way about churning out a synopsis, especially on a tight deadline. Like, say, in time to be postmarked Monday.

I hate to be the one to break the bad news (yet how often I seem to be), but just as synopsis-writing is a necessary evil of querying and/or submitting to an agent, if you are entering a category that covers book-length material, you will pretty much always be asked to include a synopsis. And while you’re already braced, let me rip off the Band-Aid quickly to add: since contest rules often specify an overarching page limit intended to cover both the submitted manuscript pages and a synopsis for the whole book, many entrants yield to the temptation to skimp on this important part of the contest puzzle.

What do I think of this strategy? To summarize what promises to be a couple of long posts’ worth of advice in a word: DON’T.

Contrary to widely-held writerly belief, a synopsis typically weighs more heavily in a contest entry’s success than in a submission packet agent, not less. Not to give away trade secrets or anything, but synopses tucked inside submission packets are not always read. Those accompanying query packets usually are, if our pal, Millicent the agency screener, feels that the query letter shows promise, but generally speaking, she will hop directly to the manuscript in a submission packet.

So which submission synopses tend to get read? Well, if the agency requested a partial, and Millie likes those pages, she will frequently glance at the synopsis before asking to see the rest of the book. Or, if her boss asked to see the whole thing, she might read the opening pages — and then, if she likes what she sees, take a peek at the synopsis. Or not.

Which is to say: not very many actually get read. The agent of your dreams will almost certainly want to have one at her elbow when she picks up the phone to pitch your work to editors, however. And that means — you’re sitting down by now, right? — that the more books you write over the course of your agented life, the more synopses you are going to have to write.

Had I mentioned that most writers, agented and pre-agented alike, consider the task a necessary evil?

The synopsis that accompanies a contest entry, on the other hand, virtually always receives some critical attention at judging time. That means — and you might want to rush into the kitchen and grab some dry crackers to munch; the nausea might come on suddenly — that every syllable of a contest synopsis is as important as any passage in your entered pages.

Actually, if you write it well, it might be even more important. Since so many perfectly lovely writing contest entries are marred by an obviously tossed-together synopsis, a well-constructed one tends to leap out at the judges, shouting, “Pick me! Pick me!”

Last year, I spent a month of posts on the ins and outs of writing a strong synopsis. (Now well hidden under the startlingly opaque category title HOW TO WRITE A REALLY GOOD SYNOPSIS. Why oh why do I not make these things easier to track down?) Heck, I even devoted some serious attention to the most hated specimen of the species (and the one most necessary for anyone thinking of entering a book-length work in the aforementioned Faulkner/Wisdom competition), the 1-page synopsis.

Following my tradition of concealment, I have secreted those posts under the code name HOW TO WRITE A 1-PAGE SYNOPSIS. But don’t tell anyone I told you.

Unless any of you kick up a hue and cry, demanding that I revisit the issue now in very great detail (anyone? Anyone?), I’m going to proceed on the assumption that most of you have already mastered the basics of writing an (ugh) synopsis. For the next couple of days, I would like to focus on the differences between a synopsis that might wow a Millicent and one that might impress a contest judge.

In answer to that deafening unspoken question my readership just flung in my general direction: yes, I am indeed suggesting that you write two separate synopses, one to accompany contest entries, and one to send out with your query and submission packets. Got a problem with that?

Judging by the widespread rending of garments and troubling of heaven with bootless cries on the subject of all of the extra work that would entail, I gather that you do. Hear me out, please. Most contest synopses read as though their authors regarded them as — get this — an annoying nuisance to be polished off as quickly as humanly possible, much in the same manner as a child will gulp down a hated vegetable his parents have told him he must eat, simply in order to clear it from his plate.

And this, frankly, mystifies Millicent’s Aunt Mehitabel, the veteran contest judge. “If I didn’t know better,” she clucks over hundreds of entries every year, “I would think that these writers were laboring under the impression that the writing there were not being judged, too, in addition to the writing in the entry proper.”

Oh, Hitty, if only you were sitting where I am, hearing thousands of prospective contest entrants suck in their breath sharply in surprise. An astonishingly high percentage of entrants seem to be unaware that the synopsis is part of the writing being evaluated in a contest, just as in a submission.

And that, breath-suckers, is strategically unwise. I’ve said it before, and I shall no doubt say it again: every word of your writing that passes under the eyes of a professional reader is a writing sample. Treat it accordingly.

Another common Mehitbel-mystifier involves submitting a too-terse synopsis, presented in what is essentially outline form. (Sometimes, writers present it literally in outline format, believe or not.) Short on the sensual details and plot twists that enliven a story, these just-the-facts-ma’am synopses give no indication that the author is a talented storyteller. Just that she is darned good at making lists.

See my note above about every word of an entry being a writing sample. I’m going to keep repeating that depressing truth until everyone within the sound of my voice believes it.

What makes me think that most contest entrants don’t currently believe it? How about the frequent practice of lifting entire phrases, sentences, and even paragraphs from the entry itself and plopping them down in the contest synopsis, as if the judge isn’t going to notice?

After our recent series on structural repetition, I sincerely hope that last question made you laugh out loud. Chant it with me, campers: professional readers like judges are born nit-pickers: they’re going to notice.

It’s also becoming increasingly common to conflate a screenplay synopsis — which typically has separate headings for action and major characters — with a literary synopsis. How might one define the latter? Here goes:

A book synopsis is a linear narrative concerned with plot for fiction and structure for nonfiction, a brief exposition in the present tense of the story of a novel or the argument of a book. Usually, in a fiction or memoir synopsis, a character’s name will be capitalized the first time it appears, followed by the character’s age in parentheses: GEORGE (13). Typically, synopses run from 1-5 pages (double-spaced), depending upon the requirements of the requesting agent, editor, or contest.

In other words, it’s our old bugbear, a coolclips_wb024789.gif

In more other words, not everything labeled synopsis is the format that contest judges expect. In yet a third set of words: remember how I mentioned yesterday that there are certain problems that prompt judges to slide an entry prematurely into the non-finalist pile as soon as they appear? A screenplay-style synopsis is one of ‘em.

Why? Well, it makes it so very apparent that the entrant has not learned the norms of the literary world — and believe I may have mentioned several dozen times throughout the course of this series, one of the things being evaluated in a literary contest is a book’s marketability. To put the prevailing logic bluntly, the vast majority of judges will prefer an entry that is professionally presented — that is, one that adheres to standard format and resembles what a top-notch agent would expect to see in a successful submission — over even a brilliantly-written submission that does not conform to those standards.

To translate that into practical terms, few judges are going to be willing to waste finalist space on an entry that flouts the expectations of submission. They want to promote writing that has a fighting chance in the marketplace.

Seriously, I’ve seen this criterion included on judges’ rating sheets. Please, I beg of you, do not fall into the pervasive trap of believing that literary contests are the last haven of writing for its own sake. For contests that accept book-length work, that’s seldom the case.

Another type of synopsis that tends to elicit a knee-jerk reaction from Mehitabel: one that does not summarize the plot or argument of the book at all. Instead, it reads like promotional copy: This is the best book about the undead since Interview with the Vampire! This cookbook will change cuisine as we know it!

Or, even more common: This is the moving, insightful, beautifully written story of two kids in love, a modern-day Romeo and Juliet. You’ll laugh; you’ll cry; you’ll want to call up your high school sweetheart to reminisce.

Clearly, this entrant has confused a synopsis with a back-jacket promotional blurb. Judges are seldom amused by this, for precisely the same reason that Millicent tends not to be: they want to make up their own minds about how well-written/important/marketable/likely to induce drunken dialing a piece of writing is, not have it announced to them.

So what quality in a contest synopsis that the writing is good/important/market-ready/conducive to poor judgment? Once again, an old nag trots from the writing advice stable to admonish us all: showing, not telling, in the synopsis is the best way to demonstrate the high quality of your writing.

Again with the bootless cries? What now? “But Anne,” many of you protest, waving your boots around, “a synopsis is so short! I barely have time to tell my story, much less show it!”

Relax, garment-renders. There are a few tricks of the trade; we’ll be getting to them soon.

But first, let’s note one more frequent strategic error, a phenomenon often seen in query packet synopses as well: devoting virtually the entire synopsis to the premise of the book. Unbelievably often, this tactic leads to the exclusion of the major conflicts, mention of the major characters, or — in a synopsis longer than a page or two — any indication of the story arc or ending.

The usual authorial justification for this, of course, is I don’t want to give the ending away. Understandable, of course — were these writers not asking the judges to recognize the high quality of books that they had the luxury of reading in their entirety. Most contests that give awards for long-form writing, however, call for only the opening pages and a synopsis.

So is it completely unreasonable for the judges to want to be provided with proof that the author has at least thought through the ending of the book, as well as the beginning? Or — and you’d be astonished at how often this turns out not to be the case — that the manuscript they are considering for an award has actually been written to completion.

For a nonfiction work, of course, entering an incomplete manuscript in a chapter + synopsis contest would make some sense: the logical time to enter a contest is when one is circulating the book proposal, right? Naturally, though, someone who has written a book proposal will already produced an Annotated Table of Contents, demonstrating the story arc of the proposed book. Mehitabel certainly has a reasonable claim to deserving to know what that is.

For a novel — which, as I hope everyone is aware, is expected to be completely drafted before the novelist begins to query it — that claim rises to the level of a right. Mehitabel needs to know whether the author of the entry before her not only can write, but can structure an entire book.

Of course, any entrant is free to interpret the synopsis requirement as s/he pleases. It’s only fair to tell you, though, that in every contest I’ve judged, none of stripes of synopsis I’ve just mentioned would have made it to the semifinalist round, much less been seriously considered for the top prize. And that’s wasn’t my independent call: those were the rules. I just mention.

As if all that weren’t enough to make even the bravest first-time contest entrant tremble like a leaf at composition time, contest synopses often need to be shorter than submission synopses. That means, often, that writing them is harder.

Why? Well, most contest entries set absolute maximum page limits. Page space will be at a premium, therefore. For instance, if the chapter you want to submit is currently 23 pages long, and the page limit (exclusive of title page, which is never counted in a contest’s maximum page count) is 25, you’re either going to need to shorten your already-existing synopsis to 2 pages or make some serious cuts to your chapter to permit something longer.

Guess which option most contest entrants pick? You guessed it: contest judges see many, many single-page synopses.

Unless the contest rules actually call for it to be that short, however, those synopses tend to lose style points for the entry. After all, as many of you howled at me earlier in this post, it’s awfully darned difficult to tell the story of a reasonably complex book within a couple of dozen lines of text.

Even if the contest rules specify a super-short synopsis (or make it sound shorter by calling it a plot outline), though, please do not give into the quite substantial temptation to fudge a little to stay within the specified parameters. Even if you have been asked to produce a 3-paragraph synopsis of a 500-page book, DO NOT single-space it, shrink the print size, or fudge the margins to make it fit within the specified limits, unless the contest rules say you may.

Why am I being so adamant about this? Simple: if you do it, you will get caught and penalized.

It’s kind of a no-brainer for the judge, actually. Trust me, if the rest of your entry is in 12-point Times New Roman with 1-inch margins, double-spaced, almost any judge is going to be able to tell right away if your synopsis’ margins are .8″ all around. Or if the type is shrunk to 95%.

The same holds true, incidentally, if you submit a super-long synopsis. Because judges are expected to rate entries for professional presentation, unless contest rules specify otherwise, it’s prudent not to allow a contest synopsis to run over 5 pages or under 2.

Why those limits? A synopsis that is much shorter will make you look as if you are unable to sustain a longer exposition; if it is much longer, you will look as though you aren’t aware that a 3- to 5-page synopsis is fairly standard in the industry.

If this is starting to sound a bit repetitious, congratulations — you’ve grasped a fundamental truth about literary contests. An entry’s synopsis, just like its chapter(s), is subject to judging for clarity, coherence, marketability.

Oh, and professionalism. Had I mentioned that?

Which is why a synopsis that reads like — wait for it — a synopsis will virtually always receive higher marks than one that sounds like a back-jacket blurb (My writing teacher says this is the best novel since THE SUN ALSO RISES!) or an exposition on why the author chose to write the book (It isn’t autobiographical, but”?).

Instead, if you are entering a fiction category, make sure that the novel sounds engaging, marketable — and like the best yarn since TREASURE ISLAND. For a memoir, ditto. And for other nonfiction, present the argument as fascinating and rigorously supported.

But use the synopsis to show that your book is all of these things, not to tell about it.

Admittedly, summarizing a 400-page book in just a few pages that’s a fairly tall order. No one contests that. You’re going to need to cover that plot or argument with dispatch. But that doesn’t necessarily mean being vague or leaving out eye-catching details.

Oh, stop groaning. That’s going to be true of your first few attempts at writing a synopsis, no matter the context in which it is requested. But, unlike many of the other hoops through which aspiring writers need to jump through on the way to landing an agent, the ability to write a strong synopsis is a skill that’s going to serve you well for your entire literary career.

Don’t pretend you didn’t hear me the first time. Pull out your hymnals and sing it out: even the long-agented and often-published still need to write ‘em occasionally. Might as well learn to do it well.

In both contest and submission synopses, most fiction writers make the mistake of summarizing the plot in generalities, rather than — got a pencil handy? You’re going to want to take notes — giving a brief overview of the major conflicts of the plot through a series brief, vividly described scenes redolent with juicy, concrete details.

Not clear on the difference? Let’s take a gander at a fairly typical opening paragraph for a synopsis:

JACQUELINE (42) is experiencing severe problems in her life: a boss who alternately seems to hate and praise her, a father who calls all the time to grill her about her love life, and a wacky neighbor who is constantly knocking on her door to borrow things. She feels like she’s going out of her mind until she meets the man of her dreams, an architect whose bedroom eyes make her swoon, but who may already have a wife. After a series of disturbing “chance” meetings with Josh, she finds that it’s easier to accept a temporary demotion than to keep on fighting battles on all fronts.

Okay, let me ask you: how many lines into that summary did your attention start to wander? How many lines before you started to become confused about what was going on? And if you made it all the way to the end, did you find yourself wondering whether Josh was the architect, the boss, or the neighbor?

And what the heck was up with those quotation marks around something that clearly wasn’t spoken aloud?

Good; you’re thinking like an agency screener. And like a contest judge.

Why doesn’t this excerpt doesn’t hold the attention? It’s stuffed to the gills with generalities and clich?s. But a synopsis does not need to resort to either. Take a look at the same premise, summarized with a bit more pizzazz and a lot more specifics:

Freshly-divorced graphic designer JACQUELINE (42) is finding it hard to sleep these days. Staying awake isn’t much of a picnic, either. Her boss, ALBERT (87) cannot seem to make it through a staff meeting at the magazine without criticizing her layouts while running a warm, greasy hand up her stockinged thighs under the conference table.

You already want to read this contest entry, don’t you? So will Mehitabel. That’s because the details are compelling and unusual.

Oh, you want to see that magic trick again? Okay, let’s see where else dialing back the vague helps us:

Every morning at precisely 9:24, her habitually-marrying father (OWEN, 67) telephones her at work to see if she met Mr. Right the night before — and when she sheepishly says no, he regales her with tales of his latest paramour. Even her nights are disturbed by her lonely neighbor, CLIVE (24), who can’t seem to make it past midnight without scratching on her door to ask to borrow something — her milk, her hairdryer, her cat.

She manages to run carefully-balanced chaos of her life runs with relative smoothness until dreamy, suspender-wearing architect JOSH (48) comes to measure her office for long-overdue renovations. But does that untanned line on his left ring finger mean that he, too, is recently separated — or that he’s the kind of rat who slips his wedding ring into his pocket every time he comes within smoldering range of an attractive woman?

Yes, this second synopsis is a trifle longer, but aren’t those few extra lines worth it, when they give the story so much more oomph? Oomph is, after all, important in a contest entry.

A contest judge, like an agency screener, typically reads quite a few entries within a single sitting. If you want yours to end up in the pile with the finalists, you’re going to want that judge to remember the story or argument of your book, as well as the quality of the writing.

Remember them for positive reasons, that is. If your synopsis doesn’t cause Mehitabel to make a mental note to rush out and buy that book the nanosecond it hits the shelves, it may be lacking something in the oomph department.

Do I see a raised hand or two out there? “But Anne,” I hear some of you asking, “wouldn’t everything you’ve just said be applicable to either a submission or a contest synopsis? I thought we were talking about contest synopses specifically.”

Good point, ethereal questioners. Yes, these principles would apply equally well to either type of synopsis. However, for a contest synopsis, since you will also be submitting the opening of the book — even if the rules merely say that you should include A chapter, rather than specifying Chapter 1, you’re pretty much always going to be better off submitting the beginning — you can get away with covering those early pages only very lightly in the synopsis.

Actually, since those opening 10 pages (or 15, or 25) are all that the judges are going to see of the book, you would be well within your rights to streamline the plot more than you might for a regular synopsis. You could also — you’re still sitting down, right? — lose a subplot or two.

Stop glaring at me: your job here is not to present Mehitabel with a morbidly accurate summary of every aspect of the book, but to convince her that the manuscript it represents contains an enjoyable, well-written story or argument. If you can construct a more vivid, compelling story by sticking to only the book’s primary plotline (which, in a short synopsis of a long novel, is often the case), go ahead.

The point of the contest synopsis, after all, is to wow the judges with what a great storyteller you are, not to reproduce every twist, turn, and minor character’s angst. This may feel a touch misleading, but after you are wearing the first place ribbon, no one is going to come running up to you crying, “?Hey! Your synopsis left out three major plotlines, and didn’t mention the protagonist’s sister! Foul! Foul!”?

Trust me on this one. I hear contest judges yell things all the time.

For memoir, it’s especially important to streamline the story. Why? Well, most memoir contest synopses include a little too much information extraneous to the primary plotline. For the synopsis, hit only the dramatic high points — and make sure to give some indication of how the main character grows and changes throughout the book.

Yes, I’m talking about you, memoirist. You hadn’t been thinking of yourself as your own protagonist? Mehitabel and Millicent will.

Oh, and avoid making the common mistake of mentioning in either a contest or submission synopsis for a memoir that the story being told here is true. Actually, you should eschew it in a query, too: in publishing circles, all nonfiction is assumed to be based upon truth.

Just ask James Frey, he of the A MILLION LITTLE PIECES scandal.

Seriously, the true memoir is as much of an pet peeve as the fiction novel or the nonfiction how-to book. To the ears of the industry — and to contest judges that pay attention to publishing norms — all of these terms are redundant.

For other non-fiction entries, you’re going to want to reproduce the basic argument of the book in the synopsis. Try starting with a thought-provoking question (In a society as complex as America’s, why isn’t there more social acceptance of squirrel-lovers?), then moving on to why that question is important enough to answer. Present the essential planks of your argument in logical order, and give some indication of the kind of evidence you intend to use to back it up.

But again, remember to be specific in your overview, not vaguely general. Remember, just as Millicent does not have time to fill in any logical holes in a query, Mehitabel neither has the time nor is allowed to project her notions of what your book is about onto your entry. Sing it out, series-followers: a contest judge must evaluate an entry based solely upon what is on the page. Don’t expect a lenient reading.

I hear some throat-clearing out there. “Um, Anne? Again, dandy advice for either kind of synopsis, but how should I handle nonfiction in a contest synopsis in particular?”

Tenacious, aren’t you? I can refuse you nothing.

In a contest synopsis for any kind of nonfiction book (including a memoir), it is usually a good idea to include some brief indication of the target market and why your book will serve that market better than what is currently available. Essentially, you’re giving Mehitabel a free taste of the argument that you will be making in your book proposal.

Do keep it short and to-the-point, though. Hyperbole does not work well in this context, so steer clear of grandiose claims (Everyone in North America will want to buy this book!) and stick mostly to explaining (in vivid, specific terms, please) what the book is about.

But most of all, make sure that the synopsis makes the book sound like a great read. If Mehitabel doesn’t want to place an order for your as-yet-unpublished book, believe me, your contest entry is not going to make it to the finalist round.

As with a novel or memoir’s story arc, the best way to achieve this in just a few pages may well involve leaving out some of the less important planks of your argument. Do not feel compelled to give the chapter-by-chapter summary you would in a book proposal. Just because you spend 80 pages on the spiritual life of tadpoles in your book on frogs doesn’t necessarily mean than a description of it will read well in a contest synopsis.

That use of specifics made your eyes light up, didn’t it, coming after those two generalizations? It would for Millicent, too.

See now why you might benefit from writing one version of the synopsis for agents, and another, more streamlined one that gets tucked into contest entries? Different contexts — and sometimes even different contests — may call for different approaches.

Flexibility, after all, is as important a component of the writer’s tool bag as the ability to write an eye-catching opening paragraph. Don’t worry that a judge is going to assume that you don’t understand how to write a submission synopsis — a contest entry is a different animal, and everyone concerned understands that.

Next time, I shall give you a few more pointers on how to make that synopsis appeal a bit more to contest judges. As if that weren’t enough to set a contest entrant’s heart aflutter, I shall be showing visual examples of how a synopsis should be formatted.

Oh, the excitement is palpable. Keep up the good work!

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Countdown to a contest entry, part III: I need a road map!