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Synopsis Shenanigans
In the same way that loglines appear to have the new writer scratching his/her head in dismay (and indeed some of the more experienced, if you read this excellent article here), it would seem the synopsis can be just as troublesome.
A posting yesterday on the UK forum of Shooting People by its very vocal (and able) member Davebluez had this to say:
A posting earlier this week said:
>>writing either of the other two documents... A synopsis is a summary of something you have already written, therefore, you can only write an outline or treatment first, or a script, then a synopsis.<<
I think this could be a tad misleading for any uncertain folks frolicking in these virtual realms.
A synopsis isn't a summary of something you've already written; it's just a summary.
It's a simple, condensed outline of the idea for your film, and it's what you hope to achieve with the screenplay. It doesn't need to be rigidly adhered to, and it doesn't matter if the story changes as the script develops, but I do believe it's very helpful in establishing focus.
I'd recommend that everyone have a long hard think about what their film is about and write a synopsis before they begin their screenplay. It really can be an extremely useful tool to aid you in discovering exactly what your film is about, and help define the story in your mind before you FADE IN.
I agree with Davebluez; there is not one solitary reason one has to wait until you finish before attempting to write a synopsis. A summary is a summary whenever you write it. However, one of the most common questions BANG2WRITE receives (after "What is a logline?") is, "What should "go" into a synopsis?"
There is no "right" way to write a synopsis, just as there is no "right" way to write a treatment or even a screenplay. There are, however, wrong ways. The one I see most is the synopsis that includes every single last detail of the plot.
Of course, this is one area in which the script readers CAN be blamed and I take full responsibility (ahem). When one is trained to be a script reader at a literary agent or one of the Script Factory or TAPS' courses or at university, one is taught to chop reports in half: one half is the synopsis, the other half is the analysis. It would be logical then to think that the synopsis of a traditional reader's report then is a summary of that script's plot.
But no. It includes every last detail. Perhaps this is because people training readers know what is to come: the fact some writers, when faced with a summary of their work, will disagree with it or even accuse the reader of not reading all of it. Though the majority of writers will not make any such claim, in thecourse of any reader's career this will happen: it makes sense to "cover one's back" so to speak. Is it any wonder then that writers, receiving a so-called synopsis in their coverage (that isn't really a synopsis), get confused? Really, this section of the reader's report should be known as something like "plot breakdown", since it is essentially closer to that idea than the synopsis.
My course at Bournemouth University very helpfully included a "how to write a synopsis" module; however,though there is a wealth of information on loglines out in Cyberland, I found there is relatively little in comparison on synopses. If taking my own synopsis into account then for Near To Darkness, hopefully I can illustrate a few of the things I was taught at university.
Use 300 - 500 words max. A reader will go through hundreds of synopses. Make yours stand out by making it as short as possible. Their heart will lift when they pick it up - that's a positive starting point! Now, try and grab em by the short and curlies with your idea.
Start with a comparison and a logline. Give the reader an essence of your story and tell them what they can expect from it, in as few words as possible. N2D is compared to Mike Leigh (known for psychological drama) and 37 Degrees, also known as "Betty Blue", ergo it is a Romeo-and-Juliet style tragedy. There also must be sex in it too then on that basis! ; )
Next, include 1 to 2 paragraphs of character/plot information. I like to start with character first as I think it's the basis of any good screenplay. Motives are particularly important. Who will want to read your draft if they aren't intrigued about the characters in it? Don't give every last detail here though!
Intrigue the reader. Don't go into every last detail. Leave some of it to the imagination. Why would someone want to read 90-120 pages when they can have it ALL in one page?
Wrap it up. Another paragraph should give us a sense of the "whole" of the piece but crucially, without giving the ending away. I like to give my synopses a question at the end, something that will make the reader go, "but what about it?" without hopefully seeming pretentious (therein lies the challenge of course). I ended N2D's synopsis by hinting at the importance of Melissa's mother's piano, not mentioned before that. Melissa's mother's piano is a major part of N2D and links to that all-important issue of child abuse that lies at the heart of it. I never say this overtly in the synopsis though.
As mentioned previously, this isn't the "right"way to write a synopsis, it's one way. I think it works though, since I have received praise in the past for my synopses and they have ensured I have been at least read and/or interviewed for various courses/jobs etc. Also, just this week, N2D's synopsis posted here ensured it got through to the second round of the Marchmont Films submission.
Don't be afraid your idea will sink without trace if it doesn't include every single detail. Chances are, readers are swamped with every last detail. They don't want to be spoon fed, they want to be intrigued. I think that old cliche is relevant here - less is more.
What do you think?
bang2write at 12:33:00 o'clock BST Blog about this entry |
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Hi Gary, thanks for stopping by! You're quite right - often the stuff you plan with like treatments, beat sheets, synopses etc DOES get chucked out the window, but as I often say to my clients, that doesn't mean you shouldn't have bothered... Good grief, I sound like a MUM or something...oh, that's right, I'm OLD! Argh!
Writing software without a spell checker? That should be illegal! I hope you complained and got lots of free stuff? If not, do it now! ; )
Will check out your blog link, cheers for that! We need some more good AOL blogs out there! -
I break all the rules with synposis, in essence it's a couple of paragraphs with an idea of where I'm going and then I go in completely the opposite direction. I'm currently 'prepping' an idea for a novel which involves about 1/2 hour putting ideas down, etc into a piece of software called WriteItNow which is pretty damn fine (except it doesn't have a damn spell checker)!
Good journal Lucy and nice to see another writer out there. Well, I try to be a writer of sorts lol.
http://journals.aol.co.uk/ghwt9996/Thinktank/
http://www.helenwhittaker.net/phpBB2/index.php
Gary
07/04/06 13:30
I've decided I'm one of those people who work in reverse. While some writers start with loglines, synopsis, outlines...I find myself with a scene from the middle of the story that won't let me go and I have to work from there, discovering characters, situations - the hows and whys.
It's like being handed a gun - the guy who hands it to me is a garbage collector and all he tells me is that they were collecting in Lambeth...
Shell