Here’s another example of a fiction synopsis. This time it’s The Ides of March (2011). It’s a thriller, sure, but a character-driven one.The biggest challenge with this one was cutting down on which characters to give attention tp. You’ll notice how Jeffrey Wright’s and Paul Giamatti’s characters are glanced over. This is on purpose. I just barely got this under the necessary word count. Remember: Keep your synopses moving — cut, cut, cut. (See all my synopsis examples here.)
STEPHEN MEYERS, 30, is a wise-beyond-his-years political consultant who acts as junior campaign manager for MIKE MORRIS, the frontrunner Democrat for the forthcoming presidential election. Stephen is helping organize Morris’s campaign in Ohio and solidify the candidate’s lead against a last remaining primary opponent. On any given day, Stephen deftly deals with reporters and shapes messages for the campaign. Stephen, who still has idealism, legitimately believes in Morris, and feels he is a good man that can change the world when elected.
Stephen begins a sexual relationship with MOLLY, a young intern for the campaign. After a debate, Stephen is approached by a rival campaign manager, who attempts to seduce him into working for another candidate. Stephen declines the offer, but lies to his own boss, campaign manager PAUL, about any approach ever taking place.
The campaign gets distressing news: Due to dirty tricks by their primary opponent, Morris’s statewide lead evaporates. Both Paul and Stephen urge their candidate to cut a deal with a third primary opponent (that dropped out), who will pledge valuable support in exchange for an undeserved cabinet post. Morris refuses the shady deal, citing integrity. Victory in Ohio is even more distant for the campaign.
Late one night when Molly is in his room, Stephen discovers that Morris is calling her. She and Morris had a brief sexual tryst several weeks previously, and Molly is now pregnant with Morris’s baby. Stephen is crushed to learn the “good” man he believed in is no different from other pols. With no one to turn to because of her family’s Catholic faith, Molly asks Stephen for money for an abortion. Stephen warns her to stay silent about everything, then drops her off at a clinic. When Molly’s procedure is finished, she waits for Stephen’s transport back, but he never shows.
Stephen finally comes clean to Paul about his secret meeting with the rival campaign. Despite Stephen’s apology, Paul fires him, citing his need for the core political value of loyalty. Infuriated, Stephen promises Paul he will take down the Morris campaign by any means necessary. Word of Stephen’s promise reaches the ears of Molly, who has taken a cab back to her hotel. Molly is (correctly) worried that Stephen will divulge news of her pregnancy and abortion when firebombing the Morris campaign. Finally remembering about Molly, Stephen heads to her hotel, but he is too late. She has killed herself with a cocktail of prescription pills and alcohol. Morris publicly mourns the loss of a “valued intern.”
But Stephen has a wild card. After seeing Molly at the crime scene, he took her phone. Stephen privately meets with Morris and tells him Molly’s phone contains incriminating messages about the pregnancy. Though Morris surmises it’s a bluff, he acquiesces to all of Stephen’s demands. Paul is fired and Stephen is made campaign manager. Morris take
Here’s another example of a fiction synopsis. This time it’s Robocop (1987). I took a crack at this one because my synopsis examples were light on cyberpunk and science fiction stories. Notice how a lot of the action is stripped from this, and the character of Bob Morton is not even mentioned. You have to keep a synopsis moving. But as quickly as it moves, we must see the main character's arc, and you can see Murphy's within this text below. Read more
Here's another example of a fiction synopsis (See
all my synopsis examples here). This time it's The Lost Boys, an
absolutely awesome film from 1987 about vampires in a coastal California town.
What I find fascinating about this is story is that it's obviously a horror/paranormal
tale, but could it be young adult? I mean the main character is Michael, and how old
is he? It's never said, and he looks 24, but there is that line where his mom
says "Things will change around here when school starts." Perhaps he supposed to be
18-19, and if the story is from his POV, it could be YA. In fact, if you told this
story from Sam's POV and took out some gore/sex, it could be an MG paranormal story.
Very interesting blend here.
MICHAEL and his younger brother, SAM, move with their just-divorced mother to Santa
Carla, a coastal California town plagued by unexplained disappearances. The family
moves to the outskirts of the city, but quickly finds the center of town life is the
boardwalk and amusement park, which is plastered with flyers of missing people.
On the boardwalk, Michael takes a liking to a beautiful girl named STAR, who seems
interested in him, as well. But Michael learns that Star is (unwillingly) the girlfriend
of DAVID, a local gang leader. David provokes Michael into a motorcycle race on the
beach, in which Michael is almost baited into going off a sea cliff. Michael is furious,
but David hints that everything is part of an initiation. David and his three gang
friends take Michael to their cavern hideout along the beach and invite him to drink
from a bottle, officially "becoming one of them." Despite Star's warnings that the
bottle contains not wine but blood, Michael takes a swig as the gang members applaud.
At the end of the night, Michael awakens groggily in his bed and immediately seems
uncomfortable with sunlight.
Meanwhile, in the local comic book store, Sam meets brothers Edgar and Alan Frog (THE
FROG BROTHERS), self-proclaimed vampire hunters who warn Sam that Santa Carla is infested
with the undead. The Frog Brother's warnings are ignored, but the next evening, Michael
seems to become possessed and tries to attack Sam. Michael regains himself, but now
he and Sam both realize Michael is a half-vampire, and will become a full vampire
upon his first kill. Michael soon learns he can fly, and is taken by David to a beach
party at night, but resists David's pressure to feed and complete the transformation.
Later, Star reveals herself as a fellow half-vampire, and asks for David's help in
finding and killing the Head Vampire, which will free all half-breeds like themselves.
The two finally consummate their relationship.
Sam and The Frog Brothers believe local businessman MAX may be the Head Vampire, and
attempt some rudimentary tests on him (holy water, garlic) that fail. Max attributes
Sam's odd "tests" to the fact that he is now dating Sam and Michael's mother, who
yearns for a new relationship after her divorce. Now convinced that David is the head
vampire, the Frog Brothers and Sam enter the vampire cavern during the day and find
the four gang members/vampires hanging from the ceiling, asleep. They stake one of
the four, then barely escape with their lives as the other vampires attack before
being stopped by sunlight.
That evening, while their mother is on a date with Max, Sam and Michael prepare their
house for an attack from the three remaining vampires. They are aided by Star and
The Frog Brothers. The vampires attack, bu
Here's another example of a fiction synopsis (See
all my synopsis examples here). This time it's Ransom (1996). One
thing to notice here is that, in the movie itself, the five kidnappers all have their
own personalities. But here I had to cut all that and just focus on the leader. Tom
is the main character here, and we need to see his journey over the three acts.
TOM MULLEN is a rich businessman who made his fortune creating a successful airline
company from scratch. While he and his family are in Central Park, his son, SEAN,
is kidnapped. Tom and his wife KATE's worst nightmares are confirmed when a kidnapper
contacts them and demands a $2 million ransom. The Mullens call the FBI for help.
After being kidnapped, Sean is held in a basement. There are not one but five kidnappers,
all working together—led by violent police detective JIMMY SHAKER, who resents rich
men like Tom who can buy their way out of trouble and are oblivious to the hardships
of those around them. Shaker tells his conspirators that Sean will be killed once
the ransom is given. Shaker anonymously calls Tom and arranges a dropoff. Tom follows
all directions and hands the $2 million to one of Shaker's henchmen. When Tom demands
his son in return, the henchman is confused. The henchman flees, but police swarm
the area. Gunshots are traded, and the henchman is killed.
News of the shooting/ransom appears all over the NYC media, adding to Tom's problems.
Shaker sets up another drop, but Tom surprises everyone by appearing on live TV and
saying he will pay no ransom. Instead, he offers the $2 million as a bounty on the
kidnapper's head. He says if Sean is released, he will press no charges. The bold
move is met by disapproval by the media, the FBI, and most especially Kate, who screams
at her husband to take back the bounty and pay the ransom. Tom explains that he would
pay any amount of money if he really thought Sean would truly be returned,
but he believes the kidnappers have no intention of giving Sean back; therefore, a
bounty is his best option. Kate is unconvinced.
More Shaker phone calls come, and threats are exchanged. Despite the pleading of Kate
and the FBI, Tom publicly ups the bounty to $4 million. Shaker calls and fires a gunshot,
making the Mullens believe Sean is dead. Tom collapses from despair. Meanwhile, Shaker's
cohorts all want to abandon the plan, kill the boy, and leave town. Realizing his
plan has unraveled, Shaker kills his remaining co-conspirators, under the guise that
he came upon an apartment where the tenants opened fire. Sean is found and rescued,
and Shaker is hailed as a hero cop by the media.
Soon after, Shaker arrives at Tom's apartment to collect his $4 million reward. As
Tom is writing the check, he notices his son in the next room urinate in fear (as
the boy recognizes Shaker's voice). Shaker knows the jig is up and threatens to kill
everyone in the house, but Tom convinces him to go to the bank so the money can be
wired. En route, Tom tips off police to the situation. Cops converge on Tom and Shaker
outside the bank. Shaker panics and opens fire. A running shootout ensues, and Shaker
is killed when both Tom and the police return fire on Shaker at the same time.
If you're confused as to what a synopsis
I always tell people that if they're confused as to how a novel
synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years
and the first thing on the page is the long "Plot" section, which is essentially a
front-to-back synopsis. A lot of them are too long; a lot of them are poorly written;
but some are good, and you will get a sense of how they work. Or—you could just let
find good ones for you and edit them a bit. (See
all my synopsis examples here.)
This time it's House of Games (1987). This story is not quite crime
fiction nor literary fiction so I call it mainstream, but it definitely has plenty
of noir in it. Notice how this synopsis moves fast, but we still see important things:
who the main character is, what they want, how they change, the inciting incident,
the break into Act II, the denouement, etc.
MARGARET FORD is a successful psychiatrist and self-help book writer who lives a comfortable
life. One day, she's in a session with a compulsive gambler who informs her that he
owes money to a criminal figure—and
if he doesn't pay, he will be killed. Margaret visits a pool hall and confronts the
criminal figure, MIKE. Margaret sizes Mike up as a tough talker, but not a gangster.
Mike agrees to forgive the debt if Margaret accompanies him to a poker game posing
as his girlfriend, using her to help spot the tell of another gambler.
Exhilarated at the chance, Margaret even volunteers $6,000 when she's "sure" Mike's
opponent is bluffing. But not only does the opponent have a winning hand, he also
brandishes a gun, demanding his winnings. Margaret sees the pistol is fake and realizes
the whole setup is a con—designed
to scam her. Mike and his men see the jig is up, and nonchalantly pack up the
con and leave. Mike apologizes, saying it was "only business ...nothing personal."
Back in her normal routine, Margaret continues to think about her night at the pool
hall. She returns, proposing that she follow Mike around and write a book on the experience.
He shows her first-hand how a con game works. Her fascination grows. The pair end
up making love. Margaret begs to participate in an actual con. Mike hesitantly agrees.
Mike takes Margaret on a con in a hotel room involving a briefcase full of $80,000
(real money), designed to swindle a businessman (the "mark"). Everything goes as planned,
but Margaret sees that the businessman has a gun and radio. The man reveals himself
as a cop and a struggle ensues. The cop accidentally shoots himself and collapses.
Margaret and Mike steal a car and barely escape before police arrive, but quickly
realize they left the $80,000 at the hotel. Mike must leave the country because the
money belonged to the mob and is now good as gone. Margaret, who has fallen for Mike
and fears for his safety, as well as her own, offers to replace the money and does.
Later, Margaret senses something isn't quite right from that night. She spies on the
con men at the pool hall—among
whom is the "dead" cop/mark—and
confirms that everything was a ruse to get $80,000 from her. Margaret gets a gun and
confronts Mike at the airport, coaxing him into an abandoned area. She reveals she
knows the score, but Mike tells her there's nothing she can do about it. Margaret
p
I just taught a webinar on synopsis writing and one good question
I got from an attendee was, "How do I write a synopsis if I have a lot of characters?"
Obviously this is not easy. I mean, how do you write a summary for a story like Love
Actually? That would take six pages, right? Not if you do it right. What makes
this more difficult is I have always been a proponent of having no more than 5 character
names listed in a synopsis—6
at the most. By that, I mean the proper names—the
ones you capitalize and focus on.
So after the synopsis webinar, I decided to try my hand at such a synopsis. I decided
on TRAFFIC, which is a film I love that has multiple storylines and tons of
characters. I got the synopsis down to about 540 words, which I thought was a success.
Below read the synopsis and see my analysis in italics as you read.
TRAFFIC involves three story lines featuring characters involved in the War
on Drugs. The story lines sometimes interconnect.
A synopsis can or cannot use an opening establishing paragraph.
I rarely write one, but did here to explain that this is a complicated story that
jumps between storylines, but everything focuses on one central theme: The War on
Drugs.
In Mexico: Police officer JAVIER RODRIGUEZ stops a drug transport and
arrests the couriers. The arrest is interrupted by a high-ranking Mexican
GENERAL, who decides to hire the resourceful Javier in a quest to wipe out
the deadly Tijuana Drug Cartel.
I called the general "General" because I did want readers
to get confused later between the names Javier and Salazar. This simplifies things.
Also, you can see here that I immediately decided to cut out mentions of Javier's
partner as well as the hitman Francisco Flores. When dealing with stuff like this,
just ask yourself: "Does it really matter?" For example: The General hires Javier
to take down the Tijuana cartel. That's what matters the most. The fact that
Javier's first duty is tracking down a hitman, so the hitman can give up information,
and he only does this through torture, and the torture upsets Javier—that
stuff does not matter. Stick to big picture happenings.
In Ohio: ROBERT WAKEFIELD, a conservative state judge, is appointed to head the President's
Office of National Drug Control, taking the title of Drug
Czar. In DC, Robert is warned by his predecessor that the War on Drugs is
unwinnable. Unbeknownst to Robert, his teenage daughter, CAROLINE, an honors student,
has been using cocaine and develops a drug addiction.
You see that I am telling the story prefaced by the location:
"In Ohio." This will cut down confusion. I took out the character of Seth (Topher
Grace), because, like Javier's partner, you can explain the main plot without them.
In San Diego: An undercover DEA investigation led by MONTEL GORDON leads to the arrest
of a powerful drug lord. The drug lord's wife, HELENA, only now learns of her husband's
true occupation. Her days go from fundraisers and fine wine to talking to her husband
through phones at prison.
There were actually two cops part of the DEA investigation,
but since they're a team, just mentioning one (Montel) is as good as both. Also, to
avoid another proper name to simplify things, I call Carlos Ayala simply th
I always tell people that if they're confused as to how a novel
synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years
and the first thing on the page is the long "Plot" section, which is essentially a
front-to-back synopsis. A lot of them are too long; a lot of them are poorly written;
but some are good, and you will get a sense of how they work. Or—you could just let
find good ones for you and edit them a bit. (See
all my synopsis examples here.)
This time it's Matchstick Men (2003). This story is not quite crime
fiction nor literary fiction so I call it mainstream. Notice how, as usual, the most
important things to show in a synopsis are the bones of the three acts and the arc
of the main character.
ROY WALLER is a con artist. He is also a sufferer of several disorders, including
agoraphobia, OCD and a tic disorder—not to mention that he yells "Pygmies!" when something
surprises him. Alongside his partner, FRANK, Roy operates a fake lottery, selling
overpriced goods to unsuspecting customers. Frank wants to put together a long con,
but Roy sticks with bread-and-butter small grifts, having collected more than $1 million
from his scams. After Roy experiences a violent panic attack, Frank suggests he see
a psychiatrist, DR. KLEIN, who provides Roy with medication.
Dr. Klein contacts Roy’s long-estranged ex-wife and reveals that Roy has a 14-year-old
daughter. Roy meets his quirky daughter, ANGELA, but his ignorance about parenting
makes their meetings awkward. One night, Angela unexpectedly arrives at Roy's house,
saying that she fought with her mother, and has decided to stay the weekend. After
an argument, Roy admits his true profession to her, and Angela is immediately intrigued.
He agrees to teach her a con, and their small scam together at a Laundromat goes seamlessly
(but Roy makes her return the money).
With Angela’s youthful energy rejuvenating him (and his disorders lessening), Roy
questions his lifestyle and debates quitting the grift for good to raise his daughter.
Roy agrees to work with Frank on a long con with a big payoff. Stuck in a time crunch,
Roy asks Angela to play a part in the scam. The deal goes bad, and the mark, a businessman
named FRECHETTE, learns that he’s being swindled. Roy, Frank and Angela manage to
escape unharmed. Spooked by the near-disaster, Roy tells Angela to return to her mother
and never contact him again.
Without Angela, Roy's phobias resurface, and during another panic attack, he learns
that Dr. Klein’s “medication” is a placebo—proving that he doesn't need pills to be
happy. He invites Angela back into his life and decides to go straight. Roy and Angela
return home one night to find Frechette with a gun, alongside a badly beaten Frank.
Frechette gets shot, but not before he knocks Roy unconscious. Roy awakens in a hospital,
under arrest, where police inform him Frechette is dead, and Frank and Angela have
disappeared. Roy gives Dr. Klein access to his bank account, trusting him to give
Angela the $1 million when she is found. Later, Roy awakens to find that the "hospital"
is fake, "Dr. Klein's" office is vacant, and his bank account is drained. He realizes
that everything was a con orchestrated by Frank, and Dr. Klein, Frechette, the police,
and, sadly, even his “daughter,” were only Frank's accomplices.
A year later, Roy is married and living a quiet life as a salesman at a local carpet
store�
I always tell people that if they're confused as to how a novel synopsis
should look, simply go to Wikipedia. Search any movie made in the last five years
and the first thing on the page is the long "Plot" section, which is essentially a
front-to-back synopsis. A lot of them are too long; a lot of them are poorly written;
but some are good, and you will get a sense of how they work. Or—you could just let
find good ones for you and edit them a bit.
This time it's Spartan (2004), a tightly-wound thriller. As with thrillers,
there are lots of twists and turns, and I had to leave a lot out of the synopsis so
it would flow quickly. One thing to notice here is that the character of Bobby Scott,
who is by far the biggest character in the movie, is not well defined in this synopsis.
That's because Bobby is kind of an enigma in the film, and he is a man who has put
his country first above his life and identity. But in your own synopsis, make sure
you leak out details about your protagonist. You can see all posted synopsis examples
by clicking on the "Synopsis Writing" category on the left-hand side of this page.
BOBBY SCOTT is a former Marine Recon Master Gunnery Sergeant
who now trains soldiers for American covert operations. He is sent to Boston for an
emergency operation: LAURA NEWTON, a Harvard student and daughter of the President,
is missing. Scott and other members of his unit are enlisted to find Laura before
the media learn of her disappearance.
Scott discovers that Laura went to a bar to possibly prostitute herself, but she was
drugged, taken to a brothel, then moved to a beach house. Along with CURTIS, a young
trainee, Scott enters the beach house. The two men inside become violent and Scott
quickly kills them in self defense. Scott and his unit believe Laura was abducted
by a white slavery ring, a group of international sex traffickers unaware of her identity.
A local convict named TARIQ is connected to the slavery ring. While in transport for
medical attention, Tariq's police escorts are "killed" by a shotgun-wielding criminal
(actually Scott, who is orchestrating the whole ruse). Tariq thanks Scott for freeing
him, and promises him a flight to a Dubai safe haven and "many girls in Mascala."
Scott's plan to infiltrate the slavery ring is working, but Tariq soon notices other
cops nearby, and must be killed after he opens fire. The media announces that Laura's
body was discovered off Martha's Vineyard, apparently the result of drowning. The
rescue operation is called off and Scott returns home, where his neighbors believe
he is a salesman who is often absent on business trips.
Months later, Scott is approached by the trainee Curtis, who makes a case that Laura
is alive. Upon inspecting the beach house again, Curtis is killed by a sniper. Scott
escapes, and realizes Laura is indeed overseas, and that the government as well as
some of his own men lied to cover up the truth. Scott meets a female secret service
agent who raised Laura like a daughter. The agent begs Scott to find Laura.
Deprived of the support of his unit, Scott turns to independent contacts for help
and supplies. He flies to Dubai and meets an Australian contact. They inspect Mascala
that night and, upon seeing Laura outside a house, move in immediately. There is a
brief firefight; the Australian is killed, but Scott grabs Laura and gets away. Distraught
at the way she has been treated by her father and his people, she at first objects
to returning home, but eventually yields.
Scott takes her to his cargo container at the airport so she can fly safely to Geneva.
Suddenly, operatives from Scott's unit arrive, seeking to apprehend the
A few of you have asked for information about writing a synopsis for your manuscript. Let’s start with how to format your synopsis.
Use a one inch margins on the top, bottom and sides. Justify text at the left margin only. Use Times New Roman 12 pt. font. Type your name, address, phone number, fax number and e-mail address, each on a separate line single-spaced at the top left margin on the first page of your synopsis.
If you can fit your synopsis on one page, then you can single space the text with a space between paragraphs . If it goes over one page, then double space your text. Editors generally want one or two pages, but if you must go longer than you must – just keep it tight. You should always check a publisher’s submission guidelines, just to make sure you are following their rules before submitting.
Here are some things to help guide you through the synopsis writing process:
- You want to briefly tell what happens. This is one place you can ignore Show, Don’t Tell.
- Your goal should be to give an escalating series of turning points, a strong central crisis, a dramatic climax and a satisfying resolution.
- Introduce your main character first. Type a character’s name in all caps the first time you use it in the synopsis. Why? It helps the editor remember or find your character names.
- Remember your synopsis should showcase your unique voice.
- The synopsis should reflect your story. If it is humorous, be funny, etc.
- Start with a hook.
- Use present tense. This gives the story immediacy.
- Write the high points of your story in chronological order. Keep these paragraphs tight.
- Always answer basic who, what, where, when, why–early in the synopsis.
- Don’t waste words or time describing settings, unless crucial. Sometimes it’s enough just to put the date and place at the top, then start your synopsis.
- Omit unimportant details.
- Only include backstory if it is necessary to give the editor the information they need about the character’s motives.
- Always resolve the external plot question before you resolve the internal and/or relationship question.
- If it’s not a turning point, it doesn’t belong in the synopsis.
- Don’t use secondary characters in your synopsis, unless they are absolutely critical to the emotional turning points of the relationship. Even then, try to get by with the using the secondary’s relationship to the major characters (sister, teacher, boss.) They are too hard to keep up with and only add clutter. Only name them when necessary.
- Clearly convey the central question of the story, and what the resolution looks like. And resolve it at the end — don’t leave the editor guessing. They hate that, so spell out the story, including the ending.
- Rewrite your synopsis until each sentence is polished to the point of perfection. Use strong adjectives and verbs. Make every word count.
Synopsis Checklist:
1. Does the opening paragraph have a hook to keep the editor or agent reading?
2. Are your main characters’ conflicts clearly defined?
3. Have yo
Kathy,
You haven’t missed anything. It’s nice to be reminded of all the little details that go into a synopsis. Just another hurdle to jump over.
I also suggest considering who your synopsis is for. If it’s for a MG editor, and you reference a similar book or two, make sure they’re MG (and if the editor is seeking MG humor, and your manuscript is MG humor, reference a MG humor).
I’ve also found that editors prefer a synopsis to touch on the beginning, middle and end of a story. I personally don’t like revealing the ending of a manuscript in a synopsis but some indication of how the primary conflict resolves seems to resonate with industry professionals.
Hope this helps!
This is a great post, thank you! A very good resource.
Kathy, touch on writing the short bio at the end.
Thanks. Mary Nida
Thanks on the mention Kathy! I’ll also be giving a workshop on synopsis writing (twice) at the NJ SCBWI conference in June.
anita
Great, informative post. Thanks for sharing!
THANKS Kathy!
Just what I needed. My only problem now is, I need to cut mine in half!
I’ll go to the link to Anita’s now . . .
Best,
Mimi
Lady,
Thanks for the feedback. You can always leave suggestions for posts covering other writing areas. Hope you visit again.
Kathy
Henya,
I have a feeling that most of us are so happy when we finally finished our manuscripts, that we don’t focus the same effort on our synopsis. You are right. It is another hurdle to jump over.
Kathy
Anita,
How could I forget to mention that. I’m so glad you let everyone know.
Kathy
Rebecca,
Thanks! I have one question for you – Can your protagonist really walk in those heels?
Kathy
Mimi,
I am sure you will tackle that job as easily as you create your great music.
Kathy