There is one word known to strike fear into the hearts of most writers. Synopsis. Most of us would rather perform brain surgery from space using a lemon zester and a squirrel than be forced to boil down our entire novel into one page.

Yes one.

But alas we need to embrace the synopsis for numerous reasons. First and foremost, if we want to land an agent, it works in our favor to already have an AWESOME synopsis handy because the odds are, at some point, the agent will request one.

Sigh. I know. Sorry.

A Quick Aside

When it comes to synopses, I lean toward the, ‘Better to beg forgiveness than to ask permission’ camp. Which is where already having a seriously spiffy synopsis helps.

Think of it this way. E-mail sucks. Getting lots of email and having to juggle it all sucks. Agents get a lot of email.

Since I am also a person who gets a ridiculous amount of email, I can tell you with conviction that I LOVE people who save me work. They do this by saving me steps.

Most queries these days are via email and since agents don’t like getting their computers crashed by a virus? This means the query will be pasted into the body of the email (no attachments).

Believe it or not, agents like writers. In fact they need writers. They don’t get paid without a writer and last I checked agents also really like being paid in money—not adorable pigmy goats and trust me you will only make THAT mistake once.

Where was I? Oh, the Synopsis

Agents need writers. Just as much as they are looking for reasons NOT to read our book, they are simultaneously looking for reasons TO read our book.

I know it’s a paradox much like time travel. Don’t think about it too long or your brain will cramp.

In my opinion, there is nothing wrong with ending your query with: I have taken the liberty of pasting the one-page synopsis of my novel below for your convenience.

Worst case scenario? They don’t scroll down and read the synopsis. OMG!

But best case is they DO scroll down, read the synopsis, and they like it! Better yet, you’re off to an awesome start because you just saved them a crap-ton of time and email Ping-Pong.

Why Do We Need a Synopsis?

If you don’t want to automatically include the synopsis that’s fine, but if you write a really good one (which IS possible if the story is strong)? Why wouldn’t you?

All right, so what if you aren’t brave enough to include a synopsis and are just praying that the subject never comes up and the agent just asks for a full.

Okay, great! Problem is, if you do get a book deal, often the editor will want you to write a synopsis of the book you are writing next (for approval of course).

Ugh, so if you go with a traditional/legacy publisher, really no dodging it.

Some of you might be saying, Oh, but Kristen! Traditional is sooo yesterday and I am self-publishing. I don’t need a synopsis.

First of all, any indie house worth their salt will ask for a synopsis, so sorry to burst your bubbles there.

Also…

Technically correct, but actually I do recommend a synopsis for all the reasons writers loathe writing them.

Why All the Angst?

So a big reason that writers hate writing a synopsis with the power of a thousand suns is that we believe every word we have written is precious and every character vital and necessary.

We lack perspective, especially if we haven’t had any time or distance away from the work. This is normal.

But a bigger reason that many writers hate writing the synopsis (particularly for first-time novels) is it makes it painfully obvious we have no story or a terribly flawed story.

The synopsis strips away our pretty prose and all our verbal glitter and it lays our story bare.

Today I want to talk about the BIG PICTURE stuff. What is it our synopsis is really out to reveal? If we don’t first grasp that, no amount of tips I give for writing a great synopsis will help.

Synopsis as Skeleton

We don’t need a lot of imagination (or a medical degree) to see how this skeleton above is going to flesh out, pardon the pun. One can see just at a quick glance that this human skeleton is going to have a lot of problems because of the various deformities.

The same holds true with a story skeleton. If the narrative orbital sockets are located in the posterior, we don’t care how pretty the eyes are if they are in the @$$.

There is no amount of witty dialogue or clever prose that is going to rescue a plot that is missing vital parts or has them in the wrong place.

Yes, we are sending a synopsis in hopes of selling a story, but how is the synopsis doing this? Plain and simple? The synopsis is letting the agent see if the skeleton is solid, symmetrical and is of a creature that is rare, cool and maybe never seen before in this rare, unique FORM.

Too many new writers want to create the ‘NEVER seen before story.’ But that is way TOO weird. Readers need a baseline. A same, but different. Think dinosaurs. MILLIONS of visitors flock to The Field Museum. We all know what a dinosaur is, but we all wanna see a T-REX.

Same…but different…and COOL.

Note that The Field Museum doesn’t get MILLIONS of visitors annually to see part of a T-Rex. A tail, a jaw, a spine. No.

Visitors want to see the entire skeleton. Even without flesh, tendon, muscle and bone, their imaginations go WILD even with essentially the synopsis of a dinosaur.

Synopsis and Fatal Flaws

Remember, an agent is namely looking at a synopsis because she knows it is the fastest way to reveal terminal (deal-breaker) errors.

For the self-published folks. Technically you don’t need to write a synopsis, but if you can’t for any of these reasons below, the novel might not yet be good to go and this could save a bunch of nasty reviews, or no reviews, or your novel never selling and remaining in literary limbo forever and ever amen.

It’s also a FABULOUS way to contain plot bunnies. When I have a fantastic idea for another book?

The best way to maintain focus (I have found) is to sketch out a quick synopsis and file it. Let the ‘boys in the basement’ work on it while you FINISH the current WIP.

The synopsis will be there when you’re ready to dedicate the time and full attention to it. After you’ve had time and space away from it, you’ll be able to see if it is still as AMAZING as it seemed when it popped in your gray matter and tried to distract you from editing and revisions.

Is the premise weak?

I get pages all the time from ‘finished novels’ but there actually is no story. Just because an author has 80,000-100,000 words does not mean he has a story. Nope, it means he has 80,000-100,000 words. It’s better than no words, but not a story.

Is it really a novel or just melodrama?

Do we have a solid plot or just ‘scene’ after ‘scene’ of bad situations? This is what I call ‘soap opera writing. There is no core story problem to be resolved by the end of the book.

We just get page after page of talking, eating, shopping, bad stuff happening, characters talking about other bad stuff that has already happened. Loads of plot puppets, flashbacks. Great for Days of Our Lives, bad for the page.

Does the ‘plot’ rely on trickery? Gimmick? 

Often writers are having a panic attack about writing the synopsis because the entire book rests on a ‘clever’ twist ending that often really isn’t a twist but rather a gimmick.

E.g. It was all really a bad dream.

NO.

Does it require deus ex machina to resolve?

I call this a Luck Dragon. So protagonist is enduring plight after plight and all seems lost when she finds—dun dun dun—a journal!

NO.

Does it really resolve?

New writers often don’t understand structure, which naturally means they don’t yet understand that series follow similar structure guidelines to a singular novel. And btw, it is OKAY to be new, so breathe!

Even series still follow three act structure. But say the story follows four or even five act structure. Doesn’t matter. The story is not over until the core story problem introduced in the beginning is resolved.

Series work the same way. If it is a connected series, then it works a bit like those Russian nesting dolls. Every book has a bigger and bigger problem to solve until finally the CORE problem is solved/antagonist is defeated.

In LOTR: Uruk-Hai defeated—> Saruman defeated—>Sauron defeated

Which means NO 1960s BATMAN ENDINGS.

Stay tuned for next week book!

Often I get, Oh well the reader will have to read the next book to know if she lives. Nope, not how that works unless we write for As the World Turns.

No matter the structure we use, our story must come equipped with a satisfying resolution or that skeleton is missing arms. In the case of a connected series, often a gatekeeper to the Big Boss is defeated but the journey continues toward that final showdown. No being clever by withholding a resolution.

There is only one The Lady or the Tiger? and the only reason that story is read at all is because it’s one of the only ways English teachers can get back at us for having to read our crappy essays.

Is the writer breaking genre constrictions in unforgivable ways?

For instance, romance comes with an HEA (happily ever after) or the more modern HFN (happily for now). No HEA or HFN? It ain’t romance.

And, if the author is selling it as romance in the query, but the story ends in a breakup? The agent knows this is a new writer who doesn’t understand her genre and the very strong and clear expectations.

Is the story just not all that remarkable?

Once the plot is laid bare, is it truly anything unique? A fresh twist on an old idea? Or is it really just more of the same?

My book is about a thirty-eight-year-old female executive who decides she wants to have a baby and the struggle of being an older mom.

Okay *falls asleep*.

My book is about a thirty-eight-year-old female executive who finds out she’s pregnant with her first child at the same time her teenage stepdaughter reveals she, too is expecting.

*perks up* Hmmm, interesting.

The Good News About the Synopsis

When we can write a concise and interesting synopsis, it shows our level of skill and the strength of our story. If we can write tight and clean here, it bodes well for the book. If your brain is in knots writing your synopsis, relax.

If the story is there the synopsis is too. It’s just a matter of unearthing it.

Though we will talk more on how to do this later, I do recommend starting with forming a log-line. If you can boil your entire book into one sentence? The synopsis can be built using that and it is far easier to build UP TO one page than whittle DOWN three hundred pages into one page.

Here is an earlier post about how to do the log-line. Additionally, if you need more help, I do a class on how to do your log-line and the added benefit is I do your log-line WITH you so you walk away from class with that in hand.

We’ll be scheduling that class next week when we put the classes together. Getting over bronchial pneumonia is a BEAST. I have missed teaching!

But, if you struggle with plot, I am offering my two FAVORITE CLASSES. I’m doing a For the LOVE of WRITING Special. The prices are NOT as low as the New Year’s Specials but still really, really low.

ON DEMAND: Bring on the Binge: How to Plot and Write a Series

Normally $75 and now only $50 and this is over four hours of instruction on everything you need to know about plot. So if you want to know about the synopsis? You will BLOW it out of the water after this.

Also…

ON DEMAND: The Art of Character for Series

Normally $75 and also only $50 and this class pairs excellent with the plotting class (like a fine chardonnay and a Chilean sea bass). Treat yourself! Tell your sweetheart that THIS gift won’t require extra gym time.

Also, though these classes are gems, unlike diamonds, these won’t last forever.

Once I put in the new classes and curriculum these classes will be deleted/go into cold storage. Would have happened sooner but bronchitis has had a different schedule in mind .

Roll with it, LOL. Anyway…

Happy Valentine’s Day & I LOVE hearing from you!

What are your thoughts? Have you been struggling with the synopsis and think it’s because there might be bigger issues going on? Are you a more seasoned writer and remember the nightmare of trying to fit a first-time ‘novel’ into a single page? Any thoughts? Questions? Suggestions?

The post The Synopsis: Why Love Hurts & Pain Can Be Good for Our Writing appeared first on Kristen Lamb.

There is one word known to strike fear into the hearts of most writers. Synopsis. Many of us would rather perform brain surgery from space using a lemon zester and a squirrel than be forced to boil down our entire novel into one page.

Yes one.

But alas we need a synopsis for numerous reasons. First and foremost, if we want to land an agent, it works in our favor to already have a FABULOUS synopsis handy because the odds are, at some point, the agent will request one.

Sigh. I know. Sorry.

A Quick Aside

When it comes to synopses, I lean toward the, ‘Better to beg forgiveness than to ask permission’ camp. This is where already having a seriously spiffy synopsis helps.

Think of it this way. E-mail is necessary, but also tedious. Getting lots of email and having to juggle it all, frankly, sucks. Agents get a lot of email. Since I’m also a person who gets a ridiculous amount of email, I LOVE people who save me work. They save me time when they save needless steps.

Most queries these days are via email and since agents don’t like getting their computers crashed by a virus? This means the query will be pasted into the body of the email (no attachments).

Believe it or not, agents like writers. In fact they need writers. They don’t get paid without a writer (who has a book). Last I checked, agents also really like being paid in money—not adorable pigmy goats. Trust me, you will only make THAT mistake once.

To Boldly Go…

So we are clear, agents need writers. Their goal is to make the authors they represent as successful as possible. When the author wins, so does the agent. This is why they’re very picky who they add to their cadre. Just as much as agents are looking for reasons NOT to read our book, they’re simultaneously looking for reasons TO read our book.

I know it’s a paradox much like time travel. Don’t think about it too long or your brain will cramp.

In my opinion, there’s nothing wrong with ending your query with: I have taken the liberty of pasting the one page synopsis of my novel below for your convenience.

Worst case scenario? They don’t scroll down. OMG!

But best case is they DO scroll down and they like it! Better yet, you are off to an awesome start because you just saved them a crap-ton of time. Proper initiative is a great way for us (the writers) to make a good impression. Yes, agents want to discover that fabulous book, but it’s even better if that fabulous book comes with an author who makes their life/job easier.

Why Do We Need a Synopsis?

If you don’t want to automatically include the synopsis that’s fine, but if you write a really good one (which IS possible if the story is strong)? Why the heck not?

All right, so what if you aren’t brave enough to include a synopsis and are praying that the subject never comes up and the agent skips all this and asks for a full. Okay, great! Problem is, if you do get a book deal, often the editor will want you to write a synopsis for the book you’re writing next (for approval of course).

Ugh, so if you go traditional, really no dodging it.

Some of you might be saying, Oh, but Kristen! Traditional is sooo yesterday and I am self-publishing. I don’t need a synopsis.

Technically correct, but actually I do recommend a synopsis for all the reasons writers loathe writing them.

Why All the Angst?

Dramatization of writers off to work on a synopsis.

A big reason writers hate writing synopses with the power of a thousand suns is because we believe every word is precious and every character vital and necessary. We lack perspective, especially if we haven’t had any time or distance away from the work.

This is normal.

But a bigger reason many writers hate writing the synopsis (particularly for first-time novels) is the synopsis makes it painfully obvious we have no story or a terribly flawed story.

The synopsis strips away our pretty prose and all our verbal glitter and it lays our story bare.

Today I want to talk about the BIG PICTURE stuff. What is it our synopsis is really out to reveal? If we don’t first grasp that, no amount of tips I give for writing a great synopsis will help.

Synopsis as Skeleton

The synopsis is the skeleton of our story. What do skeletons do? They support everything else. The skeleton is the guidepost for all that is to come.

We can see the skeleton of a fish and ‘see’ the fish even without benefit of gills and scales. We can see an elephant skeleton and get an idea of scope and size and finished ‘entity/product.’

But most importantly, we don’t have to be a doctor to look at a skeleton and tell that something is horribly wrong.

Image via Wikimedia Commons.

We don’t need a lot of imagination to see how this skeleton above is going to flesh out, pardon the pun. We can see at a glance that this human skeleton is going to have a lot of problems because of the various deformities.

The same holds true with a story skeleton. If the narrative orbital sockets are located in the posterior, we don’t care how pretty the eyes are if they are in the @$$.

There is no amount of witty dialogue or clever prose that is going to rescue a plot that is missing vital parts or has them in the wrong place.

Yes, we are sending a synopsis in hopes of selling a story, but how is the synopsis doing this? Plain and simple? The synopsis is letting the agent see if the skeleton is solid, symmetrical and is of a creature that is rare, cool and maybe never seen before.

Image via Flikr Creative Commons, courtesy of Steve Starer.

An agent is also looking at a synopsis because she knows it is the fastest way to reveal terminal (deal-breaker) errors.

***For the self-published folks. Technically you don’t need to write a synopsis, but if you can’t for any of these reasons below, the novel might not yet be good to go and this could save a bunch of nasty reviews.

Is the premise weak?

I get pages all the time from ‘finished novels’ but there actually is no story. Just because we have 80,000-100,000 words doesn’t mean we have a story. It means we have a lot of WORDS.

Is it really a novel or just melodrama?

Do we have a solid plot or is it ‘scene’ after ‘scene’ of bad situations?

Does the ‘plot’ rely on trickery? Gimmick? 

Often writers are having a panic attack about writing the synopsis because the entire book rests on a ‘clever’ twist ending that really isn’t a twist but rather a gimmick.

I.e. It was all really a bad dream.

No.

Does it require deus ex machina to resolve?

The protagonist endures plight after plight and all seems lost when she finds…………a journal!

No.

Does it actually resolve?

New writers often don’t understand structure, which naturally means they don’t yet understand that series follow similar structure guidelines to a singular novel.

***And btw, it is OKAY to be new, so breathe!

Even series still follow three act structure. But say the story follows four or even five act structure. Doesn’t matter. The story is not over until the core story problem introduced in the beginning is resolved.

Every book in a series must read as a standalone. Readers should be able to pick up Book 5 in a series and enjoy a complete story and understand what’s going on without having yet read Books 1-4.

If Book 5 blows the reader away, she’ll want to go read Books 1-4. However, if Book 5 makes no sense at all without first reading Books 1-4? We’ll pass.

We read for entertainment, not extra homework.

NO BATMAN ENDINGS.

Stay tuned for next week book!

Often I get, Oh well the reader will have to read the next book to know if she lives. Nope, not how that works unless we write for Days of Our Lives.

No matter the structure we use, our story must come equipped with a satisfying resolution, or that story is missing legs.

In the case of a connected series, often a gatekeeper to the Big Boss is defeated but the journey continues toward that final showdown. No being clever by withholding a resolution.

Is the writer breaking genre constrictions in unforgivable ways?

For instance, romance comes with an HEA (happily ever after) or the more modern HFN (happily for now). No HEA/HFN? It ain’t romance.

If the author is selling the manuscript as romance in the query, but the story ends in a breakup? The agent knows this is a new writer who doesn’t understand genres have rules and expectations.

Is the story just not all that remarkable?

Once the plot is laid bare, is it truly anything unique? A fresh twist on an old idea? Or is it really more of the same?

My book is about a thirty-eight-year-old female executive who decides she wants to have a baby and the struggle of being an older mom.

Okay *falls asleep*.

My book is about a thirty-eight-year-old female executive who finds out she’s pregnant with her first child at the same time her teenage stepdaughter reveals she, too is expecting.

*perks up* Hmmm, interesting.

The Good News

When we can write a concise and interesting synopsis, it shows our level of skill and the strength of our story. If we can write tight and clean here, it bodes well for the book. If your brain is in knots writing your synopsis, relax.

If the story is there the synopsis is too. It’s only a matter of unearthing it.

I love hearing from you!

(And am not above bribery.)

What are your thoughts? Have you been struggling with the synopsis and think it’s because there might be bigger issues going on? Are you a more seasoned writer and remember the nightmare of trying to fit a first-time “novel” into a single page? Any thoughts? Questions? Suggestions?

What do you WIN? For the month of April, for everyone who leaves a comment, I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

Heads Up! If you need help, on May 3rd 7-9 EST I’m teaching Pitch Perfect—How to Write a Query Letter & Synopsis that SELLS.

****Free recordings are included with all classes.

You’ve written a novel and now are faced with the two most terrifying challenges all writers face. The query and the synopsis.

Query letters can be daunting. How do you sell yourself? Your work? How can you stand apart without including glitter in your letter?

***NOTE: DO NOT PUT GLITTER IN YOUR QUERY.

Good question. We will cover that and more!

But sometimes the query is not enough.

Most writers would rather cut their wrists with a spork than be forced to write the dreaded…synopsis. Yet, after reading this post, you now know why this is a valuable skills all writers should learn.

Also NOW OFFERING…

The first five pages are the most essential part of the novel, your single most powerful selling tool. It’s how you will hook agents, editors and readers. This class will cover the most common blunders and also teach you how to hook hard and hook early. This class is two hours long, 90 minutes of instruction and 30 minutes for Q&A.

***A free recording is included with purchase.

General Admission is $40 and there are some SUPER COOL upgrades! Get your spot HERE.

MORE CLASSES!

Ready for Book Beast Mode? I Live to Serve…Up Some TRAINING!

For anyone who longs to accelerate their plot skills, I recommend:

ON DEMAND Plot Boss: Writing Novels Readers Want to BUY. 

Two hours of intensive plot training from MOI…delivered right to your computer to watch as much as you like .

The Art of Character is also now available for ON DEMAND.

And if you’re ready for BOOK BEAST MODE and like saving some cash, you can get BOTH Plot Boss and Art of Character in the…

Story Boss Bundle (ON DEMAND).

Almost FIVE HOURS with me, in your home…lecturing you. It’ll be FUN! 

I also hope you’ll pick up a copy of my debut novel The Devil’s Dance.

The post Synopsis: Why All Writers Need One Even Though They Hate It appeared first on Kristen Lamb.

If the cover is an invitation to the party in your book, then the blurb (the back cover description, the summary, whatever you want to call it) is the RSVP card readers check off as attending-with-the-chicken-option when they buy your book.

The trouble is that for so many books, while the cover is invites you to a rave, the blurb reveals it’s really polka night at the VFW.

The Book Cover

The Blurb

So, if the blurb is so important, why is it so hard to write? Raise your hand if you hate writing blurbs. Raise your other hand if you agonize over writing a blurb, and it still feels like it’s awful when it’s done.

Even Tolstoy probably downed a gallon or two of vodka while trying to write the blurb for War and Peace.

Well, for today’s Girl Friday, you get me, Cait Reynolds (you know, the chick who goes on vacation with six books and comes back with, uh, eighteen – no lie!), and my tips and tricks for turning blurb writing hell into blurb writing heaven!

Actually, *I* do.

I used to hate blurb writing with the heat of a thousand suns. Now, I pop them out like Pop-Tarts from a toaster. I used to think blurbs were a challenge set by the Devil (totally on par with that 40 days in the desert thing) to test my resolve in being a writer. Now?

The Lord rewards the righteous, and the way of blurb writing is littered with goodness and manna with sprinkles.

Why is blurb writing so hard?

In order to fully understand the solution, we have to look at the problem.

We write a book. We are so freaking excited about it! It’s such a good story! We want everyone to know what a good story it is! It has all these characters and a quest that is going to change the world! Oh, and then, there’s this really crucial part about…

…aaaaand that’s where we need to stop.

We have come down with a serious case of “KSS” – Kitchen Sink Syndrome. It’s probably safe to say that we have also contracted a secondary infection of “ISS” – Inadvertent Snowflake Syndrome.

The symptomology of Kitchen Sink Syndrome is easy to spot:

• The urge to make sure the entire arc of the plot is covered;
• Reassuring the reader that there will be a satisfying resolution;
• Showing just how exciting the story is by revealing one of the twists;
• Erupting in a rash of “No Character Left Behind” in the description.

If we can check off one or more of these symptoms, then we definitely need to get tested for Inadvertent Snowflake Syndrome, just to be on the safe side.

Signs of ISS include:

• Mentioning the age of any character unless crucial to the plot;
• Including irrelevant physical descriptors (I’m looking at you, raven-haired beauty!);
• Reassuring the reader that the protagonist has best friends who will go with him/her on the quest;
• Admitting that any characters fall in love with a 70% chance of happily ever after.

So, now we have a diagnosis that on the surface seems to nix basically anything we want to put in the blurb. It feels like we are further away than ever from that golden moment of revelation of how to write a blurb with ease and panache.

Yet, like chicken soup, antibiotics, and puppy-snuggling, there is a slow-and-steady cure for the blurb-writing blues.

Celebrity Death Match: Blurbs vs. Summaries

The first thing we have to do is stop thinking of the blurb as a stand-in for a synopsis or summary of the book. Stop thinking like a writer, and start thinking like an advertiser.

A summary tells all, reveals all, and has a purpose that is totally different from a blurb. It’s an editorial and production piece that rarely sees the light of day with the public.

A blurb is an advertisement. It’s meant to lure, entice, and tease. It is a selling tool.

And, just like most effective selling tools, absolute accuracy isn’t really necessary. Think of the blurb like it’s an ad for wrinkle cream (Thanks, Kristen!).

It will leave your skin softer and smelling good. Whether your skin is smoother or not is entirely subjective, so the claims of the ad can’t really be proved or disproved.

What I’m trying to say is that we can fudge things a little bit in a blurb if it will make it more exciting and enticing. For example, if Seraphina is learning to become a mage but ends up flunking out of mage school and not being a mage after all, we don’t really have to be honest and up front with the reader in the blurb that Seraphina will fall short of her goals and our expectations.

Just like the old saying, “There are no good lawyers, only lawyers who do their job well,” there are no good blurbs, only blurbs that do their job and sell the reader on the book.

Hokey Pokey blurbs

Good blurbs leave us wanting to know more, thinking about the problem posed, or fascinated with one little detail that was mentioned.

These are the things that lead us to buy the book. I totally get that it is wicked hard to pry ourselves out of the mindset of a being a writer and and into the slightly swampy mindset of being a marketer. So, here’s a little game I play when I sit down to write a blurb:

The Hokey Pokey.

You put your protagonist in. You leave the best friend out. You put the problem in. You leave the twist out. You do the Hokey Pokey and leave ’em on a cliffhanger. That’s what it’s all about.

(Look, I never said I was a poet or good at rhyming stuff.)

Obviously, there are exceptions and tweaks for every genre, and it’s a good practice to browse through both indie and traditionally published books in whatever genre we are writing to study the blurbs. Things to note as we read the blurbs:

• How long are they?
• How suspenseful?
• What are some key words and phrases in the genre?
• Do they start with a tagline (a one-sentence/sentence fragment that is a tease for the entire book)?
• Do they end with a tagline?
• What is the balance between the protagonist’s personal peril and the global peril of the plot?

If we look hard enough, patterns for the blurb emerge (kind of like those 3-D eye puzzles I could never get to come into focus). In all seriousness, the structure of a blurb is super simple and can be summed up by 3P’s made of 2-3 sentences each:

• Protagonist: Who are we rooting for and where are they in life when the book starts?
• Problem: What is the main problem of the book?
• Peril: How does the problem bring the protagonist to the brink of X?

And leave it there. Don’t reassure the reader about anything. EVER. Reassurance is what they get when they buy the book and read it all the way through.

Which is why we write the blurb in the first place…

I’m not gonna lie. The kid has talent. I kinda want to read this. (From Mrs. Baldwin’s Class Blog – http://mrsbaldwin5.edublogs.org/2014/08/14/what-is-a-blurb/)

Blurb writing blows…but, it doesn’t have to

If you want to learn more about writing blurbs and get your blurb workshopped, join my class tonight!

Instructor: Cait Reynolds

Price: $45.00 USD

Where: W.A.N.A. Digital Classroom

When: Friday, October 6th, 2017. 7:00-9:00 p.m. EST

The blurb. Back cover description. 150-200 words. Your entire book in 3 small paragraphs.

The heart’s cry goes up from every single writer ever: “THIS IS HARDER TO WRITE THAN THE 90,000 WORDS OF MY BOOK!”

And yet, it shouldn’t be. Approached from a different angle, a blurb should be one of the easiest and most fun things to write. Yes. I went there. I said it. Hopefully, after taking this class, you will be saying it, too. No more blubbering over blurbs. Ever.

This class will cover:

• Understanding the purpose of a blurb in attracting readers;
• The top secret formula to structuring a blurb;
• How to plug-and-play every blurb, every time;
• Why everything you think is important in your story really isn’t (in terms of the blurb);
• The secret to keywords, blurbs, and algorithms.

As a bonus, bring a copy of your blurb to the class for group workshopping!

A recording of this class is also included with purchase.

GOLD PACKAGE

With the Gold Package, you get a 1 hour consult and hands-on blurb editing session with Cait!

About the Instructor:

Cait Reynolds is a USA Today Bestselling Author and lives in the Boston area with her husband and four-legged fur child. She discovered her passion for writing early and has bugged her family and friends with it ever since. When she isn’t cooking, running, rock climbing, or enjoying the rooftop deck that brings her closer to the stars, she writes.

The post The Book Blurb—An Invitation Readers Simply Can’t Turn Down appeared first on Kristen Lamb.

There is one word known to strike fear into the hearts of most writers. Synopsis. Most of us would rather perform brain surgery from space using a lemon zester and a squirrel than be forced to boil down our entire novel into one page.

Yes one.

But alas we need to for numerous reasons. First and foremost, if we want to land an agent, it works in our favor to already have an AWESOME synopsis handy because the odds are, at some point, the agent will request one.

Sigh. I know. Sorry.

A Quick Aside

When it comes to synopses, I lean toward the, “Better to beg forgiveness than to ask permission” camp. Which is where already having a seriously spiffy synopsis helps.

Think of it this way. E-mail sucks. Getting lots of email and having to juggle it all sucks. Agents get a lot of email. Since I am also a person who gets a ridiculous amount of email, I can tell you with conviction that I LOVE people who save me work. They do this by saving me steps.

Most queries these days are via email and since agents don’t like getting their computers crashed by a virus? This means the query will be pasted into the body of the email (no attachments).

Believe it or not, agents like writers. In fact they need writers. They don’t get paid without a writer and last I checked agents also really like being paid in money—not adorable pigmy goats and trust me you will only make THAT mistake once.

Where was I?

Agents need writers. Just as much as they are looking for reasons NOT to read our book, they are simultaneously looking for reasons TO read our book.

I know it’s a paradox much like time travel. Don’t think about it too long or your brain will cramp.

In my opinion, there is nothing wrong with ending your query with: I have taken the liberty of pasting the one page synopsis of my novel below for your convenience.

Worst case scenario? They don’t scroll down. OMG!

But best case is they DO scroll down and they like it! Better yet, you are off to an awesome start because you just saved them a crap-ton of time.

Why Do We Need a Synopsis?

If you don’t want to automatically include the synopsis that’s fine, but if you write a really good one (which IS possible if the story is strong)? Why the hell not?

All right, so what if you aren’t brave enough to include a synopsis and are just praying that the subject never comes up and the agent just asks for a full. Okay, great! Problem is, if you do get a book deal, often the editor will want you to write a synopsis of the book you are writing next (for approval of course).

Ugh, so if you go traditional, really no dodging it.

Some of you might be saying, Oh, but Kristen! Traditional is sooo yesterday and I am self-publishing. I don’t need a synopsis.

Technically correct, but actually I do recommend a synopsis for all the reasons writers loathe writing them.

Why All the Angst?

Dramatization of writers off to work on a synopsis.

So a big reason that writers hate writing synopses with the power of a thousand suns is that we believe every word we have written is precious and every character vital and necessary. We lack perspective, especially if we haven’t had any time or distance away from the work. This is normal.

But a bigger reason that many writers hate writing the synopsis (particularly for first-time novels) is it makes it painfully obvious we have no story or a terribly flawed story.

The synopsis strips away our pretty prose and all our verbal glitter and it lays our story bare.

Today I want to talk about the BIG PICTURE stuff. What is it our synopsis is really out to reveal? If we don’t first grasp that, no amount of tips I give for writing a great synopsis will help.

Synopsis as Skeleton

The synopsis is the skeleton of our story. What do skeletons do? They support everything else. The skeleton is the guidepost for all that is to come. We can see the skeleton of a fish and “see” the fish even without benefit of gills and scales. We can see an elephant skeleton and get an idea of scope and size and finished “entity/product.”

But most importantly, we don’t have to be a doctor to look at a skeleton and tell that something is horribly wrong.

Image via Wikimedia Commons.

We don’t need a lot of imagination to see how this skeleton above is going to flesh out, pardon the pun. We can see just at a quick glance that this human skeleton is going to have a lot of problems because of the various deformities.

The same holds true with a story skeleton. If the narrative orbital sockets are located in the posterior, we don’t care how pretty the eyes are if they are in the @$$.

There is no amount of witty dialogue or clever prose that is going to rescue a plot that is missing vital parts or has them in the wrong place.

Yes, we are sending a synopsis in hopes of selling a story, but how is the synopsis doing this? Plain and simple? The synopsis is letting the agent see if the skeleton is solid, symmetrical and is of a creature that is rare, cool and maybe never seen before.

Image via Flikr Creative Commons, courtesy of Steve Starer.

An agent is also looking at a synopsis because she knows it is the fastest way to reveal terminal (deal-breaker) errors.

***For the self-published folks. Technically you don’t need to write a synopsis, but if you can’t for any of these reasons below, the novel might not yet be good to go and this could save a bunch of nasty reviews.

Is the premise weak?

I get pages all the time from “finished novels” but there actually is no story. Just because we have 80,000-100,000 words does not mean we have a story.

Is it really a novel or just melodrama?

Do we have a solid plot or just “scene” after “scene” of bad situations?

Does the “plot” rely on trickery? Gimmick? 

Often writers are having a panic attack about writing the synopsis because the entire book rests on a “clever” twist ending that often really isn’t a twist but rather a gimmick.

I.e. It was all really a bad dream.

No.

Does it require deus ex machina to resolve?

I call this a Luck Dragon. So protagonist is enduring plight after plight and all seems lost when she finds…………a journal!

No.

Does it really resolve?

New writers often don’t understand structure, which naturally means they don’t yet understand that series follow similar structure guidelines to a singular novel. And btw, it is OKAY to be new, so breathe!

Even series still follow three act structure. But say the story follows four or even five act structure. doesn’t matter. The story is not over until the core story problem introduced in the beginning is resolved.

Series work the same way. If it is a connected series, then it works a bit like those Russian nesting dolls. Every book has a bigger and bigger problem to solve until finally the CORE problem is solved/antagonist is defeated.

In LOTR: Uruk-Hai defeated—> Saruman defeated—>Sauron defeated

Which means NO BATMAN ENDINGS.

Stay tuned for next week book!

Often I get, Oh well the reader will have to read the next book to know if she lives. Nope, not how that works unless we write for Days of Our Lives.

No matter the structure we use, our story must come equipped with a satisfying resolution or that skeleton is missing arms. In the case of a connected series, often a gatekeeper to the Big Boss is defeated but the journey continues toward that final showdown. No being clever by withholding a resolution.

There is only one The Lady or the Tiger? and the only reason that story is read at all is because it’s one of the only ways English teachers can get back at us for having to read our crappy essays.

Is the writer breaking genre constrictions in unforgivable ways?

For instance, romance comes with an HEA (happily ever after). No HEA? It ain’t romance and if the author is selling it as romance in the query, but the story ends in a breakup? The agent knows this is a new writer who doesn’t understand that genres have expectations.

Is the story just not all that remarkable?

Once the plot is laid bare, is it truly anything unique? A fresh twist on an old idea? Or is it really just more of the same?

My book is about a thirty-eight-year-old female executive who decides she wants to have a baby and the struggle of being an older mom.

Okay *falls asleep*.

My book is about a thirty-eight-year-old female executive who finds out she’s pregnant with her first child at the same time her teenage stepdaughter reveals she, too is expecting.

*perks up* Hmmm, interesting.

The Good News

When we can write a concise and interesting synopsis, it shows our level of skill and the strength of our story. If we can write tight and clean here, it bodes well for the book. If your brain is in knots writing your synopsis, relax.

If the story is there the synopsis is too. It’s just a matter of unearthing it.

Though we will talk more on how to do this later, I do recommend starting with forming a log-line. If you can boil your entire book into one sentence? The synopsis can be built using that and it is far easier to build UP TO one page than whittle DOWN 300 into one.

Here is an earlier post about how to do the log-line. Additionally, if you need more help, I have a class coming up on how to do your log-line and the added benefit is I do your log-line WITH you so you walk away from class with that in hand . I also have a class on how to write queries and synopses to help you as well.

What are your thoughts? Have you been struggling with the synopsis and think it’s because there might be bigger issues going on? Are you a more seasoned writer and remember the nightmare of trying to fit a first-time “novel” into a single page? Any thoughts? Questions? Suggestions?

I LOVE hearing from you!

To prove it and show my love, for the month of OCTOBER, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. What do you win? The unvarnished truth from yours truly. I will pick a winner once a month and it will be a critique of the first 20 pages of your novel, or your query letter, or your synopsis (5 pages or less).

I’ll announce September’s winner next time. Been out of town and need time to tabulate the results. Thanks!

Check out the other NEW classes below! Including How to Write the Dreaded Synopsis/Query Letter! I have also included new times to accommodate the UK and Australia/NZ folks! 

All W.A.N.A. classes are on-line and all you need is an internet connection. Recordings are included in the class price.

Upcoming Classes

NEW CLASS!

NEW CLASS! OCTOBER 14th Pitch Perfect—How to Write a Query Letter & Synopsis that SELLS

You’ve written a novel and now are faced with the two most terrifying challenges all writers face. The query and the synopsis.

Query letters can be daunting. How do you sell yourself? Your work? How can you stand apart without including glitter in your letter?

***NOTE: DO NOT PUT GLITTER IN YOUR QUERY.

Good question. We will cover that and more!

But sometimes the query is not enough.

Most writers would rather cut their wrists with a spork than be forced to write the dreaded…synopsis. Yet, this is a valuable skills all writers should learn.

FRIDAY October 21st Your Story in a Sentence–Crafting Your Log-Line

Log-lines are crucial for understanding the most important detail, “WHAT is the story ABOUT?” If we can’t answer this question in a single sentence? Brain surgery with a spork will be easier than writing a synopsis. Pitching? Querying? A nightmare. Revisions will also take far longer and can be grossly ineffective.

As authors, we tend to think that EVERY detail is important or others won’t “get” our story. Not the case.

If we aren’t pitching an agent, the log-line is incredibly beneficial for staying on track with a novel or even diagnosing serious flaws within the story before we’ve written an 80,000 word disaster. Perhaps the protagonist has no goal or a weak goal. Maybe the antagonist needs to be stronger or the story problem clearer.

In this one-hour workshop, I will walk you through how to encapsulate even the most epic of tales into that dreadful “elevator pitch.” We will cover the components of a strong log-line and learn red flags telling us when we need to dig deeper. The last hour of class we will workshop log-lines.

The first ten signups will be used as examples that we will workshop in the second hour of class. So get your log-line fixed for FREE by signing up ASAP.

Those who miss being in the first ten will get a deeply discounted workshop rate if they would like their log-line showroom ready.

SATURDAY, October 22nd Blogging for Authors

Blogging is one of the most powerful forms of social media. Twitter could flitter and Facebook could fold but the blog will remain so long as we have an Internet. The blog has been going strong since the 90s and it’s one of the best ways to establish a brand and then harness the power of that brand to drive book sales.

The best part is, done properly, a blog plays to a writer’s strengths. Writers write.

The problem is too many writers don’t approach a blog properly and make all kinds of mistakes that eventually lead to blog abandonment. Many authors fail to understand that bloggers and author bloggers are two completely different creatures.

This class is going to cover:

• How author blogs work. What’s the difference in a regular blog and an author blog?
• What are the biggest mistakes/wastes of time?
• How can you effectively harness the power of algorithms (no computer science degree required)
• What do you blog about? What topics will engage readers and help create a following?
• How can you harness your author voice using a blog?
• How can a blog can help you write leaner, meaner, faster and cleaner?
• How do you keep energized years into your blogging journey?
• How can a blog help you sell more books?
• How can you cultivate a fan base of people who love your genre.

Blogging doesn’t have to be hard. This class will help you simplify your blog and make it one of the most enjoyable aspects of your writing career.

For those who need help building a platform and keeping it SIMPLE, pick up a copy of my latest social media/branding book Rise of the Machines—Human Authors in a Digital World on AMAZON, iBooks, or Nook. 

The post The Dreaded Synopsis—What It REALLY Reveals About Our Writing appeared first on Kristen Lamb.