Synopsis: What it is and Isn't

You’ve pitched to an agent or editor at a conference, or you’ve queried an editor or agent about your book, and they request a full submission.

That can mean many things, but most often for fiction books, a submission requires some of your actually-written-edited-best-it-can-be chapters. Their request can also ask for the dreaded synopsis.

“Yikes,” you say, “what’s a synopsis?”

When I began writing, I wrote a synopsis as the final task and worried myself silly over it. I admit I still don't like them.

Multi-published author, Karen Kelley, http://authorkarenkelley.com/

set me straight. “Write your synopsis first when you have the idea in your head. This avoids deciding what’s important and what’s not. In the beginning, we only know the important part. 

Her words of wisdom proved correct. When the book was completed with all the problems I threw at my protagonist, my synopsis was too long. Every plot twist seemed important. I couldn’t delete anything. When I wrote the synopsis first, I hit only the main plot themes.

 

Now, let's look at what a synopsis really is and what's it's not.

What a synopsis is not:

    It’s not a summary.

    It’s not a chapter by chapter outline.

    It’s not a query.

    It’s not a back-cover blurb.

 

What a synopsis does:

     It gives the reader the essence of the story.

     It tells who and what with a light touch on when, where, and

             how.

     It answers the questions:

         What’s so different about this story?
         Why should I care about this person or their problems?
         What does the protagonist want? Why? Why can’t he get it?

     Instead of saying what happened next, it should tell the reader

           what impact it has on the characters.

 Important reminders when we write a synopsis:

     Those who read it judge our writing.

     Find out what the agent or editor that’s the target of your submission wants in a synopsis. Requirements run from one page to ten pages, and formatting desires may differ.

     A synopsis is IMPORTANT.

Good websites on writing synopsis:

http://www.margaretdaley.com/2011/04/synopsis-writing/

http://cjdarlington.com/writing-articles/how-to-write-a-novel-synopsis.htm

http://killzoneauthors.blogspot.com/2010/06/synopsis-writing-made-easy.html#.UaYwN6wo7cs

http://www.lindaneedham.com/synopsistips.htm

Good examples of synopsis: 

http://www.writersdigest.com/editor-blogs/guide-to-literary-agents/open-ready-synopsis-example-the-ides-of-march-political-thriller

http://www.storysense.com/synopsis.htm

What Does Grammar Have to Do with Anything?

by Vivian Zabel  

    A while back,  I wrote about the need for writers and/or editors to use good grammar whenever they write (check for article here). Some people argued that worrying about grammar stifles creativity. I disagree, and I'm not the only one.  Using correct grammar adds to a person's qualifications and credibility.

    In that article I briefly mentioned that often people in business are promoted, or not, based on their grammar usage. Oh, my, one would think I had torn a hole in a valuable painting. However, my research shows I'm correct.

 
     Some writers fight the idea that grammar (including sentence structure, punctuation, subject/verb agreement, pronoun usage, spelling, etc.) impacts the worthiness of writing, which is like saying failing to lay a solid foundation does not impact the stability of a building. However, many people don’t realize that the use of grammar influences a person’s future in business from being hired, to receiving promotions, to validity as a professional.

      Speech and English instructors inform students that how they speak and how they use their language can determine whether an employer hires them or not. Many applications include the need to write a paragraph. Those who evaluate the applications read the paragraph to gain knowledge of the applicants education in language usage. During an interview, if an applicant uses correct grammar and word usage, he will be considered over another applicant with the same credentials but poor grammar and speaking ability. A person doing the interview will become distracted by incorrect grammar and rough speaking patterns, and the applicant loses in the process.

    According to Naphtalia Leba as well as other experts, poor grammar and word choice leads to unclear communication. Kyle Wiens, CEO of iFixit, (Harvard Business Review, July 20, 2012) states he will not hire people who use poor grammar. “I have a zero tolerance approach to grammar mistakes that make people look stupid.”

       Once a person is hired for a position, he faces the possibility of promotion and pay raises. Kyle Wiens’ article includes the following:           
           Good grammar makes good business sense — and not just
       when it comes to hiring writers. Writing isn’t in
       the official job description of most people in our
       office. Still, we give our grammar test to
       everybody, including our salespeople, our operations
       staff, and our programmers.

      He continues to show that grammar does have something to do with job performance, creativity, and intelligence. If someone can’t properly use “it’s” after many years, then that person has a defective learning curve. People who make fewer mistakes on a grammar test make fewer mistakes in other activities not related to writing, such as stocking shelves or labeling parts. People who care about grammar (the details of good writing) also care about other details.

     Cheryl Conner, in her article for Forbes (March 11, 2013), gave the results of a study involving English-speakers in industry. 1. Professionals with fewer grammar errors in their profiles had achieved higher positions. 2. Fewer grammar errors correlate with more promotions. She cites Brad Hoover, CEO of Top Ten Reviews who says grammar skills indicate the following positive workplace traits: Attention to detail; critical thinking; and intellectual aptitude.

     The use of poor punctuation, grammar, and word choice leads to unclear communication. If a person’s writing is confusing, if his spoken words are unclear, confidence in him will be poor, too. The adherence to the “rules” helps build a positive impression involving client relationships, communicating with co-workers, and impressing employers.

     As Naphtalia Leba  added, “Unclear, confusing or ambiguous writing causes misunderstanding and misinterpretations. These can lead to costly mistakes, hurt feelings, lost money, and legal issues.” The same is true of unclear, confusing or ambiguous speech.

    Proper grammar usage is important not only in writing stories, novels, and other books, but also for writing in business and for use in speaking.  

4RV Publishing 

4RV Bookstore   

Why Attend a Writing Conference?

by Vivian Zabel 

     Thursday I leave for the OWFI (Oklahoma Writers' Federation, Inc) Writing

Conference 2013. I do my best to attend every year, and for the past 12 years or so, I've been able to do so. I also attempt to participate in at least one other book event a year and the Muse Online Writers Conference. Why? Let me count the ways:

1. I get to meet other authors, rub elbows with the pros. Yes, I'm a professional writer, too, but I enjoy being with the "big" ones, such as J.A. Jance, Steven James, Debbie Macomber, Bill Bernhardt,  Marcia Preston, Jordan Dane, Merline Lovelace, just to name a few. Most on that list I can call by their first names because they have become friends.

2. Speaking of friends, I get to reconnect to those I haven't seen or visited since the last conference. 

3. I learn something that helps me improve as a writer, as a business person (writing is a business), as a professional. All professionals attend workshops, classes, and/or continuing education courses each year. They must to improve knowledge of their craft and to prove their commitment to their profession. To be a professional writer, we must do the same.

     Yes, I know much about writing, even taught it, still do as an editor and the head of a small press, but I'm still learning, improving. We all need to continue to hone our skills, learn about the business end of writing, and the writing market. We never know all there is to know about anything.
     This year at the OWFI 45! Revive! Strive! Thrive! conference, Mark Coker, founder of Smashwords, will be a speaker. I have the opportunity to learn more about electronic books, how to format, how to expand the number of eBooks 4RV can produce.

4. Conferences offer the opportunity for writers to meet and pitch to editors, agents, and publisher representatives. A way is provided to "breach" the wall around agents and publishers that can't be found otherwise.  Now that I head 4RV Publishing, I take pitches from other authors, but I remember giving pitches to "famous" agents and editors. I enjoy visiting with them now that I'm a member of their ranks, even if maybe not as famous as some of them, yet.

5. I'm inspired and ready to jump in and write enthusiastically again. Conferences help recharge my writing batteries after being around people who actually understand what I do because they do the same thing -- write. Speakers give me hope that success can and does happen. I return home ready to prop my seat in my chair and pound my fingers on the keyboard again.

6. Some conferences have writing contests, which I enter. Entering means I have a chance to win something. The OWFI conference has a writing contest with 33 different categories and one low entry fee that covers all the entries you send. The deadline is February 1, and the results are announced at the big banquet Saturday night of the conference. I entered four categories this year, so I'll be sitting on the edge of my chair waiting to hear my name called. Yes, I have won in the past, even first place at least twice.

7. I can learn about different genres. This year's OWFI conference focuses on fantasy, which I know little and care for less. Oh, I enjoyed Anne McCaffrey's work and still get to read new works by Elizabeth Ann Scarborough, but I don't know enough about the genre to really understand it. This conference I have the opportunity to learn more since Patrick Rothfuss is the keynote speaker. I have a copy of his first book for him to sign, too.
    Jordan Dane will speak about writing young adult novels. One year I attended her session about writing thrillers. She's a great writer and speaker.

 

8. Visit with other writers at all levels of ability and experience -- make new friends and find kindred spirits.

9. At some conferences, a writer can have a few pages of writing evaluated by a professional. 

10. According to Susan Denney (WritingWorld.com), a good reason to attend writing conferences is you can write off the trip and entry frees on your income tax as a business expense. Of course before doing so, you should check with an accountant to be sure you qualify.

     I'm excited to have the opportunity to attend this conference later this week. I get little sleep, much excitement, and work hard the whole time, especially since 4RV Publishing will have an exhibitor table this year. However, I'll return tired, exhilarated, and already thinking about entries for next year's competition.

4RV Bookstore  

 

 

How to Choose a Writing Conference

How to Choose a Writing Conference

By Suzanne Cordatos

www.suzannecordatos.blogspot.com

Wee Willie Writer runs to a workshop

Uptown and Downtown never does she stop,

Tapping on an editor, crying through her tears,

“Won’t you look at mine, please?

I’ve worked on this for years!”

As my teenage daughter puts it, writing workshops exist for people like me to meet other “crazy obsessed writers.” Okay, I’ll admit I am in the danger zone of listening to the voices in my head and trapping them on paper. But a writing conference is valuable beyond the friendly camaraderie. It can be a key to vaulting your writing from habit to career. I have attended conferences of several different styles; each has benefits and drawbacks.

Questions to consider before signing up:

1.     Do you dream of one-on-one attention from a top editor or agent?

Consider the face-time you actually get. Is it a pricey extra? You might get a thoughtful critique on pre-submitted work—or a quick minute to pitch an idea. Is there mingling time or meals with editors/agents included? Research to avoid disappointment or unnecessary cost.

2.     Want to make friends with new fellow writers? Want to learn from published authors?  

If you crave being around people who “get” you as a writer, tap into the energy of a large networking conference. If you want to learn from experienced folks, consider a small, selective program requiring a writing sample for admission.

3.     Do you have a specific genre or interest group? Do you have specific needs (such as writing better dialogue or how to plot a novel?)

Christian writers, mystery and crime, children’s, romance and historical, to name a few, offer conferences/monthly meetings. Check online for session titles and faculty. Will your specific goals be addressed?

4.     Want alone time to actually write?

If a quiet house is your impossible dream, consider a writing retreat center or vacation destination in the company of other writers. 

5.     How much time can you commit? How far from home can you travel?

One-day workshops, weekend conferences, a week-long immersion or exotic retreat . . . there is a writing conference that fits you and your time/budget constraints.

“The agent will make me a star!”

Ahem. Reality check. Writers do break into publishing from conference connections, but most writers get constructive criticism. Armed with thick skin and your best work, you will hone your skills.

Let me know in the comments: Which writing conferences have you enjoyed?

How to push your book designer over the edge

by Vivian Zabel 

        Your book is edited; you and the editor think it is finished; the department head proofed it and sent it to the designer for formatting; the designer, who is not an editor but has formatted and helped copy edit enough manuscripts to recognize some common problems recognizes that more work is needed, or not. She formats and sends a PDF proof to the author, the proof reader, the editor, and the person who pays the bills. She asks everyone to go over the proof carefully and thoroughly. She gives directions as to how she wants each person to send his/her comments, changes, and solutions to problem areas each finds. One, yes, just one, person followed her request. She ends up with four documents, all "organized" or "disorganized" differently and hard to follow. She wants each change/suggestion/comment in order from front of the manuscript to the end, not jumping from one section to the other, but most don't list the problems areas in order.

        That problem is enough to push the designer over the edge, but then she looks at one of the documents. The person who sent the document doesn't understand some of the more elementary grammar or writing necessities. When a designer, who is NOT an editor, recognizes the problems, maybe it's time authors and editors do, too.

        Here are a few examples of what should already be known by writers and by editors:

1.  Dad, Mom, Sis, Grandpa, and other nouns are not capitalized IF an adjective is before it. For example, your mom, not your Mom; my grandpa, not my Grandpa.

2.  A character's thoughts are italicized and the words I, my, mine, or any other first person pronoun doesn't have to be included in the wording to make thoughts. They are words that the narrator wouldn't/shouldn't use as part of the narration -- unless the manuscript is written in first person.

      For example: Mary walked toward the door. Why shouldn't the world stop spinning for her. No, she gets everything she wants. The italicized words are not something the narrator should be writing, but something Mary thinks.

3.  Thoughts, which are italicized, must make sense as thoughts. Words spoken should not be confused with words thought by a character.

4.  Editors or authors who are not sure about something should get help from someone who does know before telling the designer to do something wrong.

5.  If each person involved in the copy edit sends in his/her revisions, sending in contradictory revisions for the same exact problems, the designer is forced  to make a judgement call or pester the boss. Each successive person should read the preceding person's edits. The designer follows the following chain of command: The author is outranked by the the editor; the editor is outranked by the department head, who is outranked by the company head. Everyone usually finishes proofing a proof at different times; therefore, seeing what others said first would help a person see if he or she agrees or not. A quick email would help each person better understand why or why not.

6.  Follow the style manual of the publishing house that is doing your book. Read it, refer to it, refer to it again, read it, follow it.

        I'm sure other things make a book designer want to snatch him or herself bald, but those are a few that can be easily fixed, if a person really wants to be a better writer or better editor.

Who is responsible?

Who is ultimately responsible for the quality of writing that reaches the eyes of the reader?

First, traditional publishers don’t have the time or resources to copyedit or proofread books because of today’s publishing environment.

Second, many authors choose to self-publish or create digital books on various platforms.

Third, authors choose POD or companies like Lulu, Create space, Xlibris, Booklocker, and more publishing companies showing up daily.

Fourth, do publishers offer copy-editing as part of a publishing package?

Fifth, but not final, is the author.

As a reviewer who has reviewed over 100 books within a period of six years, I’ve seen what appears to be what I call quality writing becoming passé.

I have written blog articles about the trend of quality writing becoming obsolete; or has editing become outdated?

I have no explanation; I’ve noticed a trend in published books that makes me wonder if teachers still teach English in schools as it was when I was in school. In many books, I read for review, there are errors in grammar, punctuation, typos, and wrong word choices. I’ve also notice errors in punctuation consistency, and word usage.

Example: If the author uses the word, truck in a story, than car is used. It might be nice if the author would explain where the car came from. Am I the only one that finds this weird if the character arrived in one or the other in the story then they get in to a vehicle in the next paragraph that uses the other word? I’ve seen it.

I have noticed the use of old clichés, so old that they were old when I was young. What about taking a cliché situation and turning it around to make it new again. Authors are supposed to be creative.

What this all boils down to is, the author has the ultimate responsibility of the quality of the book that the reader purchases to read. If authors choose to publish a book, they need to obtain a copy and proofread it for any errors in the production and correct them before readers get to read the book.

Robert Medak

Published Freelance Writer, Editor, and Reviewer