INCLUDING THE SYNOPSIS IN THE SCRIPT:
One of the things that is becoming more and more common is
including a one page synopsis in the script under the title page.
For the below, there are exceptions to every rule. It totally
depends on the producer and how he/she conducts business.
Whereas the reader may read the script to find out what it is
about, if the synopsis is read first, the reader may not go any
further. This would happen if the reader realized that at this
point your type of story is not what is being looked for at that
moment and as a result, gets set aside.
If you don't include a synopsis and if the producer is not
interested in your story idea at that exact moment, the odds are
great that it will receive a 'pass'.
The key thing that a writer wants when his/her script is read is
that the reader (whether it is the actual producer, representative
or a hired reader) be looking for your type of story and
interested in it at the time of reading. This is very important
and can make all the difference in the world for you. You don't
want someone reading your script who isn't in the mood for your
type of story.
Mostly, you have no control over this, but you can make it easier
for the producer and possibly easier for yourself. A couple of
things to keep in mind: Cover letters do get lost and since it
could be weeks before your script is read, the producer will not
remember what your script is about, only that there was interest.
Producers commonly have more than one reader. Every reader has
his/her own strengths and weaknesses and the
producers/representatives usually know what they are. By having
the synopsis you are increasing the odds (even if only slightly)
of the right reader getting your script, because the industry
person has the opportunity to see what your script is about before
handing it to a reader.
Every script has a different pace. Your first 10 pages might not
be what they want, but your story idea may be. How do you get
someone to get past those first 10 pages? One way is to write a
good synopsis and include it in the script. If the reader reads
your synopsis and continues reading, you have established that the
reader is interested in your script and even with a poor
beginning, the reader may read further because of your synopsis.
I recommend including your synopsis as the next page after your
title page.
WRITING A SYNOPSIS AND LOGLINE:
Synopses and loglines are actually very easy to write, once you
understand the process. This is the same for pitching a script
over the phone or in person. What a writer needs to do is break
down the story to its most simple basic elements. This is hard for
a writer because of all of the detail a writer has to go through
in writing the script. After-all, every scene is important or it
wouldn't be in the script. Writers have a tendency to think that
these all-important details must not only be in the synopsis, but
also the logline. This is definitely incorrect in the case of
loglines and is almost always incorrect for the synopsis as well.
Instead of trying to crunch an entire script down to a synopsis or
logline, try to do it from the reverse. Every script can be
described in one to two words and still give a person a basic
understanding of the story. This is done all day long in the
industry. The most basic term used for this one-word description
is genre (Romantic Comedy, Comedy, Drama, Thriller, etc. [no
details, just one word]).
With the logline you are just expanding it a little bit more,
without details. Think of the basic idea behind the story.
Example: Drama; 'A farmer struggles to keep his family together
during the depression.' Drama; 'A former American president
defects to Russia.' Sci-Fi; 'The assassination of both leaders
turns an interplanetary civil war on its ear.'
There are lots and lots of examples of this for existing movies on
IMDB.com.
Now with the genre and logline taken care of, expand it just a bit
further (one page) and you have a synopsis.
According to 'The Complete Film Dictionary' by Ira
Konigsberg and published by Meridian, a synopsis is: 'A brief
summary of a film or potential film written in a few paragraphs
and including only a general outline of events.'
Nowhere in the above definition does it tell the writer to include
all of the names of the main characters or every scene in the
story.
Writing a good synopsis and logline for a script takes practice.
These are not something you whimsically write, giving it no
importance. Without a good logline and synopsis, you drastically
reduce the chances of getting your script read.
Here is one way to write a synopsis and feel reasonably sure it
will be good (I have in earlier emails, given suggestions on
writing a logline):
- Write up to a dozen different synopses for your script. Keep
in mind that the synopsis must be a very simple read,
that a teenager could easily understand with one quick read.
- Then with the help of your writing peers and friends
(hopefully people who like to watch movies that are similar to
your story) find out what parts of each synopsis they like and
dislike the most.
- Incorporate these suggestions into a few different synopses
and do 1-2 above again.
- Keep doing this until you have the best synopsis possible.
- Get your synopsis read by some teens. If those teens aren't
able to read your synopsis and instantly know what your story
is about, your synopsis is in trouble. If the teens had to
read a particular sentence or paragraph (in your synopsis)
again to understand it, your synopsis is in trouble. When they
instantly (and I do mean 'instantly from one quick read') know
what your story is about, you have a good synopsis. If those
teens are confused about your story in any way, rewrite your
synopsis.
Scripts are where movies come from, but the industry determines
their interest in a script by the pitch, logline and synopsis.
Your logline and synopsis are the key that opens the gate to
getting your script read. The pitch (verbal form of a logline) is
THE tool that a producer uses to get a film financed. If you, the
writer of the script, can't effectively communicate what your
story is about, how can anyone possibly expect a producer to come
up with a pitch to get the film financed?
If a teen can't understand your story from the synopsis or
logline, neither will the development exec. or producer. This has
nothing to do with intelligence. It has everything to do with how
hectic it is for producers and studios. These people have to
explain your story to somebody else. The easier you make it for
them, the better your chances.
HIRING SOMEONE TO WRITE YOUR SYNOPSIS AND LOGLINE:
Some writers hire people to write their logline and synopsis.
This, in my opinion, is not in the writer's best interest if the
writer wants to have a career as a writer. Once a writer has sold
a few scripts and is getting some recognition, the need to write
spec scripts will become less and less. Instead the writer pitches
ideas for scripts and then gets hired to write the screenplay. The
ability to pitch then becomes all-important in getting your next
writing job. Start learning to do it now, so that when the time
comes you will be a master at pitching and writing synopses and
loglines.
This also comes into play when a producer really likes a script by
a writer, but knows he/she is not interested in that type of
project. In this case, the writer who knows how to write a
logline, synopsis and knows how to pitch, can possibly get hired
by the producer to write a script for a different story.
Knowing how to do this is part of the trade. Without this skill, a
writer is limiting his/her chances.
With very few exceptions, every successful writer knows how to
write their own loglines, synopses and how to pitch. Take your cue
from the successful writers.
Any writer who is not an expert in this should become an expert.
This is done with practice. Pick movies you have seen and write
loglines and synopses for them. Have your writing peers give you
their suggestions on it. Have teens read it, not for suggestions,
but to see if they instantly understand the story.
A bad synopsis and logline always has two elements: It is
complicated and contains unimportant or unnecessary details.
I hope this is of assistance and expect to be able to give you an
example of some good synopses shortly.
This article reprinted by permission from Writers Script Network.
If you wish to receive the Writers Script Network newsletter, please
go here to subscribe: http://www.writerscriptnetwork.com/newsletter.php
Have comments you'd like to send the author? Please e-mail
Writers Script Network at : jerrol@writersscriptnetwork.com
or fill out the form below:
