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2 Feb 12

On Tuesday, I got an email that many writer’s dread.

The copy department wants a synopsis.

This is particularly dire when you, the author, DID actually send in a (very) brief synopsis weeks ago. They want more.

This doesn’t surprise me because I only sent them one long paragraph that I wrote as if it were back cover copy, with a few more details. I know there are formulas that people use, and I can write a log line, and I can put together the premise and backstory very easily, but I have no idea until I’m in my character’s shoes what they are actually going to do.

From this synopsis the copy department will be writing the back cover copy. And while the author (usually) gets to review and edit the cover copy, if there are errors of story they sometimes end up being released. Sure, they’ll be fixed for print, but it can take weeks to have the correct cover copy replicate to all the online sites. Sometimes they never do. Some on-line e-tailers have the never approved, mistakening released cover for KILLING FEAR … or the original cover for THE PREY that was pulled six months before release date because booksellers wanted more movement on the cover.

THE PREY - original cover

THE PREY - Released

KILLING FEAR - Rejected

KILLING FEAR - Released

While the cover issues weren’t really anyone’s fault–the covers needed to be changed for a variety of reasons–back cover copy seems to stay longer in cyberspace and is harder to change. Don’t ask me why!

So I REALLY need to get my synopsis in order because I only have a few dozen very rough pages for STALKED that I know aren’t going to make it past the next two weeks. The deeper I get into the story, the more I realize the opening is all wrong.

I put that aside to work on the synopsis and thinking about where the story was going, or rather, where I THINK the story is going.

To be honest, my rough drafts and my final drafts have little to no resemblance.

In the first draft of THE PREY–the one that Ballantine bought and my editor gave me notes on–FBI Agent Quinn Peterson dies in an explosion near the end of the book. After reading the notes, I resurrected him. Good thing, because he ended up being the hero of THE HUNT. And while the first 300 pages didn’t drastically change in that first book, the last 150 pages were totally rewritten. The ending was completely different.

SILENCED 4.24.12

SILENCED will be my 18th book. Instead of the ending changing–that, more or less, stayed the same–the first half of the book was drastically rewritten. The premise changed (somewhat.) In my editorial letter, my editor wisely pointed out that the story started in the wrong place. I kept referring back to a pivotal event that had happened one week before. Why not write that scene?

I did. It’s now chapter two.

That’s why I was terrified about writing the synopsis for STALKED. I know my first 100 pages are going to be rewritten. They may even be completely deleted. I’ve rewritten the openings of all my books multiple times, both in my drafts and after editorial notes. (I’m sure there’s some deep psychological reason for this, but for me, the first act is just damn hard to write. It takes me twice as long to write the first 150 pages as it does to write the last 300.)

STALKED 10.30.12

But I wrote the expanded synopsis. It went from roughly 250 words to 1300. And when I got to the end, I realized that I had a little problem. While I didn’t know how the story unfolded, I THOUGHT I knew who the killer was.

I don’t. As I thought about the killer as I envisioned him, I “tracked” him down as Lucy would. And I realized … he’s innocent. Yes, the murder has everything–and nothing–to do with him, but he’s not a killer.

In the synopsis, I wrote:

Lucy pulls the files of the people she thinks are most likely to have a connection to this case, and the answer is immediately clear.

I really, really hope that when (if) this scene actually happens, that the answer is clear to Lucy, because I have no effing idea.

The synopsis for STALKED is truly dreadful. But one good thing came out of writing it: excitement. I’m truly excited to find out what happens after Lucy finds the dead body of her favorite instructor at Quantico.

I just ordered a case of LOVE ME TO DEATH to give away at an event. But I’m going to give away FIVE copies here. BETTER, I’m going to let YOU give the copies away. If you comment and win, you get to choose any book from my backlist for YOU, and I’ll also send a friend a copy of Lucy’s first book, LOVE ME TO DEATH–signed, giving you credit for the gift. AND if more than 100 people comment, I’ll give away TEN packages. (Yes, you can see that I’m being very competitive with Rocki and Lori who always get over 100 comments, so just once I’d love to beat them. Hahahaha.)

So let me ask you a question: which is more important, the cover or cover copy? Can you see why I begged to have the KILLING FEAR cover tweaked?

SILENCED is now up for pre-order! Visit my website for all the links, cover copy, and an excerpt.

© 2012, Allison Brennan. All rights reserved.

This entry was posted on Thursday, February 2nd, 2012 at 12:46 am and is filed under Allison Brennan. Tags: Allison Brennan, book giveaway, covers, Love Me to Death, Lucy Kincaid, Research, Silenced, Stalked, synopsis, writing. You can feed this entry. Both comments and pings are currently closed.

Allison Brennan is the New York Times and USA Today bestselling and award winning author of seventeen romantic thrillers and several short stories. She lives near Sacramento, California with her husband and five children. Recently, RT Book Reviews called Allison "A master of suspense." And Lee Child said of her Kincaid series launch, "A world-class nail-biter ... Brennan is in the groove with this one." For fun Allison enjoys wine tasting, swimming, kids sports, playing video games, and "of course" reading. Her most recent release is IF I SHOULD DIE, book three in the Lucy Kincaid series. Watch for SILENCED coming on 4.24.12.

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68 comments to “The Very Dreadful Synopsis”

1. 1

   Allison, you are an incredibly talented author and a favorite of mine. I can hardly wait for a new book to be released. I am always one of the first in line. I am also a writer, or trying to be, and I have to say that I feel a little relief to know that I’m not the only one who struggles with the “dreaded synopsis”. I’ve written several books and I think the synopsis was the most difficult of all. At least now I don’t feel like a total idiot. There is camaraderie in misery. Love what you do….always a faithful fan. Emile Horne by Emile Horne February 2nd, 2012 at 2:27 am

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     Hi Emile, thank you so much! And the synopsis is the single worst part of the process. I’m lucky that I don’t have to write one early in the process, but when they need it for writing copy and the sales sheet, I need to buckle down and do it. Sometimes, that coincides when I’m far enough into the book that I can give a summary of what’s already happened, but sometimes, like now, I’m still in the first act, and that is the death knell for me! If you’re writing a synopsis to sell, I do have a formula: Write your synopsis like the expanded back cover copy of a book, plus add a log-line, essential backstory, and the ending (climax.) It should be 1-2 pages double spaced. Most agents and editors don’t want a long synopsis, 3 pages max. It should SELL your book. The meat of the synopsis (cover copy) should essentially be the protagonist(s) and antagonist’s GMC — what they want, why they want it, and why they can’t have it. If you’re writing romantic suspense, the antagonist is the villain. In contemporary romance, it’s often the h/h (they may act both as protagonist and antagonist depending on viewpoint.) I write a very good brief synopsis … as long as I don’t have to include an ending! by Allison Brennan February 2nd, 2012 at 7:29 am

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       Great advice, Allison. Thanks so much for taking the time. Hope to see one of my books next to yours one day. by Emile Horne February 2nd, 2012 at 9:36 am

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   I can see why you wanted Killing Fear Tweaked. I also think the change to The Pray cover made a huge difference. Allison I think the Cover and the Cover copy are both important. One more for you as the writer and the other for the reader. I am not a writer so I hope that I am understanding correctly exactly what each one is. (probably not, but I will go on with what I think anyway) lol As a reader what draws me to a book initially is the title and the cover but ultimately the description makes my mind up to read or not to read. If for you as the writer, you can see what changes you want or need to make by making a cover copy, I see them both as important. Love your books and being able to follow you on Facebook. Thanks Allison! by Amber Yates February 2nd, 2012 at 3:45 am

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     Amber, you got it down right! Cover is the overall package, cover copy is the storyline. My main problem with KILLING FEAR was that 1) the story took place in February and except for a dead girl on the beach, there was no beach in the book. and 2) the woman looked orgasmic, and this wasn’t a super sexy book–it was rather scary about an escaped death row inmate targeting those who put him in jail. I made one suggestion–change the background with an alley. Now the woman could be orgasmic, but she could also be dead. And the alley is far more sinister. KILLING FEAR is my #1 selling title. Part of that is the cover. Part of that is that they had a great promotional campaign. And part of it is that they reissued it a year later as a special at Walmart. by Allison Brennan February 2nd, 2012 at 7:33 am

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   You’re too funny with your competitive streak, Allison! Life is not a track meet, sweetie — and if it is, you’ve already won so many dang events! To answer your question: for me, as a reader, the back cover copy is more important than the cover. But it’s been a long time since I was “just” a reader — now I’m a cranky, critical writer and I pick every cover apart. PS. Forgot to tell you I saw ORIGINAL SIN (3 copies) in a Walgreens last weekend!! They only carried about 7 titles and that was one of them! by Roxanne St. Claire February 2nd, 2012 at 4:46 am

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