Queries, Proposals & One Sheets–Oh, My! Part III

If you Google the word “synopsis,” it’s amazing how many times the word “dreaded” is used to modify it. Writing a synopsis is a challenging project, but the word should convey excitement, not dread, for there are basically two purposes for writing a synopsis:

1. You’ve got a great new idea for a novel and you want to get it all down and get started.
2. You’ve finished (or nearly finished) a novel and you’re preparing to pitch it.

Both of those are exciting, positive concepts. So, let’s not dread writing the synopsis!

The synopsis begins with a hook, just like your query letter. Some authors use the same opening paragraph, and why not? If it caught someone’s attention enough in the query to get an invite to submit an entire proposal, you probably have a great hook.

The hook should pique the reader’s interest and pose the story question. In fact, some authors put their opening sentence in the form of a question. If you’ve seen “My Big Fat Greek Wedding,” then this hook will be familiar to you:

“Can a Greek ugly duckling find happiness with her WASP prince charming, in spite of her colorful, interfering family?”

In one sentence, that hook introduces the main characters (Greek ugly duckling, WASP prince charming), as well as the three main story elements: Goal (prince charming); Motivation (find happiness); and Conflict (Greek/WASP cultural differences, plus her colorful, interfering family). As a bonus, that hook also introduces the reader to the supporting cast. It even gives us a glimpse at the whimsical tone of the story.

For examples of great hooks, read the log lines on movies. There are a number of movie databases online to browse. Another place to browse hook examples is an online bookstore. There are also a number of those.

As you’re reading hooks, (yes, this is a homework assignment!), watch for the introduction of Goal, Motivation, and Conflict, the main characters, perhaps the setting, theme, and/or tone. Pick some good ones and label those elements. Share them with us in the comments if you’d like.

Next we’ll discuss other parts of the synopsis, but the hook is definitely the most important. If you don’t hook ‘em with that opening, they won’t need to read any further.

Queries, Proposals & One Sheets–Oh, My! Part II

What’s the difference between a synopsis and a proposal?

A proposal is a package of information used to market a book project, first to an editor or agent, then to the editorial committee, and portions may even be distilled and used by the publishing house’s marketing team, which uses the information to sell the book to a wholesaler, who then pitches the book to booksellers, who in turn uses the pitch (often appearing as back cover copy by this point) to consumers, who, by word of mouth, will “pitch” the book to their friends. A piece of work with that much travel time ahead of it needs to be in perfect condition at the beginning of its quest.

A synopsis is one section of the proposal package. The word synopsis originated from Late Latin and evolved to its Greek form, “syn,” meaning “together,” and “opsis,” which means “view.” (Think: optometry, optical, etc.) Today’s connotation is a general overview, usually of a written work.

Depending on the agent/editor’s preferences (check their submission guidelines), other sections of the proposal include: a cover letter; proposal title page; proposal summary; proposal table of contents; synopsis; sample chapters; marketability section; and a self-addressed, stamped envelope;

Over the next few posts, we’ll discuss the major sections of a novel proposal, beginning with the synopsis.

Queries, Proposals & One Sheets–Oh, My! Part I

Judy posed a great question–”What is the difference between a proposal and a synopsis?” I’ll attempt to answer it by discussing the whole pitching process. And hopefully I won’t throw you any curve balls! LOL

When a novelist has a manuscript ready to “pitch”–either to an agent for representation or to an editor of a publishing house to contract–the first piece of paper to be delivered depends upon the circumstances. If you are meeting face to face, such as at a conference, then a one sheet would be appropriate. If you are pitching your novel via e-mail or snail mail, then a query letter would be used.

The purpose for these two documents (and I’ll explain them in detail shortly) is basically an introduction–to both you and your novel. Think of them as a handshake. Hi! I’m Linda the novelist and I have this uber awesome novel idea…only you don’t say it that way. Because that’s TELLING. We need to SHOW the editor/agent that our idea is the best book to come across their desk in ages.

A one sheet can be adapted for many purposes. I have a sample one sheet on my web site that I use to solicit speaking engagements. The first page has a picture of me (speaking), a short bio, and a brief synopsis of some of my more popular speaking topics. Side two includes a side bar of the benefits my keynote should provide an audience, a few endorsements on my book, and a couple of brief excerpts from the book. (I print these in full color on medium weight semi-gloss photo paper. If you do this, make sure the paper is glossed on both sides if you require a two-sided one sheet to promote yourself/your work. It may be called “brochure” paper on the package.)

When using a one sheet to pitch to an agent/editor, the concept is similar. You may only need to use one side for this purpose, however, depending upon your experience. Some authors put their picture, bio, and the novels they are pitching on side one and blurbs (with book cover pics) about their published works on side two. If you’re not yet published, you could put a one-page synopsis about the book you’re pitching on side two. Or, if you have more than one project, a paragraph synopsis of each would do.

That is what I did at the recent conference, and I learned a valuable lesson. I pitched four novels, but they were from three genres. That’s when I learned all about branding and have posted about that topic a couple of times earlier this week. One more side note on branding, then we’ll get to queries…Branding oneself is more than just selecting which genre you wish to write in. You must find a niche, something unique to your writing–an area you are well qualified to write on–and stick with it. For example, Camy Tang writes not just Chick Lit, but Asian Chick Lit. She is well versed in the Asian culture because she is Asian. I had to make a choice of which area of Chick Lit to write. I have made a decision but haven’t announced it yet–wait until my new web design is complete!

A query letter can be sent through e-mail or regular mail, but be sure to check the agent/editor’s submission preferences. Some prefer e-mail; others reject it. You can find this information in the various writer’s market guides. An excellent choice for Christian writers is Sally Stuart’s Christian Writer’s Market Guide. These guides are produced annually, usually in bookstores around the first of the year. Write a letter to Santa and ask him to pre-order you one for Christmas!

The query consists of several parts and is laid out like a regular business letter. First of all, ensure you have the correct spelling of the acquisition’s editor or agent’s name you wish to submit to. You’ve heard to never call a publisher unless you’re told. It is okay, however, to call the publishing house’s receptionist and verify the name/spelling of a specific editor. You won’t be pestering the editor, and if the name is misspelled, you just received strike one.

The market guides are excellent tools, but remember, they gather the information months before they are printed. People change jobs, etc. It’s best to double check unless you know the person. And if you are a new novelist, few houses will accept submissions, sometimes even queries, without an agent. Check on that, too. Don’t waste your time, postage money, and raise your blood pressure in suspense only to receive a rejection that could have been avoided by simply not submitting to a house that isn’t accepting queries.

After the address line, the first paragraph is a hook. Think of the blurbs used on back cover copy. This paragraph SHOWS the editor/agent why this book MUST be produced and distributed to the hands of readers worldwide. It needs to be, as Randy Ingermanson would say, BRILLIANT!

I have a sample Query Letter on my web site, too. This is from my nonfiction book, and this query landed me an agent/author agreement. He said the Title and the Hook grabbed him from the beginning. That’s the purpose of a hook.

The next paragraph should be a short description of the novel–including who the main characters are; the story’s setting; its theme(s); the book’s length; and whether or not it is part of a series.

Next, I like to bold & center the book’s title. I saw this in one book on writing queries, but most instructions/samples don’t include this suggestion. It’s up to you, and if you do this, place it in the most logical place in the letter. (See my query for an example of how I chose where to put the title.)

You should then include the book’s take-away value. Why should readers read this book? What will they benefit for spending a half-day ignoring the kids, letting the house go, forgetting they had planned to mow the yard?

Finally, conclude your query by telling why YOU are the one to write this novel. For example, my prodigal daughter story–I was a prodigal daughter. I had experience. I knew what it was like. I’d never seen a book written from the prodigal’s point of view–just books from parents, pastors, counselors, etc. Who better to write a book about prodigals than a returned prodigal?

If you’re writing a medical thriller and you work in the medical profession, say so. It your book is a court room drama and you’re a bailiff, let the agent/editor know. I’m there. I see what goes on. I’m qualified to write this book.

End with your contact information and a line thanking him or her for considering your project. Courtesy is important. Editors/agents are very busy people. Let them know you appreciate their time.

This was a lot of information for one post. If you have questions or comments, please let me know. We’ll go on to synopses and proposals next. It will take several posts to cover those topics.

Hope everyone has a great FRIDAY! Woo-hoo! It’s the weekend!

Linda

Lead On!

One of the “Writing Facts of Life” is that every story, essay, article or book, whether fiction or nonfiction, must have a beginning, a middle, and an end. Jumping directly into the body of your piece is likely to elicit a “Huh?” from the reader, followed closely by the sound of a book or magazine slapping shut.

The most important paragraph in any piece of writing is the first one, called the Lead. Your opening is more than an introductory handshake to set the tone; it’s a commitment to the reader that your prose will entertain, intrigue, inspire, and inform him. Think of the Lead as a seconds-long commercial to entice your reader to “buy” the remainder of your story. A tall order, yet with the number of techniques to choose from (see list below), the challenge of writing an opening is not an impossible task. It can even be fun.

• Start with a Question–“Can you pigeonhole every aspect of your life into one of two categories: chore or obligation?” What 21st Century woman wouldn’t be instantly intrigued by such a start? I opened a speaking engagement with that question and the audience immediately identified. Many sat up and listened attentively, hoping something in my presentation would offer them an alternative to their rut-ridden lives.
• Start with a Familiar Quote–Here’s an opening from an article about handling stage fright: “In the list of people’s greatest fears, public speaking ranks higher than death, meaning at a funeral, most folks would be more comfortable in the coffin than presenting the eulogy.” Familiarity puts your reader at ease. And most people can identify with familiar quotes, which is why such sayings become popular.
• Start with a Personal Experience–I once began a piece on communication by relating an experience with one of my co-workers. Here’s an excerpt: “I managed to survive a brief but memorable career in the high-stress, behind-the-scenes arena of the trucking industry known as dispatch.” The audience settles in, knowing you’re about to tell them a story. Everyone likes stories. A word of caution on personal experience openings, however: get to the point soon. Once an editor cut my entire lead because I took about five paragraphs to make a connection between my story and my topic.
• Start with a Descriptive Passage–Imagery is an effective means of drawing a reader into your story and works well with fiction as well as nonfiction. Here’s an example from one of my past columns: “My garden resembles a roller coaster. It’s not that the rows aren’t perfectly straight. They aren’t, but that’s another matter; it’s the highs and lows that concern me.” After continuing with the garden’s description, the article went on to make a practical application.
• Start with an Anecdote–The classic “Once upon a time” opener is a great all-purpose story starter. Things to watch for with this lead style are clichés–overdone and worn-out passages. Keep it fresh.
• Start with a Contrast–Good for a “where we’ve been (or are) and where we hope to go” article or speech. One of the most famous examples of a contrast opening is Lincoln’s Gettysburg Address: “Fourscore and seven years ago, our fathers brought forth on this continent a new nation, conceived in Liberty, and dedicated to the proposition that all men are created equal. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure.”
• Start with a Startling Statement–This attention-grabbing method is often used in journalistic writing. People are fascinated by phenomenons. To read examples of the “shock treatment” beginning, flip through nearly any magazine on the supermarket rack.
• Start with a Factual Statement–The best example I can think of for this style of Lead is the Bible. “In the beginning God created the heavens and the earth.” The author, God, then goes on to elaborate on the opening statement. This is a common but effective way to begin a news story, but, as seen in the example taken from Genesis 1:1, this Lead method can be employed in any writing situation.

This is by no means an exhaustive list of Lead styles. Look through magazines, newspapers, books and papers. You’ll find many more methods with which to start a story. As you consider the purpose of your prose, you’ll be able to judge which type of Lead is appropriate. Of course, you can always start with a joke!