Why Writers Still Need The Traditional Synopsis (Yes, Really!)

Let’s get one thing straight upfront, Bang2writers … When it comes to submissions, the traditional synopsis is still very much a thing. It’s true, I’ve advocated for one page pitches A LOT on this site (you can grab a free reference guide, HERE) … But  sometimes you just can’t beat a good old-fashioned traditional synopsis.

I know, I know. You’d rather chew glass than try and summarise your 90,000-word novel or your 120-page screenplay in just one or two pages.

But here’s the kicker: agents, publishers, and producers EXPECT it. Like it or not, the traditional synopsis is non-negotiable in many parts of the industry.

Why Do Industry Pros Want a Synopsis Anyway?

It’s not because they want to torture you (though it may feel that way). It’s because they’re overwhelmed.

Script readers and assistants often use the synopsis as a first sift, deciding whether your project is even worth reading. That means if your synopsis doesn’t land? Your manuscript or script might never get read.

Let that sink in for a moment. Think of your synopsis as your ticket to getting READ! 

By the way … script readers also need to write synopses too!

If you do (or want to do) this work, chances are you will need to summarise screenplays (or novels, for book coverage) for your boss.

The script readers who get hired again and again write GREAT synopses. This is because producers, agents, film financiers and investors etc don’t have time to read every single submission.

This means industry pros rely on their script readers’ reports. A key element of the report is the synopsis, as it helps them make  important decisions. If they can’t make those decisions because your reader’s report synopsis SUCKS? Then guess what, you’re fired. Yikes!

What Actually *Is* a Traditional Synopsis?

Unlike the newer and often preferred one page pitch, a traditional synopsis does include the entire plot in detail. I frequently call it a ‘blow-by-blow’ account of your story.  You’re expected to show the full arc of your story (yes, even the ending!). 

Here’s what a solid synopsis needs to cover:

• The Set Up and Pay Off (aka beginning and ending)
• Your main character’s arc (especially your protagonist’s, though maybe your antagonist’s too)
• A sense of the storyworld
• A feel for the tone and genre
• Dynamic language that keeps the reader engaged (never lapse into the dreaded ‘and then… and then …!).

Sounds simple enough, right? But anyone who’s attempted one knows, it’s NOT. It’s one of the hardest documents to write, even for seasoned pros. My tips on how to do this, after the pic. 

Enter: The Hamburger Method

When I’m working 1:1 with writers, I frequently recommend thinking of your traditional synopsis like a hamburger (or a veggie burger, if you prefer). Here’s what you need:

• BREAD 1 (Top Bun): This is your Set Up: introduce your protagonist, what they want, and what’s standing in their way. Give a sense of the genre and tone here too, but don’t go wild.
• MEAT (The Juicy Middle): This is the main bulk of your story. Pull from your novel or script’s scenes and chapters to summarise the journey. Don’t include every twist and turn, just the key beats and arcs that reveal character and push the story forward. 
• BREAD 2 (Bottom Bun): The Pay Off.  Yes, reveal the ending!!! Holding it back doesn’t make your story more intriguing. In fact, it actively frustrates readers.

Remember, this is NOT a blurb, it’s a tool for industry professionals to assess the shape and execution of your story.

But Can’t I Just Write a One Page Pitch?

One page pitches are fantastic. I use and teach them all the time. It’s a great idea to have one pagers ready, especially if you;re a screenwriter. You should be ready to ‘sell the sizzle, not the steak’ on your scripts.

But some opportunities still specifically ask for synopses with all the plot beats. This is particularly important for novelists. As an author myself, I’m noticing that I’m being asked for THREE-pagers right now. The first page is essentially a one page pitch. The next two are the traditional synopsis. Forewarned is forearmed! 

So here’s the bottom line … Know which is which and be ready with BOTH!

Final Tips for Your Traditional Synopsis

• Keep it short and focused. 1–2 pages max.
• Write in third person, present tense.
• Capitalise character names on first introduction.
• Cut out the fluff. Stick to the spine of your story.
• Get feedback. Don’t work in a vacuum. Readers, writing groups, even Facebook groups can help you polish your synopsis until it gleams.

Too Long; Didn’t Read?

The traditional synopsis is still essential for many submissions. Use the Hamburger Method to make it easier on yourself AND your reader. And whatever you do, DON’T skip the ending!

Good Luck!

Want even MORE script reading secrets?

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If you’re interested in becoming a script reader, or finding out more how script readers may assess YOUR own writing – or both! – then this is the course for you.

Tickets are on sale now. GET THEM HERE, or click the pic on the left. See you there!