It's every writer woe the dreaded synopsis. And with a label like that you can't help but feel intimidated. But truthfully synopsis aren't the root of all evil. And here's proof.

Recently I received a request off a very basic synopsis and query. Was it brightly written? Does it best showcase my writing skill? No and no. Want further proof? I even found a few typos in the synopsis. Truly. I got a request from a not so brightly written synopsis with typos. And it wasn't my first request. How did I manage this? Here's how.

You have to understand the craft of writing. And for romance writers that mean you understand what makes a typical romance story marketable. Characters, their goals, their motivations, and their conflicts. You can't make your characters too well adjusted or make their conflicts too easily overcome. Unfortunately, happy is boring. If these characters have no real reason why they can't walk off into the sunset together, then your story will likely never capture an editor's eye. From what I've been told lack of sufficient conflict is one the primary reasons a story is passed on.

Naturally I can't explain all you need to know about the craft of writing a successful romance in a few paragraphs. But once you understand the whys and wherefores of the craft, the next thing you need to understand is the market you want to write for. Are you more about the external plot, and your stories focus less on the romance? Then you may want to target a mainstream publisher or one of the Harlequin/Silhouette lines that allow this. But if you're like me and are all about the romance you will need to target a line that showcases this. You have to understand the difference between a passion line and a family line. Or an intrique line. Or a fantasy line. And each of those lines have their own focus. For instance Silhouette Special Edition is different from a Harlequin American. They're both family lines, but American has more a community feel and there is more emphasis on secondary characters, as well as whatever family concerns these characters may have. There isn't any set level of sensuality in a family line, but you can't go too overboard.

Basically, you HAVE to understand the line or market you want to write for. You may on a flunk hit upon what a particular editor is looking for, but if that was as a result of a shot in the dark, it's likely you won't get anymore unless you understand what the line is about.

I struggled along for several years unable to generate any interest in my work until one day a published author from the line I was targeting explained to me in a few simple sentences what the line was about. After that I started getting requests. And nearly every synopsis I have sent off since even to other lines have also resulted in requests. If you don't totally get what a line is about, ask. Most writers, published or unpublished, will often be more than willing to explain the differences.

To further demonstrate that a not so brilliantly written synopsis can get an editor's attention I will post the some of the ones I have sent in with positive results. (See Synopsis Examples link at top of page.) I personally think they're not very well written at all, and I spent maybe a total of few hours on each. All I did was explain the plot, what the characters were trying to achieve and what conflicts they wanted to overcome. Of course you can't leave out their motivation for why they behave the way they do. Also include a plot that fits the line. Then explain how these conflicts and goals affect the romantic relationship, wrap it all up in some neat little bundle, and send it off. And yes, you have to explain your entire story including the ending. Leaving the editor hanging will not give you a request any faster.

Word of Warning . . .

As much as I would like to believe my advice will generate many requests for other authors, unfortunatly I only have so much power over the universe. All I'm trying to do is to knock the dreaded synopsis off it's much feared pedestal, and take it down to a level hopefully more people can relate to.