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A Synopsis and a Critique: Distance is a Good Thing

A few months ago, I took a novel writing workshop. Most of us in the group had little experience critiquing another’s work. And, several of us were beginners when it came to writing a novel.

Everyone looked forward to the critiques; no one wanted to tackle the required one-page synopsis. In fact, several groans broke out as the word hung in the air above us.

Synopsis.

I had never attempted a synopsis, and – since this was a class for beginners – I stuck to my motto of “I have nothing to lose.” I remained optimistic.

But, it was hard to write. In an essay, entitled “Writing a synopsis can rock your novel,” Roz Morris explains – in a more concise way – why writing one overwhelms most writers.

[W]riting a synopsis is hard…because we’re so close to the detail that we can’t see what to include and what to leave out. It’s all important, right? Writing a synopsis requires you to view the novel from a distance, which is all but impossible when you’ve been living in the thick of it. But it also gives you distance. Like looking at a maze from above, you can see patterns you couldn’t see when it’s all wood and trees.

I didn’t have that distance. I spent too much time on the back story and the beginning and very little time talking about the end of the story. When I took my synopsis to class for critique, I expected pointers on how to tighten it up, maybe thoughts on what to delete or add (like a few forgotten characters). But, being the first to go under the knife, that critique ran long, detailed and painful. My spirits fell, and I left wondering if I should continue to write the story.*

Joni B. Cole published an article in the July 2010 issue of The Writer on the “7 Myths About Feedback.” Two stand out for me as reasons why that particular critique was so discouraging.

“Writers should be silent during their story discussions.” This was my first face-to-face critique. When the workshop leader suggested the writer sit quietly while everyone else discussed the story, I did exactly that. In Cole’s article, she says that many workshops use the “silent writer” policy, but there comes a time when the writer should speak up.

…[When] negative comments are flying at you like the arrows at St. Sebastian, don’t just sit there.

Much of the criticism that night came across very harsh, a lot of it based on the synopsis alone. Critiquing a synopsis to such depths while still in the revision process threw me off track, especially because I sat quiet and fielded the “arrows” with my open chest.

That said, another myth – “The goal of feedback is to help ‘fix’ a story” – reminded me how reeling in the negative part of the experience and focusing on the positive can keep a writer moving forward.  Cole says a writer should:

…[T]hink of feedback not in terms of fixes, but reader responses. And by this I mean any response that gets the writer to write more and write better.”

After my experience, I took several days “off” from my story until I recovered from the sting of some of the other writers’ comments. Then, I looked deeper into the issues their comments addressed: problems of clarity, character development, and plot.

Next weekend, I’m heading out of town. One of my writing goals during my vacation (because a writer is always writing, even when we’re digging our toes in the sand or traipsing through the woods) is to look at the chapter one rewrite of my current novel in progress, with the first draft of the full manuscript, and write out a new synopsis. Then, I hope to give the first chapter and synopsis to a friend for critique.

After reading Morris’s essay and Cole’s article, and after reviewing my own past experience again, I’m confident of a few things. First, I know I want to write a synopsis early in the process again. I agree with Morris when she explains how a writer can use a synopsis to her benefit:

Summarizing like this lets me kick away the clutter to see the strong core of the story. I’ve seen patterns I didn’t know were there and given real punch to my plot.

I love the image of looking down on the story from a distance and seeing the patterns unfold, seeing the core of the story and the path of the character. I need that kind of perspective in revision.

Second, when I send the synopsis and first chapter out for critique, I will remember:

  • This synopsis is a draft, a first draft.
  • To find a critique partner who knows how to talk about what works, as well as how to ask questions about what doesn’t work.
  • That I don’t have to sit and listen to critique with my heart in my hand and my mouth closed. I can ask questions.

A synopsis doesn’t have to be a thorn in my side, and neither does another writer’s feedback. With a little distance, I can incorporate both into a successful revision.

* I did eventually put that story down, though the decision wasn’t a result of that particular critique.

__________

  • Morris, Roz. “Writing a synopsis can rock your novel.” Nail Your Novel. June 20, 2010. Web. <http://www.dirtywhitecandy.com/archives/901>.
  • Cole, Joni B. “7 Myths About Feedback.” The Writer. July 2010: 24-25. Print.

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Wednesday’s Word Flash Fiction: Knitting at Littleton Elementary

I love the quote Anu Garg uses to jump start this week’s theme on Wordsmith.org:

The French writer and philosopher Albert Camus once said, ‘Nobody realizes that some people expend tremendous energy merely to be normal.’

Today’s word is:

nescient. adj. Lacking knowledge or awareness.

I tried different strategies to get my story going: word association, breaking down today’s word into others that might spark an idea, trying to come up with a character name using only the letters from “nescient” itself (if only I’d had one more decent consonant). Nothing worked like I had hoped. So, here’s to writing by the seat of your pants!

*****

Knitting at Littleton Elementary

Joyce’s Dansko clogs squeaked as she turned from the clean black board and scanned the classroom. Twenty-four desks glistened from a long overdue date with a Clorox wipe. Each chair was pushed in snug against each desk. In the reading corner, books were lined up on the shelves in descending order according to height. The bulletin boards were de-cluttered, all those ridiculous xerox copies – of this rule and that rule – tossed in the trash.

Kids needed organization, structure, and only one rule. That’s what Joyce told Marcie after Marcie had gasped and stopped dead in her tracks during their morning walk.

“You signed up to do what?” Marcie’s face went pale.

“Knitting. I’ll be teaching knitting for one week to first through third graders. They’ll be making dishrags.” Joyce smiled confident.

“Joyce.” Marcie took her by both shoulders. “You’re an awesome knitter, but you don’t know squat about kids.”

Joyce took offense to Marcie’s comment. Sure, Joyce was older and never married, but she had nieces and nephews whom she saw twice a year. And, she observed enough bad parenting in the grocery stores. She knew all about how not to parent.

Marcie gestured wildly with her arms. “I know some of those third graders, Joyce. They’ll eat you alive.” She sighed, “what were you thinking?”

Marcie was young, that’s what Joyce was thinking. Just because they were neighbors and walking buddies didn’t mean Marcie knew Joyce that well. Joyce had a look that could make a chatty teenager sink down into the pew any Sunday morning. And, she had a stern voice that could freeze her cat in mid couch-pluck and send her flying under a bed three doors down.

“It’s only a week, Marcie, and I know plenty about kids. I’ll remind them of the Golden Rule, and they’ll behave like angels.” Joyce turned and started walking again.

The Recreation Department told Joyce that the kids loved knitting last year, but the woman who taught it said she was too busy with other projects to teach this year. The class maxed out at ten kids; all she had to do was teach them to cast on, knit, and cast off.

“Okay, but take my cell number in case you need help.” Marcie looked Joyce in the eye. ” And, you’d better bring candy.” Continue reading “Wednesday’s Word Flash Fiction: Knitting at Littleton Elementary”

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Submit, Submit, Submit

I’m heading into the heat of summer, but not because the mercury is rising.

With two young kids at home, my days quickly fill up with outside activities and play dates. Writing takes the back burner more often than not. So far, I’ve managed to get a little writing done here and there, but pulling all those bits and pieces together into a substantial story takes more time and energy than I have during daylight hours.

So, for a little motivation, I took some time this morning to research a few writing contests, as well as other places that accept either summer or year round submissions. If you, too, face crunched writing times and need one more reason to tighten up that story and practice the art of following guidelines and writing the cover letter, check out these magazines and sites.

If you’re feeling daring…Narrative Magazine is sponsoring their  Spring 2010 Story Contest. The submission fee is $20, the deadline July 31st, and submission guidelines are online (sim subs are okay). Narrative Magazine is a long shot for me, as they tend to publish works from established authors. But, then again, nothing is gained if I never try. I may be crying about that rejection notice later, but today I’m all about optimism.

Another great lit journal is American Short Fiction. American Short Fiction publishes established and lesser-known writers. They are open for submissions now, but they do offer a short story contest in the fall – rewrite and refine that winning story this summer and save it for September. Their fee for regular submissions is only $2, and they do accept simultaneous subs.

The Adirondack Review is hosting their Fulton Prize for Short Fiction. Their fee is $10, deadline July 31st, and sim subs are okay. The Adirondack Review is a quarterly online magazine and publish works from emerging writers.

Rosebud Magazine is a lit magazine edited by Roderick Clark, of Wisconsin. They only accept hard copy manuscripts for essays or fiction, but poetry can be submitted via email. Also, their reading fee is a mere $1. Rosebud was the first place I submitted any of my work, and I received one of the nicest rejection letters ever. Rosebud is not exclusive to publishing only established writers, in fact – to quote Mr. Clark’s Letter from the Editor:

Even in the most humble submissions, I see a hunger for expression in language, the desire to push words out and pull them in. In this new American voice which I find in every envelope I open is a hunger for a literary culture which is neither exclusive nor simplistic…[a] voice which has a genuine chance to evolve and improve itself on the basis of hearing and being heard. It is Rosebud’s purpose to respond to this need.

If you’re new to the art of submissions, Rosebud is a great place to start.

And, if these few literary journals and magazines don’t fit your tastes or your story, check out NewPages.com and Duotrope’s Digest. These two sites provide a long list of literary journals and magazines, complete with submission information. Duotrope’s Digest will even tell you – right in your search – if you’ll get paid for publication.

So, no more excuses (for you or me)! Get to writing, and submit those stories out into the world! To write is to take risks.
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