Hudson Valley
Romance Writers of America
Hudson Valley Romance Writers of America
Meeting Held
Palisades Mall
Nyack, NY 10994
ph: 551-486-3438
hudsonva
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A WORD ABOUT ROMANCE
Newsletter of the Hudson Valley Romance Writers of America #80
NEWSLETTER
Our award winning newsletter, entitled A Word About Romance is published six times a year. Our purpose is to provide timely information for and about our chapter and encouragement and support to our members. All articles may be reprinted in other RWA newsletters only. Please attribute author and source. Publication of articles, market news, contest, or seminars does not imply endorsement by HVRWA.
DEADLINE for submission is the 20th of January, March, May, July, September, and November.
Send submissions to: eileencharbonneau@hotmail.com
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The Dreaded Synopsis
Kat Attalla
We all hate them. We all need to master them. Why is it so important? Because acquiring editors are going to decide weather or not your story is right for their needs based on the strength of your synopsis. To grab an editor’s attention you can begin with a two or three line blurb, similar to what you find on a back cover.
Special Agent Erik Sanders didn’t need to be a rocket scientist to know what Tori Jansen was going to be trouble. The astrophysicist had a genius mind and a centerfold body. And as her reluctant bodyguard, Erik found himself guarding her body a little more closely than he should.
What we learn from that small blurb is his profession, her profession, and the general type of story. We know he’s on an assignment he didn’t want and he is fighting feelings of attraction. We also know the heroine is bright, beautiful and not making his job any easier. At the same time it sets the tone of the story, which is sexy, light and fast paced.
There is no need to give a chapter-by-chapter breakdown (unless a specific publisher’s guidelines ask for it). However, the synopsis should be chronological. Important back-story information that is critical to goal, motivation or conflict should be set at the start of the synopsis. Take one paragraph for the hero and heroine to set up the start of the story.
Tori Jansen spent several years working in the defense industry. As the youngest and most gifted member of the research team, the men she worked with often patronized her. But when her co-workers decided to recruit a love life for her, because they thought her a socially inept security risk, she decided to call it quits. She found a position teaching physics at a small Vermont university and built a wall around her emotions.
Erik Sanders lived in a series of impersonal foster homes and orphanages. He learned early, not to get attached to anyone. His loner mentality and survival instincts made him a perfect candidate as an undercover operative for the National Security Bureau. Because of his striking looks he is often assigned to cases where the principal suspect is a female. In his ten years as a field agent, he figured he had seen it all where women were concerned, until he met his current case.
When writing the body of your synopsis, follow the KISS rule. Keep It Simple, Stupid! The more you add, the more reasons you give and editor to find fault. That doesn’t mean you leave out information critical to the story. Think of it as highlighting the major turning points. When writing a synopsis for a romance, those turning points are the road bumps in the developing relationship. Plot events are revealed by how they relate to the romance. You don’t need to give a detailed telling of an event but only how it works to bring the couple closer together or break them apart.
Despite warnings from his partner, Erik finds himself trying to prove Tori’s innocence rather than her guilt. Before he can accomplish either, she is accosted by a thug looking for a package she supposedly brought back from Mexico. When Erik charges in to save her, his cover is blown.
Tori is furious with Erik’s duplicity. What she thought was a start of a special relationship, was a job to him. Apparently the real courier, who is extorting more money from the head of the spy ring, had set her up.
Finally, reveal the resolution. Make sure it is credible and appropriate for the genre. With Romance, a happy ending is a must. With other types of Woman’s Fiction, this isn’t always the case. But in either type of story, the ending must be satisfying and a natural progression of the story.
Erik returns to his life but he can’t shake thoughts of Tori. He loves her, more than thought he was capable of caring for another person. Although he believes she deserves someone better, his mind revolts at the thought of her getting on with her life with another man. He goes to see her and is surprised by the warm greeting he receives.
She is overjoyed by his return. She had feared he would never get beyond his belief that she was an emotionally fragile china doll. He concedes that she is stronger than he gave her credit for but worries that she might not understand the kind of life she’d have with him. Tori convinces him that she doesn’t want or need him in her life twenty four hours a day, seven days a week. Their marriage might be a series of goodbyes, but it would also be a wonderful series of welcome homes. As long as she is in his heart, they are always together.
Written well, your synopsis will get your story the thorough consideration it deserves. That is, of course, if you are marketing you work to the correct editors. But that’s a discussion for another article.
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CRITIQUING
As part of our monthly meetings, we take time to critique each other’s manuscripts. For most writers, feedback is crucial. However, it can be hard to hear. For those who choose to participate, we have a few tips to keep in mind.
When critiquing:
- Make sure you begin with what you liked about the story.
- Be diplomatic. Not all people are at the same level in their writing.
- Explain why you think the scene didn’t work and offer a suggestion on how to improve the work.
When being critiqued
- It’s not personal. It is only meant to help.
- Remember, critiquing is subjective and only one person’s opinion.
- Do not argue or defend the work. You don’t have to change it if you are happy with the way it is written.
- That said, if more than three people make the same comment, rethink the scene.
- In the end, it is still your story, so your decision is final.
When time or distance does not allow you to attend a regular critique group, we recommend “Becoming Your Own Critique Partner” an Eppie winning resource from Janet Lane Walters and Jane Toombs.
Available though Amazon.com.
Publisher: Zumaya Publications, LLC (September 13, 2006)
ISBN-10: 1554102928
ISBN-13:978-1554102921
Hudson Valley Romance Writers of America
Meeting Held
Palisades Mall
Nyack, NY 10994
ph: 551-486-3438
hudsonva
