Category Archives: One-Line Synopsis

Hooks Big and Small–How the Masters Do It

We looked at hooks last week, both concept hooks that pique our initial interest in a story and in-story hooks that keep us engaged from start to finish. Today we’re looking at how a few New York Times bestsellers hook us.  Continue reading

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Filed under Concept, Hooks, Microtension, One-Line Synopsis, Story Master Wednesday, Voice

Logline Revisited: Are some components more significant than others?

I got a comment the other day, on the post about NYTBS one-line synopses, asking whether the significance of each logline component varies according to the sort of story it’s describing.  Also requested was a list of the components ordered by most significance. These are great questions, and my answers ended up being pretty long (almost 8,000 words), so I thought I’d upgrade it from comment to post.

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Writing–and Improving–The One-Line Synopsis

Today we’re expanding a couple of last week’s concepts into synopses and then trying to improve them.

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Filed under Concept, One-Line Synopsis, Own Work Friday

The One-Line Synopsis: How the Best Sellers Do It (Or At Least the People Who Write the List) (Updated 10/16/18)

I’ve lifted these synopses from the January 18, 2015 New York Times Best Seller Lists.  In each one, I’ve identified any synopsis components with:  {W}orld, {C}haracter, {I}nciting Incident, {G}oal, {A}ction, {P}roblem, and {S}takes.  I’ve also indicated if the component is {i}mplicit…to my ears anyway.  And, if I wasn’t sure if a word or phrase indicated a component, I added a question mark.

They’re ordered from most amount of clear (no ‘?’) components to least amount of components, with each component counted only once.  Ready?  Which grab your attention…

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Filed under Concept, One-Line Synopsis, Story Master Wednesday

The One-Line Synopsis: What is it and how do you write one?

Time to expand the concept into a one-line synopsis. Continue reading

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Filed under Concept, Monday Tool Day, One-Line Synopsis