Exploring Synopsis in Film

Did you know that within a year, nearly 50,000 screenplays and short film scripts are submitted to the Writers Guild of America? And out of those 50,000, only 100 to 150 films get sold and even fewer actually become movies. Throw in the competition of international guilds and screenplays submitted everywhere else, this number can be multiplied fourfold.

So, with hundreds of thousands of scripts waiting to be read, how do you ensure your script moves to the top of the pile? Well, first, there's a synopsis.

Image via Unsplash 

What is a synopsis in film? 

A synopsis in film is a write-up that helps outline your story's narrative, characters, and events. It's more detailed than a movie summary you'd find on the back of a Blu-ray box, but certainly less than the screenplay itself. If a screenplay typically lands at 90 to 120 pages, a synopsis is usually only one or two.

A synopsis aims to present a complete overview of the film to a potential reader without them needing to read the screenplay itself. If a trailer is supposed to entice you to watch the movie, a synopsis is supposed to entice you to read the screenplay. 

For example, let’s examine the opening act from the synopsis of “Indiana Jones: Raiders of the Lost Arc.”

It is 1936, Indy steals a statue from a South American temple hidden deep in the forest, dodging traps & colleagues who betray him but get killed themselves due to their lack of knowledge of ancient artifacts and the defenses designed to keep them safe. Indy is able to navigate the defenses safely and get to the statue, but mistakenly activates a large boulder, when he fails to replace the correct weight of the statue on the mechanism.

While escaping the boulder, Indy is cornered by the Hovitos, the local tribe, who are led by Dr. Rene Belloq, an arrogant French archaeologist who is a longtime rival and enemy of Indy's. Indy has to give the statue to Belloq. Indy flees and is rescued by Jock, flying a seaplane. Indy reckons Belloq is taking it to Marrakesh. Marcus Brody is Indy's best friend and the curator of a museum back home and buys the antiques that Indy rescues, for the museum. Indy uses the funds to pay for his travel expenses across the world.

The Army officers meet Indy & explain that a German radio cable from Cairo to Berlin says the Germans have discovered Tanis, an ancient city buried in a gigantic sandstorm in 980 B.C. and the possible burial site of the Ark of the Covenant on which Moses inscribed the Ten Commandments. It holds immense mystical power & can make Nazi's invincible. The officers explain that the cable mentioned Indy's teacher Professor Ravenwood. Indy believes that Ravenwood has the staff of Ra headpiece. The headpiece mounted on the staff at a certain place at a certain time, would point to the location of the Ark in a special map room, with a miniature of the city on the floor.

What can we take away from this first part of the synopsis? Of course, the opening of "Raiders of the Lost Ark" is one of the most iconic introductions in film. It’s been parodied time and time again.

However, for all the quips, iconic musical motifs, and tension-filled moments found throughout this initial sequence, none of it is apparent in the initial synopsis. What is apparent, however, are the beat-for-beat moments of the film that push the characters and plot forward. This is the pulse of a synopsis.

Some editors argue that cutting a 30-second video can be more challenging than editing a five-minute one. In a longer video, there's room to let shots breathe and emotions unfold naturally. But with a 30-second video, every single frame counts. No second can be wasted. Five-second shots get trimmed to three, cuts are faster and tighter, and the focus shifts to the kinetic energy of the edit itself.

The same can be said about a synopsis. How do you reduce a 120-page screenplay or a two-hour feature film into nothing but a few paragraphs? To a degree, it’s an art in itself. Let's break down how to write one.

How to write a synopsis 

Unlike many other elements of art where there's liberty in how to create, a synopsis is more of a formal presentation designed to do a singular job. As a result, a synopsis often follows a more rigid format. If it's too short, the synopsis becomes a Blu-ray blurb; if it's too long, you're starting to present a treatment, which is an entirely different document type. 

A film treatment tends to break down the film scene by scene in a prose-like execution, which could last a few hundred pages. We don't necessarily want to be doing that with a synopsis.

How long should a synopsis be? Aim for one page, two at the most. Unless you're writing a three-hour epic, keeping it to a single page is best. 

Image via Unsplash

On paper, your synopsis should focus on a three-act structure. If we were to break down the synopsis into four distinct sections, it would look like this:

• The first section should focus on the first act.
• The two middle sections should focus on the second act.
• The fourth section should focus on the final act.

Act 1

Several key elements need to be established in Act 1 to paint the overall picture and tone of the film, and to lay the foundation for the catalyst that keeps the reader engaged throughout the synopsis. This is where we set the stage for what the film is and who it’s about. 

Image via New Line Cinema

We want to introduce the primary characters, the main protagonist and any relevant supporting characters. No need to include the hot dog vendor the protagonist grabs food from in the opening scene. What matters here is establishing the challenges and circumstances the protagonist is currently facing.

Naturally, drama is what drives the narrative forward, and toward the end of Act 1, we introduce the inciting incident. This is the moment that pulls the character out of their normal life and pushes them into the journey that defines the story.

Act 2 

The bulk of your synopsis should sit within Act 2. This is where conflict ramps up, and also where we introduce escalations, as well as first encounters and clashes with the antagonist. Include the unexpected challenges and pitfalls that heighten the tension and keep the audience hooked.

Image via New Line Cinema

Act 2 is also where we grow character traits and build the relationships between supporting characters.

Image via New Line Cinema

We don’t necessarily need to include dialogue, but we do need to show what makes us care about these people as we move toward Act 3: the climax.

Act 3

For your Act 3 section, this is where all the narrative threads come together. If it’s an action film, this is where we’d see the final showdown between the protagonist and antagonist.

Image via New Line Cinema 

Everything the character has learned throughout Acts 1 and 2 comes into play in Act 3, as they use those lessons to overcome the final obstacle. Of course, Act 3 should conclude the synopsis in a way that leaves the reader informed and intrigued.

Synopsis formalities

Okay, we now know what should be included in a synopsis, but what about the formalities that should be followed?

Within the synopsis, you want to clearly define the lead characters and quickly introduce the story’s primary conflict. Since we’re trying to sell this idea, character descriptions should be punchy and unique. You’re not writing long descriptive prose—you’re selling the characters like a salesperson.

Like a film pushes the story forward, your synopsis should do the same with each paragraph. Every sentence should lead naturally into the next, keeping momentum and holding the reader’s attention. A few key things to keep in mind:

• Write in present tense.
  
• Use third person.
• Keep the tone of the synopsis aligned with the tone of your script.
• Make every line count; don’t let anything sit still.

Should you include spoilers in your synopsis? 

Unlike a logline, a tagline, or even a summary of your film, a synopsis is targeted towards either: (a) people looking to make your film, or (b) people looking for an overview of what happens within it. A synopsis is an invitation to be spoiled, as it's a direct rundown of all the events in your film.

What not to include

So, what are some things that you wouldn't inherently include in a film synopsis?

• Anything that involves scene direction, such as shots, framing, camera movement, or audio information
• Whether the scene takes place in an interior or exterior location
  
• Dialogue, unless it's imperative to the storyline and serves to hook the reader (For example: "No, I am your father" fundamentally changes the dynamic of "Star Wars," so its inclusion in a synopsis would be justified)
  

Outside of this, common dialogue doesn't necessarily need to be included. Again, we've got a page to work with and that retail space gets eaten up quickly when writing.

While you want the synopsis to be informative, we don't necessarily have to go too heavy into detail, such as: 

• How characters are feeling
• Incredibly descriptive passages of locations
  

For example, let’s look at this opening passage of the synopsis from the sci-fi horror film “Alien:”

The commercial towing spaceship Nostromo is on a return trip from Thedus to Earth, hauling a refinery and twenty million tons of mineral ore, and carrying its seven-member crew in stasis. Upon receiving a transmission of unknown origin from a nearby Planetoid, the ship's computer, Mother, awakens the crew. The crew was returning with a full load of the ore and expected a large bonus upon arrival at Earth. The crew still believes that they have been awakened as they are nearing their destination but get a rude jolt when they realize that they are not in the Solar System. 

Mother summons Ship captain Dallas for a private conversation and apprises him of the situation. Dallas informs the crew that they are only halfway to Earth. Dallas says that the signal that Mother intercepted was acoustical beacon which repeats at an interval of 12 seconds.

Following company policy (and a clause in everyone's contract) to investigate transmissions indicating intelligent life, they land on the planet. The crew does not have any choice as if they fail to comply it results in complete forfeiture of shares, which means that the crew gets no money.

The crew detaches the Nostromo from the refinery and lands on the Planetoid, resulting in some damage to the ship due to the planet's jagged terrain. Captain Dallas, Executive Officer Kane, and Navigator Lambert set out to investigate the signal's source, while Warrant Officer Ripley, Science Officer Ash, and Engineers Brett and Parker stay behind to monitor their progress and make repairs. Parker says that it will take 25 hours to repair the ship. 

The atmosphere of the planet is almost primordial, with high concentrations of methane and carbon dioxide. The planet is hostile, with high winds and flying debris, which drops the visibility down to only a few feet.

This opening from the "Alien" synopsis is only 303 words long, but it covers the first 25 minutes of the film. If we look at the script, we actually hit page 26 clocking in at a hefty 2,573 words!

Still, the synopsis captures the film’s most important elements beat for beat. What’s notably absent is any artistic detail about the ship’s design, what the crew is wearing, or how they look. That’s why we’ve been able to introduce all the required story elements without turning it into a novella.

Final thoughts 

You know, while we can give you tips on how to write a synopsis and the formalities to follow, there’s perhaps no greater homework than watching a film and then reading its synopsis to see how the main narrative threads and characters are effectively condensed. You can usually find the synopsis of a film on its corresponding IMDb page.

This will ultimately give you the best understanding of how to approach writing your own synopsis; by seeing what details are included, what’s left out, and how it all comes together. 

Plus, it's not too often that you get to say your homework is watching films!