The manuscript is done. I have written, re-written, tweaked and finally put it down. I have poured over the words, the emotions, point of view, introspection, to say nothing of the story plot, sub-plot, black moment, resolution and finally the ending. My characters are happy and I am happy. I am ready to share it whom every will listen.
With my manuscript finished, I went to my first conference. I had no idea what to expect. I wanted to meet writers, network and find out what needed to be done next.
I met many wonderful published and unpublished writers and had a great time. As the evening went on, I listened as other writers ‘told their story.’ I realized that I couldn’t just tell people my story. I had tried that and it was disaster. You would think I didn’t know my own story. It even sounded disorganized to me. As I went through the conference I realized I needed an arsenal of versions to have ready for different circumstances and I needed to practice ‘presenting’ them. I noted each different document I would need as the conference progressed.
Well, at least the first part was done, the story was written.
Number One: Write your story and have a complete manuscript.
Standing around the cocktail lounge, people asked “what do you write?” I told them everything, everything. They listened patiently and when I asked them, “what do you write?” They told me their story in one sentence. How do you take 100,000 words and distill it into one sentence? The answer is with a great deal of thought and care.
Number Two: Develop a pitch line or the log line. It should include three things: genre, tone and plot.
On my way to my room, I shared the elevator with a writer who was speaking to an agent. I recognized the agent’s name on her badge. I marveled at the writer’s aplomb with a short explanation that just seemed to flow. I was downright stunned when the agent asked for more information. I wanted to be like that writer.
Number Three: Develop an elevator speech of 3 to 6 sentences. It should set up the general situation, be specific rather than vague and include the conflict.
I had appointments to pitch my story to an agent and to an acquiring editor. Armed with my pitch line, elevator speech and three talking points (I added those just in case), I was able to generate interest. The editor requested a full manuscript and a synopsis. The agent asked for a partial and a short synopsis. Yes, two different types of synopses! With the packages sent off respectively, the hardest part of the is ahead, waiting.
Number Four: The feared Synopsis. The secret, I am told, is to keep it simple. The average is 6-7 pages but can go up to 12 pages. The synopsis should include a good hook, the beginning of the story, the conflicts the hero and heroine face, how they resolve and survive their conflicts, and how the story ends.
Number Five: Pare down your synopsis to 1 or 2 pages for the short synopsis. Be certain you include a hook, the main conflict, the main characters (there is not enough room for the others), the main resolution, and the final outcome.
Inspiration for today’s post is from Chuck Sambuchino’s post, One Story? You Need Five Versions. Thanks Chuck!

Chu
ck Sambuchino is the editor of Guide to Literary Agents (WD Books). He also authored the books Formatting & Submitting Your Manuscript, 3rd Ed., (WD Books) and How to Survive a Garden Gnome Attack (Ten Speed Press / Random House; Sept. 2010). He is represented by Sorche Fairbank of Fairbank Literary. Follow his GLA blog for agent interviews, submission tips and more: guidetoliteraryagents.com/blog.

The Hook – Book Titles and Authors
For those of you eager for the answers, here are titles of the books and their authors of the opening sentences posted last week. Did you guess which one was mine?
“How does a person reenter a life she left behind years earlier?”
Summer of Roses by Luanne Rice
“It is a truth universally acknowledged that a single man in possession of a good fortune, must be in want of a wife.”
Pride and Prejudice by Jane Austen
“It wasn’t a very likely place for disappearances, at least not at first glance.”
Outlander by Diane Gabaldon
“The noon whistle blew and the saws stopped whining.”
Morning Glory by LaVyrle Spencer
“Lord Arik’s commanding presence made him easy to spot as he led the three riders and wagon speeding across the forest trail.”
To Hearth and Home, Rebeka’s Story by Ruth Seitelman
“Who am I? And how, I wonder, will this story end?”
The Notebook by Nicolas Sparks
“Dougles Montgomery sat in the back seat of the rental car, Robert and his pudgy thirteen-year-old daughter, Gloria, in the front.”
Knight in Shining Armor by Jude Deveraux
“Cam called in markers, pulled strings, begged favors and threw money around in a dozen directions.”
Sea Swept by Nora Roberts
“They said he killed his first wife.”
The Bride by Julie Garwood