Abandon the Reveal
Posted August 20, 2016on:
I had another idea come to me about my query synopsis a few days ago. I was looking over my most recent version after the latest rejection, thinking of sending it out again, but wondering if something wasn’t quite right with it. The first section dealt with the larger context in which the story took place, with the following sections detailing the actual story, but somehow it just wasn’t quite working. The transition seemed a little jarring.
So I wrote another section after the first, intending to make the transition a little smoother, but once I wrote it, I wondered why I was bothering to make the transition at all. Well, the main reason is because the situation is just that, a situation, pretty static. It’s the people in the situation who are doing the things that make the story go. And once those actions have been performed, one of the big reveals of the story is what effect they have on the situation, to resolve it, all unknowing to any of the actors involved.
In other words, only from the perspective of the situation, do the totality of the actions taken make complete sense. So to describe the story with no more than a few players involved, the obvious place to tell it from is the perspective of the situation. Which is, to some extent, the authorial point of view, and we all know how much I hate telling the story from that place, which may be why it took me so long to think of it. Not to mention the fact that it’s the reveal, you know? It’s the story.
So I wrote a synopsis in which the Situation was the main character. What were its goals? To achieve a resolution. Why did it want them? Because all stories naturally desire resolution, i.e., to be reduced to the least unstable state. these goals were so obvious they could be taken for granted. The question was really how, or to put it another way, what constitutes the least unstable state.
A lot of actions could reduce the instability of the story, for example, killing all the characters in chapter one, but that’s hardly a satisfying resolution, or the least unstable state. What constitutes a satisfying resolution depends on the type of story it is, which of course means that the type of story it is depends on the resolution that works best. In a badly done story, no resolution works best. A romance that has an unhappy ending, a comedy that leaves you confused. One might achieve a greater degree of satisfaction by recasting the story in a form which makes the most total sense. In The Producers, a failed historical drama becomes a wildly successful comedy. Ex Machina looks like some form of romance until it becomes a horror story.
(Which is not to say that a properly resolved story has no defects. i just watched a nice little romantic comedy called The Rewrite, which despite the ending managed to miss a number of opportunities for minor story arcs to be resolved, for several characters. But these were all subplots, not para- or coplots, so the story didn’t suffer badly from them.)
So the takeaway from all this is that in order to properly describe stories of the sort I seem to end up writing on a regular basis, I have to abandon the reveal, at least as far as the query letter is concerned. The real trick is to do it in such a way that the ending is still a surprise.