Writing & Editing

including plot, characters, twists etc. Think of it this way, If your book has 22 chapters, you probably will ned up with 22 paragraphs, each one describing one chapter. But brutally short and to the point. You are TELLING the synopsis not showing, But write it well, Even witty and direct POV to the reader. 

Something like:

Mary meets John for the first time. Has cupid's arrow found it's mark? We see their relationship begin in a fiery blast and find out more about the history.

Chapter one described Synopsis style in 2 lines. It is a challenge but persevere because not only is it a Synopsis for an agent, its also a place for your to show off that you can write or they never even glace at your manuscript.  

Good Luck

have been passed, forbidding all human interference or possession, punishable by death.

As triumphant jubilation and excitement fades, reality rears its ugly head. Thousands of career orientated angels and demons find themselves not only jobless but also without purpose.

Depressed, bored and without hope, angels, and demons scatter into the universe to seek out new meaningful and rewarding prospects.

Pyriel, a disgraced arch angel and Asmodeus, her contentious objector demon friend, discover a “grey” area that technically does not constitute human interreference or possession. Using their powers, they slip into, and re-animate deceased humans. They call them meat suits. They haunt the cities morgues, shopping for meat suits to use on their nightly pilgrimages in search of entertainment, good Whiskey, and biker gangs to annoy and terrorise. Unbeknown to them, they have become trendsetters of sorts.

After one too many “Zombie” related incidents, management intervene. The duo are to be punished. Made an example of so other angels and demons, who are also using meat suits to roam among the living, cease their shenanigans. Their punishment? Living, human bodies.

After a near fatal ambush, Detectives George Swine and Detective Abigail Thompson of the Chicago police department are rushed to hospital. In the E.R. complications arise and both bodies perish, releasing the souls and leaving behind their empty human vessels which Pyriel and Asmodeus get locked into.

The duo awake in excruciating pain, mortal, and without powers in the bodies of former Detectives George Swine and Detective Abigail Thompson.

From the moment their eyes open, Asmodeus and Pyriel embark on a roller coaster ride of mini adventures. Their mission? Assimilate into the lives of their new bodies. Continue their lives. Host some tea parties. Make some friends. Oh, and somebody is trying to kill them. Why? Who knows? Neither has any memories of their former body inhabitants let alone any idea how to survive without their powers.

Their new lives are further complicated by flatulence, food, hygiene, and the fact that losing limbs on their new bodies will have disastrous consequences.

Detective Anne Davies, former colleague to George and Abigail and new colleague to Asmodeus and Pyriel comes to visit. Asmodeus feigns amnesia. Anne believes him and provides Asmodeus with vital information while Pyriel, attached to feeding and breathing tubes listens.

Asmodeus is forced to learn many vital human survival skills such as “do not push too hard, or else” and “close your eyes when showering”.

The duo receive devastating news. Their injuries are worse than originally diagnosed and the prognosis of a full recovery is slim to non-existent.

Management come to visit and perform “a miracle”.

Now fully healed, Asmodeus and Pyriel set out in their new bodies to find home and start their new lives.

debut book. Then all is forgiven 😊.

Let’s talk about camera views. Do you know about them, and do you use them?

The first, the wide angled introduction view, from high above. Like a helicopter.

“Gregoria, its mountainous landscape undulated deep past the horizon. Crown of lush green treetops stretched as far as the eye could see. The wind barely rustling their leaves.”

Now that is a very basic, from the top-down introduction description. You can go into far more detail, but I hope you get the sense of what I am trying to say.

Now we go into a more mid shot, following on from the intro scene.

“Beneath the British Racing Green thicket, the air felt humid. Rancid. With a pungent odour of decomposition and blood. The earth spongy with decaying leaves and bark. Moss covered stones protruding from everywhere, lurking in wait to trip an unsteady foot.”

You see, here we have gone to the middle camera view. We’ve panned around a little, sniffed the air and decided to mouth breathe from now on. But we are a little closer to our real scene which we have been building up to so far.

Now, the close-up and super close-up:

Kashif was concentrating hard on whittling the little horse he had begun only nine odd month ago. At least now it had four legs instead of the side view two. But his pointy ears pricked up and his head tilted upward as he heard a distinct rustling noise. His eyes squinted into the few brave sunrays that managed to navigate the colossal labyrinth of intertwined tree branches to cast gold coloured flex of lights onto the ground, in which dust particles floated to their own rhythm.”

That was a close-up, super close-up and back to a medium shot. Think about the positioning of your POV character and zoom in close. Show us the pouting lips, the welled-up eyes, the anxiously darting eyes, the 300mph Lamborgreeny that the character sucks back with a giant snort.

Let’s hear some comments, in between reading my novel of course.