But even if you have written a non-linear exploration of post-character literature, your synopsis will be clearer if you phrase it in terms of person-meets-problem. Stage directions These are often overlooked or underwritten, but they are a crucial component of any play.
They will notice and throw your synopsis in the bin or they would if they read synopses like I used to mark student scripts. Even if they are nicer people than I, you are still giving yourself an unnecessary black mark.
Such suggestions are always limiting and, strangely enough, often out of sync with the play itself. It gives agents a good and reliable preview of your writing skills.
A synopsis of The Sound of Music might read: A nun leaves a convent to be a nanny for a family with a single father and seven children, falls in love with the father and leaves the country with them to escape the Nazis. But if you're just starting out, it's worth paying attention to the small details — they're a bigger deal than you might think.
Unique Point of View. A synopsis of Cinderella might read: A woman has cruel step sisters and a cruel step mother.
Lyrical stage directions used to be in vogue — see the beginning of Arthur Miller's Death of a Salesman: "An air of dream clings to the place, a dream rising out of reality.