• Conflict: In a sentence or two, describe the energy that kick-starts the story
• Rising Action: Use a couple of examples of events—car chases, explosions, fights, tense encounters, etc.—that help raise the energy level of the story
• Conclusion: What action resolves the conflict?

• What conflict or disagreement started the story moving—state in a sentence or two what forces are in opposition.
Example:
“After being falsely accused and convicted of murdering his wife, Dr. Richard Kimble manages to escape when the train he is riding derails, allowing him to flee.”

• How is the action of the film moved along or accelerated? One or two examples is sufficient here.
Examples:
“While on the run and trying to clear his name, Kimble seeks out sympathetic friends though is all the time pursued by U.S. Marshal Sam Gerard. The disgraced doctor is even chased and forced to leap from a dam to avoid capture.”

• A sentence or two about HOW the conflict is resolved will suffice here:
Example:
“After tracking down the elusive ‘one-armed man’ he believes to be the real killer, Kimble is brought face to face with his pursuer Gerard and the man who REALLY brought about his wife’s death.”

• With certain genres (i.e. suspense or horror,) DON’T reveal TOO MUCH when describing the conclusion.
• Avoid focusing on trivial details. YOU may find the weaponry fascinating, a particular line of dialogue wildly funny or the means via which the hero exploded the evil creature’s head VERY cool, but it’s probably NOT essential data for a synopsis.
• Phrases like “I thought this movie was cool” or “this movie was boring”
DON’T BELONG in a synopsis. Remember—you’re not REVIEWING the film—you’re SUMMARIZING it. Second, DON’T begin a synopsis by saying
“In this movie.” It’s redundant and a waste of words.
• Phrase actions in the PRESENT TENSE. This is the convention, even if it doesn’t make sense.
Correct: “Kimble works in a hospital to gain access to medical records.”
Incorrect: “Kimble worked in a hospital to gain access to medical records.”