I tend to work villains into the synopsis later, where their vendetta is being explained or where their actions impact the hero and heroine. You can look at the revised synopsis that I posted in #4 for an example of that – look for Catherine.

The important thing to remember about villains is to keep them in their place: they can steal the show very easily, so need to be forcibly kept in the background, even in the synopsis. At the beginning, for example, I assume either the hero or heroine (or both) blames the other for the suspense element and it’s only later that either or both realize there’s a third party involved. If that’s the case, the synopsis could easily echo that pattern.

Hope that helps!
Claire

How/Where do I work the villain into the synopsis? Or should I? Do I introduce the villain after the h/h or do I just quietly work him into the synopsis here and there? Thanks again!

Great workshop, Claire. Too often, though, I think people ignore synopsis workshops thinking that they’re just a mechanical issue when in fact they are a lesson in complete storytelling.