I’ve been debating whether or not to include a synopsis with the Slenderman Musical, a written telling of the plot for clarity.
I usually don’t include one, and by usually, i mean never. I’m not against it in principle, i just strive hard to make sure the entire plot is clearly told in the piece. The Slenderman Musical is no different. There is no dialogue that is not in the album, it’s all there.
I don’t write obscure “concept albums” that you must pour over and over to finally “get”, although obviously it does take repeated listening to catch all the details. However, if the plot is not basically clear on the first listen then i have failed in one of my jobs. I aim to tell a clear story, weird though they may be.
However, i accept that it can be tougher to figure out than i might know. I don’t know, i’ve never listened to any of my work without knowing it beforehand. Maybe people WANT a synopsis. Maybe they’d like to read the story, even if just to confirm that what they think is going on is actually going on. Albums of other musicals and operas sometimes include a synopsis. It’s just… if you read it first you miss the carefully crafted moments of of surprise you’re meant to experience listening. Hell, there’s a few moments knowing about beforehand utterly ruins.
But if all you fine folk have been wishing i would include synopsises this entire time (or maybe you were fine without them until, say, the Atompunk Opera when you wished i had included one) who am i to deny you something that would enhance your enjoyment of the little tale i’m spinning for you?
But if the synopsis, improperly used, would potentially lessen the impact of the thing i spend a year of my life at a time making, then maybe i shouldn’t include it. I will always include lyrics. Always. Perhaps lyrics are enough.
What do i know? Do you want a synopsis?
