You shouldn't give away your ending in your premise. Synopsis should be a description of the whole film. The premise just the setup. More on reddit.com

“Premise” and “concept” are interchangeable terms in the industry. And concept is king. Because an executive will have an easier time recommending their boss read a script with a great concept as opposed to a great character or a great world. To break it down to a formula: killer concept + actor bait roles + professional grade execution = sale. (Or at least way better odds of a sale.) So step 1 for me is always figuring out the right concept. As far as TV goes, the big question I ask myself is: does my concept self-generate storylines? I learned the hard way that a pilot script HAS to both set up the show and act as an example of what future episodes will be like. A few years back I wrote a modern day version of the Camelot myth where the knights were the villains and Guinevere was the hero. The script was fun enough to get me a lot of meetings, but it never sold. Because no one (myself included) could say what episode 2 or 5 or 50 would look like based on the pilot. So for the next project I took out after that, I went for something where there was a REALLY clear story engine powering the show. It was an adaptation of a book about a guy who spends his afterlife being bounced into the bodies of bad guys and having to right their wrongs, like “Quantum Leap” meets “Dexter.” That premise always provided a clear answer as to what episode 2 or 5 or 50 would be like. And while it never got made, that one did find a buyer. And was much easier to pitch. Thank you for coming to my TedTalk More on reddit.com