Or, how I learned to stopped worrying and love the process.
This is the latest in my series on trying to get published for the first time. As promised, this post is about the synopsis which will accompany my covering letter and first three chapters when I submit to agents. The most important thing, for all of these bits that agents will see, is to work out why they want it. What are they hoping to gain from its inclusion (other than see that I’m willing to jump through a big scary hoop)?
As far as I can work out, they want the synopsis to tell them what happens. And when it happens. Sounds pretty obvious right? They might get blown away by the writing style of my three chapters (here’s hoping), but if they then look at the synopsis and realise it all becomes a rambling mess half way through, they may think twice. To my mind, they want to see that I understand commercial story structure (because I am aiming for commercial appeal rather than those new forms Konstantin bemoans the need for in Chekhov’s The Seagull) and, of course, see whether it gets (more) exciting.
Now, in my Elevator Pitch post, one of my discoveries was that, as well as being a nightmarish prospect, it was quite a lot of fun trimming 90,000 words down to 25 words. And that’s what I found with the synopsis as well. This time I had in the region of 800 words to play with so, y’know, par-tay.
If you’ve been reading all these and the comments, you will know that I fall firmly in the planning category of writer (though I was a die-hard pantser when I started), so what I’ve realised is that getting to this stage in the process is kind of cyclical. When I start writing something these days I’ll get some idea of the basic set up, work on the characters, expand the plot outline, back to the characters, back to the outline and so on. For bringing it all back down to a synopsis, it was essentially the same in reverse.
Things that need to be included: the plot from beginning to end in the order it happens; a little about each of the major characters. Simple.
My first attempt was a rambling 3,000 word monstrosity that tried to address every little twist and turn. I swiftly realised that wasn’t the right approach. Sub-plots and lesser characters be damned! My novel is very much my main character’s story and so I went back to the keyboard and tried again focusing solely on what happens to him, what he does about it and what knock-on effect that has. Because it all needs to be cause-and-effect or the novel will feel very episodic. As I carried on and honed the synopsis I was also able to spot any points in the novel where things either didn’t quite make logical sense or characters were solely reacting to outside influences and not becoming an influence in themselves. I’m pleased to say there weren’t many points like that, but as I did it when gearing up for a swift final draft it both bolstered my confidence and gave me a few extra ideas for areas that needed attention.
So there we have it, my synopsis discoveries. Rather than being a big scary hoop that needs to be jumped through, it’s a really useful tool for making sure novels are on track. Who knew!
Progress update: I’m now just about three quarters of the way through the redraft, but just coming up to a section that needs a bit of TLC. Still aiming for the end of the month, so wish me luck!
Hopefully my next post will be about researching agents, but I might get distracted by something shiny and write about that instead, we shall see. In the meantime, have you had an experience like mine – a big scary necessity that actually turns into something really useful?