For some writers—and I’m one of them—writing a synopsis seems more difficult than writing a book.
With a book, there’s plenty of “room to roam,” dozens of pages on which to flesh out characters and enlarge themes. There are opportunities to slow the action to provide sequels to follow tense scenes and add description to set the mood and foreshadow action to come.
But a synopsis must be pithy, a neat progression of plot points, thumbnail sketches, tight but evocative description. It must be a distillation of tone, theme, and character arc.
So when writing coach Elizabeth Lyon suggested I write two versions of the synopsis for An Uncertain Refuge, I came as close as I ever have to giving up on my writing dream and getting out that failed knitting project (Who knew a scarf would be so difficult?) from 1970.
To her credit, Elizabeth’s logic was sound. She felt the synopsis I’d labored over for two weeks (Fourteen days! Long days!) didn’t do justice to the emotional journey of the protagonist. She said my synopsis didn’t fully illuminate where Kate Dalton was when the novel began, the challenges she faced, the ways in which she grew, changed, and adjusted her attitudes, and where she was at the end.
Not wanting to break my perfect record of resisting good advice, I fought Elizabeth’s suggestions the way a feral cat fights a bath.
There came a point, however, when I realized I was expending more time and energy avoiding the project than I would if I just did it. So, after kicking over a wastebasket or two, punching out a family-sized bag of corn chips, and downing an adult beverage, I got right to work.
“Easy” is not a word I’d use to describe the process. Neither is “painless.”
“Time-consuming?” Sure. “Frustrating?” You bet. “Worthwhile?” Yes.
When I was finished, I presented both versions to Elizabeth. She reviewed them and gave me a lukewarm “Okay.” Then she dropped the bomb. “Now put them together into one synopsis.”
Combining the two meant boiling down 10 pages into 5. That involved tough choices and hard decisions and (Gasp!) deep thought. I punched out a giant-sized sack of pita chips, kicked a footstool, and found a dozen reasons to delay or ditch the project entirely.
But then I got down to it and, after a solid week of work, had a polished product I could send out. Over the next two years, that synopsis went to hundreds of agents and editors. It raked in a few dozen requests to view the first chapters, but no one wanted to take a chance on it. Eventually I published the novel myself. (E-sales to date: 16,000+)
Given all of that frustration and time spent, was the synopsis exercise worthwhile?
I developed more discipline and focus. I learned how to refine my thinking, strengthen description, and capsulate characterization.
Would I do it again?
I don’t know. But one joy of self-publishing is that I don’t have to.
Carolyn J. Rose is the author of the Subbing isn’t for Sissies series (No Substitute for Murder, No Substitute for Money, and No Substitute for Maturity), as well as the Catskill Mountains mysteries, Hemlock Lake and Through a Yellow Wood. Other works include An Uncertain Refuge, Sea of Regret, A Place of Forgetting, and five novels written with her husband, Mike Nettleton: The Hard Karma Shuffle, The Crushed Velvet Miasma, Drum Warrior, Death at Devil’s Harbor and Deception at Devil’s Harbor.
She grew up in New York’s Catskill Mountains, graduated from the University of Arizona, logged two years in Arkansas with Volunteers in Service to America, and spent 25 years as a television news researcher, writer, producer, and assignment editor in Arkansas, New Mexico, Oregon, and Washington. Her interests are reading, gardening, and NOT cooking. Website www.deadlyduomysteries.com