Siobhan Dowd

I was so, so sad to learn from a friend that Siobhan Dowd, author of A Swift Pure Cry and The London Eye Mystery has died.

I was at the London Book Fair when Siobhan appeared at one of PEN’s writing masterclasses. She stood on the stage and gave a deep sigh. Only recently, she said, she had been in the audience of aspiring writers at one of these masterclasses. She couldn’t believe that she was on the stage talking about her book. But when I read her book I realised she was not just a fellow traveller on the thorny path to publication - the emotional honesty and simple beauty of her prose revealed a massive talent.

A few months ago, I asked my husband to read my YA novel but he was reluctant, never having read YA, he didn’t know what standard I was aspiring to. I gave him A Swift Pure Cry. That’s the standard, I said.

A Swift Pure Cry is a beautiful novel with heartrendingly believable characters – from motherless Shell who resorts to shoplifting when she realises she needs her first bra to the alcoholic father who copes by sending the children to pick up the stones in the field.

I do not know Siobhan, but after reading A Swift Pure Cry, I felt like Siobhan knew me.

I grieve for this wonderful writer and, selfishly, I grieve for the books we will not be reading as a result of her death.

This blog is rated R!

I couldn't help myself. When I saw it on Justine Larbalastiere's blog, I had to go see how Notes from the Slushpile would rate. Apparently, my writings about trying to get published in the children's sector is too lascivious for some.

The rating was determined by the presence of the following words:

death (4x) sexy (3x) pain (2x) hell (1x)

yowza.

Lee Weatherly's Tips on How to Write a Synopsis

… I hate writing synopses because they are much more difficult to write than the novel ever was. It's not easy distilling 100,000-odd words into a few pages.

Marg Gilks, How to Write a Synopsis

Author Lee Weatherly takes a completely opposite view.

"Hand on heart, they are really not that hard," she says.

And yet writing synopses is described by many writers is one of the most excruciating aspects to selling a manuscript.

What is it about this particular piece of writing that brings out more moans and groans from writers than a roomful of sixth graders getting a surprise math test?

Vicki M. Taylor, Overcoming the fear of writing a synopsis

Writers fear the act of writing synopsis because they cannot see themselves squeezing the best of their narratives into a few paragraphs.

But this is a misunderstanding of what synopses are for, says Weatherly. "The agent (or editor) does not want nearly as much information as we think they want. To write a good synopsis, you have to understand what it is the agent wants from the synopsis … don't lose sleep over it. At the end of the day it is just part of the package."

What does the agent want?

We must view the synopsis from the point of view of the agent, says Weatherly, who has worked for an agency as a slush pile reader. "The synopsis is not the place for stylistic writing, it is a functional document."

Agents are unlikely to read the synopsis unless they like the writing. If the sample chapters pass muster, they turn to the synopsis to find out if:

• the story hangs together


• there is a story arc

The synopsis must be a user-friendly document (so user friendly "you (the agent) can just glance through it and join your friend at the pub")

• The header must have all the information the agent needs – the author's name, the number of words, contact details, genre


• It must be easy to read: lots of white space with a readable font (as opposed to long blocks of text and tiny font sizes)


• They want to get a clear sense of the plot main moments: how you set-up the situation > the inciting event > the high point > rug-pulling moment > climax >resolution


• They want to know the ending


• Focus on the action but give the agent a clue of the emotional threads


• Don't hold back secrets


• Is it hard to read? "This makes agents sound precious but keep in mind all the manuscripts they have to go through … you must make their life as easy as possible"

A Synopsis can expose weaknesses in your narrative

"If your synopsis is 14 pages long, (the agent) might assume that the story is over written … which is not fair because the synopsis is not the story."

And yet many problem areas do reveal themselves. The synopsis must highlight key plot turning points — the "cause and effect that drives a story forward" — and without the usual padding of words any weaknesses are easy to spot.

"If you have a problem," says Lee, "it is really going to show."

Lee Weatherly (Missing Abby, Child X) spoke to the British SCBWI Professional Series on 24 May 2007.