Synopsis - The Pegge and the Pendrel (716 words)

Phyrebrat

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Hi all,

After recently getting a wonderful rejection (!) from Anne at Quercus (an imprint of Hodder and Stoughton) for my Victorian horror/weird fic, The Pegge and the Pendrel, I've been motivated to find an agent or publisher. As the story is quite complex, the first sub (for Gollancz) was 1.2k and a hot mess (probably).

I've been reworking it and wondered how this reads. I feel like there's a huge disparity between the skills of a speculative author and the ability to synopsise one's own novel. Well, at least for me there is.

Please let me know your thoughts, thank you.

In 1850s East London, three characters navigate personal curses, supernatural forces, and the shifting social dynamics of the time.

Little Nissy Simpson, a young cresser-girl with the ability to smell emotional pain, becomes entwined in a series of dark events after her two sisters disappear from Henrietta Burwood’s infamous match factory. Nissy, struggling with feelings of insignificance and a desire for her name to be recognised, discovers a secret water-meadow which holds all the watercress she could ever wish to sell, but her attempt to keep it hidden leads to the accidental death of a boy. As she grapples with guilt, she uncovers disturbing secrets about the factory’s workers.

Henrietta Burwood, a strong-willed businesswoman, is managing both the matchworks and her other factory, the Masthouse Tannery. She faces constant misogyny and has to navigate the new factory regulations while keeping her dark dealings hidden. Meanwhile, her somewhat inept fiancé, Crawford Bartley, seeks Henrietta’s hand in marriage from her eccentric uncle, Ned Ackley, who is connected to a mysterious family curse tied to the Anglo-Ashanti Wars. After learning of the curse, Crawford is troubled by strange green apparitions of children, but his troubles grow when he returns to find Henrietta more distant, having grown suspicious and paranoid. At Lord Volpierre’s Hengontide fair, Crawford and Nissy meet and form an unlikely connection.

Nissy through her friendship with a neighbour, a prostitute named Patty, finds a women’s support group run by the kindly but mysterious Abbess, called "The Angels." Here, Nissy learns of factory corruption and the exploitation of factory children by the matchworks. On their instructions, she follows Absolom Shrike, a monstrous tannery manager, and discovers that Henrietta is behind the disappearances of factory workers, using their bodies for grisly purposes.
Later, Henrietta learns of a charity founded by her friend, Lord Shaftesbury.

Accepting an invitation from her Uncle, Ned Ackley, Henrietta visits Marcombe, to see if the new charity Lord Shaftesbury has founded, might be of help to her. Whilst there, Uncle Ned explains the cursed stone used to build some of the match factory and the tannery, and persuades her to sell the tannery. At Marcombe she reconnects with Lazarus Rocke, Lord Shaftesbury’s business partner, her childhood friend who has returned from the States and is planning on launching the initiative over there. As their bond grows, Henrietta is drawn into a strange world, hearing an encouraging disembodied voice.

Nissy, reeling from supernatural attacks and her own guilt at the accidental killing of the boy, flees. She learns that the "Angels" and their Abbess were apparitions, and their base is merely a derelict pub.

She confronts the terrifying truth: Henrietta and Crawford are involved in murder and dark rituals, and she must deal with them herself. Nissy plans to expose the horrors she has uncovered.

Whilst walking around Marcombe estate, Henrietta has a strange encounter with a rotten brigantine berthed in the lake. She almost drowns but is rescued by Lazarus. This weighs heavy on her mental state, causing intense fugue states and she struggles with her fractured reality.

Nissy, her best friend, steeplejack Wash, and Apollo, a Ghanaian steward from the Marcombe estate, uncover evidence of Henrietta's crimes. Nissy’s initially distraught when she believes she's being set up to take the fall for murder but ultimately joins forces with Crawford and Wash to bring Henrietta to justice. Henrietta, meanwhile, is plagued by visions of ancestor Lucy Burwood and is haunted by reanimated corpses of dead Ghanaians during her travels on the ghostly brigantine. She is not sure if these are working in her favour or not.

As Nissy, Wash, and Apollo work to gather evidence, a catastrophic explosion at the matchworks seemingly kills them. Henrietta discovers her fugue states were real and that she has run to the United States with Lazarus to escape retribution regarding the cursed stone. The voice she has been hearing is that of her dead ancestor Lucy Burwood, and reassures her she has more work to do.

Ten years later, Crawford, now a patient in Bedlam Hospital following his breakdown and shame over his responsibility for Nissy’s death, is ecstatic to see that she’s alive. She has taken over Volpierre’s fair with Absolom, and her dream of leaving a lasting legacy has come true, her name prominently displayed in advertisements.
 
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Sounds like an interesting story--however it seems a bit broad in the sense that it seems to unravel into several stories.
For the synopsis you might try to focus on one character and their story and keep the other character mentions to a minimum while focusing on the story of the one character.

Also you might try writing the shortest possible description of your story before you get started.
Can you write a single sentence that describes it. Think of when someone comes up to you and says--so you are an author--what's your book about.

Find the least possible number of sentences that describe your book and then from there pick the character you want to showcase in the synopsis and build onto that description.

Right now it feels like you have too much to say and it all seems a bit scattered because you have too much to say.

Also your beginning sentence with the mention of three characters is a dead giveaway that there might be a problem with the synopsis coming up..
And, believe it or not, this will reflect on the perception of your ability to pull off the real story.

Needs focus and tightening.

Hope that helps.
 
For the synopsis you might try to focus on one character and their story and keep the other character mentions to a minimum while focusing on the story of the one character.
Thanks for such a considerate and constructive response. Am I ‘allowed’ to focus on just one POV? Nissy’s really the one the reader roots for and is the driving force imo — if I could rewrite from just her POV it’d be eminently easier.
 
I think you have comma problems.
Nissy through her friendship with a neighbour, a prostitute named Patty, finds a women’s support group run by the kindly but mysterious Abbess, called "The Angels."
Nissy, through her friendship with neighbor and prostitute Patty, finds a women's support group run the by the kindly yet mysterious Abbess known as "The Angels".

An Abbess is a person, but this person is known by the plural "The Angels"?


Not taking to task the level of plot detail you're packing into this, but given how much is there, I would prune the adjectives and adverbs a bit. "Somewhat inept" = "inept". "Heavy on her mental state, causing a fugue state..." = "weighs heavily, causing a fugue state..." "struggling with desire for her name to be recognized" = "struggling to be recognized'. That sort of thing just makes it harder to read this dense amount of information.

There are also a lot of throwaway character that don't do anything themselves, like Shaftsbury and Lucy. You might want to unname them to keep things rolling.


And it may be my personal bias, but stories set in the past ought to use the vocabulary of that age. So "support group" would be "Women's league" or something like that. "Social dynamics" = "social order". That sort of thing is anachronistic and suggests the book is written from a modern time traveling lens.

Overall, I don't get a sense for the shape of the story. Henrietta might be villain or victim: If the latter, who is the antagonist? Not that the story must have one, but there ought to be a sense something bad is happening to ________ because of _________. And I don't know if I could answer that question after re-reading the synopsis.




If you wanted me to completely re-write this along the lines I'm mentioning, just ask.
 
Brilliant @Swank — thanks. I’ll maybe rewrite it as Nissy’s synopsis and implement your suggestions depending on further feedback re whether it’s okay to do so from just Nissy’s pov.

Thanks
I meant rewrite as example.

As far as POV, ever read or watched The Miniaturist? That synopsis might shed light, having a similar structure of complex interconnections.
 
I meant rewrite as example.

As far as POV, ever read or watched The Miniaturist? That synopsis might shed light, having a similar structure of complex interconnections.
Yup, I understood that, I just meant let me see what I can do with it before you go making a load of effort for me :)

Not looked at The Miniaturist, but will check it out. Thanks
 
If your story is dominated by one POV over the others then you should work on that.
Your synopsis should have a single cohesive storyline--the story that is being told and if that can be shown through the one POV then that would be the easiest for you to work with.

What seems to be happening, for me--when I read your synopsis; is that it meanders a bit when you jump from one character to the next and it seems more tell of character description. Don't get me wrong you do need to convey some of this but when you can focus on one character you can demonstrate their agency within the story.

For instance if is the MC then putting the whole piece through her eyes and continually showing her emotional reaction as she pushes her way through the mystery and encounters various suspect characters and possible conflicts, setbacks and eventual triumphs. Then how the mystery is resolved and what your character may have lost and or gained and grown throughout the journey. Only introducing other characters if it becomes necessary and even then with the briefest of description--if any at all.

The second paragraph, that seems to be a biography of Henrietta, is what derails me and I'm not sure how necessary it is to the synopsis unless you put the weight of the novel equally between Nissy and Henrietta. And then you mention three characters; I'm not sure but maybe Crawford is the third. Anyway, that would be three equal parts of Nissy, Henrietta and Crawford and it feels like Crawford gets the short shrift.

If Nissy is the POV in the synopsis then you could build the other two characters from her eyes-briefly--and still draw your three conclusions then try to focus on how each step of the story affects Nissy and what she does to maintain her Agency through everything.

Otherwise with three you need to trim some of the excess in this and then develop each character and their emotional baggage and agency while trying to weave it all into one cohesive story. (Or, how do you make three character stories read like one story.) What you have now needs work because it seems a bit choppy and in some places maybe over-blown in others and in still other places lacking in elements that would draw someone into the story to want to read the actual manuscript.

In short--in the least amount of words you need to make the reader care about your POV character or characters enough to forge ahead into the real story.

Again we are at that question of can you explain your story in the least amount of sentences or even in one sentence.

And now, I've really confused you>o_O
 
Wow, sounds like an exciting tale! My only comment - similar to those above - would be to simplify it somewhat. Could you cut some secondary characters, like the steeplejack Wash, completely from the synopsis?
 
I wonder if you'd do better to present Nissy as the sole POV for synopsis purposes. Her paragraphs here have real drive and seem to have more plot, and be more easily grasped, than Henrietta's. Henrietta I think is a problem in this because quite a bit of stuff relating to her is vague (something might be of help to her, she is encouraged by a disembodied voice that isn't identified, her reality is fractured), but also her story doesn't seem to have a strong direction (there's no clear goal), and you haven't really shown us why we should be following her. She seems unpleasant, but the synopsis suggests that about half the novel will be devoted to her.

Focusing on Nissy would also make it shorter.

(By the way, it wasn't clear to me who the third character is in your opening paragraph. There seem to be two main characters and several more minor ones.)
 
I agree with Harebrain. It's quite hard to work out the narrative drive of the story, which would be clearer if we just followed Nissy. It's no negative comment on you, but I can see why some publishers don't bother with a synopsis. Henrietta's story sounds interesting, but it's hard to follow. Good luck with the rewrite!
 
I agree, it's a bit too 'busy'. It's perhaps worth concentrating on the core storyline, and limiting your word count. Perhaps approach it as you would in the 300 Word Challenge, cutting out uneccessary words and embellishments. For example '1850s East London' (I'm not sure you'd ever see it described as that?) use Victorian London or East End, or perhaps an area, eg Whitechapel.

Also for example

Henrietta Burwood, a strong-willed businesswoman, is managing both the matchworks and her other factory, the Masthouse Tannery.

A woman of this time who owned businesses could be assumed to be strong willed out of necessity. And would 'battling misogny' even need to be mentioned in the pre-20th century?

Could be shortened to

Miss Burwood, owner of the local matchworks and tannery.


I'd also advise using words that (without other indications) have no context such as 'cresser-girl', as it is likely to leave the reader confused or grabbing a dictionary (which won't help).
 
Maybe some more clarity on at what point Crawford turns against Henrietta and why he decides to help Nissy.

The whole Henrietta, Crawford murder, dark ritual bit and him meeting Nissy and forming a connection with her sounds like a story all itself. There is a lot of Psychological and supernatural stuff going on for a story in itself.
 

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