Ah, the untold joy of the re-write! 

The endless task of correcting this, and clarifying ‘that’; a refuge taken when I should be writing a 500-word distilled synopsis of the 130,000-word tale of Amy Grace and Thomas Payne.  

I think I’m suffering from creative defensiveness.  

Every twist, every turn in the book, I wrote them because they add value depth and richness to the story, and trying to create a pithy synopsis, that sticks just to pertinent points, is harder than it sounds. 

What are the pertinent points?

What do you omit? 

Do you (as I fear) run the risk of summarising the plot in too simplistic a manner? 

Does the whole story just become “girl travels world to seek revenge”? 

Yeah, I know, first world problems and all that self-indulgent kinda thing. 

But, here I am happily taking ‘volume 2’ into San Francisco, yet painfully failing to create this one-page synopsis for ‘volume 1’. 

And why you ask do we need a synopsis?

Ah, that is because yet again we are touting our wares, pimping our creation, offering up for sale our labour, and trying very hard to meet the required criteria of a very crammed and competitive market place. 

It is the perennial struggle to convince busy people that my offering does indeed have (commercial) value, to provide what they want, what they need, in order to filter Amy from the chaff. 

She deserves the best opportunity for her tale to be told, and for such a justice to happen, I need to create this superb captivating synopsis that engages and captures the attention of the targeted agent. 

Bugger, I need an agent to talk to other agents on my behalf!

So, anyway, this red-haired young woman travels the world and kills some people…

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