How to write or not write a synopsis

​After totalling something around fifty novels, I can say with certainty that the worst thing about being an author as far as I’m concerned, is being obliged to write a synopsis. I understand that it’s most important for an editor but I find it so tedious.
How to go about it in the best way brings me to the old chestnut of Plotter vs Pantser. I’m sure the Plotter is advantaged here because he has a structure worked out that must be quite easy to refer to and synthesise. That was the case with my first few novels until I shook off the draughtsman-like sheet of paper with all thirty (or however many) chapters neatly laid out. Having removed the shackles and become a confirmed Pantser, the approach to synopsis writing required structuring.
 
I began by grabbing a sheet of A3 and ruling columns with chapter numbers atop. This silly idea survived for three or four novels but, apart from containing an inherent weakness (me), it also was a superfluous intermediary step. Far better to open a Word document entitled ‘synopsis’ and write a few lines of chapter summary as soon as the chapter was finished. In that way, one builds the synopsis chapter by chapter while each is fresh in the mind. Still, importantly, you have to keep in mind that you’re providing an overview rather than a blow-by-blow account. But here’s the snag: after writing a 2500-word chapter in a day, I feel mentally and physically exhausted and not in the least like writing even six lines of chapter summary. So, the tendency is to say, oh, I’ll leave it for another day. All very well, but the result is a completed 20-chapter novel and not even a hint of a synopsis.
 
In turn, that means going back to page 1, reading the whole chapter and so on, maybe over a period of days until the whole synopsis is complete. Compared to this fatigue, writing the novel in the first place is a doddle!
 
The actual technicalities of synopsis writing involve you writing in the third person, using the present tense, regardless of what POV or tense the book is written in. Also, you should put the first occurrence of each character’s name in all caps so they can easily be picked out as the reader skims the page. You have pages and pages to introduce characters, setting, and conflict in the actual novel, but you’re going to have to pick out what’s essential and present the bare facts here.
 
Your synopsis is a functional outline of your story’s plot – it isn’t the blurb on the back of your book, and therefore isn’t meant to act as an end-user sales piece. Teasing the twists and turns and speaking directly to the reader aren’t techniques that fit well, here. Leave out any details or subplots that aren’t essential to the main narrative and tick off a direct and professional method of revealing your story’s structure. 
 
This is also important, when you’ve finished the synopsis, read it through to make sure that you haven’t inadvertently left any plot holes, which may not be there in the actual novel. Also, making sure you’ve made your character arcs quite clear is necessary.
Trim as many words as you can. Use descriptive phrases sparingly, and choose words that carry weight instead of writing waffly fillers. Despite this, my synopses vary from two to three pages. Ideally, a page and a half is sensible target to aim for. So, I know I can improve.