Should you write a prologue for your novel? Maybe yes, maybe no. To find the answer, let’s begin by defining the term:
• a separate introductory section of a literary or musical work: This idea is outlined in the prologue.
• an event or action that leads to another event or situation: Civil unrest in a few isolated villages became the prologue to widespread rebellion.
Sometimes I pick up a book and read the prologue and wonder why the author thought it was needed. I ask myself, Does it do anything that can’t be done in the first chapter? If the prologue is all backstory, shouldn’t that material be braided into the story as the plot and characters develop? Is the prologue intended only to hook the reader? If so, why wasn’t that done on page one of Chapter One, where the reader-baiting and -hooking should take place?
You may think I’m death on prologues, but I’m not. A prologue can be effective if it’s written well, with a clear view of its purpose, and if it includes significant facts that contribute to the reader’s understanding of what kind of novel this is and where the plot is heading. Furthermore, contrary to what some believe, I think a prologue can be used to pull readers into the story, to create a sense of place and time, to foreshadow events to follow, and to provide the voice and viewpoint of an important character.
Even so, I often find myself sighing with impatience when confronted with a prologue. Just get to the damn story already! I think. Show me a scene. I want to see someone doing something worth writing about. I want to hear people speak. I want setting. I want conflict. I want to know what kicks this story in the ass to get it moving.
The prologues of far too many self-published novels, especially, contain none of these things. They tell; they don’t show. The only thing they do well is extinguish any interest an intelligent reader has summoned in order to start reading the book in the first place.
That’s why I often urge new writers to deep-six their prologue. I’m pretty sure they haven’t given much thought to the craft of writing one, to its purposes and pitfalls. They just jump into the task of prologue-ing and fire away only because it seems like a good idea at the time and is an easy way to get started. All too often this results in a long-winded info dump of back story and character introduction written from the viewpoint of an omniscient narrator, that invisible godlike being in the sky who sees all and knows all, even when we’re in the shower (Yikes!). This kind of narrator is actually . . . Guess who? The writer.
I don’t know about you, but I find no pleasure in hanging out with a bossy, faceless narrator who’s bent on force-feeding me great globs of information that are too much to digest in one sitting before the story gets under way.
Note: Reading page after page of back story and background info about people you don’t know is not entertaining. It’s more like a chore, like trying to memorize a page of a phone book or, even worse, trying to read Ulysses.
I often tell my writers this: Readers won’t be very interested in learning about a character’s background until they’re interested in his or her foreground.
How to drive a literary agent to drink
Some people say that all literary agents hate prologues. Not true. But many of them do. Here’s what some of them say:
“I’m not a fan of prologues, preferring to find myself in the midst of a moving plot on page one rather than being kept outside of it, or eased into it.” — Michelle Andelman, Regal Literary
“Prologues are usually a lazy way to give backstory chunks to the reader that can be handled with more finesse throughout the story. Damn the prologue, full speed ahead!” — Laurie McLean, Foreward Literary
“Prologues often show that the writer doesn’t know where to start the story.” — Carly Watters, P.S. Literary Agency
“Almost all the agents I know completely skip the prologue and start with chapter one when reading sample pages.” — Kristen Nelson, Nelson Literary Agency
“Most agents hate prologues. Just make the first chapter relevant and well written.” — Andrea Brown, Andrea Brown Literary Agency.
“I’d say 99% of the submissions I receive with a prologue don’t need it. Most of the time they read (to me) like: Look at me! I can write an AMAZING scene! Oh, but sorry, you have to read 100 more pages to get to the story. — Natalie M. Lakosil, the Bradford Literary Agency.
In best-selling author Kristen Lamb’s blog (http://warriorwriters.wordpress.com/), she says that “there are a lot more reasons to NOT use a prologue than there are to employ one.” She calls prologues a big “fish head” that, in many cases, should be “cut off and thrown away.” But she also acknowledges that “prologues, when done properly, can be excellent literary devices. Yet, with a clear reader propensity to skip them, then that might at least make us pause before we decide our novel must have one.”
She identifies “The 7 Deadly Sins of Prologues,” as follows:
• The prologue is really just a vehicle for a massive information dump.
• The prologue really has nothing to do with the main story.
• The prologue’s sole purpose is to “hook” the reader.
• The prologue is overly long.
• The prologue is written in a totally different style and voice that is never tied back into the main story.
• The prologue is condensed world-building (especially in science fiction).
• The prologue is there solely to “set the mood.”
As you can see, she’s one pro who thinks a prologue is no place for reader-hooking and mood-setting, while others think this is okay.
So when can you use a prologue? Ms. Lamb says:
• Prologues can be used to resolve a time gap with information critical to the story.
• Prologues can be used if there is a critical element in the back story relevant to the plot.
To all this I’d like to emphasize these points:
1. A prologue is not a side or back story. The best ones, IMHO, are a pivotal event that leads up to Chapter One.
2. Literary agents usually read only the first three to five pages, so if you have filled those pages with prologue material, many agents will reject (or set fire to) your manuscript without going any farther.
3. Readers tend to skip a prologue.
I have made my own admittedly unscientific survey of e-novels self-published on Amazon. After reading many samples from these books, I saw how popular prologues are with this legion of writers. I’d say that about 80 percent of these novels start with a prologue.
We probably shouldn’t rush to a judgment based on this observation, but I think it indicates something for us to ponder. Most of these prologues break one or more of the rules already mentioned. Some of the ones I’ve read should be labeled “Chapter One.” Almost all the others are info dumps of back story and biography used to set up the main story. Too many of them were so long that I couldn’t bear to read the whole thing. Will other readers feel the same way? I’m going with a yes.
So before you write a prologue, consider what I and others have said here. I also urge you to go to a library or a bookstore and analyze prologues in many published novels and see what works and what doesn’t and why. Take notes. Then reread the prologue you’ve written and decide whether to keep it or cut it off.
Like a fish’s head.
Thayer Literary Services