Guest Blogger: Brandilyn Collins on Prologues
Hearing that there are those who don’t read prologues makes me sad. Can’t blame these non-readers, though. I blame the writers who’ve so misused prologues that these readers have given up on the things. However, if you’re in the “non-read” group and you pick up a book by an author who knows how to use the Big P, and don’t read it—you’ve missed the beginning of the story. It’s the same as skipping chapter one.
Prologues are NOT for backstory.
So why name the opening a prologue instead of chapter one? In my books, it’s merely an indication that the events in the prologue somehow stand apart from the rest of the book, even while being an integral, necessary part of the story. The prologue may be separated from the other events by such things as time, geographical space, or POV. Example: In Brink of Death, the story is told in first person. The prologue is told in third person, in the POV of the twelve-year-old who witnesses her mother’s murder. Action starts with the very first line, and the scene is not for BHCC (Big Honkin’ Chickens Club) members. Chapter one switches to the protagonist’s first person POV, and shows how she is pulled into the aftermath of the crime (immediately after it occurs). This is an example of a two-part inciting incident. 1=crime. 2=protagonist’s involvement in crime. Skipping the prologue means you’d miss half of the inciting incident. (You can read the prologue to Brink of Death here.)
Prologues are NOT for backstory.
A prologue should raise more questions than it answers. This makes it compelling. Makes the reader want to turn the page. Using a prologue as an ANSWER to questions is the #1 reason writers misuse it.
Repeat after me—prologues are NOT for backstory.
Prologue or first chapter—remember that you have seconds to attract the attention of a bookstore browser. If you’re fortunate enough to have one pick up your book (that’s why the cover is so important), and read the first few paragraphs—they had better be doggone compelling paragraphs, or you’ve lost the reader. The opening should set also tone and often at least introduces any image system you may be using.
If you are a non-reader of prologues, I suggest that you change your ways. Not because—sigh—you will find all prologues necessary. But as we authors read, it behooves us to pay attention to the well done and the poorly executed. We learn from both. Remember that every time you read a novel, you’re working on your own writing skills.
Best-selling author Brandilyn Collins is known for her signature “Seatbelt Suspense.” She is also the author of Getting Into Character: Seven Secrets a Novelist Can Learn from Actors (published by John Wiley & Sons).Visit her blogs:
www.forensicsandfaith.blogspot
www.kannerlake.com
anwww.kannerlake.blogspot.com (Scenes and Beans) and Don’t forget to b r e a t h e …®
