To Prologue or Not to Prologue?

by

Jessica Nelson

You’ve sat down at the computer, or with your pen and paper, and started to write. The scene is set in your mind and the words are flowing onto the page. After all that beautiful prose is complete, you realize that this is the beginning of your book—but it’s not where your story starts. So you slap the word “prologue” above what you’ve written and move on to chapter one.

Or, you’re getting ready to send your novel out to publishers, and you realize your first chapter is a little slow, so you pull out a scene from the middle or the end of your book—one filled with tension and action and suspense—and put it at the beginning to hook the reader and make them want to keep reading, and you call it the prologue.

But do you really need that prologue?

I remember reading a claim recently that most readers skip over the prologue and jump straight into chapter one. I tried to find verification for that claim, but couldn’t find anything official. What I did find was a pretty heated debate not only about whether people read the prologue, but also about whether prologues should even be used.

Let’s deal with the first question: Does anyone read the prologue?

There seems to be two diametrically opposed groups. One group insists that reading the prologue is essential. Why would the writer bother with the prologue if it wasn’t meant to be read?

The other group believes if the information in the prologue was important, then that information would appear in the meat of the story (chapter one or onward).

I personally always read the prologue. But I admit to being disappointed when the prologue is nothing more than a scene from later in the book meant to catch the reader’s attention. Especially when that scene is a word-for-word excerpt.

According to Sandy Tritt, “For the past several years, publishers and agents have shied away from prologues. They say readers don't read [prologues], so just start your book with chapter one and be done with it. The problem with many [prologues] is they simply don't capture our attention and hold it. Which is a killer for any book. So, my professional opinion is to avoid prologues (because agents and publishers have said so).”

However, Tritt acknowledges that sometimes a prologue is useful, and she has read well-done prologues and even used prologues herself.

So now we address the second question: When is a prologue effective?

An effective prologue . . .

1. . . . adds important contextual or historical background. In fantasy or science-fiction, a prologue may set up the culture and customs of the world so the forward action of the story isn’t bogged down by background information.¹ In historical fiction, the prologue may introduce a particular historic event around with the story revolves or it may introduce the time period to give the rest of the story the appropriate context.² Clive Cussler does an excellent job with this type of prologue. Cussler often includes a prologue that introduces a historical event that relates to the main conflict of the story. However, there is a fine line between effective and ineffective with this type of prologue. Tritt says, “If I wanted to give an information dump describing why my characters do what they do or to inform about an unusual setting, I would not use a prologue.”

2. . . . allows for narration from a point of view that won’t be used again. This is generally seen in mystery or crime fiction, where the prologue will be written from the point of view of the killer or the victim.³ Regarding viewpoint, Tritt says, “If you are using a full-circle plot, your first chapter and your last chapter should be in the viewpoint of the same character. Yet if something from the past and from a different character's viewpoint needs presented in real-time, then I would use a prologue to act out that scene. Alternately, if your story presents only one viewpoint throughout, yet something that happened previously in a different viewpoint needs acted out, then I would use a prologue for that scene.”

3. . . . is a scene that occurs before the starting action of the story. According to Tritt, “If the prologue contains a scene that happened prior to the main storyline of the book and it still has a bearing on the characters, and it is written with dialogue and action that holds the reader's attention, I don't have a problem with a prologue.” Sometimes this is the inciting event—the moment that sets the rest of the story in motion—but that event may occur months or years before the starting action of the story. A prologue allows the writer to introduce the inciting event without needing to add it later as a flashback or try to work it in to a revealing dialogue exchange.

An ineffective prologue . . .

1. . . . takes a scene word-for-word from somewhere else in the novel. This is usually an attempt to grab the reader’s attention when the writer isn’t confident their first chapter will capture and maintain the reader’s interest.⁴

2. . . . creates a general atmosphere but does not add any information about the world of the story and/or does not include any action that effects the narrative.⁵

3. . . . contains a background information that would be more effectively presented in pieces throughout the narrative. Tritt says, “If the background information is given in a flat and uninteresting way, I strongly suggest getting rid of the prologue and find another way to slowly give the reader the background information during the natural unwinding of the plot.”

4. . . . is boring. If the prologue isn’t interesting, then it’s only detracting from your prose.

Even if you’ve written an effective prologue, there’s a still a chance your reader won’t read it and will miss out on potentially important information. We have some alternatives to prologues:

1. Can your prologue be just as effective if you made it chapter one? This is relevant mostly to prologues that contain an inciting event or a historical milestone. Charlotte Firbank-King rarely uses prologues and instead uses subtitles in her chapters to indicate if significant time has passed from chapter one to chapter two. As Firbank-King writes, “I prefer to treat the prologue as chapter one with a subtitle or date—then one can hit chapter two with another subtitle or date, like ‘5 years later,’ or ‘1066’ in chapter one and ‘1944’ in chap two. In my YA fantasy book, I have a subtitle for each chapter and chapter one is ‘The beginning.’ Chapter two has two subtitles: ‘Attack’ and then one under that on the left that reads, ‘Six summers later.’ In adult books, I’ve used dates.”

2. If your prologue is a scene from later in the story, then maybe what you need is a more interesting chapter one. You can still use the scene or excerpt as your book blurb or as bonus before chapter one (not denoted as a prologue or as any official part of the story.) The Lifeguard by Deborah Blumenthal does this. She takes a high-tension scene from near the end of the book and includes it between the title page and chapter one, but it’s not marked as a prologue or anything else. It’s a teaser available to anyone who wants to read it, but it’s not necessary to start the book.

That said, you should always assume that your reader is starting at chapter one. If chapter one doesn’t catch and hold the reader’s interest, then maybe the story hasn’t started in the right place.

3. If the prologue contains primarily background information, then an alternative to having a prologue would be to incorporate that information throughout the text. Be careful to avoid info dumps, though.

To prologue or not to prologue? That remains the question. There is no hard-and-fast rule or a one-size-fits-all solution. It largely depends on the story and the way the prologue is written and utilized. We’ll end with some advice from Tritt: “Study what is selling, study the art of writing, and then make an informed decision about how to structure your book. There is never one-way-fits-all, so don't be afraid to buck trend if you have an intelligent and necessary reason for doing so. Good luck!”









Footnotes (additional information used as inspiration or paraphrased from other sources)

 

1 Daily Writing Tips (https://www.dailywritingtips.com/3-reasons-to-ditch-your-novels-prologue/); McAlister, Marg, “The Prologue” (http://www.foremostpress.com/authors/articles/prologue.html)

2 Daily Writing Tips

3 Daily Writing Tips
4 McAlister, Marg, “The Prologue”
5 Daily Writing Tips

Novel, Memoir, or Biography?

by

Sandy Tritt

Confused about the differences between a novel, a memoir, and a biography? Maybe we can help clear up the mystery. 

First, a memoir and a biography are both true accounts based upon what happened to a person. A biography is a history of a person. It tells when he was born and to whom, what happened in his childhood, and discusses every major event in his life. If a person writes a biography about himself, it’s called an autobiography.

A memoir, on the other hand, focuses on one aspect of a person’s life, such as his struggle with alcoholism or his quest to become President. Whereas a biography gives facts and is generally written as a narrative, a memoir is considered creative nonfiction and reads more like a novel, which is fiction (made up).

Both memoir and novel use scenes to act out the story with dialogue and action instead of simply telling what happened.

Even though a memoir is considered a true story, it is impossible for most humans to remember verbatim every word spoken throughout their lives. Therefore, the most important thing is that the memoir recreate the emotional honesty of conversations and situations. It is permissible to make up the actual words spoken.

It is also permissible to change the names and descriptions of the people you want to include in your memoir. If you do this, you should put a disclaimer on your copyright page stating that “names and/or likenesses have been changed for privacy.” However, if your memoir reveals unflattering things about a person who is still alive (or who still has close family), you may want to consult an attorney before publishing. As a general rule, if someone is a celebrity, you may mention his or her name and reveal something about him as long as it’s true or reflects positively on him. If a person is not a celebrity, you may not use his name or likeness without his written permission because a non-celebrity has a right to privacy.

If you think you cannot tell your full story for fear of retribution or embarrassment or a lawsuit, you may want to fictionalize your story. This gives you more leeway in telling your story. You can add in situations that did not actually occur or you can add in people who did not actually live. You simply write a novel—which is defined as fictitious prose—instead of a memoir. As long as it still reveals the emotional truth of your situation, you can claim it is “based upon a true story.”

If you aren’t certain how to move forward, email me at IFWeditors@gmail.com to schedule a complimentary 30-minute telephone or Skype conversation to discuss how you can best present your story. We’re always here to help.

Introducing Geoffrey Cameron Fuller

Geoffrey Cameron Fuller recently teamed with Daleen Berry (Sister of Silence) to write about the stabbing murder of high school honors student, Skylar Neese, by her two best friends. Their work resulted in two books, The Savage Murder of Skylar Neese (BenBella Books; February 2014) and Pretty Little Killers: The Truth Behind the Savage Murder of Skylar Neese (BenBella Books; July, 2014). The crime and the books were featured on Dateline (NBC), Dr. Phil (NBC), 20/20 (ABC), and I Killed My BFF (Lifetime). The Savage Murder of Skylar Neese peaked at #12 on the New York Times bestseller list, and the second book, released in July, 2014, is selling well.

(At a Pretty Little Killers book signing.

Geoff Fuller (left), IFW intern Jessica Nelson (middle), and co-author Daleen Berry (right))

Fuller has been writing and editing professionally for twenty-five years and has become familiar with just about every form of contemporary writing. In addition to feature journalism, he has written award-winning nonfiction, sudden fiction, short stories, and novels, as well as a range of business and technical writing: annual reports, white papers, vision and values statements, feasibility studies, market analyses, conference proceedings, advertising copy, political speeches, grant applications, and textbooks. He is the author or co-author of five books, and his writing is credited in another dozen books.

(Geoff Fuller at a signing for his book Full Bone Moon)

 In addition to publishing under his own name, Fuller has also been widely published as a ghostwriter, read aloud his fiction in a variety of settings and performed it on the radio, given dozens of workshops on business writing and the publishing industry, and taught classes on the novel, sudden fiction, and memoir since 1997. Fuller was a contributing editor for Writer’s Digest for several years, sat on the Board of West Virginia Writers, and is the only person to have won prestigious WV Arts and Humanities literary fellowships in all three prose categories: fiction, nonfiction, and memoir.

For six years, from 1998-2004, Fuller worked as a developmental editor for Fitness Information Technology, a sport psychology and sport management publisher based in Morgantown, West Virginia, since 1987. Before that, he worked for about ten years for the Center for Entrepreneurial Studies and Development, Inc., a nonprofit business resource firm and occasional publisher, also based in Morgantown.

Currently, Fuller works as a freelance writer-editor for a variety of private clients and occasionally hosts writing classes on the Web or in a variety of locations around the state. He lives in Morgantown, West Virginia, and is a member of International Thriller Writers.

Interview with Author Emma Broch Stuart

by

Wendy Chorot

New author Emma Broch Stuart (aka IFW Editor Wendy Chorot) shares her passion for seeing women and men released from bondage and healed from relational wounds. Her newly released book, Broken Umbrellas, takes the reader on her personal journey from the pit of despair and brokenness to the healing arms of Jesus. Along the way, she allows the reader an intimate look into the relationship baggage she hauled around most of her life—even crossing the Atlantic with it—before surrendering to God’s radical healing.


1. Tell us a little more about your nonfiction.

Once upon a time, brokenness claimed so many areas of my life, and every one of those areas were relational in nature: bitterness and shame from past intimate relationships; wounds and scars from abuse; insecurities from relating with women I felt had it together when I did not; feelings of failure as a mother. It was all relationship stuff. When I realized that humanity tries to relate with one another in spite of their brokenness, God asked me to write about my own personal struggle with broken areas of my life. And voilà! Broken Umbrellas was born.


2. What was the driving force behind writing Broken Umbrellas?

This is a good question. I feel most people are really bad at one thing in life like sports, or math, or sewing. For me it was relationships. Even becoming a Christian didn’t save me from a broken marriage. And I kept asking myself, “Why can’t I get this right?” And God showed me that when we have unhealthy hearts, we have unhealthy relationships. (That goes for friendship relationships, too.) Then he took me on an incredible 13-month journey that healed me in the most radical way. I wrote Broken Umbrellas because I don’t believe I’m the only one who has struggled with relationships.


3. What do you want your readers to take away from reading your book?

Hope. Pure and simple, yet profound hope. Hope for all their hurting relationships and a desire to be healed, healthy individuals. I want my readers to see—and believe—that God is bigger than any brokenness they have suffered or caused. And I pray Broken Umbrellas is a tool to bring my readers into a deeper knowing of God, the only one who can heal them.


4. What writing projects are you working on now?

I’m working with WhiteFire Publishing on a fun and inspiring piece called Barn Doors. Barn Doors is a collection of short stories about everyday life and how God speaks to me . . . and how I hear him. It releases next spring.

I also have a children’s series with DeWard Publishing called The Keeper Series. “The Windkeeper” is the first in the series and looks to be ready for this fall. An illustrator has it as we speak, bringing my words to colorful life. “The Starkeeper” will follow, and “The Rainkeeper” will complete the series. One way God speaks to me is through the pages of his Word, and I incorporate that into these stories.


5. Where can readers learn more about your book?

Broken Umbrellas is for sale on Amazon in paperback and Kindle version, which you can find HERE.


6. How can readers connect with you?

I LOVE connecting with people! Readers can find my blog on my website: http://emmabrochstuart.com/

They can also find updates on my Facebook author page:
https://www.facebook.com/emmabrochstuart

Twitter:
https://twitter.com/EmmaBrochStuart

Or by emailing me:
emmabrochstuart@gmail.com


7. Where did you get the name Broken Umbrellas?

At my precious grandson’s funeral, I spotted a broken blue umbrella flapping in the winter wind. The woman holding it was oblivious to the fact that snow was falling on her. When she moved her broken umbrella to offer protection to the man beside her, my heart was overwhelmed with the symbolism of humanity doing the same thing—“protecting” (or loving, serving, relating) in spite of our brokenness.


8. Tell us about living overseas.

I credit a lot of who I am today on my experiences in Europe. There’s something about getting out of your comfort zone that forces you to relate differently, engage in the world around you at a different level. And most importantly, see beyond yourself. I have dipped my toes in the Mediterranean, hiked mountains in the French Alps, drank wine with my baguette and cheese, breastfed under the Eiffel Tower, and made a complete fool of myself many times as I butchered the language. I have been misunderstood, ignored, lost in a big city, and served fish with the head still attached. But I have also been kissed by complete strangers, given free bus rides when I didn’t have exact change, served delicious cuisine, and most importantly, blessed with knowing Christ at a deeper level. My daughter was born there, my first grandchild buried there, and, while there, I collected more than a decade of memories—both good and bad. 

Living in a foreign country shows you just how strong you really are.


9. Why did you choose to write under a penname?

Because Broken Umbrellas gives the reader a very intimate and vulnerable look at my past, I chose to write under a penname out of respect for the people I speak about. Of course, I did not have to, and if any of them were to read my book, I have written it in a respectful way that they should not take offense. And I have decided to keep my penname for all of my writing projects. The name Emma Broch Stuart is very special to me; it is the middle name of each of my three children.



As a bonus to this beautiful interview, Emma Broch Stuart is giving away a free copy of Broken Umbrellas to one of you! All you have to do to qualify is leave a comment on this blog. Next Monday, a winner will be randomly selected and contacted by Jessica Nelson (in the form of a reply to his/her comment in this blog) with further information about how to collect his/her prize.

Thank you again to Emma Broch Stuart (and Wendy Chorot) for granting this beautifully poignant interview!