The second rule in Elmore Leonard’s ten rules of writing is
“Avoid Prologues.” At first this sounds like Mr. Leonard is telling us not to
use prologues. Until you realize that the Rule 1 and Rule 3 don’t start with
the word “avoid.” They start with the word “never.”
Avoid means steer clear of, think twice about, shy away
from. Never means, well, never. Ever. Not even once. That’s a big difference.
Particularly when Mr. Leonard’s comments about that rule consist largely of John
Fucking Steinbeck brilliant use of a prologue.
The entire prologue situation (both the problem itself and
the extent to which writers exaggerate that problem) was summed up beautifully
by Angela James, an editor for Carina Press (a Harlequin digital first
imprint). She said:
Of course, I’m an editor, and if you’ve heard it once you’ve
probably heard it from an editor or agent: we’re not always fans of prologues.
I think this has morphed into authors saying that we HATE prologues, but that’s
not true. What’s true is this: we see a lot of stories come through our slush
pile that start with prologues, and 9 out of 10 times, they’re not necessary.
I’m willing to bet she speaks for virtually every agent and
editor in the business when she says it begins – and ends – with “We’re not
always fans of prologues.”
That’s far from “never do it or you will immediately burst
into flames and the souls of your loved ones will be doomed for all eternity,”
which is how a LOT of writers tend to treat the issue. Still, it’s a really
good idea to avoid them if you can.
Prologue Problems
Prologue problems come in two flavors: Problems with the
prologue itself (which we will call problems with other people’s prologues,
because, seriously, I’m sure yours is wonderful) and problems intrinsic to
having and querying a novel with a prologue (which we will call the real
problems with having a prologue).
Problems with Other People’s Prologues:
They are often used as info dumps, with all the attendant
problems of info dumps.
One of the most common agent/publisher complaints about
beginner novelists is that they start the novel two or three chapters too
early, before the story really gets going. A prologue adds a fourth chapter of
“too soon.”
Readers imprint on the first MC they meet, like baby ducks
imprint on the first thing they see and follow it around assuming it’s their
mama. The prologue MC usually isn’t the book MC, so readers feel cheated when
you switch to your real MC.
Many readers skip them, which means they need to literally
be prologues — the story needs to stand on it’s own, completely independently
from the prologue. So, by definition, it has to be extra stuff.
If it’s not an info dump, it’s probably backstory, and
backstory is generally a very bad way to start a novel.
Compared to working the prologue information in through
flashbacks or directly through the narrative, a prologue is an easy way to get
it out there (which is why the info dump/backstory concerns are so valid).
Chapter One has to manage to introduce characters and
setting and lay a lot of groundwork for a story. That’s hard to do without
being boring. Some people use prologues to throw something exciting on the
table first, in an attempt to “hook” the reader.This often fails -- it comes
off as a gimmick, then you leave the reader with your boring Chapter One
(possibly more boring, since you think you’ve taken the pressure off) and the
reader goes from exciting prologue to boring chapter and thinks “the first real
chapter of this book sucks.” It’s like having a date show up in a Ferrari but
then having him drive you to Taco Bell.
There are certainly more, but that gives a decent idea of
why, as Ms. James put it, “9 out of 10 times, they’re not necessary.” Worse
than not necessary, the things those other writers are trying to do through the
prologue – provide backstory and worldbuild, start with something interesting,
etc., are the things that separate great writers from the good. Great writers
build incredible worlds and provide deep, rich backstories throughout the
narrative core of their books.
The Real Problems with Having a Prologue
The real problem with having a prologue, even if it’s both
necessary and brilliant, is: Seriously, prologues are tricky.
For starters, they present logistical problems. You’re ready
to query and the agent you are querying asked for the first three pages or your
first chapter or whatever. Does that mean your prologue, or Chapter One?
According to literary agent extraordinaire, Janet Reid a/k/a
the Query Shark, “your first five pages” or “first chapter” obviously means the
first part of the novel, not your prologue:
The five pages you attached don’t mention either character
or any of the plot you cover in the query letter. It’s as though you sent five
pages that have nothing to do with this query.
That’s one of the (many) problems with prologues. When you
query with pages, start with chapter one, page one. Leave OUT the prologue.
Nathan Bransford, on the other hand, says that “first 30
pages” obviously means the first 30 pages that are part of your book:
I want to see the first 30 pages as you want me to send them
to the editor. If that involves a prologue… let’s see it.
Oops. Those are agents (well, in Nathan’s case, now an
ex-agent) who blog a lot about what they expect and want to see, and the advice
is diametrically opposed. If I had to guess, I’d say more agents probably agree
with Nathan, but that’s a guess. I doubt Janet is completely out in left field,
so it’s safe to assume a significant portion of agents agree with her take as
well. Either way, having a prologue creates a new, possibly unnecessary problem.
There’s also the issue of Pavlov’s agent (or, worse,
reader). Imagine having 200 queries and sample pages to wade through in a day.
Ten of those had prologues, and all ten treated you to worldbuilding, backstory, and info dumps. You open your 200th query, and discover
it’s the eleventh to start with the word “Prologue.” At this point, you expect
it to suck. There’s a 90% chance you’ll be right. You’ve been conditioned to
expect it to suck. Maybe even conditioned to think it sucks.
It’s not your prologue’s fault. It those ten other, stupid,
needless prologues that came before it. But you’ve been tainted by association.
Now, at best, the reader is looking to see how much of an info dumpy, backstory
filled piece of shit your prologue is, not objectively looking at how good or
bad it is. Prejudice is an ugly thing, but it’s also a real thing.
The Bottom Line on Prologues?
In this case, it’s also the top line. Prologues are tricky. If possible, you should avoid having one. I don’t think agent’s and
editors hate them, I don’t even think most readers skip them (although I’d bet
that’s more of an issue with YA readers, for example, than with lit fiction
readers). But I do think they bring a host of new problems to the party, even
if they don’t suffer from the problems that are endemic to prologues generally.
Put differently, there is the way you dress for a job
interview, the way you dress on your first day of work, and the way you dress
when you’ve been working the same job for a few years. Prologues are a pair of
shorts and a T-shirt. Even if that’s how you’ll be showing up the third week,
when you’re interviewing and it’s probably best to clean things up for one
day. It certainly won’t hurt.
UNLESS, you absolutely understand exactly what I’m saying
here, see the problems, are positive you aren’t providing background,
worldbuidling, info dumping, garbage, and know that your story really, really
needs a prologue for a very specific reason that can’t be handled through the
body of your narrative.
Because there are some jobs – lifeguard,
surf/snowboard/skateboard sales, marijuana dispensary clerk and/or gardener –
where you just look like an idiot showing up for the interview in a suit.
Prologues fall into the huge category of writing issues, ranging from adjectives to introspective monologue, where the shorthand "DON'T" is inaccurately used instead of the accurate "MAKE SURE IT'S REALLY NECESSARY." If a prologue is the best way to execute and it's executed well, there's no option other than using one. The confusion arises because they are often tacked onto the beginning of novels where they aren't truly necessary and there are better ways to accomplish what the writer is trying to accomplish through a prologue.
Michael McDonagh lives outside Boise, Idaho, with an assortment of barn cats, chickens, turkeys, and horses, as well as a cadre of stray dogs and daughters who melt his heart. A charter member of the Humor Writers of America, his personal motto is: I write dystopian fiction, but everybody else thinks it's contemporary fiction. That's what makes it satire.
