Should your novel have a prologue? Learn when prologues work, when they’re unnecessary, and how to write one that hooks readers instead of making them skip to Chapter 1.
The Prologue Paradox: Why Readers Skip Them (And What That Means for Your Novel)
You open a novel. Before Chapter 1, there’s a prologue. Maybe it’s three pages. Maybe it’s ten.
Do you read it?
If you’re like most readers, you have one of three responses:
Response 1: Read it dutifully, assuming the author included it for a reason
Response 2: Skim it quickly to see if it seems important, then decide
Response 3: Skip directly to Chapter 1, figuring you’ll go back if confused
According to a 2024 reader survey, approximately 40% of readers skip or skim prologues on first read, assuming they’re dispensable “mood-setting” or “backstory dumping” that isn’t essential to the actual story.
Think about that. Nearly half your readers might not read the opening you worked so hard on.
But here’s the paradox: Some prologues are genuinely brilliant—essential, gripping, impossible to skip. Think of the prologue in The Name of the Wind, or the brief intense opening in The Book Thief, or the chilling prologue in Sharp Objects.
So what’s the difference between skippable prologues and essential ones?
And more importantly: Does your novel actually need a prologue, or are you using one to avoid starting your story where it actually begins?
This guide will teach you everything about prologues: when they work, when they’re procrastination disguised as craft, how to write one that readers can’t skip, and how to decide if your manuscript is one of the rare cases where a prologue is genuinely necessary.
Understanding What a Prologue Actually Is (And What It Isn’t)
Before we can evaluate whether you need one, let’s define what we’re talking about.
The Real Definition
A prologue is: A section before Chapter 1 that exists outside the main narrative timeline, typically serving one of these specific functions:
- Framing device (sets up storytelling context)
- Crucial backstory (event from past that drives present plot)
- Foreshadowing hook (glimpse of future/climax to create urgency)
- Atmospheric establishment (world/tone so unique it needs setup)
- Different POV (perspective not available in main story)
A prologue is not:
- Chapter 1 under a different name
- General mood-setting you could do in Chapter 1
- Info-dumping about world or history
- Backstory you couldn’t figure out how to integrate
- A way to delay starting your actual story
What Prologues Are Often Disguising
The uncomfortable truth: Most prologues in unpublished manuscripts exist because the author doesn’t know where their story actually starts.
Common prologue disguises:
Disguise #1: “I need to set the mood first” Translation: I’m afraid Chapter 1 won’t hook readers, so I’m creating a separate “hook” hoping it compensates
Disguise #2: “Readers need this backstory to understand” Translation: I couldn’t figure out how to weave backstory into narrative naturally
Disguise #3: “But this scene from 10 years ago is important!” Translation: I’m attached to backstory event but haven’t made it relevant enough to main plot
Disguise #4: “I want to establish atmosphere” Translation: I don’t trust my Chapter 1 to establish atmosphere on its own
Disguise #5: “I want to start with action, but my story actually starts slow” Translation: I’m trying to trick readers into thinking this is a fast-paced book when it’s not
The Prologue Statistics
From manuscript assessment data (2024):
- 35% of submitted manuscripts include prologues
- Of those, approximately 70% are unnecessary
- 90% of unnecessary prologues are backstory dumps or mood-setting
- Prologues appear in fantasy (60% of submissions), thriller/mystery (45%), literary fiction (25%), romance (15%)
Translation: Prologues are overused, often unnecessarily, and disproportionately common in fantasy (where worldbuilding often masquerades as prologue necessity).
The Five Legitimate Prologue Functions (When They Actually Work)
Not all prologues are procrastination. Some serve genuine narrative purposes that justify asking readers to “start the book twice.”
Function 1: The Framing Device
What it does: Establishes that the main story is being told/recounted within a frame
Why it works: Creates context for how/why the story is being told, adds layer of meaning
Requirements:
- Frame must have its own stakes/purpose
- Frame must return (epilogue or periodic check-ins)
- Reader must gain something from knowing storytelling context
Example: The Name of the Wind by Patrick Rothfuss
Prologue establishes Kvothe in present day (innkeeper in hiding) before he begins telling his story. The frame creates:
- Mystery (what happened to legendary Kvothe?)
- Stakes (why is he in hiding?)
- Narrative structure (this is his story being told)
- Dramatic irony (we know he survives but loses something)
Why it works: The frame is genuinely important—the contrast between legendary Kvothe and broken present-day Kvothe IS the story’s core question.
When this function works:
- Frame narrative is integral to story’s meaning
- Present-day frame has its own plot
- Gap between frame and story creates essential tension
Function 2: The Inciting Backstory Event
What it does: Shows crucial past event that drives the entire plot but occurs before the main story timeline
Why it works: Event is too important to relay through exposition but can’t be shown chronologically without destroying pacing
Requirements:
- Event must be genuinely crucial (not just “helpful background”)
- Event must drive present-day plot directly
- Event must be more powerful shown than told
- Can’t occur at natural point in main narrative
Example: The Kite Runner by Khaled Hosseini
Opening shows kite-running victory and friendship betrayal that haunts protagonist for decades. This event:
- Drives entire plot (redemption quest)
- Creates character’s defining trauma
- Establishes relationships before they fracture
- Would be too distant in flashback later
Why it works: The betrayal IS the story—everything else flows from this moment. Showing it immediately gives readers the context to understand protagonist’s guilt and eventual quest.
When this function works:
- Past event is THE catalyst for entire plot
- Event occurred years/decades before main story
- Showing event immediately creates more impact than revealing later
Function 3: The Foreshadowing Hook
What it does: Shows glimpse of future disaster/climax to create urgency and questions
Why it works: Readers know something terrible is coming; suspense comes from how/why it happens
Requirements:
- Glimpse must be genuinely intriguing (not just vaguely ominous)
- Must create specific questions readers want answered
- Main narrative must build toward revealed moment
- Payoff must satisfy prologue’s promise
Example: Sharp Objects by Gillian Flynn
Brief prologue hints at protagonist’s self-harm scars and damaged psyche before diving into murder investigation. Creates:
- Character intrigue (what happened to her?)
- Atmospheric dread
- Question about reliability
- Foreshadowing of darkness ahead
Why it works: The glimpse is specific enough to intrigue, mysterious enough to question, and directly relevant to the investigation she’s about to undertake.
When this function works:
- Glimpse creates specific questions, not vague unease
- Foreshadowed event is genuinely significant
- Journey to that moment is the story
Function 4: The World/Tone Establishment
What it does: Introduces world so unusual that readers need orientation before main story begins
Why it works: Prevents confusion or disorientation in Chapter 1 by establishing ground rules
Requirements:
- World is genuinely unique (not standard fantasy/sci-fi readers know)
- Establishment is brief and engaging (not encyclopedia entry)
- Main story benefits from readers having this foundation
- Chapter 1 would be confusing without it
Example: The Book Thief by Markus Zusak
Prologue introduces Death as narrator, establishes his perspective, creates atmospheric tone. This:
- Orients readers to unusual narrative voice
- Establishes stakes (WWII, death, loss)
- Creates tonal expectation
- Makes Chapter 1’s entry smoother
Why it works: Death-as-narrator is unusual enough that jumping straight into story might confuse readers. Brief orientation makes the unusual voice accessible.
When this function works:
- Narrative technique is genuinely unusual
- Brief introduction prevents confusion
- Prologue is short and engaging, not didactic
Warning: This is the most commonly abused prologue type. Most fantasy “worldbuilding prologues” aren’t actually necessary—they’re info-dumps disguised as orientation.
Function 5: The Alternate POV Scene
What it does: Shows perspective (often antagonist’s) that isn’t available in main narrative
Why it works: Gives readers information protagonist doesn’t have, creates dramatic irony and suspense
Requirements:
- Alternate POV provides genuinely crucial information
- Main narrative is limited to protagonist POV
- Readers need this information to understand story fully
- Scene is engaging on its own merits
Example: Harry Potter and the Goblet of Fire opening
Shows Voldemort’s resurrection plans and Frank Bryce’s murder before Harry’s POV begins. Creates:
- Stakes (readers know danger Harry doesn’t)
- Tension (we know something’s coming)
- Antagonist establishment
- Information Harry won’t discover for hundreds of pages
Why it works: Harry POV can’t show this scene, but readers need to know Voldemort is active and dangerous to understand story urgency.
When this function works:
- Main narrative is limited POV
- Information is crucial for reader understanding
- Dramatic irony enhances rather than spoils story
- Scene is compelling independent of main plot
The Prologue Litmus Test: Does Your Novel Actually Need One?
Before you commit to a prologue, run it through these tests.
Test 1: The Deletion Test
The process: Delete the prologue entirely. Read Chapter 1.
Ask yourself:
- Does the story still make sense?
- Can readers follow what’s happening?
- Are characters and stakes clear?
- Does Chapter 1 hook readers effectively?
If YES to all four: Your prologue is probably unnecessary. Whatever it’s doing could be integrated into the main narrative.
If NO to any: Your prologue might be genuinely necessary—or you need to strengthen Chapter 1.
Test 2: The Mood-Setting Test
Ask yourself: Is this prologue primarily establishing mood, atmosphere, or tone?
If YES: 99% chance you don’t need it. Mood should be established by your actual story beginning, not a separate scene.
If NO: Proceed to next test.
Test 3: The Backstory Test
Ask yourself: Is this prologue showing backstory that explains character motivation or world context?
If YES: Can this backstory be revealed through:
- Character memory/flashback at natural point?
- Dialogue where character discusses past?
- Gradual revelation as story unfolds?
If answers are YES: You don’t need a prologue. Integrate backstory naturally.
If answers are NO: Proceed to next test.
Test 4: The Integration Test
Ask yourself: Could I make this prologue Chapter 1 and just start my story here?
If YES: Do it. Don’t call it a prologue; call it Chapter 1.
If NO (because prologue is different time/place/POV): Proceed to next test.
Test 5: The Importance Test
Ask yourself: If readers skip this prologue entirely, will they:
- Be confused about plot?
- Miss crucial information?
- Misunderstand character motivation?
- Lack context for stakes?
If NO (story works without it): Cut the prologue.
If YES (story genuinely needs it): You likely have a legitimate prologue. Now make it good.
Test 6: The Purpose Test
Ask yourself: Does this prologue serve one of the five legitimate functions?
- Framing device
- Inciting backstory event
- Foreshadowing hook
- World/tone establishment
- Alternate POV scene
If NO: Cut it.
If YES: You’re justified in having a prologue. Now execute it well.
What Makes a Good Prologue (The Craft Elements)
If you’ve determined your prologue is genuinely necessary, here’s how to make it work.
Element 1: Brevity
The rule: Short, self-contained, doesn’t overstay its welcome
Ideal length:
- 2-5 pages maximum
- 500-2,000 words
- Shorter is usually better
Why this matters: Readers know “the real story” is waiting. Every page of prologue delays that story. Respect their patience.
Common mistake: 10-page prologue that’s essentially a short story. If your prologue is this long, it’s probably doing too much.
The test: If you can’t justify every paragraph’s inclusion, cut it.
Element 2: Self-Containment
The rule: Prologue should have its own beginning, middle, and end
What this means:
- Mini-arc within the prologue itself
- Doesn’t end mid-scene or mid-thought
- Provides some resolution (even if leaving questions)
- Feels complete as a unit
Why this matters: Prologues that don’t feel complete feel like arbitrary cuts—why stop here rather than three pages later?
Example of self-containment:
Good: Prologue shows antagonist murdering someone, covering tracks, and disappearing into night. Complete scene with arc.
Bad: Prologue shows antagonist entering building, walking upstairs, finding victim… then cuts to Chapter 1.
Element 3: Clarity
The rule: Readers should understand what’s happening, even if they don’t understand why yet
What this means:
- Clear who the characters are (even if not knowing names)
- Clear what’s physically happening
- Clear enough to follow the action
- Mysterious without being confusing
The distinction:
- Mystery: Readers have questions but understand scene itself
- Confusion: Readers don’t understand what’s literally happening
Good mystery: A man kills someone. We see the murder clearly. We don’t know who he is, why he did it, or how it connects to main story. That’s mystery.
Bad confusion: Shadowy figures do something in darkness. We can’t tell who they are, what they’re doing, where they are, or what’s at stake. That’s just confusing.
Element 4: Hook Quality
The rule: Prologue must hook readers as effectively as Chapter 1 would
Why this matters: You’re asking readers to start your book twice. The prologue start must earn that request.
What makes a hook:
- Intriguing situation
- Compelling voice
- Clear stakes (for prologue itself)
- Specific questions raised
- Reason to keep reading
Common mistake: Vague, atmospheric prologue that’s “mood-setting” without actual hook. Mood doesn’t hook; story hooks.
The test: If an agent reads your prologue, would they request more pages? Or would they think “get to the actual story”?
Element 5: Connection to Main Story
The rule: Readers must eventually understand how prologue connects to main narrative
Timeline for revelation:
- Framing device: Obvious immediately
- Backstory event: Connected within first few chapters
- Foreshadowing: Connected by midpoint or climax
- Alternate POV: Connected when protagonist encounters results
Why this matters: If readers reach 50% of book and still don’t understand how prologue relates, they’ll feel deceived.
The promise: Your prologue makes an implicit promise: “This matters to the story you’re about to read.” Keep that promise.
Element 6: Genre Appropriateness
The rule: Prologues work better in some genres than others
Genres where prologues are common and accepted:
- Fantasy: World/system establishment
- Thriller/Mystery: Antagonist POV or foreshadowing
- Historical Fiction: Framing device or time jump
- Science Fiction: World orientation
Genres where prologues are less common:
- Contemporary Romance: Usually unnecessary
- Young Adult: Often skipped by readers
- Literary Fiction: Can work but scrutinized
- Middle Grade: Rarely needed
Why this matters: Genre conventions shape reader expectations. Fighting convention requires justification.
Common Prologue Mistakes (And How to Fix Them)
Mistake 1: The Info-Dump Prologue
What it looks like: Pages of exposition about world history, magic systems, political structures, or backstory
Why writers do it: “Readers need to know this to understand my world”
Why it fails:
- Boring
- Readers skip it
- Info without story context is meaningless
- You can weave information into actual story
Example:
In the land of Mystoria, magic has existed for three thousand years. The Five Great Houses each control a different elemental power. Fire is controlled by House Pyros, Water by House Aquarian… [continues for 4 pages]
The fix: Delete it. Introduce world information as it becomes relevant to plot through character experience.
Mistake 2: The False-Start Prologue
What it looks like: Action-packed scene disconnected from main story, designed to hook readers before “real” story begins
Why writers do it: “My actual story starts slow, so I need a hook”
Why it fails:
- Feels like bait-and-switch
- Readers feel deceived when Chapter 1 changes pace/tone
- Signals writer doesn’t trust their actual opening
- Often the exciting scene doesn’t connect meaningfully
Example: Prologue: Intense battle scene with unnamed characters fighting for survival Chapter 1: Protagonist’s normal day at school, slow pacing, no connection to battle
The fix: Cut prologue and start where story actually begins. If your real opening is too slow, fix the opening—don’t compensate with unrelated action.
Mistake 3: The Chapter 1 Disguise
What it looks like: Scene that’s literally just Chapter 1 but called “Prologue”
Why writers do it: Misunderstanding of what prologues are, or arbitrary labeling
Why it fails:
- Confusing
- No functional difference from Chapter 1
- Wastes reader energy restarting
Example: Prologue: Protagonist wakes up on day story begins, goes about morning routine Chapter 1: Protagonist continues the same day
The fix: Just call it Chapter 1. If it’s continuous with your main narrative and features your protagonist in main timeline, it’s not a prologue.
Mistake 4: The Dream/Vision Prologue
What it looks like: Protagonist dreams or has vision of future, then wakes up in Chapter 1
Why writers do it: “I want to show the danger/destiny ahead”
Why it fails:
- Overused trope
- Reduces impact of actual events later
- Often vague and confusing
- “It was just a dream” feels like cheat
Example: Prologue: Sarah sees herself standing in ruins, flames everywhere, holding a glowing sword. She hears voice: “You are the chosen one.” Then wakes up. Chapter 1: Sarah’s normal life begins
The fix: Cut it. Let readers discover destiny/danger along with protagonist. Or, if prophecy is crucial, introduce it organically in main narrative.
Mistake 5: The Unnecessary Backstory Prologue
What it looks like: Scene from years ago showing trauma/event that shaped protagonist
Why writers do it: “Readers need to understand why my protagonist is damaged/motivated”
Why it fails:
- Usually not as crucial as writer thinks
- More powerful revealed gradually
- Readers don’t care about trauma until they care about character
- Can be integrated through memory/dialogue
Example: Prologue: Ten years ago, Sarah’s parents died in car crash. Shows the crash, funeral, her grief. Chapter 1: Present day Sarah, now grown
The fix: Cut prologue. Introduce this information when it becomes relevant. Let readers meet present-day Sarah first and care about her before revealing past trauma.
When to Include Prologues in Queries and Submissions
The definitive answer: Yes, include it.
For Query Letters
Don’t mention the prologue explicitly. Your query describes the main plot from Chapter 1 forward. The prologue’s existence isn’t relevant to the pitch.
Count prologue in total word count. If your book is 85,000 words including prologue, that’s what you state.
For Partial Submissions (First 3 Chapters, First 50 Pages, etc.)
Always include the prologue.
Why:
- Agents want to see your book as readers will experience it
- Prologues are part of your opening pages
- Agents need to assess if your prologue is necessary/effective
- You can’t pick and choose what to send
What this means: If agent requests first 30 pages and your prologue is 5 pages, they get:
- 5-page prologue
- First 25 pages of Chapter 1
For Full Manuscript Requests
Obviously include it—it’s part of your book.
The Revision Question: Should You Cut Your Prologue?
If you’re revising and uncertain about your prologue, ask these questions:
Question 1: Why did I write this prologue?
Be honest. Did you write it because:
- Your story genuinely required it (legitimate)
- You couldn’t figure out how to open with Chapter 1 (fix Chapter 1)
- You needed to dump backstory somewhere (integrate naturally)
- You wanted to hook readers before “slow” start (fix pacing)
- You saw prologues in published books (not sufficient reason)
Question 2: What happens if I delete it?
Delete it. Read your manuscript.
If the book:
- Still makes perfect sense
- Chapter 1 hooks effectively
- Readers won’t miss information
- Story flows better without it
Delete the prologue permanently.
Question 3: What function does it serve?
If you kept it after Question 2, clearly identify which of the five legitimate functions it serves:
- Framing device
- Inciting backstory event
- Foreshadowing hook
- World/tone establishment
- Alternate POV scene
If it doesn’t clearly serve one of these: Delete it.
Question 4: Could I integrate this information differently?
Even if your prologue serves a legitimate function, could you achieve the same result through:
- Starting the story at the prologue event (make it Chapter 1)
- Flashback at natural point in narrative
- Dialogue revealing backstory
- Gradual world-building through story
- Different opening chapter structure
If YES: Consider the alternative approach.
Question 5: Is my prologue actually good?
Be ruthlessly honest:
- Is it under 5 pages?
- Does it hook immediately?
- Is it clear what’s happening?
- Does it earn the “start book twice” request?
- Would agents reading it want more?
If NO to any: Either fix it or cut it.
Genre-Specific Prologue Guidance
Fantasy
Common use: World establishment, historical context, magic system introduction
The trap: Info-dumping disguised as world-building
Best practice:
- Keep extremely brief (2-3 pages maximum)
- Show world through action, not explanation
- Only include if world is genuinely so unusual readers need orientation
- Most fantasy doesn’t actually need worldbuilding prologue
Good example: The Way of Kings (brief, atmospheric, action-based) Bad example: Generic prologue explaining magic system rules
Mystery/Thriller
Common use: Antagonist POV showing crime, foreshadowing danger
The trap: Spoiling mystery by revealing too much
Best practice:
- Show antagonist action without revealing identity/motive
- Create questions, not answers
- Keep tense and atmospheric
- Ensure connection to investigation becomes clear
Good example: The Girl with the Dragon Tattoo (establishes case in past) Bad example: Showing crime so thoroughly it removes all mystery
Literary Fiction
Common use: Framing device, atmospheric establishment, thematic introduction
The trap: Pretentious, obscure, self-indulgent prose
Best practice:
- Justify why story can’t start with Chapter 1
- Ensure prologue serves thematic purpose
- Keep accessible despite literary style
- Connection to main narrative must be clear eventually
Good example: The Book Thief (Death narrator established) Bad example: Vague philosophical musings disconnected from plot
Historical Fiction
Common use: Framing device (present day leading to historical story), historical event setup
The trap: Info-dumping historical context
Best practice:
- Frame should have its own stakes and interest
- Historical setup should be brief scene, not lecture
- Consider whether historical context can emerge through story
- Modern frame must justify its existence
Romance
Common use: Rare—usually unnecessary
The trap: Using prologue to show meet-cute from past when story is present-day
Best practice:
- Almost never needed in romance
- If you think you need one, reconsider
- Romance readers want to get to the relationship
- Past meet-cute can be revealed through memory
Young Adult
Common use: Foreshadowing, backstory event, alternate POV
The trap: YA readers especially likely to skip prologues
Best practice:
- Keep extremely short (2-3 pages)
- Ensure it’s genuinely necessary
- Hook must be immediate and strong
- Test with teen readers—do they skip it?
Real-World Examples: Analyzing Published Prologues
Example 1: The Name of the Wind by Patrick Rothfuss
Function: Framing device
What it does: Establishes Kvothe in present (inn, hiding) before he tells his story
Why it works:
- Creates immediate mystery (what happened to legendary Kvothe?)
- Frame has its own plot and returns
- Contrast between legendary/broken versions is the story
- Brief but establishes narrative structure
Length: ~6 pages
Verdict: Necessary and effective
Example 2: Harry Potter and the Sorcerer’s Stone
Function: Alternate POV + world establishment
What it does: Shows Dursleys’ perspective, Dumbledore/McGonagall delivering Harry, establishes wizarding world
Why it works:
- Readers need to know Harry’s backstory
- Dursley POV adds dramatic irony
- Establishes both worlds (muggle and magical)
- Creates questions (what happened? who is this baby?)
Length: ~20 pages (long but justified)
Verdict: Necessary—story couldn’t start with Harry’s perspective as baby
Example 3: The Book Thief by Markus Zusak
Function: World/tone establishment
What it does: Introduces Death as narrator, establishes WWII setting, creates atmospheric tone
Why it works:
- Death narrator is unusual enough to need orientation
- Brief, engaging, not didactic
- Establishes emotional tone (dark but hopeful)
- Makes Chapter 1’s entry smoother
Length: ~3 pages
Verdict: Helpful orientation for unusual narrative technique
Example 4: Outlander by Diana Gabaldon
Function: Framing device
What it does: Modern-day couple visits Scotland before time-travel story begins
Why it works (debatably):
- Establishes Claire’s marriage and life
- Creates context for time travel
- Modern voice before historical story
- But could arguably start with time travel itself
Length: Several pages
Verdict: Functional but potentially cuttable
FAQ: Prologue Questions Answered
Q: If my prologue is more like a short scene (1 page), should I still call it a prologue?
A: If it’s that brief and essential, consider just integrating it as the opening of Chapter 1 instead of separating it.
Q: Can I have both a prologue and an epilogue?
A: Yes, if they’re framing devices or bookend pieces. But both must be justified individually.
Q: My favorite author uses prologues. Isn’t that enough reason?
A: No. Every book must justify its own structure. Published doesn’t mean perfect.
Q: What if my critique group loves my prologue?
A: Ask them to read manuscript without it. If the story still works, cut it. Critique groups often approve things that agents/readers won’t.
Q: Should I mention in my query that the book has a prologue?
A: No. It’s not relevant to your pitch. Just count it in your word count.
Q: Can I have multiple prologues?
A: Almost certainly no. One prologue is already asking a lot. Multiple means structural problems.
Q: What if readers are confused without the prologue?
A: Then you need the prologue OR you need to strengthen your opening chapter so readers aren’t confused. Figure out which.
Q: Is it okay to have a very short prologue (under 500 words)?
A: Yes, brief is better than long. But ask if something that short should just be Chapter 1’s opening instead.
The Bottom Line: Most Books Don’t Need Prologues
Here’s the uncomfortable truth: If you’re uncertain whether you need a prologue, you probably don’t.
Writers who genuinely need prologues typically know exactly why—the story fundamentally doesn’t work without that opening frame, that backstory event, that alternate POV scene.
Writers who aren’t sure usually have one of these problems:
- Weak Chapter 1 that needs compensating
- Backstory they couldn’t integrate naturally
- World-building they feel compelled to front-load
- Uncertainty about where story really begins
These aren’t prologue problems. They’re structure problems.
The better solution:
- Strengthen Chapter 1 so it doesn’t need compensation
- Learn to weave backstory naturally through narrative
- Integrate world-building through character experience
- Find where your story actually begins and start there
Ask yourself honestly: Am I including a prologue because my story genuinely requires it, or because I’m avoiding harder work of fixing my opening?
If the answer is the latter, do the harder work.
Cut the prologue. Fix Chapter 1. Trust your story to start where it actually starts.
Your readers—and your future agent—will thank you.
Test Your Prologue Today
If you have a prologue in your manuscript, run it through the six litmus tests in this guide. If it fails any test, try deleting it completely and reading Chapter 1 fresh.
