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Last updated on Mar 17, 2023

Prologue in a Book: The Story Before the Story

A prologue is a short opening section in a book that is separate from the main narrative. Taking place within the story's world, they provide the reader with character backstory, worldbuilding, or foreshadowing. Prologues come at the beginning of a book; after any copyright, dedication, and epigraph pages. There’s no set length, but a prologue is usually shorter than a standard chapter.

A prologue is different from a preface, which is written from the perspective of the author and isn’t fictional. It’s also different from an introduction or foreword, both of which are generally found in nonfiction — the former being a summary of the author’s arguments while the latter is written by someone other than the author.

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Now that we’ve covered what a prologue isn’t, let’s take a deeper dive into what prologues can do, along with some examples of great ones from literature.

Looking to learn how to write your own prologue? Check out our guide right here.

A prologue can create intrigue at the book’s opening

Authors often use a prologue to hook readers into a story by previewing what’s to come. In giving a taste of mystery or conflict to its readers, a prologue can whet their appetite for more. 

These types of prologues sometimes take place at the story's climax. They may center on characters that don’t appear in the rest of the book. They may even be a description of an incident that seems completely unrelated to the book. The idea here is to throw readers into the deep end and get them asking questions: who are these people? How did the story get to this point? How does it tie into the bigger story?

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By immediately introducing some kind of tension or intrigue, a prologue can pique the readers’ interest and reel them in with the promise that all will be revealed in due course.

Example: Ninth House by Leigh Bardugo

Packed with mystery and action, Leigh Bardugo’s paranormal fantasy begins in medias res. Protagonist Alex Stern is seemingly trapped in a house, reading notes left by members of a secret society. She’s also injured — something has bitten her, and there’s no one around to lend a helping hand.Example of a prologue in a book, excerpt from Leigh Bardugo's Ninth House

Laced with threads of information about a mysterious association and a strong dose of high stakes, Ninth House gets readers asking questions with its prologue; what is this secret society? Where is this mysterious house? Will Alex survive her injury? All of these questions build suspense and  can only be answered by turning the pages. 

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While prologues are great at flipping the switch that turns casual readers into armchair detectives, they can also be deployed in ways that will inform how readers process the rest of the book.

Themes are often introduced in the prologue 

Since they often don’t directly relate to the main plot of the book, prologues can easily baffle readers. However, a seemingly unrelated prologue might be a sign that the author is planting an image or an idea they will want the reader to subconsciously draw on throughout the book. They might also be frontloading the book with a scene that focuses on a particular theme, encouraging readers to take in the rest of the narrative through a certain lens or with a particular frame of reference.

Example: Crazy Rich Asians by Kevin Kwan

This extravagant and satirical novel lives up to its name by beginning with a prologue set in the lobby of a luxury hotel in London, 1986. A family of Chinese tourists arrive soaked from the (unusually heavy) English rain. When the manager refuses to let them check in to their suite, the matriarchs of the family quickly deduce it’s down to the hotelier’s prejudice. One quick phone call later, the family now owns the hotel, and send the snooty manager packing. 

Example of a prologue in a book, excerpt from Crazy Rich Asians

As we discover later, one of the children in this family is Nick, who is a major character in the book. The prologue reveals the kind of power that Nick’s family is used to wielding. This level of wealth may baffle Nick’s girlfriend, Rachel, later in the story, but not the readers — thanks to the prologue, we already know exactly how rich they are: crazy rich.

It isn’t always quite so on the nose, but authors often foreshadow major conflicts and themes in the prologue. By highlighting the Youngs’ unattainable lifestyle, the prologue of Crazy Rich Asians hints at the disparity that undergirds the central conflict of Nick and Rachel’s romance, as well as the general theme of class which beats throughout the novel. In this way, the prologue functions as a successful example of show, don’t tell, establishing some central points of tension.

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So far, we’ve looked at prologues as a way to prepare readers for the story’s narrative. But in many cases, especially in genre fiction, you’ll see them used as a tool to introduce readers to the world of the book.

Q: Are you #TeamPrologue or #TeamNoPrologue and why?

Suggested answer

There can be the temptation, especially in the genre of fantasy and science fiction, to 'front-load' with the prologue. That is, to start with a chunk of exposition, setting out the geography and rules of your world. This, however, can be very dry. The reader will want to explore your world through your characters' eyes; this makes for a much more evocative experience whereas a history/geography lesson can make it feel like you're reading a text book, regardless of how complex and beautifully worked out the setting of your novel is. However, I'm not opposed to a prologue, as long as it serves a valid function in telling your story and is not just there to 'info-dump.'

As with all writing rules, there has to be some elasticity here. Prologues work well when they work well, and don't when they don't. When I'm editing a work, I don't automatically assume a prologue should be cut. Rather, I approach each prologue on its own merits. If I feel that the information in the prologue would work better gradually revealed through the course of the story, then that is what I'll suggest. So, in this, I suppose I'm #TeamSittingOnThePrologueFence.

Jonathan is available to hire on Reedsy

Tricky one! But honestly, I'm #TeamNoPrologue 90% of the time. Why? Because most prologues don't do much in story terms. A prologue only really works (and is therefore needed) if by the end of the story the reader gets a "ker-ching!" realisation about the prologue... perhaps they race back to it, and read it again, because now it makes sense, and adds something vital to the story.


I've worked on 300+ novels over the last eight years or so, and I've read a lot of prologues. My most common note on them: "Is the prologue needed? I think it could go. Just start the novel with chapter one?"


Ditto epilogues, actually. I had both a prologue and an epilogue in one of my novels. A reader who I know and trust told me my epilogue added nothing to the story: it didn't reveal anything new or additional. I was a little resistant to this at first. Months passed, and I realised she was right. I've since re-issued my novel without the epilogue, and it's a better novel for that deletion.


So weigh it up, and be honest about the role of your prologue. If you even have an inkling that it's mere baggage, listen to that instinct, and get rid of it. You can always put it back later if you change your mind.

Louise is available to hire on Reedsy

It depends. Prologues, and specifically prologues that flash forward to a climactic scene later in the book, can sometimes be useful in cases where a novel starts slowly. Mind you, it’s usually worth asking why it starts slowly and what can be done to frontload more plot. But there’s a Hitchcock quote about suspense vs. surprise that I like a lot:


"We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"

In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”


To my mind, the best use of a flashforward prologue is one that plants that metaphorical bomb under the table. You give away something that will happen later on in the story so that the reader will A) want to know how it happens, B) feel an increasing sense of suspense and dread as we see things starting to line up toward the preordained scene, and C) be looking forward to finally getting to that scene so they can find out how it resolves.

Nora is available to hire on Reedsy

I often include prologues myself. They can be an effective way of dropping in a story 'teaser' that then doesn't get answered until the very end of the story, thus keeping tension going all the way. The trick is to avoid giving too much away in them and also keeping them very brief.

Vanessa is available to hire on Reedsy

I'm #TeamNoPrologue, and I'll give you a peek at why. There are two kinds of prologues:


Flash Forward Prologue

In the Past Prologue


In the first type, you jump forward to where the action is, to assure the audience that YES, good stuff is coming! Once you've hooked them with that, you can get back to the boring setup of who, what, and why that they need to contextualize the future action. But in the early 2000's, agents started wising up and thinking...you know what's better than having an action-packed Ch 1, then going back to the boring setup stuff? A story that's interesting right from the get-go! So I'd focus on designing the opening moments of your story to be fun to watch, while demonstrating what the audience needs to know.


In the second type of prologue, by definition, you're starting before the story gets going, in a bit of backstory that will become important later. The problem? You don't know why it's important until...later. So why would you want to read it now?


This is why my favorite advice is: Find the chase, and cut to it!


Think about the moment your story really takes off, and design the scene so we find out everything we need to know through the way that scene plays out! Instead of a chapter to show us your character is a party girl, then a second chapter where she has an alien encounter, show her passed out in a mansion full of stolen Slinkies from last night's party--then have the aliens abduct her right out of the middle of the wreckage. It's quick, it's bursting with show-don't-tell characterization, and it's fun to watch...no prologue required!

Michelle is available to hire on Reedsy

I am staunchly against prologues until I read one that works, and then I'm totally won over! In other words-- and unfortunately-- it depends.


While writing, I'd encourage authors to consider the advantage of labeling their opening section "a prologue" versus "chapter one." If they're calling something a prologue simply because it exists outside the normal timeline of the book's narrative, then I become dubious. I admire prologues which feel less like preambles and more like cannon shots. To me, "this prologue offers background information" is not sufficient justification. It needs to add something to the book beyond logistical context: intrigue, tone, voice, etc.


For example, right now I'm reading the novel The Extinction of Irena Rey by Jennifer Croft. The book begins with a prologue titled, "Warning: a note from the translator." This is not a literal warning from a real translator. Instead, it's a character within the novel explaining their point-of-view, their closeness to the book's subject, and the fact that "part of the plot is inspired by true events, and although I can't say which part... we live in Mongolia, which has no extradition treaty with Poland...." To me, that's super intriguing: an unreliable narrator immediately remarking upon extradition! Are they in trouble? What's going to happen in Poland? So while this prologue articulates some background information, it's equally concerned with tone, voice, and setting the plot in motion.

Kevin is available to hire on Reedsy

Depends on the book, of course, but in general, I like a well-done prologue as an intro to a novel. Sets it up, and can act as a strong hook for a potential reader when done right. Other times, though, when it meanders, it can be a detriment—I once deleted both the prologue and epilogue of a book, and the writer couldn't've been happier; he said it was exactly what it needed—ditch the setup, and don't overexplain the ending. But yeah, definitely depends on the book.

Brett is available to hire on Reedsy

Like many answers when it comes to the craft of writing, the answer for me is it depends (I know, I know, a frustrating answer!) Prologues can be a swift way to draw readers into the story, giving vital information that can't be shown elsewhere. If they're too long, sometimes readers skip over them to get to the 'good stuff'.


When I evaluate whether a prologue is needed, I often look at a few things:

  1. Is it too long and can it be shortened while retaining the same information?
  2. Does this prologue contain elements that are vital to the story?
  3. Does removing the prologue change the story in any way, good or bad?


If the answer to that last point is no, then that's a good sign that the prologue can likely be cut or doesn't need to be there. When deciding on whether to include a prologue or not, ask yourself: Can the information in this prologue be shown any other way somewhere else in the book? Is this prologue a sort of pre-writing exercise for me as the author to help me get into the world and characters, and can be cut later? And, as I evaluate, if I remove this prologue, what about the book and story changes?


Sometimes you may not know if a prologue works, and I like to read through the book in its entirety before deciding on whether the book would be stronger with/without the prologue.

Sean is available to hire on Reedsy

I don't see any need for teams here. It's a question for each individual book.


A prologue can build suspense, like a teaser; it could be a flashback or -forward. It may be pointless: for example, some writers will call their first chapter a prologue when it's just Chapter 1.


A developmental editor can advise on this: they may suggest adding a prologue by pulling out a section of text from a later chapter; or blending the existing prologue into the main narrative; or renaming it 'Chapter 1' ... Whatever they think works for the book, they will say, and the author can agree or disagree, because it's their book and they always have the final say.

Vicki is available to hire on Reedsy

It depends, y’all! As an editor, I am on #TeamPrologue when the prologue serves an explicit purpose in the storytelling that could not be achieved otherwise. Does it create a compelling hook that could not be accomplished in a different way? Does it provide essential backstory, critical to understanding the story’s forthcoming arc, that would not fit anywhere else in the story? Is it presenting the overarching themes so that they will resonate throughout the entire novel?


I’ve worked on romances that have a backstory prologue that makes you feel for the main character in ways that could not be executed with another approach. I’ve worked on fantasies that have a bam-pow future-flash hook in the prologue that instantly makes the story a page-turner, a how-did-we-get-here? tale of suspense.


Ask yourself what the prologue is providing your story. If your manuscript can start in a simpler, more linear way, then maybe go with that instead. But I’m definitely #TeamPrologue if it services the story in a particular way that pulls at your heart strings, makes your heart start to race, or creates any other sort of heart-feels that get you to fall in love with a story.

Sandra is available to hire on Reedsy

Answers provided by professionals available on reedsy.com

It can be used for efficient worldbuilding

Prologues are a great opportunity for worldbuilding, especially in genres like sci-fi, fantasy, and historical fiction, where the reader might not understand the rules of your world and its setting. By picking some relatively recognizable details of the world and spotlighting them with a teaser scene, authors can transition readers from the real world to their fictional one

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Example: Pillars of the Earth by Ken Follett

This epic historical novel opens with the public hanging of a character who doesn’t appear again in the story but whose fate drives the rest of the plot. As well as recounting an event that will have a seismic effect on the story, the prologue creates a vivid image of 12-century England. Example of a prologue in a book, excerpt from Ken Foley's Pillars of the Earth

By capturing the atmosphere on the day, with its open gallows, anticipating spectators, and witch who cries out a curse after the execution, Follett draws readers into the era in which this Medieval tale unravels. 

As well as giving readers a glimpse into the world of the story, prologues are often used to introduce something critical about the book’s primary characters.

A prologue can build character backstory

Prologues can add nuance to a narrative, using a different time frame or location (or both) to provide key background information about characters or plot. It can help readers understand how a character has ended up where they are by the first chapter quickly and efficiently.

You’ll often see backstory prologues in book series, where a later installment may start by taking a character that readers already know. It could show them earlier in their lives — perhaps before they became the person they are in the main narratives. Just as often, though, you’ll find prologues used to introduce characters for the first time. 

💡 Think your story might warrant more than one book? Check out our tips for writing a series here.

Example: The Cruel Prince by Holly Black

This first installment of Holly Black’s The Folk of the Air series opens with a mysterious faerie knight arriving at a cozy family home. Standing at the door, he menacingly demands the child that his human wife had taken from him. As said child and her siblings watch on confused, their human father rushes to his wife’s side. The faerie strikes the parents down with ease, taking the bewildered children — now orphans — away to Faerieland.Example of a prologue in a book, excerpt from Holly Black's The Cruel Prince

We then cut to chapter one, set in this other world, years in the future. The kidnapped children are now grown and trying to make sense of their past as well as their position in this magical world. 

This hard-hitting prologue does a lot of heavy lifting for the novel. It establishes an inciting incident that throws the young character into an unfamiliar world that she must now navigate. On top of that, it draws comparisons between the human girl who lost her family to the faerie world and the faerie knight who lost his family to the human world. These two characters are in conflict bu inextricably linked, a theme that Black’s prologue introduces right off the bat. 

So far, we’ve seen that a prologue is a flexible tool that authors can deploy for a number of narrative and artistic purposes. But does that mean that every book can benefit from one?

But used poorly, a prologue can put readers off

Being the first taste readers get of a book, there’s a lot of pressure on a prologue to get it right. Executed badly, a prologue can be a drag. In fact, many authors swear against using them since there are many potential pitfalls. 

Say you're trying to work on a romance about an unlucky-in-love woman finally finding true happiness. The prologue might feature a scene of her crying at home after a horrific breakup. She’s been unceremoniously dumped by her girlfriend at their anniversary dinner. On her way out of the restaurant, our tearful lead receives a phone call; her mother has just died, and, in one evening, her life as she knew it is over. Whilst this prologue provides insight into why our heroine is emotionally guarded in the subsequent love story, it doesn't intrigue the reader and it doesn't tell them anything they couldn't have figured out themselves. 

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This hypothetical prologue is not only an info-dump but it also overwhelms the reader with backstory instead of immersing them in action. Also, by immediately revealing why our lead is so disillusioned with love, we lose a valuable source of tension: the question of “but what could possibly have gone so wrong in her past?”. A better option could be drip-fed through flashbacks or exposition as we (and the new romantic interest) get to know her better.

So what's the lesson? Prologues are difficult to pull off, even for the most accomplished authors, and they're not always needed. They can harm a novel’s pacing by delaying the story’s true beginning, but a prologue that serves your story can be both fun and rewarding. If you want to take up the challenge of writing your own prologue, head over to our guide to writing these tricky little passages.


The next post in this guide will focus on the final piece of a book's front-matter ensemble: the preface.

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