In the third and final part of this series, we look at exposition in prologues. We'll explore how much information your reader needs, how to deliver it to them, and how to avoid going overboard with your worldbuilding.
In part two of this series, we look at how a prologue should be able to draw in and engage readers - without resorting to cheap pyrotechnics.
For aeons, a great battle has waged between They Who Write Prologues and They Who Think the Story Should Start in Chapter One. In this three-part series, we'll look at what a prologue should actually be doing for your story, and help you decide whether you need one or not.
Asking 'How much conflict should be in my novel?' is a bit like asking 'How much talking should be in my radio play?'
A few common causes of the flaky fight scene, and how to address them.
Strength isn't always about beating people up. Sometimes it's about trading your soul for power (so you can beat people up).
Playing to your reader's assumptions.
Melancholy Whale 