Best Places to Advertise Your $0.99 Ebook Promotion

As my adventures in advertising and marketing my self-published books continue, I thought I’d share some lessons from my latest $0.99 promotion of the first book in The Conjurors Series. For this attempt, I clustered five different advertisements within one week in an attempt to push up my ranking and visibility on Amazon, particularly for certain subgenre lists.

I was reasonably successful (by my modest standards), and for the week that I ran the promo, I had 87 people purchase my book. My highest ranking was around 6,000 for paid books on Amazon, but I was in the top 20 of three key subcategories that my book fell into.

A good percentage of the people who downloaded my book have now purchased the second (and even third) book in the series. Overall, I have recovered the money I spent on advertising with sales, but not with much left over profit-wise. But I consider the promo a success, because I now have a better idea where to focus my limited budget for future ads.

Below are the sites I used to advertise, and the success I had with each one.

The Fussy Librarian, $14
I’ve used this site for various free promotions, and it usually gives me a noticeable bump in downloads. For the day I advertised on Fussy, I had 7 downloads of my book at $0.99, which doesn’t sound like a lot, but it did help push me up in the rankings. Overall, I would use this site again, especially in conjunction with other advertising as a way to increase my visibility on the Amazon lists.

Free Kindle Books and Tips, $25
This was my first experience with this site, but it came recommended from a fellow author so I decided to check it out. On the day I advertised, I had 15 downloads of my book, a decent percentage of which I assume are from this listing. For my meager budget, I found this a little pricey, but ultimately worth it, as it helped push my ranking in Amazon’s paid lists up to about 17,000 (from 100,000).

Ereader News Today, $15
Without question, this was the most valuable advertisement I’ve paid for. It’s hard to say exactly how many people came from this source, but I estimate around 30 downloads, which brought my rank up to around 6,000. It was in the top 20 of three subgenre lists, which may have also increased downloads.

Bookgoodies, $35; Bookgoodies Kids, $35 (home page feature for one week)
Bookgoodies was my biggest investment, and also my biggest disappointment. I estimate that it drove a couple of sales of my book a day, which isn’t nothing, but didn’t have the same impact as any of my other advertisements, in spite of being more expensive. This surprised me, because I’ve found Bookgoodies to be very helpful in driving traffic for the free promos of my books.

Are there any places where you’ve had great success with ads? I know Bookbub is awesome, but I haven’t managed to get them to agree to list my book yet.

What’s Your Story’s Logline?

shutterstock_208876747In the writing world, there is a lot of talk about creating stories that are high concept, especially if you’re writing YA fantasy, like I am. Basically, if your story is high concept it has a compelling idea that can be summed up succinctly. (The Writer’s Store does a great job of explaining the concept here.) If you hear a high-concept idea, you know it because it stays with you. You find yourself already picturing the movie in your head.

The idea of creating a high concept novel reminded me of a term I learned about in my days writing screenplays. Every script had a logline, in which the author summed up the protagonist, conflict, and what made the story unique in one or two crisp sentences. Though novel-writing is a completely different medium, I think creating a logline for your story is the perfect place to start before you pen your first chapter. If you can’t identify what makes your story different and the emotional impact it will have on the reader at the highest level, it’s time to go back to the drawing board.

Once you’re deep into your book (or series), it’s tough to make big changes. It’s impossible to change the fundamental concept – you might as well start over. Writing a logline forces you to make sure that this is a path that you want to spend months or years of your life exploring. All the editing in the world can’t make a story more high concept, so it’s the one thing you have to get right from the start. You probably have many ideas in your head, and most of them are okay, or just good enough. It’s worth taking the time to write a logline to see if your idea pops, if it is THE ONE.

I wanted to see if my theory applied to some of the most successful young adult fantasy novels over the past few years. I went to IMDB to read the loglines for these books, which are all now turned into movies, to see if their core premise could be summed up in one or two compelling sentences, or if the plots were too nuanced to draw readers in without a little explanation.

Here are 10 examples of the loglines from YA fantasy movies that instantly convey a high concept.

Divergent
In a world divided by factions based on virtues, Tris learns she’s Divergent and won’t fit in. When she discovers a plot to destroy Divergents, Tris and the mysterious Four must find out what makes Divergents dangerous before it’s too late.

Beautiful Creatures
Ethan longs to escape his small Southern town. He meets a mysterious new girl, Lena. Together, they uncover dark secrets about their respective families, their history and their town.

The Mortal Instruments: City of Bones
When her mother disappears, Clary Fray learns that she descends from a line of warriors who protect our world from demons. She joins forces with others like her and heads into a dangerous alternate New York called Downworld.

Percy Jackson and the Olympians: The Lightning Thief
A teenager discovers he’s the descendant of a Greek god and sets out on an adventure to settle an on-going battle between the gods.

The Giver
In a seemingly perfect community, without war, pain, suffering, differences or choice, a young boy is chosen to learn from an elderly man about the true pain and pleasure of the “real” world.

Warm Bodies
After a highly unusual zombie saves a still-living girl from an attack, the two form a relationship that sets in motion events that might transform the entire lifeless world.

The Hunger Games
Katniss Everdeen voluntarily takes her younger sister’s place in the Hunger Games, a televised fight to the death in which two teenagers from each of the twelve Districts of Panem are chosen at random to compete.

Harry Potter and the Sorcerer’s Stone
Rescued from the outrageous neglect of his aunt and uncle, a young boy with a great destiny proves his worth while attending Hogwarts School of Witchcraft and Wizardry.

Twilight
A teenage girl risks everything when she falls in love with a vampire.

Eragon
In his homeland of Alagaesia, a farm boy happens upon a dragon’s egg — a discovery that leads him on a predestined journey where he realized he’s the one person who can defend his home against an evil king.

And though it wouldn’t make the top 10, below is the logline for the first book in my own series, The Conjurors.

The Society of Imaginary Friends
Valerie Diaz has magic that she can’t contain, and it’s killing her. In order to survive, she must embrace her power and travel many light years away to fight an enemy who has been trying to kill her since she was a child.

What’s your story’s logline?

Sweating Your Way to Writerly Greatness

shutterstock_123855541When an athletes are wildly successful, no one questions that in addition to talent, they have put in countless hours practicing, relentlessly drilling themselves on specific maneuvers and training their bodies to be in prime condition. When a writer is wildly successful, the reverse is true. Most people assume that great writers achieve success because of their talent, and of course, they probably honed their craft a bit too.

It isn’t only readers who have this assumption. Authors themselves (myself included) often underestimate the amount of time, effort and practice needed to make their writing good. I am a huge fan of Malcolm Gladwell’s books, and I loved the part of Outliers where he discusses the 10,000 hour rule. Basically, Gladwell studied extremely successful people and proposed that it takes 10,000 hours of practice to become a master in a field. This is both incredibly encouraging and incredibly daunting. The encouraging part is that almost anyone can become good at something if they put in their 10,000 hours. The daunting part is that it takes that much time to get good. But throw in some talent as well, and you can really make a mark.

Even though studies have argued that Gladwell’s theory is only partly true, and practice can only take you so far, as authors I think we all to often undervalue putting the time in to hone our craft. It isn’t 10,000 hours including writing grocery lists, or even sporadically writing stories since you were a kid. I think putting in the time means concentrated effort over a continuous period of time. Like any muscle, your writing can weaken when you neglect it, and it will take additional time to strengthen it after a period away.

If you look at famous authors, the truth of the 10,000 hour rule often plays out. It took J.K. Rowling six years to write the first book in the Harry Potter series. Suzanne Collins of Hunger Games fame has been doing scriptwriting for almost three decades and book writing for over a decade. The Hunger Games isn’t even her first series – she wrote The Underland Chronicles first. The list goes on.

I’m finishing up my fourth full-length novel, and I’ve also written three screenplays. I don’t know if I’ve logged 10,000 hours writing, or if that matters. But I do know that my writing is better now than it’s ever been. I think about my craft more now than before, and my approach has evolved. So even if The Conjurors Series never makes me money, I could never consider it time wasted. I loved the writing of it, and it has fundamentally changed me as a writer. Looking at it this way, I could give the series away and consider it a success.

Soon I’ll be on to the next challenge, but I’ll take all that I’ve learned with me.

 

When the First Book in Your Self-Published Series Is the Weakest

shutterstock_186735257Once upon a time I decided to write a young adult fantasy novel. I spent hours plotting, writing, editing, rewriting. There were dozens of beta readers, five major rewrites of the entire story (and countless minor rewrites), and the help of a professional editor. The result was a decent book that I’m proud of, the first book in The Conjurors Series.

I’m now writing the fourth (and last) book in the series, and to say that my writing has evolved would be an understatement. Reading the first book makes me shake my head and sigh at how naïve I was. I’m not claiming to be Shakespeare now, but the act of spending hundreds of hours writing thousands of words has made me a better writer.

The only problem is that readers’ introduction to my writing is the first book of the series – which is the weakest. Below are some of the ways I’ve seen this problem tackled.

Give your first book away for free.
I’m a follower of Lindsay Buroker’s blog, and she was one of the early self-publishers to make the first book in her series, permanently free. She feels that it was a great way to build her fan base and gain the significant following that her writing now has. In my opinion, though, the first book in her series is actually pretty great – her writing just gets that much better. So this option works if your first book is at least good enough to hook readers and get them to continue to read an become more invested in your writing. Also, with so many freebies out there now, having a free book doesn’t have the same impact that it did in the past.

Give your series away for free.
This may sound crazy, but it’s a bolder move. Lots of people give away a book, but an entire series? If you already have your next set of books in the works, it can be an aggressive way to build a fan base. If you’re in the self-publishing route for the long haul and are a fairly prolific writer, consider giving a huge incentive to readers for trying your writing.

Rewrite your first book.
Rewriting (yet again) your first book will be acute torture, take it from someone who has been there, done that. I had limited success with rewriting the book to bring it up to par with the rest of the series, because too many plot points were already embedded through the series. Any changes I made had to be threaded through the rest of the books, and it was exhausting. The end result was a story that was marginally better, but still not as good as the rest of the series. However, if your first book is freestanding, bite the bullet and rewrite it. If there are scenes you can rewrite, go for it. I also recommend cutting as much as you can to make the story short and sweet.

Cut your losses and start a new series.
I considered pulling my books off Amazon, abandoning my heroine and starting a new series, but something is compelling me to finish telling the story that I started. Even if this series never amounts to anything more than a lot of my time and sweat, and a few readers who enjoyed it (thanks, Mom!) Valerie’s journey must be completed. I’ve learned a lot, and as excited as I am to start the next series, it feels right to close this chapter first. But if you are less attached to your story, keep in mind the idea of sunk costs – sometimes it’s better to look forward at what you could be accomplishing instead of investing more time in a series that isn’t going to benefit your writing or your career.

Is anyone else in the same boat, with a series that has gotten progressively better, but is held back by a weak first book?

How to Keep the Lovers in Your YA Novel Apart

shutterstock_217031539I’m not going to try to deny it. I love a great love story. Romeo and Juliet, Elizabeth Bennett and Mr. Darcy, Katniss and Peeta. The problem as a YA writer, though, is that there are only so many good reasons that an author has to keep the lovers in the story apart. One of my favorite love obstacles was on the TV show Buffy the Vampire Slayer. If Buffy and her love, Angel, were “together”, Angel becomes an evil vampire hellbent on killing her due to an ancient curse placed on him. It made for pretty intense viewing, but it could only last a few seasons before the options fizzled out.

As I continue to noodle on my next series, which will have a fairly weighty romance element woven in, I wanted to consider some of the options for making love difficult for my protagonist (poor thing – not a word written and I’m already trying to sabotage her). Here are some of the classic romantic obstacles and examples of how they’ve been handled by YA writing pros.

The Love Triangle
Sure, it’s overplayed. For a good reason. A well-written love triangle gives readers the exhilaration of true love and the pathos of heartbreak in one neat package. A really cool twist on the love triangle that I recently enjoyed was Timebound (The Chronos Files Book 1) by Rysa Walker. The heroine has the ability to travel in time, and making changes to history affects the world as she knows it. As a result, she has two soul mates from different timelines – but she only remembers one. Too bad he doesn’t remember her… Some prominent voices in traditional publishing are saying that love triangles are really overplayed right now, but I think there is still a place for them. However, it has to be tackled with care – three likable characters are a must and a unique twist is even better.

Somebody’s Already Taken
There’s nothing like falling in love with someone who’s already in love with someone else to create high drama. I thought Anna and the French Kiss by Stephanie Perkins did a good job of evolving friendship into love without being cliché. In this case, it wasn’t the protagonist who was taken, but the boy she likes. It brought me back to the days of watching Joey pine for Dawson on Dawson’s Creek. So relatable and the drama carried me through for this super quick read.

They Hate Each Other…Until They Don’t
This is a staple of a lot of romance novels, and I’ve seen it work for YA fiction as well. The key to doing it well is having the lovers have a compelling reason to hate each other (think Jane Austen’s Pride and Prejudice, where Elizabeth hates what a snotty brat Mr. Darcy is, and Mr. Darcy is appalled by her trashy family, rather than a Harlequin romance). Where it falls apart is when the reason the characters don’t like each other is flimsy to begin with, because the conflict in the story feels artificial, or there simply isn’t enough of it.

They’re From Two Groups Who Hate Each Other
The classic example is Shakespeare’s Romeo and Juliet, but for a more recent example, check out The Selection series by Kiera Cass. The author uses a caste system in the series. The heroine is from a low caste, and the hero is a prince. It leads to lots of conflict because there are many people invested in seeing their relationship fail. One reason I think this device works well is because the hero and heroine don’t have to lose faith in each other, cheat, or doubt their feelings, which can make a reader’s interest fizzle. They’re on the same team, battling forces outside their control.

It’s Too Dangerous to Be Together
Especially in YA fantasy and dystopian books, this is a popular theme. The Twilight series famously combined this with the love triangle and was spectacularly popular. I have to hand it to Stephanie Meyer, the idea that your soul mate might kill you at any time was a twist I hadn’t seen a lot of in YA fantasy before she wrote her series. But other books have been successful here too – I enjoyed the Under the Never Sky series by Veronica Rossi. The world is toxic and on the brink of war, so the main characters have to put aside their love for each other to battle the bleak realities of their lives.

Something No One’s Seen Before
This is the hardest and best option. The devices listed above are tried and true, but as a reader there is nothing that hooks me more than a love that is too nuanced to be shoved into one category. I recently read Eleanor and Park by Rainbow Rowell, and the hero and heroine are kept apart by lots of things – their age, insecurities, and personal tormentors, to name a few. But the depth of and sweetness of the feeling couldn’t be denied. In the end, good writing trumps all.

I’m on the hunt for YA books that handle romance skillfully as inspiration for my next series. Any recommendations?

The Pros and Cons of Cursing in Young Adult Literature

expletiveAfter six books that were curse free, I’ll never forget my surprise near the end of the final Harry Potter book, when Mrs. Weasley calls the woman who killed her son a bitch. I remember wondering – can she do that? Of course, she can and she did. But that’s J. K. Rowling. Should you, in your self-published young adult novel, take the same risk?

The general consensus is that there is no consensus. Some parents (and even YA readers) are completely offended by profanity of any sort in literature aimed at readers who are not technically considered adults.

There are ways around this, of course. Authors like John Green, in addition to the occasional real swear word, also invent their own (like “douchepants” in The Fault in our Stars). Personally, I think that made up curse words rarely  have the same impact as the real thing, and, at worst, come off a little silly. Occasionally there’s a word like “frak” from the Battlestar Gallactica TV show that resonates, but often it feels like what it is – a bit of a cop out.

In general, using a few well-chosen curse words in YA literature seems like a pretty safe bet. Most people are comfortable with it in specific situations, especially if the words chosen aren’t the really forbidden ones. (You know what they are.) YA authors who use some cursing  are in good company – a 2012 Brigham Young study reported that 88% of the top 40 YA books contained at least some profanity.

Of course, there’s always the option to stay completely clean, although I can’t imagine a scenario where a young adult says, “Aw, pickles!” when he’s really frustrated. That might inspire my laughter, but there is no universe in which that character can be considered anything approaching cool.

I’m considering, for my next series, writing from the perspective of a character who would swear A LOT. It feels like it would be true to her voice to never hold back. Have you ever known someone who curses less in anger, but more as a matter of course? I have, and it’s funny and refreshing. But then again, I was raised in a house where cursing was okay as long as we didn’t do it in public. I don’t think that’s rare – teens are exposed to swearing much more today than a few decades ago, and it doesn’t have the same power to offend that it did in the past.

I would really value some advice on this one. Do you think that considerable cursing in YA literature is acceptable, or should I tone down how my character talks so as not to offend?

How to Kill the Villian in Your YA Fantasy Series (with Style)

shutterstock_96012164The time has come, now that I’m wrapping up my YA/Middle Grade fantasy series, The Conjurors, to say goodbye to my favorite character – the villain. I hope it’s not a spoiler to say that he’s going to get the axe. Unfortunately, his actions have been so unforgivable that I can’t risk leaving him alive in a jail cell somewhere. He’d always be at the back of my mind, and I’d worry that he’d get loose and hurt the characters in my story who have earned their happily-ever-afters.

So what should be my weapon of choice? A simple thrust through the heart, perhaps? Or something more complicated, like when Voldemort’s own killing curse is reflected back on him and he technically dies by his own hand? If you sense that I’m morbidly excited to off him, you’d be absolutely right.

As I plot my own villain’s demise, here are some tips I’ve gleaned from all-star YA fantasy authors who have axed their villains with flair.

Make it personal.
Dark Triumph, His Fair Assassin Trilogy by Robin LaFevers
In order for readers to truly relish the demise of a villain, the protagonist needs to have a profound connection with her nemesis. In many cases she has spent years or even decades battling this foe, with a string of defeats behind her. That’s why it’s so sweet when the villain is slain at last – it makes the world better, yes, but it also fundamentally changes the protagonist for the better. When the heroine in Dark Triumph, Sybella, kills the truly horrible villain of the first two books, d’Albret, it isn’t abstract or at a distance. Raised as his daughter and tormented by him her entire life, the demise of d’Albret can be at no hand but her own for the reader to find it satisfying. And LaFevers doesn’t disappoint. Sybella personally plunges her dagger into his belly and damages as many organs as she can. Both the personal connection Sybella has with the villain and the personal nature of how she destroys him makes his demise gory but intensely satisfying.

Let your hero win the day but share the glory.
The Last Olympian, Percy Jackson & the Olympians, Rick Riordan
There is a cathartic enjoyment watching a protagonist ride into the sunset in a blaze of glory and recognition, but there is a deeper, more profound satisfaction from watching him give the credit away, giving up the fame and being the quiet, unsung hero. Riordan does a great job of executing this in the final battle of the Percy Jackson series. Percy is fighting a friend, Luke, who betrayed him and is now possessed by the villain of the series, Kronos. For a moment Luke manages to regain control of himself, and Percy gives him a knife and Luke kills himself, delivering the final blow to Kronos at the same time. Luke’s sacrifice makes him the hero. But Percy is a hero too, choosing to trust Luke to make the right choice and not to insist that he be the one to deliver the killing blow. As a reader, I never liked Percy more than at that powerful moment.

Have your protagonist tap into new strength/power/mental toughness.
Clockwork Princess, The Infernal Devices Trilogy by Cassandra Clare
If you’re writing a series and are finally coming to a point where it’s time to kill the villain of the series, your protagonist has likely had some successes. She has tapped into new powers, learned new skills, and grown as a human in every book. But now you have to top yourself one last time, and let her tap into something truly amazing within herself in order to finally emerge victorious. In Clockwork Princess, Tessa does just that. She has the power to change her form and become anyone, as long as she has an object that belongs to them. In the climax of the series, she turns into an angel who is trapped within a necklace, and destroys the villain, Mortmain, in a blaze of power. He dies scorched in her grip. I also like that Cassandra Clare makes Tessa pay a price for tapping in to so much power, and she nearly dies. Destroying your arch nemesis shouldn’t be easy.

Give your protagonist a positive motivator to destroy the villain (rather than being driven by hate).
Warm Bodies by Isaac Marion
It can sound counterintuitive to say that your protagonist shouldn’t be fueled by hate for the villain, but I’ve found again and again that the best protagonists grow to be motivated by a positive emotion, like love, rather than a negative one, like revenge or hatred. Warm Bodies is an unusual example of this, but bear with me. In this story, the true villain is a plague that turns people into zombies. That plague is really apathy and giving up on life, and the hero of the book, R, fights back, even though he has succumbed to the plague. When R chooses life and love, risking everything for his soul mate, Julie, he defeats this enemy by coming back from the dead, returning to life.

 

How to End Your Self-Published Book Series

shutterstock_55706296As I begin plotting the final book in The Conjurors Series, I noticed that it is by far the hardest book to write. It feels as though the stakes for my protagonist have never been higher, and it can be intimidating trying to ensure that she lives up her potential.

Faced with such high expectations, I looked at how other successful authors have successfully tackled ending their series. Below are the tips I found most useful as Valerie embarked on her final adventure.

Keep up your momentum and passion for your series.
Whether your three books in or twelve, by now you’ve probably invested hundreds of hours and maybe even several years of your life to the characters in your series. You’ve analyzed the character traits of your protagonist so many times that she starts to feel like an annoying family member who won’t leave you alone. But readers who have grown to love your protagonist want to see her make her final stand with flair and walk into a satisfying sunset. Remember how excited you were to plot book 1? Make sure that same energy pervades every last sentence of your series.

Reread your series to make sure you complete all of the storylines you started.
There is nothing that makes me crazier than a series that doesn’t tie up all of its loose ends. Whether it’s a character who is introduced and then disappears or foreshadowing that never results in anything, I find that the disappointment of a missed connection can sour a series that I’ve otherwise enjoyed. You never know what tidbits your readers will remember, so be sure that you don’t leave any holes in your story.

Show readers how much your protagonist has evolved (or devolved, as the case may be).
A good series has its protagonist evolve not just within each book, but over the series as a whole. When you’re wrapping up your series, remind readers of how far your protagonist has come. In the last book of the Hunger Games trilogy, Mockingjay, Katniss revisits District 12, where she grew up, and we are reminded how she went from being a scrappy kid fighting for survival to the inspiration of a revolution that changed the country.

Take time to say goodbye.
You don’t need to write a farewell speech for each of the key players in your story, but take time to give readers a sense of closure for the characters they’ve become attached to. Also give yourself a chance to pause and realize that your epic has at last reached its ending. For yourself as well as your readers, it’s okay to slow down in order to punctuate that this is truly The End.

Let readers know how to find your future work.
Especially for self-published authors, it’s critical to have your contact information easily accessible to readers who want to continue to read what you write in the future. Whether it’s your website, Facebook page, or even Twitter, provide venues for fans to stay in touch. You’ll be glad when the next book of your new series comes out to have a built in fan base who already likes your style.

Helpful Links

  • This post on The Editor’s Blog on setting up a series.
  • This post on Standoutbooks on what to consider throughout your series.
  • This post on my blog on creating a series bible.

 

When to Include an Epilogue in Your Novel

shutterstock_177324332Unlike prologues (which I covered in last week’s post) epilogues are a much less controversial concept in the writing community. Everyone from J.K. Rowling to James Dashner uses epilogues to wrap up loose ends and generally give a novel a complete finish. But I would argue that epilogues are just as likely to be abused as prologues, and it is essential to write one only if your novel demands it. Do more details of “happily ever after” really merit an epilogue? Sometimes it is more powerful to let the end stand for itself, and allow readers to make guesses or inferences based on the text.

However, there are also times when an epilogue can be a powerful tool to enhance the reader’s experience.

Introduce a secondary point of view that sheds new light on the story.
In novels that are written from the perspective of one character, the epilogue can be a great place to add an additional layer to your story by giving another character a voice. In The Conjurors Series, I write exclusively from the perspective of the protagonist. I use the epilogues as an opportunity to show a nuance to the story, namely, how the villain of the series is pulling the strings behind the scenes.

Use it as a cliffhanger to encourage readers to check out subsequent books in your series.
I’ve seen highly effective epilogues in series that give a little peek into the next book. In the self-publishing world, writing a series is one of the most effective ways to build an audience that is interested in your writing. Epilogues are a great place to give readers an additional scene related to your current story that also has them asking questions that will make them eager to read your next book. I loved the epilogue in The Maze Runner by James Dashner because it not only introduced a new perspective – that of the enemy – but also revealed to the reader that the safety that the main characters believe they have found at the end of the book is false. To discover how they’ll survive, you have to continue the series.

Set your epilogue in the future – but only if you have something new to say.
All too often epilogues simply expand on the happily every after. For example, two main characters get married at the end of the novel, and in the epilogue they have a baby. In this case, slash the epilogue. The reader doesn’t learn anything new, and it can detract from the impact of your novel’s close. On the other hand, there are instances when new information from the future can be powerful and worth including. For example, the epilogue in Harry Potter and the Deathly Hallows gives readers closure for the characters they had grown to love by showing them as adults. Information set so far in the future makes sense to be separated from the main text, but is meaningful enough that it is worth including.

Write a Prologue that Hooks Readers

shutterstock_117237259Among those of us who proudly call ourselves writing geeks, the topic of prologues can be like discussing the morality of the death penalty in other circles. I know authors who hate them, as well as readers who skip prologues and go straight to the first chapter. Personally, I love a great prologue. I think of a well-written prologue as a teaser pulls me in to the story right away.

Don’t get me wrong, there are definitely times to avoid the prologue. I thought this post by Kristen Lam on The Seven Deadly Sins of Prologues did a great job of summing up some of the ways that prologues get abused.

When used appropriately, prologues can be a powerful tool to hook readers and add an extra layer of tension or depth to the first reading of a story. Below are some of my favorite prologues in YA fiction and the lessons I took away from them. Each of these authors used their prologues to achieve different ends, but they all created an opening that hooks the reader and enhances the story that follows.

Add dimension to your story by giving away a key piece of information.
Eleanor and Park by Rainbow Rowell
The prologue for Eleanor and Park sets up from the get-go that the two title characters in this teen romance are no longer together. By giving this away from the beginning, it makes the romance that follows all the more bittersweet. It also adds an element of danger – are they broken up because the heroine died? Constructing the prologue this way adds to the tension of the story in key scenes, and the payoff in the end is very satisfying.

Inform readers of key backstory.
Paper Towns by Josh Green
Paper Towns was the book that got me thinking about the effectiveness of backstory. The author uses a prologue to introduce readers to a key scene that is telling about the two main characters in the story, a suicide that they witnessed as children. The scene is prologue-worthy not only because it reveals the personalities of the two main characters, but also because the incident has an impact on how they process the world for the rest of their lives.

Give readers a peek into the future.
Timebound by Rysa Walker
A prologue can be the perfect tool to drop readers in the middle of action without frustrating them. It’s a great hook, and you can then back up and tell your story more slowly when you begin with Chapter 1. In Timebound, we quickly discover that the protagonist is time traveling, and is in incredible danger. The mystery of what’s happening in this scene become unraveled throughout the book, and we only discover how it is resolved in the climax.

Use your prologue to set the stakes.
Sanctum by Sarah Fine
In Sanctum, the heroine goes to a kind of hellish afterlife to save her best friend from an eternity of limbo, while risking her own chance at finding heaven. To understand why she would go to these lengths, the reader has to understand the relationship. Fine skillfully uses her prologue to establish the roots of the friendship, as well as the roots of the problems that lead to the premise of the story. The prologue captures the reader’s attention and leads seamlessly into the story that follows.

Subvert expectations.
Twilight by Stephanie Meyer
The Twilight series has its detractors, but I thought Meyer did an excellent job with her prologues, particularly in the first book of the series. As the heroine explains that she is happy to die for love, it not only tells us something about her character, but also sets us up for the climax of the book. Throughout, we are sure that Bella will be sacrificing her life for her new soul mate, but in fact the prologue is talking about her love for her mother. The surprise was sweet and increased my sympathy with the protagonist.

Did you include a prologue in your story? If so, what purpose does it serve?