SPECTATOR

Stop making this prologue mistake

Are you making this mistake when writing a prologue? Lots of new writers don’t know what prologues are for.

But let’s first jump into what they are not for →

Infodumping, worldbuilding, or backstory! A prologue is not the place to set the image of what your world is, what led to it being this way, why your protagonist finds themselves in their current predicament, or retelling the backstory of your hero.

Why not? Because when a reader first opens your book, they don’t yet have an incentive to care about your world or your character, and therefore pummeling them with a ton of information about things they haven’t gotten to know yet (or care about!) is the easiest way to lose their interest.

I know you might be thinking - but how will they know whose story I’m telling and what world it’s set in? This comes down to one simple thing → Trust your readers.

Building your world, your characters, and their backstories organically throughout the story you’re telling is going to result in a lot more gratitude from your readers.

Why? Because you’re not serving them all the information on a silver platter. Instead, you’re letting them ask questions and discover things on their own. They will FEEL that sense of trust you’re giving them, when you don’t over explain yourself.

So what are prologues actually for then? A strong prologue should tease the story, or set up the central story question that you’re asking. It should never give away too much, but act as a small glimpse or hint of things to come. It should make your readers intrigued about the story.

Here’s how you can figure it out easily →

The simplest distinction to conclude whether you have a strong prologue is this: Does your prologue pose questions or answer them? If it’s the former - great!

If it’s the latter - rethink whether you need it, or you might simply be too untrusting of your readers.

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a week in the life of London's youngest agency head (insp.)

How to start your book

Here are my best tips to write your opening chapter in your novel like a pro.

Start in a peculiar situation What is a situation that’s totally unexpected to your readers, but an everyday occurrence to your characters? Start there!

Make sure you cover all these elements 💜 Introducing your protagonist 💜 And their flaw 💜 And what they struggle with 💜 Build a first look at the atmosphere of your book 💜 Signal your genre 💜 Establish your narrative position

Keep it all about the intrigue! It’s very tempting to unload everything onto your reader in the first chapter, because you just want them to know everything. But the more you can hold back, the more intrigue you will create, and therefore - more reason for the reader to keep flipping pages.

Don’t forget to hint at your story question Now this is a really important step that a lot of writers leave out and their first chapter suffers for it. It has to do with your hero’s flaw. This will be closely connected to the story question you’re asking. Make sure you include a quick hint at the bigger conflict that your story will be exploring and how your hero’s flaw might play into it.

Your characters are key Absolutely the most crucial thing about your first few chapters is to establish a connection with your characters. Character empathy is what drives readers’ interest. Don’t go in with a whole character backstory, but instead show us who they are right now, and why we should care about what happens to them.

Things to avoid ❌ Info-dumping! ❌ Introducing too much about your world all at once ❌ Introducing too many characters ❌ Giving your readers answers instead of questions

Also…

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KITTY TRIES TO SUMMON BARTIMAEUS AFTER PTOLEMY'S GATE

“You don’t need me here." 

He looks exactly as she remembers him, or rather exactly as she remembers him. Same stupid coat, same long fingers and pale skin with the ink under the fingernails, the same bags under his eyes. (Except his eyes, instead of brown, they’re black, the same black of Ptolemy’s eyes, black you could fall into and never hit the bottom.) 

She chokes on her words, so carefully prepared, that rebuilding is a lot fucking harder than it should be, that a sudden influx of Polish immigrants has everyone on edge, petitions being signed for the previous government back, the good old days. a tenth of the city, including rebecca piper, has come down with a strain of the flu that’s left doctors baffled. kitty hasn’t slept more than three hours a night for the last week and there’s a pain in her chest that she’s been staunchly ignoring for too long now. and, most of all, people look up to her, people depend on her, and she’s helpless to help them. 

"i just missed you is all,” she says, shocked by how small her voice is. (shocked and angry. she’s better than this.) 

bartimaeus gives her a small smile, and suddenly half of nathaniel’s side is drenched in blood, his leg is twisted at the wrong angle, his hair is matted with dirt and sweat. (he’s still in better condition than when they found him.) “i’m tired, kitty. let me go.” 

she does. she hears — or at least pretends she hears — before he leaves: “but i’ve missed you, too.”

Remember: the more difficult you make it for them to realize a report is false, the more useless you make the portal.

Suddenly I'm holding the world in my arms

Drawing bases & pose references pt 46 ✨

There are 3 more poses for patrons today!

How to Make Readers Care About Your Plot

It's a funny little trick, really. Because the truth is readers don’t care about your plot.

They care about how your plot affects your characters. (Ah ha!)

You can have as many betrayals, breakups, fights, CIA conspiracies, evil warlords, double-crossings, sudden bouts of amnesia, comas, and flaming meteors racing directly toward Manhattan as you want.

But if readers don’t understand how those events will impact:

A character they care about

That character’s goal

The consequences of the event, whether positive or devastating

…then you may as well be shooting off firecrackers in an empty gymnasium.

Why Plot Without Character Falls Flat

Here’s an example:

A school burns down. Oh my god, the flames! The carnage! The dead and injured children! There are police everywhere—total chaos!

And your main character? Standing on the sidewalk, watching and crying.

Dramatic? Sure. But does the reader care? Not really. There’s no emotional connection, so it's basically a meaningless plot point.

Plot + Character Impact = Reader Investment

Now, let’s take the same event but give it stakes.

Meet Mary Ann. Mary Ann has been a middle school teacher for 25 years. This year, she gets a new student—Indigo. An unusual girl with clear troubles at home and a habit of burning things.

Mary Ann defends Indigo when the school administration wants to expel her, citing safety concerns. Mary Ann sees something familiar in Indigo—something that reminds her of her own sister, who was institutionalized as a child.

One day, Indigo explodes in rage, screaming, “Burn it down! I’ll burn this whole place down!”

Mary Ann is shaken. This isn’t just defiance—this is a real threat. She nearly sides with the administration but, haunted by her sister’s fate, fights for Indigo’s second chance.

Indigo is placed in counseling. A compromise that will hopefully solve the problem.

That night, Mary Ann sleeps soundly. She did the right thing. Didn’t she? But the next morning, on her drive to school, the radio blares an emergency bulletin. There's a fire at the school.

Mary Ann speeds through red lights. Her stomach twists. When she arrives… it’s too late.

Oh my god, the flames! The carnage! The dead and injured children!

The exact same plot point—but now it matters.

How to Make Your Plot Matter to Readers

The secret? Before you set something on fire (literally or figuratively), give your character—and thus your reader—a stake in the outcome.

1. Tie Events to Character Desires and Fears.

Why does this event matter to this character?

How does it challenge their values, beliefs, or personal history?

2. Make the Conflict Personal.

The fire isn’t just a disaster—it’s a gut-punch because Mary Ann fought for Indigo.

The outcome isn’t just tragic—it’s haunted by Mary Ann’s past regrets.

3. Show Consequences.

Readers need to feel what’s at stake before, during, and after the event.

The weight of the aftermath makes the plot stick in the reader’s mind.

The result? Higher engagement, deeper emotional connection, and a plot that actually matters.

Summary: It’s Not About the Events—It’s About the Impact on Your Characters

I used a fire in this example, but this applies to any plot development.

Even something subtle—a whispered secret, an unread letter, a missed train—can have devastating emotional weight if it affects your character in a meaningful way.

Make your readers care about your plot by making your character care about it first.

Hope this helps!

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@theliteraryarchitect is a writing advice blog run by me, Bucket Siler, a writer and developmental editor. For more writing help, download my Free Resource Library for Fiction Writers, join my email list, or check out my book The Complete Guide to Self-Editing for Fiction Writers.

TRC ANIMATIC :))

Idk what's happening my animatic keeps disappearing from tags, I'm trying to upload the yt version to see if it shows this time

If you come across this I hope you like it anyway :)

Guys!

I was so drowned with finals I slept less than 5 hours a night for two weeks,, but now I'm done. So I finished that animatic I started in December (what a bad idea to start this with that much work tbh), had so much fun doing it! All I could think of the last four weeks was this haha

I will finally add that the lyrics are very much linked to the scenes so make sure to listen to them

why the net, kaz?