wordwalker
Auror
Be careful taking my name in vain.
The way I see it, part of "finding your voice" is learning how to make it work, how to find what's important at the moment, whether it's momentary color or moving the plot or some combination. And the more your narrative rambles, the more you want to keep control that it rambles interestingly, relevantly, and doesn't ramble too much longer than you're able to pull off.
And rambling with a prologue? Prologues shine spotlights on the slightest thing that looks irrelevant or slow; if you can pull that off, you're VERY good at your style. Mostly, I'd say bite the bullet and make the prologue --or rather, when you ask the hard questions of whether you've got solid reasons for a prologue-- the one time you stick to business.
I'm not trying to rain on parades here. But the quote is "do what works," and hopefully that's what works for the reader as well as the writer.
The way I see it, part of "finding your voice" is learning how to make it work, how to find what's important at the moment, whether it's momentary color or moving the plot or some combination. And the more your narrative rambles, the more you want to keep control that it rambles interestingly, relevantly, and doesn't ramble too much longer than you're able to pull off.
And rambling with a prologue? Prologues shine spotlights on the slightest thing that looks irrelevant or slow; if you can pull that off, you're VERY good at your style. Mostly, I'd say bite the bullet and make the prologue --or rather, when you ask the hard questions of whether you've got solid reasons for a prologue-- the one time you stick to business.
I'm not trying to rain on parades here. But the quote is "do what works," and hopefully that's what works for the reader as well as the writer.