Two years ago, my writing partner and good friend Bonita and I released our first book, The Werewolf Whisperer.
The story evolved from a web series idea, which we conceived of as a cross between Supernatural and Shaun of the Dead in goofy 5-7 minute episodes. Once we decided to write a series of novels instead, we unearthed many more layers to our story.
The Werewolf Whisperer still has a baseline of humor, gallows humor really. But now, two novels and two novellas deep into the Werewolf Whisperer world, everything has gotten far more serious for Lucy and Xochitl. Over the next few Wednesdays, I want to share a few excerpts from the books and maybe some thoughts about how it’s all coming together:
Without warning, the creature turned sharply away from Lucy and bore down on Hanna at a dead run.
“Do it!” Hanna’s voice had a hard edge.
Lucy’s finger squeezed the trigger. A single shot rang out. The creature dropped. It was over.
That’s it. That’s the prologue. Originally in the web series, this scene was quite a bit longer in the first, second, third, fourth and probably fifth draft of the novel. Still only about a page and a half, our set up scene smacked right into a reader preference trend: the loathing of prologues.
A lot of our research seemed to confirm that readers either skip prologues or resent them.
The prologue had to go.
But it couldn’t go entirely, so we went straight to the heart of the scene. And in a bold move – it really seemed bold at the time – we cut everything else.
The prologue comes back in the series, again and again – a nightmarish clip of memory set on repeat. Its brevity has made it more visceral for us, a tool to use to connect past sins with present dilemmas.
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