Increasingly amongst literary types (well, amongst agents and publishers at least) there seems to be a vogue for disliking prologues and epilogues in novels, purely on principle. Apparently they are passe and boring.

I cannot understand why, beyond an essentially lazy argument that they want to ditch prologues in order to get on with the story. Sometimes prologues can be boring, self-indulgent and/or irrelevant, but at other times they can prove intriguing, insightful and essential. The same can be true of epilogues. The question as a writer is, how can you tell the difference?

Of course, if one wants to slavishly adhere to all directives from mainstream publishing types, prologues and epilogues are to be conscientiously avoided, especially for the first time novelist. However, I disregard such blanket prohibitions, as on a few occasions the presence of a prologue or epilogue has, in my view, greatly enhanced my novels – either in anticipation of events to follow, or in providing emotional closure at the aftermath.

My own rule of thumb is if the novel genuinely loses something from the excision of the prologue and/or epilogue, include them. Obviously deciding this can be done by taking into consideration advice from others. Last year for example, I wrote a novel that featured a prologue. It wasn’t strictly necessary for the plot, but it eerily foreshadowed subsequent events, and provided an emotional hook that otherwise would not have been present had the novel begun with chapter 1. Of course, some novelists would simply say to make the prologue chapter 1, but somehow that didn’t feel right to me in this case.

Another example from my own work is the epilogue at the conclusion of my most successful novel Children of the Folded Valley. I defy you to find anyone who thinks the novel would be improved by excluding those last couple of pages. The epilogue is emotionally essential, providing what I hoped to be (and what reviewers tell me is) a powerfully cathartic close. Check out the novel for yourself, if you haven’t already.

During the first draft of a novel, one thing I never do, no matter how strong the temptation, is go back and start rewriting earlier chapters. For anyone writing a novel for the first time, I cannot advise you strongly enough to avoid this snare. Do not rewrite anything until you have finished your first draft.

Once, years ago, I made this rookie error. Consequently I found act two all but insurmountable, and it took every ounce of willpower to overcome the fierce George McFly syndrome that ensued (regular readers will understand what I mean by “George McFly syndrome”). The more you polish earlier sections of an unfinished novel, the more impossible finishing it will seem. The better the prose reads at the start of an unfinished novel, the worse any new writing will feel as you push on ahead.

That is why, with every novel I write, even if get brainwaves mid- draft that massively improve the book, I ensure any earlier sections affected are rewritten afterwards. The same is true if I want to include more scenes with a character earlier, more foreshadowing of character arcs, or even if I just want to make an earlier section more atmospheric, scary, funny or simply read better. No matter how good the ideas or inspiration, simply jot down the essence of them separately then return to implement your plans after you have finished the first draft.

Trust me. Heed this advice and you will save yourself a world of pain.

Let’s be honest. No-one likes criticism, even when we know it is good for us. Even constructive criticism is like medicine that tastes disgusting but cures a horrible illness. The wisdom is to know when to take it.

However, stretching this metaphor a little further, medicine should not be taken when one is healthy. You cannot please everyone all the time, and on occasion it is important to stick to one’s guns when feedback is negative on one’s writing.

Self-diagnosing whether my books work is essentially impossible whilst writing them as I am too close to the material, which is why I rely on the feedback of trusted people. However, I do so with the following in mind:

• The individual sensibilities and personality of the reader – This is critical. Some are more naturally disposed to like one kind of fiction over another. I actually think it sometimes helps to give your writing to someone who isn’t the intended readership, in order to gain a more objective view. However, I fully appreciate this can be a two-edged sword. The trick is to find someone who won’t say they hate it, say, simply because it is for children or science fiction.

• The reader is just one person – Sometimes even our nearest and dearest will dislike something beloved by countless others. It is worth getting a few opinions, and you may find that more people agree with you than with the reader who thought you should change this or that. Again however, getting feedback from too many sources can be problematic, as you risk diluting your product by hearing a multitude of different opinions.

• Sometimes you need to stick to your vision regardless – When I submitted my most successful novel Children of the Folded Valley to mainstream publishers, one showed considerable interest, but wanted me to rewrite the book as a third person narrative. This was, to me, an absolutely inexplicable request that fundamentally changed the nature of what I had written. I refused and self-published. Given the subsequent overwhelmingly positive feedback, I’d say my instinct was correct.

All that said, sometimes I have tested early novel drafts with multiple people and got the same feedback again and again on pieces that aren’t working. When that happens, when the readers I trust all agree, I tend to listen.

Feedback and criticism is a perilous balancing act, but writers desperately need it. It may sometimes be an unpleasant medicine to swallow, but in the end, I hope my novels are healthier for it.

This week I started work on a new book. I have prepared plot outlines, chapter plans, character profiles and so forth, but there is nothing quite like the moment when the first word goes on the page. The beginning of a full-length novel is an incredibly intimidating time.

At least, it used to be.

Many authors speak of this moment squashing the ego and putting the fear of God into a writer, but quite honestly whilst that might have been true ten years ago, it is no longer true for me. I find the start of a well-planned novel an oddly exhilarating place. Yes, a ton of work lies ahead, but the process of writing a first draft is a wonderful experience.

For about six chapters.

Then, at some point normally mid-act two, George McFly syndrome threatens to engulf me (“What if they think I’m no good? I just can’t take that kind of rejection!”). Experience has taught me to ignore this and push on regardless, but that is the time I feel most intimidated, not on the opening page. Consequently, I try to write first drafts as quickly as possible to minimise George McFly syndrome, but it always lurks in the shadows, waiting to strike.

However, at present all is well. I am enjoying writing my new novel and my faith in it is sky high at present. Frankly, I think it helps to believe whatever you are writing is destined to be the greatest novel of all time, whilst you are writing it. And right now, this one feels like it might be.

To round off the Christmas and New Year celebrations, I am making my novels Uncle Flynn and Dr Gribbles and the Beast of Blackthorn Lodge available to download FREE from Amazon Kindle for five days only. Simply click on the covers below.

Uncle Flynn, my debut novel, was received very positively. On the surface it is a properly old-fashioned treasure hunt adventure, but it contains underlying themes about overcoming fear and the dangers of mollycoddling. The book is dedicated to my eldest son, and was largely inspired by our many excursions over Dartmoor, as well as a bit of local history.

Here is the blurb from the back of Uncle Flynn:

When timid eleven year old Max Bradley embarks on a hunt for buried treasure on Dartmoor with his mysterious Uncle Flynn, he discovers he is braver than he thought.

Together they decipher clues, find a hidden map and explore secret tunnels in their search. But with both police and rival treasure hunters on their tail, Max begins to wonder if his uncle is all he seems…

Dr Gribbles and the Beast of Blackthorn Lodge is a gripping and scary tale involving spies, monsters, haunted houses, mad scientists and lots more besides, with action and thrills to spare. It was actually inspired by the nightmares of my youngest son, and the book is duly dedicated to him.

Here is the blurb from the back of Dr Gribbles and the Beast of Blackthorn Lodge:

September 1987.

Curiosity lands Tim Rawling in a world of secrets, spies and a desperate race against time.

The haunted house, the monster and the mad scientist are only the beginning of a terrifying adventure.

2015 was quite a year.

I released two novels: the final instalment in the George Hughes trilogy, George goes to Neptune, and Love vs Honour.

The latter in particular represented something of a watershed for me, in that I stepped well outside my usual genres. It begins as a boy meets girl story, with a potentially controversial religious spin. It then evolves into a drama of deception, with many twists, turns and ironies before a much darker finale. Although ostensibly a novel for teenagers, it has as much appeal for grown-ups, especially as the subject matter is not exclusively romantic but embracing of complex, thought-provoking themes and ideas. At least, that is what those who have read the novel claim in their reviews. Why not give it a go yourself and see what you think?

So, what does 2016 have in store?

Unless it is snapped up by mainstream publishers, I plan to release The Thistlewood Curse – a detective thriller that evolves into a supernatural drama and finally a horror story. I will say very little at present, other than it involves astral projection and is set almost entirely on Lundy Island.

For younger readers, I plan on releasing something potentially even scarier – The Faerie Gate. Again, plans may change if mainstream publishers want to get their grubby little mits on it, but this is easily the darkest children’s book I have written; a proper horror story for younger readers, and adults with nerves of steel.

Also for younger readers, I hope to release a single volume version of the entire George Hughes trilogy at some stage, so George goes to Mars, George goes to Titan and George goes to Neptune will all be available in one place.

I am also writing another dark fairy tale in the early part of the year, which I would describe as drawing inspiration from Alice in Wonderland, Coraline, Pan’s Labyrinth, and Spirited Away yet also in many ways a companion piece to Children of the Folded Valley. That one is intended for adults.

The second book I intend to write in 2016 is also for adults, though the details remain top secret for now. I must confess to feeling oddly superstitious about writing this novel, and part of me doesn’t want to. But the story is so strong I feel I must at least get it on paper. I can always chicken out and not release it after all, if I get cold feet. But if it turns out as good as I think it could be that would perhaps be cowardly.

I realise all this sounds infuriatingly enigmatic, so I will instead wish you a Happy New Year from Simon Dillon Books, and judging by 2016’s planned output, it’s also going to be quite a scary one.