Vinny,

I took a look at your Prologue and Chapter 1, and I will continue to look at more when I get a chance. I figured you could use some feedback along the way.

The moon wasn’t out, and it was a cold and dark night.

This isn't verbatim, but "dark and stormy night" is the oldest cliche in the book, so anything similar to it is probably bad.

the intoxicating smells of leaves

Leaves aren't innately fragrant. Specify what type of leaf/plant.

He didn’t know. However, what he did know was that

This is just an example of "cluttery" language. It sounds find spoken aloud. But on the page, the repetition of "did" and "know" get in the way of the reader's ability to see action.

his white, smooth and feathery wings would do the rest

If the protagonist isn't human, the reader probably needs to be told for certain what he/she is-- and very soon.

The men had hunted them too. They had killed most of them. They were his brothers and his family. Everyone he cared about.

"They" refers to "them men" in one sentence. But in the next sentence, "They" is used to refer to "them" (who are killed). This can get confusing to a reader.

However, he thought, no time to think about that now.

This sentence is close to being oxymoronic.

He watched as trees flew past him like wildfire. He knew that he was getting close.

This is better. Although "He watched" is unnecessary because "watch" is a slow verb to use in a situation where he's running.

All he had to do… He hoped everyone was ok.

I didn't understand this.

He saw that the men began to linger, and they were no longer chasing him.

How can he see this? At what distance is he?

Then the trees began to lighten up. The woods weren’t as dense any more.

This is an explanation. Try to give an image.

His heart was racing, on an adrenaline rush. However, he wasn’t out of breath. His kind just didn’t do that.

If he's not human, does he have a limbic and respiratory system? These rules and violations of rules can get distracting.

That was the only thing his kind hadn't been blessed with. Good eyesight.

I'm noticing a lot of "turnovers" at the end of paragraphs, where you turn-over an argument set forth in the beginning of the paragraph.(ex.  " ____ ____ ____ but that's not the case. _____" ) Since I don't know who/what he is, these turnover refutations started to distract me and as a result I'd just skip them.

Finally, just like that, he came to a clearing out of nowhere. He was glad. Upon instinct, like always, he took off. He let the wind and cool night airflow beneath his wings. He was a brilliant sight.

The inclusion of "just like that" adds a removed narrative voice. Why not just begin the paragraph "He came to a clearing..."?

Also, "He was a brilliant sight" is actually a POV violation because he can't see himself and therefore cannot conclude that he is brilliant-looking.

However, it wasn’t enough. He wasn’t quick enough. They had hit him.

This is also written in omniscient POV, which violates the perspective taken in the prior portion of the prologue.

Ethan woke up with a start. He looked around his trashed room. Clothes were on the floor and CDs were across his desk. At least he was in his room again. He liked that. He shook his head, shaking the sleep out of him.

At the start of Chapter 1, I wanted more setting established. We see him look around his room. But is it day/night? More about time/place, and other things to give hints about his age, his world, would be helpful in this paragraph.

He said, slightly sarcastic.

"slightly sarcastic" works like an adverb here. Adverbs can almost always be omitted.

He’d heard this a million times, and it annoyed Ethan to the extreme sometimes, especially in the middle of the night. He hated nights like this. He never got much sleep afterward. In addition, with the tests that he had the next day; it didn’t make things any better.

This is explanation that comes in the middle of a scene of action. It feels "explainy" to me because it interrupts the flow of plot.

Sometimes even his own mother got on his nerves. After all, it was just him and his mother alone in their small, dingy house.

I had the same issue here.

She kicked aside a couple of books left scattered on the floor. At his door, she turned around.

This is choreography that I don't think necessarily contributes to the plot or mood. In a film, this description would be fine, but in prose it can get in the way.

She left the room a few seconds later, with a sigh of relief from Ethan.

"She left... with a sigh of relief from Ethan" - this can't be combined in the same sentence, because "She" and "Ethan" are both trying to be the subject.

He loved his mother, nonetheless, but sometimes she was too much. Of course, every teenager felt that way. Or so he assumed.

I didn't understand the point of including this.

He decided to mention it to Vincent tomorrow.

If you want to name "Vincent" here, I'd like to be given a sentence giving some hint as to his significance.

He instinctively reached for his back. With a sigh of relief, he fell back asleep. There was nothing there.

I think he's glad he doesn't have wings, correct? This hook should be a little more overt.

I feel there's some work to be done regarding passive voice and language. A few POV violations can easily be cleaned up. Other than that, my advice is to focus on the action and heighten your sense of setting-- and limiting the interjection of explanations. We don't want to be explained anything this early. In a prologue/first chapter, we want something to hook us into the story. Hope all of this helps thus far.

 I really liked your prologue and read Chapter One. But since you have posted a lot of content I'll offer my thoughts on your prologue. Your descriptions are great and your sense of action is also excellent Everything was pretty straight forward in that department. In other words I wasn't getting lost. One thing that however jumped out to me was the word family in quotation marks, found in the last sentence of your second paragraph:

After all, these men had hunted him and his “family” for years.

Are you referring to an earthly family of some sort or another type of family, a la a family of angels? And the ambiguity of the type of family is expanded when you mention in your forth paragraph:

They were his brothers and his family

Is this a fraternity instead of a family. If you are simply referring to brothers, then the word fraternity may in fact be more appropriate than family. And if you use fraternity, it adds a sort of mystical element to the story. My suggestion is to replace family in your last sentence of the second paragraph with fraternity. And you needn't use quotation marks for this word either. It's just a little too awkward.

I was wondering, after I realized this scene was all a dream, whether or not this dream is purely symbolic or if it is an actual event you will catch up to later. The technique I'm referring to is En Media Res, which basically plops readers into the middle of the story. Not that this is a bad thing. In fact, that is exactly how I began my story. But anyways, this ambiguity, with regards to whether this prologue; is it a symbolic vision for our friend Ethan, or an actual situation that Ethan will find himself in later in the story?

Something I really liked about your story was the closing sentence of your sixth paragraph:

His kind just didn’t do that

You are alluding to an angel I presume, the word "kind" referring to angels. While I'm not asking you to reveal the rest of your story, I just wanted to say that this sentence is perfect for placing Ethan in a light different from human beings. The only question I have is, was Ethan an angel all along, based on my reading of Chapter One, or does he turn into an angel at some point in the story. These are not critical questions, but rather a set of questions that I believe get readers interested in the story. The fact that they are asking questions means that they are willing to turn the pages. That is something that many writers have a difficult time accomplishing. Keep it up man.

One final suggestion I have is quite small and just a minor qualm of mine most like likely. You write:

“Ethan…Ethan. Ethan, honey, wake up!”

 You are already implying that Ethan was dreaming. Writing "it was all a dream" is superfluous and not particularly necessary. Adding this simply makes things a little redundant. But this aside there is not much else wrong with this story. Of course I will add more critiques as I go along. But as a closing tip, keep an eye out for things that are redundant. In other words, if you're already implying something there is no need to describe it any further. It takes away from the subtlety of the story and subtlety is something that I think is what keeps readers in the mystery of the story. Just a suggestion of. Use it as you see fit. Keep up the work man. Plan on reading more soon.