The INCITING INCIDENT… Part 2
I seem to have fairly shy visitors… LOL. I literally receive about 20 to 25 emails a day but rarely do my visitors leave any comments on the blog itself… No problem. I don’t mind answering email when I have some free time.
Anyway, the INCITING INCIDENT blog brought up a lot of questions over the last several days. I apologize for not replying to a couple of you as I was on a super fast road trip to Patagonia, Arizona doing some physical LIVE research for my current rewrite.
I get back to all these emails from readers who want MORE information about the inciting incident… Know what I think about that?
Fucking COOL. Or, as my 17 year old niece would type: KEWEL.
So now here we are… The INCITING INCIDENT Part 2.
First of all, many of you had the same question. Where do you place the inciting incident?
Outstanding question and one that requires some additonal thought. Let’s take a look at the big picture. I assume most of you are using 3 Act Structure and since 3 Act Structure is the most prevalent, I’ll talk more about the inciting incident utilizing the 3 Act Structure. Hey, the search engines are going to love that sentence… LOL.
The rest of us will have to adjust aces for the true count.
INCITING INCIDENT RULE: Your inciting incident definitely needs to occur somewhere in Act 1. Plain and simple. No ifs, ands, or buts.
Why the 1st Act?
Glad you asked. Because at some point in your 1st Act, your Protagonist has got to get off his or her ass and get moving i.e, MAKE A STORY! In fact, in Act 2, they need to start exploring the NEW WORLD.
In order to get the Hero into the new world, you’ve got to create some kind of believable disturbance that gets your Hero moving.
Since Act 2 is your Hero’s venture into the new world, Act 1 must contain a plausible inciting incident or disturbance that causes your Hero to react. This reaction must also be plausible and commensurate with your inciting incident.
Now let me say this; if you understand this much, you are way ahead of the game because most screenwriters trying to break into the industry rarely create a plausible disturbance or inciting incident that makes us want to read through to Act 2.
Why?
Becauase these screenwriters do not know anything about structure. I see a lot of weak inciting incidents that don’t seem to fit with the reaction of the Hero. Not only is the inciting incident or disturbance weak but so is the Protagonist’s reaction to the weakness.
Most newbies watch movies and try to emulate the structure in some particular movie thinking that if this disturbance worked there, then it will surely work for their screenplay. This is fine as far as it goes but I have literally seen too many screenplays where somebody dies and this death is supposed to kick the Hero in the ass enough to explore the new world.
Nope. Not buyin’ it.
Make your inciting incident FIT your STORY. Make it FIT your Protagonist. Remember, it needs to KNOCK him right out of his socks. It’s something he’s not expecting. It takes him by surprise.
If you watch some of the older movies, you’ll see a myriad of inciting incidents occuring all over the 1st Act. Hell, in some older movies, you don’t even see an inciting incident at all. This is because movies were slower back then and the fact is that many of these classic films simply do NOT keep the interest of the current movie ticket buying demographic.
I would even venture to say that many of us older audience members have been lulled into the enjoyment and desire of the faster paced film.
Having said that…
Where in the 1st Act do you put your inciting incident?
You’re gonna love this answer…
It depends but NO LATER THAN PAGE 12.
That sucks, doesn’t it? It depends on your story. It depends on your genre. It depends on your Protagonist. In other words, some films might require that you dive right into the action and throw that inciting incident right on page 1. Again, it depends on your story, your genre, and your Protagonist.
That’s not to say that specific genres REQUIRE the inciting incident to be placed on page 1 or page 10 because they do not.
Hope I’m not losing you. Let’s take this a little further. What definitely NEEDS to happen in Act 1 BEFORE the inciting incident? Here’s my personal list:
- Set the tone of your story i.e., comedy, thriller, dark, edgy, crime, etc.
- Introduce your Protagonist or show us a glimpse of your Antagonist or even a victim of the Antagonist.
- Show us your Protagonist’s Ordinary World.
- Show us your Protagonist’s fatal flaw and while you’re at it… A few character flaws as well.
The above list is by no means exhaustive. In fact, there’s a lot more things that I would include BEFORE the inciting incident but the above is what I feel is the absolute MINIMUM that NEEDS to be there BEFORE you trigger the inciting incident on your Hero.
I think the usual screenplay should very likely have the inciting incident occur on one of the following pages:
Page 9, Page 10, Page 11 and NO LATER THAN Page 12!
So, now knowing that this is the usual standard of structure, this is what you should shoot for on your first draft.
On your rewrite, you’ll need to do some serious thinking and consideration about your story, genre, and your Hero and his or her Ordinary World.
The great thing about having the inciting incident occur on one of the above pages and no later than page 12 is that during your rewrite, you “should†be able to tweak the inciting incident to occur even sooner “IF” the story warrants it.
How would a story warrant moving the inciting incident up a few pages? It depends. You love that, don’t you? A thriller might warrant moving the disturbance up. So might a horror but again, it depends on your story. Hell, for that matter, even a drama could get a healthy shot of adrenaline by sticking the inciting incident on page 1 IF the story warrants it.
There is no hard and fast rule but before breaking the rules, be sure to know the rules first. We all know what will happen if we go rob a bank, right? The police will be after us…
Same thing goes for the rule of the inciting incident. Know that with today’s audiences, it should occur no later than page 12. Make that your basic rule before you go breaking it and when and if you do break it, you’d better have a good reason i.e., your story, genre, and Protagonist warrant the break.
As long as you make it no later than page 12 however, you’ll be safe.
Unk
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Hey Unknown,
I found your comments on inciting incident very helpful but i have a question for you or anyone else. Often I get confused between I.I. and that nifty plot point that swings us into act 2. Can you illuminate the difference between the two? Both seem to propel the protagonist into action. If you place the I.I. before page 12 – what does the protagonist do from 12 to say 25? I look forward to your comments.
I appreciated your articles on Inciting Incident but i have a question. I often get confused between I.I. and that nifty plot point that happens around page 25 and swings us into the second act. Can you describe the difference between how they are used? Both call the protagonist to action and start his journey. If you place the I.I. before page 12 – what does the protagonist do from page 12 to 25? Looking forward to your comments.
Well this is my lucky day! I have two comments from the same visitor. Hey, I know they both say the same thing but I’m so happy to have a comment that I went ahead and published both.
Okay, as I re-read both your comments, I think what you’re asking is, “What’s the difference between the “Inciting Incident” and the plot point that occurs at around page 25?”
ANSWER:
A lot! Again, the inciting incident is simply the disturbance or LIFE-CHANGING EVENT that propels the Protagonist out of his or her ORDINARY WORLD. The ordinary world being the Protagonist’s average, every day life. He or she goes along day in and day out until one day, something fucking CRAZY happens and throws their every day life totally out of whack.
The inciting incident is what gets the Protagonist THINKING.
Thinking?
Yup.
From the inciting incident (no later than page 12) to page 25 is the Protagonist’s CALL to ACTION — REFUSAL OF THE CALL or what I like to call, THE PROTAGONIST’S CALL TO ACTION DILEMMA. I like the word dilemma and I think it really fits here. After the inciting incident, your Protagonist is now in a dilemma. Remember, a dilemma is a situation where you have two choices that totally suck but you’ve got to either pick one OR create your own resolution. However, in the Protagonist’s CALL TO ACTION DILEMMA, come on… He or she has to fucking choose to LEAVE the ORDINARY WORLD or there’s no story hence, the reason for the label of this particular dilemma.
So from Page 12 to 25, what happens? Anything you want but AT THE SAME TIME, your Protagonist is going fucking nuts trying to decide whether or not to get the fuck outta Dodge. That’s “Dodge City” for those of you that are too young to have grown up watching GUNSMOKE. In other words, if your Protagonist STAYS in their ordinary world, they WILL SUFFER in some way. Not that leaving will take the suffering away but leaving is a way to deal with the impending suffering.
Your Hero bebops around and around dealing with this dilemma. “Should I stay OR should I go?” This is a very strong dilemma because remember, this ordinary world is the Protagonist’s home… His or her COMFORT ZONE and nobody ever really WANTS to leave their comfort zone. EVER.
So on through to page 25, your Hero goes back and forth… It’s like the old cartoons where they had the devil whispering in one ear and an angel whispering in the other.
In other words, your Protagonist must do battle with him/herself until, right at page 25, they decide to ENTER into the NEW WORLD.
Now it might seem that I’m painting a picture of your Protagonist being a psychotic. Not at all. This is where being a screenwriter and having creativity comes into play. You must take a long hard look at your Protagonist and his/her ordinary world and come up with situations and events that pull him back and forth, back and forth, until he finally decides to GO. He can’t just sit there and talk to himself… LOL.
So the plot point at the end of Act 1 is simply the result of your Protagonist battling with his/her decision to enter into the new world of Act 2 and of course that result must be that your Protagonist makes the decision to enter into the new world.
So you are correct in your assumption that BOTH the inciting incident AND the plot point at the end of Act 1 propel your Protagonist into action. What you’re kind of missing is your Protagonist’s RELUCTANCE to make the ultimate decision to enter into the new world of Act 2. This is exactly what happens between the inciting incident and the plot point that you’re talking about. Just remember… your Protagonist’s CALL TO ACTION DILEMMA which he/she ultimately resolves when he/she makes the decision to enter into the new world (Act 2).
Hope that helps.
Unk
Well I’m not afraid to comment…
Excellent blog – good info and tips and help…I’ll definitely recommend it…
Pg. 10 or approximately ten minutes into script for placement of inciting incident was what I always thought…and then within 10-15 minutes/pages for that all important first turning point.
Agreed. Great post. I’ve been wrestling with First Act Demons myself.
Pages 12-25 is trickier than it looks. I think it’s a trap zone for exposition. I’ve been trying to tweak the roles of supporting characters so that they introduce the pros and cons. Or better, provide an obstacle for the protag to overcome to get off his ass and MOVE!
You guys are good! It’s definitely a trap zone for exposition although not all exposition is bad. Sometimes you need it because you simply don’t have enough time otherwise.
Just be sure not to do the “talking heads exposition.” Rather, when you must use exposition, make sure your characters are MOVING along… Doing something that makes them the unique character that they are.
Another great way to “do” exposition when absolutely necessary is to create conflict within the exposition itself… Arguments, know-it-all opinions, metaphors, stories, etc. are good ways to get your characters to provide exposition when absolutely needed.
Unk
Unknown: Just wanted to take a second to thank you for all the time and effort you’ve put into your blogs. You’re tips, rants, suggestions and observations have been priceless.
crossroads
Hi. I am a new fan of your blog.
I just wonder if this incite at page 10-12 and the plot point I at page 25 is one of those rules than can be broken. You said it yourself that some rules are meant to be broken “if you have the expertise to skillfully break them.†Can that be translated into “if I can keep you entertained before you get to the incite”?
Suppose you read the first ten pages and you don’t even notice you’re on page 10 because you’re so into the story that all you want to do is see what happens next, so you keep reading until you find the incite, which is on page 20. You find the plot point I at page 32? Is that so terrible?
A teacher once said that as long as I have the incite and the fight in my first act, it can work.
Unknown Newbie,
Sure you can break the rules… I happen to think this is NOT one of the rules that SHOULD be broken. Reason being is audiences need to know as early as possible what SETS OFF THE PROTAGONIST’S journey. If you wait too long after 10 to 12 pages, can you… Do YOU have the expertise to pull off a fulfilling protagonist’s journey by the end of your script and hopefully, your movie?
It’s obviously hard to speculate on your particular script because I haven’t read it… Page 32 isn’t too bad but if it were ME, I would strive to put it NO LATER THAN page 30… Why?
Because when you attempt to market this script, it doesn’t matter if you entertain us well until page 32 and then give us the inciting incident… We’ll (meaning readers and producers) know it’s coming in too late… Hence, no later than page 30 but recommended even earlier.
There’s a certain amount of conformity that the industry expects… The inciting incident is one of those elements.
Having said that…
I would think you could fairly easily take those entertaining elements and move at least some of them past the inciting incident IF you were to move the inciting incident up a bit.
Right?
Unk
Thank you for your answer.
You’re very welcome…
Unk
Hey unk
One of my favorite movies is the Shawshank Redemption and it sets up the incite pretty quickly. Its on page 7 it happens. When he is found guilty and sent to shawshank.
It gets him out of his normal world and into the prison world.
Anyway, in my script that I am rewriting I setup the incite on page 10. That’s just where I felt it should happen. maybe I should check pacing on my setup, but I believe it works well there.
And thanks again for the advice on rewriting. John B.
Hey UNK
First, just want to say I’ve just finished the transformational character arc. Splendid fucking work dude!
I’m at the point with my outline where I have roughly plotted the story and was in dilemma on what to do next. Well that post put an end to that. I will now blaze a trail through the land of theme and character.
Anyhow I digress. Reading the I.I. post I have a question.
My story is a maturation plot, a coming of age tale, a rites of passge. My protagonist is a stubborn, scared and selfish fifteen year old. He absolutely does not want to travel on this journey, in fact he is adamant. It’s only when his father returns that he is forced to tread the path.
Now I hear a lot about how the protagonist must be active, he has to make decisions etc. However since my character is a child and he is forced to defer to his authoritative father this makes that difficult, and he is on the whole somewhat passive, which he remains for most of my story, and in some senses is an observer of the actions going on around him.
This does not hinder conflict, as he is arguing with his father most of the time. His passivity continues until he is forced to make a critical, life or death decision that enables him and the plot to achieve its objective; Maturity, Manhood, Innocence to Experience. So my question would be; how does this affect the inciting incident and the structure as a whole?
Thanks UNK
Larry
p.s. how many more parts will there be to this series and when do you think you will finish it? LOL
Larry,
The transformational arc series is complete for now… As I learn new things however, I will definitely add it to the series… Sometimes, it’s simply a matter of watching a new or even old movie — reading a new or old script and something totally GRABS you that you just have to write about.
Or are you talking about the structure series? The structure series — in my estimate because I don’t plan any of this — is just about HALF finished.
As for your protagonist… It’s outstanding that he does NOT WANT TO TRAVEL ON THIS JOURNEY! Journey is change and very few people relish change.
For example… I don’t mind CHANGE per se but when I go into my favorite coffee shop, they know up front that I’m gonna order a glass of Pepsi and an Americano.
DON’T FUCK WITH MY PEPSI AND MY AMERICANO!
Those two elements are currently part of my life that I simply don’t want fucked with and I will resist CHANGE when it comes to possibly NOT getting them.
So… Of course your Protagonist’s initial reaction to change is that he doesn’t want any of it. Your job — should you decide to accept it — is to come up with a way for your protagonist to WEIGH the upcoming change and entering the new world of that change AGAINST not changing and staying put.
There should be SOMETHING that makes your Protagonist decide on CHANGE and move ahead but NOT before he fights like hell AGAINST that decision.
Perfect for a protagonist of that age… And totally understandable.
Another example… When I was a kid, I lived in a little town in Texas. I was 13 years old and over the summer after school, I had actually fallen in love for the first time in my life.
Dead serious here.
Of course on the face of it, to an adult or parent, that is fucking ridiculous, right? How can a 13 year old really know love? And, even IF they did, they are not in charge of their life at this point anyway so fuck it…
Well I was loving life that summer because I was in love… LOL. Then literally, on the first day of school, I wake up to go to school… To walk to school with my new awesome girlfriend ONLY to discover that my Dad had different plans…
We were MOVING. Right then and there. No school. No we weren’t staying there for another day or two… Nope. We were moving RIGHT NOW!
I remember crying to myself all that day. My body ached because I knew I couldn’t even tell my new girlfriend what was going on… And, by the time school was out for the day — we would be GONE — on our way to California in a 1969 Pontiac Bonneville. I wouldn’t get to see her or tell her anything and it was quite apparent to me that I may NEVER see her again.
Now of course I could yell at my dad and tell him I was staying AND even though that thought had definitely occurred to me, I didn’t actually do it. In fact (hint hint) MANY of those KINDS of thoughts occurred to me… Even to the point of killing my Dad. LOL.
Ridiculous, right?
Not really. That’s the kind of shit that goes on inside the mind of a 13 year old in love. LOL.
However, by the end of the day when it was all said and done, I got in that Bonneville of my own free will and headed to California with my family. Was I happy about it? Hell no. But I could have easily run away but sure, I was kind of like your Protagonist… A little too passive and very conscious of my current ability to be on my own. Could I have NOT gone?
Absolutely! There is no rule that says I could not have run away but logically — all that would do is delay the inevitable, right?
So there is obviously some decision making going on here… One (hint hint) could even take all those scenarios that I played in my head and write them in a script to in order to show my struggle — both internal and external — with the upcoming CHANGE.
The bottom line however is that I came to my senses… Logic played out. Sure, I was under the authority of my parents but this is a movie, right? This is your Protagonist! Show us what he’s going through EVEN if it’s simply in his mind. How you do that is up to you of course…
Bottom line?
According to what you’re telling me, he falls prey to the change. But instead of having his father yell at him that he’s going to have to CHANGE no matter what — show us your Protagonist’s STRUGGLE with the upcoming change and his ultimate decision to play along.
I hope that helps… I don’t want to spell it out for you because it’s YOUR story and I have no idea where any of this will fit but I suspect it will.
Let me know.
Unk
UNK Pepsi fucks with your DNA!
Thanks that helps a lot.
Great story, if you’re feeling lonely you could always check out friends reunited and hunt out your lost love. LOL
Yeah he does change. He becomes a man by the end of the story. After the attrition that he goes through, manhood or death is his only option and as the survival instinct is the strongest force we know, he gladly accepts this change and all that his father teaches him
Act 2 is about charting that progression. This is the challenge for me; knowing how much to change him by scene by scene and what to? what are the stages from selfish to unselfish, innocence to experience, stubborness to flexebilty, fear to love?
I know your not a fan of 3-Act structure, so i was wondering what system you are a fan of? The sequence approach?
Also my protagonist’s external desire or goal is fuzzy, in fact he doesn’t really have one, or maybe its to kill his father, LOL (i had this down in my notes!). He does however have deep seated internal desires. Is this enough to propel him through the story? As it’s his father who has the external goal?
I have just printed of your trans charc arc, and most of the hyper links, so before I go any further with my outline I’m gonna start on bios, fears, character types, theme etc. See how this helps me go forward from index cards to treatment.
Thanks again
Larry
p.s.
have your heard about Enneagram? I’ve stumbled onto it and looks quite interesting. Could be helpful in orchestrating your characters, as it tells you what character type pisses another off? And what type is suited to another.
http://en.wikipedia.org/wiki/Enneagram
It’s quite a bummer than some of these older (but oh so good) articles aren’t being revived for discussion! I have had an issue with the II. In some stories that II is going to be fairly major. Here you are, trucking along in life barely able to afford a carton of beer and bada bing, that lottery ticket you spent your last few dollars on comes up trumps. Yeeeehaaaa.
But sometimes an II can be way way more subtle. It can be leaving the shopping centre and needing to go a different way and seeing a park that reminds you of your childhood. Or, getting the concert night mixed up and turning up on the nude wrestling evening and not the puppet show. Or, just being in a pretty unusual mood one day and agreeing to go with a friend to a club (when you would usually steer clear of the place).
This has been an issue for me in coming to terms with structure. I rarely read about how to deal with ’subtle’.
In fact, to ask a question, when you say “KNOCK out of his socks” is that really always true? I mean Unk, isn’t the full impact of the II generally not realised at the time. Once again its horses for courses so in a BIG action film then, sure, he might wind up being turned completely on his head, but in another genre entirely, if that II is subtle as I mentioned last post, I have to think that the protag isn’t going to be knocked but rather feel a ripple of change. Thoughts?
Susan,
I do think it’s always true if you’re writing a spec that you intend to take to market.
Does that mean all screenplays have to be this way? Absolutely not.
But I gotta tell ya from the Producer’s point of view… If I read a spec without a clear inciting incident that fits the protagonist, I’m probably not going to be interested in the spec and if the script bogs down much more after that, I might not even finish reading it.
Why?
Because why should I? Unless every other aspect of that screenplay is just plain OUTSTANDING everywhere else (highly doubtful), the script probably isn’t worth doing anything with.
It shouldn’t be my job as a producer to read a screenplay — contact the screenwriter and say, “Not bad but we’re gonna have to pass on this one UNLESS you can fix this, this, this, and this.”
All the this, this, this, and thiss should have been resolved before I got it.
In other words, unless the concept or major portions of the screenplay also KNOCKS ME OUT OF MY SOCKS, why should I get involved?
I wouldn’t want to pay someone to fix their own screenplay… Yet, when I have gone this route in the past, the old sense of entitlement rears its ugly head and wants to get paid for fixing a screenplay that should have already been ready to go.
Anyway, back to your question… LOL. Yes, I believe a good spec should do this. Knock the protagonist right out of his socks. I think you might not be thinking of the “knock out” in quite the same way I’m thinking about it however.
Remember… We’re talking about YOUR PROTAGONIST. He’s walking the tightrope of his or her ordinary world. The inciting incident is the wind, the rain, the bird, the fly, the sweat, that momentarily causes him to lose his balance.
Unk
Well, I do freelance research and writing and if I make an error, I fix it in my own time! But I’m one of the good guys.
I DO take your point. I would be more than loath to send a script with some desire that the producer would help me fix it. As you have elucidated elsewhere on your site, it’s a one shot deal. If I screw up badly or make your read problematic (beyond say a very minor point), you won’t read anything of mine again. So, it serves everyone to make it as good as it can possibly be. I suspect you know that’s what I’m striving for and why I ask a lot of things and try and get my head around certain deals. I am also becoming increasingly aware of how certain films have shaped my view. I really like The Mechanic but it defies many of the structural conventions we are discussing. In a way The Sting does too. The II is clever and rather than being a ‘knocksocksoff’ concept :) But I have to admit, would many of these films fly now? No. Simply because tastes and expectations have changed and pace has altered.
I used to also watch a lot of the Poirot and Miss Marple type shows. And in them there is a cracker of an II (the murder) and then, in a sense, it is all rather downhill from there. Unless there is a second murder.
In a way, screenplays seem to shake that convention up a bit. You need a cracker of an II and then you need several other similar points. Miss Marple rarely had a crisis as she neared the end of working out ‘whodunit’ but in a screenplay context she would need to have one.
What I am realising about my own head is that I have clever single ideas or notions but I don’t think in a storied fashion and not having that as a natural talent is like a learning problem. It really is!
Ok, (says to self) get the man all excited at II and all excited at midpoint and even more so at crisis. :)
Hmmm. I think Luther getting thrown out his apartment window did in fact KNOCK Hooker out of his socks.
But that’s just me… LOL.
Unk