The Inciting Incident

[Chessie]

Hi everyone! I am wondering when would be a good time to bring the inciting incident into a story. I am giving the story I've been attempting to write a second chance for NaNoWriMo, so I want to go in well prepared. The timing of 'the incident' was a big issue for me the first time around, since I want to make sure the readers have plenty of feel for the status quo before crap hits the fan. My guess is within the first chapter (maybe after 5 or so pages) but that still seems a bit soon.

Thoughts and suggestions welcome. Thanks all! <3

 

[Devor]

Sometimes formulas work, but nobody can tell if it'll work for you without knowing far more about your work. But I believe the inciting incident is supposed to happen . . . . within 10%? 25%? 50 pages? I don't recall.

I would say that you want your first chapter to be full of rising action, so if not in chapter one, you should see chapter one clearly leading up to it.

 

[GeekDavid]

Hi everyone! I am wondering when would be a good time to bring the inciting incident into a story. I am giving the story I've been attempting to write a second chance for NaNoWriMo, so I want to go in well prepared. The timing of 'the incident' was a big issue for me the first time around, since I want to make sure the readers have plenty of feel for the status quo before crap hits the fan. My guess is within the first chapter (maybe after 5 or so pages) but that still seems a bit soon.

Thoughts and suggestions welcome. Thanks all! <3

It all depends on your personal style. There are books I've read where the inciting incident happened before the book even started... some it takes place right at the start, and some authors (coughModesittcough) can take 1/4 of the book for background before the big event takes place.

 

[Penpilot]

Usually in the first act, which is roughly the first 25%, but it can be as late as the first 33%. The reason it should be early is because it is what gets story going. Without the inciting incident, the story is stuck in first gear. BUT there's no rule that tells you not to start later.

If I remember right, Star Wars has a late inciting incident, which is Luke's family buying the Droids.

 

[shangrila]

Typically it's the start of the story, whatever changes the character's life and sets them out on the journey. So, early is good. As others have said the first chapter seems to be a good place that a lot of authors use. But also, as others have said, it's up to you. If you want time to build the "Prison" your character is in to start with, then that's fine.

Personally, I usually throw it in as early as possible with the Prison getting slowly fed in as the story continues.

 

[wordwalker]

We shouldn't talk about "Inciting Incident" as if it were a fixed thing. It can happen a bit earlier or later, and it can also be not a single event but a series of escalations-- except that some people will just call one the I.I. anyway. It's a measure of the relationship between your plot elements over time, and can work different ways.

--All the same, a sharp incident that happens early is the safest choice. Just don't get blinders about it.

And, take a look at Lisa Cron's Writer Unboxed » A Cautionary Tale: 3 Writing Rules that Can Derail Your Story about pacing your opening. It's too easy to let your trust in certain things rush or bog down the early scenes of a story.

 

[Chessie]

Wow, thanks everyone! I appreciate the thoughts. I always thought that it had to happen within the first several pages but that doesn't feel right. I've changed some characters/things around but basically the story is about an apothecary that gets robbed and something valuable is stolen from it. The protagonist is an aide/scholar that lives and works at the apothecary, and her teacher/owner of the joint gets murdered in the process of the robbery. The item stolen happens to be a valuable tonic but I won't go into that for spoilers.

What I envision is giving the readers enough time for them to understand how much this work means to the protagonist, and what a close relationship she has with her teacher. I realize that I have little control as to how the readers attach to the characters but I would like to give them sufficient bonding time with 'her world' so that they understand the impact this incident has on her life.

I'm thinking that within the first chapter just isn't enough time. There are 'shady' things happening in the first chapter that build upon one another so that when the incident does happen the readers will be surprised but at the same time they expected something bad to happen.

Thank you wordwalker for the link, I'm going to it right now!

 

[Lawfire]

And, take a look at Lisa Cron's Writer Unboxed » A Cautionary Tale: 3 Writing Rules that Can Derail Your Story about pacing your opening. It's too easy to let your trust in certain things rush or bog down the early scenes of a story.

Great link, thanks!

 

[wordwalker]

I always thought that it had to happen within the first several pages but that doesn't feel right. I've changed some characters/things around but basically the story is about an apothecary that gets robbed and something valuable is stolen from it. The protagonist is an aide/scholar that lives and works at the apothecary, and her teacher/owner of the joint gets murdered in the process of the robbery. The item stolen happens to be a valuable tonic but I won't go into that for spoilers.

What I envision is giving the readers enough time for them to understand how much this work means to the protagonist, and what a close relationship she has with her teacher. I realize that I have little control as to how the readers attach to the characters but I would like to give them sufficient bonding time with 'her world' so that they understand the impact this incident has on her life.

I'm thinking that within the first chapter just isn't enough time. There are 'shady' things happening in the first chapter that build upon one another so that when the incident does happen the readers will be surprised but at the same time they expected something bad to happen.

Thank you wordwalker for the link, I'm going to it right now!

I bet the Lisa Cron piece should help a lot with that; I've started collecting links lately (anyone notice? ) and I consider that one of the best.

Putting an Inciting Incident, and/or a fight, right at the start seems like it's safe. But the more I think about it, the more I think the ideal story would make some more unique, human connection before that (or at the same time). That puts a much higher demand on the writer to make a "slower" start THAT GOOD, or really make the subtler and the high-powered points work together... but it's a challenge worth accepting.

 

[Addison]

I wouldn't say the first five pages. But the inciting incident should be foreshadowed, even if it's a surprise or something. But the inciting incident is also known as "The Door of No Return." It's the part of the first act where something happens to rip the protag out of their comfy little world and into the real story. And incident which does not let them turn back. There's no returning to that life, the only direction is forward.

So basically, breaking the story into three acts, the first act centers around the inciting incident. The incident itself is the climax of the first act.

 

[Penpilot]

I wouldn't say the first five pages. But the inciting incident should be foreshadowed, even if it's a surprise or something. But the inciting incident is also known as "The Door of No Return." It's the part of the first act where something happens to rip the protag out of their comfy little world and into the real story. And incident which does not let them turn back. There's no returning to that life, the only direction is forward.

So basically, breaking the story into three acts, the first act centers around the inciting incident. The incident itself is the climax of the first act.

According to my understanding this isn't the case. The inciting incident is what starts things in motion. For example. In Star Wars it's when Luke and Uncle Owen purchase the droids. This is not the end of the first act. The end of the first act of Star Wars is when Uncle Owen and Aunt Beru are killed and Luke decides to go with Ben.

From my understanding the Inciting incident and the Door of no return are two different things.

 

[Devor]

Putting an Inciting Incident, and/or a fight, right at the start seems like it's safe. But the more I think about it, the more I think the ideal story would make some more unique, human connection before that (or at the same time). That puts a much higher demand on the writer to make a "slower" start THAT GOOD, or really make the subtler and the high-powered points work together... but it's a challenge worth accepting.

Depending on the story, I don't think the Inciting Incident needs to be strong enough to overshadow the early character building. As Penpilot said about Star Wars, the Inciting Incident is when Luke's uncle bought the droids - the droids who then stayed and witnessed Luke's life at length.

From my understanding the Inciting incident and the Door of no return are two different things.

So what's the difference between the Inciting Incident, the Call to Action, and the Door of No Return?

I googled them a while ago. I think the inciting incident is when something changes in the MC's life and sets the story in motion, the Call to Action is when the MC decides to do something about it, but what constitutes a Door of No Return?

 

[Penpilot]

So what's the difference between the Inciting Incident, the Call to Action, and the Door of No Return?

I googled them a while ago. I think the inciting incident is when something changes in the MC's life and sets the story in motion, the Call to Action is when the MC decides to do something about it, but what constitutes a Door of No Return?

I'll use Star Wars to explain this.

From my understanding and Inciting Incident is a choice the Protagonist makes, knowingly or unknowingly, that starts the story.

Inciting Incident = Buying the Droids, specifically Luke pointing out R2-D2 as a good choice for a replacement droid when the first one they purchase breaks down.

The Inciting Incident brings a problem onto the Protagonist. The Call to Adventure is when the problem is presented to Protagonist and they must decide if they want to attempt to solve this problem or refuse to do anything about it.

Call to Action = Finding Princess Leia's message. "Help me Obi-Wan Kenobi, you're my only hope."

At first Luke refuses, Refusal of the Call. "Alderaan? I'm not going to Alderaan. It's late, I have to get home. I'm in for it as it is."

Which brings us to the Door of No Return, or Point of No Return. This is where the Protagonist must answer, and there is no turning back. This is the point where Act 1 transitions into Act 2.

Door of No Return = Luke's Aunt and Uncle are killed. Now he must answer the call. There's no turning back because he has no home to return too. Luke declares he's going to Alderan with Ben and he's going to be a Jedi like his father, thus setting his goals for the story. Luke doesn't intend to return. This is symbolized when he sells the landspeeder to pay for travel. He doesn't need it where he's going. Entering the Mos Eisly bar is the jump into act 2, leaving the normal world of the Protagonist behind and entering the story world.

 

[Sanctified]

Why not start in media res and backtrack later once you have a better grasp on things?

I'm not great at beginnings either, and I'm also probably a bit too conscious about pacing, but starting in the middle (or pretty much anywhere in the narrative) is a good way to get things going and establish a narrative flow, so by the time you get to writing the catalytic incident, you're already in a groove.

After that, you might even decide you like a non-linear presentation, and it could be a good way to hook your readers from the get-go -- plunge 'em right into it so they know what's at stake, and then fill out the backstory as you progress. Good luck.

 

[GeekDavid]

I wouldn't say the first five pages. But the inciting incident should be foreshadowed, even if it's a surprise or something. But the inciting incident is also known as "The Door of No Return." It's the part of the first act where something happens to rip the protag out of their comfy little world and into the real story. And incident which does not let them turn back. There's no returning to that life, the only direction is forward.

So basically, breaking the story into three acts, the first act centers around the inciting incident. The incident itself is the climax of the first act.

That's better than I've ever heard it explained.

 

[Chessie]

^^ Yes. Actually, I've realized that I'm having a hard time placing the inciting incident any sooner than the second chapter. It could end up being a slow starting novel...but I have full faith in my abilities as a kick ass story-teller to keep the readers engaged until it happens. There is plenty of tension that happens before it anyway, so I'm rolling with this. We'll see what happens after all is written in the first draft.

 

[SineNomine]

I hate to be of so little help but being this general, but the rule I live by is "The Inciting Incident is the beginning of the story. The only stuff that should come before it is what you feel the reader has to know to appreciate just how inciting the incident is." This generally means you can spend a little bit of time setting up the status quo and foreshadowing what is about to happen, but obviously we as authors can easily overestimate the amount of background needed. Just be careful about putting too much in before things get rolling.

 

[Writeking]

The Inciting Incident should probably come in no later than 100 pages in, but it all depends on where you want it to happen. If you've got a detailed outline planned out, you should find it easier to decide when it should happen.

 

[GeekDavid]

Another possibility if you want the MC to find out about the incident later is to have another character introduce it early, then go on with the introduction of the MC and the world.

 

[Chessie]

Hm, these are all good things to consider, thank you for sharing! SineNomine, your reminder about adding too much in is certainly helpful, thank you. We can totally get lost in our story and add way more in than needs to be there. Luckily (or maybe unluckily) my problem tends to be that I move through the story rather fast. Usually I need to go back and add in more description to slow down my pace, so the inciting incident won't be happening later than Chapter Two.

The first chapter will be foreshadowing the event and adding in a few more things so that when the inciting incident happens, the protagonist really feels it in her heart to volunteer herself to act on it.