The Story Department » ordinary world

Inciting Incident: Planting the Bomb

Karel Segers — Sun, 13 Apr 2008 15:38:22 +0000

Keeping the audience interested throughout the ‘setup’ is a major challenge as professional readers won’t last until the Inciting Incident if the first ten or twelve pages don’t deliver.

The ‘setup’ is often a complete sequence in which we see the ‘Ordinary World’, the protagonist’s ‘normal life’, an area of the story that by its name and nature risks to be a dull stretch. We see the life of the main character before the overwhelming event that marks the real start of story.

For the solution, we go back to a lesson from Alfred Hitchcock.

Remember the difference between surprise and suspense? Surprise is when a bomb suddenly explodes. Suspense is when we know there is a bomb, and it can explode any moment.

The Inciting Incident is our first story explosion.

How do we make our audience hang in there until it explodes? By foreshadowing the Inciting Incident. By creating anticipation.

Create strong anticipation during the story setup by foreshadowing the Inciting Incident.

DIE HARD: While John McClane argues with his ex, we see bad guy Gruber et al. preparing their actions. Worse is yet to come for John.
JAWS: Swimmer Chrissie is crab meat by the time we meet with hero Chief Brody. We know the reported ‘missing person’ won’t be seen again.
TOUCH OF EVIL: In the classic opening shot we see a bomb planted on a car, it ends on the explosion. This marks Vargas’ (Heston) call to action.
OMAGH: Terrorists from the Real IRA plant the bomb that will later cause carnage in the Northern Irish town, and kill the hero’s son.
E.T.: In the opening scene, an alien is left behind on earth, 12mins later it will disturb the life of little Elliott.
THE UNTOUCHABLES: Capone’s hitmen bomb a pub and kill a girl. In the I.I., her mother calls on Eliot Ness to stop the violence.
BLADE RUNNER: At the end of the Voigt-Kampf test and before we meet with Deckard, we see replicant Leon shoot his interviewer.

Note that these examples show the foreshadowing of an Inciting Incident of such a magnitude that it would not just disturb the hero’s life, but anyone’s under the circumstances. In other words, we don’t really need a lot of exposition or setup to understand that this Inciting Incident will stir the pot.

This approach may not work with just any story.

Most stories will still need you to first set up the protagonist’s character before introducing the Inciting Incident, just because the impact of the Inciting Incident is specific to that particular character.

First we are fully immersed in the life and world of Truman Burbank in The Truman Show before the appearance of his father on the street will be seen as a major event.

We need to know the character – and flaw – of Stu Sheppard in Phonebooth before we fully get how important it is when some stranger seems to know all those secrets he has been carefully hiding.

Even in most of the seven examples above, between the foreshadowing near the opening of the movie and the actual Inciting Incident, the screenwriters make sure they build on the gravity of the I.I.’s impact:

- in Jaws, Chief Brody is relatively new in Amity so he may only have limited authority when he asks to close the beaches.
- in Touch of Evil we learn that Mr. and Mrs. Vargas are still honeymooning, so Mike is not really prepared to take on a case.
- in Omagh we see how close father and son Gallagher really are, before the son dies in the bomb attack.
- In The Untouchables, the domestic scene at the Ness home shows a dedicated father Eliot, so he is the right person to respond to the distraught mother later on.

Structure: Michael Clayton

Karel Segers — Mon, 24 Mar 2008 15:00:45 +0000

A structural overview of Michael Clayton (Tony Gilroy, 2007) in 8 Sequences.

When I watched the film during its theatrical release, I thoroughly enjoyed it. Because of the relatively low budget (an estimated USD$25m) for its production values, Tony Gilroy was able to make some brave non-commercial decisions with his screen story.

This didn’t go entirely unpunished, as the Variety review points out:

Gilroy’s fidelity to his script comes at the expense of the pacing, which initially lumbers forward so assiduously as to feel like a throwback to an earlier era.

and:

Some of the peripheral threads — especially Michael’s relationship with his family, both as an irritated brother and a single dad — occupy time at the outset but really don’t lead anywhere.

-Brian Lowry

Looking at the story structure in the first act, we’ll find some obvious causes for the problems addressed above.

The Inciting Incident doesn’t happen until 25mins into the film and I yet have to find a clear 1st Act Turning Point. The scene with Marty (Sydney Pollack) at 51mins feels like one but at that stage Michael is already on his journey. The monumental 25mins of ‘Ordinary World’ make the story drag on to a point the audience will get very fidgety.

Then, in sequence two – and even before the end of the act – we find an abundance of scenes and characters that are not dealing with the main plot: Michael’s son, his debt, the merger and the scenes from Karen’s POV. These are simply things you cannot do without having clearly set up the main story.

I won’t go into any further story issues, but here is how I would structure the film in terms of plot points and sequences:

ACT ONE

SEQUENCE A: Prologue, Ordinary World

00.00 Arthur’s VO: This is not a relapse.
03.00 POV(*) Bach is settling, at office late at night
04.30 POV Karen in bathroom, tormented
05.00 Michael is gambling, phone rings
07.00 Urgent job: accident, go see client at home
08.30 At client’s: What are you? Miracle worker?
12.00 Phone rings: Michael gives details to referee.
12.30 Driving, GPS flickers.
13.30 Gets out at field with horses
15.00 Car explodes

SEQUENCE B: Subplot and Call to Adventure

15.30 – 4 DAYS EARLIER
16.00 Subplot: Michael drives son Henry to school
18.30 Subplot: Michael needs $75k to repay debts
20.30 At work, assistant asks: Are we merging?
23.00 POV Karen (intercut) rehearsing + interview
25.30 I.I.: Arthur stripped in deposition room
26.00 Arthur’s VO (cont.). Did you meet Anna?
29.00 Arthur: I have blood on my hands.

ACT TWO

SEQUENCE C: To get Arthur back on the case

29.30 POV Arthur tape, U-North people learn about Michael
32.30 Michael will get Arthur back in 3-4 days; find briefcase
33.30 POV Arthur calls Henry: Realm & Conquest.
35.30 Michael & Karen: defends Arthur. She’ll call Marty
37.30 Michael & Arthur as Mentor: “We’ve been summoned.”
39.30 POV Karen calls Mr. Verne
41.00 Arthur has escaped

SEQUENCE D: Allies and Enemies, Midpoint

43.00 POV Karen shows Marty the memo.
43.30 Searching Arthur’s office; psychiatric commitment?
45.00 Arthur followed, Michael leaves msg: janitor to janitor
48.00 POV Arthur calls Anna, call bugged.
50.00 With creditor: one week
51.00 Marty: He’s calling the plaintiffs; Michael asks loan
54.00 Looking for Arthur; with son, sees him
56.00 Mid: Arthur changed. Not the enemy.”Then who?”

SEQUENCE E: Subplot and Ordeal Plot Point

59.30 POV Arthur reads report on voicemail
63.30 POV Karen orders murder
65.00 Asks brother for support; hang for an hour.
67.30 POV Arthur killed
69.30 Brother shows up, off alcohol, in front of Henry
71.00 To son: you’re not like this. You’ve got it.
72.30 Ordeal: phone call, Arthur’s dead
75.00 In pub w/ Marty. Why?? No note. U-North settling.

SEQUENCE F: Ordeal Sequence Approach / and Reward

77.30 Calls Anna, in NY right now.
78.30 Goes to see Anna in motel, being watched
79.00 Anna: “something that would win the case”
81.00 Approach: Gets seal, to Arthur’s place
82.00 Followed, watched; searches flat
83.00 Finds Realm & Conquest; Police come in
84.00 Released from cell, “Who called 911?”
87.30 Reward: 3,000 copies of memo
88.00 POV Karen finds out about memo: ‘situation’.
88.30 Marty ready for announcement;
89.00 Subplot Reward: cheque $80k
91.00 Pays off debt.

ACT THREE

SEQUENCE G: To get out, by bringing U-North down

92.30 Gambling // car bomb planted // phone rings, leaves.
95.30 Driving, miracle worker, fixer
96.00 Driving
99.00 Horses // Gimme cell // Explosion
99.30 Throws valuables in, runs off
100.0 Brother picks him up
101.0 POV Karen addressing board w/ settlement proposal
103.3 Climax: Confronts Karen: $10m
106.0 Resolution: Everything on record: NYPD

SEQUENCE H: Return with the Elixir – Finally Out

107.0 Taxi

(*): Scenes marked “POV” are not from the protagonist’s POV.

Blade Runner: The 8 Mins First Act

Karel Segers — Wed, 05 Mar 2008 11:40:57 +0000

If you want to be a professional screenwriter, be open to spoilers.

Furthermore, be open to the weaknesses in your favourite films. Most often, it won’t harm your love for the film. Some of the handful of films I re-watch every year, I won’t mention in my seminars because I appreciate them for reasons other than their story.

As a matter of fact, I use some of my favourite films as examples how not to do it.

BLADE RUNNER is such a film.

I have never stopped enjoying this movie. To my personal taste, BLADE RUNNER has the most perfect marriage of astounding visuals and a downright gorgeous score. The film addresses philosophical and ethical issues that were challenging when the film was released, but even more now, in our increasingly over-technological and digitized society.

Yet, despite the film’s phenomenal reputation, the original release of Blade Runner was close to a non-event. The film flopped.

It is not that hard to see what could have been a possible reason for its failure. Let’s look at the first twenty minutes in terms of its plot points. The numbers refer to the counter reading on my DVD player.

00:00 Opening titles

After titles and rolling text, the film opens on a spectacular night skyline, painting a dystopian picture of Los Angeles, anno 2019.

After a prolonged series of establishing shots, we enter into an interrogation room where a character by the name of Leo is undergoing an ‘emotional response’ test, the

02:40 The Voight-Kampf Test

At the end of a 2mins scene, we have the first plot point in the film: Leon shoots his interrogator. But we don’t have a protagonist yet. Therefore we first descend to the streets and alleys of downtown LA for the

07:30 Introduction of Deckard and arrest

We find him reading his newspaper, he is called to a foodstall and orders noodles. While he is eating, he is being ‘arrested’.

The counter now reads 9.30mins and we have had two plot points, only one with our hero. Like it or not, this movie is slow.

It takes another one minute transition scene (traveling) before we enter into the next scene:

10:45 Introduction Bryant

This scene contains the Inciting Incident: Bryant ordering Deckard to go out and ‘retire’ four replicants. He is reluctant but: “No choice, pal.” Second plot point for Deckard.

12:30 The Mission Explained

What follows is three minutes of pure exposition, no real plot point: Captain Bryant gives Deckard some more details on the job and, hey presto, Deckard is on his way to retire replicants.

Guess what?

15:30 End of Act One

You did read that right: the first act contains less than sixteen minutes and only a measly two plot points for our main character.

Actually, drop the opening titles and Act One finishes only thirteen minutes into the film. Or worse: only eight minutes after we see our hero first.

For a movie with a running time close to two hours, this is simply not enough.

No proper introduction of character. No ‘ordinary world’, no ‘refusal of the call’, no ‘mentor’.

Fans have argued this is all on purpose, because Deckard has no history. He is a replicant himself and was created for the mere purpose of chasing the outlaws.

Nice try, but it doesn’t work. It might in a short story, a novel(*), a play perhaps? Not in a movie.

()The source work, Philip K. Dick’s Do Androids Dream of Electric Sheep* has ample character introduction before it enters into the story of Deckard retiring the Nexus-6′s. Check out the novel or read Paul Sammon’s brilliant Future Noir, about the making of BLADE RUNNER.)

Inciting Incident: Definitions

Karel Segers — Thu, 07 Feb 2008 01:05:06 +0000

Inciting Incident, Catalyst, Call to Adventure, Disturbance. All terms referring to the first crucial moment: the point where your story kicks off.

Michael Hauge closes the first of his six story stages with it, at the 10% point of the story (10mins in a 100mins movie).

Paul Gulino sees it as the end of the first of a typical eight sequence movie. Christopher Vogler says:

The hero is presented with a problem, challenge, or adventure to undertake. Once presented with a Call to Adventure, she can no longer remain indefinitely in the comfort of the Ordinary World.

This moment better be BIG. If it ain’t, it may go unnoticed and the audience will still be waiting for the story to start.

Michael Tierno, in Aristotle’s Poetics for Screenwriters says:

It’s a self-initated action, a virtual “big bang” that sets the entire plot in motion, that can be committed by either the protagonist or antagonist, and that is an act of pure will.

According to Robert McKee:

The INCITING INCIDENT radically upsets the balance of forces in the protagonist’s life.

And later he says:

The protagonist must react to the Inciting Incident.

I wish authors would develop a common terminology but, alas, they don’t. Here is Linda Aronson’s approach:

Early on in the film there will be an event which changes the normal scheme of things and forces the protagonist in a new direction, effectively starting the story. This is called a catalyst or disturbance.

Linda Seger writes in her book Making a Good Script Great:

The catalyst is the first main “push” that gets the plot moving. Something happens, or someone makes a decision. The main character is set in motion. The story has begun.

Next: Inciting Incident: Key Aspects and Examples >>

The Inciting Incident

Karel Segers — Wed, 06 Feb 2008 01:10:22 +0000

The first guy to write down that a story needs a beginning, middle and end, was Aristotle. About twenty-four centuries ago. But his beginning is not the same as our Act One; it is the point in this act where the story kicks off.

What Aristotle was talking about, in screen story terms we call the inciting incident. Anything before that, he called the prologue, which we know as the setup, the normal life of the protagonist or ordinary world of the hero.

The inciting incident is the first point in the film something happens truly out of the ordinary. It is often a surprising event, both to the audience and the protagonist. At that point it is clear: the story has well and truly started.

After the inciting incident, do we know what the story is about yet? No. For this, we need to wait until the end of Act One, until we understand what the protagonist’s mission, objective or outer desire will be for most of the story.

To be a successful screenwriter you really need to fully understand this first crucial moment in the story. Let’s look at what it means, what others say it does and what essential aspects you need in order to make it work.

One thing is absolutely certain: without a strong inciting incident you will have a hard time getting your audience glued to their seats.

Next: Definitions of Inciting Incident >>

Glossary

Karel Segers — Sat, 26 Jan 2008 08:45:04 +0000

The following is a basic list of terms I believe you should have an understanding of. To be a professional, it is crucial you can communicate with others to discuss the strengths and weaknesses of your work.

It is not enough to know and understand Syd Field’s set of phrases, as some hot shots may only be familiar with McKee. Unfortunately different people have different definitions for the exact same term.

This is my attempt to broadly define the most essential notions, informed by the best known theories, but influenced by the need to make them useful to the screenwriter rather than the analyst. Some theories are great to analyse finished films, but useless when you are stuck in your second draft. I hope that my definitions will help in identifying problems.

I will occasionally add to the list and modify definitions. If you disagree with anything or the explanation is not clear, feel free to flag this to me.

Normal Life

Also: opening, ordinary World, normal life, prologue, Journey Stage One.

The part of the screenplay or the film in which we see the life of the protagonist before things take a significant turn.

This stage is often unified by a (visible) desire or objective that will change after the inciting incident.

We often learn what the character’s flaw is, and therefore what the ‘need’ is, leading to the transformation at the end of Act Two.

Inciting Incident

Also: disturbance, catalyst, beginning

Once the protagonist‘s ‘normal life’‘ has been set up, an important, often life-changing event occurs, which turns the protagonist‘s life upside down.

The strongest inciting incidents are events beyond the control of the protagonist, forcing the protagonist to act.

This action may not follow immediately, but after a period of confusion, hesitation, reluctance or after consulting with an advisor or mentor.

First Act Turning Point

Also: act one turning point, first threshold, first turning point, plot point one.

The point in the story marking the end of the first act, often the scene where the protagonist finally ‘accepts the call‘, decides to go on the mission he/she has been refusing up to then.

Mid-Point

Also: mid point reversal, point of no return, mid turning-point

A dramatic change in the protagonist’s approach to achieving the goal (turning point) or a change of the goal itself (reversal).

This change of approach is forced by a major event around the halfway point of the film, often of a magnitude similar to the inciting incident.

A film with a weak inciting incident can sometimes be saved by a powerful mid-point reversal.

Crisis

Also: ordeal, low point

The point in the story close to the end of the second act, when everything seems lost.

The protagonist is at the lowest point and undergoes great mental and/or physical challenge.

It is the point when ‘the image of death is planted in the minds of the audience’.

Second Act Turning Point

Also: plot point two, crossing the 2nd threshold

Often during, at the end or right after the ordeal/crisis scene, the protagonist undergoes a character transformation, marking the completion of the character arc on the psychological, ‘inner journey’ level and thus marking the end of Act Two.

On the surface, in the physical world (or Outer Journey) this scene may lead to a discovery/revelation.

While the crisis scene (or sequence) may be rather static, this final ‘clue’ at the end of Act Two will trigger action, often leading to a kinetic scene: a chase, escape, or just a scene or sequence with fast movement. This physical movement can be seen as the closing of Act Two: at the end of the movement we are in Act Three.

Climax and Resolution

This is the high point of the third act and the end of the story.

Sometimes climax and resolution are spread over more than one scene but it typically boils down to the protagonist fighting and ultimately defeating the enemy, achieving the objective (or realising a failure).

The turning point usuallyis a direct or indirect response to the inciting incident.

Sequence

Also: journey stage, block

A number of scenes or plot points, about 10-15mins of screen time on average and unified by a common goal, location, and often structured around its own 3-act structure.

Plot Point

See: Plot Point

Point of View

See: Point of View

From the above follows:

Act One

Some people will say this is the

Tools: Nine Sequences – 45 Scenes

Karel Segers — Sun, 04 Nov 2007 23:27:18 +0000

ACT ONE

SEQUENCE A: Ordinary World + Inciting Incident

- …………………………………………………………………………………………………………

SEQUENCE B: Refusal + Crossing the 1st Threshold

- …………………………………………………………………………………………………………

ACT TWO

SEQUENCE C: Easy Approach (Tests, Allies, Enemies)

- …………………………………………………………………………………………………………

SEQUENCE D

- …………………………………………………………………………………………………………

SEQUENCE E: Mid Point (Reversal)

- …………………………………………………………………………………………………………

SEQUENCE F

- …………………………………………………………………………………………………………

SEQUENCE G: Crisis / Ordeal and Transformation

- …………………………………………………………………………………………………………

ACT THREE

SEQUENCE H: The Road Home, Climax & Resolution

- …………………………………………………………………………………………………………

SEQUENCE I: Aftermath / Return with the Elixir

- …………………………………………………………………………………………………………

The Story Department » ordinary world

Inciting Incident: Planting the Bomb

Structure: Michael Clayton

A structural overview of Michael Clayton (Tony Gilroy, 2007) in 8 Sequences.

When I watched the film during its theatrical release, I thoroughly enjoyed it. Because of the relatively low budget (an estimated USD$25m) for its production values, Tony Gilroy was able to make some brave non-commercial decisions with his screen story.

ACT ONE

ACT TWO

ACT THREE

Blade Runner: The 8 Mins First Act

(*)The source work, Philip K. Dick’s Do Androids Dream of Electric Sheep has ample character introduction before it enters into the story of Deckard retiring the Nexus-6′s. Check out the novel or read Paul Sammon’s brilliant Future Noir, about the making of BLADE RUNNER.)

Inciting Incident: Definitions

The Inciting Incident

Glossary

Normal Life

Inciting Incident

First Act Turning Point

Mid-Point

Crisis

Second Act Turning Point

Climax and Resolution

Sequence

Plot Point

Point of View

Act One

Tools: Nine Sequences – 45 Scenes

()The source work, Philip K. Dick’s Do Androids Dream of Electric Sheep* has ample character introduction before it enters into the story of Deckard retiring the Nexus-6′s. Check out the novel or read Paul Sammon’s brilliant Future Noir, about the making of BLADE RUNNER.)