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  3-act structure act one adaptation character consultancy dialogue first draft format formatting happy ending hero's journey inciting incident kuleshov layout logline mckee michael hauge mid-point ordinary world outline pitching plot point point of view protagonist ratatouille robert mckee scene screenplay screenwriting script script editor selling sequence slug line software step outline synopsis tag line turning point workshops

Because the first shift of POV in a film may jolt the audience’s experience, it works best where this brief ‘disconnection’ doesn’t hurt the story: after a climax.

The start of Act Two is a good place to move to the antagonist’s

POV.

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“A strong inciting incident is an event that happens to the protagonist, never an action by the protagonist“, I said.

Then I asked you for exceptions, i.e. strong Inciting Incidents that are actions by the protagonist.

Now have a look at the first three responses I received: 1.) THELMA & LOUISE, 2.) PULP FICTION and 3.) KING LEAR.

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