The Inciting Incident Plunges Your Character Into His Journey

image by kboyd

image by kboyd

Definition

Inciting Incident. Incite: “to urged to action; instigate; stir up.” (Webster Illustrated Contemporary Dictionary)

The inciting incident is an event in which something happens to the protagonist that changes his everyday life. It creates an opportunity for him to begin a journey that drives the story and exposes his true underlying problem.

Purpose of the Inciting Incident

The solution to the protagonist’s underlying problem starts with the inciting incident. This event hints at what the story is about. The heroine may have only an inkling of her underlying problem, but the event begins her transformation. The incident impels the heroine to make choices and drives her future actions. If this particular event hadn’t occurred, the story would relate a different journey.

image by werner22brigitte

image by werner22brigitte

The inciting incident:

• bumps the protagonist out of her everyday life and introduces imbalance.
• urges the protagonist to take action and eventually change.
• triggers the story’s plot, setting off the story’s main conflict that drives the novel.

Note: The character doesn’t suddenly decide to set out on this physical, emotional, or psychological journey. The decision needs an inciting incident.

And, the incident has more impact on the reader if it’s not summarized as backstory. It works best if the reader goes through the event with the character.

Where the Inciting Incident Belongs

The inciting incident can occur before the story starts (rare), in the opening scene after showing what the protagonist’s normal life looks like (most common), or later during act one.

The Protagonist’s Reaction to the Inciting Incident

Often the protagonist is reluctant to answer the call of the inciting incident and resists it. But, he must eventually accept the call or no story exists. His acceptance may be his own choice or the result of outside forces.

Example:

 

image by Clker-Free-Vector-Images

image by Clker-Free-Vector-Images

In the movie The Cutting Edge, Doug is a star hockey player. Opposing-team players crush him against the ice rink wall, and he no longer has peripheral vision in one eye. This causes professional teams to reject Doug. The macho guy’s dream of playing professional hockey is over.

The injury is the inciting incident that sets Doug on a new journey.

A figure-skating coach offers Doug a tryout with figure skater, Kate, who’s hard to get along with and forces all her partners to quit.

The hockey jock resists the sissy sport, until the figure-skating coach says he’s Doug’s last chance to stay on the ice. So, Doug goes to the tryout and, after Kate tries to get rid of him, convinces Kate’s father he’s the “go-to” guy to get Kate and him to the Olympics.

Doug fears losing the esteem of his brother and his fans back home, so he tells them he’s joined the merchant marines. We watch Doug go from feeling humiliated to being proud of his figure-skating abilities. Besides falling for Kate, he realizes what he does isn’t as important as striving for excellence in whatever he does. This is the underlying problem.

Understand what the inciting incident does for your story. Click to tweet.

What’s the inciting incident in your manuscript or the novel you’re reading?

Your Story’s Opening Line: Look for the Mystery

image by qimono

image by qimono

I stopped reading “The Chain of Awesomeness” by Jeff Somers (Writer’s Digest July/August 2016). I brought up my first chapter to see if my opening line held the mystery Somers said was more important than shock or coolness (even though they’re good too).

My opening line contained some mystery. The reader might ask why my character was doing what she did. But I continued to read my chapter. Bong! There lay the sentence that had the mystery and the coolness.

image by Clker-Free-Vector-Images

image by Clker-Free-Vector-Images

And, I received a bonus. The second line of my new opening paragraph accomplished what Somers said the rest of the first paragraph should do:

“Offer a small amount of satisfaction for the reader who’s just been hooked by your awesome first line, then build on that intrigue.”

 

 

 

First Lines – No Mystery

  • The sun was out full force.
  • I live in California.
  • My name is Dawn.

These first lines don’t prompt the reader to ask a question.

image by Pezibear

image by Pezibear

Better Rewrites:

  • For the first time in a year, Hector saw the sun, and it was out in full force. (Why hadn’t Hector seen the sun in a year?)
  • Due to an accident, I live in California. (What accident caused the protagonist to live in California?)
  • Because of what happened at the first appearance of light on the day I was born, my name is Dawn. (What happened at the first appearance of light? Did the event have something to do with Dawn, the mother, or the town?)

First Lines With Mystery

For fun, I grabbed books from my shelves written before or at the turn of the twentieth century. It seems, even though the writing is different, the authors realized they needed to hook the reader with a mystery. You can see if they provoke a question for you.

  • “‘Mamma, what was that I heard papa saying to you this morning about his lawsuit?’” (Wide, Wide World by Elizabeth Wetherell)
    • What lawsuit was brought against the child’s father?
  • “‘Shall I ever be strong in mind or body again?’ said Walter Gregory with irritation as he left the sidewalk and crowded into a Broadway omnibus.” (Opening a Chestnut Burr by Rev. E. P. Roe)
    • What happened that Walter became weak in mind and body?
  • “It was a beautiful morning in the late July when I set forth on foot for the last time for Aros.” (The Merry Men by Robert Louis Stevenson)
    • Why was he going to Aros, and why was it the last time?)
  • “‘And so, dear old thing, I really can’t come.’” (The Marriage of Barry Wicklow by Ruby M. Ayres)
    • Why couldn’t the speaker come?
  • “In an upper chamber, through the closed blinds of which the sun is vainly striving to enter, Reginald Branscombe, fifth Earl of Sartoris, lies dead.” (Faith and Unfaith by The Duchess)
    • How did the Earl die and why is his death important?

Make sure your opening line raises a question for your readers. Click to tweet.

What’s the question you asked in the opening line of the book you’re currently reading?

Cramming in Characters: Overloads & Overwhelms Readers

image by Clker-Free-Vector-Images

image by Clker-Free-Vector-Images

A common first-chapter problem is introducing too many characters in the first scene. This can also be a problem for later scenes.

The Problem

  • image by OpenClipart-Vectors

    image by OpenClipart-Vectors

    Readers feel as if they’ve entered a gala with names thrown at them.
  • People can keep track of around three characters at a time.
  • Readers become confused and forget the many characters’ relationships to the protagonist.
  • Authors are less likely to round out people when too many are introduced at once.

Solutions

  • Introduce necessary characters; don’t simply name them.
  • Use names that sound different from names of other people.
  • Determine which characters are crucial. If they don’t have a short or long-term purpose, eliminate them.
  • image by geralt

    image by geralt

    Consider whether two or more characters can be combined into one character.
  • Decide which critical characters can be introduced later. This removes first-chapter overload and starts the story faster.

 

  • Space introductions of essential characters throughout the scene and give each a memorable feature, action, or dialogue.
  • Allow only characters in the first chapter who have purposes that support the setup and keep the focus on the protagonist.
  • Consider this in a scene: At a party, we wouldn’t receive the full background of the twenty people we meet.
  • Introduce two or three new vital characters in scenes subsequent to the first—after readers have had a chance to grasp the story setup. Then, each character can have his own cameo through action, dialogue, and the protagonist’s point of view.

An Example

At Mom’s wake, Millie’s brother, Don, introduced his college roommate, Mark. Before Millie had a chance to say more than hello, Sally and Vera, her mother’s closest friends approached and threw their arms around her. Extricating herself from Mom’s chums, Millie caught a glance of Ron over by the shrimp platter. She needed to speak to him. Of course, Mom’s cousin Emma, had to come. Emily, her daughter, followed her everywhere.

image by Unsplash

image by Unsplash

An Evaluation:

  • Mark never enters the story again or has any purpose.
  • Don and Ron and Emma and Emily are essential, but their names are too similar. Possibly Emma and Emily could be detained and arrive the following day.
  • Although we’re given how each person is related to Millie, we’re given nothing memorable to keep these 8 people straight.
  • Mom’s chums could possibly be combined into one friend.

Better Rewrite:

Millie’s chest caved. Couldn’t Don have honored their mother and come to her wake sober? Millie turned her sisterly glare into a smile as Mom’s closest friend Vera approached with outstretched arms. Vera’s arm flab flapped as she waddled closer. Extricating herself from Vera’s bear hug, Millie caught sight of handsome Erik half hidden by the oriental screen. Was Erik avoiding their needed conversation?

Best Rewrite: Now have moments spaced throughout the scene in which these 4 characters hint at or show their long- and short-term purposes to the chapter and story.

Be deliberate in introducing many characters so readers aren’t overwhelmed or confused. Click to tweet.

What other suggestions do you have for introducing characters?

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American Christian Fiction Writers

American Christian Fiction Writers

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