If the middle of your screenplay or novel ie Act Two has ever given you trouble, this is the book for you. The key is simple. Just figure out how Act Two ends. Ideally, your choice is filled with pain, emotion, and paradox—a powerful combination which re-engages audiences just when their interest is about to evaporate.
This book will show you exactly what to do. Conquer Act Two for good, today! Words: 62, Published: June 9, The beginning of your story has to grab audiences. This is the marketing-plotting conundrum. Would love to hear some opinions on this? And just to be clear, when I say the same location I don't mean one 16 page mega-scene or something crazy like that - but aprx. As well, the story itself is based on this location it's even in the title of the screenplay!
S So once again, opinions are greatly appreciated! Thanks in advance! Location Beautiful BC. I don't think the placement of Inciting Incident is a hard rule. It depends on the story, the total length of the scipt and your pacing IMO. I've never been critized by the placement of my Inciting Incident when having it anywhere within the first I'd think, anything after 20 pages and you're running long and will need some cuts. As for keeping the story within a single location within the first 15 pages or so.
Again, without the context of your movie, it's hard to judge Locations are important to the story tone, feel, style even so as long as it fits, it should work. Hope this helps.
Inciting Incident On Page 14 - Opinions? :: SimplyScripts Screenwriting Discussion Board
Board Moderator. Location Broken Arrow. My opinion is that as long as those pages are interesting and has forward momentum, it makes little to no difference which page you place your events on or when or how often you change locations. Those rules are only guidelines to help you if you need help. In the end, it doesn't matter as long as the story is engaging.
Write what's right. Location London, England.
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I'd really have to see the script to make a fully-informed judgement, but my personal philosophy is that as long as you're making a conscious decision, and know why you're doing something, then it's usually fine. Don't warp your story to fit the rules - they're really just guidelines, anyway. Like I say, though, it's hard to say if it's a problem without seeing the script.
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Story by Robert McKee -Book Notes, Summary, and Review
Back again? Location Bowden, Alberta. I would have to see the script, but I understand just how difficult it is to determine those first ten pages. It seems one is always sacrificing something and I think it's a good idea to just keep writing it every way you can imagine, let it go cold, and then write it every way you can imagine AGAIN! Each time, being critical and asking yourself, what is the importance here of this? Of that? What I'm saying is that the first ten pages need to accomplish so much. You need to establish the tone of your piece right from the get-go.
That's a big one. You need to ground your audience into "the world" you establish and they need to have a reason to watch. It can't just be a manufactured initiating incident. It has to be the kind of catalyst that is fueled by and will subsequently fuel the character's motivations. The connections between the characters and the plot you work to construct can't be understated. I have trouble with structure, but I know also, that it's a beautiful trouble because one sees the correlations between individuals and their actions upon the problems they receive in life, or the script.
As writers, struggling to determine the connections within a script, we find it is kind of like entering a new reality on another level, and one begins to appreciate the work itself. So my short answer is: Work really hard to present what your story is about in the first ten and make the whole thing a hook. Your audience needs to FEEL. The questions need to be answered-- later. Figure out how to end Act Two This page story structure worksheet has already been downloaded over 37, times by writers around the world. Click here for FREE instant access.
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It got bogged down by exposition or backstory—or both. Betcha you want to avoid that, huh? Fortunately, you can—with the inciting incident. How does this process work? It all has to do with the function of the inciting incident. Now that you know its function, can you see why the inciting incident is so valuable? It reassures audiences.
Look for the earliest plot point that fulfills all of the following four characteristics. The inciting incident is: passive disruptive personal causally linked to the first-act break Want more details about each characteristic as well as examples of the inciting incident? The Inciting Incident Is Passive The inciting incident is something that happens to your protagonist.
Not directly. Was he trying to become the next Dragon Warrior? All the same, make it interesting. Naturally, the more curiosity you can generate, the better. The Inciting Incident Is Personal The inciting incident personally affects your protagonist or someone or something that he values in an essential way. That is, in most cases.
A colleague of your protagonist, perhaps. The Inciting Incident Is Causally Linked to the First-Act Break The inciting incident specifically triggers the first-act break, which is when your protagonist pursues his overall goal in earnest. More simply, the inciting incident is the cause; the end of Act One is the effect.
What does this mean?
Related Inciting Incident: How to Begin Your Screenplay and Engage Audiences the Right Way
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