How to keep it interesting before the inciting incident?
My novel technically has two inciting incidents: One in the first chapter, and another five chapters later. The later incident really kicks off the story. What can I do to make sure that everything that happens before this, the first five chapters, are interesting enough to keep the reader going until he/she gets properly established in the story?
This post was sourced from https://writers.stackexchange.com/q/27969. It is licensed under CC BY-SA 3.0.
3 answers
You are accessing this answer with a direct link, so it's being shown above all other answers regardless of its score. You can return to the normal view.
I'm going to use the example of one of my all-time favourite anime, Steins;Gate, which also has two inciting incidents.
The first is Okabe accidentally inventing the time machine and shifting himself into a parallel World Line. This occurs midway through Episode 1, though he and the audience don't realize that's what's happened until about Episode 3.
The second inciting incident occurs at the end of Episode 12, and I won't spoil what it is because it's such a WHAM moment and sets up the entire second half of the storyline. It's worth noting, however, that it's actually a direct consequence of the first incident.
The episodes in between those events serve several purposes:
- To introduce the main characters in detail, and help us get to know them and sympathize with them, in a fun and entertaining manner
- To provide important exposition (in this case, about the mechanics of time travel) so that once the main plot kicks in, the boring bits are out of the way and we can just get on with the main story
- To hint at future plot developments
The section between your two inciting incidents needs to try and hit those points as well.
0 comment threads
Inciting incident is a term for one of the bones of a story, the thing that give it shape. But while a story needs shape, shape alone is not enough. The basic story shapes are well enough known and not particularly complicated. Anyone who does a little elementary research should be able to write a story that follows correct story shape.
But while shape is important, it is not where the money is. You have to put flesh on the bones. What the reader encounters when they read is not the bones but the flesh. Without good bones the flesh will seem deformed. But beyond freedom from basic deformities, it is the flesh that attracts us, creates our interest, and holds it.
What does the flesh consist of? Its fundamental attractions are sensual. A good story engages us at the sensual level. I don't mean sexual here, though it can certainly be that, I mean it creates an experience for the senses. It creates a world that has depth and grit and light and texture peopled by people who feel real and animated and particular.
None of this is in the structure. It is in the telling. It begins with observation and sympathy and love and proceeds through care and craft and a sensitive gift for language and the images and experiences it evokes. The way you hold the reader's interest up to the inciting incident is simple, and yet the hardest part of writing: you make it real.
And until you make it real, the inciting incident is for nothing. It incites nothing unless we are first made to care, unless we are made to feel that this is a real thing happening to real people in a real world.
Anyone can assemble the bones. The diagrams are in all the books. Assembling the bones of a story is no more complex than assembling an Ikea bookcase. If the bones of a story end up misshapen it is either because the writer paid no attention to them at all, or because when the writer attempted to apply flesh to the bones they could not get the muscle and sinew right and it pulled the bones out of shape.
There are very obvious and teachable techniques for the bones. The technique for the flesh is mastery of observation and language. That's the hard part. It is why so many aspiring writers will never achieve their aims. There is no formula for it. If it is not simply inspired, it is learned by osmosis from living, reading, and writing.
0 comment threads
My novel technically has two inciting incidents: One in the first chapter, and another five chapters later. The later incident really kicks off the story.
So... that makes me think that the first incident kicks off a subplot that allows the world and the characters to be set. Then there's a second incident that kicks off the main plot.
I see nothing wrong with it. In fact, I've just been tutoring a kid (highschool level Portuguese literature) where he's studying a novel that has that exact structure. Subplot with a tragic family story that sets up the stage for the main plot, where the main character, while showing himself superior to his tragic family member, ends up in a greater tragedy.
All you have to make sure is that the initial subplot is important to the setting and has an interesting arc of itself. Imagine you're writing a short-story that is composed solely of that initial subplot: would it make an interesting read? If not, either cut it out or make it interesting per se. How? Ignore the fact that this is supposed to be the setting for something greater and treat it as a story per se: make sure that there's a goal driving the main character(s) and that the characters are interesting.
This post was sourced from https://writers.stackexchange.com/a/27992. It is licensed under CC BY-SA 3.0.
0 comment threads
0 comment threads