Inciting incident, inciting event, significant moment, starting point, or whatever you want to call it—every story must have one. This is an important part of a story structure. There seems to be a lot of confusion on the Internet as to what it really is and where it should be placed in a story.
I think the confusion is fed by a couple things that can be easily clarified. For one, writing styles and preferences have changed over time, and with that change in style and preference, the placement of the inciting incident has also changed. Second, every time someone writes a new craft book, they come up with their own terminology for key plot structure components. This is fine, but it only adds further to the confusion, especially for new writers.
Inciting incident seems to be the most common terminology and it’s the name I think makes the most sense, so that’s what we’re going to call it. But feel free to call it whatever you’re most comfortable with.
I’ve often read that the inciting incident is the event that hooks your reader into the story. That may be true to a degree, but I don’t think this is the best definition of the inciting incident. In part because the hook and inciting incidents are two very different components of creating a story. That’s not to say that your hook and inciting incident can’t be the same thing; they most certainly can. But they don’t have to be, and understanding the distinction between them is important.
Let’s define both the hook and the inciting incident first.
The hook is the language, words, actions, etc. that you use to reel the reader in on page one. Preferably the first paragraph. Bonus points if you can make it the opening line. The hook needs to happen immediately and build up to the inciting incident. Cast out the line, hook them, and reel them in fast before they get away.
The inciting incident is the event that pushes your protagonist into the story. It is the reason the story starts. Regardless of genre, the inciting incident is a must. No exceptions. There’s no way to know when your story starts for your protagonist without it. This event roots both your character and the reader into the story you’re about to tell.
The hook can relate to the inciting incident, or it can be separate. How you connect these two components is entirely up to you. The important takeaway about the hook is it must be compelling, and it better be on page one. You want the reader to turn the page and start this journey with the protagonist.
When and where should the inciting incident occur? I’ve seen a part of several debates over this question and I can tell you there are a lot of differing opinions. If you go overboard and research like me searching for answers, you’re going to come to the same conclusion: there is a lot of contradictory and confusing information out there. After reading countless sources on the placement of the inciting incident, I found it can occur anywhere within act one. It can happen on the first page, at the end of chapter one, at the end of the first act (the 25% mark), or even in the middle of act one.
Yeah, not helpful. Let’s dig deeper and look at writing/reader trends.
There are really three major structural components of act one: the hook, the inciting incident, and the key event (or first act plot point). We’ve already discussed the hook. Put that sucker on page one and capture your reader’s attention. The key event is the event that marks the end of act one. This event happens at the 25% mark of your story and is often confused with the inciting incident. Don’t make this mistake, it is a completely different event.
What is the first act’s key event? Think of this as the point of no return, an irreversible moment in your protagonist’s life. This is an external event that happens to the protagonist that leaves them with no other option except to continue the journey in to act two. Boom, your reader has a reason to keep reading your story. The key event is what your story is about.
The point of no return is not the same thing as the inciting incident. Remember, the inciting incident is the starting point. It’s what sets the story in motion. Unlike the key event, your protagonist still has choices. He or she could go home and do nothing, and their life would go on. They won’t do that because you’ve created an inciting incident that intrigued your protagonist just as much as you’ve intrigued the reader. But with the first act’s key event, the protagonist’s choice is taken away from them, and they must act. This makes sense if you take a moment and define inciting. To incite is to encourage or stir up. And what better place to encourage or stir up your protagonist than chapter one? Especially with today’s readers.
There was a time in writing when opening chapters were structured very differently than they are today. Gone are the days when the first few pages dumped information about the world, history, and characters that set up the story. Reader expectations have changed. They want to know who the main character is, and something exciting better happen to them right off the bat. There’s time for set-up and backstory later.
This change in reader expectation further supports the need for the inciting incident in chapter one. Give them a reason to keep reading from page one with a great hook, and then seal the deal by the end of chapter one with an intriguing inciting incident that sets your protagonist in motion. Readers will love you for it.
Let’s recap the act one critical components and where to place them in your story structure:
- Hook (grab the reader’s attention) – page one, opening paragraph, first line
- Inciting Incident (sets the story in motion) – chapter one
- Key Event (point of no return) – end of act one, 25% mark
Structuring the first act of your story is a lot of fun, especially if you have a clear understanding of these three critical components. Get these three components right and create compelling characters that readers can relate to, and you’ll have a start to your story no one can resist.
Angelique Bochnak is a dreamer and believes all things are possible with a lot of hard work, persistence, and determination. She writes science fiction and fantasy under her pen name A.M. Bochnak, with her focus on epic fantasies, apocalyptic and dystopian fiction. Fortitude Rising, a sci-fi dystopian fantasy, is her first published novel. Angelique writes contemporary romance under the pen name Aria Bliss. Aria’s first novel is In Charge: An After Hours Affair. Angelique is also the founder of the indie publishing company Misadventure Press, where she offers several author services including cover design and interior layout. You can follow A.M. Bochnak on her various social media platforms, and Aria Bliss by signing up for her newsletter. She is an American author and publisher, born and raised in southern Ohio and now lives in Gainesville, Florida.
