The inciting incident as a concept is interesting in plays... I've always felt that in character development, there are so many 'inciting incidents' in the history of the character. When you've described IFS, I've always imagined the events of the past that created my parts are inciting incidents. So with one of the characters I'm writing now, there is really an event in her past that has dominated her. But that isn't at the beginning of the play. Does that make sense? Anyway, I guess the question I'm asking is how broadly can we define the term 'inciting event?' Is it the 'event' that begins the play or the event that is ultimately responsible for the character's mindset when she responds to the event that begins the play???
I love this question, and it has been coming up often lately. All of this vocabulary is basically invented for us to be able to discuss narrative structure (which I know you teach). What is meant by Inciting Incident is the events that set this onstage action in motion, and not the backstory events that might tell us why. Because even if there is an incident in the past, it's not what sets off this protagonist "in this moment" - it is backstory. So in the case of your current work, it might be Anderson shutting down Quinn and not letting Quinn get his way so easily. That would incite Quinn to action. A person is not a play. Yes, there are probably innumerable incidents in a person's life that burden parts. (Parts already exist in all of us and don't get created from incidents, they only take on burdens from incidents or become exiles...) Story structure is much more concise and controlled than life. The way it is (Stasis) begins your play with let's put this unfortunate incident to bed. And Quinn advocates a different approach. If Quinn is shut down, every force gets an equal and opposite force in the universe, so there's a reason for Quinn to fight. If Quinn is allowed to continue, we don't know what we are rooting for in the audience. It's too easy. Make things harder for Quinn and you get a Dramatic Question - will Quinn get justice? If it's too easy, we can't feel the pull of the narrative arc.
So the trauma in the backstory of the character is backstory.
I think one of my issues is that I see the play as real life. When I'm reading a play ~Winners, for example ~ I see it in my mind and live with it for a few days. I interact on some level with the characters in my mind as I remember the play. They become real to me. Fran and Cali are real people, and I imagine parts of their childhood that do not take place on the stage.
My own characters are real to me. And that does make it harder to create plays that tell clear stories.
(Did I tell you that when I was 18, I thought I could save Hamlet from his fate LOL.)
Yes, having to un-real-ize your characters so they can serve the story would make it harder. Let's see if you can make it easier for yourself instead. What would that mean for your new play?
So much of my own angst about my femaleness is invested in Quinn. My fear about being a victim... again. I guess I want Quinn to save me. Prob not the best way to write a play.
Thanks for this, Emma- -just when I needed it!
Actually this is from Michael- -Jennifer and my accounts are linked.
I knew that! You are so welcome. And if you want me to write about any other craft issue, please feel free to ask! I'd love that!
The inciting incident as a concept is interesting in plays... I've always felt that in character development, there are so many 'inciting incidents' in the history of the character. When you've described IFS, I've always imagined the events of the past that created my parts are inciting incidents. So with one of the characters I'm writing now, there is really an event in her past that has dominated her. But that isn't at the beginning of the play. Does that make sense? Anyway, I guess the question I'm asking is how broadly can we define the term 'inciting event?' Is it the 'event' that begins the play or the event that is ultimately responsible for the character's mindset when she responds to the event that begins the play???
I love this question, and it has been coming up often lately. All of this vocabulary is basically invented for us to be able to discuss narrative structure (which I know you teach). What is meant by Inciting Incident is the events that set this onstage action in motion, and not the backstory events that might tell us why. Because even if there is an incident in the past, it's not what sets off this protagonist "in this moment" - it is backstory. So in the case of your current work, it might be Anderson shutting down Quinn and not letting Quinn get his way so easily. That would incite Quinn to action. A person is not a play. Yes, there are probably innumerable incidents in a person's life that burden parts. (Parts already exist in all of us and don't get created from incidents, they only take on burdens from incidents or become exiles...) Story structure is much more concise and controlled than life. The way it is (Stasis) begins your play with let's put this unfortunate incident to bed. And Quinn advocates a different approach. If Quinn is shut down, every force gets an equal and opposite force in the universe, so there's a reason for Quinn to fight. If Quinn is allowed to continue, we don't know what we are rooting for in the audience. It's too easy. Make things harder for Quinn and you get a Dramatic Question - will Quinn get justice? If it's too easy, we can't feel the pull of the narrative arc.
Thank you. That makes sense.
So the trauma in the backstory of the character is backstory.
I think one of my issues is that I see the play as real life. When I'm reading a play ~Winners, for example ~ I see it in my mind and live with it for a few days. I interact on some level with the characters in my mind as I remember the play. They become real to me. Fran and Cali are real people, and I imagine parts of their childhood that do not take place on the stage.
My own characters are real to me. And that does make it harder to create plays that tell clear stories.
(Did I tell you that when I was 18, I thought I could save Hamlet from his fate LOL.)
Yes, having to un-real-ize your characters so they can serve the story would make it harder. Let's see if you can make it easier for yourself instead. What would that mean for your new play?
I don't know.
So much of my own angst about my femaleness is invested in Quinn. My fear about being a victim... again. I guess I want Quinn to save me. Prob not the best way to write a play.
It's a great way to write a play. With a personal connection to your characters and your stories. What other way is there?