Often it’s presented as a dot or a mark on a timeline.

When breaking down a story, there’s typically a point about ten percent of the way through labeled the “inciting incident,” the catalyst, the call to adventure…

This plot point has many names, but its purpose is to throw the protagonist(s) into their objective, which then heaves the story into motion.

Let’s start with a brief anecdote. One time we had a class of 2nd-graders visiting the WGF Library. During their visit, we broke down the story of Finding Nemo. We kept asking the class:

What does Marlon (the protagonist) need? What does he want? What must he achieve or fix?

Out came a myriad of responses. “To rescue his son!” “To get his son back!” “To travel through the ocean to get to Nemo!”

Finally, a no-nonsense, bespectacled kid raised his hand. “Can I say something?”

We’ll always remember what he said:

“FIND NEMO.”

Nemo has a thousand faces. Every protagonist, every character has one — a thing that means the very world to them… a thing that they must pursue or retrieve with every piece of will in their soul. (Hitchcock called it “the MacGuffin.”

The inciting incident, the catalyst, the starting event, then, is the moment that the world gets thrown off-balance. It’s the juncture where the protagonist loses Nemo and is presented with a course of action to get him back.

We sometimes like to call it “the ignition point.” Up until this point in the story, we’ve been sitting in a car, but nobody’s turned on the engine yet. This is where we rev the motor. Now, we travel. Now, we evade. Now, we pursue.

In this post, we’ll look at how some of the great screenwriters crafted their points of ignition. We’ll examine how these points look on the page rather sitting on a timeline…

BABY BOOM (1987)

Written by Nancy Meyers & Charles Shyer

Why is this disruptive? Sharp and savvy J.C. has just accepted a high-stakes executive position in which her boss makes it clear that he expects the same commitment from her that he would get from a man. This is code in sexism for: Don’t make any plans to have a family.
How does this ignite the story? After having accepted this major job, J.C. is now the caretaker of a baby.
Note how the script flips our expectations coming into this moment. Like J.C., we’re expecting the inheritance to be an item… or money…. not a baby.

BRIDESMAIDS (2011)

Written by Annie Mumolo & Kristen Wiig

Why is this disruptive? We’re shown heretofore how Annie and Lillian are mostly in the same boat in their single, unattached lives. We’re also shown how Annie’s life is not where she wants it to be career and living situation-wise. This moment comes as a breaking point. Lillian’s life is now suddenly moving in a different direction.
How does this ignite the story? On top of everything else, Annie is now in charge of helping to plan Lillian’s wedding and having to hold sway over a group of bridesmaids around whom she feels less-than.
Note how in this draft, Annie seems uncomfortable even talking about the engagement at all.

CONCLAVE (2024)

Screenplay by Peter Straughan; Based on the novel Conclave by Robert Harris

Why is this disruptive? In its first three pages, Conclave throws its story into motion with the death of the current Pope.
How does this ignite the story? The most Senior Cardinals at the Vatican gather to form a succession plan. “Well, Dean, the responsibility for the Conclave falls to you.” Finding the next leader of the Catholic Church falls squarely on Cardinal Lawrence’s shoulders in this moment. We’re off to the races!
If you want to hear writer Peter Straughan talk about crafting this inciting incident watch his WGF Library Script Breakdown here.

EX MACHINA (2015)

Written by Alex Garland

Why is this disruptive? Ex Machina opens on page 1 with an inciting incident in which Caleb wins a one-week trip to stay at Nathan, the tech CEO’s isolated, palatial home… but he doesn’t know there’s a reason for the summons. From the get-go, there’s an air of creepy mystery to it.
How does this ignite the story? The challenge that Caleb is presented with here also happens to be the thematic and ethical question that’s explored over the duration of the movie.
Note that Garland piques our interest with a question. “Do you know what the Turing Test is?” This helps define EXACTLY what is to transpire over the course of the story… which also engages our sense of anticipation.

FINDING NEMO (2003)

Screenplay by Andrew Stanton and Bob Peterson and David Reynolds

Original story by Andrew Stanton

We’ve already talked about Finding Nemo, but it’s worth noting how the writers help us understand the importance of Nemo to Marlin at the very beginning of the film. Nemo is literally Marlin’s only family after his wife and hundreds of other children are annihilated. Marlin makes a promise to Nemo at the beginning of the film that he’ll always have and protect him. That makes the above incident all the more traumatic.
Note in the writing how in his immediate attempt to save Nemo, Marlin gets three tough obstacles hurled at him. There’s the second diver, temporarily getting blinded, then blown back by the boat’s wake. All of this hurts and makes us empathize with Marlin, but it also shows us instantly how steadfast he will be in finding his son.

LOVE & BASKETBALL (2000)

Written by Gina Prince-Bythewood

How is this disruptive? This isn’t as traumatic as son being ripped away from father, but in a movie about two neighbors who juggle a friendship and relationship amidst budding basketball careers, their first meeting is the undeniable ignition point of the story.
How does this ignite the story? They’re already discussing basketball and one of the first things Quincy says is: “I never knew a girl could play,” which happens to be one of the central obstacles and themes of the story.
Note how Prince-Bythewood makes Monica the one with the gory injury and the one who takes a bigger scoop of frosting from the cake. This is a childhood meet-cute with nuanced characters.

MILK (2008)

Written by Dustin Lance Black

How is this disruptive? This, likewise, is a very subtle ignition point. Black uses a moment of discrimination to flip a switch within Harvey Milk. If you’re not paying attention, you might miss it. It’s an ignition based in character arc.
How does this ignite the story? Suddenly, Harvey — who never gave a damn about politics — is galvanized to fight back by starting a business association, which is his first foray into the world of government.
Note how Scott is the perfect contrast/foil for Harvey, putting up a trace amount of resistance to this new political leaning by asking questions.

NETWORK (1976)

Written by Paddy Chayefsky

How is this disruptive? Whoa, this news anchor (who just got word that he has two more weeks in his post) just announced that he’s going to commit suicide on air!
How does this ignite the story? Well, it ought to be cause for alarm, re-evaluation and compassion amidst Howard’s colleagues. Rather, his proclamation and his rants cause a ratings boom. As a result, the struggling network decides to capitalize off of the suspense, continuing to give him air time.
Note how the production team barely pays attention when Howard makes his announcement, which just makes you feel for him all the more.

SAVING PRIVATE RYAN (1998)

Written by Robert Rodat

How is this disruptive? We’ve just watched horrific casualties unfold on Omaha Beach during the Normandy Invasion. Now, the US War Dept gets news that 3 brothers have recently been killed in action, including 1 in Omaha Beach. Their last name was Ryan and their mother is getting all three telegrams today…
How does this ignite the story? There’s a fourth brother, who’s on the front… and might be alive. This knowledge is dropped right on page 10, which is the target for most inciting incidents.
Note how the Captain and the Colonel do not even have to speak the objective of the story here. It’s implied. Save Private Ryan.

WINTER’S BONE (2010)

Screenplay by Anne Rosellini & Debra Granik / Based on the novel by Daniel Woodrell

How is this disruptive? The main character in Winter’s Bone, 17-year-old Ree Dolly, has the immense responsibility of taking care of her two younger siblings (and mostly catatonic mother) in the rural Ozarks. Her stasis is disrupted when a Sheriff comes looking for her missing father, who is known to cook meth. Since her father put the family’s house and land up for his bond, if he does not turn up for court, Ree will lose the only security she has: the house.
How does this ignite the story? The steely determination of “I said I’ll find him.”

If you’re looking to improve the point of ignition in your own screenplay, remember, a good inciting incident:

sets the character on a clear journey/pursuit.
makes the protagonist’s need clear beyond a doubt and establishes the stakes of what will happen if they don’t get it.
feels disruptive to the character’s status quo.

As always, if you’re looking for help or reference assistance, our e-mail library@wgfoundation.org is always open. While we can’t send PDFs of scripts, we can always advise about formatting as we do here.

Until next time! Happy writing!

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WRITING YOUR SCREENPLAY: INCITING INCIDENTS