Characters §
- The way characters react to the inciting incident and its consequences help define their character.
- The introductory scene can be used as a way to introduce the protagonist, antagonist or in general the main cast of characters.
- We can also use the beginning to introduce the early years of the protagonist as a hero. Alternatively, we can also use the beginning to introduce how the characters ease into the plot.
- The introduction of the character can serve as a way to understand their personality and motivations.
- It can serve as an introduction to how the character is treated.
- It can serve as an introduction to the character’s backstory.
- People like underdog stories and character arcs, so often the beginning can introduce how the character starts and how their arc will look like.
- We can also use the introduction of the characters themselves to identify what they know or don’t know about the setting.
Setting §
- The beginning of the story can also introduce the setting. In particular, how it might tie into what the characters are doing, and the plot as a whole.
- We can also use the beginning to contrast the status quo from back then with the status quo in the current setting.
- Another approach to this is to use monologues to introduce the setting or to give the audience, especially first timers, an idea of the setting.
Plot §
- Sets the pace and the tone for the rest of the story.
- Sells to the audience what the work will be about.
- Every story usually begins with an inciting incident that drives the characters into the plot
- The inciting incident doesn’t necessarily need to be large or (seemingly) significant. A sufficient requirement is that it propels the characters into the plot.
- It must offer a promise that the audience expects will lead towards a climax
- The introductory scene can be used for foreshadowing a scene later down the episode.
- Tie prologues into the characters, setting or plot. The prologue can be set anywhere otherwise i.e.:
- The distant past
- In Media Res
- Some time in the future.
- Cold Opens are opening scene presented as a teaser for the narrative to come. It places the viewers in the middle of the plot.
- The opening can be a fake-out which acts to subvert expectations. Be careful with doing this too often, however.
- The plot can be used to introduce the reader to the viewpoint character.
Some Warnings §
- The introductory scene can often be spoiled almost immediately through promotional materials. If it is set in the future, it can spoil outcomes that happen in the future (although the progress towards these points is just as intriguing).
- Be wary of dream sequences, they can feel cheap.
- One danger with opening in media res this is that the author never gives exposition about how things got to that point or who the characters (see Lost in Media Res)
- One danger with not opening with an action sequence is that the opening becomes too boring or the reader is lost in all the worldbuilding (see Slow-Paced Beginning)
- Some opening considered cliched
- It Was a Dark and Stormy Night
- Once Upon a Time
- You all Meet at an Inn (for games specifically)
Call To Adventure §
- The first step in the Hero’s Journey
- Some ways to do it
- The protagonist continue to rebuff the call to adventure even if it is persistent.
- The Call is misinterpreted by the protagonist.
- The Call is persistent to the point it negatively affects the protagonist’s life. Conversely, The Call may start from something innocuous but soon spiral out of control and affect the protagonist negatively. It is then that the call is made explicit.
- The Call also comes with the protagonist getting a power up that differentiates them from the rest of their society.
- The Call comes with a reward for accepting and a punishment for rejecting it.
- The Call is forgotten, the protagonist does something for a while, and then the Call is remembered.
- The Hero answers the Call but it is later revealed that the Call was intended for another Chosen One, rendering the Hero’s progress up to now for naught. The Hero may then develop to be more angsty or competitive.
- The Hero refuses the Call entirely either because they took the blue pill or because they have already retired from their former adventure.
- The Call refuses the Hero because they are not the right person for the job, but a secret test of character shows the hero as just as worthy.
- Someone refuses the call for the Hero.
- The Call is almost always from an external source. It pushes the protagonist out of their comfort zone.
- Alternatively, the protagonist may be the type of character to always look for and answer different Calls. This type of protagonist cannot simply “go back to square one”.
- A story can have multiple Calls. Especially apparent in an episodic structure.
- The Call usually comes with the Chosen One or identifying such a Chosen One. (The following list is arranged on the spectrum of Hero choice involved)
- By Force (i.e., protagonist has to come back or was “forcefully” volunteered)
- By Destiny or Fate, Omen or Prophecy
- By Accident
- Hero is the Right Man in the Wrong Place (“It Began with a Twist of Fate”)
- Hero discovers the Call by Accident
- By Blessing (i.e., granted by a god figure or another hero, usually might also involve passing on the important Plot Device)
- By Trial and Assessment of a mentor figure (usually based on the protagonist’s own skills.)
- By Existential Exploration (i.e., Protagonist is trying to find a new purpose in their life)
- By Personal Choice
- Hero simply resigned to their fate
- Hero chose the red pill,
- Hero’s Motive aligns with the Call’s
- Hero is very eager to do some adventuring
- The Call can be used to hammer home the themes of destiny being changeable and how heroes are formed.
Links §
- Beginning - TVTropes Index for tropes relating to the Beginning of the Story.
- Call To Adventure - index for tropes relating to the Call to Adventure