Oh, boy, does the terminology get muddled here.

Coming from computer programming where there is a fairly rigorous standard terminology and relatively uniform definitions, I was initially dazed and confused because of the lack of consistent terms and definitions for drama. ?Dazed and confused and immensely frustrated.

I finally arrived at my own ?preferred ?terms and definitions. I make no claim that they are the best and last words on the subject. ?I only claim that they work for me in discussing scripts and loglines.

The way I see it, the issue under discussion in this thread is the distinction between the “Point of Attack” and the “Inciting Incident”.

I define “Point of Attack” ?as the 1st significant conflict in the 1st Act of the story. ?More specifically, the purpose of the “Point of Attack” is provide the audience a particular illustration of the protagonist’s general situation, ?the unhappy Status Quo ?of his life that he sees now way of escaping . ?It exacerbates and?reinforces the Status Quo — it does not improve?it.

In contrast to the “Point of Attack”, I define “Inciting Incident” as the key event in the 1st Act that?changes the trajectory of his life. ?It offers him a way of escaping the frustration and discontent of the Status Quo. ?(In the “Hero’s Journey” paradigm, ?the Inciting Incident is known as “The Call”.)

Now then. ?In the concept for this story, I interpret the “humliation” as ?the “Point of Attack” — not the “Inciting Incident”.

Why?

Because it is a particular illustration of his general situation, his place in the pecking order. ?He’s the Rodney Dangerfield of his high school; he don’t get no respect. And there is nothing he can about; he sees no way to elevate his status and get the respect of others, and win the love of the girl. ?? (If he wasn’t already the resident Rodney Dangerfield, the jock wouldn’t have been able to diss him with impunity. ?But the jock does.)

The humiliation changes nothing in his status quo; ?it only exacerbates, reinforces it.

Until the “Inciting Incident”, the sudden acquisition of the magical powers. What makes it the Inciting Incident is that it offers him an opportunity to?change everything,?It gives him the ability to escape his unhappy Status Quo.

(Tangentially,? I think it’s possible in some genres — action-thrillers come to mind — for the “Point of Attack” to also be the “Inciting Incident”. ? Every rule has exceptions ?– but the exceptions are not the rule and don’t invalidate the general rule. ? Most films open with?a “Point of Attack” moment to illustrate the Status Quo and what’s wrong with it. ?This sets the stage for a later Inciting Incident.)

fwiw

“Humiliated’ is not a character flaw — it’s a character’s status in the pecking order. ? So what is his character flaw that threatens to trip him up, that will lead him to abuse his power?

Unearned god-like powers are a two edged sword that work for and against the character who wields it. ? The comedy has not only got to be in what he can do to others with his unearned gift, but in how he can hurt himself.. ?In what way does this newly acquired power pose a danger, a threat to some facet of his character?

In “What Women Want”, ?Nick’s psychic power attacks his character flaw, his chauvinism. ? He can’t help but hear what women?really think about him ?And what they really think is that he’s not god’s gift to them; quite the opposite: he’s an egotistical jerk. (Or in the parlance of the time, he’s a USDA cull grade — the lowest quality — male chauvinist pig.)

(An apropo cautionary allegory for his situation, I think, might be the tale of the Sorcerer’s Apprentice. ?And worse, this kid probably has no mentor to advise and restrain him , right?)