Notes that Patrick had made about a writing technique, from a file dated 30 Aug 2014, referencing the book Writing a Novel by Watts. Some of Patrick’s examples come from his own unfinished book, Dr. Weightnovel.
The eight points which Watts lists are, in order:
- The quest
- Critical choice
He explains that every classic plot passes through these stages and that he doesn’t tend to use them to plan a story, but instead uses the points during the writing process.
I find [the eight-point arc] most useful as a checklist against which to measure a work in progress. If I sense a story is going wrong, I see if I’ve unwittingly missed out a stage of the eight-point arc. It may not guarantee you write a brilliant story, but it will help you avoid some of the pitfalls of a brilliant idea gone wrong.
So, what do the eight points mean?
This is the “every day life” in which the story is set. Think of Cinderella sweeping the ashes, Jack (of Beanstalk fame) living in poverty with his mum and a cow, or Harry Potter living with the Dursley’s.
Weightnovel is working with Demens.
Something beyond the control of the protagonist (hero/heroine) is the trigger which sparks off the story. A fairy godmother appears, someone pays in magic beans not gold, a mysterious letter arrives … you get the picture.
Yellow fever stops RR. W heads for homestead of Ft. Brooke.
The trigger results in a quest – an unpleasant trigger (e.g. a protagonist losing his job) might involve a quest to return to the status quo; a pleasant trigger (e.g. finding a treasure map) means a quest to maintain or increase the new pleasant state.
Failing at “Moscow” joins with Disston, who is also on a quest.
This stage involves not one but several elements, and takes up most of the middle part of the story. “Surprise” includes pleasant events, but more often means obstacles, complications, conflict and trouble for the protagonist.
The canal scheme fails. the sugar plantations ruined by sugar tariff. 1894 freeze kills orange crop
Watts emphasizes that surprises shouldn’t be too random or too predictable – they need to be unexpected, but plausible. The reader has to think “I should have seen that coming!”
At some stage, your protagonist needs to make a crucial decision; a critical choice. This is often when we find out exactly who a character is, as real personalities are revealed at moments of high stress. Watts stresses that this has to be a decision by the character to take a particular path – not just something that happens by chance.
with help of Moseleys and abernathy becomes doctor, with a catch.
He has to take “difficult” cases for local doctors
In many classic stories, the “critical choice” involves choosing between a good, but hard, path and a bad, but easy, one.
In tragedies, the unhappy ending often stems from a character making the wrong choice at this point – Romeo poisoning himself on seeing Juliet supposedly dead, for example.
The critical choice(s) made by your protagonist need to result in the climax, the highest peak of tension, in your story.
Irene Randall sent to him for abortion, calling in Abernathy’s favor
For some stories, this could be the firing squad levelling their guns to shoot, a battle commencing, a high-speed chase or something equally dramatic. In other stories, the climax could be a huge argument between a husband and wife, or a playground fight between children, or Cinderella and the Ugly Sisters trying on the glass slipper.
The reversal should be the consequence of the critical choice and the climax, and it should change the status of the characters – especially your protagonist. For example, a downtrodden wife might leave her husband after a row; a bullied child might stand up for a fellow victim and realize that the bully no longer has any power over him; Cinderella might be recognized by the prince.
Irene Randall dies in abortion.
Your story reversals should be inevitable and probable. Nothing should happen for no reason, changes in status should not fall out of the sky. The story should unfold as life unfolds: relentlessly, implacably, and plausibly.
The resolution is a return to a fresh stasis – one where the characters should be changed, wiser and enlightened, but where the story being told is complete.
Telling what he knows, W is poisoned
(You can always start off a new story, a sequel, with another trigger…)
I’ve only covered Watts’ eight-point arc in brief here. In the book, he gives several examples of how the eight-point arc applies to various stories. He also explains how a longer story (such as a novel) should include arcs-within-arcs – subplots and scenes where the same eight-point structure is followed, but at a more minor level than for the arc of the entire story.
You can buy Writing a Novel from Amazon.com – and I highly recommend that you do, as it’s an excellent book for any writer of fiction, and deals with all aspects of the craft (not just eight-point arcs!)
Patrick Meadows 1934 – 2017.
1 thought on “Writing Stories – the 8 Point Arc (by Watts)”
Really like this, but sounds like what I go through trying to solve a math problem :-). Though too, I’m reminded in particular of one of the latest stories I’ve read of Patrick’s, Gallipoli, because it’s short and relatively uncomplicated (except for the chickens, I guess) , the use of these elements are realy quite clear.