This is the status quo, what life is like for your character before the story really begins. This could last several chapters, or be implied rather than shown if your story begins in media res. Example: Harry Potterâs life with the Dursleys.Â
Synonymous with the inciting incident, this is something that happens to the character that kick starts their journey. The trigger could be bad or good, which could affect the nature of the Quest. Example: Percy Jackson is attacked by a monster on a school field trip, and he finds out that heâs a demi-god.Â
The protagonist has a quest, and sets out on it. This takes up the middle portion of the story. I think the best example is any of the Percy Jackson books, in which Percy Jackson literally goes on a âQuestâ starting about 25% into the book.Â
This could be interpreted two ways, either as multiple events that happen throughout the course of middle section, or one event that changes the heroâs quest, or both. In the first interpretation, this would be either good or bad turns of fortune, conflicts, obstacles, and revelations that move the middle portion along. In the second interpretation, this could be something big that clarifies the true nature of the conflict, or lifts a veil for the protagonist, which would likely happen about halfway or two thirds into the novel. You can, of course, have both.Â
The protagonistâs true character is revealed when they are given a choice. This a monumental moment in a character arc. Their decision reflects the growth that they have made along the journey; they wouldnât have made the same decision during the stasis. This is often between a good but hard choice, and a bad but easy choice. For instance, the choice between betraying a friend to be one of the cool kids, and the choice to stand up for a friend against terrifying bullies.Â
The result of the critical choice, and the highest point of tension in the story. Think, Harry Potter facing Voldemort for the final time at the end of the Deathly Hallows. Who will win? Who will lose?Â
Things begin to change in the protagonistâs favour and they defeat the final obstacle. Example: Cinderella putting on the glass slipper and proving that she was the girl at the ball. A new status is achieved.
The ending of the story, in which a new stasis is achieved. This could be several chapters or a few pages in the case of a cliff hanger. Loose plot threads are tied up, and a readers are given a sense of closure.Â
How to use the 8 Point Story Arc
This story structure has its pros and cons. One pro is that you have a lot of wiggle room with these story beats, and it is a time honoured story structure. The issue, on the other hand, is that theyâre also quite vague, which you may not want. Everyone interprets these points differently.Â
In many ways this story structure works best for short stories, because short stories donât have a long middle, and the two beats âQuestâ and âSurprise,â may be all that you need. But in a novel, âQuestâ and âSurpriseâ may seem rather insubstantial for the middle portion of the novel, which most people struggle the most with anyway.Â
You can also use this structure on multiple levels, using it to plan your entire book, but also using it to plan chapters and scenes within your book.Â
If youâd like to read more about the 8-Point Story Arc, read about it in Nigel Wattsâ book, Writing a Novel and Getting Published.
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