The eight points which Watts lists are, in order:
3. The quest
5. Critical choice
So, what do the eight points mean?
This is the “everyday 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.
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.
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.
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. Watts emphasises 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. 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...