ABRIDGED TIPS, EXCERPTS AND EXAMPLES:

(simply go to http://www.story-structure.org/ for full details)

*****Woman as Temptress*****

The Hero is often (but not necessarily) tempted into the Night Sea Journey by a female. In Gladi

The 188 stage Hero's Journey (Monomyth) is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. In fact, ALL of the hundreds of Hollywood movies we have deconstructed (see URL below) are based on this 188+ stage template.

Understanding this template is a priority for story or screenwriters. This is the template you must master if you are to succeed in the craft.

[The terminology is most often metaphoric and applies to all successful stories and screenplays, from The Godfather (1972) to Brokeback Mountain (2006) to Annie Hall (1977) to Lord of the Rings (2003) to Drugstore Cowboy (1989) to Thelma and Louise (1991) to Apocaplyse Now (1979)].

THERE IS ONLY ONE STORY

THE 188 STAGE HERO'S JOURNEY:

a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharses, of which there are usually four).

d) Tells you what to write. For example, at a certain stage of the story, the focus should be on the Call to Adventure and the micro elements within.

ABRIDGED TIPS, EXCERPTS AND EXAMPLES:

(simply go to http://www.story-structure.org/ for full details)

*****Woman as Temptress*****

The Hero is often (but not necessarily) tempted into the Night Sea Journey by a female. In Gladia

[The terminology is most often metaphoric and applies to all successful stories and screenplays, from The Godfather (1972) to Brokeback Mountain (2006) to Annie Hall (1977) to Lord of the Rings (2003) to Drugstore Cowboy (1989) to Thelma and Louise (1991) to Apocaplyse Now (1979)].

THERE IS ONLY ONE STORY

THE 188 STAGE HERO'S JOURNEY:

a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharses, of which there are usually four).

d) Tells you what to write. For example, at a certain stage of the story, the focus should be on the Call to Adventure and the micro elements within.

ABRIDGED TIPS, EXCERPTS AND EXAMPLES:

(simply go to http://www.story-structure.org/ for full details)

*****Woman as Temptress*****

The Hero is often (but not necessarily) tempted into the Night Sea Journey by a female. In Gladi

THERE IS ONLY ONE STORY

THE 188 STAGE HERO'S JOURNEY:

a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharses, of which there are usually four).

d) Tells you what to write. For example, at a certain stage of the story, the focus should be on the Call to Adventure and the micro elements within.

ABRIDGED TIPS, EXCERPTS AND EXAMPLES:

(simply go to http://www.story-structure.org/ for full details)

*****Woman as Temptress*****

The Hero is often (but not necessarily) tempted into the Night Sea Journey by a female. In Gladi

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharses, of which there are usually four).

d) Tells you what to write. For example, at a certain stage of the story, the focus should be on the Call to Adventure and the micro elements within.

ABRIDGED TIPS, EXCERPTS AND EXAMPLES:

(simply go to http://www.story-structure.org/ for full details)

*****Woman as Temptress*****

The Hero is often (but not necessarily) tempted into the Night Sea Journey by a female. In Gladi

ABRIDGED TIPS, EXCERPTS AND EXAMPLES:

(simply go to http://www.story-structure.org/ for full details)

*****Woman as Temptress*****

The Hero is often (but not necessarily) tempted into the Night Sea Journey by a female. In Gladiator (2000), Lucilla persuades Maximus to go along with the plan. In An Officer and a Gentleman (1982), it is Paula's secret that causes Zach to disappear. In Jason and the Argonauts (1963), it is Medea that leads Jason to the King.

*****Physical Separation*****

Physical Separation is made explicit in a number of ways. It is often symbolic - in ROmancing the Stone (1984), Joan and Jack cross a bridge. In Bonnie and Clyde (1967), Clyde shoots the guard as he jumps on the car.

*****Belly of the Whale*****

It is in the Belly of the Whale where the Hero comes face to face with what he (or she) must become or deal with or be. In Straw Dogs (1971), Cawsey asks if "...they got anything worth taking...ten months inside is enough for me...." ; Ratboy steals Amy's knickers; "...I want what was in them....."

*****Letting go of the Old Self*****

Post the Crossing of the Return Threshold and before the Master of Two Worlds and Selves, a hell of a lot happens that is rarely given mention. The Final Conflict (a metaphor for this stage) follows a distinct process. At the mid point of the Final Conflict, the hero lets go of his old self. This is demonstrated in a number of (metaphoric) ways. In Straw Dogs (1971), Amy wants to go, "let me go." In The Godfather (1972), Michael lies to