Lethal Weapon (1987), the same confrontation as the one between John McClane and Hans Gruber in Die Hard (1988) and the same as the confrontation between Harry and Sally at the end of When Harry met Sally (1989).

*****Trial 3*****

Trial 3 centres around the conquering of the Outer Challenge and a significant Transformation to the New Self. In Bonnie and Clyde (1967), the Barrow gang robs a bank, they shoot a cop (previously a cause for concern), and when they escape; everyone knows who they are. This Changing is formidable and demonstrated by the reaction of the Antagonism. In Bonnie and Clyde (1967), the cops give chase but are "...not gonna risk their life in Oklahoma..."

*****Supernatural Aid Departs*****

When the Supernatural Aid is no long

The 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 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) Gives you a universal structural template upon which you can superimpose your situational story. This is why stories such as Alien (1979), Gladiator (2000), Midnight Cowboy (1969), American Beauty (1999), The Graduate (1967) and many others (all deconstructed at the URL below) appear to be different but are all constructed, almost sequence by sequence, in the same way.

and more... (goto www.clickok.co.uk to read more)...

*****Origin of Backstory*****

The Hero embarks on the Journey and Transformation, not to gain a capacity, illumination, power or balance, but to regain it. It is not the attainment of a capacity that helps the Hero conquer his (or her) challenges but the reattainment of it. The backstory should be viewed as the moment when that capacity was lost and everything that led up to this point.

As such, the backstory is often where the Hero's Inner Challenges are made explicit. In Silence of the Lambs (1991), Clarice's story really begins with the lamb (which she recites to Lecter). In Midnight Cowboy (1969), Joe Buck's story begins when he is abused and his girlfriend is raped. In An Officer and a Gentleman (1983), Zach's story begins when his mother commits suicide.

*****Universal Terminology*****

The Hero's Journey uses specific terminology, such as "Final Conflict," "Hand-to-Hand Battle," "Unbearable Antagonism," "the Oracle," etc. This misleadingly implies that it applies to only specific story-types (Arthurian Legend, Damsel in Distress, Fantasy, etc). In fact, the terminology applies metaphorically to the vast majority (if not, every) successful story or screenplay you may have come across.

For example, In Annie Hall (1977), when Alvie finally goes to meet Annie in Los Angeles, that is a Hand-to-Hand Battle and is the same one-on-one confrontation as Luke and Vader battling it out at the end of Star Wars; the same mano-a-mano confrontation between Riggs and Joshua in Lethal Weapon (1987), the same confrontation as the one between John McClane and Hans Gruber in Die Hard (1988) and the same as the confrontation between Harry and Sally at the end of When Harry met Sally (1989).

*****Trial 3*****

Trial 3 centres around the conquering of the Outer Challenge and a significant Transformation to the New Self. In Bonnie and Clyde (1967), the Barrow gang robs a bank, they shoot a cop (previously a cause for concern), and when they escape; everyone knows who they are. This Changing is formidable and demonstrated by the reaction of the Antagonism. In Bonnie and Clyde (1967), the cops give chase but are "...not gonna risk their life in Oklahoma..."

*****Supernatural Aid Departs*****

When the Supernatural Aid is no longe

o 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) Gives you a universal structural template upon which you can superimpose your situational story. This is why stories such as Alien (1979), Gladiator (2000), Midnight Cowboy (1969), American Beauty (1999), The Graduate (1967) and many others (all deconstructed at the URL below) appear to be different but are all constructed, almost sequence by sequence, in the same way.

and more... (goto www.clickok.co.uk to read more)...

*****Origin of Backstory*****

The Hero embarks on the Journey and Transformation, not to gain a capacity, illumination, power or balance, but to regain it. It is not the attainment of a capacity that helps the Hero conquer his (or her) challenges but the reattainment of it. The backstory should be viewed as the moment when that capacity was lost and everything that led up to this point.

As such, the backstory is often where the Hero's Inner Challenges are made explicit. In Silence of the Lambs (1991), Clarice's story really begins with the lamb (which she recites to Lecter). In Midnight Cowboy (1969), Joe Buck's story begins when he is abused and his girlfriend is raped. In An Officer and a Gentleman (1983), Zach's story begins when his mother commits suicide.

*****Universal Terminology*****

The Hero's Journey uses specific terminology, such as "Final Conflict," "Hand-to-Hand Battle," "Unbearable Antagonism," "the Oracle," etc. This misleadingly implies that it applies to only specific story-types (Arthurian Legend, Damsel in Distress, Fantasy, etc). In fact, the terminology applies metaphorically to the vast majority (if not, every) successful story or screenplay you may have come across.

For example, In Annie Hall (1977), when Alvie finally goes to meet Annie in Los Angeles, that is a Hand-to-Hand Battle and is the same one-on-one confrontation as Luke and Vader battling it out at the end of Star Wars; the same mano-a-mano confrontation between Riggs and Joshua in Lethal Weapon (1987), the same confrontation as the one between John McClane and Hans Gruber in Die Hard (1988) and the same as the confrontation between Harry and Sally at the end of When Harry met Sally (1989).

*****Trial 3*****

Trial 3 centres around the conquering of the Outer Challenge and a significant Transformation to the New Self. In Bonnie and Clyde (1967), the Barrow gang robs a bank, they shoot a cop (previously a cause for concern), and when they escape; everyone knows who they are. This Changing is formidable and demonstrated by the reaction of the Antagonism. In Bonnie and Clyde (1967), the cops give chase but are "...not gonna risk their life in Oklahoma..."

*****Supernatural Aid Departs*****

When the Supernatural Aid is no long

w.clickok.co.uk to read more)...

*****Origin of Backstory*****

The Hero embarks on the Journey and Transformation, not to gain a capacity, illumination, power or balance, but to regain it. It is not the attainment of a capacity that helps the Hero conquer his (or her) challenges but the reattainment of it. The backstory should be viewed as the moment when that capacity was lost and everything that led up to this point.

As such, the backstory is often where the Hero's Inner Challenges are made explicit. In Silence of the Lambs (1991), Clarice's story really begins with the lamb (which she recites to Lecter). In Midnight Cowboy (1969), Joe Buck's story begins when he is abused and his girlfriend is raped. In An Officer and a Gentleman (1983), Zach's story begins when his mother commits suicide.

*****Universal Terminology*****

The Hero's Journey uses specific terminology, such as "Final Conflict," "Hand-to-Hand Battle," "Unbearable Antagonism," "the Oracle," etc. This misleadingly implies that it applies to only specific story-types (Arthurian Legend, Damsel in Distress, Fantasy, etc). In fact, the terminology applies metaphorically to the vast majority (if not, every) successful story or screenplay you may have come across.

For example, In Annie Hall (1977), when Alvie finally goes to meet Annie in Los Angeles, that is a Hand-to-Hand Battle and is the same one-on-one confrontation as Luke and Vader battling it out at the end of Star Wars; the same mano-a-mano confrontation between Riggs and Joshua in Lethal Weapon (1987), the same confrontation as the one between John McClane and Hans Gruber in Die Hard (1988) and the same as the confrontation between Harry and Sally at the end of When Harry met Sally (1989).

*****Trial 3*****

Trial 3 centres around the conquering of the Outer Challenge and a significant Transformation to the New Self. In Bonnie and Clyde (1967), the Barrow gang robs a bank, they shoot a cop (previously a cause for concern), and when they escape; everyone knows who they are. This Changing is formidable and demonstrated by the reaction of the Antagonism. In Bonnie and Clyde (1967), the cops give chase but are "...not gonna risk their life in Oklahoma..."

*****Supernatural Aid Departs*****

When the Supernatural Aid is no long

y begins when his mother commits suicide.

*****Universal Terminology*****

The Hero's Journey uses specific terminology, such as "Final Conflict," "Hand-to-Hand Battle," "Unbearable Antagonism," "the Oracle," etc. This misleadingly implies that it applies to only specific story-types (Arthurian Legend, Damsel in Distress, Fantasy, etc). In fact, the terminology applies metaphorically to the vast majority (if not, every) successful story or screenplay you may have come across.

For example, In Annie Hall (1977), when Alvie finally goes to meet Annie in Los Angeles, that is a Hand-to-Hand Battle and is the same one-on-one confrontation as Luke and Vader battling it out at the end of Star Wars; the same mano-a-mano confrontation between Riggs and Joshua in Lethal Weapon (1987), the same confrontation as the one between John McClane and Hans Gruber in Die Hard (1988) and the same as the confrontation between Harry and Sally at the end of When Harry met Sally (1989).

*****Trial 3*****

Trial 3 centres around the conquering of the Outer Challenge and a significant Transformation to the New Self. In Bonnie and Clyde (1967), the Barrow gang robs a bank, they shoot a cop (previously a cause for concern), and when they escape; everyone knows who they are. This Changing is formidable and demonstrated by the reaction of the Antagonism. In Bonnie and Clyde (1967), the cops give chase but are "...not gonna risk their life in Oklahoma..."

*****Supernatural Aid Departs*****

When the Supernatural Aid is no long

Lethal Weapon (1987), the same confrontation as the one between John McClane and Hans Gruber in Die Hard (1988) and the same as the confrontation between Harry and Sally at the end of When Harry met Sally (1989).

*****Trial 3*****

Trial 3 centres around the conquering of the Outer Challenge and a significant Transformation to the New Self. In Bonnie and Clyde (1967), the Barrow gang robs a bank, they shoot a cop (previously a cause for concern), and when they escape; everyone knows who they are. This Changing is formidable and demonstrated by the reaction of the Antagonism. In Bonnie and Clyde (1967), the cops give chase but are "...not gonna risk their life in Oklahoma..."

*****Supernatural Aid Departs*****

When the Supernatural Aid is no longer needed, he (or she) departs or travels to where he (or she) is needed. In Midnight Cowboy (1969), Ratso dies. In Silence of the Lambs (1991), Lecter makes a final phone call to Clarice. In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), Aslan departs. In Fistful of Dynamite (1971), John dies.