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...

*****Hero’s Journey: Motivation*****

The detective hero realises that there is danger of being accused of the crime and initiates a delaying tactic. This is further motivation to solve the crime. In The Maltese Falcon (1939), Sam calls h

[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...

*****Hero’s Journey: Motivation*****

The detective hero realises that there is danger of being accused of the crime and initiates a delaying tactic. This is further motivation to solve the crime. In The Maltese Falcon (1939), Sam calls

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...

*****Hero’s Journey: Motivation*****

The detective hero realises that there is danger of being accused of the crime and initiates a delaying tactic. This is further motivation to solve the crime. In The Maltese Falcon (1939), Sam calls

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...

*****Hero’s Journey: Motivation*****

The detective hero realises that there is danger of being accused of the crime and initiates a delaying tactic. This is further motivation to solve the crime. In The Maltese Falcon (1939), Sam calls

and more...

*****Hero’s Journey: Motivation*****

The detective hero realises that there is danger of being accused of the crime and initiates a delaying tactic. This is further motivation to solve the crime. In The Maltese Falcon (1939), Sam calls his lawyer.

*****Convergence*****

Those allies, who were previously separated (during the stage of the Separation), now return (post the Rebirth through Death stage). In Dances with Wolves (1990), Kicking Bird, Wind in his Hair et al return. In Goodfellas (1990), Henry moves Karen and kids into a swanky apartment as soon as he is released from prison. In Goldfinger (1964), Bond activates the homing device; Felix and the CIA prepare.

Retarded Convergence. As Allies begin to converge toward the Hero, it is not unusual for an obstacle, some misinformation or some misjudgement to delay them. This can be a set up for a later catharsis. In Goldfinger (1964), Oddjob crushes Solo in the car and the homing beacon is lost. It appears that they have lost Bond.

*****Symbolic Journeys*****

Symbolism is underestimated. In Brokeback Mountain (2005), Ennis rides to the sheep, a symbolic indicator of progression of Journey [to the Inner Cave].

*****No Mans Land and New Self*****

It is in No Mans Land that the Hero's New Self becomes apparent. In Brokeback Mountain (2005), Jack tells Pop, the ignorant son of a bitch, to sit down. Ennis finds out that Alma knows he is gay.

*****Descent into the Cave*****

The Hero et al descend into a Cave. The Cave is a metaphor for a sub-domain within the First Threshold. In When Harry met Sally (1989), Harry meets Sally in the airport (a sub-domai