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  • Atricle Dump - 188 Stage Hero's Journey (Monomyth): Post Mastery Of The Two Worlds And Selves

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    appear to be different but are all constructed, almost sequence by sequence, in the same way.

    and more...

    *****Post Mastery of the Two Worlds and Selves*****

    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 thi

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    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...

    *****Post Mastery of the Two Worlds and Selves*****

    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

    A Brief History of Real Estate: The Fee Simple Ownership
    Arthur Wellesley (1769-1852), Duke of Wellington, is reputed to have been the one to exclaim 'All good things come from England, but cavalry is not one of them' while facing Napoleon's French Army at Waterloo on June 18, 1815. Wellesley had learnt his military
    ate 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...

    *****Post Mastery of the Two Worlds and Selves*****

    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 thi

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    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...

    *****Post Mastery of the Two Worlds and Selves*****

    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 thi

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    (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...

    *****Post Mastery of the Two Worlds and Selves*****

    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 thi

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    appear to be different but are all constructed, almost sequence by sequence, in the same way.

    and more...

    *****Post Mastery of the Two Worlds and Selves*****

    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. It is not unusual for a surprise catharsis, post the defeat of the antagonism. In Straw Dogs (1971), Tom's son attacks again, from nowhere. This final catharsis is a metaphor for the antagonism's last gasp (the antagonism is after all the hero's own id).

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