d releasing dissonance (establishing and achieving catharsis).

d) Gives you a universal structural template upon which you can superimpose your situational story.

The Hero's Journey 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.

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 catharsis).

d) Gives you a universal structural template upon which you can superimpose your situational story.

a

es we have deconstructed (see URL below) are based on this 188 stage template.

Understanding this template is a priority for story or screenwriters.

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 catharsis).

d) Gives you a universal structural template upon which you can superimpose your situational story.

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 catharsis).

d) Gives you a universal structural template upon which you can superimpose your situational story.

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 catharsis).

d) Gives you a universal structural template upon which you can superimpose your situational story.

d releasing dissonance (establishing and achieving catharsis).

d) Gives you a universal structural template upon which you can superimpose your situational story.

and more...

Bull in a China Shop

During the First stage of the Trials and Transformation, the hero clumsily begins the Transformation. He is like a bull in a china shop, still a fish out of water.

In Scarface (1984), Tony makes his way to the dance floor just like that – like a bull in a china shop (in contrast to the later sequence in the nightclub, where he smoothly angles his way around).

In Dances with Wolves (1990), John Dunbar doesn’t know how to smoke the pipe. He doesn’t even know their names (“he is right, introductions should come first”).

In The Matrix (1999), Neo initial battle with Morpheus is clumsy.

In Romancing the Stone (1984), Joan gra