return) to the Final Conflict and the world must come and get him. Often the antagonist will force him to pull out of No Mans Land - kidnaping the Romantic Challenge is not uncommon. In Bonnie and Clyde (1967), they’re shot at in the morning. In Spiderman (2004), the Green Goblin kidnaps MJ. In The Godfather (1972), Barzini gets Tessio to turn against Michael.

Ultimately this is a battle that

FORWARD

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 www.clickok.co.uk for full details)

*****Rescue from Without*****

The Hero is pulled away from [the stage that is called No Mans Land]. That is to say, the Hero refuses to return (or cannot return) to the Final Conflict and the world must come and get him. Often the antagonist will force him to pull out of No Mans Land - kidnaping the Romantic Challenge is not uncommon. In Bonnie and Clyde (1967), they’re shot at in the morning. In Spiderman (2004), the Green Goblin kidnaps MJ. In The Godfather (1972), Barzini gets Tessio to turn against Michael.

Ultimately this is a battle that

r 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 www.clickok.co.uk for full details)

*****Rescue from Without*****

The Hero is pulled away from [the stage that is called No Mans Land]. That is to say, the Hero refuses to return (or cannot return) to the Final Conflict and the world must come and get him. Often the antagonist will force him to pull out of No Mans Land - kidnaping the Romantic Challenge is not uncommon. In Bonnie and Clyde (1967), they’re shot at in the morning. In Spiderman (2004), the Green Goblin kidnaps MJ. In The Godfather (1972), Barzini gets Tessio to turn against Michael.

Ultimately this is a battle that

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 www.clickok.co.uk for full details)

*****Rescue from Without*****

The Hero is pulled away from [the stage that is called No Mans Land]. That is to say, the Hero refuses to return (or cannot return) to the Final Conflict and the world must come and get him. Often the antagonist will force him to pull out of No Mans Land - kidnaping the Romantic Challenge is not uncommon. In Bonnie and Clyde (1967), they’re shot at in the morning. In Spiderman (2004), the Green Goblin kidnaps MJ. In The Godfather (1972), Barzini gets Tessio to turn against Michael.

Ultimately this is a battle that

hat 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 www.clickok.co.uk for full details)

*****Rescue from Without*****

The Hero is pulled away from [the stage that is called No Mans Land]. That is to say, the Hero refuses to return (or cannot return) to the Final Conflict and the world must come and get him. Often the antagonist will force him to pull out of No Mans Land - kidnaping the Romantic Challenge is not uncommon. In Bonnie and Clyde (1967), they’re shot at in the morning. In Spiderman (2004), the Green Goblin kidnaps MJ. In The Godfather (1972), Barzini gets Tessio to turn against Michael.

Ultimately this is a battle that

return) to the Final Conflict and the world must come and get him. Often the antagonist will force him to pull out of No Mans Land - kidnaping the Romantic Challenge is not uncommon. In Bonnie and Clyde (1967), they’re shot at in the morning. In Spiderman (2004), the Green Goblin kidnaps MJ. In The Godfather (1972), Barzini gets Tessio to turn against Michael.

Ultimately this is a battle that is as much to do with the Hero's psychology as anything else..and it must be engaged in.

*****Atonement with the Father*****

The Atonement with the Father is the confrontation with the Inner Challenge. This stage often contains some mentor / father figure representative. In Straw Dogs (1971), David and Amy are in the church hall, the priest lectures and Amy has flashbacksabout the rape.