510 Stage Hero s Journey

8/6/2019 510 Stage Hero s Journey

1/44

Some of the latest movies using the 510+ stage Hero's Journey:

Toy Story 3 (2010)

Sex in the City 2 (2010)Killers (2010)

Prince of Persia (2010)

Shrek Forever After (2010)

The Twilight Saga: Eclipse (2010)

The Hero's Journey (also known as the Monomyth) is the template upon which the vast majority of

successful stories and Hollywood blockbusters are based upon. It is upon this structure that situations are

superimposed. This is why stories such as Alien (1979), Gladiator (2000), Godfather (1972), AmericanBeauty (1999), Annie Hall (1977) and many others (all deconstructed at www.clickok.co.uk/index4.html)

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

The following blockbusters have all been structured around the Hero's Journey template: Titanic, 1997 -

grossed over $600,000,000; Star Wars, 1977 - grossed over $460,000,000; Shrek 2, 2004 - grossed over

$436,000,000; ET, 1982 - grossed over $434,000,000; Spiderman, 2002 - grossed over $432,000,000. So

how come you don't know it inside out?

For a number of very valid reasons, if you want to write (and sell) successful stories, whether they're

Hollywood blockbusters, Indie successes, novels or other story forms, you need to master the Hero's

Journey in a very, very detailed way

You dont REALLY know what the Heros Journey is aboutyou only THINK you do

510+ STAGE HERO'S JOURNEY (MONOMYTH)

Goto http://www.clickok.co.uk/ClassicHero.html

ADVANCED ARCHETYPES

More than 100 archetypes repeatedly appear in all successful stories and story forms: goto

http://www.clickok.co.uk/screenwriting/HerosJourneyArchetypes.html

ADVANCED WORKSHEETS

Specific Hero's Journey Plots for popular story structures such as LOVE TRIANGLE, UNDERDOG, COMING


2/44

OF AGE etc: goto http://www.clickok.co.uk/AdvancedWorksheets.html#Plots

SCREENPLAY IN 14 DAYSFinish it NOW: goto http://www.clickok.co.uk/CustomServices.html#14DayScreenplay

CUSTOM SERVICES (One-To-One Tutoring, Film Deconstructions etc...)

http://www.clickok.co.uk/CustomServices.html

=============================================

510+ STAGE HERO'S JOURNEY, MONOMYTH - the pattern that all successful screenplays and stories follow:http://www.clickok.co.uk/ClassicHero.html

300 CRITICAL, ADVANCED ARCHETYPES

More than 300 archetypes repeatedly appear in all successful stories and story forms:


ADVANCED WORKSHEETS

Specific Hero's Journey Plots (LOVE TRIANGLE, UNDERDOG, COMING OF AGE etc):http://www.clickok.co.uk/AdvancedWorksheets.html#Plots

The JESUS STORY follows the 510+ stage Hero's Journey:

http://www.clickok.co.uk/HerosJourneyMonomythScreenwriting/Screenwriting211x.html

STAR WARS (1977) follows the 510+ stage Hero's Journey:


SCREENPLAY IN 14 DAYS

Finish it NOW:

http://www.clickok.co.uk/CustomServices.html#14DayScreenplay

CUSTOM FILM DECONSTRUCTIONS:

http://www.clickok.co.uk/CustomServices.html#deconstructions


3/44

ANALYSING YOUR SCREENPLAY:

http://www.clickok.co.uk/CustomServices.html#analysis

ONE-TO-ONE SKYPE TUTORING:

http://www.clickok.co.uk/CustomServices.html#help

WRITE A SCREENPLAY FOR YOU OR YOUR CLIENT


HERO'S TRANSFORMATION:

http://www.clickok.co.uk/AdvancedWorksheets.html#Transformation

DETACHMENT, ATTACHMENT, LIBERATION:

http://www.clickok.co.uk/AdvancedWorksheets.html#detach

GAINING CAPACITIES:

http://www.clickok.co.uk/AdvancedWorksheets.html#capacities

MOVEMENT THROUGH THE MANY WORLDS:http://www.clickok.co.uk/AdvancedWorksheets.html#ManyWorlds

SERIES OF TRIALS:

http://www.clickok.co.uk/AdvancedWorksheets.html#trials

PUSHES AND PULLS:

http://www.clickok.co.uk/AdvancedWorksheets.html#PushesPulls

BATTLE STRUCTURE

http://www.clickok.co.uk/AdvancedWorksheets.html#Conflict

STATE OF PERFECTION LOST AND REGAINED LOOP:

http://www.clickok.co.uk/AdvancedWorksheets.html#StateOfPerfectionRegained

PLOT POINT STRUCTURE:


4/44

http://www.clickok.co.uk/AdvancedWorksheets.html#PlotPointStructure

NEW WAY OF THINKING:http://www.clickok.co.uk/AdvancedWorksheets.html#NewWayofThinking

HOW TO WRITE A SUPERHERO TYPE I SCREENPLAY / STORY

http://www.clickok.co.uk/AdvancedWorksheets.html#SpecificGenres

HOW TO WRITE A SUPERHERO TYPE II SCREENPLAY / STORY


HOW TO WRITE AN ACTION SCREENPLAY / STORY


HOW TO WRITE A FANTASY SCREENPLAY / STORY


HOW TO WRITE A COMEDY SCREENPLAY / STORY


HOW TO WRITE AN ADVENTURE SCREENPLAY / STORY


HOW TO WRITE AN ANIMATION / FAIRYTALE SCREENPLAY / STORY


HOW TO WRITE A BIOGRAPHY SCREENPLAY / STORYhttp://www.clickok.co.uk/AdvancedWorksheets.html#SpecificGenres

HOW TO WRITE A CRIME SCREENPLAY / STORY


HOW TO WRITE A DOCUMENTARY SCREENPLAY / STORY



5/44

HOW TO WRITE A DRAMA SCREENPLAY / STORY


HOW TO WRITE A FAMILY SCREENPLAY / STORY


HOW TO WRITE A FILM NOIR SCREENPLAY / STORY


HOW TO WRITE A GAME-SHOW SCREENPLAY / STORYhttp://www.clickok.co.uk/AdvancedWorksheets.html#SpecificGenres

HOW TO WRITE A HISTORY SCREENPLAY / STORY


HOW TO WRITE A HORROR SCREENPLAY / STORY


HOW TO WRITE AN MUSICAL SCREENPLAY / STORY


HOW TO WRITE A MYSTERY SCREENPLAY / STORY


HOW TO WRITE A NEWS SCREENPLAY / STORY


HOW TO WRITE A REALITY TV SCREENPLAY / STORY


HOW TO WRITE A ROMANCE / ROMCOM SCREENPLAY / STORY



6/44

HOW TO WRITE A SCI-FI SCREENPLAY / STORY


HOW TO WRITE A BROMANCE SCREENPLAY / STORY


HOW TO WRITE A SPORT SCREENPLAY / STORY


HOW TO WRITE A TALK SHOW SCREENPLAY / STORY


HOW TO WRITE A THRILLER SCREENPLAY / STORY


HOW TO WRITE A WAR SCREENPLAY / STORY


HOW TO WRITE A WESTERN SCREENPLAY / STORYhttp://www.clickok.co.uk/AdvancedWorksheets.html#SpecificGenres

Best,

Kal

www.clickok.co.uk/index4.html

============================================

510+ STAGE HERO'S JOURNEY, MONOMYTH - the pattern that all successful screenplays and stories follow:http://www.clickok.co.uk/ClassicHero.html

300 CRITICAL, ADVANCED ARCHETYPES

More than 300 archetypes repeatedly appear in all successful stories and story forms:


ADVANCED WORKSHEETS


7/44

Specific Hero's Journey Plots (LOVE TRIANGLE, UNDERDOG, COMING OF AGE etc):

http://www.clickok.co.uk/AdvancedWorksheets.html#Plots

The JESUS STORY follows the 510+ stage Hero's Journey:


STAR WARS (1977) follows the 510+ stage Hero's Journey:


SCREENPLAY IN 14 DAYS

Finish it NOW:http://www.clickok.co.uk/CustomServices.html#14DayScreenplay

CUSTOM FILM DECONSTRUCTIONS:

http://www.clickok.co.uk/CustomServices.html#deconstructions

ANALYSING YOUR SCREENPLAY:

http://www.clickok.co.uk/CustomServices.html#analysis

ONE-TO-ONE SKYPE TUTORING:

http://www.clickok.co.uk/CustomServices.html#help

WRITE A SCREENPLAY FOR YOU OR YOUR CLIENT


HERO'S TRANSFORMATION:

http://www.clickok.co.uk/AdvancedWorksheets.html#Transformation

DETACHMENT, ATTACHMENT, LIBERATION:

http://www.clickok.co.uk/AdvancedWorksheets.html#detach

GAINING CAPACITIES:

http://www.clickok.co.uk/AdvancedWorksheets.html#capacities


8/44

MOVEMENT THROUGH THE MANY WORLDS:

http://www.clickok.co.uk/AdvancedWorksheets.html#ManyWorlds

SERIES OF TRIALS:

http://www.clickok.co.uk/AdvancedWorksheets.html#trials

PUSHES AND PULLS:

http://www.clickok.co.uk/AdvancedWorksheets.html#PushesPulls

BATTLE STRUCTURE

http://www.clickok.co.uk/AdvancedWorksheets.html#Conflict

STATE OF PERFECTION LOST AND REGAINED LOOP:

http://www.clickok.co.uk/AdvancedWorksheets.html#StateOfPerfectionRegained

PLOT POINT STRUCTURE:

http://www.clickok.co.uk/AdvancedWorksheets.html#PlotPointStructure

NEW WAY OF THINKING:http://www.clickok.co.uk/AdvancedWorksheets.html#NewWayofThinking

HOW TO WRITE A SUPERHERO TYPE I SCREENPLAY / STORY


HOW TO WRITE A SUPERHERO TYPE II SCREENPLAY / STORY


HOW TO WRITE AN ACTION SCREENPLAY / STORY


HOW TO WRITE A FANTASY SCREENPLAY / STORY


HOW TO WRITE A COMEDY SCREENPLAY / STORY


9/44


HOW TO WRITE AN ADVENTURE SCREENPLAY / STORYhttp://www.clickok.co.uk/AdvancedWorksheets.html#SpecificGenres

HOW TO WRITE AN ANIMATION / FAIRYTALE SCREENPLAY / STORY


HOW TO WRITE A BIOGRAPHY SCREENPLAY / STORY


HOW TO WRITE A CRIME SCREENPLAY / STORY


HOW TO WRITE A DOCUMENTARY SCREENPLAY / STORY


HOW TO WRITE A DRAMA SCREENPLAY / STORY


HOW TO WRITE A FAMILY SCREENPLAY / STORY


HOW TO WRITE A FILM NOIR SCREENPLAY / STORY


HOW TO WRITE A GAME-SHOW SCREENPLAY / STORYhttp://www.clickok.co.uk/AdvancedWorksheets.html#SpecificGenres

HOW TO WRITE A HISTORY SCREENPLAY / STORY


HOW TO WRITE A HORROR SCREENPLAY / STORY



10/44

HOW TO WRITE AN MUSICAL SCREENPLAY / STORY


HOW TO WRITE A MYSTERY SCREENPLAY / STORY


HOW TO WRITE A NEWS SCREENPLAY / STORY


HOW TO WRITE A REALITY TV SCREENPLAY / STORYhttp://www.clickok.co.uk/AdvancedWorksheets.html#SpecificGenres

HOW TO WRITE A ROMANCE / ROMCOM SCREENPLAY / STORY


HOW TO WRITE A SCI-FI SCREENPLAY / STORY


HOW TO WRITE A BROMANCE SCREENPLAY / STORY


HOW TO WRITE A SPORT SCREENPLAY / STORY


HOW TO WRITE A TALK SHOW SCREENPLAY / STORY


HOW TO WRITE A THRILLER SCREENPLAY / STORY


HOW TO WRITE A WAR SCREENPLAY / STORY



11/44

HOW TO WRITE A WESTERN SCREENPLAY / STORY


TESTIMONIALS

...As I told you before, I am a professional screenwriter, and your excellent and enlightening texts changed

my life and improved amazingly my skills and self-confidence in my work. I'm currently writing the screen

adaptation of the novel "Cold Skin" by Albert Sanchez Piol (a truly "hero's journey" story, a mix between

h.p. lovecraft and joseph conrad) and your texts and templates are now my Bible, my Upanishads, my

Quran. Thanks to you, I regained faith in my job. I hope you see and enjoy the movie "Cold Skin" when it is

released, there is a lot of "you" in it...Jess

...The template is wonderful; you could really write anything by simply following it verbatim and

superimposing your stuff. You never really can watch a movie the same way once you get familiar with it -

it is almost uncanny to realize that 99% of the time you already know what's going to happen on screen!

This is state-of-the-art...Simon Kardy

...Thanks very much! This is great stuff!...Michael Traylor

...I wish I'd spent $1000 with you at the start of my screenwriting journey. I would have saved several

years...Arty

...I have the 510+ stages template already. Love it...Kyle Kallenbach

HERO'S JOURNEY TIP OF THE

DAY: A BULL IN A CHINA SHOP

During the initial stages of entry into the First Threshold and Deeper New World, the Heros initial

attempts are clumsy. In other words, s/he acts like a Bull in a China Shop.

In Scarface (1984), Tony initially makes his way to the dance floor like a Bull in a China Shop (in contrast tothe later sequence in which he smoothly angles his way around).

In Dances with Wolves (1990), John Dunbar clumsily explains coffee to the Sioux.

In Romancing the Stone (1984), Joan clumsily tries to hack away at the jungle.


DAY: A DANGEROUS PLACE

When the Hero finally confronts his or her Greater Antagonisms, the battle most often occurs, from the

Heros perspective, somewhere dangerous and alien.


12/44

In Annie Hall (1977), Alvie must visit Annie in LA.

In Deer Hunter (Academy Award Winner Best Film, 1978), Michael must return to Vietnam and play

Russian Roulette with Nick.

In Gladiator (Academy Award Winner Best Film, 2000), Maximus is alone, injured and surrounded by

Roman soldiers in the colosseum.


DAY: A LITERAL ROAD

The stage of the Road of Trials is often made explicit literally. That is, you often see...well...a road.

The Period of the Dissolution of the Old Self is commonly measured by journeying along a road or similar

symbolism.

In Withnail & I (1987), Marwood goes for a walk along a country road.

In Cool Hand Luke (1967), the chain gang tar the road.

In Little Miss Sunshine (2006), Olive and family take to the road in the VW Campervan.

When a literal road is not made explicit, the symbolism is often not hard to see. In Stand by Me (1986), theroad is represented by a train track.


DAY: ADAPTATION

The function of the Journey is Transformation. One perspective of this is Adaptation. The Hero ventures

into a New World and adapts until s/he becomes an integral part of it and "owns" an integral piece of it.

In Gorillas in the Mist (1988), Dian becomes one of the gorillas and "owns" the mountain.

In Kramer vs. Kramer (1979), Ted becomes a Mom and "owns" the kitchen.

In Educating Rita (1983), Rita becomes the archetypal student and "owns" the class.


DAY: AFTERLIFE ACT

Many successful stories go beyond the Freedom to Live stage. An Afterlife Act closes successful stories or

prepares them for continuation. An Afterlife Act closes successful stories or (prepares them for

continuation) by making certain aspects of the New State of Perfection explicit.

In Out of Africa (1985), Denys' burial follows a very specific pattern.


13/44


14/44

movie; 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).

There are hundreds of these terms and each is a valuable clue to successful storytelling. You would be wise

to develop a deep understanding of them.


DAY: ARRIVAL SYMBOLISM

The Journey begins way before the Ordinary World and Ordinary Self stages. The arrival from those stages

into the Ordinary World is commonly demonstrated through Arrival Symbolism.

In A Streetcar Named Desire (1951), we meet Blanche as she gets off the train and enters Stanley's World.

In The Quiet Man (1952), we meet Sean as he gets off the train in Ireland.

In The Godfather (1972), we meet Michael as he arrives in the Don's World.


DAY: CHANGING OF THE SELF

The Changing of the Self is not easy. Resistance to it [Transformation] is common and most often

manifests itself as the Hero et al cross the border between Worlds.

In Alien (1979), the Nostromo has a bumpy ride while landing on the planet.

In Elizabethtown (2005), Drew tries to get to Elizabethtown but he, frustratingly, loses his way. Even

though he is somewhat keen reach his destination.

In Educating Rita (1983), Rita can't get through Dr Bryant's door.


DAY: DEFICIENT PROXIES

The Hero and Greater Antagonism are both drawn into a Hand-to-Hand battle after their proxies are

exposed as lacking the required capacities to vanquish the opponent (the Superego must battle the Id

representatives will not resolve the core issue of whether the Superego has truly overcome the

Deficiency).

In the Silence of the Lambs (1991), Jack Crawford incorrectly deduces the location of Buffalo Bill.

In Scarface (1983), Manny and the other men are incapable of looking after the operation when Tony is in

New York.

In Dirty Dancing (1987), Johnny must return to resolve the outstanding issues.


15/44


DAY: DEPARTURE OF THE

SUPERNATURAL AID

Once the Supernatural Aid has successfully guided and helped to transform the Hero, it is common for him

or her to depart.

In A Fistful of Dynamite (1971), John dies at the end.

In Midnight Cowboy (1969), Ratso dies.

In The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), Aslan departs.


DAY: DEVOLVED NAME

The Hero et al commonly have Devolved Names, which represent their Devolved Selves.

In Bull Durham (1988), Crash keeps calling Nuke "Meat."

In An Officer and a Gentleman (1983), Foley calls Zach "Mayo(nnaise)."

In The Godfather (1972), Michael becomes The Don.

In The Matrix (1999), Neo becomes The One.


DAY: DISAPPEARANCE OF ALLTHE WORLDS

After the Hero has learnt what must be learned in whichever World s/he is passing through, so that World

disappears. Disappearance can be literal destruction or change (it is no longer as it once was).

In Thelma and Louise (1991), Darryl is not happy about the changes to his World once Thelma leaves.

In Gorillas in the Mist (1988), the war literally causes the town to disappear.

In Dances with Wolves (1990), the Sioux camp is literally removed once John becomes a fully fledged

Sioux.

HERO'S JOURNEY TIP OF THEDAY: DISSOLUTION OF THE OLD

SELF

Every Hero undergoes a Transformation, a significant part of which occurs during the Road of Trials. It ishere that the Hero's Old Self dissolves away.

In The Godfather (1972), Michael's Old Self dissolves away once he is in Sicily.

In Educating Rita (1983), Rita's Old Self dissolves away under Dr. Bryant's tutelage.

In The Devil Wears Prada (2006), Andy's Old Self dissolves away under Miranda and Nigel's guidance.


16/44


DAY: DISSOLVING AWAY THE

OLDER SELF

Throughout his (or her) Journey, the Hero enters various New Worlds, each incrementally dissolving away

his (or her) Old Self and building a New(er) Self.

In The Godfather (1972), Michael goes to Sicily and gradually becomes a Sicilian.

In The Devil Wears Prada (2006), Andy enters Miranda's World, and is gradually accepted in that World.

In Gran Torino (2008), Walt is brought into the Hmong World. He gradually develops an affinity for them.


DAY: DOORWAYS AND

PHYSICAL MARKERS

Doorways and Physical Markers are an often missed yet critical aspect of the Hero's Journey. We have not

come across a successful story that does not contain this symbolism.

In The Matrix (1999), before Neo meets Morpheus, Trinity makes him stop and consider before entering

through a doorway.

In Lawrence of Arabia (1962), Lawrence et al cross over railway lines before entering the desert.

In Romancing the Stone (1984), Jack and Joan must cross a bridge over a canyon before they can progress.


DAY: DRAGON BATTLE

The value of the Hero's Journey is best appreciated by understanding and applying the symbolism and

metaphors. One example is "Dragon Battle."

As in the fairytales you are familiar with, before the Hero is able to rescue the Princess, s/he must battle

her Guardian (a literal or metaphoric Dragon).

Thus (bearing in mind that the Princess can also be literal or a metaphor):

In When Harry met Sally (1989), before Harry beds Sally, he must help her overcome her disappointment

regarding her ex-lover.

In The Godfather (1972), before Michael is able to marry Apollonia, he must go through the traditional

ritual.

In Once Upon a Time in the West (1968), Cheyenne must kill Morton's men before he can rescue

Harmonica.

In The Matrix (1999), Neo and Trinity must overcome the Agents before they can rescue Morpheus.


17/44


DAY: ENHANCED CAPACITIES

Post the Dragon Battle (a metaphor for obstacles that guard the Sword, which is itself a metaphor), the

Hero et al experience an Enhancement of Capacities.

In Stand by Me (1986), all the boys feel invincible after dodging the train.

In Platoon (1986), Taylor feels able to follow and stop Barnes, who wants to kill Elias.

In Out of Africa (1985), Karen is no longer scared of the jungle after the battle with the lions.


DAY: ESCAPE CAPACITY

One of the Rewards of the Rebirth, is the Illumination. Commonly, the Illumination takes the form of the

capacity to escape the Deeper New World.

In Romancing the Stone (1984), after the Rebirth, Joan is able to make it to Cartagena alone.

In Six Days and Seven Nights (1998), after the Rebirth, Quinn realises how to get off the island.

In Star Wars (1977), it is after the Rebirth, that Obi Wan disables the tractor beam.


DAY: EVERY GOOD HERO

EXPERIENCES A PERIOD OFDESOLATION

Post the Call to Adventure comes the Refusal, the Interdictions and the Hawk and Dove debates etc.

Resistance still exists post the meeting with the Supernatural Aid and his or her guidance. This period of

uncertainty and inertia is known as a Period of Desolation and is an intrinsic and explicit part of successfulstories and screenplays.

The Period of Desolation is actually an extension of the Hero's original State of Frustration. It is the Hero's

destiny (Dharma) to embark on the Journey, to Transform, to be the Carrier of the Changing. By resisting

this destiny, the Hero finds himself (or herself) desolate. This applies whether the Hero is willing or

unwilling.

The Period of Desolation is an extension of the Hero's original State of Frustration. It is the Hero's destiny(Dharma) to embark on the Journey, to Transform, to be the Carrier of the Changing. By resisting this

destiny, the Hero finds himself (or herself) desolate.

In The Incredibles (2004), Mr Incredible finds himself desolate and frustrated - he is unable to continue in

his natural role of SuperHero.

In Star Wars (1977), Luke finds himself looking out at the two suns, yearning for change and to fulfil his


18/44

destiny.

In Alien (1979), Ripley is de facto desolate when Dallas gives Ash authority over her.


DAY: EVERY GOOD HERO HAS

AT LEAST FOUR CORE

CHALLENGES (FIVE CORE

CHALLENGES ARE COMMON)

In every successful Hollywood story, there are a number of challenges to be resolved. It is not uncommon

for the Hero to have at least Four Core Challenges (Inner, Outer, Romantic, Greater Antagonism) and each

is mapped onto the Hero's Journey and resolved in a very specific order.

In American Beauty (Academy Award Winner Best Film 1999), Lester Burnham's Inner Challenge is to feel

good about himself, his Romantic Challenge is Angela, his Outer Challenge is his marriage with Carolyn and

the Greater Antagonism is Col. Frank Fitts, US Marine Core.

In Top Gun (1986, receipts of $176,000,000), Maverick's Romantic Challenge is Charlie, his Inner Challenge

is his personal and father's story, his Outer Challenge is getting over Goose's death and the Greater

Antagonism is becoming Top Gun.

In Titanic (Academy Award Winner Best Film 1997; No. 1 All-Time USA Boxoffice with receipts of over

$600,000,000), Rose's Inner Challenge is to overcome her committment to her mother as well as Jack's

lower status, her Romantic Challenge is Jack, her Outer Challenge is Cal and the Greater Antagonism is

escaping the sinking ship.

The Four Core Challenge categories can be viewed as classes:

In Tootsie (Academy Award Nominee Best Film 1982), Michael's Romantic Challenge is Julie, his Inner

Challenge is represented by his penultimate line "I was a better man with you as a woman than I ever was

with a woman as a man...I just gotta learn to do it without the dress...", his Outer Challenge is Ron [symbol

of male condescension] and the Greater Antagonism is his problem that the network and fans thinks he's

really a woman. But within the class of the Inner Challenge is Sandy and within the class of the RomanticChallenge are the attentions of Les and Van Horn.

It is common for secondary characters to have their own (fewer) challenges (these are the core of any

subplot) and each is also resolved in a very specific order:

In Gladiator (Academy Award Winner Best Film, 2000), Proximo and Lucilla both have their own demons to

overcome.


19/44

Find out what the Fifth Core Challenge is in the 510+ stage Hero's Journey at:

http://www.clickok.co.uk/ClassicHero.html


DAY: EVERY GREAT HERO

TRANSFORMS BOTH

PHYSICALLY AND

PSYCHOLOGICALLY

Every Hero goes on a Journey, the purpose of which is to induce a Transformation. It is the undergoing of

the Journey that gives the Hero the capacity to conquer challenges that were previously unconquerable.

The Transformation is both psychological and physical. You must pull your Hero through the Journey and

incrementally manage both forms of Transformation.

The Psychological Transformation manifests itself in a change of behavior, attitudes and beliefs. The Hero

behaves one way at the beginning of the movie and another way at the end of the movie. In the beginning

of Thelma and Louise (1991), Louise is in charge. At the end of the movie, Thelma is in charge.

The Physical Transformation is most often expressed by (literal or symbolic, for example the color red)

physical damage that, as it repairs, represents the Hero's Transmogrification. The Hero has one physical

form at the beginning of the movie and another at the end of the movie. In The Godfather (1972), Capt.

McCluskey punches Michael in the face. The physical healing mirrors Michael's psychological

Transformation. Later, it is made explicit that Michael looks different (better), hardly recognizable as his

Old Self.

HERO'S JOURNEY TIP OF THEDAY: EVERY GREAT STORY ENDS

WITH MULTIPLE CATHARSES

Between the Crossing of the Return Threshold and the Mastery of the Two Worlds and Selves, a hell of alot happens.

One critical process that completes your story is closure with Multiple Catharses (often at least four). The

most successful stories do not just end, they use distinct mechanisms to very carefully build and release

emotional tension:

In The Godfather (1972), multiple catharses include a) when Michael shoots the heads of the other

Families, b) when Michael kills Carlo, c) when Tessio is taken away and d) when the lieutenants finallyaccept Michael's leadership.

In The Shawshank Redemption (1994), multiple catharses include a) when Andy escapes, b) when Andy

steals from the Wardens accounts, c) when the Warden kills himself, d) when Capt. Hadley sobs while

being arrested and e) when Red finds Andy on the beach.

In Planet of the Apes (1968), multiple catharses include a) when Taylor et al find human remains in the


20/44

cave, b) when Dr. Zaius reveals that he knew all along, c) when Dr. Zaius lets Taylor and Nova leave and d)

when Taylor finds the statue of Liberty.


DAY: EVERY HERO GETS A NEW

NAME

Every Hero transforms from an Ordinary (Old) Self to a New Self. The emergence of the New Self is

demonstrated in a number of ways. One of these is the receiving of a New Name.

In City Slickers (1991), before Mitch, Phil and Ed set off on their Journey, they're "City Slickers." When they

return, they're "Cowboys."

In Big Jake (1971), John Wayne is initially "Daddy." Finally, he is "Father."

In The Matrix (1999), "Neo" becomes "The One."


DAY: EVERY HERO MAKES USE

OF MAGICAL GIFTS AND SPELLS

Many writers hear of the Hero's Journey and associated terminology such as "Magical Gifts" and "Magical

Spells" and dismiss it as a template for fairy tales, thinking "...how can this fit the gritty, real-world story I

want to write?"

This is bad thinking.

For a start, 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).

The Magical Gift does not have to be Ruby Slippers or Harry Potter's Wand. In Wall Street (1987), Bud Fox

visits his father, who simply provides advice and money. In Gladiator (2000), Maximus finds strength from

a statuette. In American Beauty (1999), Ricky Fitts gives Lester Burnham a joint.

Magical Spells (again, most often metaphoric), are any competencies or capacities that the Hero acquires

before embarking on the deeper transformation (Road of Trials; the Dissolution of the Old Self). InSpartacus (1960), Spartacus learns the gladiatorial arts. In The Godfather (1972), Michael learns how to

fire the gun accurately and quickly assassinate Sollozzo and Captain McCluskey.

Between the Crossing of the Return Threshold and the Master of Two Worlds a hell of a lot happens, most

of which is rarely, if ever, noted in analyses of the Hero's Journey.

Every Hero must fight his (or her) Final Battle alone - how else can s/he be certain that the Antagonisms

(which in no small measure are psychological) have certainly been overcome.


21/44

There are a number of ways in which the above is expressed, including:

a) The disappearance of Transcendental Powers. In the Wizard of Oz (1939) the Wizard cannot help

Dorothy return home.

b) The disappearance of Magical Gifts. In American Beauty (1999), Ricky can no longer supply Lester with

marijuana.

c) Hand-to-Hand Battle. In Annie Hall (1977), Alvie flies to LA to persuade Annie to come back.


DAY: EVERY HERO UNDERGOES

A TRANSFORMATION IN THE

FIRST THRESHOLD

Whilst Transformation is the essence of the whole story and can be traced back to the Original State of

Perfection and right up to the Afterlife Act, a significant change occurs in the First Threshold.

In The Godfather (1972), before entering the First Threshold, Michael Corleone is having fun with Kay in a

hotel, plans to marry her, wants nothing to do with The Family business and is safe because the other

Families know he is a "civilian." Upon departure of the First Threshold, he is prepared to kill a police

Captain, incite a war between the Families, will be hunted by the other Families and will voluntarily leave

Kay behind and disappear to Sicily (where he will further follow the traditional path by marrying a Sicilian).

In Spartacus (1960), Spartacus enters the training camp and is taught by Marcellus. By the time he leaves,

he is able to defeat him.

In The Matrix (1999), when Neo enters the Nebuchadnezzar he is a Fish out of Water. By the time he

leaves, he has mastered a number of martial arts and is keen to defeat Morpheus.


DAY: EXISTENTIAL BATTLE

As the Hero crosses into New Worlds, the inhabitants of those New Worlds recognize the Hero as a Fish

out of Water and object to his (or her) presence. The Hero must earn the Right to Remain there.

In Erin Brochovich (1999), Ed Masry's female employees take an instant dislike to her.

In Dances with Wolves (1990), the Wind in his Hair objects to Johns presence.

In Educating Rita (1983), the other students make fun of Rita in Uni.


DAY: FISH OUT OF WATER

As the Hero enters a New World, and s/he enters many, s/he is always a Fish out of Water. This is an initial

benchmark of evolution.


22/44

In Beverly Hills Cop (1984), Axel arrives in Beverly Hills and is a Fish out of Water.

In Departed (2006), both Billy and Colin are initially Fishes out of Water in the police department.

In Brokeback Mountain (2005), both Ennis and Jack Twist are Fishes out of Water when they first make

their way to camp on the mountain.

In The Godfather (1972), Michael is initially a Fish out of Water when he arrives in Sicily.


DAY: FUNCTION OF THE NIGHT

SEA JOURNEY

One of the functions of the Night Sea Journey is to enable the Hero to collect Magical Gifts (symbolically

from the Old World) that will enable him (or her) to survive the Near Death Experience. This ties in with

the Mystical Marriage where, symbolically, Two Worlds merge: the Old World tangible is representative of

that World's contribution to The Merging.

This forms the base of the further message that, though the Ordinary World and Self is being left behind,

there is value in it. Remember, the Mastery of Two Worlds requires the incorporation of elements of both.

In An Officer and a Gentleman (1983), Zach reappears with his motorbike.

In Dances with Wolves (1990), John Dunbar goes back to the fort to collect the guns.

In Jason and the Argonauts (1963), Jason rescues Medea.


DAY: GAINING CAPACITIES

As the Hero et al venture forth, they gain capacities. It is the accumulation of these capacities that allow

the Hero et al to ultimately conquer their challenges.

In Gran Torino (2008), Thao gains the capacity to confront the gang.

In Slumdog Millionaire (2008), Jamal gains the capacity to confront his older brother.

In The Curious Case of Benjamin Button (2008), Benjamin gains the capacity to win over Daisy.


DAY: GIVER OF THE DEVOLVED

NAME

It is the Major Threshold Guardian who gives the Hero his (or her) Devolved Name.

In Ben-Hur (1959), Arrius first calls Judah 41.


23/44


24/44

DAY: HAND-TO-HAND BATTLE assistance from Magical Aids and Transcendental Forces.

In Spiderman (2004), the Green Goblin and Peter confront each other.

In Annie Hall (1977), Alvie must confront Annie.

In Gladiator (2000), Commodus and Maximus confront each other.


DAY: HERO & NEW WORLD

ROMANTIC CHALLENGE

POLARITY

The Hero must cross from an Ordinary World into a New World and become a New Self. The New World

Romantic Challenge is already a member of that World and already a Self which is representative of that

New World. This is the root of their initial polarity.

In Scarface (1983), Elvira is already a doper's girl.

In Gladiator (2000), Lucilla is already a member of the royal household.

In Dances with Wolves (1990), Stands with a Fist is already a Sioux.


DAY: HERO & ROMANTIC

CHALLENGE POLARITY

The Hero must cross from an Ordinary World into a New World and become a New Self. The New World

Romantic Challenge is already a member of that World and already a Self which is representative of that

New World. This is the root of their initial polarity.

In Scarface (1983), Elvira is already a doper's girl.

In Gladiator (2000), Lucilla is already a member of the royal household.

In Dances with Wolves (1990), Stands with a Fist is already a Sioux.


DAY: HERO AND ANTAGONISM

AFFINITY

The Hero and Antagonism are shadows of each other (the Superego is a mirror of the Id) thus,

subconsciously, the Hero is battling his (or her) own Self. It is this quality that is respsonsible for the large

degree of mirroring that is found in successful stories and in the significant final stages of the Hero's

Journey, such as True Nature and Mask Removed.

In Basic Instinct (1992), Nick knows that Catherine won't hide behind a lawyer. And she knows all about

him.

In Once Upon a Time in the West (1968), Harmonica and Frank intuitively recognise each other.

In Se7en (1995), John Doe is obsessed with Mills.

HERO'S JOURNEY TIP OF THE The least glamorous aspects of the Hero's Journey and Transformation turn out to be where the some of


25/44

DAY: HERO'S VALUE

RECOGNISED

the greatest value lies. Take, for example, the general stage of the Rescue From Without. There is a very

distinct process that the vast majority of successful stories and Hollywood blockbusters use to bring the

Hero back into the fray.

One aspect of this micro process is the moment where the Hero's Value is recognised.

Commonly, the Hero is thrust away from the battle and recalled when his (or her) value is recognised.

Commonly, the Hero is thrust away from the battle and recalled when his (or her) value is recognised.

In Erin Brockovich (2000), Ed Masry and Kirk Potter realise that they're messing the case up and that they

need Erin.

In The King and I (1956), Lady Thiang tells Anna that the King needs her.

In The Quiet Man (1952), Mary Kate recognises Sean's place in the house.


DAY: INCREASINGLY POWERFUL

SUPERNATURAL AIDS

The Hero et al encounter a number of Supernatural Aids (Mentors) along their way. Each tends to be

progressively more powerful than the last.

In Gran Torino (2008), Walt is more powerful than Sue.

In Scarface (1983), Sosa is more powerful than Frank.

In The Karate Kid (1984), Miyagi is more powerful than Lucille.


DAY: INNER CHALLENGE

RESOLUTION

Once the Hero reaches the stages of Inner Resolve and Letting Go and allows himself (or herself) to

become the Master of the Two Worlds and Selves, the capacity to confront and conquer the Inner

Challenge is almost magically attained.

In Spotswood (1992), Errol gives up his management consultancy job to Kim.

In Die Hard (1988), John McClane is whole with his wife and family again.

In The Godfather (1972), Michael resolves his dilemma with Kay (metaphoric for the Old Self) by lying to

her.

HERO'S JOURNEY TIP OF THE In the Final Conflict, the Hero faces an Unbearable Antagonism that forces him (or her) to draw out Inner


26/44

DAY: INNER RESOLVE = LETTING

GO

Resolve. This leads directly to the Letting Go.

In Return of the Jedi (1983), Luke shows he is stronger than Vader (after Vader threatens Leia).

In Cinderella Man (2005), Jim Braddock starts to win (after it appears his opponent will win).

In The Matrix (1999), Neo plays with the bullets (after it appears that the odds are against him).


DAY: INTO A NEW WORLD AND

TOWARDS A NEW SELF

The idea of the Hero entering a New World and venturing towards a New Self should not be taken lightly

in storytelling. It is the essence of the Hero's Journey and is symbolically prevalent in the vast majority of

successful stories. So much so that this process is the skeleton around which your story should be based:

In Dead Poets Society (Academy Award Nominee Best Film, 1989), the boys arrive in their new school - the

New World in which the boys will evolve.

In Platoon (Academy Award Best Film, 1986), Taylor arrives in Vietnam - the New World in which Taylor

will evolve.

When Harry met Sally (1989), both Harry and Sally travel from Chicago to New York - the New World in

which both shall evolve.


DAY: JOY OF INFANCY

REGAINED

Once the Hero has Seized the Sword, s/he gains a number of intangibles. One of these is the Joy of Infancy

Regained - joy of the like that has not been experienced since youth.

In Scarface (1983), once Tony seizes Frank's empire, hes like a kid in a candy store.

In The Godfather (1972), once Michael marries Apollonia, theyre both ecstatic (the honeymoon period).

In Basic Instinct (1992), Nick admits he is in love with Catherine. Once he beds her, he regains his boyish

laughter.


DAY: LEAVING THE OLD WORLD

The Hero's entry into a New World is an important aspect of the Hero's Journey. But so is the leaving of

the Old World.

Many tools and symbols are used to represent the leaving (death) of the Old World and an important one

is Burial.

In Once Upon a Time in the West (1968), Jill buries McBain and the children.

In The Godfather (1972), Don Corleone wants all his sons to pay their respects to the dying Consigliere.


27/44

In Elizabethtown (2005), Drew goes to a funeral.


DAY: LOSING ATTACHMENTS

As the Hero ventures into the New World, s/he gradually loses attachments that represent the Old World

and the Old Self.

The Hero et al venture into a New World and gradually lose attachments to (detach from) the Old World.

In Gorillas in the Mist (1988), Dian gradually loses the attachment to her old boyfriend.

In Kramer vs. Kramer (1979), Ted gradually loses the attachment to his old job.

In Educating Rita (1983), Rita gradually loses the attachment to her husband.


DAY: LOSING ATTACHMENTS

The Hero et al venture into a New World and gradually lose attachments to (detach from) the Old World.

In Gorillas in the Mist (1988), Dian gradually loses the attachment to her Old boyfriend.

In Kramer vs. Kramer (1979), Ted gradually loses the attachment to his Old job.

In Educating Rita (1983), Rita gradually loses the attachment to her husband.


DAY: LOSING

REPRESENTATIONS OF THE

OLD(ER) WORLDS AND OLD(ER)

SELVES

As the story progresses, representations of the Old(er) Worlds and Old(er) Selves are gradually lost.

Representations of the Old(er) Worlds are usually tangible, physical things - often clothing or emotional

attachments.

Representations of the Old(er) Selves are usually psychological - often an attitude, belief or behaviour.

In Elizabethtown (2005), Drew loses Ellen.

In An Officer and a Gentleman (1982), Zack hides his tattoo and we don't see his bike until he has changed.

Emilio has his head shaved.

In The Insider (1999), Wigand loses the office suit and house.


DAY: MAGICAL APPEARANCE

OF THE SUPERNATURAL AID

In the fairytales, the Supernatural Aid commonly appears in a puff of smoke. In modern film, this is

translated as appearing magically and mysteriously.


28/44


29/44


DAY: MARRIAGE AND DEATH

Marriage and Death symbolisms are just two of the common story entry-points and are used to indicate a

coming change of state movement between one world to another, one self and another.

In I Love You, Man (2009), the story starts when Peter proposes to Zooey.

In Monsters Vs. Aliens (2009), Susan is to be wed to Derek Dietl.

In Ben-Hur [12 Academy Awards] (1959), Esther is to be married.

In The Godfather (1972), the story starts with Connies wedding.

In Gran Torino (2008), the story starts with Walts wifes funeral.


DAY: MATURITY

Maturity is not gained by leaving the Old World for the New, but by merging the Old with the New, for

there is Value in All The Worlds. Thus, maturity is often demonstrated by merging Old and New World (and

Self) symbols and attachments.

In Dances with Wolves (1990), John Dunbar impresses Kicking Bird with his telescope.

In An Officer and a Gentleman (1983), the Zach rides past Foley on his old bike and in a new uniform.

In Erin Brockovich (1999), Erin finally visits Donna Jensen with George.


DAY: MEETING THE ORACLE

The Oracle is that entity which guides the Hero towards the tangible (Sword), which represents the many

multiple intangibles (Expansion of Consciousness, New Self etc).

The Oracle can be literal. In The Matrix (1999), a literal Oracle guides Neo towards the choice he must

make.

The Oracle can be an inanimate object. In Alien (1979), the Oracle is Mother the computer.

Or the Oracle can simply be metaphoric for any event that pushes the Hero in the required direction. In

Scarface (1983), Tony's interaction with Sosa leads to him working for himself.


DAY: NATURAL INHABITANTS

OF THE NEW WORLD

The Hero battles the Natural Inhabitants of the New World. These are simply metaphoric for obstacles

that prevent the Heros penetration into the New World. The Penetration into the New World is simply

metaphoric for the Becoming of the New Self.


30/44

In Platoon (1986), Taylor et al battle Charlie.

In Dances with Wolves (1990), John Dunbar battles the Apache.

In Apocalypto (2006), Youngblood et al battle the hostile Mayan rulers.


DAY: ORDINARY WORLD

ROMANTIC CHALLENGE

The Ordinary World Romantic Challenge is that attachment that does not evolve with the Hero, remains in

the Ordinary World and does not share the Hero's motivation to enter into the New World and become

the New Self. The Ordinary World Romantic Challenge is separate and distinct from the New World

Romantic Challenge.

In Educating Rita (1983), Rita leaves Denny behind.

Close Encounters of the Third Kind (1977), Roy leaves Ronnie behind.

In Gorillas in the Mist (1988), Dian leaves here old boyfriend behind.


DAY: PAST THE PHYSICAL

SEPARATION, THERE IS NO

GOING BACK

The Physical Separation is the movement from the First Threshold into the Deeper New World. It is often

marked by a physical border such as a road, bridge, river or an event such as a marriage or the breaking of

a rule. Once the Hero is beyond it, there is no return to that which once was.

In Butch Cassidy and the Sundance Kid (1969), the Physical Separation is marked by the trip to Bolivia.

In Brokeback Mountain (2005), once Ennis and Jack Twist have had sex, there is no way back. It cannot be

undone.

In The Insider (1999), once Wigand blows the whistle, there is no going back.


DAY: PERIOD OF DISSONANCE

During the Period of Dissonance, many of the archetypes are conflicted about the Final Decisions they

have to make. This is one of the critical phases that lead to effective catharses.

In Bonnie and Clyde (1967), Moss is caught between loyalty to Clyde and his father. Similarly, Blanche is

conflicted about giving away Moss' surname.

In Gladiator (2000), the soldiers watch the battle between Commodus and Maximus and are torn between

loyalty to the Emperor and fairness.


31/44

In Star Wars (1977), Han decides that engaging with the Death Star is suicidal, until he relents in the last

minute.


DAY: PERIOD OF ISOLATION

Once the Hero has been thrust from the New World, s/he undergoes a Period of Isolation.

In The Insider (1999), Jeffrey Wigand sits alone in a hotel after the negative PR threatens his new teaching

job.

In Bull Durham (1988), Crash sits alone in the pool hall after he is fired from the team.

In Apocalypse Now (1969), Willard is incarcerated after meeting Kurtz.


DAY: PERIOD OF ISOLATION

Once the Hero has been thrust from the New World, s/he undergoes a Period of Isolation.

In The Insider (1999), Jeffrey Wigand sits alone in a hotel after the negative PR threatens his new teaching

job.

In Bull Durham (1988), Crash sits alone in the pool hall after he is fired from the team.

In Apocalypse Now (1969), Willard is incarcerated after meeting Kurtz.


DAY: PERIOD OF REFLECTION

The Period of Reflection is that consideration just before the Hero decides to detach from Old World

attachments.

In The Insider (1999), Wigand decides that he should become a whistleblower.

In The Godfather (1972), Michael decides to tell Kay he doesn't know when he'll see her again.

In Bull Durham (1988), Crash decides he better do a good job of training Nuke.


DAY: REBIRTH

One element of the Rebirth is the Heros conscious decision to reject the Old World and Old Self and

accept the New World and New Self.

In The Insider (1999), Jeffrey Wigand decides to testify because "nothing ever changes."

In Bull Durham (1988), Annie realises she is waiting at the door, but for the wrong man.


32/44

In Apocalypse Now (1969), everybody sees Willard differently after he shoots the Vietnamese lady.


DAY: RESISTANCE TO CHANGE

Stories are all about Transformation, but who has ever found change easy? And I'm not talking about

simple change, but the changing of the Self.

A critical element of Transformation is Resistance and it is one of the most underrated aspects of

storytelling. It is everywhere, but so subtle that it is barely traceable. Most commonly, it occurs as the

Hero et al cross the border between Worlds.






DAY: RESISTANCE TO THE

CHANGING OF THE SELF

The Changing of the Self is not easy. Resistance to it [Transformation] is common and most often

manifests itself as the Hero et al cross the border between Worlds and Selves.






DAY: RUPTURE

Rupture (or Physical Separation) is that stage of the Journey where the Hero is (often forced) out of the

First Threshold and into the Deeper New World. There is often a Physical Marker symbolising the Crossing

to the Newer Self and the Breaking with the Older Self.

In Dances with Wolves (Academy Award Winner Best Film, 1990), John Dunbar leaves the fort and

ventures to the Indian village.

In The Godfather (100 Greatest Films, 1972), Michael leaves New York for Sicily.

In Raging Bull (1990), Jake gets married, has kids and gains weight.

HERO'S JOURNEY TIP OF THE The concepts of Sacrifice and the Conscious Decision are highly underrated in screenwriting, yet these are


33/44

DAY: SACRIFICE AND THE

CONSCIOUS DECISION

vital and interrelated elements of every successful story.

Every Hero must transform from an Old Self to a New Self. It is the New Self that is able to conquer

challenges that the Old Self could not.

But the path to the New Self often involves a Conscious Decision to Sacrifice the Old Self.

In the Godfather (1972), Michael consciously sacrifices his Old Self ("I don't know when I'll be back, Kay...")

and consciously accepts the transformation to his New Self ("I'm with you now Pop, I'm with you...").

In Star Wars (1972), Luke consciously lets go of his Old Self ("there's nothing for me here now; I'm never

coming back here again...") and accepts the transformation to his New Self ("I want to become a Jedi likemy father...").

In The Ten Commandments (1956), Moses consciously sacrifices the protection of Egypt to learn what it is

to be a slave (...I do not know what power shapes my way, but my feet are set upon a road that I must

follow...).


DAY: STARTING AS A FISH OUT

OF WATER

It is common for the Hero to begin his (or her) Journey as a Fish out of Water. This is because s/ he does

not often begin the Journey in the Ordinary World but arrives from the Another World.

In Platoon (1986), Taylor simply arrives in Vietnam.

In Dead Poets Society (1989), the boys simply arrive in their new school.

In The Quiet Man (1951), Sean simply arrives in Ireland on the train.


DAY: STATUS LADDER

One useful method of measuring the dissolution of the Old Self during the Road of Trials is to watch the

Hero's status. As the Hero adapts and is accepted into the New World, so his or her status in it rises until

he or she becomes a leader.

In Thelma and Louise (1991), Thelma eventually eclipses Louise and takes charge.

In The Shawshank Redemption (1994), Andy Dusfresne becomes the guards' accountant.

In When Harry met Sally (1989), Harry goes from being an unacknowledged acquaintance to a lover.


34/44


DAY: STRICT PATH

When the Hero leaves the Ordinary World for the Edge of the Ordinary World, there are warnings not to

stray from a Strict Path.

In The Terminator (1984), Sarah is told to be careful, theres a serial killer loose.

In Pretty Woman (1990), Vivian is told to watch out for weirdos on the street.

In No Country for Old Men (2007), Llewelyn knows it is dangerous to go back to the scene of the shootout.


DAY: SUPERNATURAL AID'S

SACRIFICE

It is often not recognised that the Supernatural Aid's Magical Gifts often have a price. Or that, in general,

the Supernatural Aid also has to make sacrifices. (The Supernatural Aid is also a Bringer of the Changing).

In The Bicycle Thieves (1942) [ Ladretta de bicicletta], Ricci's wife has to sell the bedsheets so that he canbuy back the bicycle.

In The Insider (1999), Lewell has to betray 60 Minutes to the New York Times.

In Gran Torino (2008), Walt gives his life.


DAY: SYMBOLISM

Screenplays consist of much more structure and symbolism than is commonly assumed.

Take the role of water. The role of water is ancient and works on the audience subconsciously: it signifies

baptism / dirt to cleanliness / washing away the Old and emergence of the Newer Self. For example, at the

stage of the Near Death Experience, heroes are often submerged or become wet (50 First Dates, 2004;

Green Mile, 1999; War of the Worlds, 2005; Jaws, 1977).

Or take mirrors. The hero often looks at himself (or herself) in a mirror whilst in the Ordinary World

(Bonnie and Clyde, 1967; An Officer and a Gentleman, 1983; Thelma and Louise, 1991). Mirrors most often

signify dissatisfaction with the Ordinary Self and dissatisfaction with the Period of Obscurity. This is one of

the Forward Pushing Forces.

Or take tunnels. The movement through tunnels symbolizes movement from one state to another.

Or bridges, gates, rivers and railroads - all of which mark boundaries between states and thresholds.

Or the colour red - signifying blood, damage to the Physical Self and Transmogrification to the New Self.


35/44

Symbolism is just another way of communicating the physical and psychological stages of the Journey,

Transformation, Detachment etc... . There are quite a few of these tools, and you should use them.

Coppola and Scorsese et al do. Even Shakespeare did.

HERO'S JOURNEY TIP OF THEDAY: SYMBOLISM OF SELF-

REFLECTION

The becoming of the New Self is demonstrated using a variety of symbolism. One is self-reflection: thePresent Self is often viewed in the mirror.

In Bull Durham (1988), Crash looks at himself in the shop window.

In An Officer and a Gentleman (1983), Zach looks at himself in the mirror.

In Trainspotting (1996), Renton looks at himself in the mirror.


DAY: TANGIBLE ELEMENT OF

THE OLD WORLD

The Hero commonly takes a tangible element of the Ordinary World forward into the New World. The

eventual loss of this is metaphoric for the losing of the Ordinary Self and the becoming of the New Self.

In Apocalypse Now (1979), Willard takes Kilgore's surfboard.

In The Thing (1982): the Doc takes back paperwork from the Norwegian station.

In The Wizard of Oz (1939), Dorothy takes Toto to Oz.


DAY: THE ANOTHER WORLD

The Journey does not begin in the Ordinary World. The Hero et al traverse a few Worlds before they reach

this stage. It is not unusual for them to arrive from The Another World.

In A Streetcar Named Desire (1951), we meet Blanche as she gets off the train and enters Stanley's World.

In The Quiet Man (1952), we meet Sean as he gets off the train in Ireland.

In The Godfather (1972), we meet Michael as he arrives in the Don's World.


DAY: THE BACKSTORY IS THE

MOMENT WHEN THE ORIGINAL

STATE OF PERFECTION WAS

LOST

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 centres around the moment when that capacity was

lost.

In Silence of the Lambs (1991), Clarice recites the moment when the State of Perfection was lost - the

story about the lamb.


36/44

In Midnight Cowboy (1969), Joe Buck has flashbacks about the moment when the State of Perfection was

lost - he is abused and his girlfriend is raped.

In An Officer and a Gentleman (1983), Zach has flashbacks in the bathroom about the moment when the

State of Perfection was lost - his mother commits suicide and his father is disinterested in him.


DAY: THE BEACHHEAD

A good way to understand the First Threshold is to look at it as a Beachhead. It is the first foothold in the

New World and this explains why certain events must take place there.

In Scarface (1983), the burger stand is the Tony Montana's first foothold in the USA.

In The Devil Wears Prada (2006), the junior receptionist job is Andy's first foothold in the fashion world.

In The Thing (1982), Macready gives the Thing it's first foothold in the station.


DAY: THE BEACHHEAD

A good way to understand the First Threshold is to look at it as a Beachhead. It is the first foothold in the

New World and this explains why certain events must take place there.

In Scarface (1983), the burger stand is the Tony Montana's first foothold in the USA.

In The Devil Wears Prada (2006), the junior receptionist job is Andy's first foothold in the fashion world.

In The Thing (1982), Macready gives the Thing it's first foothold in the station.


DAY: THE BOOK OF LAW

Upon entry into the First Threshold, the Hero is exposed to the Book of Law. These are instructions or rules

given by Authority Figures on how to survive in this World, which the Hero, if s/he chooses to ignore them,

does so at his (or her) peril.

In Scarface (1983), Frank tells Tony what he must do to survive as a doper long term.

In Spartacus (1960), Lentulus tells the newly arrived gladiators what they must do to survive and possibly

gain their freedom.

In Goodfellas (1990), Jimmy tells Henry that, "the worst thing in this world is a rat.... ."


DAY: THE CASTLE

The Castle is that tangible, often an edifice, which grows as the Hero grows; it represents the Hero's

evolution in the New World and as the New Self.


37/44

In Yojimbo (1961), the bar/restaurant is initially bare and then becomes fuller and warmer as The Samurai

evolves.

In Gorillas in the Mist (1988), the camp is initially bare but becomes fuller and warmer as Dian evolves.

In Scarface (1983), Tony's increasing comfort in and mastery of the nightclub mirrors his evolution as a

doper.

-----------------------------------------------

During the process of the Dissolution of the Old Self, the Hero et al are invited into an Intimate Place(metaphorically known as The Castle) within the New World. Their initial discomfort in this place and the

eventual comfort in it is representative of their evolution.

In Dances with Wolves (1990), John Dunbar is invited into village.

In Educating Rita (1983), Frank invites Rita into his home.

In The Devil Wears Prada (2006), Andy is invited into Nigel's dressing room.HERO'S JOURNEY TIP OF THE

DAY: THE GAINING OF A

CAPACITY

The Seizing of the Sword is a critical stage of every successful story. The Sword is a tangible representation

of a number of intangibles and it is not seized without reason.

One intangible [that the Sword represents] is the gaining of a (previously lacking) capacity.

In Thelma and Louise (1991), it is at this stage of the Journey that Thelma suddenly gains the capacity to be

able to nonchalantly put the cop in the trunk of his car and take his shades.

In The Godfather (1972), Michael is now fluent in Italian.

In Kramer vs. Kramer (1979), Billy learns to ride a bike.


DAY: THE INTERDICTOR AND

INTERDICTION

The Interdictor is a figure of authority that prevents the Hero departing from the Ordinary World under

threat of some punishment (Interdiction). The Interdictor and Interdiction are separate and distinct from

Refusal and Threshold Guardians:


38/44

In The Incredibles (2004), both the government and Mr Incredible's boss prevent Mr Incredible from acting

on his instincts.

In The Matrix (1999), Agent Smith interviews and interrogates Neo, offering him incentives not to involve

himself in the adventure.

In Out of Africa (1985), a soldier explicitly tells Karen not to venture out from the farm and find her

husband.


DAY: THE MEANING OF

GOODBYE

A "goodbye" is often heard before the Hero et al venture into New Worlds or Thresholds. This is

metaphoric for the "Goodbye to the Old(er) Self."

In The Karate Kid (1984), Daniel says goodbye before leaving for California.

In Platoon (1986), Taylor says goodbye to his Vietnam buddies.

In Dances with Wolves (1990), John says gooodbye to the Indians before entering the tent.


DAY: THE MEANING OF TIME

PRESSURE

One underrated aspect of storytelling and the Hero's Journey is the use of Time Pressure. It is one of the

major tools used to push a story forward [push the Hero et al to the next Threshold]. Specifically, more

than simply indicating haste, Time Pressure refers to the encroaching disappearance of any opportunity toreturn to any (New) State of Perfection.

In Spiderman 2 (2004), Peter must quickly get on with it because MJ is moving on.

In Planet of the Apes (Greatest Films, 1968), Taylor et al must move on because the groceries run out in

three days.

In An Officer and a Gentleman (1982), Lynnette tells Paula to "Come on!"

-----------------------------

Post the Expulsion from the New World, Time Pressure causes the Hero to Return. Time Pressure means

that there is a fast diminishing opportunity left to return the Worlds to a New State of Perfection.

In Ben-Hur (1959), Judah must hurry as Tirzah is dying, and without her there will be no return to


39/44

normality.

In The Godfather (1972), Michael must hurry as Barzini will take over all the territory, and then there little

chance of a return to any sort of normality.

In Star Wars (1977), Luke must hurry as the Death Star will soon destroy the rebel base, and then there will

be little opportunity to defeat Vader et al.


DAY: THE NATURE OF THE

ELIXIR

From the perspective of the physical Journey, the Elixir is a tangible, often a valuable prize of some sort.

But from the perspective of the psychological transformation, the Elixir is the Mastery of the Two Selves. It

is only once the Hero has become his (or her) Ultimate Self, that she (or he) can claim the tangible prize.

In The Insider (1999), it is only once both Lowell and Jeffrey have made the required sacrifices that theydefeat the corporation.

In Back to the Future (1985), it is only once Marty has Mastered his Old and New Selves, that he can return

to find the perfect family.

In Erin Brockovich (1999), it is only after Erin has Mastered her Old and New Selves, that she can go on to

defeat PG&E.

HERO'S JOURNEY TIP OF THEDAY: THE NEW WORLD IS A

PLACE THAT THE HERO

INITIALLY FEARS

It is not uncommon for the Hero to experience fear as he (or she) enters the First Threshold. It is notincorrect to say that the First Threshold is a place or state that the Hero is most afraid to go.

In Kramer versus Kramer (1979), Ted is somewhat afraid to be home alone with Billy.

In Scarface (1983), Tony is somewhat afraid of tackling the Colombians.

In The Matrix (1999), Neo is somewhat afraid of crossing over into the Matrix.

HERO'S JOURNEY TIP OF THEDAY: THE OPPOSITE SELF

During the period of the Dissolution of the Old Self, it is not uncommon for the Hero to meet an OppositeSelf. This is someone that is representative of the Heros eventual Ultimate Self. This archetype is similar

to, but not the same as, the Prototype Parent (see Advanced Archetypes at

http://www.clickok.co.uk/screenwriting/HerosJourneyArchetypes.html ).

It is not uncommon for the Hero to meet an Opposite Self. This is an archetype that is representative of

the Heros eventual Ultimate Self. This archetype is similar to, but not the same as, the Prototype Parent


40/44

(see Advanced Archetypes at http://www.clickok.co.uk/screenwriting/HerosJourneyArchetypes.html ).

In Pretty Woman (1990), Edward encounters the owner of the company he is buying.

In The Godfather (1972), Michael encounters Don Tomasino.

In An Officer and a Gentleman (1982), Zach meets Perryman.


DAY: THE ORIGINAL WORLD

The Original World is separate and distinct from the Ordinary World. One characteristic of this World is

this: it is when the Original State of Perfection existed.

In The Terminator (1984), this is before the machines took over.

In Midnight Cowboy (1969), this is before Joe Buck went to live with Grandma.

In Gran Torino (2008), this is before Walt fought in Korea.


DAY: THE OUTER CHALLENGE IS

A CONSEQUENCE OF THE INNER

CHALLENGE

In every successful Hollywood story, there are a number of challenges to be resolved. It is not uncommon

for the Hero to have at least Five Core Challenges, each of which is mapped onto the Hero's Journey and

resolved in a very specific order.

The Outer Challenge is often a manifestation (or consequence) of the Inner Challenge (frequently a deeppsychological issue).

In American Beauty (Academy Award Winner Best Film, 1999), Lester's marriage will not begin to resolve

itself until he begins to feel good about himself.

In An Officer and a Gentleman (1982), Zach is self-centred because his mother committed suicide and his

father didn't care for him.

In Titanic (Academy Award Winner Best Film, 1997), Rose is marrying Cal because she (and her mother) is

concerned about money and status.


DAY: THE REAL ELIXIR

The Elixir is represented by tangibles and intangibles. A critical intangible is the capacity to traverse both

Old and New Worlds and Selves at will.

In The Odd Couple (1968), Felix is ultimately able to come and go into Oscar's and the Pigeon sisters


41/44

apartments.

In Barefoot in the Park (1967), Paul is ultimately able to be a stuffed shirt during the day and let loose at

night.

In Gone with the Wind (1939), Scarlett is ultimately able to keep Tara and try and win Rhett back.


DAY: THE SHAPE SHIFTERS

DEFINING TRAIT

Some archetypes repeatedly appear in all successful stories and one of those is the Shape Shifter when

this is not the case, those stories are significantly poorer. The Shape Shifters defining characteristic is self-

interest s/he takes neither the high road nor the low road until the very last moments, when The

Choice is made. This is the Shape Shifters own Ultimate Self.

In Wall Street (1987), Darien only cares about her wants.

In Raiders of the Lost Ark (1981), Belloq only cares about his wants.

In Star Wars (1977), Han is only doing it for the money.


DAY: THE TRIVIAL TASK

Following the debates between Doves and Hawks, the Interdictions and the Refusals, the Hero is

immersed in a Period of Desolation, unsure of whether to embark on his or her Journey and

Transformation. There is frustration and expectation.

Often, a Trivial Task pushes the Hero out of this inertia (and away from his or her Ordinary World and from

his or her Ordinary Self) - unconsciously, unwillingly - into the Journey.

We are intimately familiar with the Trivial Task from our fairytales:

a) Go up the hill and fetch a pale of water.

b) Go to the market and get a fair penny for these pigs.

c) Go to grandma and give her these cakes I've baked.


DAY: THE VALUE OF SEIZING

THE SWORD

The Seizing of the Sword is a critical stage of the Hero's Journey. The Sword is a tangible representation of

a number of intangibles and it is not seized without reason; there is purpose in doing so.

One of the intangibles that it represents is de jure acceptance into the New World as a New Self.


42/44

{The Sword is a tangible representation of a number of intangibles and it is not seized without reason. One

of the intangibles that it represents is de facto acceptance into the New World as a New Self.}

In Dances with Wolves (1990), it is only after John has partaken in the buffalo hunt and tasted the buffalo's

heart that he becomes a fully accepted member of the village.

In Scarface (1983), it is only when Tony takes over Frank's territory that he becomes a legitimate doper.

In The Godfather (1972), it is only after Michael marries Apollonia that he becomes a de jure Sicilian.


DAY: TYPES OF MAGICAL AID

Magical Aids are integral to the vast majority of (if not all) successful stories. There are various categories,

including:

Magical Aids that assist the Hero push back or overcome Antagonisms: In Stand by Me (1986), the gun

helps to vanquish the other gang.

Magical Aids that assist to cross Thresholds: In Dances with Wolves (1990), John Dunbar is given a letter of

transit.

Magical Aids that assist the Becoming of the New Self: In Annie Hall (1977), Alvie gives Annie books toread.


DAY: UNDERSTANDING

QUEST

All stories are Quests if you understand what a Quest is.

The common understanding of "Quest" is that it is the search for a tangible. Most often, the tangible is

thought to be a treasure, princess or sword, but it can be any discernible substance. In Syriana (2005), the

tangible is a post-it note.

But the true understanding of Quest lies in the intangibles that the tangible represents.

One important intangible is the becoming of the New Self.

In Little Miss Sunshine (2006), Olive wants to win the beauty pageant, but before she can win that battle,

she must gain self-belief.


43/44

In Thelma and Louise (1991), Thelma pulls a gun on the officer, an action that embodies her New Self.

In American Beauty (1999), Carolyn ecstatically fires her gun in the shooting range an action that embodies

her New Self.HERO'S JOURNEY TIP OF THE

DAY: UNFIT FOR THE NEW

WORLD

As the Hero et al approach the First Threshold of the New World, it becomes increasingly clear that they

are not fit for it. This is often demonstrated by physical weakness or sickness.

In Gorillas in the Mist (1988), Dian is out of breath and tired as she climbs into Gorilla territory.

In The Fly (1986), Seth coughs outside his lab.

In Pretty Woman (1990), Edward is tired as he enters the hotel.HERO'S JOURNEY TIP OF THE

DAY: WHOLE-NEW SELF

The Hero's transformation into the New Self is incremental and the Rebirth post Near Death Experience

marks the endpoint of it. [The New Self is separate and distinct from the further significant transformation

to the Master of Two Worlds and Selves].

In Dances with Wolves (1990), John Dunbar's endpoint transformation is symbolized by the emerging from

the tent as a fully clothed Sioux.

In Gorillas in the Mist (1988), Dian's endpoint is symbolized by admitting that she is hooked.

In The Terminator (1984), Sarah's endpoint is symbolized by emergence of the skinless terminator.


DAY: MAJOR FIRST THRESHOLD

GUARDIAN

The Major First Threshold Guardian (separate and distinct from the Minor First Threshold Guardian) is one

of the archetypes that the Hero must overcome before s/he is allowed into the Deeper New World and

towards the Deeper New Self.

In Spartacus (1960), Spartacus must overcome Marcellus before he is free and allowed to build his army.

In The Godfather (1972), Michael must overcome Sollozzo before he is allowed to proceed to Sicily where

his Old Self dissolves away.

In Scarface (1983), Tony must overcome the Colombians and Omar before he is allowed to proceed onto

the task of robbing Frank of his kingdom.

HERO'S JOURNEY TIP OF THE Between the Crossing of the Return Threshold and the Master of Two Worlds a hell of a lot happens, most


44/44

DAY: EVERY HERO MUST FIGHT

HIS (OR HER) FINAL BATTLE

ALONE

of which is rarely, if ever, noted in analyses of the Hero's Journey.

Every Hero must fight his (or her) Final Battle alone - how else can s/he be certain that the Antagonisms

(which in no small measure are psychological) have certainly been overcome.

There are a number of ways in which the above is expressed, including:

a) The disappearance of Transcendental Powers. In the Wizard of Oz (1939) the Wizard cannot help

Dorothy return home.

b) The disappearance of Magical Gifts. In American Beauty (1999), Ricky can no longer supply Lester with

marijuana.

c) Hand-to-Hand Battle. In Annie Hall (1977), Alvie flies to LA to persuade Annie to come back.


DAY: MAJOR FIRST THRESHOLD

GUARDIAN

The Major First Threshold Guardian (separate and distinct from the Minor First Threshold Guardian) is one

of the archetypes that the Hero must overcome before s/he is allowed into the Deeper New World and

towards the Deeper New Self.

In Spartacus (1960), Spartacus must overcome Marcellus before he is free and allowed to build his army.

In The Godfather (1972), Michael must overcome Sollozzo before he is allowed to proceed to Sicily where

his Old Self dissolves away.

In Scarface (1983), Tony must overcome the Colombians and Omar before he is allowed to proceed onto

the task of robbing Frank of his kingdom.

Documents

510 Stage Hero s Journey