| FORWARD | | | | Willing Hero resists it whilst the Unwilling Hero prefers |
| Kal Bishop's 188 stage Hero's Journey (Monomyth) is | | | | it. But ultimately, the Hero must move forward. This |
| the template upon which the vast majority of | | | | takes a number of forms, including: |
| successful stories and Hollywood blockbusters are | | | | A Trial. Some conflict or challenge erupts that forces |
| based upon. In fact, ALL of the hundreds of | | | | the Hero to choose between his Old Self or the New |
| Hollywood movies we have deconstructed (see URL | | | | Self. |
| below) are based on this 188+ stage template. | | | | Old World Capabilities. Often some Old World |
| Understanding this template is a priority for story or | | | | competency (or one learned in the First Threshold) |
| screenwriters. This is the template you must master | | | | helps the Hero pass the Trial. |
| if you are to succeed in the craft. | | | | Celebration. A celebration marks the passing of the |
| [The terminology is most often metaphoric and | | | | Trial. In Romancing the Stone (1984), Jack and Joan |
| applies to all successful stories and screenplays, from | | | | are enjoying the drink and drugs. In Dances with |
| The Godfather (1972) to Brokeback Mountain (2006) | | | | Wolves (1990), John and the Indians celebrate by the |
| to Annie Hall (1977) to Lord of the Rings (2003) to | | | | camp fire. |
| Drugstore Cowboy (1989) to Thelma and Louise | | | | Forced to Confront an Element of the Old Self. Here, |
| (1991) to Apocaplyse Now (1979)]. | | | | some aspect of the Old World presents itself and |
| THERE IS ONLY ONE STORY | | | | the Hero is forced to push away from it. In |
| ANTIHERO | | | | Romancing the Stone (1984), Joan has an idea what |
| There are various types of Hero: a) the good, willing | | | | a real man should be, but this is proved wrong when |
| Hero (Star Wars, 1977), b) the good, unwilling Hero | | | | Jack saves her life. In An Officer and a Gentleman |
| (Shawshank Redemption, 1994), c) the Anti-Hero | | | | (1982), Zach and Paula argue in the hotel room - he |
| (Raging Bull, 1980; Goodfellas, 1990; Scarface, 1983) | | | | doesn't think he should have fought. In Dances with |
| etc. | | | | Wolves (1990), John doesn't feel he can sleep with |
| Nevertheless, their stories all mirror the Hero's | | | | the Indians. |
| Journey template. The difference between Hero, | | | | *****Pulled into the Belly of the Whale***** |
| Anti-Hero and other variations simply lies in situation, | | | | Pushes and Pulls are an underrated aspect of |
| motivation and result (Heroes evolve, Anti-Heroes | | | | storytelling. Pushes and Pulls force the Hero et al |
| regress). | | | | from one stage of the journey to the next. |
| The different Hero-types are simply alternate | | | | Inevitably, the Hero is forced (pulled or pushed) into |
| Archetypes. See "Advanced Archetypes." | | | | the Belly of the Whale. In Dances with Wolves |
| (For the Complete 188+ stage Hero's Journey simply | | | | (1990), there is an Indian meeting to encourage |
| go to ) | | | | familiarisation with the strange White Man. In |
| ABRIDGED TIPS, EXCERPTS AND EXAMPLES: | | | | Superman (1978), Clark Kent must leave the farm. In |
| *****Trials and Transformation 1: Pull Back. | | | | Thelma and Louise (1991), both are forced to flee |
| In the first Trial and Transformation, the Hero is | | | | from the bar after shooting Harlan. |
| pulled back to the Old World and Old Concepts - the | | | | |