| FORWARD | | | | Self. |
| Kal Bishop's 188 stage Hero's Journey (Monomyth) is | | | | Go to for the complete 188 stage Hero's Journey. |
| the template upon which the vast majority of | | | | ABRIDGED TIPS, EXCERPTS AND EXAMPLES: |
| successful stories and Hollywood blockbusters are | | | | *****Ultimate Boon***** |
| based upon. In fact, ALL of the hundreds of | | | | The prize that is the result of the Apotheosis. In |
| Hollywood movies we have deconstructed (see URL | | | | Brokeback Mountain (2005), Jack is happy that Ennis |
| below) are based on this 188+ stage template. | | | | has gotten divorced. |
| Understanding this template is a priority for story or | | | | *****Trials and Transformation 2: Innate |
| screenwriters. This is the template you must master | | | | Suitability***** |
| if you are to succeed in the craft. | | | | In the second Trial and Transformation, the Hero |
| [The terminology is most often metaphoric and | | | | proves he is worthy for the New World and the |
| applies to all successful stories and screenplays, from | | | | New Self. The Hero is not like other men and this |
| The Godfather (1972) to Brokeback Mountain (2006) | | | | demonstrates it. This characteristic manifests itself in |
| to Annie Hall (1977) to Lord of the Rings (2003) to | | | | a number of ways: |
| Drugstore Cowboy (1989) to Thelma and Louise | | | | Danger of the Trial. The Hero is reminded of the |
| (1991) to Apocaplyse Now (1979)]. | | | | danger and difficulty of the New World and New |
| THERE IS ONLY ONE STORY | | | | Self, of which this coming Trial is representative. |
| SYMBOLISM | | | | Forced to a Trial. The Hero is forced into a Trial to |
| There is far more symbolism in the most successful | | | | gauge how innately suited he is to the New World |
| stories than is given credit. Symbolism communicates | | | | and New Self. |
| stages of the Journey and movement from one | | | | Allies Survive. Some allies whom the Hero has come |
| state to another. What is does is guide the audience | | | | to know are, along with the Hero, well suited to the |
| in the required direction and convey subconscious | | | | New World and New Self. |
| messages. | | | | Allies Perish. Some allies whom the Hero has come to |
| Examples include: | | | | know perish, usually Sacrificial Lambs. Relatively, this |
| Water. At the stage of the Near Death Experience, | | | | indicates the difficulty of the New World and New |
| romantic lovers part in the rain (50 First Dates, 2004), | | | | Self and the Hero's suitability to it. |
| protagonists are tortured with water (Green Mile, | | | | Mentor's Suitability. Mentor's often demonstrate how |
| 1999), protagonists happen to be on vessels that sink | | | | well suited to the New World and New Self they |
| (War of the Worlds, 2005) and Heroes are | | | | already are or have been. |
| submerged underwater (Jaws, 1977). The role of | | | | Mentor's Surprise. It is not unusual for Mentors to |
| water is ancient and works on the audience | | | | have doubted the Hero's suitability and may be |
| subconsciously; it signifies baptism / dirt to cleanliness | | | | surprised or satisfied that he has passed this test. |
| / washing away the Old and emergence of the New | | | | |