's Ordinary Self that are commonly made explicit, including:

Status. Defining the Hero relationship to others is common: In Spiderman (2002), no one wants to sit next to Peter Parker on the bus. In Forrest Gump (1994), no one wants to sit next to Forrest on the bus. In Beverly Hills Cop (1984), other officers try to interact with Axel Foley - they follow him around.

Loyalty. It is not unusual to find that the Hero is the sort of person that inspires loyalty or not (antihero). This explains why

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 http://www.screenplay-structure.com/ or http://www.story-structure.org/ for full details)

*****Antiheroes and Romantic Challenges*****

Where the Hero evolves, the Antihero devolves. So it is not unusual to find that the Antihero starts off with a close personal relationship that devolves (whereas the Hero most often starts off with a polarized Romantic Challenge that gradually evolves). In The Godfather (1972), Michael and Kay are initially close but their relationship devolves toward the end. In Scarface (1983) Tony and Elvira ultimately separate.

*****Ordinary Self*****

There are certain aspects of the Hero's Ordinary Self that are commonly made explicit, including:

Status. Defining the Hero relationship to others is common: In Spiderman (2002), no one wants to sit next to Peter Parker on the bus. In Forrest Gump (1994), no one wants to sit next to Forrest on the bus. In Beverly Hills Cop (1984), other officers try to interact with Axel Foley - they follow him around.

Loyalty. It is not unusual to find that the Hero is the sort of person that inspires loyalty or not (antihero). This explains why o

ssful 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 http://www.screenplay-structure.com/ or http://www.story-structure.org/ for full details)

*****Antiheroes and Romantic Challenges*****

Where the Hero evolves, the Antihero devolves. So it is not unusual to find that the Antihero starts off with a close personal relationship that devolves (whereas the Hero most often starts off with a polarized Romantic Challenge that gradually evolves). In The Godfather (1972), Michael and Kay are initially close but their relationship devolves toward the end. In Scarface (1983) Tony and Elvira ultimately separate.

*****Ordinary Self*****

There are certain aspects of the Hero's Ordinary Self that are commonly made explicit, including:

Status. Defining the Hero relationship to others is common: In Spiderman (2002), no one wants to sit next to Peter Parker on the bus. In Forrest Gump (1994), no one wants to sit next to Forrest on the bus. In Beverly Hills Cop (1984), other officers try to interact with Axel Foley - they follow him around.

Loyalty. It is not unusual to find that the Hero is the sort of person that inspires loyalty or not (antihero). This explains why

nt 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 http://www.screenplay-structure.com/ or http://www.story-structure.org/ for full details)

*****Antiheroes and Romantic Challenges*****

Where the Hero evolves, the Antihero devolves. So it is not unusual to find that the Antihero starts off with a close personal relationship that devolves (whereas the Hero most often starts off with a polarized Romantic Challenge that gradually evolves). In The Godfather (1972), Michael and Kay are initially close but their relationship devolves toward the end. In Scarface (1983) Tony and Elvira ultimately separate.

*****Ordinary Self*****

There are certain aspects of the Hero's Ordinary Self that are commonly made explicit, including:

Status. Defining the Hero relationship to others is common: In Spiderman (2002), no one wants to sit next to Peter Parker on the bus. In Forrest Gump (1994), no one wants to sit next to Forrest on the bus. In Beverly Hills Cop (1984), other officers try to interact with Axel Foley - they follow him around.

Loyalty. It is not unusual to find that the Hero is the sort of person that inspires loyalty or not (antihero). This explains why

lenges*****

Where the Hero evolves, the Antihero devolves. So it is not unusual to find that the Antihero starts off with a close personal relationship that devolves (whereas the Hero most often starts off with a polarized Romantic Challenge that gradually evolves). In The Godfather (1972), Michael and Kay are initially close but their relationship devolves toward the end. In Scarface (1983) Tony and Elvira ultimately separate.

*****Ordinary Self*****

There are certain aspects of the Hero's Ordinary Self that are commonly made explicit, including:

Status. Defining the Hero relationship to others is common: In Spiderman (2002), no one wants to sit next to Peter Parker on the bus. In Forrest Gump (1994), no one wants to sit next to Forrest on the bus. In Beverly Hills Cop (1984), other officers try to interact with Axel Foley - they follow him around.

Loyalty. It is not unusual to find that the Hero is the sort of person that inspires loyalty or not (antihero). This explains why

's Ordinary Self that are commonly made explicit, including:

Status. Defining the Hero relationship to others is common: In Spiderman (2002), no one wants to sit next to Peter Parker on the bus. In Forrest Gump (1994), no one wants to sit next to Forrest on the bus. In Beverly Hills Cop (1984), other officers try to interact with Axel Foley - they follow him around.

Loyalty. It is not unusual to find that the Hero is the sort of person that inspires loyalty or not (antihero). This explains why others may or may not gravitate around him (or her). In Gladiator (2000), Maximus' dog follows him in battle. In Raging Bull (1980), Joey hangs out with his older brother.

True Nature. We learn of the Hero's True Nature (which if negative, may be an inner challenge). In Gladiator (2000), Maximus takes time to feel the tall grass.