Hero's Journey (188 Stage) - Situational and Structural Storytelling - Ordinary Self

FORWARD

Kal Bashir's 188 phase Hero's Journey (Monomyth) is the templet upon which the huge bulk of successful narratives and Film Industry blockbusters are based upon. In fact, ALL of the 100s of Film Industry movies we have got deconstructed (see uniform resource locator below) are based on this 188+ phase template.

Understanding this templet is a precedence for narrative or screenwriters. This is the templet you must acquire the hang if you are to win in the craft.

[The nomenclature is most often metaphorical and uses to all successful narratives and screenplays, from The Godfather (1972) to Brokeback Mountain (2006) to Annie Hallway (1977) to Godhead of the Rings (2003) to Drugstore Cowboy (1989) to Thelma and Louise (1991) to Apocaplyse Now (1979)].

THERE IS ONLY ONE STORY

SITUATIONAL AND STRUCTURAL STORYTELLING

It's important to get away from this thought that all narratives are different.

On a situational degree all narratives are. For example, Gladiator (2000), Alien (1979) and The Godfather (1972) all are situationally very different.

But on a structural and subconscious mind level, they're all the same.

And I don't intend basic structure, like three enactment construction (of course of study narratives have got a beginning, center and end). And I don't intend secret plan points etc either (Plot Point 1 and 2, Center etc).

I mean, sequence by sequence, the huge bulk of successful narratives [we haven't set up one that doesn't] follow the same procedure that forces the Hero and Major Characters through the procedure of Transformation and Challenge Resolution.

What this agency is that you, as a writer, must confidently understand this construction (Kal Bashir's 188+ phase Hero's Journey), usage it to establish your structural lineation and then superimpose your state of affairs over it.

more...

(simply travel to http://www.heros-journey.info/ for full details)

ABRIDGED TIPS, excerpts AND EXAMPLES:

EXILE, ordinary world AND ordinary SELF

It is common to do expressed the Ordinary World. This is a benchmark of the physical journey. It is the start point against which the end point will be measured. The Hero will eventually go back to this (In Godhead of the Rings (2004), Frodo tax tax returns to the Shire) or move away from it (In Alien (1979), Ripley never again returns to that human race she knew, in which the Alien is not present).

It is also common to do expressed the Ordinary Self. This is a benchmark of the psychological journeying - the Transformation. Again, it is the psychological start point against which the end psychological state will be measured - the motion from the Ordinary Self to the New Self. For example, in Annie Hallway (1977), Annie moves from diffident and dependent in New House Of York to confident and independent in Los Angeles.

It is also common simply to push the Hero into a New World (Platoon (Academy Award Best Film, 1986); Dead Poets Society (Academy Award Campaigner Best Film, 1989)), where the difference between the Hero's Old and New Worlds and Old and New Selves are made expressed or referred to. Terminology such as as "Fish out of Water" and "Newbie" are usual.

Hero's Journey (188 Stage) - Situational and Structural Storytelling - Transformation Allies

FORWARD

Kal Bashir's 188 phase Hero's Journey (Monomyth) is the templet upon which the huge bulk of successful narratives and Film Industry blockbusters are based upon. In fact, ALL of the 100s of Film Industry movies we have got deconstructed (see uniform resource locator below) are based on this 188+ phase template.

Understanding this templet is a precedence for narrative or screenwriters. This is the templet you must acquire the hang if you are to win in the craft.

[The nomenclature is most often metaphorical and uses to all successful narratives and screenplays, from The Godfather (1972) to Brokeback Mountain (2006) to Annie Hallway (1977) to Godhead of the Rings (2003) to Drugstore Cowboy (1989) to Thelma and Louise (1991) to Apocaplyse Now (1979)].

THERE IS ONLY ONE STORY

SITUATIONAL AND STRUCTURAL STORYTELLING

It's important to get away from this thought that all narratives are different.

On a situational degree all narratives are. For example, Gladiator (2000), Alien (1979) and The Godfather (1972) all are situationally very different.

But on a structural and subconscious mind level, they're all the same.

And I don't intend basic structure, like three enactment construction (of course of study narratives have got a beginning, center and end). And I don't intend secret plan points etc either (Plot Point 1 and 2, Center etc).

I mean, sequence by sequence, the huge bulk of successful narratives [we haven't set up one that doesn't] follow the same procedure that forces the Hero and Major Characters through the procedure of Transformation and Challenge Resolution.

What this agency is that you, as a writer, must confidently understand this construction (Kal Bashir's 188+ phase Hero's Journey), usage it to establish your structural lineation and then superimpose your state of affairs over it.

more...

(simply travel to http://www.heros-journey.info/ for full details)

ABRIDGED TIPS, excerpts AND EXAMPLES:

THE HERO'S journeying AND transmutation WILL DECIDE EXACTLY WHO THE allies ARE

Subplots aside, it is the hero's journeying and transmutation that volition make up one's mind who his (or her) allies are.

[Aristotle's Poetics reasons that you make away with subplots altogether].

For illustration (simplified):

The Supernatural Aid's mathematical mathematical mathematical mathematical function is to specifically steer the hero on the journey and through a peculiar transformation.

The Romantic Challenge's function is to show propinquity to the New Self (the Hero only really wins over the Romantic Challenge after the Seizing of the Sword and the Rebirth).

The Loyal Ally's function is to show the Hero's abilities by comparison.

The Shape Shifter's function is to show every other sides of the Hero's Own Self (using a Freudian analysis, the Shape Sceneshifter is representative of the Ego that tin aline itself with the Idaho or Superego).

and so on....

188+ Stages of the Hero's Journey (Monomyth, Screenwriting) - Backstory Basics

FORWARD

The 188 phase Hero's Journey (Monomyth) is the templet upon which the huge bulk of successful narratives and Film Industry blockbusters are based upon. In fact, ALL of the 100s of Film Industry movies we have got deconstructed (see uniform resource locator below) are based on this 188+ phase template.

Understanding this templet is a precedence for narrative or screenwriters. This is the templet you must get the hang if you are to win in the craft.

[The nomenclature is most often metaphorical and uses to all successful narratives and screenplays, from The Godfather (1972) to Brokeback Mountain (2006) to Annie Hallway (1977) to Godhead of the Rings (2003) to Drugstore Cowboy (1989) to Thelma and Louise (1991) to Apocaplyse Now (1979)].

THERE IS ONLY ONE STORY

THE 188 phase HERO'S journey affects a figure of major phases, including:

a) The reaching from Another World into an Ordinary World.

b) The Ordinary Self, that have come up about as a consequence of being in the Ordinary World.

c) The encouragement from the Ordinary World into a New World.

d) The gradual dissolving of the Old Self.

e) The becoming of the New Self.

f) The thrusting away from the New Self and New World.

g) The confrontation with challenges.

h) The mastering of the Old and New Worlds and Selves.

more...

(simply travel to http://www.heros-journey.info/ for full details)

ABRIDGED TIPS, excerpts AND EXAMPLES:

THE BACKSTORY IS THE moment WHEN THE hero doomed HIS (OR HER) BALANCE

The Hero embarks on the Journey and Transformation, not to derive a capacity, illumination, powerfulness or balance, but to recover it. It is not the attainment of a capacity that assists the Hero suppress his (or her) challenges but the reattainment of it. The backstory should be viewed as the minute when that capacity was lost and everything that have occurred since then.

Looking at it another way, the Hero's backstory goes around around that point when his (or her) challenges were born and everything since and up to the present moment.

This is an incredibly utile fact, as it gives you an contiguous and story-relevant manage on the Hero's past and character. This states you what is lacking and what way you necessitate to force your narrative in order to rectify it. In City Slickers (1991), Mitch have lost his smile. The narrative is all about getting his smiling back.

In Silence of the Lambs (1991), Clarice declaims her backstory to Lecter - it is the minute when her interior challenges were born / her balance was lost (the narrative about the lamb).

In Midnight Cowboy (1969), Joe Vaulting Horse have flashbacks in the bus. We larn his backstory - assorted minutes when his interior challenges were born / balance was lost (he is abused and his girlfriend is raped).

In An Military Officer and a Gentleman (1983), Zach have flashbacks in the bathroom. We larn his backstory - assorted minutes when his challenges were born / balance was lost (his female parent perpetrates self-destruction and his father is disinterested in him).

Post the point of imbalance, every great Hero undergoes a similar experience, which includes a time period of obscureness and the presentation of an extraordinary capacity for survival.

188+ Stages of the Hero's Journey (Monomyth, Screenwriting)- Magical Appearance of Supernatural Aid

FORWARD

The 188 phase Hero's Journey (Monomyth) is the templet upon which the huge bulk of successful narratives and Film Industry blockbusters are based upon. In fact, ALL of the 100s of Film Industry movies we have got deconstructed (see uniform resource locator below) are based on this 188+ phase template.

Understanding this templet is a precedence for narrative or screenwriters. This is the templet you must get the hang if you are to win in the craft.

[The nomenclature is most often metaphorical and uses to all successful narratives and screenplays, from The Godfather (1972) to Brokeback Mountain (2006) to Annie Hallway (1977) to Godhead of the Rings (2003) to Drugstore Cowboy (1989) to Thelma and Louise (1991) to Apocaplyse Now (1979)].

THERE IS ONLY ONE STORY

THE 188 phase HERO'S journey affects a figure of major phases, including:

a) The reaching from Another World into an Ordinary World.

b) The Ordinary Self, that have come up about as a consequence of being in the Ordinary World.

c) The encouragement from the Ordinary World into a New World.

d) The gradual dissolving of the Old Self.

e) The becoming of the New Self.

f) The thrusting away from the New Self and New World.

g) The confrontation with challenges.

h) The mastering of the Old and New Worlds and Selves.

more...

(simply travel to http://www.heros-journey.info/ for full details)

ABRIDGED TIPS, excerpts AND EXAMPLES:

MAGICAL visual aspect OF THE supernatural AID

One common facet of the Supernatural Aid or Mentor is his or her charming appearance. Not only is this utile for fictional character development, but implementing it lets you to more than closely mirror the Hero's Journey form and ran into (or subvert) subconscious mind audience expectation.

In Star Wars (1977), Obeah Wide Area Network looks from nowhere to salvage Luke.

In The Big Lebowski (1998), the Stranger suddenly looks and disappears.

In Rambo First Blood (1982), Col. Samuel Trautman looks from nowhere.

Hero's Journey, Monomyth (188 Stages) Screenplays for Films

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.heros-journey.info/ for full details)

*****Devolved State*****

This is a total expression of the Hero's Ordinary World and Ordinary Self. It is a benchmark. In Tsotsi (2005), Tsotsi is part of a criminal gang, which is something he will leave behind by the end of the story. In Get Carter (1971- the superior version with Michael Caine), we discover in the first scene that Jack Carter's Outer Challenge is to discover who killed his brother, his Inner Challenge is to escape from his criminal associates / past and his Romantic Challenge is to wrestle Britt Ekland away from the mob boss.

*****First Trial Inner Cave - No Going Back*****

A number of things happen in the Inner Cave of the First Trial. One element is the No Going Back. In Bonnie and Clyde (1967), Blanche wants out but Buck (and therefore she) can't get out because he has killed a man.