eceit. But the Antagonist (normally) is naturally evil and intends on certainly vanquishing the Hero. He (or she) commits a deceit that will result in the Hero's death (or wrestle control from him). In Spiderman (2002), the Green Goblin deceives Peter and plans the final kill.

*****Time Pressure*****

Having established the Hero in his (or her) Ordinary World and his (or her) Challenges, it is quite common for there to be an urgency to embark on the Journey and Transformation. This manife

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 www.clickok.co.uk for full details)

*****Antagonist's True Nature*****

The Antagonist, who ultimately is not unlike the Hero, reveals himself. In the Bond Franchise, this is often where the villain reflects on his motivations.

Mirror Image. It often turns out that the Antagonist is known to the Hero; is a shadow or mirror of him or similar. In Spiderman (2002), the Green Goblin reveals himself to Peter Parker - he is Harry's father. In Return of the Jedi (1983), Vader takes off his mask to reveal his true self to Luke. In Scooby Doo, we always knew the Antagonist was amongst us.

Deceit. But the Antagonist (normally) is naturally evil and intends on certainly vanquishing the Hero. He (or she) commits a deceit that will result in the Hero's death (or wrestle control from him). In Spiderman (2002), the Green Goblin deceives Peter and plans the final kill.

*****Time Pressure*****

Having established the Hero in his (or her) Ordinary World and his (or her) Challenges, it is quite common for there to be an urgency to embark on the Journey and Transformation. This manifes

l 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 www.clickok.co.uk for full details)

*****Antagonist's True Nature*****

The Antagonist, who ultimately is not unlike the Hero, reveals himself. In the Bond Franchise, this is often where the villain reflects on his motivations.

Mirror Image. It often turns out that the Antagonist is known to the Hero; is a shadow or mirror of him or similar. In Spiderman (2002), the Green Goblin reveals himself to Peter Parker - he is Harry's father. In Return of the Jedi (1983), Vader takes off his mask to reveal his true self to Luke. In Scooby Doo, we always knew the Antagonist was amongst us.

Deceit. But the Antagonist (normally) is naturally evil and intends on certainly vanquishing the Hero. He (or she) commits a deceit that will result in the Hero's death (or wrestle control from him). In Spiderman (2002), the Green Goblin deceives Peter and plans the final kill.

*****Time Pressure*****

Having established the Hero in his (or her) Ordinary World and his (or her) Challenges, it is quite common for there to be an urgency to embark on the Journey and Transformation. This manife

oints, 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 www.clickok.co.uk for full details)

*****Antagonist's True Nature*****

The Antagonist, who ultimately is not unlike the Hero, reveals himself. In the Bond Franchise, this is often where the villain reflects on his motivations.

Mirror Image. It often turns out that the Antagonist is known to the Hero; is a shadow or mirror of him or similar. In Spiderman (2002), the Green Goblin reveals himself to Peter Parker - he is Harry's father. In Return of the Jedi (1983), Vader takes off his mask to reveal his true self to Luke. In Scooby Doo, we always knew the Antagonist was amongst us.

Deceit. But the Antagonist (normally) is naturally evil and intends on certainly vanquishing the Hero. He (or she) commits a deceit that will result in the Hero's death (or wrestle control from him). In Spiderman (2002), the Green Goblin deceives Peter and plans the final kill.

*****Time Pressure*****

Having established the Hero in his (or her) Ordinary World and his (or her) Challenges, it is quite common for there to be an urgency to embark on the Journey and Transformation. This manife

mately is not unlike the Hero, reveals himself. In the Bond Franchise, this is often where the villain reflects on his motivations.

Mirror Image. It often turns out that the Antagonist is known to the Hero; is a shadow or mirror of him or similar. In Spiderman (2002), the Green Goblin reveals himself to Peter Parker - he is Harry's father. In Return of the Jedi (1983), Vader takes off his mask to reveal his true self to Luke. In Scooby Doo, we always knew the Antagonist was amongst us.

Deceit. But the Antagonist (normally) is naturally evil and intends on certainly vanquishing the Hero. He (or she) commits a deceit that will result in the Hero's death (or wrestle control from him). In Spiderman (2002), the Green Goblin deceives Peter and plans the final kill.

*****Time Pressure*****

Having established the Hero in his (or her) Ordinary World and his (or her) Challenges, it is quite common for there to be an urgency to embark on the Journey and Transformation. This manife

eceit. But the Antagonist (normally) is naturally evil and intends on certainly vanquishing the Hero. He (or she) commits a deceit that will result in the Hero's death (or wrestle control from him). In Spiderman (2002), the Green Goblin deceives Peter and plans the final kill.

*****Time Pressure*****

Having established the Hero in his (or her) Ordinary World and his (or her) Challenges, it is quite common for there to be an urgency to embark on the Journey and Transformation. This manifests itself in a number of ways, including:

The Antagonism demonstrates his (or her) evil. The need for a resolution becomes ever more urgent. In Spiderman (2002), Norman Osborne kills his fellow scientist.

One of the characters initiates a Speed Call. In An Officer and a Gentleman (1982), Lynette tells Paula to "hurry up!" In Romancing the Stone (1984), Mrs Irwin is in an awful rush.

A Pull pushes the Hero et al forward. In Titanic (1997), Jack has to run to the ship, which is about to leave. In Little Miss Sunshine (2006), the radio announces that the contest in only days away.