n (2005), Alma asks Ennis if he knows about a guy called Jack.

*****Sirens of the Coming of The One*****

Previous to the Seizure of the Sword, some communication will reveal that the Hero is imminently about to gain the Expansion of Consciousness, an Enlightenment. In Dances with Wolves (1990), the women know that the there is something between John and Stands with a Fist.

Antagonists attempt to prevent this. In Star Wars (1977), Tarkin explicitly states that they must not be allowed to get away.

The Antagonists realise that the

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)

*****Final Conflict: Battle*****

Post the Crossing of the Return Threshold and before the Master of Two Worlds and Selves, a hell of a lot happens that is rarely given mention. The Final Conflict (a metaphor for this stage) follows a distinct process. When the battle begins, the Shape Shifter, engaged in a period of dissonance, doesn't believe hero is capable of defeating his (or her) antagonisms. In Straw Dogs (1971), Tom et al continue to attack the house and try to break in. Amy doesn't believe David can keep them out.

*****Meeting the Oracle*****

The purpose of the Oracle is to send the Hero towards his Expansion of Consciousness and the representation of it, which is often a tangible. In Brokeback Mountain (2005), Alma asks Ennis if he knows about a guy called Jack.

*****Sirens of the Coming of The One*****

Previous to the Seizure of the Sword, some communication will reveal that the Hero is imminently about to gain the Expansion of Consciousness, an Enlightenment. In Dances with Wolves (1990), the women know that the there is something between John and Stands with a Fist.

Antagonists attempt to prevent this. In Star Wars (1977), Tarkin explicitly states that they must not be allowed to get away.

The Antagonists realise that the H

r (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)

*****Final Conflict: Battle*****

Post the Crossing of the Return Threshold and before the Master of Two Worlds and Selves, a hell of a lot happens that is rarely given mention. The Final Conflict (a metaphor for this stage) follows a distinct process. When the battle begins, the Shape Shifter, engaged in a period of dissonance, doesn't believe hero is capable of defeating his (or her) antagonisms. In Straw Dogs (1971), Tom et al continue to attack the house and try to break in. Amy doesn't believe David can keep them out.

*****Meeting the Oracle*****

The purpose of the Oracle is to send the Hero towards his Expansion of Consciousness and the representation of it, which is often a tangible. In Brokeback Mountain (2005), Alma asks Ennis if he knows about a guy called Jack.

*****Sirens of the Coming of The One*****

Previous to the Seizure of the Sword, some communication will reveal that the Hero is imminently about to gain the Expansion of Consciousness, an Enlightenment. In Dances with Wolves (1990), the women know that the there is something between John and Stands with a Fist.

Antagonists attempt to prevent this. In Star Wars (1977), Tarkin explicitly states that they must not be allowed to get away.

The Antagonists realise that the

ishing 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)

*****Final Conflict: Battle*****

Post the Crossing of the Return Threshold and before the Master of Two Worlds and Selves, a hell of a lot happens that is rarely given mention. The Final Conflict (a metaphor for this stage) follows a distinct process. When the battle begins, the Shape Shifter, engaged in a period of dissonance, doesn't believe hero is capable of defeating his (or her) antagonisms. In Straw Dogs (1971), Tom et al continue to attack the house and try to break in. Amy doesn't believe David can keep them out.

*****Meeting the Oracle*****

The purpose of the Oracle is to send the Hero towards his Expansion of Consciousness and the representation of it, which is often a tangible. In Brokeback Mountain (2005), Alma asks Ennis if he knows about a guy called Jack.

*****Sirens of the Coming of The One*****

Previous to the Seizure of the Sword, some communication will reveal that the Hero is imminently about to gain the Expansion of Consciousness, an Enlightenment. In Dances with Wolves (1990), the women know that the there is something between John and Stands with a Fist.

Antagonists attempt to prevent this. In Star Wars (1977), Tarkin explicitly states that they must not be allowed to get away.

The Antagonists realise that the

tion. The Final Conflict (a metaphor for this stage) follows a distinct process. When the battle begins, the Shape Shifter, engaged in a period of dissonance, doesn't believe hero is capable of defeating his (or her) antagonisms. In Straw Dogs (1971), Tom et al continue to attack the house and try to break in. Amy doesn't believe David can keep them out.

*****Meeting the Oracle*****

The purpose of the Oracle is to send the Hero towards his Expansion of Consciousness and the representation of it, which is often a tangible. In Brokeback Mountain (2005), Alma asks Ennis if he knows about a guy called Jack.

*****Sirens of the Coming of The One*****

Previous to the Seizure of the Sword, some communication will reveal that the Hero is imminently about to gain the Expansion of Consciousness, an Enlightenment. In Dances with Wolves (1990), the women know that the there is something between John and Stands with a Fist.

Antagonists attempt to prevent this. In Star Wars (1977), Tarkin explicitly states that they must not be allowed to get away.

The Antagonists realise that the

n (2005), Alma asks Ennis if he knows about a guy called Jack.

*****Sirens of the Coming of The One*****

Previous to the Seizure of the Sword, some communication will reveal that the Hero is imminently about to gain the Expansion of Consciousness, an Enlightenment. In Dances with Wolves (1990), the women know that the there is something between John and Stands with a Fist.

Antagonists attempt to prevent this. In Star Wars (1977), Tarkin explicitly states that they must not be allowed to get away.

The Antagonists realise that the Hero's Expansion of Consciousness will lead only to conflict between them. In Star Wars (1977), Vader feels a disturbance in the force. He knows Obi Wan is near.