he Romantic Challenge is developed or further made explicit (post Trial 3 and the conquest of the Outer Challenge). The Hero has come a long way but he (as well as the audience) are reminded that this has yet to be conquered: In An Officer and a Gentleman (1982), Zach resists Paula when she says she's going after what she wants (him). In Dances with Wolves (1990), Stands with a FisFORWARD

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)

*****Romantic Challenge*****

The Romantic Challenge is developed or further made explicit (post Trial 3 and the conquest of the Outer Challenge). The Hero has come a long way but he (as well as the audience) are reminded that this has yet to be conquered: In An Officer and a Gentleman (1982), Zach resists Paula when she says she's going after what she wants (him). In Dances with Wolves (1990), Stands with a Fist

te 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)

*****Romantic Challenge*****

The Romantic Challenge is developed or further made explicit (post Trial 3 and the conquest of the Outer Challenge). The Hero has come a long way but he (as well as the audience) are reminded that this has yet to be conquered: In An Officer and a Gentleman (1982), Zach resists Paula when she says she's going after what she wants (him). In Dances with Wolves (1990), Stands with a Fis

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)

*****Romantic Challenge*****

The Romantic Challenge is developed or further made explicit (post Trial 3 and the conquest of the Outer Challenge). The Hero has come a long way but he (as well as the audience) are reminded that this has yet to be conquered: In An Officer and a Gentleman (1982), Zach resists Paula when she says she's going after what she wants (him). In Dances with Wolves (1990), Stands with a Fis

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)

*****Romantic Challenge*****

The Romantic Challenge is developed or further made explicit (post Trial 3 and the conquest of the Outer Challenge). The Hero has come a long way but he (as well as the audience) are reminded that this has yet to be conquered: In An Officer and a Gentleman (1982), Zach resists Paula when she says she's going after what she wants (him). In Dances with Wolves (1990), Stands with a Fis

he Romantic Challenge is developed or further made explicit (post Trial 3 and the conquest of the Outer Challenge). The Hero has come a long way but he (as well as the audience) are reminded that this has yet to be conquered: In An Officer and a Gentleman (1982), Zach resists Paula when she says she's going after what she wants (him). In Dances with Wolves (1990), Stands with a Fist is increasingly attracted to John.

*****Where to start*****

Writers often don't know where to start. It's easy. It's called a Fade In and it's another word for context. Start with the context. In Straw Dogs (1971), we open with shots of a tiny village in England. In Brokeback Mountain (2005), the first scene sets the context - Ennis is a cowboy in cowboy country.

*****Resisting Engagement*****

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. An element is resisting the Engagement. In Straw Dogs (1971), David tells Cawsey and Charlie to get out of the house and locks the door.

*****Elixir*****

The Elixir is now developed or further made explicit (post Trial 3 and the conquest of the Outer Challenge). The Hero (as well as the audience) are reminded of the rewards of completing the Journey: In Transamerica (2005), Bree and Toby arrive at the Gender Pride party in Dallas.

Threshold Guardian. As normal, the Threshold Guardian must be passed. In Transamerica (2005), Marianne welcomes them to the Gender Pride party.

World of Elixir. In Transamerica (2005), we meet the characters at the Gender Pride party. In Matrix (1999), we meet the other gifted children.