188+ stages of the Hero's Journey (Monomyth) you need to know about....
The Hero's Journey (also known as the Monomyth) is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. It is upon this structure that situations are superimposed. This is why stories such as Alien (1979), Gladiator (2000), Godfather (1972), American Beauty (1999), Annie Hall (1977) and many others (all deconstructed at www.clickok.co.uk/index4.html) appear to be different but are all constructed, almost sequence by sequence, in the same way.
The following blockbusters have all been structured around the Hero's Journey template: Titanic, 1997 - grossed over $600,000,000; Star Wars, 1977 - grossed over $460,000,000; Shrek 2, 2004 - grossed over $436,000,000; ET, 1982 - grossed over $434,000,000; Spiderman, 2002 - grossed over $432,000,000. So how come you don't know it inside out?
For a number of very valid reasons, if you want to write (and sell) successful stories, whether they're Hollywood blockbusters, Indie successes, novels or other story forms, you need to master the Hero's Journey in a very detailed way...
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Full details on the main web page
Hero's Journey steps include:
First Threshold
Every Hero goes to that place which he fears most.
Every Hero goes on a Journey. As is implied, the Journey is physical but also psychological: The Hero journeys from an Ordinary World to a New World and transforms from an Ordinary Self to a New Self (the physical journey induces the psychological transformation). A critical element of both journeys is the First Threshold.
Psychologically, the First Threshold is that place which the Hero fears most and from where he cannot return ("beyond here there be dragons"). This fear is exacerbated by the earlier Refusals, Interdictions and Dove and Hawk debates. In Dances with Wolves (Academy Award Winner Best Film, 1990), John Dunbar is initially afraid of the Frontier because it is unknown and afraid of the Indians who live there. In The Matrix (1999), Neo is afraid to learn the truth; once he has crossed over, he cannot return.
Physically, the First Threshold is some New Domain that is a polar opposite of the Hero's Ordinary World. It is a dangerous place, with dangerous and unfamiliar objects and inhabitants and is separated from the Ordinary World by physical barriers or markers (rivers, railroads, tunnels etc ) that the Hero must cross. In Dances with Wolves (Academy Award Winner Best Film, 1990), John Dunbar must cross the prairies to reach the Frontier; when he gets there he finds it to be the polar opposite of where he has come from - devoid of people and peaceful (he has just come from fighting in the civil war). In The Matrix (1999), Neo crosses over to find a world completely different to that from where he has just come - humans are in pods and managed by machines.
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Ultimate Boom
This is the prize that the Hero receives once Inner Challenges have been conquered, once he (or she) has broken through personal limitations. Characteristics include:
A Natural. The Hero tackles obstacles with ease, encounters no delaying obstacles and makes no mistake. The hero finds an inner resolve.
Synergy. When the hero and his allies break through the limitations of their egos, they begin to effectively work together to the same goal. In The Dirty Dozen (1967), Lee Marvin's challenge is to make his men operate as an effective unit. When Charles Bronson et al attain synergy - they overpower the Major's men in the war games sequence. The whole second act is constructed around the need to reach synergy. In Beverly Hills Cop (1984), Axel Foley, Taggart, Rosewood and Bogomil finally begin working together to tackle Victor Maitland.
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Hero's Journey examples (basic deconstructions):
[there are many more examples if you goto the main web page]
The Godfather (1972) [Hero's Journey / Monomyth basic deconstruction]
*****Call to Adventure*****
In The Godfather (1972), Sollozzo asks to meet with the Corleones to discuss funding a drug running operation. This Call to Adventure doubles up as ther Inciting Incident. Previously, the Hero's Devolved State and the other character's Ordinary Worlds and Selves are very well developed. The Rite of Passage (the Marriage) is significant as it represents a Goodbye to the Old World and a coming of the New World.
*****Refusal of the Call*****
In The Godfather (1972), Vito Corleone refuses drugs (to help Sollozzo and the other families) because he believes they will have a negative impact for him in the future. The Interdiction is encompassed in Brando's admonishment of Sonny. It is significant that the Call to Adventure and the Refusal occur in a completely different domain to the Ordinary World.
*****Supernatural Aid*****
In The Godfather (1972), Brando has his own Supernatural Aid (the dying consigliere, also signifying a Goodbye to the Old World). Michael has (arguably) two Supernatural Aids: Kay leads him to the good side and Vito pulls him towards the dark (“what miracles you perform for strangers”).
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*****Crossing the First Threshold*****
In The Godfather (1972), Vito gets shot. This is the pull that draws Michael in who, for the first time, sits in on the meeting between Tessio and Sonny and actively takes part in the family decision-making process. The Minor Threshold Guardians are the guards and the Major Threshold Guardian is Sollozzo.
*****Belly of the Whale*****
In The Godfather (1972), Michael kills Sollozzo and Captain McCluskey. This is post the First Threshold Inner Cave, where the Transmogrification begins - his face is deformed by captain McCluskey.
*****Transformation (Road of Trials)*****
In The Godfather (1972), Michael's Old Self slowly dissolves away. From someone who eschewed the traditional (Sicilian) path, he readily accepts it by marrying Appollonia.
*****Seizing the Sword*****
In The Godfather (1972), Michael marries Appollonia (Mystical Marriage, Bride Theft). The Expansion of Consciousness is demonstrated by New Knowledge (Appollonia learns to speak English and drive). Also, the Joy of Infancy Regained - they are like little kids.
*****Rebirth through Death*****
In The Godfather (1972), Sonny's death leads to a Rebirth. Vito calls peace after waking up and hearing Tom tell of Sonny's death. Michael returns after Appollonia's and Sonny;s death.
*****Atonement with the Father*****
In The Godfather (1972), Vito calls peace and meets with the heads of all the families.
*****Apotheosis*****
In The Godfather (1972), Vito realises that it was Barzini all along.
*****Ultimate Boon*****
In The Godfather (1972), the war grinds to a grudging halt and Michael is able to return from Sicily.
*****Refusal of the Return*****
In The Godfather (1972), Clemenza and Tessio are refused permission to push back Barzini; Vito cannot break the peace. They do not understand Michael's strategy and are not confident of his leadership.
*****Magic Flight*****
In The Godfather (1972), Michael arranges to move to Vegas.
*****Rescue from Without*****
In The Godfather (1972), Vito dies. Now Michael is free to break the peace - "you gave your word pop, I didn't give mine..."
*****Crossing the Return Threshold*****
In The Godfather (1972), Tessio pulls Michael back to the Greater Antagonism (to settle all family business).
*****Master of the Two Worlds*****
In The Godfather (1972), Michael is both good and evil: he “settles all business” while accepting that he will be Godfather to Connie's baby; the baptism in the church; Carlo is taken care off / Sonny is revenged.
*****Freedom to Live*****
In The Godfather (1972), Michael is accepted as the legitimate Godfather by Tessio et al. But the price for all antiheroes is high: he lies to Kay and alienates Connie.
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Basic Instinct (1992) [Hero's Journey / Monomyth basic deconstruction]
Fade in / Antagonism: the murder.
Meeting the Hero and Loyal Ally: Nick arrives with Gus.
New World: walking through the gates.
Hero's Status: Nick tells Gus who the victim was.
Ordinary World: figuring out the crime scene.
Antagonism / True Nature: Nick argues with the Captain et al.
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Physical Barrier: Catherine's front door.
New World: Catherine's house.
Threshold Guardian: Roxy walks down the stairs.
Journey: in the car to the beach house.
Antagonist's World / Outer Cave: walking to the beach house.
Meeting the Antagonism / Outer Cave Trials: meeting and asking Catherine questions; get the fuck out of here, please.
Journey to Middle Cave: driving back to the station.
Romantic Challenge / Backstory: Nick meets Beth in her office.
Leaving behind the Old World: I still miss you Nick; closing the door.
Allies and Enemies: going over the case in the office.
Antagonism's backstory: they discuss Catherine; whoever the murder is, s/he's dangerous and ill.
Resisting the Inner Cave: if we call her in for questioning she'll sue us.
Hero / Antagonism affinity: Nick knows that Catherine won't hide behind a lawyer.
Inner Cave: Nick visits Catherine at home and asks her to come downtown; playing with Nick in the car; the next book is about a detective who falls for the wrong woman – she kills him.
Belly of the Whale: Catherine in interrogation; the leg crossover scene.
Catherine takes the lie detector test.
Catherine and Nick in the car; “see, we're both innocent, Nick.”; you know I don't wear any underwear don't you Nick.
Road of Trials 1:
Outer Cave: Nick back in the bar; I haven't had a drink in three months; Nick thinks she's guilty, she took the lie detector test because she knew she'd pass; Nick and Beth argue with Marty.
Middle Cave: Nick plays it rough with Beth in the apartment; Beth met Catherine in Berkeley; you've never been like that before, why?
Inner Cave: Nick needs a cigarette; Beth leaves.
Push to Trial 2: Nick, you see where she leads.
Road of Trials 2:
Outer Cave: Nick follows Catherine but can't keep up; Middle Cave: Nick watches Catherine in the house; Catherine gets away from Nick; Nick watches Catherine undress in the window.
Middle Cave: Nick researches Hazel Dobkins; Gus knows who she is.
Inner Cave: Nick visits Catherine; she is using him in her book; she knows he's off the drink; he sees her use the ice pick; Catherine asks Nick what it's like to kill someone; he wants to know who Goldstein was; she knows all about Nick's homicides and homicidal impulses.
Road of Trials 3:
Outer Cave: Nick asks Beth who has access to his file; Nick fights with Nelson; Gus follows Nick to the car; she's coming after him; what has he got; he doesn't know; there's something.
Middle Cave: Bath turns up at Nick's apartment; he tells her to leave; Nelson is dead.
Inner Cave: Nick is interrogated.
Old Self Dissolved: Nick is suspended off the Force.
Nick thanks Beth.
Meeting the Oracle: Nick asks his colleague what they have on the parent's murder.
Catherine meets Nick at the door.
World of the Sword: Nick's apartment.
Dragon Battle: breaking ice in his apartment.
Seizing the Sword: Catherine gives Nick the book.
Expansion of Consciousness: she did it to see if she could get away with it; she knows he was following her.
Gus arrives with pizza.
World of the Sword: The club.
Threshold Guardian: Roxy with Catherine.
Dragon Battle: coming onto Catherine in the club.
Seizing the Sword: sex with Catherine.
Expansion of Consciousness: she likes me to watch.
Magical World: Mystical fire, the walk by the coastline
Joy of Infancy Regained: I'm in love with you already, but I'll nail you anyway. With Gus in the bar;
Foreshadow of the Final Conflict: they found a safety deposit box.
Night Sea Journey: The car runs over Nick; Nick chases the car.
Near Death Experience: Nick discovers it's Roxy.
Push to the Atonement: the Lieutenant has a go at Nick, tells him to see IA.
Atonement: Nick is interviewed by Internal Affairs; Nick argues with Beth; Nick finds Catherine crying over Roxy.
Apotheosis: Nick thinks that maybe Roxy is the murderer; she tells of a Lisa Hoberman.
Ultimate Boon: Nick sees the pictures; Nick isn't sure that Catherine did it anymore. Nick goes to Berkeley; there is no Lisa Oberman. Nick finds Catherine with Hazel. Lisa Hoberman is Beth.
Refusal / Denial:
Nick confronts Beth, slept with Catherine. Now he doesn't know who's lying.
Nick goes home; Catherine is waiting for him; she tells him about the filing in Berkeley.
Nick traces the report that Catherine filed; but it was taken by Nielson.
Nick confronts Gus, he thinks Beth is the murderer.
Catherine is waiting for Nick in his flat; sex; somebody has to die because somebody always does.
Nick hunts for Dr Garner. He was shot about five years ago. Nick asks the officer.
Nick finds the Shooter cover in her house; the book is finished; Catherine doesn't want to see Nick anymore; Hazel is in the house too.
Crossing the Return threshold: Gus picks up Nick; he's found someone who knows all about Catherine and Hoberman.
Gus goes into the building and into the lift.
Nick realises Gus is in danger and runs after him.
Battle 1: Gus is murdered.
Nick finds Gus.
Nick finds Beth.
Battle 2: Nick shoots Beth.
Catharsis: They find a blonde wig and a coat and an icepick. And the murder weapon in her apartment.
Catharsis: The Captain congratulates Nick.
Catharsis: Catherine meets Nick back at his place; she doesn't want to lose him.
Catharsis: Both in bed. Catherine doesn't kill him. But she had an ice pick under the bed.
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Little Miss Sunshine (2006) [Hero's Journey / Monomyth basic deconstruction]
Fade in: (Heroes and Allies' Challenges)
Olive watches the beauty contest on TV.
Richard makes his Refuse to Lose speech (to no audience).
Dwayne works out.
Grandpa does coke.
Sheryl on the phone and stressed out.
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Frank at the hospital post suicide.
Journey: Sheryl and Frank in the car.
Ordinary World: Sheryl brings Frank home.
New World:
Frank arrives at Sheryl's house.Richard arrives home.
Dwayne has to give up his room.
Heroes and Allies' relationships (each concerned about own challenge):
Sheryl asks if Olive is OK; dinner ready.
Richard arrives and enquires about his book.
Dwayne chooses not to talk; because of Nietzsche.
Frank and Dwayne talk.
All sit at the table.
Push out of the Ordinary World: can we have something to eat besides chicken.
Conflict: Sheryl and Richard argue about talking about the suicide over the table; Frank did it because he was unhappy; Frank is gay.
Foreshadow of the Journey: Olive wants to go to the beauty contest.
Push to the Call (Herald): there is a telephone message.
Call to Adventure: Olive has a place in the contest.
Refusal: this Sunday! Richard doesn't want to go; Dwayne resists.
Overcoming Refusal: Richard agrees to drive the bus; Sheryl will give Dwayne permission for flight school.
Conscious Decision: are you going to win! Yes!
Journey out of the Ordinary World: all on the bus.
Supernatural Aid: grandma gives advice: fuck a lot of women Dwayne; fuck lot of women kid.
New World / New Creatures: in the restaurant; the waitress takes the order.
Inner Challenge / Warning: Richard tells Olive about the dangers of ice-cream.
Overcoming Warning: Olive eats the ice-cream.
Threshold Guardian: the bus breaks down; the mechanic tells them it'll take until Thursday; you can go if you start on a hill.
Push to New World: running to catch up to the bus.
Physical Marker: the freeway sign.
Outer Cave Threshold: addressing all challenges; Sheryl begins to smile at Richard's story; Richard gets a call; Richard feels sorry for Frank; Dwayne works out; Olive practices.
Push to the Outer Cave: Grandpa tells Frank to get a fag rag.
Authoritarian Figure: the shopkeeper.
Outer Cave: Frank meets his lover; Richard didn't get the deal and argues with Sheryl.
Resisting the Middle Cave: where's Olive?
Allies and Enemies: grandpa is proud of Richard.
Border of Inner Cave: arriving at the motel.
Foreshadow of the Belly of the Whale: I'll knock on your door at 7 in the morning.
Inner Cave:
Richard and Sheryl talk in the bedroom.
Dwayne happy that his parents are arguing.
Grandpa teaches Olive to growl; Olive is scared; Grandpa encourages; Olive, you are the most beautiful girl in the whole world because you're beautiful inside out; Olive doesn't want to be a loser because Daddy hates losers; a real loser is someone who is so afraid of trying, they don't even try.
Push to the Belly of the Whale: Richard wants to fix this.
Resisting the Belly of the Whale: the bus doesn't start.
Dark Journey to the Belly of the Whale: driving to the hotel.
Leaving behind the Old Self: Richard can't find Stan in the hotel lobby; he swears; no more bullshit.
Belly of the Whale: Stan tells Richard that no-one's heard of him; nobody cares.
Push to the Road of Trials and Transformation: Stan tells Richard to move on; Richard fires Stan.
Road of Trials 1 (leaving behind the Old World and Self); Grandpa won't wake up.
Outer Cave: in the hospital waiting room; Grandpa is dead.
Middle Cave: Linda arrives; the forms they need to fill out.
Journey to Inner Cave: can we see the body.
Resisting the Inner Cave: Sheryl objects to stealing the body.
Inner Cave: stealing the body.
Road of Trials 2:
Outer Cave: Olive asks what's going to happen to Grandpa; do you think there's a heaven? Do you think I'll get in?
To Middle Cave: Richard gets cut off.
Middle Cave: the cop pulls them over; searches the bus; the cop doesn't find the body but the porn.
Inner Cave: Dwayne finds out he is colour blind.
Road of Trials 3 (Old Self dissolves away):
Outer Cave: Dwayne wants out of the bus; Dwayne hates his family; divorce, bankrupt, suicide.
Middle Cave: Olive persuades Dwayne to come.
Inner Cave: Dwayne talks (apologises).
Journey to the Sword: driving to the hotel; finding the turn off; finding Redondo Suites.
Obstacles: Missing the hotel.
Physical marker: busting through the barrier.
Misdirection: Passing the entrance; turning around and parking; running into the hotel.
Dragon Battle: the woman won't allow them to register.
Dragon Conquest: Richard begs; Kirby puts them in the system.
Seizing the Sword: Olive sees Miss California.; getting Miss California's autograph; she eats ice-cream.
Night Sea Journey: into the dressing rooms.
Near Death Experience: Richard takes care of grandpa's body.
Atonement: the twelve contestants in the Little Miss Sunshine contest; Olive isn't the prettiest.
Apotheosis: Olive becomes conscious of her figure; Richard is ignored.
Ultimate Boon: Dwayne and Frank come to a conclusion.
Refusing the Return: don't want to go back.
Return: we better go back.
Crossing the Return Threshold: the girls performance.
Doubt: Olive doesn't look too hot in her suit.
Encouragement: you're going to do great.
Richard and Dwayne don't want Olive to do this; everyone is going to laugh at her Mum; she is not a beauty queen.
Got to let Olive be Olive.
Sheryl gives Olive the choice to bail out.
Olive decides to do it.
Walking to the stage.
Olive dedicates the performance to grandpa.
Catharsis 1: Olive does MC Hammer.
The family supports her.
The Pageant official confronts Richard.
The Pageant official tells the MC to get Olive off stage.
Battle 1: Richard battles the MC.
Catharses 2: Richard starts dancing with Olive.
Frank starts dancing too. So does Dwayne. So does Sheryl.
Catharses 3: The angry dad supports them.
Let out of the police station.
All getting in the VW smoothly.
Busting past the Pageant Official.
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Dirty Dancing (1987) [Hero's Journey / Monomyth basic deconstruction]
Ordinary World: driving in the car; Baby reading; innocent.
Journey: in the car.
New World: Kellermans.
New Creatures: the new kids arriving.
Old Mentor: if it were not for this man.
Foreshadow: looking at the boy.
Devolved State: dancing clumsily.
Journey / out of Ordinary World / into New World: going to main house to look around.
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Rules: Max tells the waiters to keep the girls happy.
Meeting the Romantic Challenge: Johnny walks in.
Interdictor: Max warns Neil.
Outer Cave: dinner table; meeting Bobby and Neil.
Middle Cave: dancing with Neil.
Inner Cave: seeing Neil and Penny dance the Mambo.
Interdictor: Max tells Neil and penny to cut it.
Baby is the magician's prop.
Threshold Guardian: the guy with the watermelons.
Physical Marker: the bridge.
Crossing the First Threshold: through the doors.
New World: the dancers and the dancing.
New Creatures: everyone dancing.
Fish out of Water: wanna try; no.
Guardian introduces Supernatural Aid: Cuz introduces Johnny.
Magical Gift: Johnny begins to teach Baby to dance.
Middle Cave: on the beach; Max and Pop playing cards; Bobby hits on Baby's sister; Baby talks to Penny etc. Johnny teaches the dancers.
Neil takes Baby aside, alone, outside.
Journey to Inner Cave: Neil takes Baby to the kitchen.
Inner Cave: finding Penny in the kitchen; she's knocked up; right away you think it's mine; Johnny rescues her; Penny tells that she got knocked up by Robbie the creek; go back to your playpen Baby.
Belly of the Whale: Baby threatens to have Bobby fired; I can't tell you this, Daddy.
New Self: new clothes / new self as Baby enters the den.
Resisting the Physical Separation: Penny refuses the money.
Physical Separation: Can't somebody else fill in; baby can learn to dance.
Fish out of Water: Johnny begins to teach Baby to dance.
Road of Trials 1 / Evolving:
Outer Cave: Baby improves. The steps aren't enough, feel the music.
Middle Cave: Now with the music and Penny.
Journey to Inner Cave: Lets get out of here.
Obstacles: Breaking into the car; under the bridge; you're wild.
Inner Cave: balancing and dancing on the log; in the field and in the water.
Guardian: helping Mrs Schumacher.
New Self / New Clothes: baby puts on the dress.
Outer Cave Battle: Penny makes friends with baby.
Middle Cave: filling in for Penny.
Foreshadow: Mrs Schumacher turns up.
Push to Inner Cave: Penny is in danger.
Inner Cave: Baby gets her father.
Interdiction to Trial 3: Pop doesn't want baby to have anything to do with them again.
Trial 3 Outer Cave: Baby beds Johnny.
Middle / Cave: we're leaving tomorrow; why leave; we're paid up until Sunday ; Baby visits Penny; runs into Johnny.
Inner Cave: Penny tells Johnny to stop it; Johnny tells Baby he's got to go; Inner Cave.
Journey to Sword: Baby goes to Johnny in the rain
Sword: New Name: Francis; it's a grown up name.
Push to New Self: Sister has decided to go all the way with Robbie.
Johnny and Baby dancing; he tries to touch her.
Neil turns up; he's got a big idea.
Baby asks why Johnny lets Neil talk to him like that; what, argue with the boss man; fight harder huh; I don't believe you baby.
Near Death Experience: Johnny beats up Bobby.
Losing the Old Self: Johnny gives the money back.
Enlightenment: Sis walks in on Robbie.
Foreshadow to Atonement: the old lady sees Baby with Johnny.
Atonement: Mo's wife sets up Johnny; Daddy can't trust Baby anymore; Baby tells Max and Pop that she was with Johnny all night.
Apotheosis: Baby apologises to Daddy. But you let me down too, Daddy.
Ultimate Boon: they caught the Schumachers.
Denial / Refusal: Johnny still gets fired; Pop doesn't listen to Johnnie.
Magic Flight: Johnnie leaves.
New Self: Sis makes up with Baby.
Foreshadow of Final Conflict: Neil sings.
Pop gives Robbie a tip; finds out he knocked up Penny; takes his tip back.
Goodbye to the Old World: 22 countries in 3 days.
Crossing the Return Threshold: Johnny returns.
Johnny takes Baby from her father. Mom stops Pop.
Catharsis 1: Johnny makes an announcement.
Catharsis 2: Johnny and Baby dance.
Evolution: Baby dances perfectly.
Catharsis 3: Baby does the lift.
Master of Two Worlds: everyone dances.
Freedom to Live: Pop apologise. When I'm wrong I say I'm wrong.
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Se7en (1995) [Hero's Journey / Monomyth basic deconstruction]
Meeting the Hero / Inner Challenge / Ordinary World: Somerset lives alone; getting dressed at home, alone.
Professional World: the domestic; crime solving.
Hero's Status: we'll be glad when you're gone.
Loyal Ally: Mills.
New World: Mills has just been reassigned.
Hero and Loyal Ally status: Somerset is the boss.
Time Pressure: the pendulum thing.
Context: the pictures over the credits.
Loyal Ally's Ordinary World / Romantic Challenge: Mills in bed with Tracy.
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Leaving the Old World: I thought we moved here to get away from phones.
Dark Foreshadow: the rain.
Herald: the policeman shows them the crime scene.
New World / Antagonism: the first murder; gluttony.
Devolved State: could you please be quiet.
Keenness to Evolve: you've seen my file, right. No.
Call to Adventure: in the coroner's office; we have ourselves a homicide.
Refusal: Captain refuses to take it seriously; this can't be my last duty, it's just going to go on and on; this should not be Mill's first assignment.
Overcoming Refusal: Captain gives the case to Somerset.
Physical Marker: Mills walking through the doors.
Foreshadow: the attorney was found murdered. The sign was greed.
Leaving the Old World: Somerset's name is taken off the door.
Supernatural Aid: Captain tells Somerset he can't leave all this.
Magical Gift: Captain leaves the little bottle.
Push to the First Threshold: Somerset goes back to the apartment and finds the gluttony sign.
Outer Cave: Somerset tells the Captain and Mills that this is beginning; there are seven deadly sins.
Refusal: Somerset can't get involved in this.
Middle cave: Somerset goes to the library; Mills looks over the photographs.
Foreshadow: the decapitated head.
Mills gets in his car.
Mills takes Somerset's desk.
Tracy invites Somerset to dinner.
Inner Cave: dinner with Tracy and Mills in the house.
Physical Separation: Somerset and Mills laugh; discuss the case; Somerset realises that he's preaching.
Refusing the Road of Trials: I'm still leaving.
Road of Trials 1:
Outer Cave: What if she's supposed to see something; going to the wife; Opening the picture; Somerset finds the prints.
Middle Cave: The lab finds the sign; help me; Mills and Somerset talk in the corridor and fall asleep; the Captain prepares the men.
Journey to Inner Cave: I've never taken a bullet; shot it once; dies right there; “Christ what was his fucking name.”
Inner Cave: busting into the apartment and finding the dead man on the bed; Sloth.
Foreshadow: The photographer takes Mill's picture.
Antagonism: the doctor diagnoses the sloth victim.
Push to Road of Trials 2: Tracy calls Somerset.
Outer Cave: Somerset meets Tracy in the café; she's going to have a baby; she's thinking about aborting.
Middle Cave: the seven sins on the blackboard; analysing in the office; to the library; in the café; Somerset tells Mills that the FBI monitors the library system.
Inner Cave: knocking on John Doe's door; getting shot at; chasing John Doe; John Doe lets Mills live.
Evolution: Mills pays off a crack whore to cover the illegal entry.
Road of Trials 3: Inside John Doe's apartment; the diary; finding the photos.
Antagonism: the phone rings and John Doe speaks.
Meeting the Oracle: the photographer studio.
World of the Sword: down into the red light district. The dead pro. Lust.
Dragon Battle: the owner.
Seizing the Sword: I fucked her with the dildo.
Expansion of Consciousness: Mills cannot agree with Somerset.
Reward: Mills gets on the bed with Tracy.
Change of attitude: Somerset throws the pundulum clock away; starts throwing the knife.
Near Death Experience: the pride murder.
Rebirth: Somerset has decided to stay on.
Atonement with the Father: John Doe gives himself up; he cuts the skin off his fingers etc.
Apotheosis: the lawyer speaks; he will show the two bodies.
Ultimate Boon: John Doe leads the way.
Magic Flight: the helicopter; the conversation in the back of the car; the glaring contradiction conversation.
Refusal: you are here because I want you to be here.
Dangerous Place: near the high tension towers.
Time Pressure: it's close.
Crossing the Return Threshold: getting out of the car; lets go take a look.
Engagement: Somerset intercepts the van coming down the road.
Catharsis 1: Package for David Mills.
Catharsis 2: Somerset opens the package and runs to save Mills.
Catharsis 3: John Doe tells Mills what's in the box.
Catharsis 4: Mills kills John Doe.
Freedom to Live: where will you be – around; the world is a fine place and worth fighting for.
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Hero's Journey (Monomyth): 188 Stage Sample
Criticisms of the Hero's Journey, story structure and creative writing techniques etc.
The following article addresses some of the common criticisms thrown at the Hero's Journey and story structures and creative writing etc... in general. If you have any, and want them addressed in this article, please feel free to email kal@clickok.co.uk.
Criticism 1: It's formula.
The Hero's Journey is not a formula, it is a structure that guides the process of transformation, attachment or detachment, liberation etc. It is a pattern that reveals the process of unfolding a story, something that 99.9% writers do not know how to do. It shows you how to turn an idea into a story. It shows you how to appeal to an audience, which have subconscious expectations. It is the road map that the novice writer is unconsciously trying to find.
This criticism is a catch-all for any creative structure. It betrays a lack of understanding of story, creativity itself and the value of structure. The root of this argument is the absolute free-reign versus structure debate. Proponents of this criticism believe that structure inhibits creativity; they have not grasped how structure, up to a critical threshold, fosters creativity.They have not learnt to control structure and use it to maximize the idea-pool. Proponents of this criticism are blinded by creativity misconceptions and creativity myths and would be wise to learn about Managing Creativity, something that is taken seriously by Harvard and the Ivy league et al. We discuss this a little further in the free sample.
Criticism 2: It discourages originality.
The word "originality" is itself inappropriate. It implies a complete break with the past, which is never the case (it only seems so). Most of which seems original is a cumulative and incremental evolution of that which has been before. And it often only seems original to those with an untrained eye. Many creators are experts in the illusion of originality.
The Hero's Journey does not discourage originality. All the greatest stories (past and present) use it as a core pattern and those stories can hardly be described as unoriginal. At the time of writing, the top movies are "No Country for Old Men (2007)" and "There will be Blood (2007)" both of which were Oscar contenders and both of which follow the Hero's Journey pattern intricately and both of which can hardly be described as unoriginal. We discuss this a little further in the free sample.
Criticism 3: Why is one hero so special anyway?
The Hero is not necessarily a single individual. The Hero is representative of The Process and The Changing and many individuals or groups go through the process. For example, in The Incredibles (2004), the whole family goes through the process. In Little Miss Sunshine (2006), the whole family goes through the process. A pair is also common: Thelma and Louise (1991), When Harry met Sally (1989). Read Who or What is the Hero.
Criticism 4: The Hero is always a dude.
The Hero is not always a dude. There are many successful stories where the Hero is female: Million Dollar Baby (Academy Award Winner Best Film, 2004), Out of Africa (Academy Award Winner Best Film, 1985), Silence of the Lambs (Academy Award Winner Best Film, 1991). Read The Heroine's Journey.
Criticism 5: It's cheesy as hell.
It's not cheesy. All of the greatest stories (past and present) are based on it and these are not cheesy. It's only cheesy if you tell the story wrong and this is often the result of a LACK of understanding of the Hero's Journey. We discuss this a little further in the free sample.
Criticism 6: Alot of myths are shoehorned into the Hero's Journey.
So what? The myths are all examples to illustrate certain points, metaphors, symbolisms etc. Even with all these examples most people don't REALLY understand The Hero's Journey. In the Complete Hero's Journey...more than 188 stages of the journey you need to know about..., we use hundreds of examples from modern film and we are constantly being asked for more.
Criticism 7: It confuses personal growth with solving problems.
This criticism is itself a confusion.
Smaller problems may not require personal growth. Some larger problems do require it.
Personal growth is a transformation and the Hero's Journey is a process of transformation, hence you can link the Hero's Journey to personal growth.
Criticism 8: The Hero's Journey / Monomyth is a Hollywood construct.
It is not a Hollywood construct and applies to the greatest written stories too (past and present). If you analyse successful stories before the age of cinema, you will find that they all follow the Hero's Journey pattern intricately.See Screenplays versus novels.
In conclusion:
a) None of the criticisms we have ever come across are valid and demonstrate a frightening lack of understanding. Almost without exception, criticisms are made by individuals with a very poor understanding of screenwriting, storytelling, transformation, the Hero's Journey, creativity and creative writing.
b) THE SINGLE MOST IMPORTANT THING YOU CAN DO TO IMPROVE YOUR WRITING (make it effective, sellable, readable, watchable etc) is to gain a TRULY deep understanding of the Hero's Journey. Buy the Complete Hero's Journey...more than 188 stages of the journey you need to know about...
Buy the Complete Hero's Journey...more than 188 stages of the journey you need to know about...
Download latest, free sample file (zipped Adobe PDF file)
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