hey most often exist to fulfil specific story functions, especially help the Hero through his (or her) Transformation.

Once you have figured out what your Hero's Transformation will be, then you can decide which secondary character Archetypes will be most useful. The subplot evolves from thereon: you give the secondary characters their

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).

.....further details at www.clickok.co.uk

ABRIDGED TIPS AND EXAMPLES:

*****Secondary characters are functional*****

Secondary characters are functional, that is, they most often exist to fulfil specific story functions, especially help the Hero through his (or her) Transformation.

Once you have figured out what your Hero's Transformation will be, then you can decide which secondary character Archetypes will be most useful. The subplot evolves from thereon: you give the secondary characters their

tory 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).

.....further details at www.clickok.co.uk

ABRIDGED TIPS AND EXAMPLES:

*****Secondary characters are functional*****

Secondary characters are functional, that is, they most often exist to fulfil specific story functions, especially help the Hero through his (or her) Transformation.

Once you have figured out what your Hero's Transformation will be, then you can decide which secondary character Archetypes will be most useful. The subplot evolves from thereon: you give the secondary characters their

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).

.....further details at www.clickok.co.uk

ABRIDGED TIPS AND EXAMPLES:

*****Secondary characters are functional*****

Secondary characters are functional, that is, they most often exist to fulfil specific story functions, especially help the Hero through his (or her) Transformation.

Once you have figured out what your Hero's Transformation will be, then you can decide which secondary character Archetypes will be most useful. The subplot evolves from thereon: you give the secondary characters their

so on.

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharses, of which there are usually four).

.....further details at www.clickok.co.uk

ABRIDGED TIPS AND EXAMPLES:

*****Secondary characters are functional*****

Secondary characters are functional, that is, they most often exist to fulfil specific story functions, especially help the Hero through his (or her) Transformation.

Once you have figured out what your Hero's Transformation will be, then you can decide which secondary character Archetypes will be most useful. The subplot evolves from thereon: you give the secondary characters their

hey most often exist to fulfil specific story functions, especially help the Hero through his (or her) Transformation.

Once you have figured out what your Hero's Transformation will be, then you can decide which secondary character Archetypes will be most useful. The subplot evolves from thereon: you give the secondary characters their own challenges to resolve.