Hero's Journey (Monomyth): The Impossible Task, an element of all successful stories and screenplays

One element of the most successful stories and screenplays is that the task / transformation is or seems to be impossible (and this is made explicit in a specific sequence). In fact, it may seem downright suicidal. This is one of the elements of a Hero - an Ordinary person could not succeed.

The "Impossibleilty Sequence" may or may not be part of the "Devolved State" state sequence - where it is demonstrated how far the Hero has to go / how much a Hero is a Fish out fo Water.

This is seen in some of the most successful stories of our time:

In Dances with Wolves (1990), John is told that going to the frontier is madness; the Indians are dangerous.

In Never Ending Story (1984), Bastian doesn�t believe the book is special and can open a door to a new world.

In The Godfather (1972), that Michael could become DOn was unlikely.

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Hero's Journey (Monomyth): Narrative Structure

It doesn't matter which way you look at it or deconstruct it, a story is about Transformation.

Narrative structure theories attempt to provide a pattern for dramatic effect but many fall over because they do not address what a story is: a transformation.

It is a bit like having to explain plots. There are a number of plots but all can be reduced to the Hero's Transformation.

And so it is with narrative structure theories. They can all be reduced to Transformation.

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Hero's Transformation, more so than a Journey

It's not the Hero's Journey so much as the Hero's Transformation.

The physical journey stimulates a psychological change that is reflected in the Hero's behaviour, attitudes, beliefs and clothing.

For example, in Annie Hall (1977), The Godfather (1972) and Star Wars (1977), the Heroes are dressed differently, think differently and have different attitudes at the start and at the end.

A story IS the process of guiding them through one state to another.

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Hero's Journey (Monomyth): Magical Appearance of the Supernatural Aid / Mentor

One aspect of the Hero's Journey often unnoticed is the magical appearance of the Supernatural Aid. In classic stories, s/he appears in a puff of smoke, but modern stories do away with that and have the Supernatural Aid simply appear. This fits with another element of the Supernatural Aid's role - the watcher. It is not unusual for the Supernatural Aid to have noticed and been watching the Hero for some time and often from afar.

In The Big Lebowski (1998), The Stranger seems to magically appear and disappear.

In Star Wars (1977), Obi Wan appears to save Luke's life.

In Gladiator (2000), Marcus Aurelius watches Maximus from a hilltop.

In Dances with Wolves (1990), the General watches John from a hilltop and notices he is a "man who is worth something."

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Hero's Journey (Monomyth): Seizing the Sword

It is not unusual, before the Seizing of the Sword, for the hero to be separated from some or all allies or enemies. For example:

In Star Wars (1977), Luke et al leave C3PO and R2D2 behind.

In Dances with Wolves (1990), Kicking Bird and Wind in his Hair go off to fight the Pawnee.

In Goodfellas (1990), Henry is separated from Karen upon entering prison.

In Carlito�s Way (1993), Gail distances herself from Carlito when he agrees to help break Tony T out of prison.

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Hero's Journey (Monomyth): Belly of the Whale

What is the Belly of the Whale?

The Hero's Journey (Monomyth) must be analysed on at least two levels, the physical and the psychological - the physical journey stimulates a psychological Trasnformation.

From this perspective, the Belly of the Whale is a number of things:

Physically this place is often dark and contained - representative of the constraints the Hero is under; s/he has not yet undergone the Transformation. For example, in the Godfather (1972), Michael Corleone must face Sollozo and Capt. Mcluskey in the confines of the restaurant.

Psychologically, this is the place where the Hero confronts what he must face / what he must become / what he must do. It is intertwined with one or more of every good Hero's Four Core Challenges. For example, in the Godfather (1972), Michael Corleone must shoot Sollozo and Capt. Mcluskey in the restaurant (and begin the journey toward his Transformation - a mafioso and recognised member of The Family).

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Hero's Journey (Monomyth): Rebirth post a Near Death Experience

Rebirth post a Near Death Death Experience

One critical stage of the Hero's Journey (Monomyth) is the rebirth - which ALWAYS occurs post a near death experience. This can be seen in all of the successful stories of our time. For example:

In An Officer and a Gentleman (1982), Zack Maya is beaten to near death by Sgt. Foley � this happens in the martial arts gym, which is representative of Zacks old world � and it happens after his argument with Paula.

In Al Pacino Scarface (1983), Elvira tempts Tony down this path with the words �I don�t sleep with the help.� This encourages Tony to claim the throne.

In Unforgiven (1992), the Sheriff beats Clint Eastwood to a pulp � in the bar that is, in effect �his territory.�

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Hero's Journey (Monomyth): Hero's are often pushed into a Transformation

The Trials and Transformation are not easily confronted. Why? Because change is involved and significant change is never easy. When the Hero completes the Trials, s/he will be closer to the New Self. Often, the Hero needs to be pulled / pushed forward.

In Dances with Wolves (1990), the Indians meet and decide to engage with John.

In The Matrix (1999), Morpheus tells Neo that he must begin training.

In Scarface (1983), Frank and Elvira lead Tony to the nightclub.

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Hero's Journey (Monomyth): Supernatural Aid disappears

One function of the Supernatural Aid is to guide the Hero to a certain place (physical) and a certain state (psychological). Once s/he has completed this task, s/he often disappears.

In A Fistful of Dynamite (1971), John dies at the end of the movie.

In Raging Bull (1980), Vickie leaves.

In Midnight Cowboy (1969), Ratso dies.

In Silence of the Lambs (1991), Lecter makes a final phone call to Clarice.

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Hero's Journey (Monomyth): the Inner Challenge

Hero�s Inner Challenge (only one of the Four Core Challenges) must often be overcome by the Atonement and Apotheosis stages.

In Raiders of the Lost Ark (1981), we learn that Indiana is afraid of snakes.

In The Truman Show (1998), we quickly learn that Truman is afraid of water. Later he has to directly confront that fear (atonement with the father) before he can attain apotheosis.

In Dances with Wolves (1990), John Dunbar must learn that all Indians are not �thieves and beggars.�

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Hero's Journey (Monomyth): Annie Hall, Walk the Line

It is not unusual for the Transformation Mentor to perform a dual role. It is not unusual for the Romantic Challenge to play the role of Transformation Mentor. In stories such as these, the male and female romantic leads are responsible for each other's Transformation.

In Walk the Line (2005), June Carter Cash is both the Transformation Mentor and Romantic Challenge.

In Annie Hall (1977), Alvie and Annie both push each other.

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Hero's Journey (Monomyth): Transformation Mentor

Before the Trials and Transformation, it is not uncommon to meet a Transformation Mentor. This person may be separate and distinct from the Supernatural Aid - each is respresentative of distinct stages of the Transformation.

In Gladiator (2000), Proximo sees to it that Maximus becomes a Gladiator.

In Memoirs of a Geisha (2005), Mamaha is responsible for Sayuri's transformation into Geisha.

In King Kong (2005), it is King Kong that causes the transformation.

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Hero's Journey (Monomyth): convergence

Pre the Seizing of the Sword the Hero separates ideologically and physically, often from allies. Post the Seizing of the Sword (or the Rebirth through Death) those allies and that ideology converge again. This is where the Shape Shifter's True Nature becomes most apparent.

a) In Gladiator (2000), Lucilla comes back to Maximus.

b) In Star Wars (1977), Han thinks about "leaving this party."

c) In The Departed (2006), Dignam leaves.

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Hero's Journey (Monomyth): Three or Four Acts

The Hero's Journey (Monomyth) can be mapped onto Three or Four Act structure. But excatly how this happens is variable.

a) Often a story will not proceed past Ultimate Boon. The Atonement with the Father, Apotheosis and Ultimate Boon form Act III. This is often the case when there are three, not four, Core Challenges.

b) With Four Core Challenges, the story often proceeds into the Return, thus from Refusal to Freedom to Live and Afterlife we have Four Acts.

c) Each challenge is delicately resolved in turn. In fact, each minor cave within each major cave represents one of the Challenges.

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Hero's Journey (Monomyth): Separation

Before the Hero goes in search of the Sword, it is not unusual for him or her to separate physically and ideologically from others. This feature can be seen in some of the most successful stories of our time:

a) In Raiders of the Lost Ark (1981), Indy is separated from Marion.

b) In Star Wars (1977), Luke et al are separated from Ben and the droids.

c) In Dances with Wolves (1990), John must leave Stands with a Fist and the tribe.

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Hero's Journey (Monomyth): Trials and Transformation

A story IS Transformation. ALL successful Hollywood blockbusters, Indie successes and successful screenplays have a stage where the Hero undergoes Trials, the purpose of which is to ensure Transformation from a Devolved State to an Evolved State. This is evident in some of the most successful stories of our time:

a) In The Godfather (1972), Michael transforms from not wanting to have anything to do with the Family to the leader of it.

b) In Star Wars (1977), Luke transforms from someone feaful of a minor criminal to being able to rescue Leia from the clutches of Darth Vader.

c) In Gladiator (2000), Maximus transforms into a successful gladiator with the whole of Rome behind him.

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Hero's Journey (Monomyth): Wolves Clothing

When the Hero goes in search of the Sword, it is not unusual for him or her to dress in the Wolves Clothing. That is, he or she often has to disguise himself/herself to avoid the antagonism. For example:

a) In Raiders of the Lost Ark (1981), Indy has to dress like an Egyptian to get into the Well of Souls and dig up the Ark.

b) In Harry Potter (2003), Harry wears the Invisible Cloak to find out about his father.

c) In Star Wars (1977), Luke et al dress as stormtroopers to get to Leia.

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Character Development: use the Hero's Journey archetypes

In a sense you don't have to think of characters every time you write a story. You only need to know their function. Because the same archetypes reappear again and again in every successful movie. There are no more than a handful of core archetypes and a handful or peripheral archetypes. For example:

a) In The Godfather (1972), we have the Hero (Michael), the Mentor (Don Corleone), the Shape Shifter (Tessio), the Sacrificial Lamb (Sonny), the fool (Fredo) etc.

b) In Gladiator (2000), we have the Hero (Maximus), the Herald (Marcus Aurelius), the Mentor (Proximo), the Loyal Ally (Juba) etc.

c) In Alien (1979), we have the Hero (Ripley), the Shape SHifter (Ash), the Fool (Brent), the Dove (Lambert), the Hawk (Kane) etc.

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Hero's Journey (Monomyth): Hero versus AntiHero

One critical element of the Classic Hero and AntiHero is making explicit of his or her nature. The Hero often has a good nature, good enough to forgive the antagonism (who is merely a shadow of his/her own self). On the other hand, the AntiHero often demonstrates why s/he is worth destroying. This is notable in many of the most successful stories of our time:

a) In 12 Angry Men (1957), Peter Fonda hands Lee J. CObb his coat in the penultimate scene.

b) In Lethal Weapon (1987), Riggs does not shoot Joshua. But Joshua is determined to kill Riggs.

c) In Gladiator (2000), Commodus' deception does not allow us to forgive him.

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Hero's Journey (Monomyth): measured Transformation

The critical characteristic of any story that requires measuring and monitoring is The Transformation - a story IS transformation. Often there is a physical marker that demonstrates progression:

a) In 12 Angry Men (1957), this is measured by the vote count; initially everyone is against Peter Fonda and ultimately all side with him.

b) In Gladiator (2000), Maximus is initially a Fish out of Water with the other gladiators; finally he rules them.

c) In Departed (2006), Billy crosses over to Jack Nicholson's side through engagement with the many murders.

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Hero's Journey (Monomyth): Shape Shifter

One critical element of most stories is the presence of a Shape Shifter. This is an archetype that turns from good to bad or vice versa. This is seen in many of the most successful stories of our time:

a) In The Matrix (1999), Cypher gives away Neo to Smith for the blessing of ignorance.

b) In Gladiator (2000), Lucilla switches from pro-Commodus to pro-Maximus.

c) In Departed (2006), Dignam is initially contemptuous of Billy and a good cop, only to illegally shoot COlin in the closing sequence.

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Hero's Journey (Monomyth): Fish out of Water

One critical element of any story - as all stories relate to transformation - must be the Fish out of Water stage. This is seen in many of the most successful stories of our time:

a) In The Godfather (1972), Michael is initially a Fish out of Water when he arrives in Sicily.

b) In Gladiator (2000), Maximus is initially a Fish out of Water in the gladiator training camp.

c) In Departed (2006), both Billy and Colin are initially Fishes out of Water in the police department.

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Hero's Journey (Monomyth): Fish out of Water / Hero's Abilities

The Hero (or AntiHero) is such for a number of particular reasons, which must be illustrated at specific stages of the Transformation / Journey.

Often the Hero has innate abilites that set him or her apart. These are often illustrated at the stage of the Ordinary World and Ordinary Self and Devolved State. For example, in Alien (1979), that Ripley is one of the sharpest is illustrated by her coming to the conclusion that they are in a different system before any of the others.

Further down the line, during the stages of the First Threshold and entry into the Road of Transformation / Trials, the Hero's Fish out of Water status must be established. This illustrates how far the Hero must evolve. For example, in The Godfather (1972), Michael is initially a Fish out of Water in Sicily.

Later still, the Hero must demonstartes his or her Transformation and the abilities that come with that. Again, in The Godfather (9172), Michael returns to pick up Kaye, is dressed in black and has absorbed his father's ideology enough to convince and deceive Kaye.

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Hero's Journey (Monomyth): Godfather, Gladiator, Dances with Wolves, Raging Bull, Lawrence of Arabia

There is an often looked part of any story where the Hero (et al) make a separation from their Old World and Old Selves. This is demonstrated in a number of ways.

In Lawrence of Arabia (1962), Lawrence has to go back into the desert to rescue the fallen Arab.

In Dances with Wolves (1990), John Dunbar travels to the Indian village.

In Raging Bull (1980), Jake has a baby and puts on weight.

Often the Phsyical Separation is represented by a physical change, often a wound that heals and transforms.

In Gladiator (2000), Maximus' upper arm wound heals.

In The Godfather (1972), Michael's face heals gradually through the story (he is punched by Capt. McCluskey earlier) to reveal his new self.

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Hero's Journey (MOnomyth): the dominant Story Structure

The Hero's Journey is, in effect, the dominant and most successful pattern for telling effective stories. This pattern is being developed as stories are produced but also, many stories are produced with it as a template. So what's going on? A number of factors are probably in play, including:

a) Story and screenwriters are consciously aware of the Hero's Journey and Transformation and model their work around it.

b) Story and screenwriters study other successful work that is most relevant to their own and ask the right questions: why is the hero on the bus then? Why does that person get shot at that point in the story? Why does the scenery change there? Why does the hero have new clothes at that point? Why do the heroes in five distinctly different movies get submerged underwater at that point? And so on. As a result of this process, the Hero's Journey pattern is mirrored.

c) Certain dynamic and dramatic techniques make more effective stories. These can be found time and again in screenplays, novels, short stories and so on. Again, as a result, the Hero's Journey pattern is mirrored.

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Hero's Journey (Monomyth): Gladiator, Matrix, Godfather

There is an argument that the Hero's Journey (Monomyth) is only one structural theory - there are others. This is an innane argument. The Hero's Journey (Monomyth) is the only structure that matters. You need to get past this kind of thinking.

Using the above successful stories as examples, it is obvous that they follow the same pattern.

For example, the Conscious Decision.

In The Matrix (1999), Neo has to decide between the red and blue pills.

In Gladiator (2000), the COnscious Decision is made for Maximus - his wife and child are murdered.

In the Godfather (1972), Michael makes a conscious decision to kill Sollozo and Capt. Mcluskey in the restaurant, after he learns that an attempt has been made on his father's life.

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Hero's Journey (Monomyth): Three Supernatural Aids

It is common for the Hero to have three or more Supernatural Aids or Mentors. It is possible for one Mentor to play all roles, if sh/e accompanies the Hero on his or her Journey / Transformation.

a) S/he who will push the Hero past the initial resistance and interdictions into the First Threshold and help therein.

b) The Transformation Mentor. S/he who will guide the Hero through the Road of Trials and Transformation.

c) The Oracle. S/he who will guide the Hero towards the Sword.

It is noteable that into the Crossing of the Return Threshold, all Supernatural Aids / Mentors and Magical GIfts disappears. It is the time for the Hero to prove his worthiness alone.

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Hero's Journey (Monomyth): Annie Hall, Thelma and Louise, Rocky

The Hero and his / her Romantic Challenge follows a predictive path. Initially they are polarized and as the Transformation progresses they merge.

It is important to note that, where the Hero and his / her Romantic Challenge do not come together, then the Romantic Challenge union is often represented by the meeting with another character(s).

For example:

In Annie Hall (1977), Annie drifts away from Alvie but toward Tony Lacey.

In Thelma and Louise (1991), Thelma and JD get together.

In Rocky (1976), Adrian agrees to move in with Rocky.

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Hero's Journey (Monomyth): Alien, Godfather, Star Wars

The Hero's Transformation really begins at that place called the Road of Trials / Transformation.

The Hero et al are often forced into the Road of Trials / Transformation and this portion of the Journey is known as the Physical Separation. It is often illustrated by a distinct marker.

For example:

In Alien (1979), it is the door through which Ripley will not let Ash and the others back in.

In The Godfather (1972), it is the time when Michael flees to Sicily and the papers make explicit the war between the families and the effect of having shot Captain McCluskey.

In Star Wars (1977), it is when the Millenium Falcon is forced off the planet.

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