Kal Bashir's 2100+ stage Hero's Journey And Transformation Through A New World / State: November 2006

Hero's Journey (Monomyth): NO GOING BACK

It is often made explicit, or is implicit, that the Hero has no choice but to go forward:

In Dances with Wolves (1990), once John Dunbar reaches Fort Hayes, the "foulest man he has ever met" leaves with the horse and cart. There is no way back.

In The Matrix (1999), Neo has a choice between the red and blue pills. Once the choice is made, he cannot return (later, it is made explicit that there is "no way back").

In Gladiator (2000), once Commodus has murdered Maximus' family, there is no path but forward.

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Hero's Journey (Monomyth): Trials and Transformation: like a Bull in a China shop

During the First stage of the Trials and Transformation, the hero clumsily begins the Transformation. He is like a bull in a china shop, still a fish out of water.

In Scarface (1984), Tony makes his way to the dance floor just like that � like a bull in a china shop (in contrast to the later sequence in the nightclub, where he smoothly angles his way around).

In Dances with Wolves (1990), John Dunbar doesn�t know how to smoke the pipe. He doesn�t even know their names (�he is right, introductions should come first�).

In The Matrix (1999), Neo initial battle with Morpheus is clumsy.

In Romancing the Stone (1984), Joan grabs the machete and is clumsy with it.

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

One critical element of any story - as all stories involve Transformation - must be the Fish out of Water stage (technically known as the Devolved State). This is commonly seen during two stages. First, at the First Threshold where the Hero enters a New World. Second, post the Physical Separation where the Hero begins his or her Trials and Transformation. The Fish out of Water stage 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): the Hero's Ancestry

One common characteristic of the Hero is his or her tendency to have a mysterious familial past. Specifically, there is a high tendency for him or her to be orphaned and / or in some way be dislocated from the family:

In Million Dollar Baby (Academy Award Winner Best Film, 2004), Maggie feels separate and distinct from her white trash family.

In Spiderman, 2002 (US box office $403,000,000), Peter Parker lives with his aunt and uncle.

Tony Montana's mother (Scarface, 1983) disowns him. Moses was not brought up by his real parents.

Additionally, there is a high tendency for the Hero's family or parents, if referenced, to be special in some way. Harry Potters parents were supreme wizards. Jesus is the Son of God.

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Hero's Journey (Monomyth) and Screenwriting: mirror those repeating patterns

The Hero�s Journey can be viewed as simply a study of repeating patterns in successful stories and screenplays. This is incredibly useful for writers and screenwriters - it is compelling that you have a higher probability of producing quality work when you mirror those recurring patterns.

For example, in Gladiator (2000) and Dances with Wolves (1990) � both Academy Award Winners Best Film � a Mentor or Supernatural Aid observes the hero from above a hilltop (from a distance, from above, afar). In Raiders of the Lost Ark (1981), Marcus observes Indy from the edge of the classroom. In The Matrix (1999), Morpheus tells Neo �he has been watching him.�

Remember, we're not telling you what story to write, but we are suggesting the structural form that will make your story more effective.

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Hero's Journey (Monomyth): the function of allies

my anti-hero doesn't seem to have many friends at all. he has an
animal familiar that travels with him, but no real allies outside of
that. also, there are several antagonists (including the one that
killed his mentor). These antagonists don't really have a whole lot
to do with one another other than they don't get along with eachother
either. My question is, is this okay to do? lets say there are 3
antagonists against my anitihero for different reasons... what are
the rules here? do they need to have something in common somehow?
can you think of any movies that are still like this?

ANSWER
...it doesn't matter and they don't need to have anything in common - your Hero will have Four Core Challenges - each of which could be one of your antagonists; each of which provides one of the Challenges (see web site). Remember, every story is about Transformation and the process of that Transformation is the Hero's Journey.

The ally thing is not about having to have friends etc... each ally has a particular function. When you look at the template, you will have to figure out what that ally's function is and what it should be in the context of your story. Then just substitute anything as long as that anything performs the function.

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Hero's Journey (Monomyth): The SACRED MEETING between Hero and MENTOR

Tne element of the Hero's Journey (often during the stage of the Meeting with the Supernatural Aid / Mentor) is the common frequency of a Sacred Meeting between the Hero and Mentor. This occurs alone, often on the Mentor's turf and others frequently absent themselves from this meeting:

In Wall Street (1987), Carl Fox takes Bud Fox aside when he comes to visit; his friends leave them alone.

In Raiders of the Lost Ark (1981), Indy and Sallah and Indy and Marcus [sic, separate scenes] discuss the Ark alone (Marion plays with Sallah�s children).

In Empire Strikes Back (1980), Yoda takes Luke back to his home where he debates whether to take on Luke as a trainee.

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Hero's Journey (Monomyth): Ordinary World and Ordinary Self

Ordinary World and Ordinary Self

It's important to make explicit the Ordinary World. There are a number of reasons for this, such as the fact that an integral element of story is (physical or psychological) Journey. And for the Journey to play out convincingly, it helps to make explicit the start and end points - the before and after.

But implicit in Journey is Transformation. And in the same way that the Hero moves from the Ordinary to New World, so the Hero transforms from an Ordinary to New Self. For example, in Annie Hall (1977), Annie moves from shy and dependent in New York to confident and independent in Los Angeles.

Another example is the Godfather (1972): Michael transforms from naive and not wanting to get involved to cynical and deeply involved.

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Hero's Journey (Monomyth): Road of Transformation

Road of Trials or Road of Transformation?

Once the Hero is pushed out / past the First Threshold and the Belly of the Whale, s/he journeys through a Road of Trials. But what is the purpose of the Trials? Knowing this helps you to plan and write this very important stage of the Journey.

Well, one purpose of the Trials is to push or pull the Hero through a series of incremental Transformations. Often there are three major Trials with each containing 3-5 sequences followed by the demonstration. For example, in Thelma and Louise (1991), Louise leaves Thelma in the hotel room to guard the money, JD knocks at the door, JD seduces Thelma, Thelma turns up in the cafe the following morning changed. This is all part of her transformation away from her Old Self (with Darryl) and toward her New Self.

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Hero's Journey (Monomyth): the critical importance of SYMBOLISM is successful stories

Most of the time we don't notice it, but screenplays consist of much more structure and symbolism than is commonly assumed. And that is right, because they should be designed for maximum impact.

Take the role of water. At the stage of the Near Death Experience, romantic lovers part in the rain (50 First Dates, 2004), protagonists are captured and tortured with water (Green Mile, 1999), protagonists happen to be on vessels that sink (War of the Worlds, 2005) and heroes are submerged by antagonisms (Jaws, 1977).

The role of water is ancient and works on the audience subconsciously; it signifies baptism / dirt to cleanliness / washing away the Old and emerging to the New Self.

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EVERY HERO MUST BE A FISH OUT OF WATER AT SOME POINT

One critical element of any story - as all stories involve Transformation - must be the Fish out of Water stage. This is commonly seen during two stages. First, at the First Threshold where the Hero enters a New World. Second, post the Physical Separation where the Hero begins his or her Trials and Transformation. The Fish out of Water stage 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

Answer:

This varies slightly and I'm not going to do a detailed breakdown here. What we're really talking about is 3-Act versus 4-Act structure. Too complex to debate by email.

Depends on whether your Hero has three core challenges and your story terminates at the Ultimate Boon or has four core challenges and the story terminates post the Crossing of the Return Threshold.

But even then it is not a question of how many pages each should be. It is more a question of ensuring that all the stages of the Transformation have been passed (to ensure that the process is complete). If you do that, then the pages will self-regulate.

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Hero's Journey (Monomyth): the AntiHero archetype

Remember, the AntiHero is simply another archetype. And where the Hero tends to evolve, the AntiHero devolves. But this is only if stories follow "moral" guidelines - in other words, that wrong must inevitably have a price / be punished.

Without "the moral imperative," it is just as feasible for the AntiHero to benefit from the evolutionary path that the classical Hero follows. In other words, the AntiHero has his cake and eats it.

Whatever the nature of the Hero, it is the process that you must adhere to. It is the process that takes the (anti) Hero through the evolution.

And remember the process has two parts: the physical (journey) and the psychological (transformation).

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Hero's Journey / Monomyth: Ultimate Boon

One effect of this [the Ultimate Boon stage] is 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.

In Alien (1979), Ripley and Parker initially antagonise each other. After their Apotheosis (that the military wants the Alien, it cannot be destroyed and that they are expendable), Parker and Lambert quickly fall into line.

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Hero's Journey (Monomyth): Shape Shifter

The Shape Shifter is that character / archetype that switches sides.

In The Matrix (199), it is Cypher, who is initially on Morpheus' side but then gives them up to Agent Smith.

In Star Wars (1977), it is Han Solo, who initially is critical of Obi Wan, the Rebellion and Luke but later helps Luke defeat Darth Vader.

Other characteristics also define the Shape Shifter: for example, s/he is often a Romantic Competitor. In The Matrix (1999), Cypher vies for Trinity's attention.

Also, s/he is often that person who could have been the Hero. In Raiders of the Lost Ark (1981), Belloq is not far from being a Hero archetype. Nor is Han Solo (Star Wars, 1977).

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Hero's Journey (Monomyth): detailed structure

Answer:

This varies slightly and I'm not going to do a detailed breakdown here. What we're really talking about is 3-Act versus 4-Act structure. Too complex to debate by email.

Depends on whether your Hero has three core challenges and your story terminates at the Ultimate Boon or has four core challenges and the story terminates post the Crossing of the Return Threshold.

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