Hero's Journey (Monomyth) and Story Structure: LEARNING FROM JAMES BOND

One critical and amusing stage of the Hero's Journey / Transformation is the giving of magical gifts by the Supernatural Aid / Mentor. You can see this in the most successful stories, including those that do not seem like Hero Journeys, such as The Godfather (1972), Annie Hall (1977) etc.

The most successful Bond stories run through the Hero's Journey by the book. Alot can be learned about this stage simply by analysing the James Bond franchise, including:

a) Q always gives Bond his gadgets at a particular stage of the story.

b) There are always a specific number of gadgets.

c) The gadgets are always used at particular stages of the story.

d) The gadgets are always spent by a particular stage of the Journey.

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Hero's Journey (Monomyth) and Story Structure: SEIZING THE SWORD - AN EXPANSION OF CONSCIOUSNESS and EXPLICIT RECOGNITION

What is often misunderstood is that the Seizing of the Sword stage of the Hero's Journey / Transformation is actually an expansion of consciousness. It is the Seizing of the Sword that indicates to the Hero that s/he is gaining the capacity that was previously lacking. The Journey is all about that - to gain the capacity [to conquer challenges] that was previously lacking. Further allies begin to believe that the Hero is "The One."

In The Matrix (1999), it is after Neo rescues Morpheus that he and the others finally begin to believe that he is the One.

Which brings us to another often missed phase of the Hero's Journey - the EXPLICIT RECOGNITION. Where is is explicitly stated that there is more to this Hero than previously met the eye.

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Hero's Journey (Monomyth) and Story Structure: THE BOOK OF LAW

One often missed part of the Hero's Journey (Monomyth) is the stage of the Book of Law. As the Hero enters the Outer Cave, an Authoritarian Figure makes explicit the rules of this world / phase of the Journey / Transformation.

In The Godfather (1972), Michael is warned that no-one has killed a cop before. It's never been done before. The Family would lose all it's connections.

In Star Wars (1977), the Inn-Keeper tells Luke that the droids are not welcome. They remain outside.

In Silence of the Lambs (1991), Lecter tells Clarice what the rules of the game are. Clarice agrees to play along to get the necessary information from him.

This Authoritarian Figure is separate and distinct from the Threshold Guardian; the Hero must pass both (a measure of his suitability for the adventure).

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Hero's Journey (Monomyth) and Story Structure: A PERIOD OF DESOLATION

Post the Call to Adventure comes the Refusal and the Interdictions. Resistance still often remains post the meeting with the Supernatural Aid and his or her guidance. This period of uncertainty and inertia is known as a Period of Desolation and is an intrinsic and explicit part of successful stories and screenplays.

The Period of Desolation is actually an extension of the Hero's original state of frustration. It is the Hero's destiny to embark on the Journey, to Transform, to be the Carrier of the Changing. By resisting this destiny, the Hero finds himself / herself desolate.

In The Incredibles (2004), Mr Incredible finds himself desolate and frustrated - he is unable to continue in his natural role of SuperHero.

In Star Wars (1977), Luke finds himself looking out at the two suns, yearning for change and to fulfil his destiny.

In Alien (1979), Ripley is de facto desolate when Dallas gives Ash authority over her.

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Hero's Journey (Monomyth) and Story Structure: Developing character through familial dislocation

The Hero is often dislocated from his or her roots and further, it is not uncommon that the Hero's Ancestors had supernatural abilities of some sort. This is seen everywhere (Jesus and Moses; Harry Potter is the son of great wizards; Luke Skywalker is the son of a great Jedi Knight).

There are a number of reasons why the Hero's Ancestry is critical to character development, both in modern and antiquated Hero archetypes:

a) No mere mortal can be a Hero; this detail differentiates the Hero from other men.

b) A period of obscurity is required.

c) An extraordinary capacity is required to survive such an experience.

d) The experience reveals the Hero's True Character.

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Hero's Journey (Monomyth) and Story Structure: PHYSICAL CHANGE

As previously noted: a story IS transformation; the Hero is pulled through a physical journey to stimulate a psychological change.

But the change is also physical - the Hero appears different at the end of the Journey / Transformation.

This means that you must manage the psychological as well as the physical change. You must physically alter the Hero and manage that physical appearance right to the end.

In The Godfather (1972), Capt. McCluskey punches Michael in the face. Later, when the damage has been long repaired, it is noted that Michael looks different.

In Gladiator (2000), Maximus is slashed by a sword on the upper arm. The healing mirrors Maximus' change of attitude.

In Silence of the Lambs (1991), Clarice is cut as she enters the garage.

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Hero's Journey (Monomyth) and Story Structure: RESISTANCE TO CHANGE

Stories are all about Transformation, but who has ever found change easy? And I'm not talking about simple change, but the changing of the Self.

A critical element of Transformation is Resistance and it is one of the most underrated aspects of storytelling. It is everywhere, but so subtle that it is barely traceable.

In Alien (1979), the Nostromo has a bumpy ride while landing on the planet.

In Elizabethtown (2005), Drew tries to get to Elizabethtown but he, frustratingly, loses his way. Even though he is somewhat keen reach his destination.

In Star Wars (1977), the Millenium Falcom has a bumpy ride on the way to Alderran and the Death Star.

In Gladiator (2000), Maximus is taken as a slave against his will and, initially, refuses to train as a gladiator.

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Hero's Journey (Monomyth) and Story Structure: Raglan Pattern and the Christ figure

RAGLAN PATTERN:

The hero's mother is a royal virgin;

His father is a king, and

Often a near relative of his mother, but

The circumstances of his conception are unusual, and

He is also reputed to be the son of a god,

At birth an attempt is made, usually by his father or maternal grandfather, to kill him, but

He is spirited away, and

Reared by foster-parents in a far country.

We are told nothing of his childhood, but

On reaching manhood, he returns or goes to his future kingdom.

After a victory over the king and/ir a giant dragon or wild beast,

He marries a princess, often the daughter of his predecessor, and

Becomes king.

For a time he reigns uneventfully, and

Prescribes laws, but

Later he loses favor with the gods and/or his subjects, and

Is driven from the throne and his city, after which

He meets with a mysterious death,

Often at the top of a hill.

His children, if any, do not succeed him.

His body is not buried, but nevertheless

He has one or more holy sepulchres.

CHRIST FIGURE
(Thomas C. Foster, How to Read Literature Like a Professor, p. 119-20)

crucified, wounds in the hands, feet, side, and head

in agony

self-sacrificing

good with children

good with loaves, fishes, water, wine

thirty-three years of age when last seen

employed as carpenter

known to use humble modes of transportation, feet or donkeys preferred

believed to have walked on water

often portrayed with arms outstretched

known to have spent some time in the wilderness

believed to have had a confrontation with the devil, possibly tempted

last seen in the company of thieves

creator of many aphorisms and parables

buried, but arose on the third day

had disciples, twelve at first, although not all equally devoted

very forgiving

came to redeem an unworthy world

unmarried, preferably celibate

wounded or marked in the hands, feet, or side (crown of thorns extra credit)

sacrificing yourself in some way for others (your life is best, and your sacrifice doesn't have to be willing)

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Hero's Journey (Monomyth) and Story Structure: INCREMENTAL TRANSFORMATION

Once the Hero is pushed past the First Threshold and the Belly of the Whale, s/he journeys through the 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. Each Trial has a specific Transformational purpose and each Trial / Transformation follows a distinct pattern that can include elements such as warning, preparation, severance, threshold, incorporation and 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) and Story Structure: FOCUS ON TRANSFORMATION, NOT CONFLICT

A pervasive myth argues that stories are about conflict. It is true that the basis of human interaction is status based - every action, movement and inflexion implies status / status transactions and on that level there is conflict. Also, there is inherent resistance to change and again, here conflict is implicit.

But we don't think that the writer's best interests are served by focusing on conflict. We think your interest is best served by focusing on Transformation. A story IS Transformation. And the process of that transformation, at the root level, is the Hero's Journey.

Look at some of the best examples:

In The Godfather (1972), Michael transforms from not wanting anything to do with his Father and the Family to running it; from the innocent war veteran to the dark suited angel of death.

In Annie Hall (1977), Annie transforms from dependent in New York to independent in Los Angeles.

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Hero's Journey (Monomyth) and Story Structure: PUSHES AND PULLS FORWARD AND BACKWARD

Many writers do not appreciate the value of Pushes and Pulls (in both directions) in every successful story and screenplay. Yet it is the Pushes and Pulls that keep the Hero in particular states, take your Hero from one state to the next, from one part of the Physical Journey to the next, from one part of the Psychological Transformation to the next and so forth.

In Gladiator (2000), Maximus was pulled forward because his wife and child were threatened. In Star Wars (1977), Luke, Han et al were pushed off Tatooine by stormtroopers. In The Godfather (1972), Michael was pushed out of New York by the threat from the other Families. In The Matrix (1999), Neo was pulled forward by Morpheus and pushed forward by Smith et al. In Planet of the Apes (1968), Taylor et al were pushed forward because they had three days before the groceries ran out.

Similarly, Pushes and Pulls work backwards, in conjunction with Resistances, to prevent the Hero from Evolving. It is this battle, between the inevitable movement forward and the inertia to remain as the Old Self that you, as a screenwriter, must manage.

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Hero's Journey (Monomyth): THE PHYSICAL JOURNEY STIMULATES A PSYCHOLOGICAL TRANSFORMATION

What is the purpose of the Physical Journey? Well, it is to stimulate a Psychological Transformation. Because that's what a story is - a Transformation.

This is your job as a writer - to guide the Transformation. To pull the Hero through the necessary stages of the Journey and see him or her through the Change Process. In a way, you're a Change Manager.

In the beginning the Hero will be dressed one way, after being pushed through some stages of the journey, the psychological change will reflect in clothing, behaviour, attitudes and beliefs. For example:

In Annie Hall (1977), Annie is initially shy, retiring, dependent on Alvie and living in New York. At the end, she is confident, independent and in Los Angeles. Along the way, change is incremental.

In The Godfather (1972), Michael is initially resistant to joining the Family whereas finally he leads it. His clothing, physical form (face) and demeanour represent the change. Again, along the way, the incremental changes are evident.

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Hero's Journey (Monomyth): First Threshold: where the Hero fears to tread

There is often confusion about many of the Hero's Journey steps. One area of confusion is the First Threshold.

It must be remembered that the Hero's Journey is both a physical and a psychological journey. The physical journey is just that, a journey - a physical movement. The psychological aspect is transformation - from an Old Self to a New Self.

The psychological movement is represented by physical change of location.

Psychologically the First Threshold is that place which the Hero is most afraid to go and from where he cannot return (that fear is enhanced by the earlier Interdictions and the Refusal).

Physically this is often represented by some New World that is a polar opposite of the Ordinary World, from which the hero has just come. A dangerous place, with dangerous and unfamiliar objects / creatures.

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Hero's Journey (Monomyth) and Story Structure: Final Conflict and Catharsis

The Final Conflict is so important that it is astounding that it is rarely given mention, let alone explanation.

Between the Crossing of the Return Threshold and the Mastery of the Two Worlds, a hell of a lot happens, including:

a) Dangerous Place: the battle takes place somewhere fearful from the Hero's perspective.

b) Polarization: a sequence that establishes the antagonism's potency.

c) Hand-to-hand battle. The Hero and Antagonisms do not battle from afar.

The Final Conflict is all about building and releasing catharses, of which there are often four. The Master of the Two World's in simply the result of that, where the Hero comes ot terms with the Old and New Self and the Old and New World.

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Hero's Journey (Monomyth) and Story Structure: Hero versus AntiHero; the AntiHero archetype

The difference between hero, anti-hero and other variations simply lies in situation, motivation and result. In fact, the antihero is simply an archetype. Some generalisations:

Where the hero�s Ordinary World is idyllic (Lord of the Rings, 2003), the anti-hero�s world is uncomfortable and riddled with conflict (Raging Bull, 1980).

Where the hero embarks on adventure for altruistic reasons (Willow, 1988), the anti-hero embarks for selfish reasons.

Where the hero has good mentors (Lord of the Rings, 2003), the anti-hero has dark mentors (Raging Bull, 1980).

Where the hero resists dark temptations, the anti-hero gives in to them (Scarface, 1983).

Where the hero may sacrifice himself to prevent harm to others (Superman, 1978), the anti-hero will consciously set out to do harm (Goodfellas, 1990).

Where the hero will evolve (during the Transformation or Road of Trials), the anti-hero will regress.

Where the hero will achieve synergy, the anti-hero will achieve alienation.

Where the hero�s allies will come to his aid, the anti-hero�s allies will betray.

Where the hero�s gain is tangible and prized, the anti-hero�s gain is dubious (Scarface, 1983).

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Hero's Journey (Monomyth) and Story Structure: the effective FADE IN

The FADE IN has a specific function and that is to establish context. Most successful stories hit the ground running (you only have a very short time with which to capture and keep your audience engaged).

In Scarface (1983), the first sequence uses visuals and narrative to explain the expulsion of criminals from Cuba by Castro.

In Gladiator (Academy Award Winner Best Picture, 2000), the first shots use text to establish the state of Rome and the resistance of the Germanic tribes.

In War of the Worlds (2005), the first sequence uses narrative and visuals to show bacteria and that the Earth has been watched for millennia.

In Trading Places (1983), the opening sequence exposes us to the disparity between rich and poor.

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Hero's Journey (Monomyth): BEYOND HERE, THERE BE DRAGONS

"Beyond here, there be dragons" is a classic warning, and it applies to the vast majority (if not all) successful stories and screenplays today.

This is an important and often elaborated element of the Hero's Journey (Monomyth), and it often occurs before the Crossing into the First Threshold. It is separate and distinct from the earlier Interdictions.

In Dances with Wolves (1990), John Dunbar is warned not to go to the frontier and then warned not to engage with the Indians.

In The Matrix (1999), Neo is warned before entering the room to meet Morpheus and before taking the red and blue pills.

In Gladiator (2000), Maximus is warned about engaging Commodus, the Emperor of Rome.

In Star Wars (1977), Obi Wan warns Luke before they enter Mos Isley.

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