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  • Add You - 188 Stage Hero's Journey (Monomyth): Deception, Loneliness and Alienation

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    ynergy, loyalty and the conquest of challenges, the opposite is true for the antohero. His fate is deception, loneliness and alienation, In Scarface (1983), Manny begins to deceive Tony (he's seeing Gina); Tony alienates Elvira; both Manny and Elvira leave Tony alone.

    *****Fear of the Return to the Ordinary World*****

    The Her

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    You have been in a accident, automobile, slip and fall, workplace, etc.. Should you see or speak with an attorney?As far as I am concerned, the answer is always yes.When should you consult with an accident attorney? You should seek the advise
    The 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 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).

    d) Gives you a universal structural template upon which you can superimpose your situational story.

    and more...

    *****Deception, Loneliness, Alienation*****

    Where the hero achieves synergy, loyalty and the conquest of challenges, the opposite is true for the antohero. His fate is deception, loneliness and alienation, In Scarface (1983), Manny begins to deceive Tony (he's seeing Gina); Tony alienates Elvira; both Manny and Elvira leave Tony alone.

    *****Fear of the Return to the Ordinary World*****

    The Hero

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    s. 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 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).

    d) Gives you a universal structural template upon which you can superimpose your situational story.

    and more...

    *****Deception, Loneliness, Alienation*****

    Where the hero achieves synergy, loyalty and the conquest of challenges, the opposite is true for the antohero. His fate is deception, loneliness and alienation, In Scarface (1983), Manny begins to deceive Tony (he's seeing Gina); Tony alienates Elvira; both Manny and Elvira leave Tony alone.

    *****Fear of the Return to the Ordinary World*****

    The Her

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    o Apocaplyse Now (1979)].

    THERE IS ONLY ONE STORY

    THE 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).

    d) Gives you a universal structural template upon which you can superimpose your situational story.

    and more...

    *****Deception, Loneliness, Alienation*****

    Where the hero achieves synergy, loyalty and the conquest of challenges, the opposite is true for the antohero. His fate is deception, loneliness and alienation, In Scarface (1983), Manny begins to deceive Tony (he's seeing Gina); Tony alienates Elvira; both Manny and Elvira leave Tony alone.

    *****Fear of the Return to the Ordinary World*****

    The Her

    Becoming A Battle Hardened Real Estate Veteran Without All The Scars
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    you a tangible process for building and releasing dissonance (establishing and achieving catharses, of which there are usually four).

    d) Gives you a universal structural template upon which you can superimpose your situational story.

    and more...

    *****Deception, Loneliness, Alienation*****

    Where the hero achieves synergy, loyalty and the conquest of challenges, the opposite is true for the antohero. His fate is deception, loneliness and alienation, In Scarface (1983), Manny begins to deceive Tony (he's seeing Gina); Tony alienates Elvira; both Manny and Elvira leave Tony alone.

    *****Fear of the Return to the Ordinary World*****

    The Her

    Step by Step to a Successful Website
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    ynergy, loyalty and the conquest of challenges, the opposite is true for the antohero. His fate is deception, loneliness and alienation, In Scarface (1983), Manny begins to deceive Tony (he's seeing Gina); Tony alienates Elvira; both Manny and Elvira leave Tony alone.

    *****Fear of the Return to the Ordinary World*****

    The Hero - willing and unwilling - often lives in fear of the return to the Ordinary World and the Ordinary Self. In Star Wars (1977), Luke never wants to go back to Tattooine. In Bonnie and Clyde (1967), Bonnie wakes up afraid that Clyde is not there. Even seemingly unwilling Heroes do not return to the same place - the Journey has given them a new capacity and transformed them into a New Self. In The Shawshank Redemption (1994), Andy does not return home but goes to Mexico.

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