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From our deconstruction of hundreds of Hollywood blockbusters and sitcoms at www.managing-creativity.com/

[188 stages of the Hero’s Journey you need to know about…]

The Hero’s Journey is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. In fact, ALL of the Hollywood movies we have deconstructed are based on this template.

Understanding this template is a priority for story or screenwriters.

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) Interpreted metaphorically, laterally and symbolically, allows an infinite number of varied stories to be created.

Sample Movie Deconstructed: Schindler’s List(1993)

FADE IN: Context: lighting candles for the dead; Germans defeated Polish army; Jews branded and ordered to the cities.

Introducing the Hero: Schindler getting dressed, his clothing.

Hero’s Capabilities: Schindler ingratiating himself with senior Nazi officers.

Antagonism: the German soldiers in Poland; degrading the Jews; thrown out of their houses; they’ll shoot them if they take off their armbands.

Meeting the Mentor : Schindler looking for Itzhak Stern.

Call to Adventure / Pushing the Mentor into the Journey: Schindler tries to persuade Stern to help him build the company.

Refusal : Stern is sure he doesn’t know anyone who would be interested.

Meeting Allies: meeting the Jewish traders in the church.

Antagonism Developed: the Jews have to enter the ghetto.

Devolved Hero: Schindler doesn’t mind occupying the Jewish house; the owner pushed to the Ghetto.

Meeting the Shape Shifter: the Jew who works for the Germans.

Mentor provides a Magical Gift: Stern introduces the men with the money to buy the company.

Polarization between Hero and Mentor: Stern won’t accept a drink.

Journey to the First Threshold: getting the factory organised; Schindler won’t hire the more expensive Poles; Stern convinces his people that it is a good pace to work.

Overcoming foreboding and warnings of the First Threshold: life will be easier and safer in the factory; they make out they are essential workers.

Getting Past Threshold Guardians / Developing the Mentor: Stern helps people get into the factory; Stern convinces the administrators to issue the work permits.

The World of the First Threshold: the forging of pots and pans; training the workers.

Developing the Hero: Schindler prefers pretty typists.

Celebrating entry into the First Threshold : the group photos.

First Threshold Conflict: bribing the Nazi officials to purchase the factory goods; getting the orders.

Meeting Allies / Hero and Mentor Polarization: Schindler tries to thank Stern; Stern confused by Schindler and hesitant to share a drink.

Inner Cave / Hero’s Backstory: Schindler’s wife turns up.

Pulled to the Physical Separation: the machinist wants to thank Schindler.

Resisting the Physical Separation: Schindler confronts Stern; he is not in this business to save lives; “did you happen to notice that that man had one arm”

Consciously agreeing to the Journey / Unbearable Antagonism: the one armed man is shot; “he was a metal press worker, quite skilled.”

Developing Characters and Relationships: Schindler persuades the train guards to help him get Stern out of the train, “I think I can guarantee you that you will both be in southern Russia within the week.”

Developing the Antagonism: all the people in the train are going to their deaths; the piled up possessions; the gold teeth.

Developing Characters and Relationships: the people in the Jewish quarter debate their situation. Foreshadow of the Physical Separation: “the ghetto is liberty”

Meeting the Antagonist: Goeth arrives.

Symbol of the Antagonism and Transformation: meeting Helen Hirsch.

Developing the Antagonist: Goeth shoots the engineer.

Hero and Antagonist Polarization: both Goeth and Schindler shaving.

Physical Separation: the Ghetto is eradicated; Schindler watches from above.

Developing the Antagonist: Goeth randomly shoots people.

Hero and Antagonist battle: Schindler gets Goeth to release his Jews; “I would be very grateful.”

Foreshadow of the Transformation: Stern is working for Goeth.

Pushed to the Transformation: Schindler cannot get Stern out of the camp.

Developing the Antagonist: Goeth tries to shoot the hinge maker.

Transformation / Trial 1: Schindler gives Stern a lighter to bribe the hinge maker onto the list; the list begins.

Transformation / Trial 2: Schindler gives Stern a cigarette case to bribe the boy onto the list.

Resistance to Transformation / Trial 3: The girl dresses up and begs for the life of her parents.

Meeting the Oracle: Stern convinces Schindler that Goeth enjoys killing.

Transformation / Trial 3: Schindler gives a watch to save the parents.

Journey to the Sword: Schindler talks to Helen Hirsch in the basement.

Threshold Guardian to the Sword: Schindler convinces Goeth that forgiveness is power.

Seizing the Sword: Goeth stops killing. But changes his mind and shoots the boy.

Developing the Antagonist: Helen Hirsch files Goeth’s nails.

Foreshadow of the Rebirth: the marriage; the workers give Schindler a present; Schindler kisses the Jewish girl.

Developing the Antagonist: Goeth cannot touch and beats Helen Hirsch.

Foreshadow of the Atonement: The Jews discuss the gas chamber in their bunkers.

Foreshadow of the Atonement: The children are taken; the Germans initiate the Final Solution.

Foreshadow of the Rebirth: Schindler waters the trains.

Rebirth through Near Death Experience: Schindler is arrested.

Reward: Goethe et al get Schindler out of jail.

Atonement with the Father: the Jewish extermination is policy now; Schindler sees ashes for rain.

Apotheosis: The Nazis exhume the Jewish dead; Goeth tells Schindler it is over - they’re sending everybody to Auschwitz.

Ultimate Boon: Stern has that drink with Schindler; Schindler negotiates to buy the Jews; they build up the list.

Refusal: Goeth refuses to give up Helen Hirsch.

Magic Flight: Schindler’s Jews take the train to Czechoslovakia.

Rescue from Without: a clerical error sends the females to Auschwitz.

Crossing the Return Threshold: Schindler pays with diamonds) to get the females out of Auschwitz.

Master of the Two Worlds: safe in the factory until the war ends; restraining the local Nazis, going back to his wife; making faulty armaments; allowing celebration of the Sabbath.

Freedom to Live: the war is over; the speech; they make a golden ring; Oscar wishes he could have saved more; they find food in the next village.

FADE OUT: revisiting the grave.

Learn more

The Complete 188 stage Hero’s Journey and other story structure templates can be found at http://www.managing-creativity.com/

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Kal Bishop

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You are free to reproduce this article as long as no changes are made and the author’s name and site URL are retained.

Kal Bishop is a management consultant based in London, UK. His specialities include Knowledge Management and Creativity and Innovation Management. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led Improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays. He is a passionate traveller. He can be reached at http://managing-creativity.com/

Tags: Heros Journey, screenwriter, screenwriting, TransformationHeros Journey, screenwriter, screenwriting, Transformation

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Once upon a time, there was a young man who very much wanted to be in show business, or more specifically, making movies. He attended one of the best film schools in the world, while there discovered the joys of writing and producing and everyone around him had high expectations about his career. Yet for more years than he cares to admit, that career was stalled.

Yes, ladies and gentlemen, that young man was me. And this article is for everyone who, like me, has visions of having their name up on the big screen as a writer. It’s all about the importance of getting a balance of what I call “macro training.”

Over the years, I’ve invested tens of thousands of dollars in classes, seminars, books and retreats all intended to teach me to be a better writer. Don’t get me wrong. Many of these classes were well worth the money when it came to teaching me about the CRAFT of screenwriting. I absolutely learned a lot. But talent and craft by themselves are not enough to make you a regularly working professional screenwriter.

I learned through painful experience that if you want to succeed as a professional artist in show business, whether it’s as a writer, actor, director or any other craft that’s employed by the networks and studios, you have to treat your career as a small business with yourself as the CEO. As countless people have said to me over the years, it’s called Show “Business” for a reason.

Eureka! This was the missing piece. When it finally registered with me the importance of treating my artistic endeavors like an entrepreneurial small business, I began to see things in an entirely different light. I call myself a writer and producer - and those are accurate titles - but the business I’m in is really manufacturing, sales and distribution. Huh?

Think about it. As a professional writer, you’re manufacturing a product - the things you write. In order to get paid for that product, you also have to have a sales, marketing and distribution mechanism in place so that the scripts you write can generate money for you.

Of course you have to have the talent and skills to consistently deliver quality scripts and do so on time. But talent and skill alone don’t hack it. If you want to be a successful, consistently and steadily working writer, you have to understand that you’re in the business of creating and selling products. Your products are your scripts.

Like any manufacturer, in addition to dedicating part of your business to developing and creating products, you also need to address the sales, marketing and distribution of those products (scripts) along with the business affairs aspect (contracts, accounting, etc.) of working with your customers (studios, production companies and/or networks). You don’t have to do it all by yourself, but you do need to make sure these aspects of your business as a professional writer are handled. Just by making that shift in the way you see yourself and your career, you’ll immediately transform from would-be writer to an entrepreneurial professional well on the road to success.

About the Author: Gordon Meyer created, produced and hosted the long-running series, “Hollywood’s Master Storytellers” which enabled audiences the opportunity to see and hear some of the most successful and celebrated filmmakers in the world talk about the movies they’re best known for, including Academy Award

Tags: career, Hollywood, movies, screenwriter, screenwriters, tv writer, writingcareer, Hollywood, movies, screenwriter, screenwriters, tv writer, writing

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