188 Stage Hero's Journey, Monomyth - corporeal ticket and disjunction

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Kal Bashir's 188 stage Hero's Journey (Monomyth) is the template upon which the vast majority of prosperous 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.

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Understanding this template is a priority for story or screenwriters. This is the template you must devotee if you are to consequent in the craft.

188 Stage Hero's Journey, Monomyth - corporeal ticket and disjunction

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[The terminology is most often metaphoric and applies to all prosperous 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 Apocalypse Now (1979)].

There Is Only One Story

The 188 Stage 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 plainly three or four acts, plot points, mid point and so on.

c) Gives you a tangible process for construction and releasing dissonance (establishing and achieving catharses, of which there are commonly four).

d) Tells you what to write. For example, at a certain stage of the story, the focus should be on the Call to Adventure and the micro elements within.

Abridged Tips, Excerpts And Examples:

(simply go to http://www.heros-journey.info/ for full details)

*****Physical Marker*****

The corporeal disjunction is marked by a corporeal Marker. In Romancing the Stone (1984), Jack and Joan have to cross the rope bridge across the gorge. In Butch Cassidy and the Sundance Kid (1969), both have to jump into the river down below to flee their pursuers. In The Godfather (1972), Michael's killing of McCluskey is all over the news.

Resisting the corporeal Separation. The decision to Transform is often not taken lightly. There is resistance to crossing the corporeal Marker. In Butch Cassidy and the Sundance Kid (1969), both have to jump into the river down below to flee their pursuers (Sundance: "I can't swim." Butch: "Why you crazy, the fall will probably kill you.")

Preparing to Physically Separate. In Dances with Wolves (1990), John is tired of waiting to engage with the Indians. He decides to introduce himself.

*****Physical Separation*****

The Hero makes a corporeal disjunction from the Belly of the Whale and to the Trials Transformation. Characteristics include:

Conscious Decision. The Hero often consciously decides to leave the Belly of the Whale. In Thelma and Louise (1991), Louise asks Thelma is she wants to go to Mexico. She says yes. In Lawrence of Arabia (1962), Lawrence has to go back into the desert to saving 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.

Forced Out or Pursued Out. The Hero may be forced out. In Star Wars (1977), Luke et al blast off Mos Isley - pursued by storm troopers. In The Godfather (1972), Michael Corleone bids farewell to Sonny, Tessio, Paulie et al and leaves, out of necessity, for Sicily.

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