stay another harvest and Mr Incredible’s boss and the government do not allow Mr Incredible to act on his superhero impulses.

In both the above examples, an intolerable antagonism persuades the hero to consciously agree to the adventure. In The Incredibles (2004), Mr Incredible explodes when he sees an innocent being mugged in the street. In Star Wars (1977), Luke is persuaded after seeing the bur

The Hero’s Journey is THE template upon which the most successful stories are based – ALL of the Academy Award winners (Best Film) of the past fifteen years (at least) are based upon it.

The Hero’s Journey is also simply a study of repeating patterns in successful stories and screenplays. This is incredibly useful for screenwriters - it is compelling that screenwriters have a higher probability of producing quality work when they mirror the recurring patterns found in successful screenplays.

Below are some examples:

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.”

Often the Mentor observes the hero engaged in an activity that demonstrates his capability or worthiness to pursue the Call to Adventure. The general observes John Dunbar carry out an extraordinary act of bravery (Dances with Wolves, 1990); Marcus Aurelius observes Maximus in battle (Gladiator, 2000); Marcus observes Indy display his capability as an archaeologist in the classroom Raiders of the Lost Ark, 1981); Morpheus has observed Neo’s activites on the Net (The Matrix, 1999).

In The Incredibles (2004) and Star Wars (1977), both heroes are frustrated as they are prevented from following the Call to Adventure by a figure of authority and under the threat of some punishment (the Interdictor); Uncle Owen wants Luke to stay another harvest and Mr Incredible’s boss and the government do not allow Mr Incredible to act on his superhero impulses.

In both the above examples, an intolerable antagonism persuades the hero to consciously agree to the adventure. In The Incredibles (2004), Mr Incredible explodes when he sees an innocent being mugged in the street. In Star Wars (1977), Luke is persuaded after seeing the bur

roducing quality work when they mirror the recurring patterns found in successful screenplays.

Below are some examples:

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.”

Often the Mentor observes the hero engaged in an activity that demonstrates his capability or worthiness to pursue the Call to Adventure. The general observes John Dunbar carry out an extraordinary act of bravery (Dances with Wolves, 1990); Marcus Aurelius observes Maximus in battle (Gladiator, 2000); Marcus observes Indy display his capability as an archaeologist in the classroom Raiders of the Lost Ark, 1981); Morpheus has observed Neo’s activites on the Net (The Matrix, 1999).

In The Incredibles (2004) and Star Wars (1977), both heroes are frustrated as they are prevented from following the Call to Adventure by a figure of authority and under the threat of some punishment (the Interdictor); Uncle Owen wants Luke to stay another harvest and Mr Incredible’s boss and the government do not allow Mr Incredible to act on his superhero impulses.

In both the above examples, an intolerable antagonism persuades the hero to consciously agree to the adventure. In The Incredibles (2004), Mr Incredible explodes when he sees an innocent being mugged in the street. In Star Wars (1977), Luke is persuaded after seeing the bur

ssroom. In The Matrix (1999), Morpheus tells Neo “he has been watching him.”

Often the Mentor observes the hero engaged in an activity that demonstrates his capability or worthiness to pursue the Call to Adventure. The general observes John Dunbar carry out an extraordinary act of bravery (Dances with Wolves, 1990); Marcus Aurelius observes Maximus in battle (Gladiator, 2000); Marcus observes Indy display his capability as an archaeologist in the classroom Raiders of the Lost Ark, 1981); Morpheus has observed Neo’s activites on the Net (The Matrix, 1999).

In The Incredibles (2004) and Star Wars (1977), both heroes are frustrated as they are prevented from following the Call to Adventure by a figure of authority and under the threat of some punishment (the Interdictor); Uncle Owen wants Luke to stay another harvest and Mr Incredible’s boss and the government do not allow Mr Incredible to act on his superhero impulses.

In both the above examples, an intolerable antagonism persuades the hero to consciously agree to the adventure. In The Incredibles (2004), Mr Incredible explodes when he sees an innocent being mugged in the street. In Star Wars (1977), Luke is persuaded after seeing the bur

isplay his capability as an archaeologist in the classroom Raiders of the Lost Ark, 1981); Morpheus has observed Neo’s activites on the Net (The Matrix, 1999).

In The Incredibles (2004) and Star Wars (1977), both heroes are frustrated as they are prevented from following the Call to Adventure by a figure of authority and under the threat of some punishment (the Interdictor); Uncle Owen wants Luke to stay another harvest and Mr Incredible’s boss and the government do not allow Mr Incredible to act on his superhero impulses.

In both the above examples, an intolerable antagonism persuades the hero to consciously agree to the adventure. In The Incredibles (2004), Mr Incredible explodes when he sees an innocent being mugged in the street. In Star Wars (1977), Luke is persuaded after seeing the bur

stay another harvest and Mr Incredible’s boss and the government do not allow Mr Incredible to act on his superhero impulses.

In both the above examples, an intolerable antagonism persuades the hero to consciously agree to the adventure. In The Incredibles (2004), Mr Incredible explodes when he sees an innocent being mugged in the street. In Star Wars (1977), Luke is persuaded after seeing the burnt bodies of Uncle Owen and Aunt Beru.

The detailed deconstruction and the Complete 188 stage Hero’s Journey and FREE 17 stage sample and other story structure templates can be found at http://www.managing-creativity.com/

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Kal Bishop, MBA

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