Whatever the mentor provides the Hero with it serves to dispel his doubts and fears and give him the strength and courage to begin his quest. He could be given an object of great importance, insight into the dilemma he faces, wise advice, practical training or even self-confidence. Meeting The MentorĪt this crucial turning point where the Hero desperately needs guidance he meets a mentor figure who gives him something he needs. This would also be our own response and once again helps us bond further with the reluctant Hero. The problem he faces may seem to much to handle and the comfort of home far more attractive than the perilous road ahead. When this happens, the Hero will refuse the call and as a result may suffer somehow. Second thoughts or even deep personal doubts as to whether or not he is up to the challenge. Refusal Of The CallĪlthough the Hero may be eager to accept the quest, at this stage he will have fears that need overcoming. It may not be as dramatic as a gunshot, but simply a phone call or conversation but whatever the call is, and however it manifests itself, it ultimately disrupts the comfort of the Hero's Ordinary World and presents a challenge or quest that must be undertaken. The Hero's adventure begins when he receives a call to action, such as a direct threat to his safety, his family, his way of life or to the peace of the community in which he lives. This anchors the Hero as a human, just like you and me, and makes it easier for us to identify with him and hence later, empathize with his plight. His everyday life where we learn crucial details about our Hero, his true nature, capabilities and outlook on life. This is where the Hero's exists before his present story begins, oblivious of the adventures to come. This is essentially a more detailed Character Arc for your story's hero which is overlayed onto the more traditional three-act structure that many successful Hollywood movies such as Star Wars and The Wizard of Oz when analyzed appear to follow. The 12 Stages of The Hero's JourneyĪ popular form of structure derived from Joseph Campbell's Monomyth from his book The Hero With A Thousand Faces and adapted by Christopher Vogler is the Twelve Stage Hero's Journey. The trick is to initially let the ideas flow without paying too much attention to structure and then in your second pass begin to focus your story and separate the wheat from the chaff. Well, theoretically it won't but I'm sure someone will find a way! Let your characters define the story and your story define your structure and then use a formula if necessary to tighten your script. There's no point trying to write a comedy and forcing the structure of a thriller upon it - it won't work. In the end, a story should dictate the kind of structure it follows or whether it shouldn't follow a structure at all. Some try not to subscribe to any and see the whole idea of structure as "evil", feeling that a story should evolve organically without rules confining ideas or obstructing the creative flow. The thing is, there are many forms of structure and some writers subscribe to one formula, while others subscribe to another.
After facing many foes and overcoming various obstacles the hero saves the day and wins the girl. In the beginning you setup your hero (or heroine) and his story, then you throw something at him that is a great source of conflict and takes him into a whole heap of trouble.
To Structure Or Not To Structure? That Is The Question.Įvery story has a beginning, a middle and an end.
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