The hero’s journey is the screenwriting template. Screenwriters can use it to write effective screenplays. Below are a few of the elements of each stage of the journey.

Supernatural Aid

The hero is unconsciously (or consciously) searching for spiritual guidance and strength. He seeks a mentor / supernatural aid. In The Empire Strikes Back (1980), it is Yoda. In Raging Bull (1980), it is Vickie – a young blonde sexually alluring teenager.

Warnings and resistance against meeting the mentor. In Raging Bull (1980), Joey tells Jake that Vickie is unattainable. Jake’s first wife doesn’t want him going out at night to the bar, where he intends to meet Vickie.

Sacred Meeting. A sacred meeting between the hero and supernatural aid takes place. Others absent themselves from this. In Wall Street (1987), Bud Fox meets his Dad, Carl Fox. Carl’s colleagues leave him alone to talk with his son.

Magical Aid. The supernatural aid will give the hero magical aids and potions that will help him and protect him along his journey. In Gladiator (2000), Maximus picks up a statuette at this stage of the journey. In Star Wars (1977), Ben gives Luke a light sabre.

The Crossing of the First Threshold

From a Distance. The Hero usually views the First Threshold from a distance and is warned of its dangers and that it is a place of no return. In Lawrence of Arabia (1962), Omar Sheriff warns Peter O’Toole of the dangers of the “suns anvil.”

Physical Marker. A marker of some sort represents the physical crossing. In Lawrence of Arabia (1962), the train track is a physical marker that they cross. In Raging Bull (1980), the marker is Jake’s marriage to Vickie.

No Going Back. In The Godfather (1972), once Michael Corleone shoots Sollozo and Captain McCluskey, there is no going back.

The 106 stage Hero’s Journey 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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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://www.managing-creativity.com