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2000+ Hero's Journey Stages Not Unreasonable
How Is The 2000+ Stage Different From The 510+ Stage Hero's Journey?
There Are Alot Of Stages. Does Every Story Require You To Implement Every Stage?
Why So Many Stages?
Precise Story Arc
Does This Pattern Apply To EVERY Story?
Why Can't I Just Write Whatever I Like?
Ask A Question, Speaking, Teaching Engagements etc
Can I Teach Your Material In Classrooms?
Are You Telling Us What To Write?
Is There A Difference Between A Hero And A Heroine?
Does The Pattern Apply To [Insert Genre Or Type Here]?
I Don't Like The Idea Of A Hero or Heroine
Is There Always A Journey?
Some Stories Take Place In A Few Rooms (e.g. Sitcoms)
Is There Always Transformation?
Is There Always A New World / State?
Is It Really A Process? Why Do You View Story As A Process?
Shouldn't I "Write, Just Write."
Is There Really Only One Story?
I've Heard That There Are Seven Basic Stories or Ten Movie Plots Etc...
Does The Pattern Apply To Ensemble Movies?
No All Stories Can Be Hero's Journey Because Not All Stories Are Myths
It Seems A Too Structured Approach - Not Very Creative
I Don't Like Using Roadmaps or Outlines
How Often Do You Update The Deconstructions On Your Website And Youtube Channel?
Do Movies Always End With A State Of Perfection?
Not All Stories Start With A State of Perfection!
Can I Change The Pattern? Does The Pattern Evolve?
How Can I Be Original If I Have To Conform To A Structure?
You Say Shakespeare And Dickens Used This Pattern, Hundreds Of Years Ago?
This Pattern Applies To Fantasy Type Stories, Like Star Wars, Right?
This Pattern Applies To Quest Type Stories, Right?
What's My Biggest Obstacle To Understanding Story Structure And Writing A Successful Screenplay Or Novel?
Just Because Many Stories Fit This Pattern Doesn't Mean Every Story Does
I'm Shocked To See That Concept X Isn't Mentioned Here!
Why This Pattern?
What Do You Mean By Story Law? Why Do I Have To Jump Through Hoops?
How Does This Apply To A Series Or TV Episodes?
How Does This Apply To Sitcoms?
Is This A Formula?
Must My Story Include An Antagonist?
I Disagree That This Framework Applies to EVERY Story!
You Speak Too Fast In Your Videos / I Don't Understand Terms And References
I Don't Like The Cookie Cutter Approach
Does This Apply To Short Stories?
Can I Write Screenplays Through Stream Of Consciousness?
Same Structure = Same, Boring Stories
3/4/5/8/9/22 etc ACTS / Sequences / Beats etc
Why Must Every Story Be A Hero's Journey?
Inciting Incident vs Call To Adventure?
What Is Hero's Journey?
2000+ Hero's Journey Stages Not Unreasonable
2000+ hero's journey stages are perfectly reasonable once put into context. For easy context, think in terms of 100 major stages, each with an average of 20 sub-stages, which give you a range of implementation options. This may require a little more homework but you acquire robust knowledge. Please watch the video:
How Is The 2000+ Stage Different From The 510+ Stage Hero's Journey?
The 2000+ is a much more detailed pull through the process. There is much more definition and a greater range of sub-stages, which allow you to better navigate through the cycle. If 2000+ stages is too daunting, you can purchase the 510+ stage version.
There Are Alot Of Stages. Does Every Story Require You To Implement Every Stage?
The following response applies to screenplays, blockbuster / academy award winning movies and bestselling fiction novels (not short stories, obscure story forms etc - where the principles apply but require more explanation):
Many of the major stages are set in stone. Many are options. For example, you will always Seize the Sword. However, you can choose to demonstrate the journey into that World or jump straight into it.
The sub-stages are various methods for performing your functions and delivering your messages. In sum, they tell you why that phase is important, how to construct sequences in that phase, what ingredients they contain, what world you're entering into and what in/tangibles need to be acquired there etc.
For example, the range of stages within the Ordinary World all give you options for executing it - you can choose to express it though Repression, Protection or a mix of these and the other alternatives. In other words, you will create sequences that express Repression, Protection or a mix of these and the other options:
In Meek's Cutoff (2010), Meek suggests staying between the mountains for protection. But this is also repressive under his dubious guidance.
In Superman (1978), Pa Kent advises Clark not to show off. He's doing it for his benefit (people will know you're not from around here) but this is simultaneously a repressive act - it doesn't allow Clarke to blossom.
In Hall Pass (2011), the boys talk about sex with other women all the time when they're away from their wives. Being husbands is simultaneously protection, comfort and repression.
In Schindler's List (1993), the Jews don't want to leave their homes, which are protection from the Germans outside and a much better option than the ghetto and camps.
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Why So Many Stages?
First, lets not confuse this answer with concepts such as theme, which are best understood through the lens of the Six Core Challenges.
There are lots of stages because stories communicate many messages. For example:
In the Ordinary World, there is Repression, Protection, Fear of Exit etc.
In the Call To Adventure, there is the Messenger, the Drive, the Urgency etc.
Just the journey to the First Threshold involves Foreboding Symbolism, No Turning Back, Bigger Wider World etc.
When you consider that, in blockbuster movies and bestselling novels, each of the above occurs in its own world, involves multiple archetypes etc and that there are many domains that need to be traversed, the sum of messages communicated is large. When you take into account a range of story (say, all the Academy Award Winner Best Films), then the sum increases quite quickly. In other words, what we're showing you is how it's done in ALL film; we're trying to show you the complete spectrum. By understanding the spectrum at each stage, you can wisely choose how to implement (construct sequences).
You need to understand what needs to be communicated before you can begin communicating (screenwriting, storytelling, filmmaking). Otherwise you really are like the monkey trying to write Shakespeare (Infinite Monkey Theorem).
Precise Story Arc
One way of looking at the concept of rigid structure is from the point of view of the story arc. In Hollywood screenwriting and bestselling fiction novels, the story arc is implemented in a very precise manner. You move from the initial state to the target state by progressing very precisely through a series of physical locations where a set of specific functions are performed. In other words, the execution of transformation and evolution is not random or organic - it is rolled out in a certain way. If this is your field, you must understand this process .
Does This Pattern Apply To EVERY Story?
Yes. For various reasons rooted in physical and psychological laws, it must apply to every story. This is what a story IS (see Story Law). It certainly applies to every successful Hollywood movie and bestselling fiction novel. For most experienced writers and storytellers, it's just common sense. It is not unreasonable to say that you will fail until you come around to this way of thinking.
If you must try to prove it wrong, then please don't produce some obscure fifteenth century poem. Stick to successful films and take our Open Challenge.
Why Can't I Just Write Whatever I Like?
You can write whatever you like from a situational point-of-view. If you want to sell your story, want an audience to appreciate it or watch it, then you must structure it a certain way. Try and understand why we're saying this.
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Ask A Question, Speaking, Teaching Engagements etc
Email: 
We'll answer within 72 hours (usually much sooner).
Can I Teach Your Material In Classrooms?
You need an Educator License. See http://www.clickok.co.uk/EDUCATOR.html
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Are You Telling Us What To Write?
No. We're guiding you through the structure that defines all successful stories. The content is totally up to you. For example, when we say that you have to enter a New World or a New State - the nature of that world or state is your choice.
Is There A Difference Between A Hero And A Heroine?
Does The Pattern Apply To [Insert Genre Or Type Here]?
For example: Does The Pattern Apply To Tragedy?
Genres and type are situational considerations layered above the 2000+ stage Hero's Journey / Transformation / New World.
Tragedy, comedy, romance etc are situational considerations ("in my story, people die and lose everything"). See Tragedy, Final States Of Imperfection on the main webpage and/or Million Dollar Baby (2004).
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I Don't Like The Idea Of A Hero or Heroine
Common misconceptions abound (for example, that a Hero/ine is some type of alpha person who strides forth confidently, brushes obstacles aside etc... )." 99.99% of you don't know what a Hero/ine is.
The words are loaded - forget the loading, just look at a Hero/ine as a focal point. There are other aspects to consider - see the 2000+ stage Hero's Journey / Transformation / New World.
Is There Always A Journey?
Yes.
If you look through the right lens, journey is detectable even in stories set in one house or in one room. Even in fifty word short stories.
The most successful stories demonstrate clear journey - clear physical movement, which mirrors clear psychological movement. The single most effective way to write a successful Hollywood story is to get your head around the 2000+ stage Hero's Journey / Transformation / New World concept.
Your best bet is to not try to be too clever here. Dickens, Shakespeare, Hitchcock, Scorsese, Coppola, Spielberg, Tarantino, Cameron et al stick to the Journey / Transformation / New World principle and so should you. If you ignore this fundamental rule, you will fail.
Some Stories Take Place In A Few Rooms (e.g. Sitcoms)
Physical journey is physical movement between worlds / domains / locations. It's perfectly feasible for this to happen within one room (and often does, even in film).
In a sitcom, for example, archetype A may be sitting in a restaurant waiting for a date, archetype B and C arrive and sit at another table and then invite A over while he's waiting. Different functions are performed at each location. Further, clever use of Border Symbolism allows you to implement multiple functions within the same location. In summary, the process still applies.
Journey is the physical separator - if you focus on the function, you'll see it.
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Is There Always Transformation?
If nothing changed, you wouldn't have a story.
Transformation IS story. That's what you're doing. You are trying to get your archetypes into a position where they are able to resolve their problems. You're moving them from an Ordinary Self to a New Self and beyond.
In the beginning, archetypes are not ready to resolve problems - they have to go forward and learn, grow, mature, gain capacities etc until they are able to confront and overcome them. You have to move them from a position of Unreadiness to Readyness. For example, in The Godfather (1972), Michael is not initially ready to confront his enemies and the other mafia Families. After the process, he is. All Academy Award winning stories involve transformation.
If you can't detect transformation in a film or story then you just don't know how to spot it. You need to learn to see or to look through another lens. You cannot write a successful story without understanding transformation.
Is There Always A New World / State?
Yes.
The physical New World is a manifestation of the psychological New State.
You canot write a successful story without a New World / State. It's as fundamental as transformation and journey - all are intertwined.
Is It Really A Process? Why Do You View Story As A Process?
First, lets separate out the writing process and the story structure process.
You already engage in creativity management techniques which help your writing process. For example, you may write a certain number of pages a day, you may roadmap your story beforehand or you may use some form of brainstorming technique when you have a problem (at its simplest, posting the problem on a social network).
With regard to story structure, think of it as an evolutionary process - where you start at a beginning state and end at a target state.
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Shouldn't I "Write, Just Write."
While this is useful on some level (as an idea generating tool, unblocking aid etc) there's a lot of mumbo jumbo suspect ideology wrapped up in it. You'll be more effective and successful if you get your head around story structure and then apply "write, just write."
Is There Really Only One Story?
Absolutely. It may sound counter-intuitive, but it's true. Anyone who truly knows story will tell you that there is exactly one theme. Moreover, anyone who truly knows story will tell you that there is only one process.
You need to understand why we, with far superior knowledge, think this way. If you don't get your head around this, you will fail.
I've Heard That There Are Seven Basic Stories or Ten Movie Plots Etc...
These are not root process. They are situational considerations and are usually better classified as drivers.
For example, classifications include rags to riches, tragedy or man vs. machines etc.
Using man vs. machine as an example:
The root structure is the 2000+ stage Hero's Journey / Transformation / New World which guides you from a classic beginning (State of Perfection) through the State of Imperfection and back to the classic ending (State of Perfection). You have to go through new worlds, detach, gain capacities, transform etc. Think of this as an underlying process or a set of hoops you have to jump through in all cases (see story law).
The man vs. machine is the driver and situation - the State of Imperfection is caused by machines taking over the world etc thus resulting in, for example, the Matrix (1999). The State of Perfection is returned to by containing those machines. In order to do so, the Hero/ine must go through the process of going through new worlds, detach, gain capacities etc.
Using rags to riches as an example:
Rags to riches is the driver and situation - the State of Imperfection is caused by low status and poverty and the State of Perfection is returned to by acquiring treasures and status. In order to do so, the Hero/ine must go through the process of going through new worlds, detach, gain capacities etc.
If you are thinking clearly, you will see that multiple classifications often apply (again, indicating that these are not root). For example, the Matrix (1999) is also a rags to riches story (Neo evolves from lowly employee to a leader of the resistance and superman).
The Matrix (1999) is a 2000+ stage Hero's Journey / Transformation / New World at its root with a specific situation superimposed upon it. The 2000+ stage Hero's Journey / Transformation / New World is the root of all successful stories and the various plots are specific situations, drivers and pathways superimposed upon it.
See denominators / principles / lenses or advanced plots.
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Does The Pattern Apply To Ensemble Movies?
Yes. In this case, the functions are distributed amongst the various archetypes. Please watch the video:
No All Stories Can Be Hero's Journey Because Not All Stories Are Myths
This is an example of false logic. And tells us you do not understand hero's journey nor story structure. You need to get your head around the 2000+ stage Hero's Journey / Transformation / New World structure.
It Seems A Too Structured Approach - Not Very Creative
This is similar to the I Don't Like Roadmaps Or Outlines question.
Structure doesn't inhibit creativity - it foster, triggers, enables and enhances it. Structure in no way whatsoever inhibits originality - there is no link between the two.
Please watch the video:
I Don't Like Using Roadmaps or Outlines
This is similar to the Too Structured, Not Very Creative question. Also see Advanced Worksheets and Custom Services.
You have a romantic, charming, innocent view of story. You believe that you sit down with your one great idea and "write just write" and a magical story will naturally unfold. You will use sentences such as, "to me it is like a painting - you just keep adding until you get a masterpiece."
Successful storytelling involves too much precision for the above to be true.
Your method is simply idea generation - once you have material, you will realise that there is a lot more "arranging the puzzle pieces" involved than you would like to admit.
Some find it easier to generate situational ideas with the structural roadmap in mind (generally, a more effective approach). The structural roadmap tells you whether your situational ideas have the required secret sauce, what kind of ideas you need to generate, what functions need to be performed, their order etc.
Others find it easier to generate situational ideas from a blank slate (or using various idea generation techniques - such as searching current or historical news). The structural roadmap is then needed in order to extrapolate / shape those ideas into an effective story (you will need to include certain archetypes, you will need to move into a new world or state, you will need to go through the process of gaining capacities etc).
Roadmaps and outlines are obvious once you appreciate just how much influence structure has on your story.
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How Often Do You Update The Deconstructions On Your Website And Youtube Channel?
The deconstructions on the website and youtube channel are quite basic. If you want an advanced, usable deconstruction that doesn't contain inaccuracies and benefits from the latest insights then place an order at http://www.clickok.co.uk/CustomServices.html#deconstructions. It will be a very direct guide / roadmap to the kind of story you're writing. It's well worth it.
Do Movies Always End With A State Of Perfection?
For a number of reasons, "State of Perfection" is the correct term.
But if you don't like "State of Perfection" then look on it as equilibrium, catharsis, liberation, resolution, Id Containment or similar.
A better answer is this: whether the Superego (Hero) suppresses the Id (Antagonism) or vice versa, that which is sought is always gained. In Million Dollar Baby (Academy Award Winner Best Film 2004), though Maggie becomes disables and wants to be euthanised, "she got what she needed."
Whether we get to an absolute State of Perfection or not is irrelevant - the process around the cycle is always the same.
You also don't want to confuse story functions with a lack of a State of Perfection. For example, in lots of stories with a State of Perfection ending, there is death (which has story function).
Not All Stories Start With A State of Perfection!
The linear beginning is always a State of Perfection. But your story may start further along, once a State of Imperfection has been established (in other words, you may start with the problem instead of showing the problem come into being). The linear beginning / State of Perfection may or may not be referenced. For example, Kramer vs Kramer (Academy Award Winner Best Film 1979) starts with an unhappy Joanne, but she was happy during the first two years of the marriage (referenced in the court sequence).
Can I Change The Pattern? Does The Pattern Evolve?
Modification revolves around trying to see whether the story works if you contract here, expand there, jump a step etc. Some stages are set in stone and others are more malleable (you have to know which is which).
Wholesale modification will result in you writing a poorer story / script. You really need to know what you're doing (have had some successes) before you attempt this.
Commonly, wholesale modification is the result of newbie writers trying to be "innovative." This is the WORST reason. You have to learn the rules before you can decide which ones to break. There's a fine line between innovation and stupidity. Experienced writers thank their lucky stars that they have this structure to work around.
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How Can I Be Original If I Have To Conform To A Structure?
As we keep saying, structure is in no way related to originality. Originality derives from your unique situation, characters, dialogue etc.
To be a successful rebel, you need to think of original situations, characters and dialogue which you superimpose over the 2000+ stage Hero's Journey And Transformation Through A New World / State.
You Say Shakespeare And Dickens Used This Pattern, Hundreds Of Years Ago?
Every successful writer MUST follow certain rules that are to do with what story IS and story law. Try and understand why we think this way.
This Pattern Applies To Fantasy Type Stories, Like Star Wars, Right?
If you view our youtube channel, you'll see that it applies to all story types. If you place an order on our advanced worksheets or custom services page, we'll show you how it applies directly to whatever you wish to write.
This Pattern Applies To Quest Type Stories, Right?
All stories are quests. You're always searching for something. If you place an order on our advanced worksheets or custom services page, we'll show you how it applies directly to whatever you wish to write.
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What's My Biggest Obstacle To Understanding Story Structure And Writing A Successful Screenplay Or Novel?
With respect, most of the questions we get asked are naive and stem from a deep misunderstanding of story. Your own story prejudices and incorrect preconceived ideas which you won't let go of are the biggest obstacles.
Successful writers have a particular mindset - which you are probably working hard to reject. You need a new mindset, which the 2000+ stage Hero's Journey And Transformation Through A New World / State teaches you.
Just Because Many Stories Fit This Pattern Doesn't Mean Every Story Does
You're missing the point we repeatedly keep trying to make. Every successful story follows this pattern because the 2000+ stage Hero's Journey And Transformation Through A New World / State is an expression of what story IS; how story is structured; it is an expression of story law.
I'm Shocked To See That Concept X Isn't Mentioned Here!
For example: I'm shocked to see that theme isn't mentioned here!
If a framework is flawed we won't mention it. Else, it may be referenced in other ways.
For example, theme is better understood in the context of the Six Core Challenges.
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Why This Pattern?
The 2000+ stage Hero's Journey And Transformation Through A New World / State is an expression of story law - there is a process you must go through if you are to write a successful story.
What Do You Mean By Story Law? Why Do I Have To Jump Through Hoops?
To tell a story effectively and successfully, there are certain functions you must perform. The 2000+ stage Hero's Journey And Transformation Through A New World / State is an expression of these laws.
The MOST SUCCESSFUL MOVIES AND BESTSELLING NOVELS DEFINITELY, WITHOUT DOUBT, INDISPUTABLY FOLLOW THIS FRAMEWORK - they ALL take their archetypes on a journey through a New World or State in a RIGID, PROCESS DRIVEN MANNER, where transformation and capacities result in resolution of the initial imperfection (and the result is not unoriginal, as ALL ACADEMY AWARD WINNING BEST FILMS demonstrate). If this is your field, then you MUST understand this pattern.
Please watch the video:
How Does This Apply To A Series Or TV Episodes?
With the Harry Potter series, for example, each story has an antagonism, the process is undergone and that antagonism is finally repressed or destroyed. In the final episode, the most potent antagonism is confronted, repressed or destroyed. Each story follows the same process - you're just passing through the loop many times (which is the nature of all story: repression, liberty and back to repression or liberty, repression and back to liberty).
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How Does This Apply To Sitcoms?
With the Frasier series, for example, each story follows the process. Here, functions are performed within a limited set of locations. The Ordinary State or Problem State or Journey Driver may be expressed in the cafe, New World functions performed in the apartment and kitchen, change demonstrated back at the cafe etc.
Is This A Formula?
It's a pattern which you need to be familiar with and the framework that all successful writers use to extrapolate an idea. It's the structure upon which you lay your situation. You still have to create your worlds and characters.
Must My Story Include An Antagonist?
Have you ever come across a story where the protagonist doesn't rub up against something? No.
Commonly, there is a tangible representation of the original imperfection. In Star Wars (1977), it's Vader et al. In Midnight In Paris (2011), it's the fiance and the future in-laws.
Commonly, the antagonism is a fundamental supernatural aid, which forces the protagonist to pull out that which is within. In The Ides of March (2011), Duffy, Paul, Morris, Molly and Ida all inadvertently help Stephen mature.
Commonly, various versions of the antagonism are encountered, each having potency implications.
I Disagree That This Framework Applies to EVERY Story!
Fine (take our Open Challenge). But if you know anything about story at all, you will know that it applies to the vast majority of successful Hollywood movies and bestselling fiction novels. Simply from that point of view, you need to get your head around it.
You Speak Too Fast In Your Videos / I Don't Understand Terms And References
The videos are there to show you that the movie follows the framework. They become easier to understand and follow once you get your head around the terms and concepts, which means getting your head around the 2000+ stage Hero's Journey And Transformation Through A New World / State. If you're going to spend any time writing screenplays, novels or making movies, this is something you will HAVE to do.
I Don't Like The Cookie Cutter Approach
All Academy Award Winners follow the framework. So you can't accuse it of producing same-shape cookies.
Does This Apply To Short Stories?
Short stories follow the framework too. If you look carefully, you will always see transformation, new states and movement. The stages that are included or excluded depend on how you shake the jar.
Can I Write Screenplays Through Stream Of Consciousness?
Stream of consciousness is good for generating ideas. But not ordering them. You need to understand how successful screenplays are ordered. You need to understand the process of moving through a New World or State, what happens, why you're going there etc.
Same Structure = Same, Boring Stories
All Academy Award Winners follow the framework. So you can't accuse it of producing boring stories.
3/4/5/8/9/22 etc ACTS / Sequences / Beats etc
All these potentially work. They're just methods of sectioning the cycle.
Why Must Every Story Be A Hero's Journey?
Use deductive reasoning. On a simple level:
If there is movement out of an Ordinary State, there must be a New State.
If there is a New State, then there must be a First Threshold.
Etc.
Forget what you THINK you know about hero's journey. Look at it as a series of functions.
Some functions must exist (physical, story laws). Others add to story potency.
Inciting Incident vs Call To Adventure?
Go here and watch the video below:
What Is Hero's Journey?
Most people's concept of Hero's Journey is completely inaccurate. When they hear those words, they think of some altruistic "hero" such as SUPERMAN who goes on a journey, such as VOYAGE OF THE DAWN TREADER and finally ends up making the world a safer place.
Think of Hero's Journey as a large set of functions that are performed as you tell your story. The functions communicate specific messages.
Do that and you take out the "altruistic hero" dimension and see that it applies to all archetypes, be they good or bad, hero or not.
Do that and you take out the male vs female dimension. You see that it is gender independent.
Do that and you see that the functions can be assigned to various archetypes / characters, hence it applies to ensembles.
Do that and you begin to see how it applies to all story types - you are just implementing some or all of a range of functions. Annie Hall (1977) is just as much a hero's journey as Superman (1978). The Hangover (2009) is just as much a hero's journey as Crash (2005).
Do that and you begin to see that it is genre independent. The functions are applied whether you are writing a romcom or a western.
An even better definition is this:
Think of it as a large set of functions, which are performed as your archetypes journey through new worlds and transform themselves and those worlds. It's a problem resolution process.
Misconceptions of the hero's journey abound, which is why you cannot see it in every story - we have added some misconceptions and corrections to a blog here.
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