Writing Inrochester

Many of us dream of dazzling people from the platform or through our prose, and this may be a key source of our motivation to become successful speakers and writers.

But are we served well by these dreams of glory, especially as we initially embark on our careers or dabble in these vocations?

You’ve probably heard the expression that says “Aim for the stars, and even if you don’t make it, you might reach the moon!” And we’ve been taught, even as youngsters, that “The only failure in life is low aim.”

But should writers set their sights super-high?

I’m not sure we should.

Instead, we might aspire to become competent, in the sense of the term, “journeyman journalist.”

A capable craftsperson is someone to be admired, even revered, because he or she has honed what they do to such a degree that its precision becomes art or science or even both.

I’m also concerned about who it is that judges whether we’re “great” or “good” or something else. Is it our readers or the critics?

To what extent did the image of Hemingway the Man affect the perception of the abilities of Hemingway the Writer? Was he overrated?

Take poet Charles Bukowski. Here we have a brawling, once drunken lout who was known more for his antics than for his verse. But he was incredibly prolific, and when I finally got around to reading him, I found he was very talented and fresh.

I don’t think he aspired to greatness at all, more toward self-immolation. But over time, I think he’ll keep getting rediscovered and elevated to higher realms of appreciation.

Keep trying to write well, not perfectly; and greatness just may take care of itself.

Best-selling author of 12 books and more than 1,000 articles, Dr. Gary S. Goodman is considered “The Gold Standard” in negotiation, sales development, customer service, and telephone effectiveness. Top-rated as a speaker, seminar leader, and consultant, his clients extend across the globe and the organizational spectrum, from the Fortune 1000 to small businesses. He can be reached at: mailto:gary@customersatisfaction.com gary@customersatisfaction.com.

Can you remember a story idea you pitched a year ago that resulted in no news coverage of any kind?

If so, how quickly could you respond if a reporter called you today wanting to cover the story? Would you start groping for words, or asking stupid questions like “Who did you say you wanted to interview?” Or would you be ready, on a second’s notice?

Sound ludicrous? Well, it happened to publicist Jill Lublin, who knew how to handle it, and it can happen to you, too.

A few years ago, Jill pitched an idea about one of her clients, a professional speaker, to Meeting Planner magazine. Despite several follow-ups, she never got a response.

“Then one year later–count ‘em–365 days later, I got a call and this reporter said, ‘Yes, we want to do the story, and by the way, tomorrow. Are you ready?’ And of course the answer is yes, you’re always ready when the media calls.”

That’s valuable advice regarding follow-ups. Never assume a story pitch is dead.

Jill, co-author of the book Buerrilla Publicity,” also says:

When following up, remember The Rule of 7. That means you should follow up seven times, using a combination of phone calls and emails, before you stop contacting journalists. But always be ready in case they call you.

Never follow up on routine news releases announcing things like promotions or awards you’ve won, or they’ll view you as a pest. Your efforts are better spent following up on larger stories you have pitched.

When following up, concentrate on benefits. Explain how the idea you are pitching is the solution to a problem–and do it quickly, in fewer than 30 seconds.

When you call or email, don’t say, “Did you get my press release?” or “I’m following up on a call I made two weeks ago.” Jill says: “I typically will say, ‘I sent you some information.’ That’s my code word for press release. What I have found when talking to the media is they hate when you call them up and say, ‘Did you get the press release?’ What they love is for you to talk about the information in terms of how it can be readily used by them, and why they would care. Really. That’s the bottom line. Why would they care?”

When following ups, never, ever ask a reporter to alert you when the story is printed, or to send you a certain number of copies of the story. It’s your job to monitor the publications, then call the circulation department and order however copies you want. Expect to pay for them.

Jill shared dozens more tips for follow-ups during a live teleseminar in 2003 called Failproof Ways to Follow Up After Sending a News Release or Pitch Letter.”

Joan Stewart publishes the free ezine “The Publicity Hound’s Tips of the Week,” which gives you valuable tips on how to generate thousands of dollars in free publicity. Subscribe at PublicityHound.com PublicityHound.com where you can order the tape, CD or trasncript of the teleseminar.

You have your book. You hold it confidently in both hands, taking in the design of the cover and savoring the feel of each page as they slide between your fingers. When you think of all the hard working - the writing, the editing, and arduous search for a publisher - you know this moment is to be treasured. It goes without saying that the prospect of selling the book is both exciting and nerve-wracking.

Yet, if you wish for a publisher to take on another work of yours, you must prove that your current work has selling power. For the new author, this often means taking on the bulk of the marketing, promotion and selling. Booksignings are but one way to bring exposure to your work.

As an author and publisher, I have had to arrange booksignings not only for myself, but for other authors as well. Depending on where you live and whom you contact, arranging an event with a bookstore can be as simple as making a phone call, or it can be like pulling teeth. Some bookstore managers may be more willing than others to allow a new author to set up a booth and peddle signed copies, while others may adhere to strict policies that limit in-store events to larger names. However you go about scheduling a booksigning, you want to be certain that when the day arrives (and well before then, too) you are ready to smile, sell books, and sell yourself.

Here are just a few tips to consider when planning your book event:

1) Confirm early, confirm often! Nothing is more embarrassing than showing up to a book event to discover you have no books. Probably the only thing worse that can happen is arriving at the store to learn your event isn’t even going to happen! Don’t laugh, I′ve seen it happen to authors, and it has happened to me. When you schedule a signing event with a store, take the time to confirm the event with the store manager in the days and weeks before the event.

Don’t book a day three months in advance and assume all will be well, and that a large table with a welcome banner bearing your name will await you as you enter the shop. If you are Stephen King, maybe. If you are Joe Smith, local poet, call ahead and confirm! I personally managed to spare myself the expense of driving twelve hours to my hometown one year for a signing by calling ahead a week before the event. The store where I had reserved my signing had fired their events coordinator, and along with that canceled all events. Good thing I called, because nobody called me to let me know!

Make your plans, then make sure everybody is included in on them. Make sure the store is able to order your book, especially if you are published with a small or POD house. As a rule, you should nonetheless bring spare books with you in the event any store cannot order them.

2) Broadcast, broadcast, broadcast! When you have a date set, make sure everybody knows about it. Don’t depend on the bookstore to heavily promote your event. Most times a store may include notice of signings in newsletters or bulletin board announcements, so you need to take the initiative to let people know about your event. Once I attended a bookstore signing in Maryland and learned the most the shop had done to promote the event was to tape a sheet of paper on their front door, on the day of the event! There had been no advanced promotion, so nobody knew to come.

Call friends and family, post announcements to your website, blog, MySpace, on Craigslist…anywhere of local or regional interest. If your book is relevant to topics that might attract certain groups (say, a book about religion or environment), contact corresponding local groups in the area and let them know. If you write Christian works, call area churches and get the announcement in bulletins. If you write about bird-watching, contact the local chapter of the Audubon Society. Do what you can to bring in warm bodies. Those who don’t buy your book may boost the store’s business, and the manager may be apt to bring you back another time.

3) Create a standout base of operations! You have to compete with an entire bookstore for attention, so you want to be certain your table is eye-catching an attractive. Showcase your book, of course, but it’s always a good idea to have a poster of your cover on hand, something that can be seen from a distance. Depending on the theme of your book, some props will make for nice icebreakers with potential customers. When signing one of my Catholic mysteries, I used to decorate my table with religious icons and rosaries I made myself. Granted, I gave away more rosaries than sold books, but even doing something like that can make an impression.

More than likely you will be at the mercy of the store with regards to where you are placed - once I was shoved with a group of authors to the far back of the store, while people milled out in front and never came our way. If this happens, recruit a spouse, relative or friend to direct traffic. When allowed, have somebody up front distribute flyers or postcards to let people know your are there. If you cannot leave your table, make sure you have help to mill the store and promote you without being too pushy.

4) Offer promotional incentives! People love free things. Why else do you see people at trade shows giving away keychains and candies and knickknacks? People may not make purchases immediately, but when they need an exterminator they may get a number from a refrigerator magnet!

You don’t have to go broke buying promo gifties, but it is a good idea to have some things on hand to give to passersby. Make postcards with your book cover, URL, and book information. Give away candy, engraved matchbooks, keychains, mini-calendars. Create a gift basket filled with goodies relating to your book and collect names and e-mail addresses for a drawing. It draws attention to your table, AND you have a means to create an opt-in mailing list for future readers.

5) Be engaging! I can’t tell you how many times I have seen authors slumped at table, twiddling with their pens and looking bored. That’s no way to sell books. Granted, I’ve attended functions where people will blatantly crab-walk around your table to avoid confrontation, as though authors are carnival barkers trying to lure them into a scam. Truth be told, we’re not all like that, and oftentimes we are grateful for a smile and a hello.

Regardless of the event atmosphere, be engaging and friendly. Make eye contact as often as possible with passersby, and give the impression that this is not a hard sell. Break the ice with a word or two about your book, bring along a notebook and let people know you′re writing the sequel write there. Stand up and walk around the booth, ask people if they are interested in the book’s topic. Don’t be pushy, but do hand out cards when you can. Somebody who may not buy now may do so later, so give them a reminder in a business card or postcard.

6) Always smile…even when you don’t want to (and you won’t want to)! Ultimately, somebody is going to say something rude, whether intentionally or not. In my tenure as author and publisher I have had to deal with sniggering teenagers, uptight dowagers, and just plain jerks. Whether the ill will is borne of jealousy (I wrote a book and they didn′t or couldn′t) or ignorance (I haven′t been on Oprah so my book must stink) I can′t say. But, whatever flies in your face, combat it with a smile.

The saying is true: you attract more flies with sugar than salt. To let down your guard when you are rubbed the wrong way can have some disastrous effects on your promotional efforts. For one, you’re in public, so people will see your hands wrapped around the customer’s throat. That’s a good way to be banned for life from any bookstore. It’s not happened to me, thankfully, as I usually keep a good amount of candy at the table to ease the pain.

When people smile, smile back. When people scowl, smile back. When people ask why you haven’t been on Oprah, smile back and say you turned her down. That might get a double-take and a chink through their defenses, whereby you can follow up with why you′re book is so damn great.

Above all us, have fun at your event. Whether you sell one book or a hundred, that you are able to schedule a booksigning when so many other authors are still trying to get published is a grand feat. Enjoy the moment, and get ready for the next one.

Kathryn Lively is the publisher of Phaze,

You′ve heard it time and time again: if you want to get your name out there, write articles and allow them to be freely reproduced (with a resource box pointing back to you, of course). Largely, that is true. Well-written articles can:

- help you build your profile as an expert

- draw traffic to your website, and

- help you to build a database of potential clients through associated e-courses or a newsletter.

So far you probably haven’t heard anything you didn’t already know. What YOU are likely to be struggling with is the process of actually writing the article. Sure, you can come up with the content - but how do you really grab those readers? How do you keep their attention all the way through? And most importantly, how do you make them want to come back for more?

Let’s assume that you understand the basics of constructing and editing an article (it has a beginning, middle, and an end and you know how to check the grammar and spelling.) Most of us can manage that. But if you’re not content with simply “getting something out there” - if you want to WIN readers - then you need to start thinking about what they want to know, rather than what you want to tell them.

Put your readers first - every time. Give them what they want, and they’ll be queuing up to read anything you produce. Give them something bland (or worse, blatantly self-serving) and they’ll blast by you so fast you’ll be spinning in the back draft.

The following four steps will give you a blueprint for writing articles that captivate your readers - whatever the topic.

== 1. Find Out What Your Readers Really Want ==

Sometimes you′ll know what they want because you′re an expert in the field, and understand the problems. If you don’t know the subject area well, you′ll have to do more research. Look for forums on your topic and see what people are discussing. What are the problems that need solving? Can you provide an answer? (”If they have a headache, give them an aspirin.”)

== 2. Start With An Attention-Grabber ==

Spend time working on your opening. Try to avoid trite questions like “Have you ever wondered why so many people find it difficult to lose weight?” Firstly, it’s dull. Secondly, it’s not targeting the person reading the article - what do they care about the difficulties “many people” have with losing weight? They only care about THEIR weight problem!

Try to come up with an opening paragraph that gives the reader that warm “Hey, this is about me!” feeling right away. Better still; try to generate a rush of excitement - “This could be the answer I’ve been looking for…”

Example: “The diet gurus make it all sound so easy: to lose weight, all you have to do is expend more energy than you take in. Huh! If it were that simple, the “Big People” stores would be out of business in a heartbeat. Luckily for those of us who are tired of diets, gyms and dull group meetings, there is a back-to-basics way to tackle this. A way that won’t cost you a fortune or leave you feeling deprived.”

== 3. Write As You Speak… Then Edit! ==

The sample opening above also illustrates the importance of the tone you use in your article. You need ‘meat’ in each article, of course, to make it worth reading - but make sure it’s not indigestible!

You’re better off writing your article in a natural, relaxed style that’s akin to normal conversation. It doesn’t matter if the first draft is a little too informal - you can fix that when you edit. Naturally you don’t want to irritate your readers with a too-breezy style, but too-formal is worse. Readers may want facts, tips, and strategies, but they hope to be entertained, too! Let your personality shine through.

== 4. End On A High ==

What’s one of the biggest problems with most articles? They fizzle out! Writers often don′t know how to end on an upbeat note. They either just stop dead or they come up with a trite ending like: “So what are you waiting for? Get started today!”

The beginning and the end of your article are the two parts that make the biggest impression. Start by creating a feeling of anticipation… and leave them feeling satisfied (or excited) when you finish.

If you are offering advice to help them solve a problem (like obesity) gives your readers a reason to feel optimistic and good about them. Don′t make rash promises… but do offer hope. If you are giving hints on marketing or business, sum up the benefits of acting on your tips. You can also experiment with using a pithy/humorous quote, or giving readers a specific action to get them started. Be creative - and don′t rush it.

Here’s a final tip: create an article-writing cheat-sheet for yourself. Divide it into beginnings/middles/ends and add more useful strategies as you think of them. (For example, using the tips in this article, you might write: ENDINGS - end on a high, offer hope, use funny quote, suggest action to get started.)

Do this, and you’ll be steadily cranking out articles that everyone wants to publish!

Hans Hasselfors is a successful business entrepreneur and internet marketing consultant. Get the net working for you. Join a community of like-minded entrepreneurs and make your living online. Become a member of The Business Professional network. internet-marketing-experts-online.com internet-marketing-experts-online.com

[From our deconstruction of hundreds of Hollywood blockbusters and sitcoms (see below for the URL of our Home Page) and our isolation and identification of more than 188 stages of the Hero's Journey that you need to know about...]

The Hero’s Journey is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. In fact, ALL of the Hollywood movies we have deconstructed are based on this template.

Understanding this template is a priority for story or screenwriters.

The 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 simply three or four acts, plot points, mid point and so on.

c) Interpreted metaphorically, laterally and symbolically, allows an infinite number of varied stories to be created.

and more…

Situational and Structural Storytelling

It’s important to get away from this idea that all stories are different.

On a situational level all stories are. For example, Gladiator (2000), Alien (1979) and The Godfather (1972) all are situationally very different.

But on a structural and subconscious level, they’re all the same.

And I don′t mean basic structure, like three act structure. Of course they have a beginning, middle and end. And I don′t mean plot point wise either, in the sense of Plot Point 1 and 2, Midpoint etc.

I mean, sequence by sequence, the vast majority of successful stories [we haven't found one that doesn't] follow the same process that pushes the Hero and Major Characters through the process of Transformation and Challenge Resolution.

WRITE THAT SCREENPLAY!

Learn more…

The Complete 188 stage Hero’s Journey and other story structure templates can be found at clickok.co.uk/ clickok.co.uk/

Managing Creativity and Innovation and related techniques and tools can be found at managing-creativity.com/ managing-creativity.com/

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop, MBA

**********************************

You are free to reproduce this article as long as no changes are made, the author’s name is retained and the link to our site URL remains active.

For 188 stages of the Hero’s Journey, successful story deconstructions and the Advanced Screenwriting Worksheets goto

Too many new authors believe that once their book is
written the sales will just come pouring in and they will
make a bundle. Sadly, this disillusionment is shattered
when they receive a royalty check. The honest to goodness
truth of the matter is that the writer’s work is only started
when the book is released. Even the huge author names of
today began by peddling their books out of the back of their
car. Many big-name authors also began by self-publishing
because no one recognized their talent. They did not start off
their career with a huge bang. They did not have the money
to afford publicists and big marketing firms when they
started out and yet they are super successful now. Take
heart from their examples.

Marketing, promoting and networking must be done every
single day, for the life of the book, in balance with your other
activities and obligations.

Many new authors feel their only way to success is through
book signings and bookstores stocking their book. They are
wrong. While in larger centers with good promotion a book
signing event or book reading event may result in as much
as a couple hundred one-time sales… most smaller venues
can only expect less than 10 sales. Is this worth the 2 hours
or more that you spend at the event? Not counting all the
preperation, marketing the event, promotion materials, time
taken from work and any displays that you have designed
and possibly paid for ahead of time. These events do not
pay authors to host an event so any sales they do have may
not even cover the traveling costs, hotel cost, meals, parking
or supplies - let alone the time they put into it. Nor do they
usually result in long-term sales - sales are often only
during the few days around the event.

Bookstores can only realistically stock less than 1% of the 3
million books available on the market. Their discount with
the publisher/distributor is large. Authors are paid royalties
only on what their publisher has recieved. So is all the time
and effort going into attaining spots on bookstore shelves
worth it?

While the markets above are valuable and important to any
author - what authors need to do is think outside the box.
Figure out where your efforts will bring the greatest results.
Don’t expect immediate and overwhelming acceptance by
the media or your audience. Marketing, networking and
promoting are long-term efforts that will reap greater
rewards as efforts continue.

Many authors live in tiny towns and hold down jobs or have
physical limitations that prevent out-of-town promotions;
much like ourselves. This can be overcome. Again, think
outside the box, use the Internet and your contacts - and be
persistant. Newspapers, libraries, and bookstores are only
the most obvious markets and also are the most difficult to
gain the attention of without a strong image because
everyone is vying for their attention. Work on your image and
get strong promotion materials that help you stand out
among the hundred thousand or more new books released
annually.

So develop a long-term marketing plan and stick with it for
the full term of your contract with the publisher. The market
plan will grow and change as time goes on. And keep good
records so you can determine how you will go about
marketing the next book.

I just wanted to mention here that some authors get
overwhelmed by the immense amount of effort it takes to
market a book. If we take one day, one step at a time we will
find it is not so overwhelming. I find it works best to figure
out what you will concentrate on this week and then set a
goal for today. I do this nearly every day. It helps me keep a
steady pace going, without taking on too much or too little.

Remember too, that efforts you are making today may not
reap immediate results. You may have to hit a market
several times before they pick up your proposal. For
instance, some contacts from nearly a year ago are now
resulting in promotions in their publications. So be patient
and professional in all that you do. Again, keep records so
that you can follow up.

Newsletters can be small but effective markets for your
work. On average, they can range in size from 1000-17,000
readers or more. E-zines typically reach an audience larger
than 5000. Get a few of them in one month and you are
reaching a wide audience! You don’t need to be rich or
famous or have a publicist if you are determined and able to
committ effort every single day. (Do take some time for
yourself, though!)

Lillian Brummet, Book Reviewer, Co-author of the book
Trash Talk (a guide for individuals concerned about their
environmental impact), Author of Towards Understanding (a
collection of poetry). sunshinecable.com/~drumit sunshinecable.com/~drumit

It’s a well-known fact that to make a successful website and keep it prospering you need fresh and original content, preferably on a daily basis.

The phrase “content is king” was not coined without good reason.
Search engines, such as Google, Yahoo, MSN and the many others now available online are always seeking out new content websites to add to their search results, as they have realised that this new content is what their website search visitors are looking for.

It goes without saying that if you are able to write articles to supply this fresh content demand to websites then you are a person with powerful skills and your articles will be sought after by hundreds, if not thousands of website and ezine owners.

Having written your article it is then that you need to submit your document to the best platform available so that as many people can read it as possible.

This is where the article directory comes to the forefront and gives you the greatest benefit of all publishing methods.
Article directories are member based websites ideally set up for the article writer and website owner to work together with a mutual benefit.

The website or ezine owner gets fresh content to publish and the writer gets an instant audience for their work.
What you should remember is that different article directories will have different members and each one will give you different opportunities to get your article published.

With this in mind then it would naturally follow that if as a writer you submit your article to as many article directories as possible, then you dramatically increase your opportunity of publication on so many more websites.

And as each article you write will have a resource box, in effect where you place your details and advertisement, then each in turn will be giving you a unique back link to your own website.

These links will provide your website with free visitors and will make sure that your business has every chance to be successful.

Copywrite 2005 Terry Till

Have your articles published in ArticleBliss.com
A new article directory to provide fresh website content for website and ezine owners.

articlebliss.com articlebliss.com

Webmasters: You may reprint or use this article for your website or ezines, providing you use the full copy without amendments and leave all the links and resource box intact.

From our deconstruction of hundreds of Hollywood blockbusters at www.clickok.co.uk/

The Hero’s Journey is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. In fact, ALL of the Hollywood movies we have deconstructed are based on this template.

Understanding this template is a priority for story or screenwriters.

The 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 simply three or four acts, plot points, mid point and so on.

c) Interpreted metaphorically, laterally and symbolically, allows an infinite number of varied stories to be created.

and more…

Sample Movie Deconstructed: Incredibles (2004) deconstructed

Introduce Hero, Romantic Challenge and Loyal Ally (Bob [Mr Incredible], Helen [Elastigirl] and Lucius [Frozone]).

Hero in Ordinary World: being a superhero, saving the cat, “I got time,” hero′s capabilities etc.

Introduce Antagonist: we meet Buddy [Syndrome] as a boy. Antagonist’s back story.

Develop Hero and his Romantic Challenge: Bob with Helen on the rooftop.

Antagonist Motivated: Bob rejects Buddy.

Going on a Journey: Bob and Helen get married; their challenges made explicit.

Foreshadow of the Journey: Bob tempts fate; “we’re superheroes, what could happen?”

Call to Adventure: all superheroes retired.

Refusal of the Call: Bob resists “retirement.”

Hero pulled into the Journey: the situation is out of Bob’s control.

First Threshold: Bob as an insurance agent.

This World is diametrically opposite to the Ordinary World Bob has just come from: Insurance office is grey and grim.

Hero and his Romantic Challenge developed: Bob and Helen’s relationship developed while she’s giving the baby a bath.

Hero’s True Nature revealed: under pressure, Bob helps the old lady.

Introduce Interdictor: we meet Bob’s boss.

Introduce Ally and Inner Challenge: we meet Dash and his desire to reach his potential but is held back.

Introduce Ally and Inner Challenge: we meet Violet and her self-conscious apprehension tangibly illustrated by her reaction to the boy.

Hero Frustrated: Bob restrained in his car; trashes the car.

Inner Cave: everyone around the dinner table; challenges and conflicts developed

Foreshadow of the Journey: Bob reads the paper; old superheroes gone missing.

Physical Separation: Lucius arrives and Bob drags him off dead of night; haste; deception.

Reminiscing: Bob and Lucius discuss Old Times.

Foreshadow of the Journey: Mirage watches….

Warnings against the adventure: Lucius warns Bob that they shouldn’t be playing superheroes.

Pushed into the adventure: Bob and Lucius play superheroes save innocents from the fire.

Challenges Developed: Bob arrives home and is admonished by Helen conflict between Hawks and Doves: Helen, Dash, Violet join in the argument…; capabilities of allies developed: we see their superpowers in action.

Interdiction: Bob’s boss warns him not to react to the mugging.

Consciously breaking the Interdiction: Bob punches his boss.

Pulled back: Bob admonished by the government boss.

Expectations: the little boy expects action.

Herald’s Call: Bob gets Mirage’s message.

Pulled Back: Helen yells “it’s time for dinner, honey.”

Yearning for the adventure: Bob in his room alone, at night

Pulled Back: Helen appreciates that Bob sticks to his frustrating job.

Enacting a Deception: Bob lies to Helen – he’s going to a conference.

Hero consciously says “yes” to the journey: Bob phones Mirage.

Meeting an Ally / Shape Shifter: Bob meets Mirage.

Hero travels to the World of the Transformation and Trial 1: Bob travels to Syndrome’s World and the Learning Robot.

World of Trial: Polar Opposite to that from which the Hero came.

Trial 1 occurs in the “depths of the psyche:” Bob travels “down.”

Trial 1: Initially the hero is unfit and finds it difficult; Bob loses.

Trial 1: Inner Strength pulls the Hero through: Bob finally wins.

Antagonist surprised by the Hero’s overcoming of the First Trial. Sets another: Syndrome watching and triggers next phase…

Foreshadow of the Seizing of the Sword: Bob spots the entrance to Syndrome’s control centre; “the host” is talking to Mirage.

Antagonist and Shape Shifter relationship developed celebrating the passing of the First Trial; dinner.

Trial 2 and Time Stretch: Bob trains up and gets fit again.

Threshold Guardian; the Meeting with the Supernatural Aid and Losing the Old Self: Bob travels to meet Edna.

Receiving of Magical Aids: Edna gives Bob a new super suit.

Foreshadow of the Adventure for Allies and Discovery of the Deception: Helen listens into the phone call with Mirage and suspects.

Journey to Trial 3: Bob travels back to Syndrome Land.

Recognising a Changing Hero: Mirage notices the new suit.

Allies Pulled In: Helen finds the old super suit.

Others recognise the Hero has transformed: Bob now wears a new suit

Entering the World of the Sword: Bob enters Syndrome’s World again…waterfalls etc

Allies Pulled In: Helen contacts Edna.

Trial 3 and Near Death Experience: Bob battles the souped up machine and Syndrome reveals himself; Bob forced into the underwater cave and hunted.

Allies meet Mentor / Supernatural Aid and receive Magical Aids: Helen meets Edna and gets the super suits.

Journey to the Sword: Bob successfully enters Syndrome’s Control Centre.

Apotheosis (Allies): Helen finds out Bob has been lying.

Seizing the Sword: Bob enters the control centre.

Mentor pushes Allies into the Journey: Edna pushes Helen to go.

Inner Chamber: Bob finds out who killed the other superheroes and Syndrome’s plans.

Allies persuaded to Travel; Preparing for the Seizing of the Sword: Helen et al prepare.

Rebirth through Death: Bob faces Syndrome; Helen, Violet and Dash gets shot down and fall into the sea.

Apotheosis (Shape Shifter):Syndrome gambles with Mirage’s life.

Separation: the children given permission to use their super powers and left to fend for themselves.

Journey and conflict to the Atonement (Bob and Helen): Helen gets caught between the sliding doors.

Journey to the Atonement (the children): Dash and Violet realise the value of their powers; save themselves from the rocket fire.

Antagonist’s plan proceeds: Syndrome sends the robot to a major city.

Atonement with the Father (the children): Dash and Violet learn to use their powers.

Atonement with the Father: Helen rescues Bob.

Apotheosis: Bob realises Helen is the perfect woman.

Apotheosis (the children): Dash realises he can walk on water and Violet is effective as invisible woman.

Ultimate Boon: Synergy: The Incredible family fight as a single unit, together, against a common foe.

Refusal of the Return: Syndrome captures the whole family.

Antagonist reveals himself: Syndrome reveals his motivations, crimes, plans, etc.

Time Pressure: Syndrome’s plan initiates.

Magic Flight: The incredible escape.

Rescue from Without: Mirage helps them escape; Lucius looks for his super suit.

Time Pressure: Syndrome’s robot loses control.

Crossing the Return Threshold: The Incredibles fly to where the robot is; Helen gives orders on the freeway Bob tells Helen he cannot live without her.

Master of the Two Worlds: Bob et al defeat the robot.

Catharsis: Physical expressions of joy.

Final Catharsis: Bob defeats Syndrome.

Freedom to Live: at the game Dash controls his speed; Violet gets a date they’re a family; they’ll return to being superheroes (the arrival of the underminer).

Learn more…

The Complete 188 stage Hero’s Journey and other story structure templates can be found at clickok.co.uk/ clickok.co.uk/

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop

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You are free to reproduce this article as long as no changes are made and the author’s name and site URL are retained.

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 clickok.co.uk/ clickok.co.uk/

You’re a bright, dynamic executive. You’ve been scheduled to give a major company presentation. You’re sitting in the audience waiting your turn to speak. You hear your name and start walking stiffly to the lectern.

Suddenly you’re all alone and everyone is looking at you. You’re racked with symptoms of tension: Your hands are clammy, your knees feel wobbly, and your heart is pounding. You’ve developed a strange shortness of breath and your breakfast is staging an uprising. “If I can just get started,” you tell yourself, “everything will be fine.” So you open your mouth – and out comes a sound that is a cross between a squeaking balloon and a bad cough.

Twenty minutes later, you heave a sigh of relief and say weakly “Well, that’s it I guess,” and stagger back to your seat. It’s over. It’s all a blank. You have no sense of satisfaction from a job well done. And you tell yourself you’ll never go through such a shattering experience again.

Take heart, for you have plenty of company. Public speaking can be a terrifying experience, and few have the training and confidence required to overcome the symptoms of fear.

I work with managers and executives who want to be better public speakers. For almost everyone a key to their success means redirecting tension and nervousness into useful and productive energy the way actors do.

CHANGE YOUR ATTITUDE

· Don’t think about negative speaking experiences from your past. Instead, fantasize success. Imagine yourself speaking well.

· Don’t worry about how you’re coming across, or about whether they’ll like you. Know that you have an important message to give. Your audience will pick up on your enthusiasm and will be rooting for you.

· Accept that what you are feeling happens to everyone. After the first minute the worst of your symptoms will be over.

· Eliminate “all or nothing” thinking. “If I’m not perfect, I’ve blown it.”

· Think of public speaking as “enlarged conversation”.

· Get things in perspective. “What’s the worst that can happen?” “Ten years from now who will remember this?” “I deserve to be here. I’m an expert on this subject.”

· Recognize that people don’t listen well anyway. 48 hours from now they’ll only remember 25% of what you said.

DEVELOP “PUBLIC SOLITUDE”

· This is an acting term that means you have rehearsed your talk so well, that nothing can break your concentration. When you know your talk well, you don’t have to worry about what you’re going to say next. You’re on automatic pilot.

· Keep concentrating and keep going no matter what. The rule of improvisation means that no one will know you’ve made an error unless you stop and point it out.

BREATHE

· Another actor’s technique can help you avoid shortness of breath and a shaky voice. Most people when nervous hold their breath, but oxygen is the fuel for your voice. So take four long, slow deep breaths before you speak.

· During your talk, pause and take another deep breath whenever you feel shaky.

· For an extra long sentence take a quick inhale in the middle. You will end your though without your voice trailing off.

WARM UP BEFORE YOU SPEAK

· Physical movement releases nervous energy. Take a short walk before your speak. While walking recite the first minute of your speech a few times so that your voice is warmed up as well.

· Get in the room early and practice walking up to the lectern. Look out at the room until you own it.

· Roll your shoulders and lift them up to your ears

· Shake your hands until they tingle, then swing them vigorously

Try these tips and turn your fear into the joy of speaking and connecting with an audience.

© Roberta Prescott

Roberta Prescott heads The Prescott Group, a communication firm specializing in Executive Development. Visit our web site at theprescottgroup.com theprescottgroup.com for more information on speaking seminars and executive coaching.

FORWARD

The 188 stage Hero’s Journey (Monomyth) is the template upon which the vast majority of successful 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.

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

[The terminology is most often metaphoric and applies to all successful 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 Apocaplyse 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 simply three or four acts, plot points, mid point and so on.

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharses, of which there are usually 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 heros-journey.info/ heros-journey.info/ for full details)

*****Secondary Character Challenges*****

It is common for major characters other than the Hero to have their own challenges (usually one or two, but definitely not four). For example, In Gladiator (Academy Award Winner Best Film, 2000), Proximo and Lucilla both have their own demons to overcome.

Archetypes that commonly have their own challenges to resolve include the Shape Shifter, Mentor (also known as the Supernatural Aid) and Romantic Challenge. Secondary Character Challenges are the basis of the sub-plot.

*****Confidence of the Antagonist*****

Post the Crossing of the Return Threshold and before the Master of Two Worlds and Selves, a hell of a lot happens that is rarely given mention. The Final Conflict (a metaphor for this stage) follows a distinct process. One element of the early stage of this part of the hero’s journey is the supreme confidence of the antagonist. In Straw Dogs (1971), Chawsey, Charlie and Ratman are playing on their bikes.

*****Push out of the first Near Death Experience*****

The Hero′s Journey often contains more than one Near Death Experience - each is designed to incrementally push the Hero through a Rebirth. Also, Pushes and Pulls are an underestimated part of storytelling - they push or pull the Hero from one stage and state to another. In Bonnie and Clyde (1967), Bonnie and Clyde steal the car and run.

*****Pushed out of the Cave*****

Pushes and Pulls are an underrated aspect of storytelling. Pushes and Pulls force the Hero et al from one stage of the journey to the next.

The Hero et al are pushed or pulled out of the Cave. In Dances with Wolves (1990), John Dunbar is pulled out of his solitary life in Fort Hayes by the arrival of the Indians. In Bonnie and Clyde (1967), both protagonists go on the run because they′ve killed someone.

Learn more…

WRITE THAT SCREENPLAY!

The Complete 188 stage Hero’s Journey and other story structure templates can be found at monomyth.info/ monomyth.info/

188 stages of the Hero’s Journey can also be reached from story-structure.org/ story-structure.org/

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop, MBA

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You are free to reproduce this article as long as no changes are made, the author’s name is retained and the link to our site URL remains active.