188+ Stage Hero’s Journey (Monomyth) Romantic Challenge

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)

*****Hero and Romantic Challenge’s True Nature*****

Some expression of the Exterior World is often made explicit. In Bonnie and Clyde (1967), the family arrive to look at their old house - the bank took their place. Clyde gives the old man the gun and they shoot the house and bank sign.

*****Backstory*****

Previous to the Journey to the First Threshold, some backstory is not uncommon. In Brokeback Mountain (2005), Jack and Ennis talk in the bar.

Learn more…

WRITE THAT SCREENPLAY!

The Complete 188 stage Hero’s Journey and other story structure templates can be found at screenplay-structure.com/ screenplay-structure.com/ or herostransformation.com/ herostransformation.com/

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

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.

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Kal Bishop, MBA

Tips On Proofreading To Improve Your Career

Proofreading is a career which many people are looking to get into, but often the knowledge of what to do, when to do it, and especially how to do it is hard to come by. For that reason, there are many things that are important to know in order to succeed, as the career path is not simple at all. It is important to have as much information as possible to put you ahead of others in the game! Here are some tips of proofreading here that will help anyone.

Proofreading may seem simple, but the you must be able to read well and also be able to spot spelling mistakes. Simple mistakes can ruin the copy. There are certain words that are often misspelled. Others are typing errors. Some individuals can flip flop word order or even make really grammatical errors. Here are some other common problems to look for.

* Sentence structure is often a problem. Make sure that the proper wording is used to convey the point being made.

* Punctuation errors, especially the use of commas, colons, and semi colons, are often made.

* Look for grammatical errors such as writing the word in the wrong tense or confusing words such as then and than.

The freelance proof reader needs to ensure that the work they present is of the best quality. One of the most important tips we can suggest is to make sure the proof reader is trained. Certifications are often necessary to make sure the freelancer has the information, training, and common sense that is needed to effectively do proof reading. They also must stay up to date on new terminology that is relevant online.

Through using proof reading worksheets, practice can be obtained.

Through knowledge of primary resources, they can double check their work before presenting it.

All of these aspects are important to know and use when learning to be a proof reader.

Visit FreelanceWritingResource.com FreelanceWritingResource.com for more Articles, Resources, News and Advice about FreelanceWritingResource.com Freelance Proofreading Jobs.

Copyright © FreelanceWritingResource.com. All rights reserved. This article may be reprinted in full so long as the resource box and the live links are included intact.

How To Write a Good Poem

What constitutes good poetry differs from person to person, and what one reader might enjoy, another will not. Judging a good poem is very subjective. Basically, this means there is no way to truly determine what ‘good’ poetry is, but there is a way to tell if poetry is ‘bad.’Poetry, more than any other type of writing, is usually very personal or emotional. Because of this, readers will like poetry with which they can feel a personal or emotional connection and probably won′t like poetry with which they cannot connect. Just because someone can′t relate to the emotion of a poem doesn′t mean the poem is bad, and just because some can relate to a poem doesn′t necessarily mean it is good. Like I said, it’s very subjective.

The first thing you most know about poetry is that there is no set of ‘rules’ for poetry. While there are some guidelines for certain types of poetry, such as a haiku (which is written in seventeen-syllable verse form, arranged in three lines of five, seven and five syllables), most poetry tends to be free verse. Some of it rhymes and some of it doesn′t, and that’s okay!

When writing poetry, avoid using all caps or toggling between upper and lower case. This does nothing to appeal to the reader and actually detracts from the visual imagery your words are supposed to convey.

Using phrases such as “Undying love” or “I love you more than words can say″ are cliché, and honestly, unoriginal. We’ve heard these tired lines over and over. Plus, there’s nothing worse than reading “I love you more than words can say…” but then to go on and read three pages of a poem where words are saying how much love is there. If words can’t express love, then why write the poem in the first place?

Avoid over and under use of punctuation. I have seen a lot of poems that have no punctuation at all, which makes it difficult to read and pause while reading. I’ve also seen poetry that has an over-abundance of punctuation, which causes the poetry to be choppy and hard to read it with any type of flow.

Don’t misspell words. Edit your poetry, proof it, read it out loud like your reader would read it, not like you think you have written it. Poor spelling or misuse of words will detract from the emotion of your poetry.

When writing poetry, esoteric poetry is great, as long as the reader can get a sense of what you mean or can connect and find a meaning all their own. A poem that makes no sense and leaves the reader wondering, “What was that about?” is truly not good poetry. The reader doesn’t have to understand it from your point of view, but they need to be able to feel something or understand it from their point of view.

Fresh imagery, visual imagery, or emotive conveyance - you want your reader to see something they have never seen when reading other poetry. You want your reader to be able to visualize your poem, in full living color - see it, feel it, or even for the moment to live it, and you want to do it in a way that others have not done it many times before. Poetry that fails to do this is simply not good poetry.

Take a look at how the poem looks on the page. Are there some lines that linger out longer than others? Does it look choppy or have a weird flow to the lines of the poem? In fiction or non fiction writing, how the words appear on the page is pretty much standard, but in poetry, how the lines flow, the ’shape’ of the poem is sometimes as important as the poem itself.

Think about how the words flow, the meter and rhythm of the cadence. Does it have a beat, a pulse, a pattern? It’s not required, but when you read it, does it flow well? Read your poem out loud and see if your voice rises and falls naturally with a good ebb and flow.

Good poetry does not have to rhyme, however, if you do rhyme your words, don’t stretch too far to try to make them rhyme. For example, if one would have to change the standard pronunciation of a word in order to make it rhyme, this is not good poetry - with the exception of humor poetry, which sometimes forces rhyming as part of the very humor of the poem itself.

Use the proper words and meanings. Just because a word sounds interesting or rhymes with another word, that doesn′t mean it’s okay to use it if the meaning of the word doesn′t fit with what is being said. After all, poetry is more about the meaning than about the reading of it - a word may sound good, but if the poem makes no sense, who cares? Get yourself a good synonym finder online or a good thesaurus and look up interesting or even archaic words that mean what you want to say, but never throw a word in there just because it sounds good if the meaning is skewed. Again, humor poetry is an exception, and sometimes using words intentionally incorrectly might be the point of the poem if it is meant to be humorous. I adore ‘play on words′ poetry.

Human beings like twists. We don’t always want to know what is going to happen next. Poetry is a story in verse form, and it should have a ‘plot’ of some sort that we can see. Use irony, metaphors, analogies - tell us a story, and let us be sucked into it. Make your poem a condensed short story and give us a good ending to our short word journey.

Okay, after all I’ve said, this one will seem to contradict - emotion isn’t enough! I know, I have said over and over to be emotive and make us feel something, but truth is, your raw emotion is not something with which I can connect. Write your poem based in and infused in your emotion, but do it in such a way that I can feel that emotion too.

Oscar Wilde once said, “All bad poetry springs from genuine feeling.”

Emotion is good, but poetry needs words to convey the emotion, and you should choose the words and the meter and style that fits the emotion you want to convey to the reader of your poem.

Emotion isn’t only sorrow or love or grief… happiness and elation are emotions too. Humor is a great way to convey emotions to the readers of your poetry. When you are stuck on a poem, try taking a break and write about an opposite emotion instead - be silly, be funny, and the person who reads your poem can have an emotional connection to that too. Good poetry doesn’t have to be esoteric and morose.

In the end, good poetry is the poem that makes you feel something… it will make you think, respond emotionally, laugh, cry, get angry - but FEEL something. If a poem fails to evoke emotion in a reader, then it is a bad poem. If a poem cannot be understood or the reader cannot connect to it in some way, then it is a bad poem.

And lastly, don’t write poetry just for yourself. Some of the best poems ever written were written by the poet for someone else. Learn to write for you as well as for other people who will read your poetry. Spark emotion in them, make them laugh, smile, cry or scream - and if you do, that is how you know you have written a good poem.

Michelle L Devon is an award winning and published poet as well as a professional freelance editor. You can see a sample of her poetry prowess by picking up a copy of the book, In a Perfect World, a Series on Lost Love and Redemption, sold nationwide in fine book stores or from online retailers such as Amazon.com. For more information about Ms. Devon’s writing, you can visit her author’s site at MichelleLDevon.com MichelleLDevon.com

Use Grammar as a Marketing Weapon

If you’re like me, you’re not writing that ad, Web page, or radio script to make your English teacher proud. You’re writing to sell.

If you get an “A” while you’re at it, great. But don’t count on it. To get prospects to click, call, or buy, you’ll need to take some liberties with the English language.

As direct-response legend Herschell Gordon Lewis so aptly said, “Grammar is our weapon, not our god.”

Although copywriting requires a different approach than Strunk and White would advocate, don’t burn your grammar books just yet. It’s important to know the rules before you break them.

Following are some rules to keep and some rules to bend or break. But first an important principle.

Clarity

Next time you face a grammar grappler, ask yourself this question: Which word construction will be clearer to the prospect or customer?

Clarity comes first because it’s the prescription for fast comprehension. Copywriting that blurs meaning (which sometimes includes grammatically perfect writing) slows reading and jeopardizes interest — and sales.

WARNING: This isn’t license to play havoc with the English language. Literacy must prevail. Following are some rules to keep.

Rules to Keep

Subject and verb agreement. Whether you’re writing an infomercial or War and Peace, singular subjects take singular verbs and plural subjects take plural verbs. Always. A simple rule, execution is sometimes problematic. The key is to clearly identify the subject of the sentence.

The active voice. If you want your copywriting to have maximum punch, use the active voice at every opportunity. Active voice: I wrote the sentence. Passive voice: The sentence was written by me.

Use of Modifiers. Modifiers can cause a variety of problems. There are the questions of which and how many modifiers to use. Again, let clarity be your guide. Also, poor placement of modifiers results in confusion, your enemy. To make comprehension easy, put modifiers near the words they’re modifying.

Rules to Bend or Break

The Adventures of Huckleberry Finn by Mark Twain ushered in a new era in American literature. One of the main reasons was Twain’s use of vernacular. He wrote the way people talked, a departure from the stiff, formal English common during the Victorian period.

For copywriters, writing the way people talk is absolutely essential.

Why? Because copy that is friendly, informal and conversational stands a better chance of getting prospects to click, call or buy. Which is exactly why sacrificing the following conventions can be in the copywriter’s best interest.

Ending sentences with a preposition. To some a no-no, ending a sentence with a preposition can warm up your copywriting. Which sounds friendlier to you: “Here is the information you requested” or “Here is the information you asked for”?

Beginning sentences with a conjunction. Beginning sentences with conjunctions (and, or, but, nor) is more common, even in journalism. Not only is it the way people talk, it can shorten sentence length, a plus in delivering sales messages.

Other informal devices. Use contractions to warm up your message. Also, use sentence fragments. Not only do they shorten average sentence length, they add rhythm. And drama.

Punctuation. Use punctuation to your selling advantage. I’m inclined to use more dashes and an occasional exclamation point and ellipsis to add drama and excitement to the sales message. Commas can be pretty subjective, so I have a tendency to use the minimum amount to keep readers moving through the copy as quickly as possible.

Parting Reminder

Keep that grammar book, stylebook, dictionary and other writer’s references nearby. You’re still going to need them.

But don’t let grammar be your god, or your next marketing communication could be a giant sales flop.

(c) 2005 Neil Sagebiel

Neil Sagebiel is a former senior copywriter for a Seattle B2B ad agency and publisher of a monthly ezine, headlinesfromfloyd.blogspot.com/ Headlines from Floyd.

Avoiding Publishing and Agent Scams

Agents and publishers will make money if an author’s writing is successful. Publisher’s will get their money either after sales or up front. Agents get their cut after the royalties come in on the author’s sold book. If they do a good job, both deserve and earn what they make. The problem is with the publishers and/or agents who are not ethical.

Let’s start with “publishers.” Some who ask for up-front money are legitimate, if they provide certain services such as professional editing, promotion, and production of a quality product. Those services should be included in the price paid for the books the author agrees to buy. However, if the “editing” provided is at best a spell check, then beware. A publisher will provide at least one professional editor who will work with the author to improve, tighten, and error-proof the book. That editing should be part of the package deal, not provided only if extra is paid. As stated previously, a publisher will be paid either up front or after books are printed and sold.

Any “publisher” who does not do a thorough editing is, however, nothing but a vanity publisher, one who will provide a few books for a price (usually high price) for people who simply want to see their words in a book, flaws and all. Don’t confuse print on demand businesses with publishers, though. A POD doesn’t claim to be anything except a printer. A publishing scam promises that the company is a publisher.

A true publisher does not request material from a writer for an anthology and then expect the author to buy a book. A real publisher rewards the writer, not expect the writer to reward the publisher: Now this means book publishers rather than magazine publishers, who often “pay” in issues of the publication.

Anytime a person or organization claims to be an agent or agency but asks for money up front - run. An agent receives payment as a percentage of the author’s royalties. Other than a few expenses such as mailing your manuscript to a publisher, with documentation of actual postage cost, and possibly for photocopying your manuscript. However, some agents may ask you to send several copies rather than billing you for copying. Any billing is for actual expenses, not for inflated amounts.

Another point about expenses charged to the client: The author and agent agree to which expenses will be billed before they are incurred. If the writer never agreed to any expense and the expense was not included in a contract, then the agent who bills such expenses is at least unethical, if not criminal. Allowable expenses should be clearly included in any contract, and agents should not make any profit from such expenses.

Jenna Glatzer, in Writer’s Digest June 2006, states, “Don’t ever pay anyone to represent you.”

An agent is supposed to get a percentage of the client’s earning from publishers and producers, not from the client. That means agents first do their job - selling the author’s work - and then receive their pay. Ethical agents do not ask for representation fees, retainers, set-up fees, evaluation fees, marketing fees, or editing fees. They also do not suggest an author “hire” an editor that they recommend.

Getting a compatible, aggressive, and knowledgeable agent is wise for anyone wanting to have a book published. However a bad agent is worse than no agent. One way to check an agent is to find the ethical organization for agents on line, AAR or go to literary agents.org.

Just don’t get scammed by unethical “publishers” or “agents” who turn your writing into a feast for their greed.

Sources:
1. Andrew Zack, The Writer, October 2005
2. Brian A. Klems, Writer’s Digest, January 2006
3. Jenna Glatzer, with Daniel Steven,

The Argument From Design And The Cosmological Argument

The argument from design and the cosmological arguments are two, probably the most popular and well-known arguments that aim to prove the existence of God. Actually, they may seem similar but it is only superficial impression and we can easily prove it on analyzing them both and that is exactly what I am going to do in my paper.

First of all, I think it is necessary to describe briefly both the argument from design and the cosmological argument. As for the argument from design, I can say that the followers of this argument, beginning with the most ancient such as Aristotle, estimated that everything in the world is complex and it must have its creator. According to the argument from design, humans are products of intelligent design and the universe has some characteristics of human than it also is designed but human intelligent, being too weak, could not create the universe than, taking into consideration all the intricacy of the universe, it could only be created by the God, consequently, the universe as well as human beings must have been created by a super powerful intelligent that is the prime, or as Aristotle called it unmoved, mover. Thus, see that this argument just presuppose the existence of the prime mover who has set the rules and everything in the universe works according to these rules.

However, the cosmological argument is based on the idea that everything in the universe is in motion and “there is change in the world and the change is always the effect of some cause or causes” (Russel 1997, p.172). Logically, we may continue the chain of causes and effects stating that the effect of a cause may be a further cause or causes but this chain cannot be unlimited and it must have the first cause. But here we may the difference of the cosmological argument and the argument from design the former presuppose the existence of the first cause but than all causes and effects, being linked to each other, are not directly linked to the God whereas the argument from design implies that everything, being created by God and is controlled by him, consequently, it is hardly possible to speak about any independent causes and effects, as in the case of the cosmological argument, for if we have a chain of interlinked causes and effects than we cannot say that the God is the only cause of everything in the universe that is quite contradictive to the argument from design’s basic idea that everything is created, and consequently caused, by the God.

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Thus, taking into account all above mentioned, I can say that both arguments emphasizing the existence of the God, use different approaches to prove this point and, in reality, they are quite contradictive compared to one another and what really unite both these arguments is the conclusion that there is the first cause or the great creator of the universe and everything in it and it is the God.

Alex is a senior writer at custom essay writing service. He has 9 years of experience of freelance writing.

Article Marketing Techniques for the Advanced Article Marketer

Article marketing is a simple process, and yet can be invaluable to publicizing your website and increasing link-through traffic, thus increasing the profitability of your site. Here are few tips and tricks to maximize the effectiveness of your article marketing that even advanced article marketers may not know:

1 Chose Your Target. It is wise when using article marketing to pick distribution methods and content choices that are likely to be read by your target audience. If you sell canoes or camping equipment, you should make sure you write some articles about outdoor activities that will likely draw the type of person who would purchase a canoe.

2 Distribute Your Articles. Don’t skimp. Using a distribution service like iSnare or the like will increase your distribution range by an almost inconceivably large amount. If you want to truly market your website with article marketing, don’t be afraid to pay a few dollars to maximize your productivity.

3 Make Your Content Current. No one wants to read articles about topics that are old and boring. Make your content about new developments in your field and new products. Make it interesting, and most of all, don’t rehash old articles: someone is bound to notice.

These are just three easy ways that you can use article marketing effectively and efficiently to increase the traffic to your website. It is now up to you. Are you willing to spend the time and effort necessary to create an article? Yes, that is a challenge!

Do you want to learn more about how I do it?

How to Find Weaknesses in Your Script

The new screenwriter tends to have a love affair with is/her “baby.” He’s married to every word and nuance he’s carefully scripted onto each page. Often, it reads more like a novel than a screenplay and usually it needs a serious rewrite. It’s time to get a divorce.

You must not be afraid to hack, chisel or cut-out ANYTHING that does not serve to push the story forward. Sooner or later, you′ll write a scene that is just plain good. You′re in love again and all is right with the world. Finally, you conclude that it doesn’t serve the story as it should. You must get a divorce and hack it out of the script.

Remember: not every story is movie material. Not every story is as fascinating on the screen as it is in our heads. This is especially true of biographical stories. As interesting as someone’s true-life experiences are, they rarely translate well to the screen. However, it often makes an excellent bestselling
book.

In screenwriting, you only have TWO TOOLS to work with in a screenplay:

DIALOGUE: that characters say

ACTION: a visual description of what is seen on the movie screen

This does NOT include:

* Anything anyone “knows” (i.e. “Ed heard about Jennifer’s problem at school.”)

* Anything that cannot be photographed (i.e. “Mary loves chocolate ice cream.”)

* Anything the audience “knows” (i.e. “This is the same woman we saw earlier at the bar.”)

* Any background information (i.e. “John is Tom’s best friend.”)

* Any action description that uses ‘-ing’ words. (i.e. “Sue is reading the newspaper.” should be “Sue reads the newspaper.”)

Here’s a common sense approach to self-analysis of your own screenplay:

1. Read some FIRST-RATE scripts!

You need outstanding examples of well-written screenplays against which you can compare your work objectively. I recommend you read at least three, preferably nine, screenplays. Here’s the catch: You MUST read them ALL in the same week. Agents and development executives read 35-50 a week on their own time so I know you can read at least three. Don’t look at a single page of your script until you’ve finished reading the scripts you downloaded. Read one (or more) in each of the following categories:

* One in the same genre as yours,

* One that’s been made into an OSCAR-winning or nominated movie, and

* One that’s an all-time favorite movie of yours.

2. Now: read your script.

It might seem a little different now, but that’s GOOD. You’re becoming a little more objective.

3. Read yours again: OUT LOUD.

Isaac Asimov: “Either it sounds right or it doesn’t sound right.”

You might be amazed at how you’ll spot those things you know need a little extra attention. They′re those things that seem “odd” or don’t feel “right” to you when you read it out loud. You might find yourself thinking that certain characters say and do things that don’t seem to “fit” their backstory. You likely find this especially true of dialogue. Circle these dialogue passages so you can come back to them later.

4. Act it out.

This is also an opportunity to get actor friends to read your script. If scenes are awkward or don’t come across as you intended, they need work. Stage a reading of the script. Make sure all of the actors get a list of the characters they will portray and have someone assigned to all of the lesser, incidental characters. Don’t prep them! Let the actor get the information about the character only from the script. If he doesn’t get it, neither will an agent, reader or producer; and you need to go back the set-up the character so he DOES get it. During the reading, mark scenes that don’t work or have the intended impact and come back to
them later.

5. Read it through out loud again, but only the ACTION DESCRIPTION.

Movies are a visual medium. If your story isn’t visual, maybe it shouldn’t be a movie. Did you get lost? Are things vague? Are the scenes not visual? Can you tell what’s going by the visual clues? Mark those scenes and come back and flush them out a little more.

6. One more time out loud, but this time only the DIALOGUE.

Do characters seem to drone on and on? Can′t tell WHAT they’re talking about? Do they talk about things not essential to the scene? Mark these scenes and come back and rewrite them later.

Rule of Thumb: Scenes and dialogue should start at the point where, if you cut out the start of the scene, what follows doesn’t make sense any more. This also applies to movies. Many screenplays really start around pages 30-50, which means the writer spent way too much time setting up the story. How do you tell? As you read, it suddenly seems as though you’ve started a “movie in a movie” and you like it better than the one you started. Time to get divorced. Unsure? Write a second script and see which version you like best.

Writing is Rewriting

Ernest Hemingway: “Don’t get discouraged because there’s a lot of mechanical work to writing…I rewrote the first part of Farewell to Arms at least fifty times.”

Paddy Chayefsky: “I’m not a great writer, I’m a great rewriter.”

Good advice from two guys who ought to know.

Long wanting to be in “the business,” Don Bledsoe started young, producing a short film for NBC while still in high school, worked in the Story Department at Paramount Studios at age 19, and later as an actor and makeup artist in film and television in Hollywood. A self-confessed computer geek, he took up screenwriting in the early 90’s and founded Script Nurse in 1999 and sponsors the annual “Script Nurse Mini-Movie Screenwriting Contest.”

Story Structure - Final Conflict

Beyond three and four act story structure, lies the Hero’s Journey.

The Hero’s Journey is the most usable story structure consisting of at least 106 stages and the template for successful contemporary stories, from Star Wars to Al Pacino Scarface to The Incredibles to War of the Worlds to The Dirty Dozen to Midnight Cowboy.
The Hero’s Journey is a valuable template because:

a) It attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

b) It gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

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

One critical stage of the journey is the Final Conflict.

In the last act, the hero must finally battle with the antagonist.

Whether fiction or non-fiction, subtle or direct, psychological of physical, the confrontation follows a familiar pattern that encompasses time pressure, impossible dilemma, polarization, final antagonism, three catharses and possibly the Afterlife Act.

The Final Conflict contains 81 common steps that bring the story to a satisfactory close. This is very valuable, as the ending can be the hardest part of a story to write.

Often the hero is under time pressure to battle the antagonist. In classic good versus evil the antagonist will force the issue, by holding an ally hostage (Spiderman), attack with superior forces or similar. But time pressure is nearly always an element of every story, no matter what. In Midnight Cowboy for example, it is created by Ratzo Rizzo’s illness and the need to get to Florida.

The antagonist will often put the hero in an impossible dilemma. He will have to save himself, his love or the world – he cannot do both. This seemingly impossible task is overcome and prompts the antagonist to take the threat more seriously.

There is also usually a polarization between the good and bad. The difference between them is highlighted visually, verbally and symbolically. This helps the ultimate catharses (there are three) have more impact.

The three catharses allow the audience to attain maximum emotional fulfilment. Catharsis 1 usually involves the antagonist realising he has lost and pleading for mercy on some level. Catharsis 2 usually involves the death of the antagonist, following a deception to regain control. Catharsis 3 involves the death of the lieutenant or some symbol representative of the evil. This process is very obvious and common in Bond films, for example.

The Afterlife Act is less common in modern stories but it still has a valuable place (Out of Africa, Conan the Barbarian). It is an ending that briefly informs us what happens to the hero after we leave him. This will be discussed in another article.

The 81 common steps of the Final Conflict and other story structure templates can be found at managing-creativity.com/

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 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.

Putting Up Your Own Writing Website? Why Not?

If you enjoy writing and have had something published, you may, in fact, you should consider a developing a writing website. You can use it to help others improve their writing skills and at the same time, earn some money.

Here are a few suggestions for setting up your website.

1. What will be the focus of your website? Will it, for example, focus on helping young workers improve their writing skills? The focus and its intended audience are extremely important. So take the time you need in this step. What will make your website stand out from its competition? What makes it truly unique and helpful?

2. Once you have your focus and intended audience, you’ll need to give your website a name. The name, like a good book title, should promise a benefit, such as writingbetterletters.com. Keep brainstorming possible titles and don’t be in a hurry. Allow your list some time to cool off. Look at it again the next morning. Do you still like one or two titles? No? That’s fine! Keep brainstorming. You want something that you will be truly happy with. Make a list of features that your website will feature, such as articles, newsletter and perhaps a free forum.

3. Definitely register your website and its dot-com title with a reputable host, such as godaddy.com.

4. Now put yourself in your audience’s place. What do you expect to find on writingbetterletters.com? For example, will your site feature suggestions, effective letter samples, free tutoring, articles?

5. Work on one thing at a time. If you intend to feature articles, then be sure to write two or three articles for your site. Pay attention to your homepage and draft a few rough sketches of it, including links. Wait until your website is established before writing newsletters or featuring forums. Visit competitors’ sites and decide what you like and dislike about them. You won’t be copying their designs and festures, of course.

6. Remember that nothing is written in stone. That is, you may still find a better way to design your homepage and think of other features that will attract your intended audience. And remember to tell everyone about your website, including family members. If you start a forum, ask family members to register and post on it.

Before getting her website, profitable-pen.com profitable-pen.com, up and running, Dorothy Zjawin spent a LOT of time on website titles. Her website features a free forum for new and experienced writers.

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