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Joseph Campbell's monomyth, or the hero's journey, is a basic pattern that its proponents argue is found in many narratives from around the world. This widely distributed pattern was described by Campbell in The Hero with a Thousand Faces (1949).[1] Campbell, an enthusiast of novelist James Joyce, borrowed the term monomyth from Joyce's Finnegans Wake.[2] Campbell held that numerous myths from disparate times and regions share fundamental structures and stages, which he summarized in The Hero with a Thousand Faces: A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[3] A chart outlining the Hero's Journey. Summary[edit] In a monomyth, the hero begins in the ordinary world, and receives a call to enter an unknown world of strange powers and events. The 17 Stages of the Monomyth[edit]

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Elements of Suspense in Writing: 6 Secret to Creating and Sustaining Suspense Thriller writing? Mystery writing? Literary fiction? The Heroine’s Journey: How Campbell’s Model Doesn’t Fit « FANgirl Blog In the first post of the Heroine’s Journey series, we defined the key concepts that form the basis of our heroine-centered storytelling model. As we described, many great stories with a female lead character won’t fit within our Heroine’s Journey framework – for instance, because the protagonist is already an adult and isn’t undergoing a coming of age tale, or because she is an anti-heroine – and that’s part of the intention. Our goal is more limited: to help continue the push for more and better stories with great female leads by thinking about what would constitute the elements of a heroine-centered storytelling model parallel to the well-known Hero’s Journey monomyth. Which naturally raises the question: why isn’t the existing Hero’s Journey model already good enough to use for heroine-centered stories?

hero's journey "A Practical Guide to Joseph Cambell’s The Hero with a Thousand Faces" by Christopher Vogler © 1985 “There are only two or three human stories, and they go on repeating themselves as fiercely as if they had never happened before.” In the long run, one of the most influential books of the 20th century may turn out to be Joseph Campbell’s THE HERO WITH A THOUSAND FACES. The book and the ideas in it are having a major impact on writing and story-telling, but above all on movie-making.

The tone of voice triangle Is humor part of your brand’s personality? Do you wonder if it should be? When humor fits with your brand’s online identity, it can be a powerful social media tool. In this article I’ll show you examples of three ways you can use humor to grab attention. Define Your Online Tone 6 Ways to Create Riveting Conflict in Your Story Who says conflict is a bad thing? Who says world peace is the most important goal of humanity? Who says arguing with your little brother when you’re a kid means you’ll grow up to be an ill-mannered ruffian? The Thirty-Six Dramatic Situations The Thirty-Six Dramatic Situations is a descriptive list which was created by Georges Polti to categorize every dramatic situation that might occur in a story or performance. To do this Polti analyzed classical Greek texts, plus classical and contemporaneous French works. He also analyzed a handful of non-French authors. In his introduction, Polti claims to be continuing the work of Carlo Gozzi, who also identified 36 situations. Publication history[edit]

The Heroine’s Journey: Defining Concepts « FANgirl Blog Last year the blog introduced the series Seeking Strong Female Heroines. In the first post, Tricia described the reason for the series – to highlight stories featuring these kinds of characters – and defined some of the core characteristics of strong female heroines. Since then, we’ve discussed a number of characters as strong female heroines: Princess Leia from the Star Wars movies, her daughter Jaina Solo and her sister-in-law Mara Jade Skywalker from the Expanded Universe, and Castle’s Kate Beckett. The Seven Basic Plots The Seven Basic Plots: Why We Tell Stories is a 2004 book by Christopher Booker, a Jungian-influenced analysis of stories and their psychological meaning. Booker worked on the book for 34 years.[1] Summary[edit] 3 Types of Character Arcs: Choose the Best for Your Novel How Does Your Character Change? You know your character must change somehow over the course of your novel. But how?

How to Structure A Story: The Eight-Point Arc By Ali Hale One of my favourite “how to write” books is Nigel Watts’ Writing A Novel and Getting Published. My battered, torn and heavily-pencil-marked copy is a testament to how useful I’ve found it over the years. Although the cover appears to be on the verge of falling off altogether, I’ve risked opening the book once more to bring you Watts’ very useful “Eight-Point Story Arc” – a fool-proof, fail-safe and time-honoured way to structure a story. (Even if you’re a short story writer or flash fiction writer rather than a novelist, this structure still applies, so don’t be put off by the title of Watts’ book.) The eight points which Watts lists are, in order:

an empire of her own: the heroine’s journey ( + a woman’s quest for her own thing) Alas for those that never sing, But die with all their music in them. — Oliver Wendell Holmes I’m at the World Domination Summit in Portland, Oregon, an annual conference for creatives, the brainchild of Chris Guillebeau. I got up this morning to a newsletter from Chris Brogan about building online empires. Dominating the world. Building empires. Both Chris and Chris are using these terms in a playful way.

Three-act structure Three- act structure Plot Line Graph by Wendell Wellman The three-act structure is a model used in writing, including screenwriting, and in evaluating modern storytelling that divides a fictional narrative into three parts, often called the Setup, the Confrontation and the Resolution.

Kishōtenketsu Kishōtenketsu (起承転結?) describes the structure and development of classic Chinese, Korean and Japanese narratives. It was originally used in Chinese poetry as a four-line composition, such as Qijue, and is also referred to as 'kishōtengō' (起承転合?). The first Chinese character refers to the introduction or 'kiku' (起句?), the next: development, 'shōku' (承句?), the third: twist, 'tenku' (転句?)

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