Story Structure Part XII: Return With The Elixir

This is the twelfth in a series of posts talking about the story structure known as “The Hero’s Journey.” I’m borrowing heavily from“The Writer’s Journey: A Mythical Structure for Writers 3rd Edition” by Christopher Vogler. This is my interpretation of it, and I’ve tried to highlight some pitfalls I see writers falling into. Click here to review other installments of Story Structure.

Return With The Elixir

The End. The Dénouement. The Conclusion. The Epilogue. The Resolution. The Verdict. The Payoff. Whatever it’s called, we’ve come to the final chapter of our Hero’s Journey. We know what’s going to happen, and finally, our Hero is back home in the Ordinary World. But, it’s not the same world he started in. It’s changed. He’s changed. He’s undergone a traumatic transformation, and now returns home forever changed. “The Elixir” is the essence of this change, the lesson, the arrest, the anti-virus, the deciding vote, the surrender of the Enemy, the winning score, the hard-earned victory against incredible odds. Something he can carry with him for the rest of his life, and improve the lives of everyone he cares about.

It’s nice to show how your Hero has changed, to cement his transformation. In the initial Ordinary World, he was pushed around, taken advantage of, alone, in debt, or whatever problem he couldn’t overcome. Now he handles bullies with ease, is wise to the world, rife with friends, loaded with riches, and a master of his destiny. Of course, you don’t have to wrap up everything—don’t forget about that sequel—but make whatever final points you want to make.

I think this brings up the entire purpose of writing the book. The “Return” is where you draw your conclusion and illustrate your lesson. “Marriage is hard work”, “You must lead by example”,  “Grief is how we move on”, “Don’t ever cross a ghost”, etc. Did you make your point? Did your character experience enough consequences to warrant this ending? The ending justifies the meaning.

Now to conclude our Benchwarming Quarterback story. One final play, one last chance to prove himself, and he leaves the game. On the drive back to the hospital, he confesses his sins. He’s been a terrible son, a lousy quarterback, and a poor boyfriend. The cheerleader never meant to hurt him, but he seemed disinterested, so she strayed. He understands, and forgives her. Everything he’s done lately has been a failure, and even his attempt to redeem himself was false.

Now for the Lesson part. He must do the hard things. He can’t just waltz through life. When he arrives at the hospital, he has the Elixir. He’s back in his Ordinary World. Turns out—his father is fine, and in fact, is conscious. They found the game on the local cable channel. They beg him why he left the game and he tells them because his responsibility lay here…with the people he loves. Suddenly he has his father’s approval, and his girlfriend sees him in a new light. Turns out his Ally on the team caught the winning touchdown, so everything worked out in the end. It’s not a perfect ending, but we leave the story with the sense that things will work out.

Return With The Elixir Goals

• Clearly demonstrate that the Lesson has been learned.
• Tie up most loose ends, especially major subplots. If the airplane is going down, either crash it or save it.
• It’s fine to leave a teaser for the sequel, but at least resolve something. I’ve read some books that just stop. Bad. How do I know there will be a payoff in the sequel, or will it just stop as well?
• This is the part of the story where you show that you appreciate the time the reader spent reading your novel. Give them something to talk about. Make them wish the story never ended.

Non Goals

• Don’t tie everything up. Note that in the QB story, we don’t know what’s going to happen with the girlfriend’s baby. We only know he’s be there to support her.
• Don’t introduce more conflict here. This is the one point of your book where it’s fine if everyone agrees for once. There can be a implied conflict, such as “the whole city has burned and we need to rebuild, but at least we’ll do it together.”
• Endings don’t have to be happy. They need to be conclusive. In “Paranormal Activity,” the ending is the credits (or lack thereof). But the Lesson is clear: Some people are just doomed. Get over it.

Next Installment: How to Apply the Hero’s Journey to your own writing, what it is and what it isn’t.

Story Structure Part XI: Resurrection

This is the eleventh in a series of posts talking about the story structure known as “The Hero’s Journey.” I’m borrowing heavily from“The Writer’s Journey: A Mythical Structure for Writers 3rd Edition” by Christopher Vogler. This is my interpretation of it, and I’ve tried to highlight some pitfalls I see writers falling into. Click here to review other installments of Story Structure.

 

Resurrection

At last, we’re at the Climax of the story. The Stakes are at their highest, and everything the Hero has fought for and sacrificed for is coming to a head. As the name “Resurrection” implies, your Hero must not only face death, but in some way, he must die and be reborn anew. Some Heroes actually physically die. Some appear dead or hopelessly lost, only to return miraculously saved. Your Hero must risk everything. This is the make-or-break moment of the story. This the “The Point” of the story, the moral, the lesson you wanted to impart to your readers. This is where nothing get left unsaid, and souls get bared.

Elements of Resurrection

• Everything hangs in the balance. There is nothing left on the table, and every character is “all-in.”
• Your Hero makes a major sacrifice for the greater good.
• Your Hero learns something about himself he didn’t know, remember, or care about that changes everything.
• Your Hero transforms into something greater, even if just for a moment.
• Your Hero is forever changed by the experience.
• The Villain is defeated, because he doesn’t learn or transform like the Hero does.

Now for our Benchwarming Quarterback. He has fought hard, but time is running out. His team is still losing. His Enemies have tried everything. Blitzing. Sending in bad plays. Calling penalties. Illegal hits. His body is bruised and aching, he can barely stand up, yet he keeps fighting, knowing his father could die any second. It’s the final seconds of the 4th Quarter, and they’re down by five points. They have time for one more play, but our Hero is suddenly struck by something.

What is he doing? Why is he playing football? Shouldn’t he be by his father’s side? He realizes that by returning to the game, he’s still running from responsibilities, running from himself. He hasn’t changed. He’s only tried harder. Here’s the critical piece of the whole Hero’s Journey. Here’s the one takeaway I’d like you to have from all of these posts. Your Hero must change. Otherwise the whole entire story has been a waste of time. Our Benchwarming QB is about to die. He hands the ball to someone else and leaves the field. The entire crowd is stunned. He grabs his girlfriend, and they go to her car. There’s time for one last play, one last chance to win, but he’s gone. To everyone on the field, it’s as if he just up and died. It’s a race to see if he can get back to the hospital. His Resurrection occurs during this car ride, and when he steps back out, he’s a new person. He may never play football again, but he’s no longer that irresponsible benchwarmer he started out as.

Resurrection Goals

• Something your Hero holds dear must die.
• If you have anything left to reveal, do it now.
• Your Villain is pulling out all the stops as well. To him, victory is at hand.
• Demonstrate the reason why you wrote the book. Make your point.
• Find out what the most important thing to your Hero.
• Your Hero must face his Worst Fear.

Non Goals

• Your Hero can’t win unless everyone wins. Sometimes a Hero even needs to lose to win. What does he gain here?
• You don’t have to tie up everything. Just the main threads. Sub-plots finish here as well. Leave something for the sequel. ;)
• Change is not the same as trying harder. That means it’s not enough to be “better, stronger, or faster,” because that’s really just More of the Same.

How does your Hero change? How does this let him overcome his final obstacles on his path to Resurrection? What was the critical lesson?

Story Structure Part X: The Road Back

This is the tenth in a series of posts talking about the story structure known as “The Hero’s Journey.” I’m borrowing heavily from“The Writer’s Journey: A Mythical Structure for Writers 3rd Edition” by Christopher Vogler. This is my interpretation of it, and I’ve tried to highlight some pitfalls I see writers falling into. Click here to review other installments of Story Structure.

 

The Road Back

Act III. This is where the magic happens. This is the part of the story you wanted to write  since you held the first glimmer of the concept in your head. Everything is heading downhill with a breeze at your back at this point…until you hit the rapids heading for the waterfall. The stakes are huge. Everything your Hero has ever known is at risk. A great winner-take-all conflict is looming. I can throw in more clichés but you get the idea.

Your Hero is now exiting the Special World he has been in since the beginning of Act II. He’s heading back to the Ordinary World, but this isn’t the same world he left—he isn’t the same person anymore. The problem is…you can never go home. We all know that. And worse than that—your Hero hasn’t resolved anything in Act II. The Villain is pissed off, and follows the Hero back to the Ordinary World, putting that world in jeopardy. The Road Back is hard, and if your Hero fails, he’ll never go home again. He may have even met some would-be Heroes stuck in the Limbo, unable to overcome their fears and forever lost in the Special World. Maybe he can help those lost souls home too.

Our benchwarming Quarterback now has a bug up his butt. In Act II he discovered that his nice, safe, comfortable world no longer exists. To return back home, he must keep moving forward. In some ways he’s become the Villain. He abandoned his team on the field, he abandoned his family at the hospital, and of course he tells his girlfriend he never wants to see her again. His Road Back is hard. He’ll never be the Benchwarming Quarterback again. He’ll never have that special relationship with his girlfriend again. He may never be able to speak with his father again. But…what now? Who is he? All he knows is that he has to win this game. It’s become more than a game—it’s a life and death struggle, with his father’s life held in the balance.

He returns towards the end of the 3rd Quarter, and his team is still losing. As he enters the field, he sees his team’s starting QB struggle, limping around the field, the other team crushing him to the ground again and again. It’s fourth and long, and they have to punt. Our Hero dons his helmet and runs on the field. In the confusion, a man runs off, keeping their side at 11. When the ball is hiked, he steps in front of the punter, takes the ball, and runs like a flamethrower is aimed at his back. The opposing team is confused as he runs the ball down the field, leaping would-be tacklers, spinning and driving, bowling over one last man and making a first down by inches. Coach is screaming, the starting QB is ranting, but our Hero refuses to leave the field. It’s his game now. Still down by three scores, it will take everything he has to lead his team to victory. He will win this game, or he will die trying. Time is running out.

The Road Back Goals

• Return to the Ordinary World. Stick to your Hero’s original Goals. Why did he enter the Special World in the first place? What did he learn there? How has his life changed?
• Your Hero has few Allies left. Everyone else wants to go home, too. He must rally them for one last battle.
• Raise the Stakes. Your Ordinary World is no longer a safe place. Your Hero is now the Villain’s #1 Most Wanted.
• The pace should be excruciatingly fast at this point.
• Starting casting doubt on whether the Hero will actually succeed. The final outcome should always be in question, and in fact doubtful.
• This is why movies like The Wizard of Oz and Circle of Iron are such great examples of The Hero’s Journey. The HJ isn’t about finding out what’s “out there,” it’s about finding out what’s inside of you, about finding out who you are and what matters to you the most.

Non Goals

• Do you really thing this is a good place for backstory? Any new information at this point is more of the nature of a “reveal” than world-building. “Oh, BTW, the girl you like is actually your half-sister”.  D’ohh!
• Pretty much anything goes at this point, as long as it raises the conflict. Special and Ordinary Worlds intermingle. Clashes erupt.
• No big world-changing revelations—yet. Trying hard doesn’t cut it. Using your skills doesn’t cut it. A transformation is coming,  Strip your Hero down to his most raw, naked self, because his trial by fire is about to begin.
• The point is not for your Hero to win. It’s to learn something precious. What is the lesson? Also, remember what makes a true Hero. It’s not success. It’s sacrifice. What is he willing to sacrifice? And more importantly, what is he not willing to sacrifice? What is the absolutely most important thing in his life?

For me, this is always the most exciting and interesting part of the story to write. I can’t wait to write the next page, to find out myself how my Hero will act in the end. I learn more about my Hero in the last ten pages of the book than in the previous 300. You’ll find out what that “most important thing” is, more than a thousand pages of backstory will tell you.

Story Structure Part IX: The Reward

This is the ninth in a series of posts talking about the story structure known as “The Hero’s Journey.” I’m borrowing heavily from “The Writer’s Journey: A Mythical Structure for Writers 3rd Edition” by Christopher Vogler. This is my interpretation of it, and I’ve tried to highlight some pitfalls I see writers falling into. Click here to review other installments of Story Structure.

 

Note About “Avatar” If you want a great example of the Mythical Hero’s Journey, look no further than Avatar. It contains all the elements of The Hero’s Journey. A hero starts out with a problem: he’s crippled and wants to be made whole (Ordinary World). He has an opportunity to become something called an “Avatar” which is a replica of the native Na’vi which he can use to infiltrate their world (The Call). He scoffs at what the scientists are trying to do with the Na’vi (Refusal) but the Head Scientist (Mentor) convinces him to participate. On a scientific mission he is separated from the other avatars and must survive a night in the strange world (Crossing the Threshold). I’ll let you work out the rest. SEE THE MOVIE! NOW!! In 3D if you can afford it.

The Reward

This is probably biggest misnomer of the bunch. Also known as “Seizing the Sword,” The Reward is the final portion of Act II. After facing a number of Tests and engaging the Enemy, the Hero comes away with new knowledge and determination. He’s seen the true face of the Enemy, faced Death, and now must turn back home. The basic concept is that the Hero has fought his way to the Dragon’s Lair and stolen the Crystal Chalice. It’s a small victory, but the Hero leaves with the knowledge that he has faced the Enemy and lived. He also know that the Dragon has awakened, and will be coming after him with everything it has. I call it a “misnomer” because it sounds like something positive and hopeful but many times it’s a dark realization that the battle isn’t over and that greater challenges lie ahead. “Seizing the Sword” is a better name, because it reflects the Hero’s determination to see the conflict out to the bitter end, for better or worse.

Now on to our Benchwarming Quarterback. His parents are in the hospital after a wreck. His girlfriend is unfaithful. The coach hates him. The other players hate him. His father is on life-support. WTF? “There’s nothing we can do but wait,” says his mother. “And pray.” He goes to see his father, tubes sticking everywhere, machines chirping and purring. Everything he’s done in his life flashes before him. All his failures, all his disappointments, all his betrayals of his father’s love. He faces the cold hard truth about his life.
(I smudged the image’s face to protect the innocent).

“I want to be the son you wanted,” he tells his father. “I want to prove to you I’m worthy, that I can be a man. If this is your last moment on Earth, I want to do something for you, to show how much I love you.” He rises, and walks to the waiting room. “Come on, we’re going,” he snaps at the girlfriend. “We have a game to win.” He has Seized the Sword. He is determined for once in his life to be the man his father wants him to be. His mother begs him to stay, but he must do this. It’s as if his father’s life rides on the outcome of this game. His Reward is the strength to do what he must, the self-determination to carry on despite the incredible odds, and the knowledge that he himself is willing to face death to accomplish his goals. We see him turning into the Hero before our eyes, but his task is daunting, and his goals seem further away than ever.

The Reward Goals

• The boy becomes a man. The Hero takes responsibility for his life. He is ready to take on the world.
• The Hero has conquered the Special World. He’s now a master of the domain. He has gone where no man has gone before.
• The Hero knows what he must do to prevail in the end. He’s made his choice and will see it through.
• The Enemy is awakened and pissed off. There is no more room to compromise or walk away. The Hero is in it to win it.

Non-Goals

• Remember, this is not the final transformation. There is still one more crucial lesson to be learned, one final test to pass.
• The Enemy has been hurt, but not defeated. The Reward is also the knowledge that the Enemy will regroup stronger than ever.
• The Reward is a Pyrrhic victory more often than not. And short lived.
• The Reward is not the achievement of the Hero’s original goal. Nothing is resolved at this point.

What is The Reward in Avatar? There are actually two Rewards. Bonus for anyone who knows both (or are there more?) Try not to spoil anything ;)

Story Structure Part VIII: The Ordeal

This is the eighth in a series of posts talking about the story structure known as “The Hero’s Journey.” I’m borrowing heavily from “The Writer’s Journey: A Mythical Structure for Writers 3rd Edition” by Christopher Vogler. This is my interpretation of it, and I’ve tried to highlight some pitfalls I see writers falling into. Click here to review other installments of Story Structure.

 

The Ordeal

This is it. This is the moment you’ve all been waiting for. Finally, our Hero confronts the Enemy. He’s been trained, he’s gathered his Allies, but is it enough? No, it isn’t. Nothing that’s come before can prepare him for this moment. He’s deep in the Enemy’s lair, and must rely on his own wits and judgment to make it through. Now this isn’t the final confrontation, but it’s the first major exchange with the Enemy. The Villain is cunning and smart. He knows the lay of the land. He has some objectives too—to turn the Hero to his side, to corrupt the Hero, to see if he can win an easy victory. It becomes clear that the Enemy represents everything the Hero hates, especially about himself. His own fears, his own weaknesses. The Enemy is in his head almost, exploiting every weakness of the Hero and turning him into a gibbering mass of goo.

This is the scene you wanted to write since you came up with idea for the story. Luke vs. Darth Vader.  Dorothy vs the Wicked Witch. The hospital scene where Adrian tells Rocky to “Win.” This is the final test before your Hero is allowed to start the long road home. This is when the train jumps the rails, the troops retreat, the police close in, the wife is in bed with someone else, and everything the Hero ever knew about himself is put into question. He’s no longer the innocent traveler to this Special World, he’s a fully involved participant, and his goals seem further away than ever.  He’s seen the face of the Enemy and it’s bad. Who talked him into this misadventure anyways?

Let’s go back to our Benchwarming-now-playing Quarterback. It’s halftime. Wait—what? The Ordeal isn’t on the field? WTF? Yes. Because he’s confronting his true Enemies—the Head Coach and the starting Quarterback. The starter is feeling better. The Head Coach wants him back in. But wait—there’s more. Our QB gets a phone call. His parents have been in a bad wreck on the way to the game, he needs to leave right away, which Coach says means he’s off the team. Forever. Everything seems to be falling apart. In addition, he finds out the Starting QB is the father of his girlfriend’s baby. Everything seems to be conspiring to destroy him. This is his last chance to prove himself, to become a winner, but now it looks like everything’s been cut short. He leaves the game humiliated, having to bum a ride from this unfaithful girlfriend to the hospital (which is conveniently a minute away). The opposing players mock him on the way off the field.

Now the Ordeal turns to this awkward car ride. The girlfriend is distraught and apologetic, almost unable to drive. She never meant it to happen, it wasn’t consensual, she doesn’t know what to do. His mind is consumed with fear about his parents, disappointment that he can’t finish the game, and bitterness that this woman and the Starter hurt him. Our Hero’s story seems to be over before it even started. He’ll never amount to anything. He’s consumed with self-doubt and self-loathing. The world is collapsing around him. Everything he’s ever feared about himself seems to be coming true. He can’t play football. He can’t be loved. And Death lurks right around the corner. Depressing, isn’t it? Why the heck did I write this book??

The Ordeal Goals

• The Hero must face Death. In the example above, it’s the possible death of his parents coupled with the death of his football career.
• The Hero takes on the Enemy. And loses. Badly. This is far harder than anything your Hero has faced up until now.
• Your Hero’s worst fears must be realized. From now through the end of Act III, your Hero is in a crucible of fire. He’ll be tested beyond everything that ever happened before.
• Allies drop like flies. Enemies grow strong and multiply. This is a hard time for everyone.
• Make it clear what the ultimate stakes are: Life and Death. Everything and everyone the Hero cares about must be placed in jeopardy.
• Keep Raising the Stakes, and keep the Hero focused on his Goals, even if he’s ready to give up. Something good is right around the corner.

Non Goals

• Your Hero does not defeat the Enemy. He may wound the Enemy, he certainly antagonizes him, and sometimes steals something important from him. We’ll talk about this in the next installment.
• Don’t commit your Hero to the fight. He may come away from this Ordeal battered and bruised and ready to go home. This was far more than he bargained for, and he may want more. Too bad, he’ll learn soon enough that all roads home lie through the Enemy.
• Don’t give your Hero any easy ways out.  Every choice is bad. Every option leads to conflict. But definitely give him choices. He’s still in charge of his destiny. He is still driven by Inner and Outer Goals.

This is definitely a rough time for the Hero.  By the end of the Ordeal, he’ll have everything he needs to prevail in the end. He just may not know it yet.

Story Structure Part VII: Approach to the Inmost Cave

This is the seventh in a series of posts talking about the story structure known as “The Hero’s Journey.” I’m borrowing heavily from “The Writer’s Journey: A Mythical Structure for Writers 3rd Edition” by Christopher Vogler. This is my interpretation of it, and I’ve tried to highlight some pitfalls I see writers falling into. Click here to review other installments of Story Structure.

Approach to the Inmost Cave

This is perhaps the most nebulous and hard-to-understand step of the Hero’s Journey. At this point, your Hero has gathered Allies, engaged with some dark forces, and has met with his Mentor. He’s ready to take on the main antagonist But first, he must endure an arduous process on his way to the main Crisis of the story.

What is this “Inmost Cave?” It’s the enemy’s lair. It’s the embodiment of the Hero’s fears. It’s a place where few tread, and fewer return from. It’s the furthermost point away from where the Hero started his journey. The Death Star. The Emerald City. The Bedroom. The Courtroom. Jail. The Dragon’s Lair. This the place where every decision has life-or-death consequences, where the stakes are at their highest. But before this Ordeal, our Hero must get there. He must prepare himself for battle, arm himself with information, learn the final lessons, remove all doubt, and commit himself to the Journey.

Let’s look at our benchwarming-but-now-playing Quarterback. He’s on the field. He’s made a few plays. He’s starting to feel out this Special World. He throws a touchdown. Success! Maybe he can prevail in this world, maybe he does have what it takes. But the Enemy is huddling, changing their strategy. The stakes are going to be raised. There’s about to be an Ordeal near the end of Act II. He will be tested. What can we do as an author to Raise the Stakes? We’ve got the girl on the sideline. He’s now sitting on the bench while the other team has the ball. She approaches him…she’s late—it’s not his. His mind is now distracted, hurt. Still no word from his parents…what’s up with that?

They get back on the field. He throws incomplete passes and they punt. Coach is yelling and screaming. He’s going to have to clear his mind, find a way through all these distractions. And guess what? The other team knows about his girl trouble, and they start taunting him. Even the old coach on the sideline is getting agitated with him, trying to set him straight. His early success is falling by the wayside, he’s going to have to reach down deep, because with 2 minutes left in the half, he had little time to prove himself before the head coach puts someone else in. His friend the receiver is ambushed by an illegal crack-back block and is now out of the game, taken away in an ambulance, perhaps crippled for life. Now it’s time for our Quarterback to rise to the occasion and start kicking ass. And I have no idea how that picture relates but I just liked it. :)

Approach to the Inmost Cave Goals

• Fully engulf the Hero in the Special World. In fact, you may even create an inner Special World inside the outer Special World…the world of the Enemy’s Hideout…which has it’s own special rules.
• Start testing your Allies and Enemies. See how firm their commitment is. Some of them may change sides. Some of them bow out. Others prove themselves.
• This can be a large portion of your story, so keep the pace up and keep raising the stakes. Throw obstacles in front of the Hero. Make him earn every success…which become more and more infrequent.
• Your Hero Must Act. No more sitting around, philosophizing about the pompetus of direct conflict. Move, move, move!

Non Goals

• Still avoid direct confrontation with the Enemy. Think about this as a Chess Game…everyone is still moving pieces around and waiting to strike. Some pieces are lost, but some become powerful. Direct conflict is almost inevitable at this point.
• No more Mr. Nice Author. Why does Bad Stuff happen to Good Characters? Because that’s what makes literature interesting. Your character starts failing in bigger and better ways than ever before. But he’s also trying harder than ever before.
• This should be the dying gasp of whatever Refusal your character still has. Kill your Hero’s doubts, because the Ordeal of Act II will destroy any Heroes that are not fully committed. If he’s not fully committed…give him some “motivation.”

Is your Hero armed and ready for his first major conflict? Are the Stakes high enough to convince him to take on the dreaded Enemy?

Story Structure Part VI: Tests, Allies, and Enemies

This is the sixth in a series of posts talking about the story structure known as “The Hero’s Journey.” I’m borrowing heavily from “The Writer’s Journey: A Mythical Structure for Writers 3rd Edition” by Christopher Vogler. This is my interpretation of it, and I’ve tried to highlight some pitfalls I see writers falling into. Click here to review other installments of Story Structure.

Tests, Allies, and Enemies

Your Hero is finally in that Special World and guess who’s waiting on the other side? The Villain. Dark forces stand in the way of your Hero’s success. The Special World is full of lies, obstacles, and conflict. It’s also loaded with courage, success, and opportunity. Your Hero will spend at least half his time (by word count) in this Special World, learning its rules, meeting its characters, and mastering this world in an eventual conflict known as the Ordeal (still to come).

Think of this section as a series of ups and downs. Failures, successes, and lessons learned. Allies won, and enemies angered. Your Hero masters a skill only to face a larger challenge. He meets friends in unexpected places. Other characters may turn against him. This is an extremely generic part of the book where many writers flounder because it’s so nebulous and undefined. Anything can and does happen. Let’s tackle each part of this.

Tests. Your Hero has to learned critical knowledge and gain certain skills to pass his coming ordeals. Imagine the first week on a new job. Where’s the bathroom? Where’s the mailroom? How does this email program work? Sounds simple, but these tests increase in difficulty as the story progresses. The Boss wants report by the end of the day. The computer is acting up and Tech Support is busy. The lunchroom serves unhealthy crap. These are non-world-ending challenges compared to what’s coming, but they are an important warm-up.

Allies. No one succeeds alone. In fact, to become a true Hero, you must have friends, and these Allies must succeed before the Hero does. You don’t win unless everyone wins. Where do you find Allies on this new job? You hang out around the water cooler. You hit the pub with the co-workers after work. You talk with the mail guy. You flirt with the Admin. You join the company softball team. You hit on the boss’s daughter (which may not end well). What happens in these encounters? Also, many great Heroes have a Sidekick, someone they trust, and can help provide the Hero with perspective and wise counsel.

Enemies. Some people say your Hero is only as strong as the Enemy he faces. The Villain has been alerted to your Hero’s presence, but may not see him as a threat. He may try to woo your Hero, trick him, reel him in as it were. The Villain would rather see the Hero on his side, after all. In fact, the Hero is the one who decides that the villain is The Villain. Something about the Hero makes the Villain who he is as well.

Let’s return to our Hero, the Benchwarming Quarterback. He’s now on the field. He’s in the game. Ten players face him in the huddle. First play: he hands the ball off for no gain. Second down, the same. Third down, he tries a pass, the other team catches it and returns for a touchdown. A linebacker crushes him to the ground and laughs in his face. His body is in pain, the driving rain is soaking him. The Special World is hard. Back on the sideline, Coach screams at him. The other players yell at him too. Then, one of his receivers comes up to him. “Just get me the ball,” he says. “We can do this.” An Ally?

The other team kicks off, and he’s out on the field again. The receiver nods at him. Our hero changes the play the coach called. It’s a fake handoff into an all-out blitz, and he throws to the wide-open receiver for a first down. Although the blitzing linebackers have crushed him into the mud, he has passed his first test! He returns to the huddle where his teammates look at him with a new appreciation. He himself has a touch more confidence. But on the other side, the Enemy gathers, knowing they won’t underestimate him again. On the sidelines, the injured starting QB sees his job slipping away if our Hero performs well.

There are a heck of a lot more tests we can throw at him. How does he get the players firmly on his side? What critical mistakes does he make? How does the Enemy respond? This is how we’ll flesh out this section. There is still the question of the girlfriend, the parents, and many more subplots to interweave into the main story. I could fill ten blog posts with this section, but I’ll spare you :).

Test, Allies, and Enemies Goals

• Learn important lessons about the rules of the Special World. Give your Hero a chance to succeed. Let him master Email. Let him win a date with the Boss’s daughter.
• Meet people, socialize, figure out who’s who. That guy in the next cube who throws a tantrum—he also knows “what’s really going on here.” The Admin who refuses to help you find a stapler—she also knows the Boss’s detailed itinerary. She’d be a good Ally…or a dreadful enemy. The guy who also seems to be hanging around, poking his head in meetings he’s not invited to—could he be an Agent of Evil? Be careful who you trust.
• This is a large section of your story, not just the 1/12 it appears to be. Think about everything your Hero needs to learn. This is truly the Journey part of the Hero’s Journey. Once your Hero has arrived, there’s a sense of relief, of exhilaration. Have fun! Relax! Then get to work.
• Your Hero is much more proactive in the Special World. He has Crossed the First Threshold, and now is driven to work through this world. He has to keep his job. He can’t blow this opportunity. Many people in his Ordinary World, his wife and kids, etc., are counting on him to succeed.
• Keep your Hero’s goals intact, but make sure the Obstacles still match those goals. He climbs a mountain only to find a bigger mountain behind it. He files a report on time, only to find that it was only the first of ten he should have filed. The Boss’s daughter turns out to be a handful.
• Keep your Hero’s spirits up. This is probably the most fun he’ll have in the whole book. By the end of this section, he’ll be ready to take on the Enemy, full of (over)confidence, and ready to take on this Special World.

Non-Goals

• Direct confrontation with the Enemy. Now in my example, it seems like our Quarterback is fighting the Enemy, but is he? Or are they just acting under orders? Who controls them? And is his true enemy across the field, or is he standing on his own sidelines?
• Some life-changing Epiphany. These lessons are meant to be affirming and supportive. Everything seems to be going relatively well. We’re giving our readers hope that he’ll prevail. But we also see the Enemy strengthening as well, getting away with things. Conflict is inevitable.
• Avoid too much backstory, telling, and explanation about the Special World. Let your Hero learn by doing. Let him make mistakes. Some lessons are easy, some are hard.
• Don’t get sidetracked. It’s tempting to expound on everything, fill pages and pages with details about each character, explore previous relationships, describe fantastic settings in detail. Remember to keep the story moving forward, and keep these detours to a minimum, including them only when necessary to provide the Hero with some critical information.

Who are your Allies? How did you win them? How have they helped you in Life’s Journey?

Story Structure Part V – Crossing the First Threshold

This is the fifth in a series of posts talking about the story structure known as “The Hero’s Journey.” I’m borrowing heavily from “The Writer’s Journey: A Mythical Structure for Writers 3rd Edition” by Christopher Vogler. This is my interpretation of it, and I’ve tried to highlight some pitfalls I see writers falling into. Click here to review other installments of Story Structure.

Crossing the First Threshold

There is one moment in the story when something irrevocably changes for the character. The High Point of Act One, this is also known as the Turning Point, or Answering the Call. It can be subtle or overt. A characters Crosses the Threshold when he finally accepts the fact that change is inevitable, and he begins to act. He is entering what’s known as the Special World. This is a new world, with new rules and customs. It is a world filled with danger and opportunity.

Once your character enters the Special World, he cannot return back to the Ordinary World without embarking on an adventure. I liken it to stepping off the skilift at a ski resort. You have entered the Special World of Skiing, whether you know how to ski or not. Your Ordinary World is the lodge, full of warmth and comfort, but somehow not satisfying. You’ve heard The Call of “skiing is awesome” but resisted up until now (Refusal). But your friend (Meeting with the Mentor) has convinced you to try it. Now you stand at the stop of a steep hill, completely clueless as how to proceed. You can’t get back on the lift, and there are only two ways down: skiing or crawling. Good luck, see you at the bottom!

A story may contain many thresholds that are blocked by Threshold Guardians who must be defeated or won over before the Hero can proceed. The Threshold is often a physical threshold, such as a door or change in light, such as sundown. In any case, once crossed, a hero can only return after a lengthy Ordeal, and not until he’s altered in some fundamental way by the experience. He must learn the rules of his new world, and use those lessons, to help him eventually return to his Ordinary World.

Returning to our benchwarming quarterback, his Threshold is clear. It is a white line that surrounds the football field. His turn has come. Coach puts him in the game; the starting QB is unable to continue. He has a choice: either enter the game, or run away in defeat, never to play football again. However, Heroes don’t really have a choice. They must cross the threshold, it’s what makes them Heroes. Even though it seems like Coach is forcing him to play, he’s simply answering a deep Call, not just to play, but to confront his fears, to find out once and for all what he’s made of. He’s going to soon have to cross two other Thresholds: where the heck are his parents, and what is going on with his girlfriend. A massive storm is raging, swamping the field, reminding him that he is now in unfamiliar territory.

Guess who’s waiting right on the the other side of the Threshold? The Enemy. Up until now, your character has avoided direct confrontation. What is the first thing our skier sees upon exiting the skilift? Trail signs such as “Bone Crusher Alley,” “Hell’s Canyon,” and “Perry’s Plunge.” What does our quarterback encounter? Teammates who don’t trust him or respect him, and the other team, giddy over knocking two opposing players out of the game, are thirsty for the blood of an untested newcomer to the Special World of full contact football. Also, the Story Question is becoming clear. His team is already down 14-0. Can our untested Hero survive his Journey to the Special World and wind up victorious?

Crossing the Threshold Goals

• Start the “Story” part of the story. Your Hero starts acting, starts interacting with the world around him in order to achieve his goals.
• Show that the Special World is different. Different feel, new characters, bigger obstacles. The rain is now pouring down on the football field, a clear change in atmosphere.
• Raise the stakes. The cost of quitting now are huge and growing.
• The Villain also starts to act, sensing a threat and/or opportunity entering his World.
• Even if not obvious to your character, your readers should see what the Story Question is at this point. Ex. Can you make it down the Ski Slope? Can the QB help win the game?
• Keep the Hero focused on his goals, even if new immediate goals emerge.

Non Goals

• Do not start your story in the Special World. You can hint at it such as, “let me tell you how I wound up upside down in a tree” but it’s much better to show what made the Hero decide to act.
• Don’t give the Hero a choice. (Feel free to disagree with this one, but I’m sticking to it). When the hatch closes, you’re taking the flight whether there are Snakes on the Plane or not. Whatever his reasons for entering the Special World, he now has to see it through. My point is that the Ordinary World problems have grown so big, that he has no other choice than to enter this new world. The alternative is essentially Death.
• Even if he simply enters a room through a door, he cannot turn back and retreat. (Have I made this clear yet?) Heck, move the Villain in front of the doorway if you have to. The crossing is one-way only.
• This is not a climactic event. Nothing is resolved, but it’s the first step towards some kind of ultimate resolution.

On a somewhat related note, I’m personally going to Cross a Threshold at 12AM Nov 1, 2009 when I start NaNoWriMo. I am going to start writing a new novel. I wonder what enemies I will encounter in my journey? Can I write 50,000 words before 12AM Dec. 1? Will I finish the first draft? Am I making a huge mistake tackling a genre of which I know very little?

When have you answered The Call, and how did you Cross the Threshold in your own life?

Story Structure Part IV: Meeting with the Mentor

This is the fourth in a series of posts talking about the story structure known as “The Hero’s Journey.” I’m borrowing heavily from “The Writer’s Journey: A Mythical Structure for Writers 3rd Edition” by Christopher Vogler. This is my interpretation of it, and I’ve tried to highlight some pitfalls I see writers falling into. Click here to review other installments of Story Structure.

Meeting with the Mentor

Along with Hero and Villain (the “Shade” Archtype), the Mentor is probably one of the best-understood character types. Mentors are everywhere. In fiction, they are the characters who instruct the Hero in the ways of the Special World he has or is about to enter. We see mentors all the time. Parents, teachers, older siblings, troop leaders, bosses, drill instructors, family friends, gang leaders, and anyone who provides a hero with critical information. Sometimes mentors are agnostic—either the Hero learns or he doesn’t. Mentors can be the Hero’s greatest asset and inspiration, or a Mentor can teach through pain and humiliation. It really depends on the particular lesson and the character of the Mentor. Some Mentors even become the Villain…and the Hero must defeat his own Mentor to prevail.

Mentors can appear throughout the novel, not just in the First Act. As  a Hero grows along his Journey, his needs for information changes. Some Mentors start him along his journey, and some appear near the end, providing him with the final information needed to defeat the villain, perhaps through earning the respect of the Mentor. They may test the Hero, preventing him from progressing if he’s not ready. Generally, it’s good to establish a rapport with a Mentor early on, so as our Hero enters the Special World of Act II, he has at least some tools in hand and won’t be crushed immediately.

So let’s return to our Hero, our benchwarming quarterback. Who are his Mentors? First, there are the coaches on the sideline. One old coach tells him to warm up. Our Hero has a decent relation with this “old, wise” man who is an assistant coach. We don’t know much about him, except maybe that he used to be a head coach somewhere important, maybe years or decades ago. Now, he’s a rambling old man no one pays attention to, but our Hero likes to hear his stories. This man likes to talk about the “glory days” when helmets were optional and quarterbacks ran the ball. Mentors need an air of authority, otherwise the Hero won’t listen.

He pats our quarterback on the shoulder, and asks him if he’s ready. He tells him to relax, to play his best, and watch for the corners pinching in. Then the Head Coach comes over and yells and screams, and the old man slinks into the background. The Head Coach is not really a Mentor, his concerns are much higher than day-to-day training. Our quarterback may also have words from his Father in his head, disparaging remarks about how he never will succeed. Negative Mentors can be a huge source of frustration for a Hero, but there are valuable lessons in hearing negative advice too.

Meeting with Mentor Goals

• Provide the Hero with critical information at critical junctures.
• Explain the Special World the Hero is entering.
• Provide a framework for the transformation the Hero must undergo.
• Train the Hero in skills he will need to succeed.
• Be an asset to the Hero, someone he can turn to.

Non Goals

• Don’t give the Hero everything he needs. A good mentor doesn’t just hand the Hero fish, he teaches him how to fish.
• Don’t be an Ally to the Hero. He can be, but sometimes he’s providing the Hero with false information and has his own best interests at heart.
• Don’t throw advice out there like candy. In many cases, a Mentor’s gifts must be earned.
• He doesn’t solve the Hero’s problems. He simply points the Hero in the right direction, but the Hero must ultimately prevail on his own merits.
• Your Hero doesn’t have to listen to the Mentor. But, he ignores the Mentor at your own peril.

Who are the Mentors in your writing? Who is your writing Mentor?

Story Structure Part III: Refusal of the Call

This is the third in a series of posts talking about the story structure known as “The Hero’s Journey.” I’m borrowing heavily from “The Writer’s Journey: A Mythical Structure for Writers 3rd Edition” by Christopher Vogler. This is my interpretation of it, and I’ve tried to highlight some pitfalls I see writers falling into. Click here to review other installments of Story Structure.

 

Refusal of the Call

There’s one thing I want to point out before I talk about Part Three. Even though I describe these parts of the Hero’s Journey in a certain order, I don’t want to imply that either A) This is the exact order they must appear in, or B) Every part is required. Even though I will try to make a case that they are all required, I’m sure there are many successful counter-examples out there.

Refusal of the Call can be summarized in one word: Fear.

From the “Litany of Fear” by the Immortal Frank Herbert via Lady Jessica: “Fear is the mind-killer. Fear is the little-death that brings total obliteration.”
(BTW does anyone know if by “little death” he’s referring to La Petite Mort? ‘Cause that would be weird.)

On the other hand, Fear is probably the #1 motivator in people’s lives. If your character is not living in a state of anxious excitement (the happy side of fear) or mortal dread (the fearful side of fear) then your character is not in a state of conflict and the stakes are not high enough. It’s been said that to truly achieve transformation and resurrection, a character must face his worst fears. The initial Refusal of the Call is a character’s first encounter with fear, the first challenge to his world view, the first time he considers the risks involved with the adventure.

We hear the Call to Adventure every day. Consider a Helicopter Ride.* Go ahead. Why aren’t you booking it? It’s fun, it’s beautiful, it’s exciting, it’s dangerous. You might have an experience that lasts a lifetime. Now what were your “excuses” for saying no?

“It’s too expensive.”
“I’m scared of heights.”
“Who has the time?”
“Those things crash all the time.”
“I don’t want to have to travel to Hawaii just for a helicopter ride.”
“I don’t have anyone to go with me :(.”

All those excuses are the Refusal of the Call. I just now issued you a Call to Adventure, but you refused. In your own writing you’re going to issue your character a Call to Adventure, and he might have a thousand reasons to refuse. And not just the Call. He may refuse to Cross the Threshold, to Approach the Inmost Cave, or even begin The Road Home. Or, he might hear the Call, and immediately Cross the Threshold with guns a’blazin. No matter where your character is in the Hero’s Journey, he will eventually have to face his fear, and at some point he may resist continuing upon this journey.

Let’s turn to our benchwarming quarterback. His refusal is fairly straightforward. When he sees how nasty conditions are becoming on the field, with the starting quarterback limping, another player out with a leg fracture, a storm approaching, his parents absent, and a cheerleader pleading for attention, it’s all he can do to not turn and run for the busses. Coach comes over and tells him to start warming up, and he does it half-heartedly, as if dragging his heels will prevent this adventure from occurring. He continues to blow off the cheerleader. He doesn’t want to hear it, whatever “it” is.

Underlying all these events is a strong undercurrent of fear. His primary fear is the Fear of Failure. Riding the bench has been safe. He can’t fail if he doesn’t try. He’s on the team but he doesn’t determine wins and losses. A secondary fear he’s experiencing is with the Cheerleader. Obviously they have a history. There might be events in this history that evoke fear. So right now, what are his Worst Fears? And as a writer, what do you think should happen?

Refusal of the Call Goals:

• Raise the stakes. The Inciting Incident speaks to a character’s needs and desires. The Refusal speaks to his fears.
• Illustrate character flaws. If our quarterback ran onto the field and saved the day, that would be nice but it wouldn’t be a story. If he was that kind of guy he’d already be starting.
• Get down and dirty. Stick out that foot and start tripping your character. Don’t hold back.
• Help the reader identify with the character. Make him more human.

Non Goals:

• Don’t expose everything. Keep to the point. Don’t give your character a fear of snakes if he never encounters them again. This isn’t a character essay.
• The temptation to Adventure will win out. Don’t paralyze your character or you’ll paralyze your reader. Keep it moving along.
• Don’t make him face his fears, or even clearly identify them at this point. His refusal may sound logical and rational at this point. But as the writer…you know better. Keep the reader guessing.

How do you use fear in your writing? Do your characters jump into adventure or are they dragged in kicking and screaming?

* I actually rode this helicopter service during my Honeymoon in 1999 on Maui. Freakin’ awesome, highly recommend.

Story Structure Part II: The Call to Adventure

This is the second in a series of posts talking about the story structure known as “The Hero’s Journey.” I’m borrowing heavily from “The Writer’s Journey: A Mythical Structure for Writers 3rd Edition” by Christopher Vogler. This is my interpretation of it, and I’ve tried to highlight some pitfalls I see writers falling into. Click here to review other installments of Story Structure.

The Call To Adventure

This is also known as “The Inciting Incident.”

Everybody hears “The Call.” The Call to Adventure happens every day, at any time. You read something online, you see something on TV, you get a phone call. This might cause you to act in a new way. Inciting Incidents happen all the time, but they don’t necessarily lead to some kind of marvelous and dangerous adventure. In fiction, heroes generally are facing some kind of intractable problem at the beginning of the book. They’ve done everything they know how to do. In many ways, heroes are primed for adventure. They are in need of change, they just don’t know it. So when they receive that tiny glimmer of hope, a glimpse of a world outside of what they’ve ever known, they can’t resist. Heroes have to go on the adventure; a good writer leaves them little choice.

Sometimes the Inciting Incident is a lot less subtle. A car wreck. A disease. A breakup. It doesn’t become a Call to Adventure unless this incident is something out of the ordinary. However, to move the story right along, you probably want to make this incident meaningful. In certain genres, the Inciting Incident has certain specific characteristics. In mysteries, it’s usually the crime, or the dame walking into the detective agency. In many adventures it’s the actual summoning of the hero. But in general fiction it can be anything. The death of a loved one. An impeding marriage. A job offer. An attack by the previously peace-offering Cylons. A midnight knock on the door. A snake on a plane. A blood-burping Zombie. A secret admirer.

Note that just because a hero hears The Call, doesn’t mean they immediately answer it. In fact, most heroes are fairly reluctant to change their ways, to experience danger, to finally do something they’ve been putting off forever. (We’ll talk about The Reluctant Hero in Part Three). Also, The Call does not have to be a single incident. It can be a series of (unfortunate?) events that drag the hero kicking and screaming into Adventure.

Let’s go back to our benchwarming quarterback from Part One.  He’s always dreamed of being the star, but has never come close. Will he be ready when The Call To Adventure comes? When the starting quarterback goes down, coach tells him to get ready. Often The Call is brought by a Herald, in this case the Coach. However, the starter recovers on the sideline, so our hero’s adventure is thwarted again. The starter suffered a twisted ankle, but he says he can play. Even though our hero isn’t forced into the game, thoughts and emotions are put into play. This is where we can learn more background about him. Now that the possibility of adventure is nigh, we can witness the dynamics that have brought our hero to this point. We can see maybe why he’s where he is, and maybe why he deserves more. The starter is obviously struggling, and looks like he may not last long.

Other incidents are occurring as well, all foreboding signs that change is in the air. A cheerleader keeps approaching him on the sidelines, insisting they have to “talk”…during the game. He can’t find his parents in the stands. Another teammate goes down with a serious injury. The other team scores. Thunder is clearly audible. Change is coming, and if he doesn’t start to act, bad things might occur.

The Call to Adventure Goals:

• Present the Hero with an opportunity.
• Define the Hero’s current goals and obstacles.
• Foreshadow the main conflict, bring some elements into play.
• Increase the stakes a bit (but don’t overwhelm your Hero, he should feel uncomfortable but not panicked…yet).
• The Hero may or may not make a choice here to proceed, but match the opportunity with his goals. Think about ads for the Military, how they make soldiering sound like the coolest job on the planet. This is the nature of the Inciting Incident, a hint of danger coupled with an opportunity to escape the Ordinary World.

Non Goals:

• The Hero doesn’t have to answer The Call right away. It depends on his personality.
• Avoid extensive backstory. Include enough to illuminate some motivations, but a wholesale litany of his life is probably too much. Keep the tempo up.
• Don’t show that he’s a Hero. Only that he is a Potential Hero With Issues. Most Heroes don’t become Heroes until Act Three.

I’ve seen a lot of advice that suggest that you start your story with the Inciting Incident right off the bat to entice your readers. This can work, as long as you show how this Incident is out-of-the-ordinary. Sometimes this works as a Prologue where you show the Bad Guys committing heinous acts, then show the Hero in his Ordinary World, and then the Inciting Incident becomes the first interaction between the two. You want to draw the reader in, but also ground them in your world before introducing all the chaos that follows.

How do you like to draw the reader in? How soon should the Inciting Incident occur?