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    ng. He reaches that insight in the scene by the prison wall with Red (Morgan Freeman). His illumination is that he will neve
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    The starting point for any story is the apotheosis – the seminal insight, enlightenment or illumination that the hero has.

    Once you have that, then you know what the obstacle to the illumination is (atonement with the father).

    With the above two in hand, you can work backwards and forwards along the path of the Hero’s Journey.

    e.g.

    In The Shawshank Redemption, Andy Dufresne's apotheosis is that you either get busy living or you get busy dying. He reaches that insight in the scene by the prison wall with Red (Morgan Freeman). His illumination is that he will neve

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    has.

    Once you have that, then you know what the obstacle to the illumination is (atonement with the father).

    With the above two in hand, you can work backwards and forwards along the path of the Hero’s Journey.

    e.g.

    In The Shawshank Redemption, Andy Dufresne's apotheosis is that you either get busy living or you get busy dying. He reaches that insight in the scene by the prison wall with Red (Morgan Freeman). His illumination is that he will neve

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    With the above two in hand, you can work backwards and forwards along the path of the Hero’s Journey.

    e.g.

    In The Shawshank Redemption, Andy Dufresne's apotheosis is that you either get busy living or you get busy dying. He reaches that insight in the scene by the prison wall with Red (Morgan Freeman). His illumination is that he will neve

    Don't Put All Of Your Eggs Into One Basket
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    In The Shawshank Redemption, Andy Dufresne's apotheosis is that you either get busy living or you get busy dying. He reaches that insight in the scene by the prison wall with Red (Morgan Freeman). His illumination is that he will neve

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    ng. He reaches that insight in the scene by the prison wall with Red (Morgan Freeman). His illumination is that he will never get out of prison (Warden Norton will never let him go).

    With this information, you have the hero and a number of resistances that prevent him attaining his illumination, which he has to conquer – you have the basis of a story.

    e.g.

    In Al Pacino Scarface, Tony Montana's insight is that the rewards of the path he's chosen are not worth the spiritual price he is paying, expressed with the words (in the restaurant scene): "is this it? Is that what it's all about Manny

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