188 Stage Hero's Journey (Monomyth): Antihero's Legend

The antihero's legend will have travelled before him and symbols of his nature will be visible – scars or actions of his past. These will reveal the antihero as a dangerous being and explanations will be elicited.

188 Stage Hero's Journey (Monomyth): Antihero: New World Guardians

The antihero's interaction with the guardians reveals his name and his nature. The antihero is obviously an alien to this world (language, clothing, demeanour etc) and will pretend some affinity with the guardians and use any trick and deviance to overcome them. He will disassociate himself from his past, family and friends if need be.

Why Freelance Writers Are Lacking When It Comes to Technology

I'm constantly amazed at the lack of technology know-how among freelance writers - and I wholeheartedly include myself in this category. So, why do freelance writers lag in this area? Following are my theories, and how to go about changing this:

188 Stage Hero's Journey (Monomyth): Entering the First Threshold and Fish out of Water

Willingly or not Hero enters a First Threshold, somewhere where he (or she) is a Fish out of Water. In Straw Dogs (1971), David goes into the pub for some cigarettes.

188 Stage Hero's Journey (Monomyth): Making Explicit the Ordinary World

It is common to make the Ordinary World explicit. But it is equally common for the Hero to simply arrive in a New World (the stage of Exile). In Straw Dogs (1971), David and Amy move to the small English town. In Brokeback Mountain (2005), Ennis and Jack simply arrive in Wyoming.

188 Stage Hero's Journey (Monomyth): Fear of the Return to the Ordinary World

The Hero - willing and unwilling - often lives in fear of the return to the Ordinary World and the Ordinary Self. In Star Wars (1977), Luke never wants to go back to Tattooine. In Bonnie and Clyde (1967), Bonnie wakes up afraid that Clyde is not there. Even seemingly unwilling Heroes do not return to the same place - the Journey has given them a new capacity and transformed them into a New Self. In The Shawshank Redemption (1994), Andy does not return home but goes to Mexico.

188 Stage Hero's Journey (Monomyth): Disgust With the Self

Disgust is a core part of the Refusal, post the Ultimate Boon. The Hero (or major character) is disgusted by what he (or she) has become or was. It is a reaction to the Transformation so far. In Bonnie and Clyde (1967), Blanche regrets the path she has chosen.

188 stage Hero's Journey (Monomyth): Polarization

A number of things happen in the Inner Cave of the First Trial. One element is Polarization. In Bonnie and Clyde (1967), Bonnie and Blanche argue.

188 Stage Hero's Journey (Monomyth): Freedom to Live - a New Self

Part of the Freedom to Live is a New Self. In Brokeback Mountain (2005), junior has a new car.

188 Stage Hero's Journey (Monomyth): Mentor's Backstory

The Mentor's Backstory is often made explicit. In Bonnie and Clyde (1967), Clyde tells Bonnie he cut part of his foot off.

188 Stage Hero's Journey (Monomyth): Call to Adventure

A staple of the Hero's Journey and Transformation. Separate and distinct from the Inciting Incident. A Call for the Hero to set out on a Journey; an implicit Call to face Challenges. It is the undergoing of the Journey that will Transform the Hero and provide him (or her) with the capacity to conquer challenges that were previously unconquerable. In Bonnie and Clyde (1967), Clyde invites Bonnie for a drink.

188 Stage Hero's Journey (Monomyth): Apotheosis

It is the breaking out of previous restraints and restrictions. In the Godfather (1972), Don Corleone gives his word not to break the peace, but Michael doesn't.

188 Stage Hero's Journey (Monomyth): Final Catharses

Many of the most successful stories end with multiple catharses (often four or more). Brokeback Mountain (2005) is no different. a) Catharsis 1: Ennis’ postcard is returned marked deceased...

188 Stage Hero's Journey (Monomyth): Four Classes of Challenge

The Four Core Challenge categories can be viewed as classes Heros often have to resolve Four Core Challenges: the Inner, Outer, Romantic and Greater Antagonism. Each Challenge is made explicit and resolved in a very specific order. Each Core Challenge can be viewed as a class.

Cross-Dressing and the Pursuit of Happiness

The gender roles of The Merchant of Venice exemplify the themes of the play. At the same time, however, they illustrate separate motives. The women are concerned with emotional and spiritual happiness, while the men are concerned with material happiness. In the end, nevertheless, the couples manage to bring happiness into each other’s lives.