Make the Most of your Home Office !
Wouldn't we all love to have the opportunity to work from home? The benefits are endless if you follow some guidelines.The key to working at home and successfully running any business from home is "professionalism". While you will certainly have more flexibility than in a traditional office, you should still follow the same principles. Resources Dress for work**Romantic Challenge Polarized*****

The Romantic Challenge is just that - a challenge that has to be resolved. As such, the Hero and Romantic Challenge are, at first meeting, highly polarized. In Raiders of the Lost Ark (1981), Marion argues with Indy outside her bar. In The Deer Hunter (1978), Michael is a world away from Linda. In The English Patient (1996), Laszlo and Katharine have the problem of her husband.

*****Mirror*****<

The 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 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) Gives you a universal structural template upon which you can superimpose your situational story. This is why stories such as Alien (1979), Gladiator (2000), Midnight Cowboy (1969), American Beauty (1999), The Graduate (1967) and many others (all deconstructed at the URL below) appear to be different but are all constructed, almost sequence by sequence, in the same way.

and more...

*****Hero’s Journey: manipulation*****

The detective hero continues to make explicit to the female client that he is working for her and will protect her. In The Maltese Falcon (1939), Sam comforts O’Shaugnessey.

*****Romantic Challenge Polarized*****

The Romantic Challenge is just that - a challenge that has to be resolved. As such, the Hero and Romantic Challenge are, at first meeting, highly polarized. In Raiders of the Lost Ark (1981), Marion argues with Indy outside her bar. In The Deer Hunter (1978), Michael is a world away from Linda. In The English Patient (1996), Laszlo and Katharine have the problem of her husband.

*****Mirror*****<

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 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) Gives you a universal structural template upon which you can superimpose your situational story. This is why stories such as Alien (1979), Gladiator (2000), Midnight Cowboy (1969), American Beauty (1999), The Graduate (1967) and many others (all deconstructed at the URL below) appear to be different but are all constructed, almost sequence by sequence, in the same way.

and more...

*****Hero’s Journey: manipulation*****

The detective hero continues to make explicit to the female client that he is working for her and will protect her. In The Maltese Falcon (1939), Sam comforts O’Shaugnessey.

*****Romantic Challenge Polarized*****

The Romantic Challenge is just that - a challenge that has to be resolved. As such, the Hero and Romantic Challenge are, at first meeting, highly polarized. In Raiders of the Lost Ark (1981), Marion argues with Indy outside her bar. In The Deer Hunter (1978), Michael is a world away from Linda. In The English Patient (1996), Laszlo and Katharine have the problem of her husband.

*****Mirror*****<

) 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) Gives you a universal structural template upon which you can superimpose your situational story. This is why stories such as Alien (1979), Gladiator (2000), Midnight Cowboy (1969), American Beauty (1999), The Graduate (1967) and many others (all deconstructed at the URL below) appear to be different but are all constructed, almost sequence by sequence, in the same way.

and more...

*****Hero’s Journey: manipulation*****

The detective hero continues to make explicit to the female client that he is working for her and will protect her. In The Maltese Falcon (1939), Sam comforts O’Shaugnessey.

*****Romantic Challenge Polarized*****

The Romantic Challenge is just that - a challenge that has to be resolved. As such, the Hero and Romantic Challenge are, at first meeting, highly polarized. In Raiders of the Lost Ark (1981), Marion argues with Indy outside her bar. In The Deer Hunter (1978), Michael is a world away from Linda. In The English Patient (1996), Laszlo and Katharine have the problem of her husband.

*****Mirror*****<

), American Beauty (1999), The Graduate (1967) and many others (all deconstructed at the URL below) appear to be different but are all constructed, almost sequence by sequence, in the same way.

and more...

*****Hero’s Journey: manipulation*****

The detective hero continues to make explicit to the female client that he is working for her and will protect her. In The Maltese Falcon (1939), Sam comforts O’Shaugnessey.

*****Romantic Challenge Polarized*****

The Romantic Challenge is just that - a challenge that has to be resolved. As such, the Hero and Romantic Challenge are, at first meeting, highly polarized. In Raiders of the Lost Ark (1981), Marion argues with Indy outside her bar. In The Deer Hunter (1978), Michael is a world away from Linda. In The English Patient (1996), Laszlo and Katharine have the problem of her husband.

*****Mirror*****<

**Romantic Challenge Polarized*****

The Romantic Challenge is just that - a challenge that has to be resolved. As such, the Hero and Romantic Challenge are, at first meeting, highly polarized. In Raiders of the Lost Ark (1981), Marion argues with Indy outside her bar. In The Deer Hunter (1978), Michael is a world away from Linda. In The English Patient (1996), Laszlo and Katharine have the problem of her husband.

*****Mirror*****

Symbolism is an underrated aspect of storytelling. A mirror is an often used symbol, that demonstrates the Hero's self analysis at the stage of the Ordinary World. In Bonnie and Clyde (1967), Bonnie look at herself in the mirror. In An Officer and a Gentleman (1983), Zach looks at himself in the mirror.

*****Magic Flight*****

A physical movement, often with an air of the supernatural about it. In Ali (2001), Ali runs through the village and sees images of himself.

This is essentially a movement away from the Greater Antagonism....and manifests itself in a number of ways, including:

Flee with the Treasure. The Hero departs with the Boon in hand. In The Shawshank Redemption (1994), Andy is able to flee with the warden's paperwork, identity and money.

Distance oneself from the Antagonism. In Alien (1979), Ripley flees to the escape vehicle.

...or a set-up for the eventual pull toward it: In Spiderman 2 (2002), Doc Ock kidnaps MJ. In Dances with Wolves (1990), John goes back to the Fort for his diary.

*****Rescue from Without*****

A pull brings the Heroes out of No Mans Land. In Brokeback Mountain (2005), Valerie the waitress asks Ennis to dance. Randall invites Jake to the cabin.