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What Makes a Hero

What Makes a Hero

In the last two weeks, against the backdrop of me frantically preparing for this week’s Writer’s Digest Conference, I’ve had two massive projects dropped in my lap.

The first, which I’ve chronicled in my last two posts, is the story of my cousin Barney and his heroic rescue of his family from persecution in the 1920’s.

The second, which I won’t detail due to privacy issues, is the memoir of a new member of one of my writing groups where he chronicles his dealings with mental illness. Let’s call him Joe. I’ve been helping him figure out how to structure his account.

Both are true stories, and both share something amazing: a true Hero in both the real and the literary sense of the word. As I learn about both stories, I realize that these are stories that absolutely must be told. Not only that, they both revolve around probably the greatest motivator in the world: the need for love and connection with our fellow man.

Here are some of the things that makes them Heroes.

• They are broken in some way. In Barney’s case, in 1920 he is living with his sister at 25. He seems to be stuck in some kind of rut. We’re still researching, but it seems to me he led a quiet, sheltered life without much interaction outside of his house. But he left his family to come to America at an early age—why?
  In Joe’s case, let’s just say at age 40 he’s an incomplete man but he want to be complete. He wants relationships and family.
• They are presented with a challenge/invited to go on a Journey. Barney is faced with a letter from the old country pleading for help. Joe falls in love with a woman, probably for the first time in his life.
• The Journey is dangerous. Mortally dangerous (is there any other kind?). This is not a journey to take lightly. Barney literally faces armed forces. Joe literally faces Demons. (not supernatural. I can’t be more specific than that but I assure you that they are violent and malevolent).
• The Journey promises a great Reward. In Barney’s case, it is the reunification of his family. In Joe’s case, it is even simpler. He’s looking for love.
• There is a parallel, inner Journey occurring. On the outside, both men are fighting for their families, taking on the demons that block their progress at every turn. But the greatest demons are the ones in our own heads. What the Journey teaches them, by defeating the outer demons, is how to take on their inner demons and win.

So now, the question for me as I head to New York, is what about little Miss Sophia Stratton, the main character of Steam Palace? Does she in any way compare to these real-life heroes?

I see her story a little like Barney’s. She leads a somewhat sheltered life. She’s avoided relationships, lived with her mother and older sister’s family (whoa---way parallel). She’s kept her nose to the grindstone, perhaps like Barney, and never looked at the “bigger picture.”

She’s had Calls to Adventure in the form of letters from her Aunt, begging her to visit, but it’s not until her own life becomes so untenable that she accepts it. In Sophia’s case, the Journey isn’t quite as well-defined, which may be something I need to look at. It’s actually a series of journeys, all revolving around her twin sister Viola. At the core, Sophia is trying to honor her father’s memory, to right a wrong that occurred long ago.

The Reward for Sophia is fairly clear: her family survives. But she is presented with an even greater reward: if she completes the journey, she will gain what her father lost: their ancestral lands and peerage. But there’s a reward greater than all of those out there: her twin sister Viola. This goes to the heart of the Evil Twin metaphor: by confronting your twin, you are really confronting yourself. Sophia not only sees what she could have become, but she learns to appreciate what she has. So if she can come to terms with Viola and who Viola is, Sophia is really coming to terms with who Sophia is, and that’s the Inner Demon she must ultimately conquer. Like Joe, Sophia realizes that her love for her sister can heal Viola, and by doing so, can heal the hole in her own heart left when her father died.

Have you looked at your own work to see what your character gains from the Journey? How do they change, and what do learn from the experience? How do they start broken in some way and then wind up more complete?

A New Writing Metaphor

A New Writing Metaphor

Or maybe it’s an allegory. Anyways, I hear a lot about the peaks and valleys of a novel. Rising action, increasing the stakes, adding tension. Your Hero is climbing a mountain, and must struggle to reach the top, which is the pinnacle of his achievement.

WRONG.

Let me introduce another metaphor. To play along, hover your mouse over the links.

Your Hero starts out in a nice forest, constantly pursued by a hungry tiger, but the tiger is kind of old, been chasing him for a while. He’d like to not have that damn tiger around…think of what he could do without it always messing him up. He’s tried to chase it away, maybe even kill it, but it just keeps coming back, growling, eying him, stealing his food and eating his women.

So one day he’s out, trying to avoid the tiger, and he sees this beautiful meadow in the distance. It’s a wonderful meadow, full of flowers, little sparkling steams, and of course—not a tiger to be found. How wonderful it would be to live in such a place! But there are no roads, no paths that lead there that he can see…except through a dark, cloud-filled valley. He can’t get there. Oh well, another day, another tiger.

Later on, he meets an old man. They get to talking. The old man says, “yep, that’s a tiger alright. You sure you wanna get to that meadow over yonder?”

“Well, it’s quite tiger-free from what I can see.”

“So, what are you waiting for? But be careful, only the strongest survive the passage through the valley.”

“Is it worth it?”

“What is anything worth?”

Pissed off by the old man’s simple-formula riddles, the Hero decides to take a quick peek down into the valley. But this is no ordinary valley. You see, for every one step in, it takes ten steps to get back out. Think of place with down escalators only. Before he’s taken ten steps, the clouds close in, the sun disappears, and the top of the valley vanishes from view. Before him he sees many paths, behind him only murk.

After stumbling around for a while, the old man joins him.

“This place blows,” says the Hero. “I wanna go home.”

“Good luck. Old Mr. Tiger is sitting up there and he’s pissed that you left.”

“Fuck. Then what the hell do I do?”

“There are two paths you can go down, but in the long run, there's still time to change the road you're on.”

“Did you just quote Led Zeppelin at me??”

The old man sits on a rotten log. “Son, listen. You ain’t alone in this valley. We call this here valley, ‘The Valley of the Lost.’ Many people have come in here, escaping their own tigers. Find these people, learn from them. Some will be friends, some will be deepest enemies. But at the bottom of this valley, where it’s hot and fiery, you will face your greatest test of all. If you fail this test, you will wander this valley for all eternity, but if you pass, you will achieve whatever you desire.”

“I preferred the Led Zep to that. Fine.”

So your Hero explores the Valley, learning where there lies food and shelter, finding the company of friends and women, and mastering skills he never dreamed of. But each step drops him deeper and deeper, and the clouds fall like a shroud to block any thought of escape. Friends come and go, some stick for the long haul, others fall by the wayside. Finally he arrives at a steep precipice. Boiling wind and the scent of brimstone blast out from the crevice at the bottom.

With only his most trusted allies at his side, he climbs down the sheer rock face, hands and feet burning, each step full of peril. They make it, scarred, but still breathing.

A wispy figure approaches. “Who dares disturb my sleep?” A Dragon emerges from the smoke. “Why are you here?” With one snort he could cook them like blackened catfish.

“I’ve come to get to the meadow, where there are no tigers. Now give me my test!”

The Dragon swallows laughter. “Good one. You do know what the tiger and the meadow represent, right?”

Your Hero has no clue. “Uhh, shut up and fight. I’m tired of riddles and games. I am sick of frickin’ tigers, this stupid-ass valley, and I’m sick of you.”

The Dragon checks his nails. “Be still, my petulant one. I will grant you all you wish, but only after you perform a simple thing. It’s nothing, really. All you need to do is slay all your little friends you brought with you, and I shall set you free! Go on…start with that chubby one. Daddy’s hungry.”

The hero looks at the chubby one, draws his sword, and cuts off the dragon’s head. For a split second, the clouds part, revealing the one path out of the valley.

So our weary band of the Lost whoop and holler and head back out of the valley and make it to the magical meadow they have sought…only to find themselves surrounded by tigers.

“WTF?” says your Hero.

The tiger that has stalked him all his life approaches and speaks for the first time. Behind him are all the tigers who have chased your Hero’s friends. “Well, well, well. So you made it back. And we are extra hungry. Now in your haste to jump into the Valley, you probably didn’t notice that you could have just walked around the long way and reached here anyways. Dumbass.”

“You woulda followed me,” says the hero sullenly.

“Duh.” He places a paw on the Hero’s shoulder and breaths stinking hot breath on his face. “Now I see you have a couple choices here. First, let me take you back home. You’ll be my bitch, of course, much worse than before, but you’re used to that. Second, you could go back down into the Valley, but I’d eventually find you there. Third—“

“Third,” interrupts the Hero, “me and my merry band can kick your furry ass. We beheaded the dragon, we found our way out, and you’re no match for us.”

The tiger laughs. “That is rich. But there is one thing you are forgetting. One small detail. Old man?”

The old man steps out from behind the tigers. He hands the Hero a hand mirror.

The Hero raises it. “Is this a special weapon? Should I smash them with it?”

“No, look in it.”

The Hero looks in it and sees a battle-scarred warrior. But behind the dirt and blood, there is something else.

He sees a tiger. He gasps. He looks at his fellows. All tigers. Well, the Chubby One is more of a pussycat but you get the idea.

“So,” says the Tiger, “do you understand all the symbolism now? Do you need me to explain in tiny, easy-to-grasp pieces?”

The Hero sighs. It is all clear now. “Yes. All this time, I’ve been running from myself. In the Valley, I learned to face my fears in a controlled environment. And now I’ve returned to finally overcome myself and fulfill my destiny.”

The tiger blinked. “Uhh…interesting, but no. We’ve chased you all your life because you have the potential to become strong, and we can’t have that. We paid the old man to lead you to the Valley of the Lost, because no one ever escapes. We are not your fears, we are the Rulers of the Meadow, and you are nothing, you never were, and you never will be. Now lay down your arms and surrender before we kill you.”

The Hero took one last long look in the mirror. “I am nothing like you. And we will defeat you, and free the world from your tyranny.” He takes the mirror and smashes it over the tiger’s head, and thereby begins the final battle.

So, my good fellows, what did we learn from this? The point I was trying to make was that stories move forward always. Every step leads your characters deeper into the Valley from which there is no turning back except once great tests are passed. Look at every scene, every page. Is your story getting deeper? Give your story a topology, and keep away from any flat areas. Good luck!

Iapetus999 and the Olympian

Iapetus999 and the Olympian

It was my honor to meet Olympic Two-Time Bronze Medalist J. R. Celski yesterday in my local 24 Hour Fitness gymnasium. He won the bronze medal in short-track speed-skating in the men's 1500 meters race and the men's 5000 meter relay in the 2010 Winter Olympics. He’s a little guy but very polite and gracious, despite having to face a gym full of screaming female teenagers worthy of a Twilight premiere.

I thought of writing a post equating winning an Olympic medal to writing a novel, but frankly I have no idea what it takes to win a medal. Reading his website, I see that he’s been skating and rollerblading since he was little, and performed in a lot of Junior events around the country over the years. Maybe that’s what I need to be doing…competing, putting myself out there, entering every competition and contest I can find, sharpening my skills like J. R. sharpens his blades.

Then maybe someday I’ll be the one sitting behind the table with screaming girls waiting in line just to see me.

Why is the Hero the Hero?

Why is the Hero the Hero?

I’m going to interrupt my Scene Structure series to look a little bit at overall Character Development. In my previous post, I made this comment (slightly altered for clarity):

Why is this particular character the hero in this story? Why does he get to be the hero? It’s almost like I'm annoyed at the author's choice for the hero.

Now there are a lot of traditional explanations, things like:

• The Hero has the most to gain/lose.
• The Hero undergoes the largest transformation.
• The Hero puts others before himself.

But the thing I’m really asking today is this:

Why does the Hero of any given story deserve to be the Hero?

Why is Harry Potter get to be all magical? Why Superman have all the kewl powers? But I’m not talking about those guys. Those questions are fairly easy to answer, but often I watch a movie or read a book and think, “why is this guy getting to be Hero? Why not this other guy? Why not me?” So some kid finds a magical rock and now he’s a Hero. No, it' doesn’t work that way.  A better question would be, “why does Peter Parker get bit by a radioactive spider and become Spiderman? Why him? Why not MJ or Harry Osborn?”

A lot of people believe in the “rags to riches” story format, where the Main Character starts out as an “Ordinary Person” and becomes a Hero. Here’s the thing. Ordinary People don’t become Heroes. Ordinary People fail, they sit at home and watch TV, they go through life doing the best they can, maybe with a few nice accomplishments but overall they just exist. They keep their noses clean, they don’t make a fuss, and they pay their taxes on time, and maybe they get a little something on the side.

Let me make one thing clear. Heroes are not ordinary people. They can have ordinary jobs. They can have normal lives, a wife & 2.5 kids, a dog, and a minivan. But there is something intrinsically different about a Hero.  Here are a few things that I think distinguish Heroes from Ordinary People.

1. Heroes Act. They struggle. They fight. They want. They desire. They have needs. They make things happen no matter the consequences. They take risks.
2. Heroes Care. They rail against injustices big and small. They love. They help. They give. They sacrifice.
3. Heroes have Big Problems. They are NOT satisfied with the status quo. They want more for themselves and others. They identify the obstacles in their lives. They have emotional wounds that won’t heal. They see the world in black and white, right and wrong.
4. Heroes Dream. This may be the most important one of all. They think about what can be, what should be, what will be. They have vision (and sometimes literally have visions), and see the world differently. They can see beyond the current crisis to the final resolution.

So take a look at your characters. Is there any particular reason they are the Hero? Or are they just in the right place at the right time? What makes them extraordinary? What makes them uniquely qualified to tackle the obstacles in the story and save the day? And look deeper than, “well, he has super-human strength,” because Superman’s not Superman because he’s stronger than a locomotive.  But going back to the Peter Parker case, why him? And I think it’s because of all the things in that list above. He’s a dreamer, he acts, he has issues he needs to resolve, and he cares. Even if he hadn’t been bitten, he’d probably been a Hero anyways. The spider powers are just a bonus.

Does your Hero deserve to be a Hero? What can you do to strengthen his case?

Story Structure Part XIII: Why Hero’s Journey?

This is the last(for a while) 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.

Why Hero’s Journey

First of all, thanks to all who have endured participated in my Hero’s Journey posts. Your input has been wonderful. If you ever have questions about using the Hero’s Journey in your own manuscript, I’d be happy to take a look and offer my input.

You’re probably asking yourself, “okay, I understand the various parts of the Hero’s Journey. How do I use it in my own writing? And why is it important?”

I think there’s a common moral behind every story that embodies the Hero’s Journey, and it’s change is hard, but worth it in the end. Not only that, but that you can’t change the world, you can only change yourself.  Let’s look at the main themes of the Hero’s Journey.

• Change is hard. Otherwise there’s no story. A story is about overcoming obstacles. No obstacles, no story.
• People will oppose you, or at least have conflicting goals. We live in a finite world, and no one gets everything they want. Therefore, we have conflict.
• Change is worth it. Otherwise, what would be the point?
• You cannot succeed alone, and you cannot succeed at other’s expense if you care about them. We are social animals, and although many a story has been written about an individual’s struggles against the elements, no one lives in a complete vacuum devoid of human contact. Even in Cast Away, Chuck Noland(Tom Hanks)’s one goal is to return to the Land of the Living, because he’d rather die than live alone.
• Each character experiences their own Hero’s Journey, including the Villain.
• True change only comes from within. It’s not enough just to want to change.
• You must risk Death to achieve your goals. This is a bit deeper than simple self-sacrifice. It’s about abandoning closely-held beliefs about yourself and your world, and knowing that real change is more than just changing your clothes. It’s a fundamental change in how you see yourself and your place in the world.

The reason the Hero’s Journey succeeds in captivating audiences again and again (Avatar is its latest glowing example) is that it captures the experience of human emotional growth and change. Almost all of us have “left home” at some point on some kind of adventure. Whether it be a vacation, going off to college, joining the army, marriage, birth of a child, starting a new job, or dealing with the loss of those things,  we’ve all had to make a meaningful change in our lives and experienced opposition and conflict. The question is, what makes these experiences heroic? What makes them worthy of a story?

The answer to that is, “how hard was it?”

For example, I’ve been thinking about writing a memoir screenplay about my college experience (who hasn’t?). I went to college for four years and landed a good job. That’s not a story, that’s like saying I went to the supermarket and bought some food. A Hero’s Journey is more than just an experience. I learned Computer Science and how to live away from home. Hmm, still nothing. It’s not just about learning. A lot of things happened over those four years. Which one was the hardest? Well, I suffered a lot of depression. This hindered my ability to form relationships. I was socially awkward. I didn’t date much. I chose the wrong major to start with. Okay, now we’re getting somewhere. I had issues. We see my overarching goal—to graduate and find a good job. That’s why I started this journey. But I also wanted to not feel depressed and alone, I wanted to be part of society. The question is, what happened? How did I start out in the wrong major and lonely and wind up successful and (somewhat) socially confident? That’s what makes it a story.

I could write this memoir as a series of vignettes and incidents, each interesting it it’s own right, like an anthology. But it doesn’t quite capture the experience as a whole. Were there any truly defining moments? What risks did I take? How did I change on a fundamental level? Which did I learn about myself? So instead of a pure memoir, listing all these events in order, including the dull unimportant ones, could I create an allegorical story based on real incidents to illustrate my growth? Could I distill a four year experience down to its essence, and create a narrative compressing those years into only a few weeks? Create my own Hero’s Journey?

That’s how to think of the Hero’s Journey. It’s illustrative of how people solve problems and achieve their goals, how they learn about the world and adapt to it, and how people will try to stop you every step of the way. I was graded. I was rejected. I was yelled at. I felt like quitting more than once. But I endured. The Hero’s Journey reflects the transformations all of us have experienced, and gives hope and inspiration to those facing their own obstacles.

The Hero’s Journey is not just a story, it’s also about a profound experience. A world-changing revelation about ourselves. The realization that Life Itself is a journey, and that sometimes the toughest experiences are the most rewarding. When you think about your writing, think about the emotional journey your characters are working through, about how they feel lost, depressed, or discouraged. How must they change? How does the Villain point out their weaknesses and their flaws in their thinking? What kind of growth will they undergo, and how hard will it be to swallow, and how great will it feel to finally push through?

Caveats. Some people use the Hero’s Journey as a template for their story. I think that’s a great idea. Some use it for reference. Is there a Mentor? Check. Is there a Crisis point? Check. But I think the Hero’s Journey is only a part of what makes a work great, so here are some other things a writer needs to do:

• Create likable or believable characters. If the reader can’t identify with your characters, you won’t be able to relate your key messages.
• Write in a confident style. Grammar, spelling, comprehensible sentences are all critical.
• Invent an interesting world that challenges your characters.
• Utilize accepted story structure. Plot points are implied in the Hero’s Journey, but other plot structure may yield better results, such as three- and five- act structures, etc.
• Figure out the actual lesson and/or moral of the story. Think about the contrast between where the character starts and where he ends.

Here’s the real secret. Nobody really, truly changes. I’ll never be a woman, a person of color (in America), or a space alien. I’ll never be an gregarious used-car salesman kind of person, no matter how many journeys I undergo.However, what I have learned is that sometimes, it pays to be a salesman, and I can do it if I have to. Somewhere deep inside me, I’m friendly and outgoing, and I had lost touch with that person. Your Hero has always been a Hero, but experience has taught him that heroism is frowned upon and is punished. The Villains in our lives have made it clear that if we speak up, if we’re different, if we dare to alter the status quo, then expect to be challenged, put down, and even killed. But when you want something badly enough, you’ll find a way. You’ll find something inside yourself that will allow you to conquer those fears and Villains along life’s journey. Because, like Dorothy found out, she could have gone home at any time—she just didn’t want to, or she wasn’t ready. Or like in the Circle of Iron, the greatest Villain in the world, the hardest master to defeat, is the one looking at us through the mirror. A Hero must look inside himself to find that magic Elixir, because it’s been there all the time, otherwise he would have never taken that first step. I went to college because I wanted an education, I interacted with people because I wanted friends—I just never knew how hard those things would be, and what I’d have to give up to achieve these goals.

Writing. What about this shared journey we’re on, the road to publication? Somewhere deep inside us lies a great writer, but we need to strip ourselves down to find that person, to remove decades of experience to find the core of our emotions, and then learn the skills to bring that to print, and become the writer we were born to be. The writer we are meant to be. That’s the Hero’s Journey we’re all on. Use that knowledge to identify what’s holding you back from grabbing the golden Elixir of a book deal.

Good luck!

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?