How to Find the Story Within

by C. Patrick Schulze

Listen to a PODCAST of this article.

In my recent post, HOW TO OUTLINE A NOVEL, a couple of people mentioned they have trouble moving forward with their manuscript. This post is offered in an effort to help them move their story forward.

There are a number of reasons why the words don't come to us. One reason is the phenomena called Writer's Block, which always goes away. However, I think the one that's more common, but less acknowledged, is writers don't know how to build upon an idea they already have. They don't know where to start.

The good news? The story is there. You only have to find it.

If, by chance, you don't have an idea with which to build your story, here's a good article on HOW TO DEVELOP A STORY IDEA.

If you do have an idea, one method to bring out your story is to make yourself familiar with The Hero's Journey. Basically, The Hero's Journey gives you a twelve-step process for storytelling. It helps you develop your plot, or what happens to your characters. The Hero's Journey fits any genre and will result a compelling storyline if you follow it.

The Hero's Journey creates a framework with which to build your story. In effect, it is your outline. You just fill in the blanks. Here's some additional information on THE HERO'S JOURNEY.

Another method to bring out the story from within an idea is to write your story backwards.

Here's the trick. Try not to think of A to B to C. Think C to B to A, with C being your ending.

To do this, begin with your final scene and then write the scene that immediately precedes your ending. Then write the scene before that again and again until you've got your story. A question to ask yourself is "What had to happen to get me to point C or B or A?"

Think of that in this way, if your story idea tells you the hero gets the girl in the end, think backward to what made her want him in the first place. Then, think back before what convinced her to want him, to what he did to make her think that way. Before he did that, what did he do to make himself known to her. Each of these events is now a scene, or possibly a chapter, in your novel.

Of course, you don't have to write out the scenes as you develop them. Brief descriptions of what is going to happen is all that's necessary at this point.

Once you've got your story written backwards, the next thing you do is add conflict to your scenes. Conflict is the character's emotional reactions to the action they experience. (It's not the explosion, it's the character's emotional reaction to the explosion.) Read more about CONFLICT in this article.

Let's consider the "Boy Gets Girl" story I used as an example above to illustrate this idea.

When you figure out how he made himself known to her, insert some action and conflict to spice up that scene. For example, maybe they were passengers in the same bus when it crashed. The crash is the action. He became known to her when he pulled her from the flaming wreckage. Toss in some emotional reaction to his saving of her and you're on your way.

Regardless how you attack this problem, until you have your story, ignore everything else. Don't worry about dialogue, setting or whatever. Don't even flesh out your characters. Focus only on the story. Once you have that, the rest should fall in place.

What suggestions do you have to create a story from an idea?

Until we meet again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel, "Born to be Brothers"

Don't Write a Novel, Write a Story

by C. Patrick Schulze

Listen to a PODCAST of this article.

A reader of this blog asked if I might help get her NOVEL started. She said she had the idea and the research completed, but was uncertain as to how to get on track. This article is for her.

When I first began to WRITE, I joined a writer's group and sat in on a few meetings. I hoped the group could tell me how to write a novel, but found I had my proverbial horse way ahead of my cart. I didn't need to learn how to write a novel. I needed to learn how to tell a story. That little piece of information changed my life.

The next thing I learned was the difference between a story and a novel. A story is the plot, that succession of incidents within the novel. It's what happens in your novel. The novel is the narrative by which the story is presented.

That means you first write a story, then convert it into your novel.

All you need to get your story started is a plan. And with novels, the classic plan is called The Hero's Journey. It's been around since the days of Mythology and is still used by the best writers today. The Hero's Journey is nothing more than a structured string of the events your hero needs to endure.

The Hero's Journey has twelve situations your hero must face. This generates a plot and forces a story to pop out as if by osmosis. The novel is much more difficult, but the story, well, that's easy.

Here are the twelve steps to the Hero's Journey.

1. Ordinary World: You show your hero's life at the start of your story.

2. Call to Adventure: Something, whether the hero realizes it or not, calls him toward some grand quest.

3. Refusal of the Call: The hero first says he can't undertake this quest.

4. Meeting the Mentor: Your hero meets someone important to help him on his quest.

5. Crossing the Threshold: This represents that event that ensures your hero can not go back to his Ordinary World until he finishes his quest.

6. Tests, Allies and Enemies: These are people or events that help or hinder the hero.

7. Approach to the Innermost Cave: He closes in on the big bad villain.

8. Ordeal: He fights the bad guy.

9. Seizing the Sword: Your hero takes what it is he needed to complete his quest. It's what he's gained by his Ordeal.

10. The Road Back: The trials he may face to get back to his Ordinary World.

11. Resurrection: This is the time when your hero proves he's gained the right to use the "sword" he's won.

12. Return with the Elixir: This is where your hero reaches his Ordinary World once again and shares his "sword" with others.

If you think about these twelve steps, it makes perfect sense a story will be the natural outcome. You've got good guys, bad guys, conflict, excitement, rewards and all the rest.

Better yet, it works regardless your genre. For example, think about a story of an abused wife. Her ordeal may be the beatings she underwent and her "sword" may be her freedom. In the same light, in a war story the ordeal may be a battle and the "sword" the death of the enemy general. There is no genre for which The Hero's Journey does not work.

Now, a short article cannot teach you everything you need to know about how to write a story. However, further information is all over the Web and in countless books at any library or bookstore. Take some time to study The Hero's Journey and if you take it to heart, your story will emerge.

Is this all there is to The Hero's Journey? Of course not. Entire literature courses cover each of these twelve aspects. However, it worked for authors then and it works for authors now. It will get you started. It's step one.

Are they other ways to write a story? Of course, but until you've got some work under your belt, use it. As they say on television, "It works!"

Now, some say The Hero's Journey is outdated or incomplete. Maybe, maybe not, but here's a clue. That little black dress and a string of pearls still work, don't they? They work because they're classic. That is, they brought out a woman's beauty then and they do so to this day. Here's another way to look at this idea. If they can write "Star Wars," "The Lion King," "Pulp Fiction" and even "The Full Monty" by way of The Hero's Journey, you and I can use it for our story, too.

Now, are there any specific articles I can write to assist you on your path to publication? If so, let me know.

Until we speak again, know I wish for you only best-sellers.

C. Patrick Schulze

Author of the emerging novel "Born to be Brothers"

How to Create a Plot Outline

Recently a reader of one of my blogs asked if I might offer some insight as to how to outline the plot of a story. I’m glad to help.

I know of two methods by which you can outline the plot of a work of fiction. My favorite is known as The Hero’s Journey. It’s a method by which you identify twelve major activities the hero must undergo in your story. The other is a five-step method where you perform the same task, but focus only on the most important aspects of your story. I’ve outlined the two methods below.

The Hero’s Journey, those twelve steps your hero must face, are defined in its most simplistic form as follows:

1. Ordinary World – Your hero’s life prior to beginning his quest

2. Call to Adventure – The event that tells your hero a major life change is approaching

3. Refusal of the Call – Your hero’s attempt to ignore or forestall the Call to Adventure

4. Meeting the Mentor – Your hero meets the premier person who will assist him on his quest

5. Crossing the Threshold – Your hero moves away from his life and onto his quest

6. Test, Allies and Enemies – The people your hero meets who aid or hinder him during his quest

7. Approach to the Innermost Cave – Your hero stands on the precipice of fighting his villain

8. The Supreme Ordeal – Your hero fights your villain

9. Reward – The treasure your hero receives for defeating the villain

10. Journey Home – Your hero travels home and combats additional, lesser villains

11. Resurrection – Your hero proves worthy of the treasure he has received

12. Return with Elixir – Your hero reaches his home and received the accolades due him

The Five-Step Method is loosely defined as follows:

1. Identify your main characters then establish the setting and decide upon the major point of conflict around which your major characters will revolve.

2. Create the building action. In effect, you place your protagonist in the position where he must take some sort of action to quell the conflict you’ve established.

3. Bring the conflict in your story to a head. Here the conflict rises to the point of its highest emotion.

4. Lower the emotional level for your reader and your hero. Any loose ends are tied up and your story is moved toward its conclusion.

5. Define the formal conclusion of your plot arc or your story.

You can see the similarities between these two systems. I prefer The Hero’s Journey as it, to me, insures you don’t miss any critical scenes. Regardless which method you use, after you’ve created the basic storyline, flesh out those events you need to lead your hero from step one to twelve, or one to five if you prefer.

By first outlining your story and constructing those steps that must take place to move your story forward, you’ll enhance your chances of creating a well-structured and well-received story.

I wish you the best with this and if you have any questions, please post them in a comment. I’ll be glad to help.

Until my next post, I wish you best-sellers.

C. Patrick Schulze

Storytelling in 12 Easy Steps

I’ve read untold articles on what writers need to accomplish to move from the ranks of the unpublished and into that select stratosphere of publication. Though you need to learn a great deal to succeed, no amount of work will bear fruit if you do not master the art of storyteller. In fiction, your workmanship is for naught if you can’t spin that proverbial yarn.

With that said, I thought today's post would focus on how to develop that skill. How is it one insures their novel is written in such a fashion as to appeal to their readers regardless the audience? The answer, as is so often the case, is simple, though the application is difficult.

When someone wishes to write a novel, there is a time-proven formula to telling a story. This blueprint is known as The Hero’s Journey. In fact, it is the framework around which most any novel can be built and is comprised of twelve events your hero must face. This storytelling technique has been around since before the time of mythology and will last until men stop telling stories. Once you’ve learned this technique, you’ll be well on your way to mastering the art of storytelling and I recommend all new writers follow this outline.

Many will tell you some of these “rules” can be introduced at varying points in your novel or even ignored. The truth? They’re right. However, as an aspiring author, stick to what works. As you gain confidence and knowledge, then do your experimenting.

The Hero’s Journey is defined by different authorities in different ways. They’ll incorporate additional steps, different terminology, whatever. But if studied, most of them will filter down to the following twelve steps your hero must traverse to create a good story:

1. Ordinary Life
2. Call to Adventure
3. Refusal of the Call
4. Meeting the Mentor
5. Crossing the Threshold
6. Enemies, Allies and Tests
7. Point of No Return
8. Supreme Ordeal
9. Reward
10. Journey Home
11. Resurrection
12. Return Home

I may go into each one of these steps in more detail, but for now they are somewhat self-explanatory. In general, if the hero in your story finds himself involved in these twelve situations, your story will be well-defined and should appeal to almost any reader. (Please note I said your story will be well-defined. Having it well-written is another entire series of blog posts.)

To get started, think about one of your favorite movies. Now follow the storyline and see if the primary character is placed generally in the situations listed above. I'll bet you will. Once you can identify the steps of The Hero's Journey in a movie, you'll begin to understand how to apply it to your novel writing.

Star Wars is always a good example for any aspiring writer. Think of the first of the six episodes where Luke's parents are killed. Remember it? If you recall the beginning of the story, Luke is working the farm but asks permission to strike out on his own. This scene is Luke’s Ordinary Life which is step one of The Hero’s Journey.

Step two? Luke Skywalker finds the message from Princess Leia embedded in R2D2 and gets all excited. This is his Call to Adventure. Did he accept his call? Of course not. Had he, Mr. Lucas would’ve missed step three, the Refusal of the Call.

Considering step three in The Hero’s Journey, let’s look at Luke’s reaction to Obi Wan’s entreaty that the young man become a Jedi. The boy found a dozen excuses why he could not do as his future mentor suggested. His excuses included such things as his uncle Owen, the coming harvest and, well, I don’t remember what else, but you understand. This scene was the third step in Luke’s immersion into The Hero’s Journey, his Refusal of the Call.

Now I could step you through each aspect of The Hero’s Journey, but it’s getting late and I don’t care to right now. (So there!) However, as you follow the first Star Wars movie, you’ll see the storyline follows The Hero’s Journey quite well. And, (here’s your sign), if Mr. Lucas can use this formula for storytelling, so can you.

Of course, Star Wars is within the genre of Science Fiction, but to show how The Hero’s Journey works with all novel genres, I’ve taken five minutes and outlined a romance for you. I’ll give this story the working title “The Disillusionment of Mindy.” Ready?

The Ordinary World

Joe and Mindy are in love, married with two children, living in a home in the suburbs of Richmond, VA. The children are Mike, twelve, and Mary fourteen. Mike loves baseball and Mary is just finding out about boys. Joe is a stockbroker and Mindy spends her time raising the children. She’s the president of the PTA and is as content with life as she has ever been.

The Call to Adventure

At a PTA meeting Mindy overhears two women talking about Joe. They suddenly quiet when Mindy approaches and act embarrassed at her arrival. They walk away without saying much to her, but they glance at Mindy from over their shoulders and whisper to each other as they depart. Mindy is surprised by their actions but thinks little else of it.

Refusal of the Call

Joe, usually home around 7 PM, starts to call every now and again saying he must work late. This has never happened before but Mindy ignores her intuition which tells her something is wrong in her life.

Mentor (often termed The Wise Old Man or Woman)

As Joe’s late returns increase and after another odd encounter with friends, Mindy speaks with her best friend, Margaret, about her concerns. Margaret tells her not to worry until Joe comes home late and the first thing he does in take a shower - a sure sign of infidelity.

Crossing the Threshold (often known as the Point of No Return)

The next night Joe comes home and takes a shower as soon as he enters the house.

Tests, Allies and Enemies

Mindy and Margaret talk to their friends when watching Mike playing baseball and then again at the following PTA meeting but most know nothing. Those who seem to be in the know won’t talk. Mindy hires a detective to follow Joe. He takes photos of Joe’s nefarious liaisons and passes them to Mindy.

Point of No Return, (aka Approach to the Innermost Cave)

Mindy is distraught but refuses to believe her marriage cannot be saved. She confronts Joe with the photos and he admits everything, saying he still loves Mindy and was swayed by a young woman who threw herself at him. He promises never to see the woman again. Though suspicious of his pledge, Mindy accepts him at his word and they work at patching the holes in their marriage.

The Supreme Ordeal

Things are fine for a time, but soon, Joe is again coming home from work late.

Reward (often termed Seizing the Sword)

When Joe returns home, Mindy confronts Joe about his continued infidelity. He denies everything until she produces new photos she had taken of him and yet another woman. Mindy forces Joe to leave.

The Road Back

Mindy and Joe go through a trying divorce. She gets the children and the house, and the money, and the furniture and he gets the clothes on his back. (They live in Virginia, you remember.)

Resurrection

Mindy must now learn to live without a husband and is forced to find work. She is now faced with raising her children on her own. She finds her new life difficult, but she and her children do survive, though without much of their earlier wealth.

Return with the Elixir

Mindy meets a guy at work who sweeps her off her feet and they live happily ever after.

The End.

There ya go, a full story outline in five minutes using The Hero’s Journey.

By employing The Hero’s Journey, your story will have plot, adventure and the time-tested avenue to effective storytelling. From here you fill in the details and, voila, you’re an novelist!

Depending on the response I receive to this post, I’ll move forward with a more detailed explanation or not.

In the mean time, I wish you best-sellers.

C. Patrick Schulze

Meeting the Mentor

Okay, guys, here we are again with a new post on how to tell your story by way of a novel. Today we’re discussing the next step in your literary journey, Meeting the Mentor. If you recall in my last posting on this subject, I asked you to try and determine when it was that Luke Skywalker met this character.

I think it is obvious Luke’s mentor is Obi Wan Kanobi, his uncle if memory serves. Luke meets Obi Wan when he saves the young boy from an attack by the sand people. Soon after Obi Wan reviews the message from Princess Leia, he starts talking to Luke about “The Force.”

Okay, again the question rises, “So what?” Why does our hero need to connect with a mentor? Can’t he just go on his journey and get things done? He could, but how much of your novel will be needed to “teach” your hero what he needs to know? The Mentor speeds this process by offering your hero information he cannot get on his own. The Mentor provides knowledge, motivation and training.

One of the first things Obi Wan gives Luke is knowledge of The Force. (How important is this bit of information to the story?) You simply don’t have the word count available to give your hero all the knowledge he requires if he is forced to learn it on his own. It must come in quick bursts. Thus the need for a mentor arises.

How about training for Luke? It was Obi Wan who introduces Yoda to Luke. Although your story does not need formal training as we see in this story, but some sort of enlightenment for your hero is required. If you remember, our hero has already refused the Call to Adventure and needs someone to move his along his path. He needs inspiration and this, too, is the job of your mentor.

In general, your mentor arrives early but can arrive later if it fits your storyline. Can your hero have more than one mentor? Sure, Like had Obi Wan and Yoda, for example. We’ll discuss more about additional mentors, called “allies” in a later posting.

So, here we are. We’ve our hero in his Ordinary World which is disrupted by the Call to Adventure. His normal response is a Refusal of the Call, but then he Meets The Mentor and everything is about to change.

What do you think must happen next in your story? He must take the first step on his adventure by Crossing the Threshold!

When does Luke Cross his Threshold?

Until my next posting, good writing.

Patrick

Meeting the Mentor

Okay, guys, here we are again with a new post on how to tell your story by way of a novel. Today we’re discussing the next step in your literary journey, Meeting the Mentor. If you recall in my last posting on this subject, I asked you to try and determine when it was that Luke Skywalker met this character.

I think it is obvious Luke’s mentor is Obi Wan Kanobi, his uncle if memory serves. Luke meets Obi Wan when he saves the young boy from an attack by the sand people. Soon after Obi Wan reviews the message from Princess Leia, he starts talking to Luke about “The Force.”

Okay, again the question rises, “So what?” Why does our hero need to connect with a mentor? Can’t he just go on his journey and get things done? He could, but how much of your novel will be needed to “teach” your hero what he needs to know? The Mentor speeds this process by offering your hero information he cannot get on his own. The Mentor provides knowledge, motivation and training.

One of the first things Obi Wan gives Luke is knowledge of The Force. (How important is this bit of information to the story?) You simply don’t have the word count available to give your hero all the knowledge he requires if he is forced to learn it on his own. It must come in quick bursts. Thus the need for a mentor arises.

How about training for Luke? It was Obi Wan who introduces Yoda to Luke. Although your story does not need formal training as we see in this story, but some sort of enlightenment for your hero is required. If you remember, our hero has already refused the Call to Adventure and needs someone to move his along his path. He needs inspiration and this, too, is the job of your mentor.

In general, your mentor arrives early but can arrive later if it fits your storyline. Can your hero have more than one mentor? Sure, Like had Obi Wan and Yoda, for example. We’ll discuss more about additional mentors, called “allies” in a later posting.

So, here we are. We’ve our hero in his Ordinary World which is disrupted by the Call to Adventure. His normal response is a Refusal of the Call, but then he Meets The Mentor and everything is about to change.

What do you think must happen next in your story? He must take the first step on his adventure by Crossing the Threshold!

When does Luke Cross his Threshold?

Until my next posting, good writing.

Patrick

Refusal of the Call

Welcome all,

So far we’ve learned about The Hero’s Journey, which is the classic process of telling our story within the framework of a novel. In earlier posts we’ve also seen how to employ the first two steps of the Hero’s Journey, Ordinary World and The Call to Adventure. As we continue following Luke Skywalker of Star Wars, we’ve watched the Hero’s Journey in practical application. Today, we’re putting step three, Refusal of the Call, to use in moving our story along.

As Luke is cleaning the droids R2D2 and 3CPO, a holographic message from Princess Leia appears. Something exciting has happened and Luke wants to see it where it leads so he seeks out the recipient of the message, Obi Wan Kinobe. The two soon meet and Luke tells him about the holograph. Obi Wan understands Leia’s communication and tells the young Luke it is the boy himself who must follow the path of the Jedi to assist the Princess. Luke, as we all know, finds ample excuses not to go on this adventure. Suddenly, his uncle needs him, his farm work is pressing, and so on. In every story there is a reason not to accept the challenge.

It’s easy to see Luke is reluctant to answer Obi Wan’s call but so, what? What purpose does The Refusal of the Call hold in your story? You’ll hear many answers to that question but I see it as our opportunity to prove our hero’s humanity, to help your reader identify with him. It shows how he, just like everyone, is fearful and pulls away from the unknown. Fear, a sense of inadequacy or the comfort of the Ordinary World keeps hold of our hero and forces him to turn away from his calling. This is something each of your readers has probably done in their own life for we all of shy from things unfamiliar. So must your hero.

Okay, you’ve got your hero in his nice, comfortable Ordinary World and he hears the door-knock of Adventure. Your readers sympathize with your hero’s unsteady feet and then… Uh, Now what?

Next comes another of my favorite steps of storytelling, Meeting with the Mentor. After all your hero’s already said he’s not going to jump off the cliff. So someone’s got to push him, don’t they?

Okay, continue watching Star Wars and see if you can determine when Luke meets his mentor. Here’s a clue! The Hero’s Journey doesn’t always happen in order.

Until my next posting, good writing.

Patrick

The Call to Adventure

Welcome back to our discussion of the Hero’s Journey.

With my recent postings, I wrote about the formula writers use to insure your story is well-told. (Sorry, I said, “well-told”, not well-written. I know of no shortcuts in that regard.) To date we saw how you set up your story by following a proven formula for weaving your tale, The Hero’s Journey. This twelve-step recipe gives your story a framework that will present your readers a well-crafted narrative every time.

I also introduced you to step one of the Hero’s Journey called “Ordinary World.” In this part of your story, you show your reader who your hero is in real life. I sort of look at this as showing your reader what it is your hero is going to lose.

What’s next? My one of my favorite parts of the story, the Call to Adventure!

In this part of the blueprint, your hero “sees” what is going to change his life. He may experience it, dream it, (though be stingy with dreams), see it or even taste it. But, he must receive the Call to Adventure.

Did you watch or at least mentally review the original Star Wars movie, A New Hope as I recommended in my last post? (Yes, there is homework.) In the film, when did our hero, Luke Skywalker, experience his Call to Adventure? It happened when he was cleaning the droids and R2D2 projected the message from Princess Leia to Obi Wan Kenobe. Something exciting stumbled into his life, didn’t it?

Okay, so what? Why even bother with the Call to Adventure in your novel? If I were to quote an old professor, it’s because, “I said so!” In reality, I see this as the tool to inform your hero what path he needs to follow. Keep in mind, if your hero doesn’t know what is required of him, neither will your readers and you will lose them. I think you can see how it also moves the story along and brings your readers into your story.

Okay, so let’s recap. The Hero’s Journey is the proven technique for storytelling. The Ordinary World is step one and it shows what your hero is going to lose. And the Call to Adventure establishes the reason his is going to have to leave his Ordinary World.

What’s next you ask? Your hero Refuses the Call.

Huh?

More on that next time, folks.

Until then, good writing.

Patrick

Hero's Journey - Ordinary World

Step One of the Hero’s Journey
Ordinary World

Good day, All,

In my last posting I discussed The Hero’s Journey and its twelve stages that make up THE formula for story telling through a novel. Today I’ll be talking with you about the first step in The Hero’s Journey called Ordinary World.

Ordinary World is designed to have your reader get to know and appreciate your hero before he sets out on his quest. Flesh him out as a human being, (or whatever alien applies…). Do this with dialogue and action that show who and what he is. Is your hero a murderer? He’s probably been in a bar fight or two. Does your green caterpillar turn into a butterfly on the last page? Better have some green leaves somewhere in your novel. Just show us who he is by words and physical movement.

Let’s look again to our classic Star Wars for inspiration. Think of the how we were first introduced to Luke. He was an orphan living with his Aunt and Uncle on their farm. One day they were purchasing farm equipment such as the robots R2D2 and 3CPO. They met with some salespeople, (actually desert wandering sales-creature-types with stun guns), and were negotiating over quality and price. Sounds pretty much like the typical farmer’s life from any period in history, doesn’t it? (Save for aliens and robots and such…)

Well, those scenes were Luke’s everyday life and they comprised his Ordinary World. In these scenes we learn Luke’s life goals, his frustrations and his youthful outlook toward others. We even know what he looks like. Mr. Spielberg made certain we knew the character pretty well. Most importantly however, we came to appreciate and even like Luke as a person.

Here’s a hint… During the Ordinary World, insure your reader comes to some sort of attachment to your hero. If they don’t, they quit reading. (“Quit reading” is formal business terminology for no word of mouth advertising…) We’ll talk about this on later blogs.

There is any number of ways to show this stage of the journey and I challenge you to write your novels in inventive ways to portray your hero’s Ordinary World. One of my favorites is the Ordinary World of the movie Sahara. The camera pans over an office where numerous newspaper and magazine articles are pinned to the walls. These clipping give the Ordinary World of the hero from his Naval Academy days until the time of the movie. Their use of these clippings was, in my opinion, a unique and effective methodology for introducing us to his Ordinary World. Without a line of text or a word of dialogue, we liked the hero before we even saw him on the big screen. So, don’t think narrative and dialogue are your only tools.

So there ya go… Give us someone we can like about your pivotal character and don’t forget to set up what it is he’s to lose. That should about do it.

Now, getting back to Luke, I have a question for you. When does Luke’s Ordinary World end and his Call to Adventure begin? If you can figure this out, you’re well on your way to understanding the next step in The Hero’s Journey.

Feel free to drop a line if you have any questions.

Good writing, everyone!

Till next time we meet.