These posts have been a master class for us, Scott. Bravo for taking us deep into the "hero" part of the journey that is story itself...writing, itself.

Thanks again for this great series of articles. You really have done a great job of explaining how to actually appreciate Joseph Campbell without becoming a hack. As always, it is in the execution and not the approach itself that will determine the best results. Speaking of The Hero's Journey and screenwriting, have you been reading FilmCritHULK's blog lately. There has been some discussion of The Hero's Journey that I think you and your readers (including myself) would find helpful. I'd be interested on hearing (reading) your opinion on it. http://filmcrithulk.wordpress.com/2011/10/06/hulk-explains-why-we-should-stop-it-with-the-hero-journey-shit/

I have bookmarked all of these posts. I may print them out and keep them in my notebook, too. Such good stuff here, Scott. I am a total Hero's Journey convert.

Scott, I too have loved the series this week. Joseph Campbell is able to take the long view and see lives as stories, to build story from a life. Each of our lives. He leaves it to us to build lives within the stories we create. He is like the ultimate mentor: one who does prescript but one who guides. You have refreshed my memory of the power of his words and given me confidence to go deep into character. Thank-you.

Quoting Kal Bashir: "Psychological Journey is just another word for change."

Humbly disagree, Shaun. It's entirely possible for a character to go through a psychological journey and not change, actively refuse to change. Moreover I prefer the term psychological journey because it reminds screenwriters that story structure is not just plot. It's Plotline and Themeline, it's Actions and Reactions, it's Events and Emotions. While something happens in the realm of action and dialogue, there is always something else going on 'underneath' in the realm of intention and subtext. The interplay between Plotline and Themeline scene after scene, moment after moment, is physical journey influencing and influenced by psychological journey. Yes, these categories are all artificial, but it's critical when so many scripts flow through Hollywood that hit the mark in terms of plot points but have little or not life to them, or offer a confused set of psychological dynamics that don't amount to any coherent sense of metamorphosis that writers be actively aware of the inner life of their characters and the Internal World [Themeline] of their screenplay universe. Hence my conscious choice of the term 'psychological journey.'

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