1. DEN VANLIGA
2. ROPET PÅ ÄVENTYR
3. VÄGRAN ATT DELTA I ÄVENTYRET
4. MÖTET MED EN MENTOR
5. FÖRSTA TRÖSKELN
6. PRÖVNINGAR, VÄNNER OCH FIENDER
7. INGÅNGEN TILL DEN INNERSTA GROTTAN
8. DEN STÖRSTA UTMANINGEN
10. VÄGEN TILLBAKA
12. KOMMA TILLBAKA MED ELIXIRET
VÄKTARE VID TRÖSKLARNA
STEG 9: BELÖNING
"We came, we saw, we hicked its ass.'
from Ghostbusters, scrcenplay by Dan Aykroyd and Harold Ramis
När den stora kampen är över njuter hjältarna av att ha överlevt. Draken i den innersta grotta är döda, hjälten har segerns svärd i sin hand och kan nu göra anspråk på belöning.Även om triumfen är flyktig är den njutbar i det här skedet av berättelsen.
Att möta döden eller den stora utmaningen är en stor händelse och mötet får konsekvenser. I de flesta berättelser kommer ett moment där alla erkänner och belönar hjälten för att ha gått genom sin kamp.Denna belöning kan se olika ut i olika berättelser: kärleksmöte, pengar, olika uttryck för lycka,humor,tacksamhet. Mycket vanligt är en fest.
När jägarna har överlevt döden och nedlagt bytet är det naturligt att ha fest. Energi har gått åt i kampen och näring behövs nu tillsammans med vila. De flesta huvudpersoner brukar ha någon form av party eller grillfest där de försöker njuta av sin seger. Beroende på vilken sorts kamp de varit med om kan denna fest se olika ut.
Fråga: Firar din huvudperson sin seger? Hur ser detta firande ut?
The heroes of the Odyssey always offered a sacrifice and had a meal to give thanks and celebrate after surviving some ordeal at sea. Strength is needed for the return to the upper world, so time is given for rest, recuperation and refueling.
After the buffalo hunt (a Supreme Ordeal and brush with death) in Dances With Wolves, Dunbar and the tribe celebrate with a buffalo barbecue in which his Reward for saving a young man from death is greater acceptance by the Lakota.
Many stories seem to have campfire type scenes in this region, where the hero and companions gather around a fire or its equivalent to review the recent events. lt's also an opportunity for jokes and boasting.
Q: Does your story have moments of laughter or jokes after the heavy struggle? Or something instead?
There is understandable relief at having survived death. Hunters and fishermen, pilots and navigators, soldiers and explorers all like to exaggerate their accomplishments. At the barbecue in Dances With Wolves, Dunbar is forced to retell the story of the buffalo hunt many times.
There may be conflict over the campfire, fighting over spoils. Dunbar gets into an argument over his hat which has been picked up by a Sioux warrior after Dunbar dropped it during the buffalo hunt.
Q: Does your story have a "campfire" scene?
A campfire scene may also be a chance for reminiscence or nostalgia. Having crossed the abyss of life and death, nothing will ever be the same. Heroes sometimes turn back and remember aloud what got them to this point. A loner hero might recall the events or people who influenced him, or speak about the unwritten code by which he runs his life.
Q: Does your hero speak about his past in this manner?
These scenes serve important functions for the audience. They allow us to catch our breath after an exciting battle or ordeal. The characters might recap the story so far, giving us a chance to review the story and get a glimpse of how they perceive it.
In Red River, Matthew Garth reviews the plot for a newcomer to the story, Tess (Joanne Dru), in a campfire scene. He reveals his feelings about his fosterfather and gives the audience a perspective on the complex, epic story.
In these quiet moments of reflection or intimacy we get to know the
characters better. A memorable example is the scene in Jaws in which
Robert Shaws character Quint tells about his horrible World War 11 experiences with sharks in the Pacific. The men compare scars and sing a drinking song. lt's a "getting-to-know-you" scene, built on the intimacy that comes from having survived an Ordeal together.
Q: Is there a "getting-to-know-you" scene in the story you work with?
In Walt Disney's classic animated features such as Pinocchio or Peter Pan, the pace is usually frantic, but Disney was careful to slow them down from time to time and get in close on the characters in an emotional moment. These quieter or more lyric passages are important for making a connection with the audience.
Q: Does your story have one or more of these slowdowns?
The aftermath of a Supreme Ordeal may be an opportunity for a love scene. Heroes don't really become heroes until the crisis; until then they are just trainees. They don't really deserve to be loved until they have shown their willingness to sacrifice. At this point a true hero has earned a love scene, or a "sacred marriage" of some kind. The Red River campfire scene described above is also a highly effective love scene.
In the thriller Arabesque, Gregory Peck and Sophia Loren, having survived an Ordeal together, are bonded in a love scene. She is a bewildering Shapeshifter who has told him a string of lies, but he has scen through to her essential core of goodness, and now trusts her.
The romantic waltz in Beauty and the Beast is the Beasts Reward for having survived an Ordeal with the townspeopie and Belle's Reward for having scen past the Beasts monstrous appearance.
Q: Is there a similar love scene in your story?
One of the essential aspects of this step is the hero taking possession of whatever she came secking. Treasure hunters take the gold, spies snatch the secret, pirates plunder the captured ship, an uncertain hero seizes her self-respect, a slave seizes control of his own destiny.
Q: What is your hero taking possesion of?
A transaction has been made - the hero has risked death or sacrificed life, and now gets something in exchange. The Norse god Odin, in his Supreme Ordeal, gives up an eye and hangs on the World-Tree for nine days and nights. His Reward is the knowledge of all things and the ability to read the sacred runes.
SEIZING TRE SWORD
This unit of the journey can also be called "Seizing the Sword" because often it is an active movement of the hero who aggressively takes possession of whatever was being sought in the Special World. Sometimes a reward like love is given.
Q: What is the reward given to your hero? Love?
But more frequently the hero takes possession of a treasure or even steals it, like James Bond taking the Lektor, a Soviet translating device, in From Russia with Love.
A moment of taking possession follows the death and rebirth crisis in King Kong. A transformation had occured in the monster ape during the Approach phase. King Kong shifted from being Fay Wrays abductor to being her protector, fighting off a tyrannosaur on the way to his Inmost Cave. By the time he reaches the Supreme Ordeal, defending her in a battle to the death with a glant serpent, he has become a full-fledged hero. Now he takes possession of his Reward. Like any good hero, he gets the girl.
In a tender but crotic scene, he takes her out onto the "balcony" of his cave and examines her, cradled in his enormous palm. He pulls off her clothes, strip by strip, sniffing her perfume euriously. He tickles her with his finger. The love scene is interrupted by another dinosaur threat, but it was definitely a Reward moment, a payback for having faced death head on during the crisis.
The idea of a hero Seizing the Sword comes from memories of stories in which heroes battle dragons and take their treasure. Among the treasures there may be a magic sword, perhaps the sword of the
hero's father, broken or stolen by the dragon in previous battles. The image of the sword, as portrayed in the Tarot deck's suit of swords, is
a symbol of the herds will, forged in fire and quenched in blood, broken and remade, hammered and folded, hardened, sharpened, and focussed to a point like the light sabers of Star Wars.
But a sword is only one of many images for what is being seized by the hero at this step. Joesph Campbells term for it is 'The Ultimate Boon" (See The Hero of a Thousand Faces). Another concept is the Holy Grail, an ancient and mysterious symbol for all the unattainable things of the soul that knights and heroes quest after. A rose or ajewel may be the treasure in another story The wily Monkey King of Chinese legends is seeking the sacred Buddhist sutras that have been taken to Tibet.
Q: Is there anything like "the holy Grail" in your story?
Some heroes purchase the treasure in effect, buying it with their lives or the willingness to risk life. But other heroes steal the magic thing at the heart of the story. The prize is not always given, even if it has been paid for or carned. It must be taken. Campbell calls this motif "elixir theft".
Elixir means a medium or vehicie for medicine. It could be a harmless sweet liquid or powder to which other medicine is added. Administered alone or mixed with other useless chemicais, it might still work by whats known as the "placebo effect". Studies have shown that some people get better on a placebo, a substance with no medicinal value, even when they know it's just a sugar pill - testimony to the power of suggestion.
Q: What is the elixir that your hero achieves in the story?