THE CIRCULAR STORY FORM
The most popular story design seems to be the circular or closed form, in which the narrative returns to its starting point. In this structure you might bring the hero literally full circle back to the location or world where she started. Perhaps the Return is circular in a visual or metaphoric way, with a replay of an initial image, or the repetition of a line of dialogue or situation from Act One. This is one way of tying up loose ends and making a story feel complete. The image or phrases may have acquired a new meaning now that the hero has completed the journey. The original statement of the theme may be re-evaluated at the Return. Many musical compositions return to an initial theme to rephrase it at the ending.
Having your hero Return to her starting point or remember how she started allows you to draw a comparison for the audience. It gives a measure of how far your hero has come, how she's changed, and how her old world looks different now. To give this circular feeling of completion and comparison, writers will sometimes put their heroes through an experience at the Return that was difficult or impossible for them at the beginning, so the audience can see how they have changed. In Ghost, the hero was unable to say "I love you" in his Ordinary World. But at the Return, having died and passed many tests in the land of death, he is able to say these all-important words so that his still-living wife can hear them.
In Ordinary People, the young hero Conrad is so depressed in his Ordinary World that he can't eat the French toast his mother makes for him. It's an outward sign of his inner problem, his inability to accept love because he hates himself for surviving his brother. In the Return, having passed through several death-and-rebirth ordeals, he goes to apologize to his girlfriend for acting like a jerk. When she asks him to come inside for some breakfast, this time he finds he has an appetite. His ability to eat is an outward sign of his inner change. This actual change in behavior is more dramatically effective than Conrad just saying he feels different, or someone else noticing that he's grown and remarking on it. It communicates change on the symbolic level, and affects the audience indirectly but more powerfully than a blatant statement. In a subtle way it gives a sense that a phase of his life is over, that a circle has been closed, and a new one is about to begin.
ACHIEVEMENT OF PERFECTION
The "happy endings" of Hollywood films link them with the world of fairy tales, which are often about the achievement of perfection. Fairy tales frequently end with a statement of perfection, like "and they lived happily ever after". Fairy tales bring the shattered family back into balance, back to completion.
Weddings are a popular way to end stories. Marriage is a new beginning, the end of an old life of being single and the beginning of a new life as part of a new unit. New beginnings are perfect and unspoiled in their ideal form.
Striking up a new relationship is another way to show a new beginning at the end of a story. In Casablanca, Humphrey Bogart makes a difficult Resurrection sacrifice, giving up the chance to be with the woman he loves. His reward, the Elixir he brings away from the experience, is his new alliance with Claude Rains. As he says, in one of the most famous tag lines in the history of the movies, "Louie, I think this is the beginning of a beautiful friendship."
THE OPEN-ENDED STORY FORM
Storytellers have thought of many ways to create a circular feeling of completion or closure, basically by addressing the dramatic questions raised in Act One. However, once in a while a few loose ends are desirable. Some storytellers prefer an open-ended Return. In the open-ended point of view, the storytelling goes on after the story is over; it continues in the minds and hearts of the audience, in the conversations and even arguments people have in coffee shops after seeing a movie or reading a book.
Writers of the open-ended persuasion prefer to leave moral conclusions for the reader or viewer. Some questions have no answers, some have many. Some stories end not by answering questions or solving riddles, but by posing new questions that resonate in the audience long after the story is over.
Hollywood films are often criticized for pat, fairy-tale endings in which all problems are solved and the cultural assumptions of the audience are left undisturbed. By contrast the open-ended approach views the world as an ambiguous, imperfect place. For more sophisticated stories with a hard or realistic edge, the open-ended form may be more appropriate.
FUNCTIONS OF THE RETURN
Like the journey's other stages, Return with the Elixir can perform many functions, but there is something special about being the last element in the journey. Return is similar to Reward in some ways. Both follow a moment of death and rebirth and both may depict consequences of surviving death. Some functions of Seizing the Sword may also appear in the Return, such as taking possession, celebrating, sacred marriage, campfire scenes, self-realization, vengeance, or retaliation. But Return is your last chance to touch the emotions of the audience. It must finish your story so that it satisfies or provokes your audience as you intended. It bears special weight because of its unique position at the end of the work, and it's also a place of pitfalls for writers and their heroes.
SURPRISE
A Return can fall flat if everything is resolved too neatly or just as expected. A good Return should untie the plot threads but with a certain amount of surprise. It should be done with a little taste of the unexpected, a sudden revelation. The Greeks and Romans often built a "recognition" scene into the endings of their plays and novels. A young man and woman, raised as shepherds, discover to everyone's surprise they are prince and princess, promised to each other in marriage long ago. In the tragic mode, Oedipus discovers the man he killed in the Ordeal was his father and the woman he joined with in sacred marriage was his own mother. Here the recognition is cause for horror rather than joy.
The Return may have a twist to it. This is another case of misdirection: You lead the audience to believe one thing, and then reveal at the last moment a quite different reality. No Way Out flips you a totally different perception of the hero in the last ten seconds of the film. Basic Instinct makes you suspect Sharon Stone's character of murder for the first two acts, convinces you she is innocent in the climax, then leaps back to doubt again in an unexpected final shot.
There is usually an ironic or cynical tone to such Returns, as if they mean to say, "Ha, fooled ya!" You are caught foolishly thinking that human beings are decent or that good does triumph over evil. A less sardonic version of a twist Return can be found in the work of writers like O. Henry, who sometimes used the twist to show the positive side of human nature, as in his short story "The Gift of the Magi." A poor young husband and wife make sacrifices to surprise each other with Christmas presents. They discover that the husband has sold his valuable watch to buy his wife a clip for her beautiful long hair, and the wife has cut off and sold her lovely locks to buy him a fob for his beloved watch. The gifts and sacrifices cancel each other out but the couple is left with a treasure of love.
REWARD AND PUNISHMENT
A specialized job of Return is to hand out final rewards and punishments. It's part of restoring balance to the world of the story, giving a sense of completion. It's like getting your grades after final exams. Villains should earn their ultimate fate by their evil deeds and they should not get off too easily. Audiences hate that. Punishment should fit the crime and have the quality of poetic justice. In other words, the way the villain dies or gets his just comeuppance should directly relate to his sins.
Heroes should get what's coming to them as well. Too many movie heroes get rewards they haven't really earned. The reward should be proportionate to the sacrifice they have offered. You don't get immortality for being nice. Also if heroes have failed to learn a lesson, they may be penalized for it in the Return.
Of course, if your dramatic point of view is that life isn't fair and you feel justice is a rare thing in this world, then by all means reflect this in the way rewards and punishments are dealt out in the Return.
THE ELIXIR
The rea
l key to the final stage of the Hero's Journey is the Elixir. What does the hero bring back with her from the Special World to share upon her Return? Whether it's shared within the community or with the audience, bringing back the Elixir is the hero's final test. It proves she's been there, it serves as an example for others, and it shows above all that death can be overcome. The Elixir may even have the power to restore life in the Ordinary World.
Like everything else in the Hero's Journey, returning with the Elixir can be literal or metaphoric. The Elixir may be an actual substance or medicine brought back to save an endangered community (a feature of several "Star Trek" TV plots and the object of the quest in Medicine Man). It may be literal treasure wrested from the Special World and shared within a group of adventurers. More figuratively, it may be any of the things that drive people to undertake adventure: money, fame, power, love, peace, happiness, success, health, knowledge, or having a good story to tell. The best Elixirs are those that bring hero and audience greater awareness. In The Treasure of the Sierra Madre, the physical treasure of gold is revealed to be worthless dust, and the real Elixir is the wisdom to live a long and peaceful life.
In the tales of King Arthur, the Grail is the Elixir that, once shared, heals the wounded land. The Fisher King can rest easy again. If Percival and the knights had kept the Grail for themselves, there would have been no healing.
If a traveler doesn't bring back something to share, he's not a hero, he's a heel, selfish and unenlightened. He hasn't learned his lesson. He hasn't grown. Returning with the Elixir is the last test of the hero, which shows if he's mature enough to share the fruits of his quest.
THE ELIXIR OF LOVE
Love is, of course, one of the most powerful and popular Elixirs. It can be a reward the hero doesn't win until after a final sacrifice. In Romancing the Stone Joan Wilder has surrendered her old fantasies about men and said goodbye to her old, uncertain personality. The payoff for her is that unexpectedly, Jack Colton comes for her after all, miraculously transporting a romantic sailboat to her New York neighborhood to sweep her away. He has transmuted the Elixir he was after — the precious emerald — into another form, love. Joan gets her reward of romance, but she has earned it by learning that she could live without it.
THE WORLD IS CHANGED
Another aspect of the Elixir is that the wisdom which heroes bring back with them may be so powerful that it forces change not only in them, but also those around them. The whole world is altered and the consequences spread far. There is a beautiful image for this in Excalihur. When Percival brings the Grail back to the ailing Arthur, the King revives and rides out with his knights again. They are so filled with new life that flowers burst into bloom at their passing. They are a living Elixir, whose mere presence renews nature.
THE ELIXIR OF RESPONSIBILITY
A common and powerful Elixir is for heroes to take wider responsibility at the Return, giving up their loner status for a place of leadership or service within a group. Families and relationships get started, cities are founded. The hero's center has moved from the ego to the Self, and sometimes expands to include the group. Mad Max, the loner hero of George Miller's Road Warrior and Mad Max: Beyond the Thunderdome, forsakes his solitude to become Mentor and foster-father to a race of orphaned children. The Elixir is his skill at survival and his recollection of the old world before the apocalypse, which he passes on to the orphans.
THE ELIXIR OF TRAGEDY
In the tragic mode, heroes die or are defeated, brought down by their tragic flaws. Yet there is learning and an Elixir brought back from the experience. Who learns? The audience, for they see the errors of the tragic hero and the consequences of error. They learn, if they are wise, what mistakes to avoid, and this is the Elixir that they bring away from the experience.
SADDER BUT WISER
Sometimes the Elixir is heroes taking a rueful look back at their wrong turns on the path. A feeling of closure is created by a hero acknowledging that he is sadder but wiser for having gone through the experience. The Elixir he bears away is bitter medicine, but it may keep him from making the same error again, and his pain serves as fair warning to the audience not to choose that path. The heroes of Risky Business and White Men Can't Jump have been down a road of learning that mixed pain and pleasure. They ultimately lose the prize of love, must Return without the woman of their dreams, and have to console themselves with the Elixir of experience. These stories create a feeling that the account is closed and the heroes are being presented with the final balance.
SADDER BUT NO WISER
A "sadder but wiser" hero is acknowledging that he's been a fool, which is the first step to recovery. The worse kind of fool is the one who doesn't get it. Either he never sees the error or he goes through the motions but has not really learned his lesson. Even after enduring terrible ordeals, he slides back to the same behavior that got him in trouble in the first place. He is sadder but no wiser. This is another kind of circular closure.
In this style of Return, a roguish or foolish character seems to have grown and changed. Perhaps he is a clown or Trickster, like Bob Hope in the Crosby-Hope pictures or Eddie Murphy in 48 Hours or Trading Places, who swears he has learned his lesson. However, in the end he fumbles the Elixir and returns to an original error. He may fall back to his original, irrepressible attitude, closing the circle and dooming himself to repeat the adventure.
For this is the penalty of failing to return with the Elixir: The hero, or someone else, is doomed to repeat the Ordeals until the lesson is learned or the Elixir is brought home to share.
EPILOGUE
Just as some stories may have a prologue that precedes the main action, there may also be a need for an epilogue that follows the bulk of the story. An epilogue or postscript on rare occasions can serve to complete the story, by projecting ahead to some future time to show how the characters turned out. Terms of Endearment has an epilogue that shows the characters a year after the main story has ended. The feeling communicated is that even though there is sadness and death, life goes on. Look Who's Talking has an epilogue that shows the birth of the baby hero's little sister nine months after the main plot has been resolved. Stories that show a group of characters at a formative or critical period, like American Graffiti or war movies such as Glory or The Dirty Dozen, may end with a short segment that tells how the characters died, progressed in life, or were remembered. A League of Their Own has an extensive epilogue in which an aging woman ballplayer, having remembered her career in flashback for the main body of the film, visits the Baseball Hall of Fame and sees many of her teammates. The fates of the players are revealed and the surviving women, now in their sixties, stage a game to show that they still know how to play ball. Their spirit is the Elixir that revives the hero and the audience.
These have been a few of the purposes and functions of Return. There are also pitfalls to avoid in Returning with the Elixir.
PITFALLS OF THE RETURN
It's easy to blow it in the Return. Many stories fall apart in the final moments. The Return is too abrupt, prolonged, unfocused, unsurprising, or unsatisfying. The mood or chain of thought the author has created just evaporates and the whole effort is wasted. The Return may also be too ambiguous. Many people faulted the twist ending of Basic Instinct for failing to resolve uncertainty about a woman's guilt.
UNRESOLVED SUBPLOTS
Another pitfall is that writers fail to bring all the elements together at the Return. It's common for writers today to leave subplot threads dangling. Perhaps in the hurry to finish and deal with the main characters, the fates of secondary characters and ideas are forgotten about, even though they may be extremely interesting to the audience. Older films tend to be more complete and satisfying because the creators took time to work out every subplot. Character actors could be counted on to do their bit somewhere at the beginning, the middle, and the end. A rule of thumb: Subplots should have at least three "beats" or scenes distributed throughout the story, one in each ac
t. All the subplots should be acknowledged or resolved in the Return. Each character should come away with some variety of Elixir or learning.
TOO MANY ENDINGS
On the other hand, the Return should not seem labored or repetitive. Another good rule of thumb for the Return phase is to operate on the KISS system, that is: Keep It Simple, Stupid. Many stories fail because they have too many endings. The audience senses the story is over but the writer, perhaps unable to choose the right ending, tries several. This tends to frustrate an audience, dissipating the energy the writer has created. People want to know the story's definitively over so they can quickly get up and leave the theater or finish the book with a powerful charge of emotion. An overly ambitious film like Lord Jim, trying to take on a dense novel, can exhaust an audience with climaxes and endings that seem to go on forever.
An extreme example of keeping it simple might be the karate match that forms the climax of The Karate Kid. When the last kick is delivered and the hero wins, the credits roll immediately in a burst of final theme music. There is almost no denouement. We know the kid is bearing the Elixir of lessons learned well in his training.
ABRUPT ENDINGS
A Return can seem too abrupt, giving the sense the writer has quit too soon after the climax. A story tends to feel incomplete unless a certain emotional space is devoted to bidding farewell to the characters and drawing some conclusions. An abrupt Return is like someone hanging up the phone without saying goodbye, or a pilot bailing out without bringing the plane in for a landing.
FOCUS
A Return may feel out of focus if the dramatic questions, raised in Act One and tested in Act Two, are not answered now. Writers may have failed to pose the right questions in the first place. Without realizing it, a writer may have shifted the theme. A tale that started out as a love story may have turned into an expose of government corruption. The writer has lost the thread. The story will not seem focused unless the circle is closed by Returning to the original themes.
The Writer's Journey Page 22