Christopher Booker

The next thing of which we can be sure is that the action which the hero or heroine are being drawn into will involve conflict and uncertainty, because without some measure of both there cannot be a story. Where there is a hero there may also be a villain (on some occasions, indeed, the hero himself may be the villain). But even if the characters in the story are not necessarily contrasted in such black-and-white terms as `goodies' and `baddies, it is likely that some will be on the side of the hero or heroine, as friends and allies, while others will be out to oppose them

The essence of the `Overcoming the Monster' story is simple. Both we and the hero are made aware of the existence of some superhuman embodiment of evil power. This monster may take human form (e.g., a giant or a witch); the form of an animal (a wolf, a dragon, a shark); or a combination of both (the Minotaur, the Sphinx). It is always deadly, threatening destruction to those who cross its path or fall into its clutches. Often it is threatening an entire community or kingdom, even mankind and the world in general. But the monster often also has in its clutches some great prize, a priceless treasure or a beautiful `Princess'.
So powerful is the presence of this figure, so great the sense of threat which emanates from it, that the only thing which matters to us as we follow the story is that it should be killed and its dark power overthrown. Eventually the hero must confront the monster, often armed with some kind of `magic weapons, and usually in or near its lair, which is likely to be in a cave, a forest, a castle, a lake, the sea, or some other deep and enclosed place. Battle is joined and it seems that, against such terrifying odds, the hero cannot possibly win. Indeed there is a moment when his destruction seems all but inevitable. But at the last moment, as the story reaches its climax, there is a dramatic reversal. The hero makes a `thrilling escape from death' and the monster is slain. The hero's reward is beyond price. He wins the treasure, or the hand of the `Princess. He has liberated the world - community, kingdom, the human race - from the shadow of this threat to its survival. And in honour of his achievement, he may well go on to become some kind of ruler or king.

1. In its first `active' role, the monster is Predator. It wanders menacingly or treacherously through the world, seeking to force or to trick people into its power. It may have a lair which it sallies out from, but primarily in this role it is looking for victims. It `walketh about seeking whom it may devour, spreading fear and destruction, and casting a shadow wherever its influence is felt.
2. The monster's second, more `passive' role is as Holdfast. It sits in or near its lair, usually jealously guarding the `treasure' or the `Princess' it has won into its clutches. It is in this role a keeper and a hoarder, broody, suspicious, threatening destruction to all who come near.
3. When its guardianship is in any way challenged, the monster enters its third role as Avenger. It lashes out viciously, stirring from its lair, bent on pursuit and revenge.

When people are at odds with the world, behaving selfishly or anti-socially, they are either `after something', as Predators; wanting grimly to `hold onto something, as Holdfasts; or, as Avengers, resentfully trying `to get their own back'

And even though the monster wields such terrifying power that, almost to the end, its dark presence is the dominant factor holding sway over the world described by the story, it has one weakness which ultimately renders it vulnerable. Despite its cunning, its awareness of the reality of the world around it is in some important respect limited.

We can recognise it wherever our interest in a tale is centred on the steady build-up to a climactic battle between the hero and some dark, threatening figure, or group of figures, whether this be the wicked witch in a fairy tale or invading aliens from outer space, Spielberg's flesh-eating dinosaurs in Jurassic Park or the outlaw gang in a Western

This marks the end of the 'Anticipation Stage'. The hero has received the `Call, giving him and the story a focus. We can see now what the story is centrally to be about; and the hero's sense of being impelled towards this mysterious new destiny is reinforced when they return to the farmstead to find that the uncle and aunt who have brought him up have been vapourised by Imperial troops. There is nothing left to keep him at home

As their ship comes to rest it seems they are the monster's prisoners. Like Bond, when he penetrates the lair of one of his monstrous opponents and falls into his clutches, they have reached the `Frustration Stage'

Despite such caricatures, the significance of the thrilling escape from death runs very deep. It is one of the most consistent motifs in storytelling, cropping up again and again in stories of every kind. And it is hardly surprising that we should find stories based on little else but the build-up to a thrilling escape

`Though for the moment K. was wretched and looked down on, yet in an almost unimaginable and distant future he would excel everybody.'
Franz Kafka, The Castle
Again and again in the storytelling of the world we come across a certain image which seems to hold a peculiar fascination for us. We see an ordinary, insignificant person, dismissed by everyone as of little account, who suddenly steps to the centre of the stage, revealed to be someone quite exceptional