Writing Archives | Page 34 of 34

The 30-minutes a day writing habit

Come find out why am I picking a new hobby of writing everyday for at least 30 minutes.

So, I am part of this group of writers that meets once every week (on Zoom). All of us want to write long-form content (3000+ words in length) and in general, be better writers. Thus, a lot of our chats are around how to write better, how to get better ideas for writing, how to have an interesting perspective on things to be able to write about those, and so on and so forth.

We throw ideas at each other, we ask each other tough questions and more importantly, we try and help each other out when we are stuck.

On this week’s call, Shravya talked about Andy Matuschak and his routine of writing every day for 30 minutes. What he writes could be a thing as simple as a summary of the book that he’s read recently. Or it could be a part of an essay that he’s working on. Or something from his writing inbox. The output is not important. What is important is that he gets 30 minutes of writing done.

Think of it as your daily practice of workout, meditation, or even those 10000 steps! It’s such a simple idea and I think like all other things that you do as routine for a fairly long period, it would compound and give you fabulous returns.

I have myself engaged in a similar exercise at different times where I would ensure that I would write every day. I have done various avatars – from writing an SoG a day to writing 1000 words a day to even taking a picture each day and writing about it. Of course, I always slack after a few days.

But I have never been this serious about writing as I have been in the past few months. Not even when I was writing #tnks! Thing is, I have seen some crazy connections happen just because what I wrote resonated with so many people!

I realise that writing could actually lead me to things that I want in life – access to interesting people, money and more importantly, impact. Even if I am not the most flowery writer. Even if I am not the deepest, most insightful writer. And even if I what I write does not move a mole!

So, buoyed by that, here’s a promise to self.

To double down on effort I make with my writing. I will add 30 minutes of writing to my daily routine (other things there are 10 minutes of meditation, 16000 steps and 20 pullups). And I will publish each day’s work here, on this blog.

I will do this for at least 30 days, start today. Today is Day 1 and this post is today’s output 🙂

Do read what I write and do feed me back with how I could improve.

Over and out!

Hero’s Journey for Munna Bhai MBBS

Prof. Joseph Campbell’s Monomyth model (The Hero’s Journey), as seen from the lens of Raju Hirani’s Munna Bhai MBBS.

Hello hello!

You know, Munna Bhai? The film? Well, this is where Shreya and I try and decode the idea of the Hero’s Journey via how they’ve been portrayed in popular films. Read more about the project here.

For each film that we take up, we would talk about the plot, break that into a beat sheet, and then try to identify what part of films fits into what part of the monomyth structure.

Without further ado, here we go!

The plot

The Sanjay Dutt starrer was written by Rajkumar Hirani and Vidhu Vinod Chopra.

The story, set in contemporary Mumbai, is of Murli Prasad Sharma, aka, Munna (played by Sanjay Dutt). He is a Robinhood-ish goon for hire in Mumbai. As a character, he is simple and flawed. He’s all the happy-go-lucky and all he seeks in life is approval from his father. But his flaw is that he’s lied to his father (Hari Prasad Sharma, played by Late Sunil Datt) that he’s a doctor and runs a hospital in Mumbai. To live that lie, he puts up an elaborate facade everytime his father comes to visit him.

All’s well in his regular life, till his father bumps into a real doctor (Dr. Asthana, played by Boman Irani) and proposes that Munna and Dr. Asthana’s daughter (Chinki / Dr. Suman, played by Gracy Singh) get married to each other. On the day when the marriage discussions were to happen, Dr. Asthana finds out the truth about Munna. He humiliates Munna’s father and throws them out of his house.

Hari Prasad Sharma being the man of his honor, he feels humiliated, disowns his son and goes back to his village.

Munna is aghast – the only thing he held dear (his father’s pagdi) has been attacked and he is helpless! Against the advice of his trusted flunky (Circuit, played by Arshad Warsi), he decides that he would become a doctor for real and earn his father’s respect.

The story then follows Munna’s journey as he uses rather unconventional methods to navigate the world of medical studies. Along the way he finds his love in the very person he was supposed to get married to, makes friends across genders, cadres, backgrounds et al and collides head-on with the steadfast, moral, principled Dr. Asthana.

As the film ends, like the proverbial Hero, Munna wins all that there is to win and turns his “enemies” into allies. And, they live happily ever after!

The plot, broken into a beat sheet. And the Hero’s Journey structure.

Disclaimer for a millionth time – these are our interpretations and could be incorrect. This is an academic exercise to learn more about Hero’s Journey!

Also, we will use the following interpretation of the journey that places equal “weightage” to all three stages (unlike the more popular one that is skewed towards the two worlds).

So, there!

Even though NOT all stages of the Hero’s Journey are evident in Munna Bhai MBBS, the story clearly follows the structure. Enough to warrant an investigation and research.

Please do give us feedback on our interpretation.

Also, should you want the open files and notes that we made and have not published, please email us and we’d be touch. We have Munna Bhai’s script (found via the internet), script broken into beat-sheet (our interpretation and may not be right), and various stages of the Hero’s Journey, as adapted for Munna Bhai MBBS. Happy to share those 🙂

EndNote

What would we improve if I was asked to make the film better?

Two things…

A. We’d make the villain a tad more powerful.

Thing is, in our opinion, in India, we do not believe in an all-powerful, impossible to kill villain. In most of our stories, once the villain is often a lesser mortal than the hero. Of course there are parts where the villain is strong, after all we like to see fights, but Hero remains the more powerful entity. The way we go through the struggle of the Hero, we often leave that out for the villain. Compared to the West, they spend as much time on the villian – this makes the villain as loved as the hero. Case in point? The Joker! In our lores, we all know that Duryodhana was an accomplished fighter but he was blinded by his lust for power. In the retelling, we don’t delve on his good parts. Similarly, Raavana was a Pandit but we don’t really spend a lot of time showcasing that.

In Munna Bhai, we know that Dr. Asthana is a straight-jacketed individual. But we do not go into his past to understand why he’s like that!

B. The character of Dr. Suman / Chinki.

The other part that is lacking in this story is the character of Dr. Suman. She has a very very insignificant role to play. She does not help him cheat, she does not get vocal against her father ever, except the last scene (which looks like a forced fit). She is even ok with the idea of getting married to a person that she’s not seen after she was a kid!

What few things could we add to make the story follow the Hero’s Journey more closely?

Again, two things…

A. The character of Munna had to reach the final destination by himself. And not use assistance from Dr. Suman to rally the support.

B. We did not find an active mentor (apart from Dr. Rustom) guiding him through.

Further Reads

Here are some things that we read while we were working on this piece.

About Raju Hirani and Raju Hirani’s comments on Munna Bhai MBBS

So, Raju Hirani lived with the idea of Munna Bhai for 9 years. And between Shreya and I, we do NOT have that many years of experience of even watching films! We are nobodies to critique his work. All we can do is learn from the output and other conversations he’s had with people about his work.

Raju Hirani says, “the message I wanted to convey to the doctors was to have more compassion. If they want to make money they should go somewhere else” and I think it’s amply clear in the film. Even when Munna gives up (in the last scene) and moves on, he goes back to being a compassionate goon and not a greedy doctor!

He further says, “Cinema is all about entertaining. My principal motto is, ‘I shall entertain’. Nobody walks into the theatre to be preached to or to learn something. So I have to be sure that whatever I do, even when I have a message to deliver, it must be done in a manner that is highly entertaining. Cinema is storytelling and story telling is about entertaining. At the same time, it is a commentary on reality.” Again, something that is VERY evident in Munna Bhai.

He adds in another interview, “Never Lock The Script: Never call anything finished, keep writing it and it keeps getting better. Sometimes an idea which is ‘good enough’ can become perfect if we keep writing some more.” I think this is where we take courage. Even if a film has been shot and loved by people across the world, there is merit in going back and seeing what could’ve been better. Of course we can not make the same film again but we can definitely take back some lessons!

Finally, he says, “I thus realised that what Munnabhai had done for a lot of aspiring filmmakers was to give them the courage to break the rules.” We are taking the courage to break the rules and dissecting a film that Raju Hirani has spent almost a decade in perfecting.

And of course time spent on thinking about Munna Bhai, his story, the Hero’s Journey has given us some incredible lessons!

Phew!

Some interviews that we read while researching about the work of Raju Hirani…

That’s all folks!

So, that’s about it from us! Let us know what you think.

Oh, one more thing. Please do let us know what next film we do this deep dive on.

Shreya + Saurabh

June 2020

Introducing, The Hero’s Journey Project

A series of essays where I will research, explore and postulate on Prof. Joseph Campbell’s Monomyth (The Hero’s Journey).

Note: Edited this on 20th June after I attended yet another session with Anjum Sir. The changes I made on 20th are marked as v2.

You know how things fall in place when you least expect them to? That happened to me!

Lemme tell you a story. Because of the lockdown and general joblessness that I had, I decided that I would try and use this time to become a screenwriter. Now, how do you become a screenwriter? I had no clue, except maybe, to write an actual screenplay!

Lucky Strike 1

And while I was mulling it, luckily I spotted this initiative by writer-direction Satyanshu Singh where he got Anjum Rajabali to take sessions for people wanting to be screenwriters. I attended a couple of lectures from him (one was on Mahabharata and the other on Hero’s Journey) and the two lectures OPENED my eyes to the method you need to get your madness pouring out on a screenplay. I instantly decided that I want to make The Hero’s Journey my life’s work.

Ok, that’s hyperbole. I have a million life’s works like that. Lemme not digress. The point is, I want to learn as much about Hero’s Journey as I can. And I believe in learning by doing. But then, I was stuck. I had no freaking clue about it (apart from an academic interest I had in it) and what Anjum Sir taught me in those 4 hours.

Lucky Strike 2

On Twitter, I bumped into Shreya of the Green Grandma fame and somehow we got talking and somehow one thing led to another and somehow we realized that we could do this together. This? Learn about Hero’s Journey!

She of course is far more informed and read compared to me and partnering with me would be meaningless to her. But I think I played my cards right and talked her into it!

She recommended that if I wanted to learn about Hero’s Journey, the best way would be to watch some films like Star Wars and The Matrix Trilogy that follow the Hero’s Journey to the T.

But then we decided to check if the Monomyth structure was followed in Indian films as well!

Hero’s Journey

For the uninitiated, The Hero’s Journey is an outcome of the work of Joseph Campbell who studied myths, lores, and stories from across cultures, times, religions, regions, places, and discovered that the most compelling and memorable stories tend to follow the same path. Their stories tend to have the same structure! And he called that structure the Monomyth. Or as it is more popularly known, The Hero’s Journey.

The chart below describes the Hero’s Journey…

*Source: Wikipedia – https://en.wikipedia.org/wiki/Hero%27s_journey*

While a short-note on Hero’s Journey is literally impossible, lemme try and explain!

A primer on Hero’s Journey

For starters, there are two worlds…

The ordinary, current, existing, comfortable where the Hero currently lives. He is unaware of trials and tribulations that await him in the other world.
The unknown, new, special, unnatural, supernatural world where rules from the ordinary world cease to exist. There are new rules, new norms, new reality. The world is full of dangers that the hero does not even know of!

Then, there are three distinct stages of life in the Hero. Different scholars and writers have used different terms for this. I will stick to what Joseph Campbell used.

The departure from the ordinary world.
Initiation into the supernatural world
Return to the ordinary world where the hero originally came from

Of course, these stages are further divided into various substages. And each time the hero transitions from one stage to another, he has to go through a battle of sorts. Lemme explain each. (v2)

1. The Departure. So, all is well in the life of Hero. He is happy and chilling and all that. And one fine day, someone from a distant land comes over and tells him that his world is in grave danger. And he MUST undertake this journey to the unknown if he wants to save the world. He may be reluctant initially but he will get over it and take the journey.

2. Initiation. This is where the Hero gets to the unknown world. The hero overcomes trials & tribulations, faces threats & temptations, and finds allies & enemies. The entire journey in the unknown world is a step towards becoming, rather than becoming one thing. You know, the journey in itself is the destination!

3. The Return. This is where the Hero now has to come back to the original world where he started from. Just that as a result of his journey, he has become better and become a master of sorts. And like they, he’s live happily ever after. Unless he gets another call to adventure!

So yeah. That.

And if I were to tell you a story to explain the Hero’s Journey, it would go something like this..

Once upon a time there lived a prince in a cocooned world where he had absolutely no clue about the harshness that life has to offer (Ordinary World). All was well till one day while playing cricket, he makes a wild swing with his bat and instead of making contact with swings hard and breaks his father’s favorite vase. What more? The vase actually contained his father’s life! He suddenly is petrified. He doesn’t know what to do. And just then, the wise old courtier tells him that he can undo the damage and save his father’s life if he could go to the dungeons protected by the scariest dragons and retrieve this magic potion (The Call to Adventure). Of course, the prince is scared about it – after all, he’s been warned all his life to not even talk about those dragons! So, he is reluctant to go (Refusal to Call).

But then he has to save his father. He takes the courtiers’ blessing and a cloak of invisibility (Supernatural aid) and goes on the adventure. Along the way, he meets people – some good and some not so good (The Road of Trials). He does a lot of good deeds, after all, he is a good prince. Like while he is thirty and he just has one sip of water left, he gives that to an Eagle that has been shot down by an unknown hunter.

As he heads towards the innermost cave where the pot of magic potion is hidden, he has to battle with the monster, the size of a Jupiter (Crossing of First Threshold). The battle is ferocious, sparks fly off in all directions and it seems that the monster will have the upper hand. And while the prince is struggling, news comes from a home that his father is on the verge of dying (The Belly of Whale).

All is sort of lost for this young prince. He questions his choices and decisions and is about to give up. Just then a beautiful princess arrives (The meeting with the goddess) with her pet Eagle, the same one that had given his last sip of water. The princess tests him by offering one of two things – a magic sword that can kill the monster or a union with her that can allow the prince to escape (Woman as temptress).

But the prince starts to understand why his father was the way he was with him (Atonement with Father). He chooses the sword and thanks to the superpowers and allies that our prince has gathered on his journey here, he prevails! In a fierce battle, he defeats the monster and gets the magic potion (Apotheosis and Ultimate Boon). All he needs to do is, now, to go back home and save his father.

But just when he starts to head home, he gets tempted to stay back – after all, he will be a prince if he goes back to his ordinary world and here, in the extraordinary, he is the mightiest of them all – he is the one to have defeated the monster! He decides to not go back and enjoy the riches of this world (Refusal to return). He starts to settle down till he sees a picture of his father in his wallet. He pines for his affection and he decides that a kingdom is not greater than his father’s health.

He finds a teleporter that can instantly take him back (Magic Flight) and as he is on his way, everyone of importance, including the princess, from this extraordinary world decides to tag along. The prince has no choice but to listen to his new-found followers, disciples (Crossing of return threshold).

Once he reaches his father’s palace, of course, the father is back to the pink of his health, thanks to the magic potion. Father then decides to let the prince ascend to the throne. And the young prince now rules over both the kingdoms and lives happily ever after (Freedom to live)!

Phew!

So there are multiple versions and variations of this. If you are a scholar, you may choose the one that appeals to you the most. Shreya and I will settle for a broad framework that helps us understand people and emotions and characters and narratives.

So yeah. This is a primer on The Hero’s Journey!

But before that, Some disclaimers…

Anjum Sir is VERY VERY VERY vocal and categorical that the Hero’s Journey is NOT a tool that you may want to use when you write. PLEASE PLEASE respect what the master says.
Of course, not all stories follow the Hero’s Journey. And the stories that do follow the structure, don’t have to follow it to the T. In some stories, some stages may get clubbed, in others, the order may get changed and in some, there could be just one part from the journey.
Please do note that the Monomyth is not the only structure that screenwriters and storytellers follow. There are more like the 3-act structure, the 5-act structure, and the nonlinear structure. Plus there are many more variations of this model itself. For example, there is one by Vogler that uses just 12 steps (unlike Campbell’s 17). And of course, there are more. In one line, this model (Campbell’s) is NOT the holy grail! But as Saurabh says, it does come close 😉 And Shreya disagrees. She is of the opinion that modern screenwriters do not use this at all. You decide and tell us 😀
We are mere students and all text herein is our interpretation. And not the thoughts of the original writer or of Anjum Sir. So, we may be off. PLEASE DO TELL US IF WE ARE ON POINT. OR ARE OFF. The idea of doing this is to learn and your input helps!
Since we would analyze these films end to end, we would have to narrate the story end to end. So, can’t really “hide” the climax, etc.
These pieces are not film reviews. We are not here to judge the film, the plot, the story or anything else for that matter. We are here to find traces of Hero’s Journey in the story. And try and learn lessons as scriptwriters ourselves.
All the work for the posts was done collaboratively by Shreya and I. But for the ease of writing and narration, I am the one who’s writing the post.
Oh, one more thing. In everything we write, Hero is being used as a gender-neutral salutation.

We’d start soon, with Raju Hirani’s Munna Bhai MBBS (published in Jun 2020). After that, we have lined up Deewaar (published in Nov 2020) and Lagaan. What else can we take up?

Till then, over and out!

Shreya + Saurabh

May 2020