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The Hero’s Journey (also known as the Monomyth) is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. It is upon this structure that situations are superimposed. This is why stories such as Alien (1979), Gladiator (2000), Godfather (1972), American Beauty (1999), Annie Hall (1977) and many others (all deconstructed at www.clickok.co.uk/index4.html) appear to be different but are all constructed, almost sequence by sequence, in the same way.

The following blockbusters have all been structured around the Hero’s Journey template: Titanic, 1997 - grossed over $600,000,000; Star Wars, 1977 - grossed over $460,000,000; Shrek 2, 2004 - grossed over $436,000,000; ET, 1982 - grossed over $434,000,000; Spiderman, 2002 - grossed over $432,000,000. So how come you don’t know it inside out?

For a number of very valid reasons, if you want to write (and sell) successful stories, whether they’re Hollywood blockbusters, Indie successes, novels or other story forms, you need to master the Hero’s Journey in a very detailed way…

THE UNDERRATED USE OF SYMBOLISM

Most of the time we don’t notice it, but screenplays consist of much more structure and symbolism than is commonly assumed. And that is right, because they should be designed for maximum impact.

Take the role of water. At the stage of the Near Death Experience, romantic lovers part in the rain (50 First Dates, 2004), protagonists are tortured with water (Green Mile, 1999), protagonists happen to be on vessels that sink (War of the Worlds, 2005) and heroes are submerged underwater (Jaws, 1977). The role of water is ancient and works on the audience subconsciously; it signifies baptism / dirt to cleanliness / washing away the Old and emergence of the New Self.

Or take mirrors. The hero often looks at himself (or herself) in a mirror whilst in the Ordinary World (Bonnie and Clyde (1967), An Officer and a Gentleman (1983), Thelma and Louise (1991)). Mirrors most often signify dissatisfaction with the Ordinary Self and dissatisfaction with the Period of Obscurity. It is this that pushes the hero forward.

Or take tunnels. Often heroes are seen moving through tunnels, which symbolise movement from one state to another.

Or bridges, gates, rivers and railroads - all of which mark boundaries between states and thresholds.

Or the colour red - signifying blood, damage to the Physical Self and transmogrification to the New Self.

Symbolism is just another way of communicating the physical and psychological stage of the Journey / Transformation - there are quite a few of these tools, and you should use them. Coppola and Scorsese et al do.

Learn more…

WRITE THAT SCREENPLAY!

The Complete 188 stage Hero’s Journey and other story structure templates can be found at http://www.clickok.co.uk/

188 stages of the Hero’s Journey can also be reached from http://www.heros-journey.info/

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop, MBA

**********************************

You are free to reproduce this article as long as no changes are made, the author’s name is retained and the link to our site URL remains active.

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The Hero’s Journey (also known as the Monomyth) is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. It is upon this structure that situations are superimposed. This is why stories such as Alien (1979), Gladiator (2000), Godfather (1972), American Beauty (1999), Annie Hall (1977) and many others (all deconstructed at www.clickok.co.uk/index4.html) appear to be different but are all constructed, almost sequence by sequence, in the same way.

The following blockbusters have all been structured around the Hero’s Journey template: Titanic, 1997 - grossed over $600,000,000; Star Wars, 1977 - grossed over $460,000,000; Shrek 2, 2004 - grossed over $436,000,000; ET, 1982 - grossed over $434,000,000; Spiderman, 2002 - grossed over $432,000,000. So how come you don’t know it inside out?

For a number of very valid reasons, if you want to write (and sell) successful stories, whether they’re Hollywood blockbusters, Indie successes, novels or other story forms, you need to master the Hero’s Journey in a very detailed way…

EVERY GREAT HERO TRANSFORMS BOTH PHYSICALLY AND PSYCHOLOGICALLY

Every Hero goes on a Journey, the purpose of which is to induce a Transformation. It is the undergoing of the Journey that gives the Hero the capacity to conquer challenges that were previously unconquerable.

The Transformation is both psychological and physical. You must pull your Hero through the Journey and incrementally manage both forms of Transformation.

The Psychological Transformation manifests itself in a change of behaviour, attitudes and beliefs. The Hero behaves one way at the beginning of the movie and another way at the end of the movie. In the beginning of Thelma and Louise (1991), Louise is in charge. At the end of the movie, Thelma is in charge.

The Physical Transformation is most often expressed by (literal or symbolic, for example the colour red) physical damage that, as it repairs, represents the Hero’s Transmogrification. The Hero has one physical form at the beginning of the movie and another at the end of the movie. In The Godfather (1972), Capt. McCluskey punches Michael in the face. The physical healing mirrors Michael’s psychological Transformation. Later, it is made explicit that Michael looks different (better), hardly recognisable from his Old Self.

The totality of the Hero’s Transformation is illustrated using tools such as new clothing and a new name. In Dances with Wolves (1990), John Dunbar is dressed one way at the beginning of the movie and another way at the end of it. He has one name at the beginning of the movie and another at the end of it.

Learn more…

WRITE THAT SCREENPLAY!

The Complete 188 stage Hero’s Journey and other story structure templates can be found at http://www.clickok.co.uk/

188 stages of the Hero’s Journey can also be reached from http://www.heros-journey.info/

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop, MBA

**********************************

You are free to reproduce this article as long as no changes are made, the author’s name is retained and the link to our site URL remains active.

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You can improve your golf swing through consistency. The best golf swing tip anyone can offer is to incorporate consistency into your game. But how is that defined?

You want your swing to be consistent. You want your approach to be consistent as well.

Along with a sense of strong mental focus, you want to be relaxed while playing golf. To some being “relaxed” and maintaining “focus” may be opposed to one another. But, in fact, they are not. Relaxation actually promotes focus. It gives energy to it instead of dissipating it.

Bad things eventually happen while playing golf. You can’t help it. No matter how much preparation and thought you put into being better at the game of golf, soon you will be faced with an unpleasant situation: a poor shot, the trees, a sand trap, a three-putt .

When this happens, what generally follows? A flare of temper and disappointment if you are anything like me.

And when this happens what follows? Your energy is pulled away from the actual focus of the game you are playing, and you are lost.

Most golfers take all of this as part of the game. It is a habitual part of how they play golf. But, does it have to be?

The next time you out on the course and encounter one of these “flares” as a result of an undesirable shot or swing, take note. What does it feel like?

Think back to a situation where you’ve been the maddest and most upset in your life. Rate that a “10″.

Now think back to a time when you were the most relaxed, perhaps on a beach or in the mountains without a care in the world. Rate that a “1″.

Now, while on the course and facing one of these “flares” (or loss of control), rate it according to the scale above.

This simple technique will allow you acknowledge where your focus is, to feel it, and to move on. In other words, you’ll be able to return to the task at hand: playing golf.

If you’re looking to improve your golf swing, give this a try. It’s a great way of letting go of the bouts of temper (because they are seen and acknowledged) and returning your concentration to your immediate next swing.

It’s a golf swing tip that’s really helped me play better and to more enjoy my time on the course.

Stan Thomas has been playing golf since before dirt covered the earth. He knows he’ll never master the game, but he can’t deny the quest.

He invites you to visit his website =>http://www.GolfImproveSwing.com

It truly amazes me how often in too many businesses there is such an aversion to sincerely asking people (employees, customers, suppliers, vendors, et al) what they think. During my 35 year professional career, I have witnessed countless missed opportunities to gain insight and powerful information in business because someone did not stop and ask “What Do You Think?” Or if they did ask, they “listened” but did not “hear” what the person said. Although many people and businesses tout their ability to “listen,” I want to know the more important attribute of whether they also have the ability to “hear.”

A reference to Henry David Thoreau was made in one of my business advisory boards while I was facilitating the meeting and asking each business owner there - “What Do You Think?” and then further stating how interested I was in what they thought and how important it was to me. Recently I discovered the source and actual quote from Thoreau and want to share that with you.

In “Life Without Principle,” Henry David Thoreau stated ….. “The greatest compliment that was ever paid to me was when one asked me what I thought, and attended to my answer. I am surprised, as well as delighted, when this happens, it is such a rare use he would make of me as if he were acquainted with the tool” ……

There is tremendous power in asking people what they think. If one is sincere and not only listens to, but also hears the reply. Why not amaze and delight someone today while conducting your business and ask them - “What Do You Think?” and be prepared to receive some insightful and powerful information to help you and your business.

If you would like to learn more about the power of asking questions and asking what people think, and learning how to listen and hear what they say, please contact Glenn Ebersole through his website at www.businesscoach4u.com or by email at jgecoach@aol.com

Glenn Ebersole, Jr. is a multi-faceted professional, who is recognized as a visionary, guide and facilitator in the fields of business coaching, marketing, public relations, management, strategic planning and engineering. Glenn is the Founder and Chief Executive of two Lancaster, PA based consulting practices: The Renaissance Group, a creative marketing, public relations, strategic planning and business development consulting firm and J. G. Ebersole Associates, an independent professional engineering, marketing, and management consulting firm. He is a Certified Facilitator and serves as a business coach and a strategic planning facilitator and consultant to a diverse list of clients. Glenn is also the author of a monthly newsletter, “Glenn’s Guiding Lines - Thoughts From Your Strategic Thinking Business Coach” and has published more than 250 articles on business.

To find out more about the benefits & rewards of effectively working with a strategic thinking business coach, please contact Glenn Ebersole through his web site at http://www.businesscoach4u.com or jgecoach@aol.com

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In every successful Hollywood story, there are a number of challenges to be resolved. It is not uncommon for the Hero to have at least Four Core Challenges (Inner, Outer, Romantic, Greater Antagonism) and each is mapped onto the Hero’s Journey and resolved in a very SPECIFIC order.

For example, In American Beauty (Academy Award Winner Best Film 1999), Lester Burnham’s Inner Challenge is to feel good about himself, his Romantic Challenge is Angela, his Outer Challenge is his marriage with Carolyn and the Greater Antagonism is Col. Frank Fitts, US Marine Core.

The Outer Challenge is often a manifestation (or consequence) of the Inner Challenge (frequently a deep psychological issue). This is an incredibly useful association; it is the resolution of the Outer and Inner Challenges that mark the dissolution of the Old Self and the development of the New Self.

In the above example, Lester’s marriage will not begin to resolve itself until he begins to feel good about himself.

In An Officer and a Gentleman (1982), Zach’s Inner Challenge is his mother’s suicide when he was a child, his Outer Challenge is “not caring for anything or anyone but himself,” his Romantic Challenge is Paula and the Greater Antagonism is becoming a fighter pilot in the Navy. It is because his mother committed suicide and left him feeling as though nobody cares for him that he reciprocates and does not care for anyone or anything else.

In Titanic (Academy Award Winner Best Film 1997; No. 1 All-Time USA Boxoffice with receipts of over $600,000,000), Rose’s Inner Challenge is to overcome her committment to her mother as well as Jack’s lower status, her Romantic Challenge is Jack, her Outer Challenge is Cal and the Greater Antagonism is escaping the sinking ship. Rose is marrying Cal because she (and her mother) is concerned about money and status.

Learn more…

WRITE THAT SCREENPLAY!

The Complete 188 stage Hero’s Journey and other story structure templates can be found at http://www.clickok.co.uk/

188 stages of the Hero’s Journey can also be reached from http://www.heros-journey.info/

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop, MBA

**********************************

You are free to reproduce this article as long as no changes are made, the author’s name is retained and the link to our site URL remains active.

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The Hero’s Journey (also known as the Monomyth) is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. It is upon this structure that situations are superimposed. This is why stories such as Alien (1979), Gladiator (2000), Godfather (1972), American Beauty (1999), Annie Hall (1977) and many others (all deconstructed at www.clickok.co.uk/index4.html) appear to be different but are all constructed, almost sequence by sequence, in the same way.

The following blockbusters have all been structured around the Hero’s Journey template: Titanic, 1997 - grossed over $600,000,000; Star Wars, 1977 - grossed over $460,000,000; Shrek 2, 2004 - grossed over $436,000,000; ET, 1982 - grossed over $434,000,000; Spiderman, 2002 - grossed over $432,000,000. So how come you don’t know it inside out?

For a number of very valid reasons, if you want to write (and sell) successful stories, whether they’re Hollywood blockbusters, Indie successes, novels or other story forms, you need to master the Hero’s Journey in a very detailed way…

EVERY GOOD HERO TRANSFORMS IN THE FIRST THRESHOLD

Whilst Transformation is the essence of the whole story and can be traced back to before the Call to Adventure and does not end until the Mastery of the Old and New Worlds and Self, a significant change occurs in the First Threshold. Consider this: In The Godfather (1972), before entering the First Threshold, Michael Corleone is having fun with Kay in a hotel, plans to marry her, wants nothing to do with The Family business and is safe because the other Families know he is a “civilian.” Upon departure of the First Threshold, he is prepared to kill a police Captain, incite a war between the Families, will be hunted by the other Families and will voluntarily leave Kay behind and disappear to Sicily (where he will further follow the traditional path by marrying a Sicilian).

This part of the Transformation follows a number of distinct steps, a few of which are:

a) Upon entry into the First Threshold, the Hero loses a part of his Old Self and gains a part of his New Self. In Raging Bull (1980), Jake’s wife leaves him and he hooks up with Vickie.

b) Within the walls of the Outer Cave, the Hero is a Fish out of Water. In An Officer and a Gentleman (1983), the new recruits are losers who have been “listening to punk rock music and bad mouthing their country.”

c) Within each Cave of the First Threshold, the Hero (and subplot Allies) undergo a period of initiation that brings them closer to their New Selves. In Spartacus (1960), Spartacus et al train to become gladiators.

d) Upon exit of the First Threshold, the Hero demonstrates his (or her) Changing. Here he (or she) is slightly more evolved, a marked change from the earlier Devolved State. In The Matrix (1999), after the simulated training, Neo has to jump a real building and survive. Even though he does so badly, this is a marked change from his earlier state, where he refused and was caught by Agent Smith.

Learn more…

WRITE THAT SCREENPLAY!

The Complete 188 stage Hero’s Journey and other story structure templates can be found at http://www.clickok.co.uk/

188 stages of the Hero’s Journey can also be reached from http://www.heros-journey.info/

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop, MBA

**********************************

You are free to reproduce this article as long as no changes are made, the author’s name is retained and the link to our site URL remains active.

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Priests, doctors and lawyers all have something in common…

Insert punch line here: ________.

Okay, now that’s out of the way…

They have something else in common. Confidentiality. A priest can’t rat you out to your neighbors if you confess to being the one who egged their houses on Halloween. A doctor can’t tell everyone at the cocktail party about the nasty infection you have from doing ________ and failing to ________. Your lawyer can’t call the DA’s office and advise them of some potential weaknesses in your testimony a few days before the trial starts.

Maybe “can’t” is a little strong. The law does carve out a few exceptions in very specific situations and more than one member of “Team Secret” has improperly spilled the beans, but none of those people are supposed to be sharing the details of your interactions.

You should have at least as much faith in your ghostwriter to keep things hush-hush. Anyone ghostwriting or doing writing on a “work for hire” basis should be just as tight-lipped as a priest, doctor or lawyer.

I was inspired to address this topic after noticing another writer mentioning where some of his/her work was appearing online, even though the materials were ghostwritten and (intentionally) didn’t have a byline. Although the comments weren’t the kind of thing that would be likely to crush a project and didn’t necessarily represent a reason for the buyer to be annoyed with the writer, they did get me thinking about how writers should approach confidentiality concerns.

Personally, as a writer I know how to keep a secret. Here’s what that means to my clients:

• You can discuss your projects and plans, even before we reach an agreement, without worrying about having them shared with competitors and others. I will make sure that understanding is part of our written record of communication or will gladly sign a non-disclosure agreement or any other document assuring you that your secrets are safe.

• You don’t have to worry about me turning down an assignment, doing it for myself, and reaping the rewards.

• You own the writing upon payment and that means more than reaping the financial rewards. It also means I won’t be telling the rest of the world what I wrote and for whom.

• The work won’t end up as one of my portfolio samples without your expressed consent. If you do agree to let me use part of the work to hawk my wares, it will be provided to others in the form of a PDF file, not as another readily-accessible web page. I won’t tell others where it appears, etc. It will also be given only to prospective clients who expressly agree to maintain an appropriate level of discretion.

There are a lot of things to consider when one outsources a key component of their online business to a writer. Confidentiality concerns might not be the first thing on the list that come to mind, but they can be important.

If you are buying “work for hire,” deal with someone who can keep a secret.

Never rely on random bid board suppliers, unknown amateurs, or “cut and paste” plagiarists for your SEO content needs. Partner with a content pro offering top-notch material at prices that make sense.

Content makes the online world go ’round and Content Done Better will keep it spinning in your direction!

You need it. Content Done Better writes it.

Visit Content Done Better when you need a professional content writer.!

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The Hero’s Journey (also known as the Monomyth) is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. It is upon this structure that situations are superimposed. This is why stories such as Alien (1979), Gladiator (2000), Godfather (1972), American Beauty (1999), Annie Hall (1977) and many others (all deconstructed at www.clickok.co.uk/index4.html) appear to be different but are all constructed, almost sequence by sequence, in the same way.

The following blockbusters have all been structured around the Hero’s Journey template: Titanic, 1997 - grossed over $600,000,000; Star Wars, 1977 - grossed over $460,000,000; Shrek 2, 2004 - grossed over $436,000,000; ET, 1982 - grossed over $434,000,000; Spiderman, 2002 - grossed over $432,000,000. So how come you don’t know it inside out?

For a number of very valid reasons, if you want to write (and sell) successful stories, whether they’re Hollywood blockbusters, Indie successes, novels or other story forms, you need to master the Hero’s Journey in a very detailed way…

APPRECIATING THE UNIVERSAL TERMINOLOGY

Many writers do not appreciate the universal nature of the terminology that is part of the Hero’s Journey / Transformation. They hear phrases like “Final Conflict,” “Hand-to-Hand Battle,” “Ultimate Antagonism” and fail to see how it can apply to their real world, gritty, modern day story or screenplay.

This is missing the point, for the terminology applies (sometimes literally, usually symbolically and metaphorically) to the vast majority (if not every) successful story or screenplay you may have come across.

In The Godfather (1972), when Sonny is gunned down, what is that if not an Unbearable Antagonism?

In Annie Hall (1977), when Alvie finally goes to meet Annie in Los Angeles, that is a Hand-to-Hand Battle and is the same one-on-one confrontation as Luke and Vader battling it out at the end of every Star Wars movie; the same mano-a-mano confrontation between Riggs and Joshua in Lethal Weapon (1987), the same confrontation as the one between John McClane and Hans Gruber in Die Hard (1988) and the same as the confrontation between Harry and Sally at the end of When Harry met Sally (1989).

There are hundreds of these terms and they all exist for a purpose. The thing to do is not dismiss the terminology as irrelevant, but try and see how it is applicable.

Learn more…

WRITE THAT SCREENPLAY!

The Complete 188 stage Hero’s Journey and other story structure templates can be found at http://www.clickok.co.uk/

188 stages of the Hero’s Journey can also be reached from http://www.heros-journey.info/

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop, MBA

**********************************

You are free to reproduce this article as long as no changes are made, the author’s name is retained and the link to our site URL remains active.

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The Hero’s Journey (also known as the Monomyth) is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. It is upon this structure that situations are superimposed. This is why stories such as Alien (1979), Gladiator (2000), Godfather (1972), American Beauty (1999), Annie Hall (1977) and many others (all deconstructed at www.clickok.co.uk/index4.html) appear to be different but are all constructed, almost sequence by sequence, in the same way.

The following blockbusters have all been structured around the Hero’s Journey template: Titanic, 1997 - grossed over $600,000,000; Star Wars, 1977 - grossed over $460,000,000; Shrek 2, 2004 - grossed over $436,000,000; ET, 1982 - grossed over $434,000,000; Spiderman, 2002 - grossed over $432,000,000. So how come you don’t know it inside out?

For a number of very valid reasons, if you want to write (and sell) successful stories, whether they’re Hollywood blockbusters, Indie successes, novels or other story forms, you need to master the Hero’s Journey in a very detailed way…

EVERY HERO MUST FIGHT HIS (OR HER) FINAL BATTLE ALONE

Between the Crossing of the Return Threshold and the Master of Two Worlds a hell of a lot happens, most of which is rarely if ever noted in analysis of the Hero’s Journey.

It is critical to note that every Hero must fight his (or her) Final Battle alone - how else can he (or she) be certain that the Antagonisms (which in no small measure are psychological) have certainly been overcome.

There are a number of ways in which the above is expressed, including:

a) The disappearance of Transcendental Powers (the loss of the Supernatural Aid). In the Wizard of Oz (1939) the Wizard cannot control his balloon and flies away. In Wall Street (1987), Bud Fox falls out with his Dad, Carl Fox.

b) The disappearance of Transcendental Powers (the loss of the Magical Aid). In American Beauty (1999), Ricky can no longer supply Lester with marijuana. In Bullitt (1968), Frank no longer has Ross’ dead body to play with.

c) The loss of Allies. In Alien (1979), everyone except Ripley dies. In Little Miss Sunshine (2006), Olive’s family cannot perform for her.

d) Hand-to-Hand Battle. The Hero is pulled into a confrontation with the Antagonism. In Annie Hall (1977), Alvie flies to LA to persuade Annie to come back. In The Godfather (1972), Michael personally confronts Carlo.

Learn more…

WRITE THAT SCREENPLAY!

The Complete 188 stage Hero’s Journey and other story structure templates can be found at http://www.clickok.co.uk/

188 stages of the Hero’s Journey can also be reached from http://www.heros-journey.info/

You can also receive a regular, free newsletter by entering your email address at this site.

Kal Bishop, MBA

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Iowa is the state you have called home for years. You are soon to be married and are about to tie the knot at your local church. Do you know where you need to apply for your marriage license? Do you know all of the requirements in order to obtain a marriage license. Well below I have listed the county clerks offices in Iowa so you can call them and get all the information you need.

Adair County Recorders
Greenfield, IA
515.743.2411

Adams County Recorder
Corning, IA
515.322.3744

Allamakee County Recorder
Waukon, IA
319.568.2364

Appanoose County Recorder
Centerville, IA
515.856.6103

Audubon County Recorder
Audubon, IA
712.563.2119

Benton County Clerk
Vinton, IA
319.472.3309

Black Hawk County Recorder
Waterloo, IA
319.291.2472

Boone County Recorder
Boone, IA
515.433.0514

Bremer County Recorder
Waverly, IA
319.352.0401

Buchanan County Recorder
Independence, IA
319.334.4259

Buena Vista County Rcdr.
Storm Lake, IA
712.749.2539

Butler County Recorder
Allison, IA
319.267.2735

Calhoun County Recorder
Rockwell City, IA
712.297.8121

Carroll County Recorder
Carroll, IA
712.792.3328

Cass County Recorder
Atlantic, IA
712.243.1692

Cedar County Recorder
Tipton, IA
319.886.2230

Cerro Gordo County Recorder
Mason City, IA
515.421.3056

Chickasaw County Recorder
New Hampton, IA
515.394.2336

Clay County Recorder
Spencer, IA
712.262.1081

Clayton County Recorder
Elkader, IA
319.245.2710

Clinton County Recorder
Clinton, IA
319.244.0223

Crawford County Recorder
Dennison, IA
712.263.3643

Dallas County Recorder
Adel, IA
515.993.5804

Delaware County Recorder
Manchester, IA
319.927.4665

Des Moines County Rcdr.
Burlington, IA
319.753.8221

Dickenson County Recorder
Spirit Lake, IA
712.336.1495

Dubuque County Recorder
Debuque, IA
319.589.4434

Emmet County Recorder
Esterville, IA
712.362.4115

Fayette County Recorder
West Union, IA
319.422.3687

Floyd County Recorder
Charles City, IA
515.257.6154

Franklin County Recorder
Hampton, IA
515.456.5675

Fremont County Recorder
Sidney, IA
712.374.2315

Greene County Recorder
Jefferson, IA
515.386.3716

Grundy County Recorder
Grundy Center, IA
319.824.3234

Guthrie County Recorder
Guthrie Center, IA
515.747.3412

Hamilton County Recorder
Webster City, IA
515.832.9535

Hancock County Recorder
Garner, IA
515.923.2464

Hardin County Recorder
Eldora, IA
515.939.8178

Harrison County Recorder
Logan, IA
712.644.2545

Henry County Recorder
Mt. Pleasant, IA
319.385.0765

Humboldt County Recorder
Dakota City, IA
515.332.3693

Ida County Recorder
Ida Grove, IA
712.364.2220

Iowa County Recorder
Marengo, IA
319.642.3622

Jackson County Recorder
Maquoketa, IA
319.652.2504

Jasper County Recorder
Newton, IA
515.792.5442

Jefferson County Recorder
Fairfield, IA
515.472.4331

Kossuth County Recorder
Algona, IA
515.295.5660

Lee County Recorder
Fort Madison, IA
319.372.4662

Lee County Recorder
Keokuk, IA
319.524.1126

Linn County Recorder
Cedar Rapids, IA
319.398.3441

Louisa County Recorder
Wapello, IA
319.523.5361

Lucas County Recorder
Chariton, IA
515.774.2413

Lyon County Recorder
Rock Rapids, IA
712.472.2381

Madison County Recorder
Winterset, IA
515.462.3771

Mahaska County Recorder
Oskaloosa, IA
515.673.8187

Marion County Recorder
Knoxville, IA
515.828.2211

Marshall County Recorder
Marshalltown, IA
515.754.6355

Mills County Recorder
Glenwood, IA
712.527.9315

Mitchell County Recorder
Osage, IA
515.732.5861

Monona County Recorder
Onawa, IA
712.423.2575

Monroe County Recorder
Albia, IA
515.932.5164

Montgomery County Recorder
Red Oak, IA
712.623.4363

Muscatine County Recorder
Muscatine, IA
319.263.7741

Obrien County Recorder
Primghar, IA
712.757.3045

Osceola County Recorder
Sibley, IA
712.754.3345

Page County Recorder
Clarinda, IA
712.542.3130

Palo Alto County Recorder
Emmetsburg, IA
712.852.3701

Plymouth County Recorder
Le Mars, IA
712.546.4020

Polk County Recorder
Des Moines, IA
515.286.3160

Pottawattamie County Rcdr.
Council Bluffs, IA
712.328.5612

Poweshiek County Recorder
Montezuma, IA
515.623.5434

Sac County Recorder
Sac City, IA
712.662.7789

Shelby County Recorder
Harlan, IA
712.755.5640

Sioux County Recorder
Orange City, IA
712.737.2229

Story County Recorder
Nevada, IA
515.382.7230

Tama County Recorder
Toledo, IA
515.484.3320

Wapello County Recorder
Ottumwa, IA
515.683.0045

Warren County Recorder
Indianola, IA
515.961.1089

Washington County Recorder
Washington, IA
319.653.7727

Webster County Recorder
Fort Dodge, IA
515.576.2401

Winnebago County Recorder
Forest City, IA
515.582.2094

Winnesheik County Recorder
Decorah, IA
319.382.3486

Woodbury County Recorder
Sioux City, IA
712.279.6528

Worth County Recorder
Northwood, IA
515.324.2734

Wright County Recorder
Clarion, IA
515.532.3204

This is a very accurate list of Iowa’s county clerks offices. Some may have changed due to closings.

Yolanda is the owner of Yolandas Wedding Favors. She sells many different types of wedding favors such as, love glass coasters, two peas in a pod salt and pepper shakers and many many more. Yolandas Wedding Favors also carries many different wedding accessories and wedding gifts such as guest books, unity candles, ring pillows, bridesmaid gifts, groomsmen gifts and many many more.