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The Hero’s Journey

What is the Hero's Journey in Literature?

Crafting a heroic character is a crucial aspect of storytelling, and it involves much more than simply sketching out a brave and virtuous figure. The hero's journey definition is not the typical linear narrative but rather a cyclical pattern that encompasses the hero's transformation, trials, and ultimate return, reflecting the profound and timeless aspects of human experience. The writer's journey in this endeavor goes beyond the external actions of the hero and delves into the character's inner world. The hero arc is the heart of the narrative, depicting the character's evolution from an ordinary person to a true hero.

Narratology and Writing Instructions for Heroic Characters

Related to both plot diagram and types of literary conflict , the ”Hero’s Journey” structure is a recurring pattern of stages many heroes undergo over the course of their stories. Joseph Campbell, an American mythologist, writer, and lecturer, articulated this cycle after researching and reviewing numerous myths and stories from a variety of time periods and regions of the world. He found that different writers take us on different journeys, however, they all share fundamental principles. Through the hero's trials, growth, and ultimate triumph, the narrative comes full circle, embodying the timeless pattern of the hero cycle. Literature abounds with examples of the hero cycle, illustrating how this narrative structure transcends cultural boundaries and remains a fundamental element of storytelling. This hero cycle in literature is also known as the Monomyth, archetype . The most basic version of Joseph Campbell's Monomyth has 12 steps, while more detailed versions can have up to 17 steps. His type of hero's journey diagram provides a visual roadmap for understanding the various stages and archetypal elements that protagonists typically encounter in their transformative quests. The wheel to the right is an excellent visual to share with students of how these steps occur. Hero's journey diagram examples provide a visual roadmap for understanding the various stages and archetypal elements that protagonists typically encounter in their transformative quests. Exploring the monomyth steps outlined by Joseph Campbell, we can see how these universal narrative elements have shaped countless stories across cultures and time periods.

Which Story Structure is Right for You?

The choice of story structure depends on various factors, including the type of story you want to tell, your intended audience, and your personal creative style. Here are some popular story structures and when they might be suitable:

• The Hero's Journey: Use this structure when you want to tell a story of personal growth, transformation, and adventure. It works well for epic tales, fantasy, and science fiction, but it can be adapted to other genres as well.
• Three-Act Structure: This is a versatile structure suitable for a wide range of genres, from drama to comedy to action. It's ideal for stories that have a clear beginning, middle, and end, with well-defined turning points.
• Episodic or Serial Structure: If you're creating a long-running series or a story with multiple interconnected arcs, this structure is a good choice. It allows for flexibility in storytelling and can keep audiences engaged over the long term.
• Nonlinear Structure: Experiment with this structure if you want to challenge traditional narrative conventions. It's suitable for stories where timelines are fragmented, revealing information gradually to build intrigue and suspense.
• Circular or Cyclical Structure: This structure is great for stories with recurring themes or for tales that come full circle. It can be particularly effective in literary fiction and philosophical narratives.

Ultimately, the right story structure for you depends on your creative vision, the genre you're working in, and the narrative you want to convey. You may also choose to blend or adapt different structures to suit your story's unique needs. The key is to select a structure that serves your storytelling goals and engages your target audience effectively.

What is a Common Theme in the Hero's Journey?

A common theme in the hero's journey is the concept of personal transformation and growth. Throughout the hero's journey, the protagonist typically undergoes significant change, evolving from an ordinary or flawed individual into a more heroic, self-realized, or enlightened character. This theme of transformation is often accompanied by challenges, trials, and self-discovery, making it a central and universal element of hero's journey narratives.

Structure of the Monomyth: The Hero's Journey Summary

This summary of the different elements of the archetypal hero's journey outlines the main four parts along with the different stages within each part. This can be shared with students and used as a reference along with the hero's journey wheel to analyze literature.

Part One - Call to Adventure

During the exposition, the hero is in the ordinary world , usually the hero’s home or natural habitat. Conflict arises in their everyday life, which calls the hero to adventure , where they are beckoned to leave their familiar world in search of something. They may refuse the call at first, but eventually leave, knowing that something important hangs in the balance and refusal of the call is simply not an option.

Part Two - Supreme Ordeal or Initiation

Once the hero makes the decision to leave the normal world, venture into the unfamiliar world, and has officially begun their mysterious adventure, they will meet a mentor figure (a sidekick in some genres) and together these two will cross the first threshold . This is the point where turning back is not an option, and where the hero must encounter tests, allies and enemies . Obstacles like tests and enemies must be overcome to continue. Helpers aid the hero in their journey.

Part Three - Unification or Transformation

Having overcome initial obstacles, in this part of the heroic cycle, the hero and their allies reach the approach . Here they will prepare for the major challenge in this new or special world. During the approach, the hero undergoes an ordeal , testing them to point near death. Their greatest fear is sometimes exposed, and from the ordeal comes a new life or revival for the hero. This transformation is the final separation from their old life to their new life. For their efforts in overcoming the ordeal, the hero reaches the reward . The hero receives the reward for facing death. There may be a celebration, but there is also danger of losing the reward.

Part Four - Road Back or Hero's Return

Once the hero achieves their goal and the reward is won, the hero and companions start on the road back . The hero wants to complete the adventure and return to their ordinary world with their treasure. This stage is often referred to as either the resurrections or atonement . Hero's journey examples that showcase the atonement stage often highlight the protagonist's inner turmoil and the difficult decisions they must make to reconcile with their past and fully embrace their heroic destiny. The hero becomes "at one" with themselves. As the hero crosses the threshold (returning from the unknown to their ordinary world), the reader arrives at the climax of the story. Here, the hero is severely tested one last time. This test is an attempt to undo their previous achievements. At this point, the hero has come full circle, and the major conflict at the beginning of the journey is finally resolved. In the return home, the hero has now resumed life in his/her original world, and things are restored to ordinary.

Popular Hero's Journey Examples

Monomyth example: homer's odyssey.

Monomyth examples typically involve a hero who embarks on an adventure, faces trials and challenges, undergoes personal transformation, and returns home or to society with newfound wisdom or a significant achievement, making this storytelling structure a powerful and timeless tool for crafting compelling narratives.

The hero's journey chart below for Homer’s Odyssey uses the abridged ninth grade version of the epic. The Heroic Journey in the original story of the Odyssey is not linear, beginning in media res , Latin for “in the middle of things”.)

To Kill a Mockingbird Heroic Journey

Did you know that many popular movies have heroes that follow this type of journey? It is true! In the "Star Wars" movies, Hollywood film producer George Lucas creates a journey for Luke Skywalker and Princess Leia. In "The Lion King", Simba goes on quite the adventure that ends in a final battle with his uncle Scar, a major turning point in the film before the hero returns to save his land. In "The Wizard of Oz", Dorothy takes on the role of the epic hero as she teeters between the two worlds of Kansas and Oz. These are just a few of the many examples of Campbell's theory in the cinematic realm.

Classroom Applications and Uses

Example exercises.

Create your own hero's journey examples using the Storyboard That Creator! Customize the level of detail and number of cells required for projects based on available class time and resources.

• Students identify the stages of the heroic journey in a piece of literature by creating one cell depicting each of the twelve steps.
• Students create storyboards that show and explain each stage found in the work of literature, using specific quotes from the text which highlight each part of the journey.
• Students create an outline of their own original story that follows the monomyth stages.

Common Core

• ELA-Literacy.RL.9-10.3 : Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme
• ELA-Literacy.RL.9-10.7 : Analyze the representation of a subject or a key scene in two different artistic mediums, including what is emphasized or absent in each treatment (e.g., Auden’s “Musée des Beaux Arts” and Breughel’s Landscape with the Fall of Icarus)
• ELA-Literacy.W.9-10.6 : Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology’s capacity to link to other information and to display information flexibly and dynamically
• ELA-Literacy.SL.9-10.2 : Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source
• ELA-Literacy.RL.11-12.3 : Analyze the impact of the author’s choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed)
• ELA-Literacy.RL.11-12.7 : Analyze multiple interpretations of a story, drama, or poem (e.g., recorded or live production of a play or recorded novel or poetry), evaluating how each version interprets the source text. (Include at least one play by Shakespeare and one play by an American dramatist.)
• ELA-Literacy.W.11-12.6 : Use technology, including the Internet, to produce, publish, and update individual or shared writing products in response to ongoing feedback, including new arguments or information
• ELA-Literacy.SL.11-12.2 : Integrate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, orally) in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data

Related Resources

• Plot Diagram and Narrative Arc
• Types of Conflict In Literature
• What is an Archetype?
• The Odyssey Teacher Guide
• Types of Heroes in Literature

How Teachers Can Use The Concept of The Heroic Journey To Help Students Better Understand Character Development In Literature

Introduce the concept of the heroic journey.

Teachers can introduce the concept of the heroic journey to students and explain the different stages involved in the journey. This will provide a framework for students to better understand how characters develop throughout the story.

Analyze Characters Using the Heroic Journey

Teachers can guide students through the stages of the heroic journey and ask them to identify where the character is in the journey. This will help students to understand the character's development and how their actions and decisions are influenced by the different stages of the journey.

Compare and Contrast Character Journeys

Teachers can ask students to compare and contrast the journeys of different characters within a story or across multiple stories. This will help students to gain a deeper understanding of how the heroic journey is used to develop characters in literature and how it can be applied across different genres and cultures.

Discuss the Role of Character Motivation

Teachers can encourage students to think critically about the motivations of characters at each stage of the journey. This will help students to understand why characters make certain decisions and how their motivations contribute to their development.

Apply the Concept to Real-Life Situations

Teachers can encourage students to apply the concept of the heroic journey to real-life situations. This will help students to see how the journey applies not only to literature, but also to their own lives and experiences.

Frequently Asked Questions about the Hero's Journey

What is a "monomyth" or the "hero's journey" in literature.

In comparative mythology, the monomyth, or the hero's journey, is the series of stages that can be applied to a variety of stories from all genres. It involves a hero who is called to pursue an adventure, undergoes an ordeal, achieves their goal and returns home transformed.

What are the 12 Stages of the Hero's Journey in literature?

• Ordinary World
• Call to Adventure
• Meeting the Mentor / Helper
• Crossing the Threshold
• Test / Allies / Enemies

What is a common theme in the hero's journey?

The Hero's Journey usually follows the path of the main character from childhood or young adulthood through maturity. It is about the common human experiences of growth, challenges and change that are relatable to us all.

Why should students learn about the hero's journey?

The hero's journey is relevant for students in that it demonstrates the possibility of overcoming adversity and the potential for growth and change that is within us all. It is a common theme of literature and movies that once students understand, they will be able to identify over and over again. It is helpful for students to make the text-to-self connection and apply this thinking to their own life as a "growth mindset" . They can see that they are on their own hero's journey and that everyone has the ability to overcome obstacles to achieve their goals and affect positive change in their lives and the lives of others.

What are some of the best examples of the hero's journey?

The hero's journey stages appear in more books than students may realize! Here are just a few examples of popular books that contain the monomyth structure:

• The Graveyard Book
• The Hunger Games
• To Kill a Mockingbird
• The Odyssey
• The Lions of Little Rock
• Wednesday Wars
• One Crazy Summer
• Out of My Mind
• Brown Girl Dreaming
• The Lightning Thief
• The Miraculous Journey of Edward Tulane
• The Stars Beneath Our Feet
• Fish in a Tree

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Hero's Journey 101: How to Use the Hero's Journey to Plot Your Story

Dan Schriever

How many times have you heard this story? A protagonist is suddenly whisked away from their ordinary life and embarks on a grand adventure. Along the way they make new friends, confront perils, and face tests of character. In the end, evil is defeated, and the hero returns home a changed person.

That’s the Hero’s Journey in a nutshell. It probably sounds very familiar—and rightly so: the Hero’s Journey aspires to be the universal story, or monomyth, a narrative pattern deeply ingrained in literature and culture. Whether in books, movies, television, or folklore, chances are you’ve encountered many examples of the Hero’s Journey in the wild.

In this post, we’ll walk through the elements of the Hero’s Journey step by step. We’ll also study an archetypal example from the movie The Matrix (1999). Once you have mastered the beats of this narrative template, you’ll be ready to put your very own spin on it.

Sound good? Then let’s cross the threshold and let the journey begin.

What Is the Hero’s Journey?

The 12 stages of the hero’s journey, writing your own hero’s journey.

The Hero’s Journey is a common story structure for modeling both plot points and character development. A protagonist embarks on an adventure into the unknown. They learn lessons, overcome adversity, defeat evil, and return home transformed.

Joseph Campbell , a scholar of literature, popularized the monomyth in his influential work The Hero With a Thousand Faces (1949). Looking for common patterns in mythological narratives, Campbell described a character arc with 17 total stages, overlaid on a more traditional three-act structure. Not all need be present in every myth or in the same order.

The three stages, or acts, of Campbell’s Hero’s Journey are as follows:

1. Departure. The hero leaves the ordinary world behind.

2. Initiation. The hero ventures into the unknown ("the Special World") and overcomes various obstacles and challenges.

3. Return. The hero returns in triumph to the familiar world.

Hollywood has embraced Campbell’s structure, most famously in George Lucas’s Star Wars movies. There are countless examples in books, music, and video games, from fantasy epics and Disney films to sports movies.

In The Writer’s Journey: Mythic Structure for Writers (1992), screenwriter Christopher Vogler adapted Campbell’s three phases into the "12 Stages of the Hero’s Journey." This is the version we’ll analyze in the next section.

For writers, the purpose of the Hero’s Journey is to act as a template and guide. It’s not a rigid formula that your plot must follow beat by beat. Indeed, there are good reasons to deviate—not least of which is that this structure has become so ubiquitous.

Still, it’s helpful to master the rules before deciding when and how to break them. The 12 steps of the Hero's Journey are as follows :

• The Ordinary World
• The Call of Adventure
• Refusal of the Call
• Meeting the Mentor
• Crossing the First Threshold
• Tests, Allies, and Enemies
• Approach to the Inmost Cave
• Reward (Seizing the Sword)
• The Road Back
• Resurrection
• Return with the Elixir

Let’s take a look at each stage in more detail. To show you how the Hero’s Journey works in practice, we’ll also consider an example from the movie The Matrix (1999). After all, what blog has not been improved by a little Keanu Reeves?

#1: The Ordinary World

This is where we meet our hero, although the journey has not yet begun: first, we need to establish the status quo by showing the hero living their ordinary, mundane life.

It’s important to lay the groundwork in this opening stage, before the journey begins. It lets readers identify with the hero as just a regular person, “normal” like the rest of us. Yes, there may be a big problem somewhere out there, but the hero at this stage has very limited awareness of it.

The Ordinary World in The Matrix :

We are introduced to Thomas A. Anderson, aka Neo, programmer by day, hacker by night. While Neo runs a side operation selling illicit software, Thomas Anderson lives the most mundane life imaginable: he works at his cubicle, pays his taxes, and helps the landlady carry out her garbage.

#2: The Call to Adventure

The journey proper begins with a call to adventure—something that disrupts the hero’s ordinary life and confronts them with a problem or challenge they can’t ignore. This can take many different forms.

While readers may already understand the stakes, the hero is realizing them for the first time. They must make a choice: will they shrink from the call, or rise to the challenge?

The Call to Adventure in The Matrix :

A mysterious message arrives in Neo’s computer, warning him that things are not as they seem. He is urged to “follow the white rabbit.” At a nightclub, he meets Trinity, who tells him to seek Morpheus.

#3: Refusal of the Call

Oops! The hero chooses option A and attempts to refuse the call to adventure. This could be for any number of reasons: fear, disbelief, a sense of inadequacy, or plain unwillingness to make the sacrifices that are required.

A little reluctance here is understandable. If you were asked to trade the comforts of home for a life-and-death journey fraught with peril, wouldn’t you give pause?

Refusal of the Call in The Matrix :

Agents arrive at Neo’s office to arrest him. Morpheus urges Neo to escape by climbing out a skyscraper window. “I can’t do this… This is crazy!” Neo protests as he backs off the ledge.

#4: Meeting the Mentor

Okay, so the hero got cold feet. Nothing a little pep talk can’t fix! The mentor figure appears at this point to give the hero some much needed counsel, coaching, and perhaps a kick out the door.

After all, the hero is very inexperienced at this point. They’re going to need help to avoid disaster or, worse, death. The mentor’s role is to overcome the hero’s reluctance and prepare them for what lies ahead.

Meeting the Mentor in The Matrix :

Neo meets with Morpheus, who reveals a terrifying truth: that the ordinary world as we know it is a computer simulation designed to enslave humanity to machines.

#5: Crossing the First Threshold

At this juncture, the hero is ready to leave their ordinary world for the first time. With the mentor’s help, they are committed to the journey and ready to step across the threshold into the special world . This marks the end of the departure act and the beginning of the adventure in earnest.

This may seem inevitable, but for the hero it represents an important choice. Once the threshold is crossed, there’s no going back. Bilbo Baggins put it nicely: “It’s a dangerous business, Frodo, going out your door. You step onto the road, and if you don't keep your feet, there's no knowing where you might be swept off to.”

Crossing the First Threshold in The Matrix :

Neo is offered a stark choice: take the blue pill and return to his ordinary life none the wiser, or take the red pill and “see how deep the rabbit hole goes.” Neo takes the red pill and is extracted from the Matrix, entering the real world .

#6: Tests, Allies, and Enemies

Now we are getting into the meat of the adventure. The hero steps into the special world and must learn the new rules of an unfamiliar setting while navigating trials, tribulations, and tests of will. New characters are often introduced here, and the hero must navigate their relationships with them. Will they be friend, foe, or something in between?

Broadly speaking, this is a time of experimentation and growth. It is also one of the longest stages of the journey, as the hero learns the lay of the land and defines their relationship to other characters.

Wondering how to create captivating characters? Read our guide , which explains how to shape characters that readers will love—or hate.

Tests, Allies, and Enemies in The Matrix :

Neo is introduced to the vagabond crew of the Nebuchadnezzar . Morpheus informs Neo that he is The One , a savior destined to liberate humanity. He learns jiu jitsu and other useful skills.

#7: Approach to the Inmost Cave

Time to get a little metaphorical. The inmost cave isn’t a physical cave, but rather a place of great danger—indeed, the most dangerous place in the special world . It could be a villain’s lair, an impending battle, or even a mental barrier. No spelunking required.

Broadly speaking, the approach is marked by a setback in the quest. It becomes a lesson in persistence, where the hero must reckon with failure, change their mindset, or try new ideas.

Note that the hero hasn’t entered the cave just yet. This stage is about the approach itself, which the hero must navigate to get closer to their ultimate goal. The stakes are rising, and failure is no longer an option.

Approach to the Inmost Cave in The Matrix :

Neo pays a visit to The Oracle. She challenges Neo to “know thyself”—does he believe, deep down, that he is The One ? Or does he fear that he is “just another guy”? She warns him that the fate of humanity hangs in the balance.

#8: The Ordeal

The ordeal marks the hero’s greatest test thus far. This is a dark time for them: indeed, Campbell refers to it as the “belly of the whale.” The hero experiences a major hurdle or obstacle, which causes them to hit rock bottom.

This is a pivotal moment in the story, the main event of the second act. It is time for the hero to come face to face with their greatest fear. It will take all their skills to survive this life-or-death crisis. Should they succeed, they will emerge from the ordeal transformed.

Keep in mind: the story isn’t over yet! Rather, the ordeal is the moment when the protagonist overcomes their weaknesses and truly steps into the title of hero .

The Ordeal in The Matrix :

When Cipher betrays the crew to the agents, Morpheus sacrifices himself to protect Neo. In turn, Neo makes his own choice: to risk his life in a daring rescue attempt.

#9: Reward (Seizing the Sword)

The ordeal was a major level-up moment for the hero. Now that it's been overcome, the hero can reap the reward of success. This reward could be an object, a skill, or knowledge—whatever it is that the hero has been struggling toward. At last, the sword is within their grasp.

From this moment on, the hero is a changed person. They are now equipped for the final conflict, even if they don’t fully realize it yet.

Reward (Seizing the Sword) in The Matrix :

Neo’s reward is helpfully narrated by Morpheus during the rescue effort: “He is beginning to believe.” Neo has gained confidence that he can fight the machines, and he won’t back down from his destiny.

#10: The Road Back

We’re now at the beginning of act three, the return . With the reward in hand, it’s time to exit the inmost cave and head home. But the story isn’t over yet.

In this stage, the hero reckons with the consequences of act two. The ordeal was a success, but things have changed now. Perhaps the dragon, robbed of his treasure, sets off for revenge. Perhaps there are more enemies to fight. Whatever the obstacle, the hero must face them before their journey is complete.

The Road Back in The Matrix :

The rescue of Morpheus has enraged Agent Smith, who intercepts Neo before he can return to the Nebuchadnezzar . The two foes battle in a subway station, where Neo’s skills are pushed to their limit.

#11: Resurrection

Now comes the true climax of the story. This is the hero’s final test, when everything is at stake: the battle for the soul of Gotham, the final chance for evil to triumph. The hero is also at the peak of their powers. A happy ending is within sight, should they succeed.

Vogler calls the resurrection stage the hero’s “final exam.” They must draw on everything they have learned and prove again that they have really internalized the lessons of the ordeal . Near-death escapes are not uncommon here, or even literal deaths and resurrections.

Resurrection in The Matrix :

Despite fighting valiantly, Neo is defeated by Agent Smith and killed. But with Trinity’s help, he is resurrected, activating his full powers as The One . Isn’t it wonderful how literal The Matrix can be?

#12: Return with the Elixir

Hooray! Evil has been defeated and the hero is transformed. It’s time for the protagonist to return home in triumph, and share their hard-won prize with the ordinary world . This prize is the elixir —the object, skill, or insight that was the hero’s true reward for their journey and transformation.

Return with the Elixir in The Matrix :

Neo has defeated the agents and embraced his destiny. He returns to the simulated world of the Matrix, this time armed with god-like powers and a resolve to open humanity’s eyes to the truth.

If you’re writing your own adventure, you may be wondering: should I follow the Hero’s Journey structure?

The good news is, it’s totally up to you. Joseph Campbell conceived of the monomyth as a way to understand universal story structure, but there are many ways to outline a novel. Feel free to play around within its confines, adapt it across different media, and disrupt reader expectations. It’s like Morpheus says: “Some of these rules can be bent. Others can be broken.”

Think of the Hero’s Journey as a tool. If you’re not sure where your story should go next, it can help to refer back to the basics. From there, you’re free to choose your own adventure.

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Last updated on Aug 10, 2023

The Hero's Journey: 12 Steps to a Classic Story Structure

The Hero's Journey is a timeless story structure which follows a protagonist on an unforeseen quest, where they face challenges, gain insights, and return home transformed. From Theseus and the Minotaur to The Lion King , so many narratives follow this pattern that it’s become ingrained into our cultural DNA. 

In this post, we'll show you how to make this classic plot structure work for you — and if you’re pressed for time, download our cheat sheet below for everything you need to know.

FREE RESOURCE

Hero's Journey Template

Plot your character's journey with our step-by-step template.

What is the Hero’s Journey?

The Hero's Journey, also known as the monomyth, is a story structure where a hero goes on a quest or adventure to achieve a goal, and has to overcome obstacles and fears, before ultimately returning home transformed.

This narrative arc has been present in various forms across cultures for centuries, if not longer, but gained popularity through Joseph Campbell's mythology book, The Hero with a Thousand Faces . While Campbell identified 17 story beats in his monomyth definition, this post will concentrate on a 12-step framework popularized in 2007 by screenwriter Christopher Vogler in his book The Writer’s Journey .

The 12 Steps of the Hero’s Journey

The Hero's Journey is a model for both plot points and character development : as the Hero traverses the world, they'll undergo inner and outer transformation at each stage of the journey. The 12 steps of the hero's journey are: 

• The Ordinary World. We meet our hero.
• Call to Adventure. Will they meet the challenge?
• Refusal of the Call. They resist the adventure.
• Meeting the Mentor. A teacher arrives.
• Crossing the First Threshold. The hero leaves their comfort zone.
• Tests, Allies, Enemies. Making friends and facing roadblocks.
• Approach to the Inmost Cave. Getting closer to our goal.
• Ordeal. The hero’s biggest test yet!
• Reward (Seizing the Sword). Light at the end of the tunnel
• The Road Back. We aren’t safe yet.
• Resurrection. The final hurdle is reached.
• Return with the Elixir. The hero heads home, triumphant.

Believe it or not, this story structure also applies across mediums and genres (and also works when your protagonist is an anti-hero! ). Let's dive into it.

1. Ordinary World

In which we meet our Hero.

The journey has yet to start. Before our Hero discovers a strange new world, we must first understand the status quo: their ordinary, mundane reality.

It’s up to this opening leg to set the stage, introducing the Hero to readers. Importantly, it lets readers identify with the Hero as a “normal” person in a “normal” setting, before the journey begins.

2. Call to Adventure

In which an adventure starts.

The call to adventure is all about booting the Hero out of their comfort zone. In this stage, they are generally confronted with a problem or challenge they can't ignore. This catalyst can take many forms, as Campbell points out in Hero with a Thousand Faces . The Hero can, for instance:

• Decide to go forth of their own volition;
• Theseus upon arriving in Athens.
• Be sent abroad by a benign or malignant agent;
• Odysseus setting off on his ship in The Odyssey .
• Stumble upon the adventure as a result of a mere blunder;
• Dorothy when she’s swept up in a tornado in The Wizard of Oz .
• Be casually strolling when some passing phenomenon catches the wandering eye and lures one away from the frequented paths of man.
• Elliot in E.T. upon discovering a lost alien in the tool shed.

The stakes of the adventure and the Hero's goals become clear. The only question: will he rise to the challenge?

3. Refusal of the Call

In which the Hero digs in their feet.

Great, so the Hero’s received their summons. Now they’re all set to be whisked off to defeat evil, right?

Not so fast. The Hero might first refuse the call to action. It’s risky and there are perils — like spiders, trolls, or perhaps a creepy uncle waiting back at Pride Rock . It’s enough to give anyone pause.

In Star Wars , for instance, Luke Skywalker initially refuses to join Obi-Wan on his mission to rescue the princess. It’s only when he discovers that his aunt and uncle have been killed by stormtroopers that he changes his mind.

4. Meeting the Mentor

In which the Hero acquires a personal trainer.

The Hero's decided to go on the adventure — but they’re not ready to spread their wings yet. They're much too inexperienced at this point and we don't want them to do a fabulous belly-flop off the cliff.

Enter the mentor: someone who helps the Hero, so that they don't make a total fool of themselves (or get themselves killed). The mentor provides practical training, profound wisdom, a kick up the posterior, or something abstract like grit and self-confidence.

Wise old wizards seem to like being mentors. But mentors take many forms, from witches to hermits and suburban karate instructors. They might literally give weapons to prepare for the trials ahead, like Q in the James Bond series. Or perhaps the mentor is an object, such as a map. In all cases, they prepare the Hero for the next step.

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5. Crossing the First Threshold

In which the Hero enters the other world in earnest.

Now the Hero is ready — and committed — to the journey. This marks the end of the Departure stage and is when the adventure really kicks into the next gear. As Vogler writes: “This is the moment that the balloon goes up, the ship sails, the romance begins, the wagon gets rolling.”

From this point on, there’s no turning back.

Like our Hero, you should think of this stage as a checkpoint for your story. Pause and re-assess your bearings before you continue into unfamiliar territory. Have you:

• Launched the central conflict? If not, here’s a post on types of conflict to help you out.
• Established the theme of your book? If not, check out this post that’s all about creating theme and motifs .
• Made headway into your character development? If not, this character profile template may be useful:

Reedsy’s Character Profile Template

A story is only as strong as its characters. Fill this out to develop yours.

6. Tests, Allies, Enemies

In which the Hero faces new challenges and gets a squad.

When we step into the Special World, we notice a definite shift. The Hero might be discombobulated by this unfamiliar reality and its new rules. This is generally one of the longest stages in the story , as our protagonist gets to grips with this new world.

This makes a prime hunting ground for the series of tests to pass! Luckily, there are many ways for the Hero to get into trouble:

• In Jumanji: Welcome to the Jungle , Spencer, Bethany, “Fridge,” and Martha get off to a bad start when they bump into a herd of bloodthirsty hippos.
• In his first few months at Hogwarts, Harry Potter manages to fight a troll, almost fall from a broomstick and die, and get horribly lost in the Forbidden Forest.
• Marlin and Dory encounter three “reformed” sharks, get shocked by jellyfish, and are swallowed by a blue whale en route to finding Nemo.

This stage often expands the cast of characters. Once the protagonist is in the Special World, he will meet allies and enemies — or foes that turn out to be friends and vice versa. He will learn a new set of rules from them. Saloons and seedy bars are popular places for these transactions, as Vogler points out (so long as the Hero survives them).

7. Approach to the Inmost Cave

In which the Hero gets closer to his goal.

This isn’t a physical cave. Instead, the “inmost cave” refers to the most dangerous spot in the other realm — whether that’s the villain’s chambers, the lair of the fearsome dragon, or the Death Star. Almost always, it is where the ultimate goal of the quest is located.

Note that the protagonist hasn’t entered the Inmost Cave just yet. This stage is all about the approach to it. It covers all the prep work that's needed in order to defeat the villain.

In which the Hero faces his biggest test of all thus far.

Of all the tests the Hero has faced, none have made them hit rock bottom — until now. Vogler describes this phase as a “black moment.” Campbell refers to it as the “belly of the whale.” Both indicate some grim news for the Hero.

The protagonist must now confront their greatest fear. If they survive it, they will emerge transformed. This is a critical moment in the story, as Vogler explains that it will “inform every decision that the Hero makes from this point forward.”

The Ordeal is sometimes not the climax of the story. There’s more to come. But you can think of it as the main event of the second act — the one in which the Hero actually earns the title of “Hero.”

9. Reward (Seizing the Sword)

In which the Hero sees light at the end of the tunnel.

Our Hero’s been through a lot. However, the fruits of their labor are now at hand — if they can just reach out and grab them! The “reward” is the object or knowledge the Hero has fought throughout the entire journey to hold.

Once the protagonist has it in their possession, it generally has greater ramifications for the story. Vogler offers a few examples of it in action:

• Luke rescues Princess Leia and captures the plans of the Death Star — keys to defeating Darth Vader.
• Dorothy escapes from the Wicked Witch’s castle with the broomstick and the ruby slippers — keys to getting back home.

10. The Road Back

In which the light at the end of the tunnel might be a little further than the Hero thought.

The story's not over just yet, as this phase marks the beginning of Act Three. Now that he's seized the reward, the Hero tries to return to the Ordinary World, but more dangers (inconveniently) arise on the road back from the Inmost Cave.

More precisely, the Hero must deal with the consequences and aftermath of the previous act: the dragon, enraged by the Hero who’s just stolen a treasure from under his nose, starts the hunt. Or perhaps the opposing army gathers to pursue the Hero across a crowded battlefield. All further obstacles for the Hero, who must face them down before they can return home.

11. Resurrection

In which the last test is met.

Here is the true climax of the story. Everything that happened prior to this stage culminates in a crowning test for the Hero, as the Dark Side gets one last chance to triumph over the Hero.

Vogler refers to this as a “final exam” for the Hero — they must be “tested once more to see if they have really learned the lessons of the Ordeal.” It’s in this Final Battle that the protagonist goes through one more “resurrection.” As a result, this is where you’ll get most of your miraculous near-death escapes, à la James Bond's dashing deliverances. If the Hero survives, they can start looking forward to a sweet ending.

12. Return with the Elixir

In which our Hero has a triumphant homecoming.

Finally, the Hero gets to return home. However, they go back a different person than when they started out: they’ve grown and matured as a result of the journey they’ve taken.

But we’ve got to see them bring home the bacon, right? That’s why the protagonist must return with the “Elixir,” or the prize won during the journey, whether that’s an object or knowledge and insight gained.

Of course, it’s possible for a story to end on an Elixir-less note — but then the Hero would be doomed to repeat the entire adventure.

Examples of The Hero’s Journey in Action

To better understand this story template beyond the typical sword-and-sorcery genre, let's analyze three examples, from both screenplay and literature, and examine how they implement each of the twelve steps. 

The 1976 film Rocky is acclaimed as one of the most iconic sports films because of Stallone’s performance and the heroic journey his character embarks on.

• Ordinary World. Rocky Balboa is a mediocre boxer and loan collector — just doing his best to live day-to-day in a poor part of Philadelphia.
• Call to Adventure. Heavyweight champ Apollo Creed decides to make a big fight interesting by giving a no-name loser a chance to challenge him. That loser: Rocky Balboa.
• Refusal of the Call. Rocky says, “Thanks, but no thanks,” given that he has no trainer and is incredibly out of shape.
• Meeting the Mentor. In steps former boxer Mickey “Mighty Mick” Goldmill, who sees potential in Rocky and starts training him physically and mentally for the fight.
• Crossing the First Threshold. Rocky crosses the threshold of no return when he accepts the fight on live TV, and 一 in parallel 一 when he crosses the threshold into his love interest Adrian’s house and asks her out on a date.
• Tests, Allies, Enemies. Rocky continues to try and win Adrian over and maintains a dubious friendship with her brother, Paulie, who provides him with raw meat to train with.
• Approach to the Inmost Cave. The Inmost Cave in Rocky is Rocky’s own mind. He fears that he’ll never amount to anything — something that he reveals when he butts heads with his trainer, Mickey, in his apartment.
• Ordeal. The start of the training montage marks the beginning of Rocky’s Ordeal. He pushes through it until he glimpses hope ahead while running up the museum steps.
• Reward (Seizing the Sword). Rocky's reward is the restoration of his self-belief, as he recognizes he can try to “go the distance” with Apollo Creed and prove he's more than "just another bum from the neighborhood."
• The Road Back. On New Year's Day, the fight takes place. Rocky capitalizes on Creed's overconfidence to start strong, yet Apollo makes a comeback, resulting in a balanced match.
• Resurrection. The fight inflicts multiple injuries and pushes both men to the brink of exhaustion, with Rocky being knocked down numerous times. But he consistently rises to his feet, enduring through 15 grueling rounds.
• Return with the Elixir. Rocky loses the fight — but it doesn’t matter. He’s won back his confidence and he’s got Adrian, who tells him that she loves him.

Moving outside of the ring, let’s see how this story structure holds on a completely different planet and with a character in complete isolation. 

The Martian 

In Andy Weir’s self-published bestseller (better known for its big screen adaptation) we follow astronaut Mark Watney as he endures the challenges of surviving on Mars and working out a way to get back home.

• The Ordinary World. Botanist Mark and other astronauts are on a mission on Mars to study the planet and gather samples. They live harmoniously in a structure known as "the Hab.”
• Call to Adventure. The mission is scrapped due to a violent dust storm. As they rush to launch, Mark is flung out of sight and the team believes him to be dead. He is, however, very much alive — stranded on Mars with no way of communicating with anyone back home.
• Refusal of the Call. With limited supplies and grim odds of survival, Mark concludes that he will likely perish on the desolate planet.
• Meeting the Mentor. Thanks to his resourcefulness and scientific knowledge he starts to figure out how to survive until the next Mars mission arrives.
• Crossing the First Threshold. Mark crosses the mental threshold of even trying to survive 一 he successfully creates a greenhouse to cultivate a potato crop, creating a food supply that will last long enough.
• Tests, Allies, Enemies. Loneliness and other difficulties test his spirit, pushing him to establish contact with Earth and the people at NASA, who devise a plan to help.  
• Approach to the Inmost Cave. Mark faces starvation once again after an explosion destroys his potato crop.
• Ordeal. A NASA rocket destined to deliver supplies to Mark disintegrates after liftoff and all hope seems lost.
• Reward (Seizing the Sword). Mark’s efforts to survive are rewarded with a new possibility to leave the planet. His team 一 now aware that he’s alive 一 defies orders from NASA and heads back to Mars to rescue their comrade.
• The Road Back. Executing the new plan is immensely difficult 一 Mark has to travel far to locate the spaceship for his escape, and almost dies along the way.
• Resurrection. Mark is unable to get close enough to his teammates' ship but finds a way to propel himself in empty space towards them, and gets aboard safely.
• Return with the Elixir. Now a survival instructor for aspiring astronauts, Mark teaches students that space is indifferent and that survival hinges on solving one problem after another, as well as the importance of other people’s help.

Coming back to Earth, let’s now examine a heroine’s journey through the wilderness of the Pacific Crest Trail and her… humanity. 

The memoir Wild narrates the three-month-long hiking adventure of Cheryl Strayed across the Pacific coast, as she grapples with her turbulent past and rediscovers her inner strength.

• The Ordinary World. Cheryl shares her strong bond with her mother who was her strength during a tough childhood with an abusive father.
• Call to Adventure. As her mother succumbs to lung cancer, Cheryl faces the heart-wrenching reality to confront life's challenges on her own.
• Refusal of the Call. Cheryl spirals down into a destructive path of substance abuse and infidelity, which leads to hit rock bottom with a divorce and unwanted pregnancy. 
• Meeting the Mentor. Her best friend Lisa supports her during her darkest time. One day she notices the Pacific Trail guidebook, which gives her hope to find her way back to her inner strength.
• Crossing the First Threshold. She quits her job, sells her belongings, and visits her mother’s grave before traveling to Mojave, where the trek begins.
• Tests, Allies, Enemies. Cheryl is tested by her heavy bag, blisters, rattlesnakes, and exhaustion, but many strangers help her along the trail with a warm meal or hiking tips. 
• Approach to the Inmost Cave. As Cheryl goes through particularly tough and snowy parts of the trail her emotional baggage starts to catch up with her.  
• Ordeal. She inadvertently drops one of her shoes off a cliff, and the incident unearths the helplessness she's been evading since her mother's passing.
• Reward (Seizing the Sword). Cheryl soldiers on, trekking an impressive 50 miles in duct-taped sandals before finally securing a new pair of shoes. This small victory amplifies her self-confidence.
• The Road Back. On the last stretch, she battles thirst, sketchy hunters, and a storm, but more importantly, she revisits her most poignant and painful memories.
• Resurrection. Cheryl forgives herself for damaging her marriage and her sense of worth, owning up to her mistakes. A pivotal moment happens at Crater Lake, where she lets go of her frustration at her mother for passing away.
• Return with the Elixir. Cheryl reaches the Bridge of the Gods and completes the trail. She has found her inner strength and determination for life's next steps.

There are countless other stories that could align with this template, but it's not always the perfect fit. So, let's look into when authors should consider it or not.

When should writers use The Hero’s Journey?

The Hero’s Journey is just one way to outline a novel and dissect a plot. For more longstanding theories on the topic, you can go this way to read about the ever-popular Three-Act Structure or here to discover Dan Harmon's Story Circle and three more prevalent structures .

So when is it best to use the Hero’s Journey? There are a couple of circumstances which might make this a good choice.

When you need more specific story guidance than simple structures can offer

Simply put, the Hero’s Journey structure is far more detailed and closely defined than other story structure theories. If you want a fairly specific framework for your work than a thee-act structure, the Hero’s Journey can be a great place to start.

Of course, rules are made to be broken . There’s plenty of room to play within the confines of the Hero’s Journey, despite it appearing fairly prescriptive at first glance. Do you want to experiment with an abbreviated “Resurrection” stage, as J.K. Rowling did in Harry Potter and the Sorcerer’s Stone? Are you more interested in exploring the journey of an anti-hero? It’s all possible.

Once you understand the basics of this universal story structure, you can use and bend it in ways that disrupt reader expectations.

Need more help developing your book? Try this template on for size:

Get our Book Development Template

Use this template to go from a vague idea to a solid plan for a first draft.

When your focus is on a single protagonist

No matter how sprawling or epic the world you’re writing is, if your story is, at its core, focused on a single character’s journey, then this is a good story structure for you. It’s kind of in the name! If you’re dealing with an entire ensemble, the Hero’s Journey may not give you the scope to explore all of your characters’ plots and subplot — a broader three-act structure may give you more freedom to weave a greater number story threads. ​​

Which story structure is right for you?

Take this quiz and we'll match your story to a structure in minutes!

Whether you're a reader or writer, we hope our guide has helped you understand this universal story arc. Want to know more about story structure? We explain 6 more in our guide — read on!

6 responses

PJ Reece says:

25/07/2018 – 19:41

Nice vid, good intro to story structure. Typically, though, the 'hero's journey' misses the all-important point of the Act II crisis. There, where the hero faces his/her/its existential crisis, they must DIE. The old character is largely destroyed -- which is the absolute pre-condition to 'waking up' to what must be done. It's not more clever thinking; it's not thinking at all. Its SEEING. So many writing texts miss this point. It's tantamount to a religions experience, and nobody grows up without it. STORY STRUCTURE TO DIE FOR examines this dramatic necessity.

↪️ C.T. Cheek replied:

13/11/2019 – 21:01

Okay, but wouldn't the Act II crisis find itself in the Ordeal? The Hero is tested and arguably looses his/her/its past-self for the new one. Typically, the Hero is not fully "reborn" until the Resurrection, in which they defeat the hypothetical dragon and overcome the conflict of the story. It's kind of this process of rebirth beginning in the earlier sections of the Hero's Journey and ending in the Resurrection and affirmed in the Return with the Elixir.

Lexi Mize says:

25/07/2018 – 22:33

Great article. Odd how one can take nearly every story and somewhat plug it into such a pattern.

Bailey Koch says:

11/06/2019 – 02:16

This was totally lit fam!!!!

↪️ Bailey Koch replied:

11/09/2019 – 03:46

where is my dad?

Frank says:

12/04/2020 – 12:40

Great article, thanks! :) But Vogler didn't expand Campbell's theory. Campbell had seventeen stages, not twelve.

Comments are currently closed.

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• Story Writing Guides

12 Hero’s Journey Stages Explained (+ Free Templates)

From zero to hero, the hero’s journey is a popular character development arc used in many stories. In today’s post, we will explain the 12 hero’s journey stages, along with the simple example of Cinderella.

The Hero’s Journey was originally formulated by American writer Joseph Campbell to describe the typical character arc of many classic stories, particularly in the context of mythology and folklore. The original hero’s journey contained 17 steps. Although the hero’s journey has been adapted since then for use in modern fiction, the concept is not limited to literature. It can be applied to any story, video game, film or even music that features an archetypal hero who undergoes a transformation. Common examples of the hero’s journey in popular works include Star Wars, Lord of the Rings, The Hunger Games and Harry Potter and the Philosopher’s Stone.

• What is the hero's journey?

Stage 1: The Ordinary World

Stage 2: call of adventure, stage 3: refusal of the call, stage 4: meeting the mentor, stage 5: crossing the threshold, stage 6: tests, allies, enemies, stage 7: the approach, stage 8: the ordeal, stage 9: reward, stage 10: the road back, stage 11: resurrection, stage 12: return with the elixir, cinderella example, campbell’s 17-step journey, leeming’s 8-step journey, cousineau’s 8-step journey.

• Free Hero's Journey Templates

What is the hero’s journey?

The hero’s journey, also known as the monomyth, is a character arc used in many stories. The idea behind it is that heroes undergo a journey that leads them to find their true selves. This is often represented in a series of stages. There are typically 12 stages to the hero’s journey. Each stage represents a change in the hero’s mindset or attitude, which is triggered by an external or internal event. These events cause the hero to overcome a challenge, reach a threshold, and then return to a normal life.

The hero’s journey is a powerful tool for understanding your characters. It can help you decide who they are, what they want, where they came from, and how they will change over time. It can be used to

• Understand the challenges your characters will face
• Understand how your characters react to those challenges
• Help develop your characters’ traits and relationships

In this post, we will explain each stage of the hero’s journey, using the example of Cinderella.

You might also be interested in our post on the story mountain or this guide on how to outline a book .

12 Hero’s Journey Stages

The archetypal hero’s journey contains 12 stages and was created by Christopher Vogler. These steps take your main character through an epic struggle that leads to their ultimate triumph or demise. While these steps may seem formulaic at first glance, they actually form a very flexible structure. The hero’s journey is about transformation, not perfection.

Your hero starts out in the ordinary world. He or she is just like every other person in their environment, doing things that are normal for them and experiencing the same struggles and challenges as everyone else. In the ordinary world, the hero feels stuck and confused, so he or she goes on a quest to find a way out of this predicament.

Example: Cinderella’s father passes away and she is now stuck doing chores and taking abuse from her stepsisters and stepmother.

The hero gets his or her first taste of adventure when the call comes. This could be in the form of an encounter with a stranger or someone they know who encourages them to take a leap of faith. This encounter is typically an accident, a series of coincidences that put the hero in the right place at the right time.

Example: An invite arrives inviting the family to a royal ball where the Prince will choose a wife.

Some people will refuse to leave their safe surroundings and live by their own rules. The hero has to overcome the negative influences in order to hear the call again. They also have to deal with any personal doubts that arise from thinking too much about the potential dangers involved in the quest. It is common for the hero to deny their own abilities in this stage and to lack confidence in themselves.

Example: Cinderella accepts the call by making her own dress for the ball. However, her stepmother refuses the call for her by not letting her go to the ball. And her step-sisters ruin her dress, so she can not go.

After hearing the call, the hero begins a relationship with a mentor who helps them learn about themselves and the world. In some cases, the mentor may be someone the hero already knows. The mentor is usually someone who is well-versed in the knowledge that the hero needs to acquire, but who does not judge the hero for their lack of experience.

Example: Cinderella meets her fairy godmother who equips her with everything she needs for the ball, including a dress and a carriage.

The hero leaves their old life behind and enters the unfamiliar new world. The crossing of the threshold symbolises leaving their old self behind and becoming a new person. Sometimes this can include learning a new skill or changing their physical appearance. It can also include a time of wandering, which is an essential part of the hero’s journey.

Example: Cinderella hops into the carriage and heads off to the ball. She has transformed from a servant into an elegant young lady. 

As the hero goes on this journey, they will meet both allies (people who help the hero) and enemies (people who try to stop the hero). There will also be tests, where the hero is tempted to quit, turn back, or become discouraged. The hero must be persistent and resilient to overcome challenges.

Example: At the ball, Cinderella meets the prince, and even see’s her stepmother and stepsister. She dances with Prince all night long making her step-sisters extremely jealous.

The hero now reaches the destination of their journey, in some cases, this is a literal location, such as a cave or castle. It could also be metaphorical, such as the hero having an internal conflict or having to make a difficult decision. In either case, the hero has to confront their deepest fears in this stage with bravery. In some ways, this stage can mark the end of the hero’s journey because the hero must now face their darkest fears and bring them under control. If they do not do this, the hero could be defeated in the final battle and will fail the story.

Example: Cinderella is having a great time at the ball and nearly forgets about the midnight rule. As she runs away in a hurry, her glass slipper falls off outside the palace.

The hero has made it to the final challenge of their journey and now must face all odds and defeat their greatest adversary. Consider this the climax of the story. This could be in the form of a physical battle, a moral dilemma or even an emotional challenge. The hero will look to their allies or mentor for further support and guidance in this ordeal. Whatever happens in this stage could change the rest of the story, either for good or bad. 

Example: Prince Charming looks all over the kingdom for the mysterious girl he met at the ball. He finally visits Cinderella’s house and tries the slippers on the step-sisters. The prince is about to leave and then he sees Cinderella in the corner cleaning.

When the hero has defeated the most powerful and dangerous of adversaries, they will receive their reward. This reward could be an object, a new relationship or even a new piece of knowledge. The reward, which typically comes as a result of the hero’s perseverance and hard work, signifies the end of their journey. Given that the hero has accomplished their goal and served their purpose, it is a time of great success and accomplishment.

Example: The prince tries the glass slipper on Cinderella. The glass slipper fits Cinderella perfectly, and they fall in love.

The journey is now complete, and the hero is now heading back home. As the hero considers their journey and reflects on the lessons they learned along the way, the road back is sometimes marked by a sense of nostalgia or even regret. As they must find their way back to the normal world and reintegrate into their former life, the hero may encounter additional difficulties or tests along the way. It is common for the hero to run into previous adversaries or challenges they believed they had overcome.

Example: Cinderella and Prince Charming head back to the Prince’s castle to get married.

The hero has one final battle to face. At this stage, the hero might have to fight to the death against a much more powerful foe. The hero might even be confronted with their own mortality or their greatest fear. This is usually when the hero’s true personality emerges. This stage is normally symbolised by the hero rising from the dark place and fighting back. This dark place could again be a physical location, such as the underground or a dark cave. It might even be a dark, mental state, such as depression. As the hero rises again, they might change physically or even experience an emotional transformation. 

Example: Cinderella is reborn as a princess. She once again feels the love and happiness that she felt when she was a little girl living with her father.

At the end of the story, the hero returns to the ordinary world and shares the knowledge gained in their journey with their fellow man. This can be done by imparting some form of wisdom, an object of great value or by bringing about a social revolution. In all cases, the hero returns changed and often wiser.

Example: Cinderella and Prince Charming live happily ever after. She uses her new role to punish her stepmother and stepsisters and to revitalise the kingdom.

We have used the example of Cinderella in Vogler’s hero’s journey model below:

Below we have briefly explained the other variations of the hero’s journey arc.

The very first hero’s journey arc was created by Joseph Campbell in 1949. It contained the following 17 steps:

• The Call to Adventure: The hero receives a call or a reason to go on a journey.
• Refusal of the Call: The hero does not accept the quest. They worry about their own abilities or fear the journey itself.
• Supernatural Aid: Someone (the mentor) comes to help the hero and they have supernatural powers, which are usually magical.
• The Crossing of the First Threshold: A symbolic boundary is crossed by the hero, often after a test. 
• Belly of the Whale: The point where the hero has the most difficulty making it through.
• The Road of Trials: In this step, the hero will be tempted and tested by the outside world, with a number of negative experiences.
• The Meeting with the Goddess: The hero meets someone who can give them the knowledge, power or even items for the journey ahead.
• Woman as the Temptress: The hero is tempted to go back home or return to their old ways.
• Atonement with the Father: The hero has to make amends for any wrongdoings they may have done in the past. They need to confront whatever holds them back.
• Apotheosis: The hero gains some powerful knowledge or grows to a higher level. 
• The Ultimate Boon: The ultimate boon is the reward for completing all the trials of the quest. The hero achieves their ultimate goal and feels powerful.
• Refusal of the Return: After collecting their reward, the hero refuses to return to normal life. They want to continue living like gods. 
• The Magic Flight: The hero escapes with the reward in hand.
• Rescue from Without: The hero has been hurt and needs help from their allies or guides.
• The Crossing of the Return Threshold: The hero must come back and learn to integrate with the ordinary world once again.
• Master of the Two Worlds: The hero shares their wisdom or gifts with the ordinary world. Learning to live in both worlds.
• Freedom to Live: The hero accepts the new version of themselves and lives happily without fear.

David Adams Leeming later adapted the hero’s journey based on his research of legendary heroes found in mythology. He noted the following steps as a pattern that all heroes in stories follow:

• Miraculous conception and birth: This is the first trauma that the hero has to deal with. The Hero is often an orphan or abandoned child and therefore faces many hardships early on in life. 
• Initiation of the hero-child: The child faces their first major challenge. At this point, the challenge is normally won with assistance from someone else.
• Withdrawal from family or community: The hero runs away and is tempted by negative forces.
• Trial and quest: A quest finds the hero giving them an opportunity to prove themselves.
• Death: The hero fails and is left near death or actually does die.
• Descent into the underworld: The hero rises again from death or their near-death experience.
• Resurrection and rebirth: The hero learns from the errors of their way and is reborn into a better, wiser being.
• Ascension, apotheosis, and atonement: The hero gains some powerful knowledge or grows to a higher level (sometimes a god-like level). 

In 1990, Phil Cousineau further adapted the hero’s journey by simplifying the steps from Campbell’s model and rearranging them slightly to suit his own findings of heroes in literature. Again Cousineau’s hero’s journey included 8 steps:

• The call to adventure: The hero must have a reason to go on an adventure.
• The road of trials: The hero undergoes a number of tests that help them to transform.
• The vision quest: Through the quest, the hero learns the errors of their ways and has a realisation of something.
• The meeting with the goddess: To help the hero someone helps them by giving them some knowledge, power or even items for the journey ahead.
• The boon: This is the reward for completing the journey.
• The magic flight: The hero must escape, as the reward is attached to something terrible.
• The return threshold: The hero must learn to live back in the ordinary world.
• The master of two worlds: The hero shares their knowledge with the ordinary world and learns to live in both worlds.

As you can see, every version of the hero’s journey is about the main character showing great levels of transformation. Their journey may start and end at the same location, but they have personally evolved as a character in your story. Once a weakling, they now possess the knowledge and skill set to protect their world if needed.

Free Hero’s Journey Templates

Use the free Hero’s journey templates below to practice the skills you learned in this guide! You can either draw or write notes in each of the scene boxes. Once the template is complete, you will have a better idea of how your main character or the hero of your story develops over time:

The storyboard template below is a great way to develop your main character and organise your story:

Did you find this guide on the hero’s journey stages useful? Let us know in the comments below.

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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The Hero’s Journey Ultimate Writing Guide with Examples

by Alex Cabal

What do Star Wars , The Hobbit , and Harry Potter have in common? They’re all examples of a story archetype as old as time. You’ll see this universal narrative structure in books, films, and even video games.

This ultimate Hero’s Journey writing guide will define and explore all quintessential elements of the Hero’s Journey—character archetypes, themes, symbolism, the three act structure, as well as 12 stages of the Hero’s Journey. We’ll even provide a downloadable plot template, tips for writing the Hero’s Journey, and writing prompts to get the creative juices flowing.

What is the Hero’s Journey?

The Hero’s Journey is a universal story structure that follows the personal metamorphosis and psychological development of a protagonist on a heroic adventure. The protagonist goes through a series of stages to overcome adversity and complete a quest to attain an ultimate reward—whether that’s something tangible, like the holy grail, or something internal, like self confidence.

In the process of self-discovery, the archetypal Hero’s Journey is typically cyclical; it begins and ends in the same place (Think Frodo leaving and then returning to the Shire). After the epic quest or adventure has been completed by overcoming adversity and conflict—both physical and mental—the hero arrives where they once began, changed in some as they rose to meet the ultimate conflict or ordeal of the quest.

Joseph Campbell and Christopher Vogler

The Hero’s Journey has a long history of conversation around the form and its uses, with notable contributors including Joseph Campbell and the screenwriter Christopher Vogler , who later revised the steps of the Hero’s Journey.

Joseph Campbell’s “monomyth” framework is the traditional story structure of the Hero’s Journey archetype. Campbell developed it through analysis of ancient myths, folktales, and religious stories. It generally follows three acts in a cyclical, rather than a linear, way: a hero embarks on a journey, faces a crisis, and then returns home transformed and victorious.

Campbell’s ideation of the monomyth in his book The Hero With a Thousand Faces was influenced by Carl Jung’s perspective of psychology and models of self-transformation , where the Hero’s Journey is a path of transformation to a higher self, psychological healing, and spiritual growth.

While Campbell’s original take on the monomyth included 17 steps within the three acts, Christopher Vogler, in his book The Writer’s Journey , refined those 17 steps into 12 stages—the common formula for the modern structure many writers use today.

It’s also worth checking out Maureen Murdock’s work on the archetype, “The Heroine’s Journey.” This takes a look at the female Hero’s Journey, which examines the traditionally masculine journey through a feminist lens.

Hero’s Journey diagram: acts, steps, and stages

Below, you can see the way Volger’s Hero’s Journey is broken into twelve story beats across three acts.

Why is the Hero’s Journey so popular?

The structure of the Hero’s Journey appears in many of our most beloved classic stories, and it continues to resonate over time because it explores the concept of personal transformation and growth through both physical and mental trials and tribulations. In some sense, every individual in this mythic structure experiences rites of passage, the search for home and the true authentic self, which is mirrored in a protagonist’s journey of overcoming obstacles while seeking to fulfill a goal.

Additionally, the Hero’s Journey typically includes commonly shared symbols and aspects of the human psyche—the trickster, the mother, the child, etc. These archetypes play a role in creating a story that the reader can recognize from similar dynamics in their own relationships, experiences, and familiar world. Archetypes allow the writer to use these “metaphorical truths”—a playful deceiver, a maternal bond, a person of innocence and purity—to deeply and empathetically connect with the reader through symbolism. That’s why they continue to appear in countless stories all around the world.

Hero’s Journey character archetypes

Character archetypes are literary devices based on a set of qualities that are easy for a reader to identify, empathize with, and understand, as these qualities and traits are common to the human experience.

It should be noted that character archetypes are not stereotypes . While stereotypes are oversimplifications of demographics or personality traits, an archetype is a symbol of a universal type of character that can be recognized either in one’s self or in others in real life.

The following archetypes are commonly used in a Hero’s Journey:

The hero is typically the protagonist or principal point-of-view character within a story. The hero transforms—internally, externally, often both—while on their journey as they experience tests and trials and are aided or hindered by the other archetypes they encounter. In general, the hero must rise to the challenge and at some point make an act of sacrifice for the ultimate greater good. In this way, the Hero’s Journey represents the reader’s own everyday battles and their power to overcome them.

Heroes may be willing or unwilling. Some can be downright unheroic to begin with. Antiheroes are notably flawed characters that must grow significantly before they achieve the status of true hero.

The mentor often possesses divine wisdom or direct experience with the special world, and has faith in the hero. They often give the hero a gift or supernatural aid, which is usually something important for the quest: either a weapon to destroy a monster, or a talisman to enlighten the hero. The mentor may also directly aid the hero or present challenges to them that force internal or external growth. After their meeting, the hero leaves stronger and better prepared for the road ahead.

The herald is the “call to adventure.” They announce the coming of significant change and become the reason the hero ventures out onto a mysterious adventure. The herald is a catalyst that enters the story and makes it impossible for the hero to remain in status quo. Existing in the form of a person or an event, or sometimes just as information, they shift the hero’s balance and change their world.

The Threshold Guardian

This archetype guards the first threshold—the major turning point of the story where the hero must make the true commitment of the journey and embark on their quest to achieve their destiny. Threshold guardians spice up the story by providing obstacles the hero must overcome, but they’re usually not the main antagonist.

The role of the threshold guardian is to help round out the hero along their journey. The threshold guardian will test the hero’s determination and commitment and will drive them forward as the hero enters the next stage of their journey, assisting the development of the hero’s character arc within the plot. The threshold guardian can be a friend who doesn’t believe in the hero’s quest, or a foe that makes the hero question themselves, their desires, or motives in an attempt to deter the hero from their journey. Ultimately, the role of the threshold guardian is to test the hero’s resolve on their quest.

The Shape Shifter

The shape shifter adds dramatic tension to the story and provides the hero with a puzzle to solve. They can seem to be one thing, but in fact be something else. They bring doubt and suspense to the story and test the hero’s ability to discern their path. The shape shifter may be a lover, friend, ally, or enemy that somehow reveals their true self from the hero’s preconceived notion. This often causes the hero internal turmoil, or creates additional challenges and tests to overcome.

The shadow is the “monster under the bed,” and could be repressed feelings, deep trauma, or festering guilt. These all possess the dark energy of the shadow. It is the dark force of the unexpressed, unrealized, rejected, feared aspects of the hero and is often, but not necessarily, represented by the main antagonist or villain.

However, other characters may take the form of the shadow at different stages of the story as “foil characters” that contrast against the hero. They might also represent what could happen if the hero fails to learn, transform, and grow to complete their quest. At times, a hero may even succumb to the shadow, from which they will need to make sacrifices to be redeemed to continue on their overall quest.

The Trickster

The trickster is the jester or fool of the story that not only provides comic relief, but may also act as a commentator as the events of the plot unfold. Tricksters are typically witty, clever, spontaneous, and sometimes even ridiculous. The trickster within a story can bring a light-hearted element to a challenge, or find a clever way to overcome an obstacle.

Hero’s Journey themes and symbols

Alongside character archetypes, there are also archetypes for settings, situations, and symbolic items that can offer meaning to the world within the story or support your story’s theme.

Archetypes of themes, symbols, and situations represent shared patterns of human existence. This familiarity can provide the reader insight into the deeper meaning of a story without the writer needing to explicitly tell them. There are a great number of archetypes and symbols that can be used to reinforce a theme. Some that are common to the Hero’s Journey include:

Situational archetypes

Light vs. dark and the battle of good vs. evil

Death, rebirth, and transformation in the cycle of life

Nature vs. technology, and the evolution of humanity

Rags to riches or vice versa, as commentary on the material world and social status

Wisdom vs. knowledge and innocence vs. experience, in the understanding of intuition and learned experience

Setting archetypes

Gardens may represent the taming of nature, or living in harmony with nature.

Forests may represent reconnection with nature or wildness, or the fear of the unknown.

Cities or small towns may represent humanity at its best and at its worst. A small town may offer comfort and rest, while simultaneously offering judgment; a city may represent danger while simultaneously championing diversity of ideas, beings, and cultures.

Water and fire within a landscape may represent danger, change, purification, and cleansing.

Symbolic items

Items of the past self. These items are generally tokens from home that remind the hero of where they came from and who or what they’re fighting for.

Gifts to the hero. These items may be given to the hero from a mentor, ally, or even a minor character they meet along the way. These items are typically hero talismans, and may or may not be magical, but will aid the hero on their journey.

Found items. These items are typically found along the journey and represent some sort of growth or change within the hero. After all, the hero would never have found the item had they not left their everyday life behind. These items may immediately seem unimportant, but often carry great significance.

Earned rewards. These items are generally earned by overcoming a test or trial, and often represent growth, or give aid in future trials, tests, and conflicts.

The three act structure of the Hero’s Journey

The structure of the Hero’s Journey, including all 12 steps, can be grouped into three stages that encompass each phase of the journey. These acts follow the the external and internal arc of the hero—the beginning, the initiation and transformation, and the return home.

Act One: Departure (Steps 1—5)

The first act introduces the hero within the ordinary world, as they are—original and untransformed. The first act will typically include the first five steps of the Hero’s Journey.

This section allows the writer to set the stage with details that show who the hero is before their metamorphosis—what is the environment of the ordinary world? What’s important to the hero? Why do they first refuse the call, and then, why do they ultimately accept and embark on the journey to meet with the conflict?

This stage introduces the first major plot point of the story, explores the conflict the hero confronts, and provides the opportunity for characterization for the hero and their companions.

The end of the first act generally occurs when the hero has fully committed to the journey and crossed the threshold of the ordinary world—where there is no turning back.

Act Two: Initiation (Steps 6—9)

Once the hero begins their journey, the second act marks the beginning of their true initiation into the unfamiliar world—they have crossed the threshold, and through this choice, have undergone their first transformation.

The second act is generally the longest of the three and includes steps six through nine.

In this act, the hero meets most of the characters that will be pivotal to the plot, including friends, enemies, and allies. It offers the rising action and other minor plot points related to the overarching conflict. The hero will overcome various trials, grow and transform, and navigate subplots—the additional and unforeseen complexity of the conflict.

This act generally ends when the hero has risen to the challenge to overcome the ordeal and receives their reward. At the end of this act, it’s common for the theme and moral of the story to be fully unveiled.

Act Three: Return (Steps 10—12)

The final stage typically includes steps 10—12, generally beginning with the road back—the point in the story where the hero must recommit to the journey and use all of the growth, transformation, gifts and tools acquired along the journey to bring a decisive victory against their final conflict.

From this event, the hero will also be “reborn,” either literally or metaphorically, and then beginning anew as a self-actualized being, equipped with internal knowledge about themselves, external knowledge about the world, and experience.

At the end of the third act, the hero returns home to the ordinary world, bringing back the gifts they earned on their journey. In the final passages, both the hero and their perception of the ordinary world are compared with what they once were.

The 12 steps of the Hero’s Journey

The following guide outlines the 12 steps of the Hero’s Journey and represents a framework for the creation of a Hero’s Journey story template. You don’t necessarily need to follow the explicit cadence of these steps in your own writing, but they should act as checkpoints to the overall story.

We’ll also use JRR Tolkien’s The Hobbit as a literary example for each of these steps. The Hobbit does an exemplary job of following the Hero’s Journey, and it’s also an example of how checkpoints can exist in more than one place in a story, or how they may deviate from the typical 12-step process of the Hero’s Journey.

1. The Ordinary World

This stage in the Hero’s Journey is all about exposition. This introduces the hero’s backstory—who the hero is, where they come from, their worldview, culture, and so on. This offers the reader a chance to relate to the character in their untransformed form.

As the story and character arc develop, the reader is brought along the journey of transformation. By starting at the beginning, a reader has a basic understanding of what drives the hero, so they can understand why the hero makes the choices they do. The ordinary world shows the protagonist in their comfort zone, with their worldview being limited to the perspective of their everyday life.

Characters in the ordinary world may or may not be fully comfortable or satisfied, but they don’t have a point of reference to compare—they have yet to leave the ordinary world to gain the knowledge to do so.

Step One example

The Hobbit begins by introducing Bilbo in the Shire as a respectable and well-to-do member of the community. His ordinary world is utopian and comfortable. Yet, even within a village that is largely uninterested in the concerns of the world outside, the reader is provided a backstory: even though Bilbo buys into the comforts and normalcy of the Shire, he still yearns for adventure—something his neighbors frown upon. This ordinary world of the Shire is disrupted with the introduction of Gandalf—the “mentor”—who is somewhat uncomfortably invited to tea.

2. Call to Adventure

The call to adventure in the Hero’s Journey structure is the initial internal conflict that the protagonist hero faces, that drives them to the true conflict that they must overcome by the end of their journey.

The call occurs within the known world of the character. Here the writer can build on the characterization of the protagonist by detailing how they respond to the initial call. Are they hesitant, eager, excited, refusing, or willing to take a risk?

Step Two example

Bilbo’s call to adventure takes place at tea as the dwarves leisurely enter his home, followed by Gandalf, who identifies Bilbo as the group’s missing element—the burglar, and the lucky 14th member.

Bilbo and his ordinary world are emphasized by his discomfort with his rambunctious and careless guests. Yet as the dwarves sing stories of old adventures, caverns, and lineages, which introduce and foreshadow the conflict to come, a yearning for adventure is stirred. Though he still clings to his ordinary world and his life in the Shire, he’s conflicted. Should he leave the shire and experience the world, or stay in his comfortable home? Bilbo continues to refuse the call, but with mixed feelings.

3. Refusal of the Call

The refusal of the call in the Hero’s Journey showcases a “clinging” to one’s original self or world view. The initial refusal of the call represents a fear of change, as well as a resistance to the internal transformation that will occur after the adventure has begun.

The refusal reveals the risks that the protagonist faces if they were to answer the call, and shows what they’ll leave behind in the ordinary world once they accept.

The refusal of the call creates tension in the story, and should show the personal reasons why the hero is refusing—inner conflict, fear of change, hesitation, insecurity, etc. This helps make their character clearer for the reader.

These are all emotions a reader can relate to, and in presenting them through the hero, the writer deepens the reader’s relationship with them and helps the reader sympathize with the hero’s internal plight as they take the first step of transformation.

Step Three example

Bilbo refuses the call in his first encounter with Gandalf, and in his reaction to the dwarves during tea. Even though Bilbo’s “Tookish” tendencies make him yearn for adventure, he goes to bed that night still refusing the call. The next morning, as Bilbo awakes to an empty and almost fully clean hobbit home, he feels a slight disappointment for not joining the party, but quickly soothes his concerns by enjoying the comfort of his home—i.e. the ordinary world. Bilbo explores his hesitation to disembark from the ordinary world, questioning why a hobbit would become mixed up in the adventures of others, and choosing not to meet the dwarves at the designated location.

4. Meeting the Mentor

Meeting the mentor in the Hero’s Journey is the stage that provides the hero protagonist with a guide, relationship, and/or informational asset that has experience outside the ordinary world. The mentor offers confidence, advice, wisdom, training, insight, tools, items, or gifts of supernatural wonder that the hero will use along the journey and in overcoming the ultimate conflict.

The mentor often represents someone who has attempted to overcome, or actually has overcome, an obstacle, and encourages the hero to pursue their calling, regardless of the hero’s weaknesses or insecurities. The mentor may also explicitly point out the hero’s weaknesses, forcing them to reckon with and accept them, which is the first step to their personal transformation.

Note that not all mentors need to be a character . They can also be objects or knowledge that has been instilled in the hero somehow—cultural ethics, spiritual guidance, training of a particular skill, a map, book, diary, or object that illuminates the path forward, etc. In essence, the mentor character or object has a role in offering the protagonist outside help and guidance along the Hero’s Journey, and plays a key role in the protagonist’s transition from normalcy to heroism.

The mentor figure also offers the writer the opportunity to incorporate new information by expanding upon the story, plot, or backstory in unique ways. They do this by giving the hero information that would otherwise be difficult for the writer to convey naturally.

The mentor may accompany the hero throughout most of the story, or they may only periodically be included to facilitate changes and transformation within them.

Step Four example

The mentor, Gandalf, is introduced almost immediately. Gandalf is shown to be the mentor, firstly through his arrival from—and wisdom of—the outside world; and secondly, through his selection of Bilbo for the dwarven party by identifying the unique characteristics Bilbo has that are essential to overcoming the challenges in the journey. Gandalf doesn’t accompany Bilbo and the company through all of the trials and tribulations of the plot, but he does play a key role in offering guidance and assistance, and saves the group in times of dire peril.

5. Crossing the Threshold

As the hero crosses the first threshold, they begin their personal quest toward self-transformation. Crossing the threshold means that the character has committed to the journey, and has stepped outside of the ordinary world in the pursuit of their goal. This typically marks the conclusion of the first act.

The threshold lies between the ordinary world and the special world, and marks the point of the story where the hero fully commits to the road ahead. It’s a crucial stage in the Hero’s Journey, as the hero wouldn’t be able to grow and transform by staying in the ordinary world where they’re comfortable and their world view can’t change.

The threshold isn’t necessarily a specific place within the world of the story, though a place can symbolize the threshold—for example a border, gateway, or crossroads that separate what is safe and “known” from what is potentially dangerous. It can also be a moment or experience that causes the hero to recognize that the comforts and routine of their world no longer apply—like the loss of someone or something close to the hero, for example. The purpose of the threshold is to take the hero out of their element and force them, and the reader, to adapt from the known to the unknown.

This moment is crucial to the story’s tension. It marks the first true shift in the character arc and the moment the adventure has truly begun. The threshold commonly forces the hero into a situation where there’s no turning back. This is sometimes called the initiation stage or the departure stage.

Step Five example

The threshold moment in The Hobbit occurs when the party experiences true danger as a group for the first time. Bilbo, voted as scout by the party and eager to prove his burglar abilities, sneaks upon a lone fire in the forest where he finds three large trolls. Rather than turn back empty-handed—as he initially wants to—Bilbo chooses to prove himself, plucking up the courage to pickpocket the trolls—but is caught in the process. The dwarves are also captured and fortunately, Gandalf, the mentor, comes to save the party.

Bilbo’s character arc is solidified in this threshold moment. He experiences his first transformation when he casts aside fear and seeks to prove himself as a burglar, and as an official member of the party. This moment also provides further characterization of the party as a whole, proving the loyalty of the group in seeking out their captured member.

Gandalf’s position as the mentor is also firmly established as he returns to ultimately save all of the members of the party from being eaten by trolls. The chapter ends with Bilbo taking ownership of his first hero talisman—the sword that will accompany him through the rest of the adventure.

6. Tests, Allies, Enemies

Once the hero has crossed the threshold, they must now encounter tests of courage, make allies, and inevitably confront enemies. All these elements force the hero to learn the new ways of the special world and how it differs from the hero’s ordinary world—i.e. how the rules have changed, the conditions of the special world vs. the ordinary world, and the various beings and places within it.

All these elements spark stages of transformation within the hero—learning who they can trust and who they can’t, learning new skills, seeking training from the mentor, and overcoming challenges that force and drive them to grow and transform.

The hero may both succeed and fail at various points of this stage, which will test their commitment to the journey. The writer can create tension by making it clear that the hero may or may not succeed at the critical moment of crisis. These crises can be external or internal.

External conflicts are issues that the character must face and overcome within the plot—e.g. the enemy has a sword drawn and the hero must fight to survive.

Internal conflicts occur inside the hero. For example, the hero has reached safety, but their ally is in peril; will they step outside their comfort zone and rise to the occasion and save their friend? Or will they return home to their old life and the safety of the ordinary world?

Tests are conflicts and threats that the hero must face before they reach the true conflict, or ordeal, of the story. These tests set the stage and prime the hero to meet and achieve the ultimate goal. They provide the writer the opportunity to further the character development of the hero through their actions, inactions, and reactions to what they encounter. The various challenges they face will teach them valuable lessons, as well as keep the story compelling and the reader engaged.

Allies represent the characters that offer support to the protagonist along the journey. Some allies may be introduced from the beginning, while others may be gained along the journey. Secondary characters and allies provide additional nuance for the hero, through interactions, events, and relationships that further show who the hero is at heart, what they believe in, and what they’re willing to fight for. The role of the allies is to bring hope, inspiration, and further drive the hero to do what needs to be done.

Enemies represent a foil to the allies. While allies bring hope and inspiration, enemies will provide challenges, conflicts, tests, and challenges. Both allies and enemies may instigate transformative growth, but enemies do so in a way that fosters conflict and struggle.

Characterization of enemies can also enhance the development of the hero through how they interact and the lessons learned through those interactions. Is the hero easily duped, forgiving, empathetic, merciful? Do they hold a grudge and seek revenge? Who is the hero now that they have been harmed, faced an enemy, and lost pieces of their innocent worldview? To answer that, the hero is still transforming and gestating with every lesson, test, and enemy faced along the way.

Step Six example

As the plot of The Hobbit carries on, Bilbo encounters many tests, allies, and enemies that all drive complexity in the story. A few examples include:

The first major obstacle that Bilbo faces occurs within the dark and damp cave hidden in the goblin town. All alone, Bilbo must pluck up the wit and courage to outriddle a creature named Gollum. In doing so, Bilbo discovers the secret power of a golden ring (another hero talisman) that will aid him and the party through the rest of the journey.

The elves encountered after Bilbo “crosses the threshold” are presented as allies in the story. The hero receives gifts of food, a safe place to rest, and insight and guidance that allows the party to continue on their journey. While the party doesn’t dwell long with the elves, the elves also provide further character development for the party at large: the serious dwarf personalities are juxtaposed against the playful elvish ones, and the elves offer valuable historical insight with backstory to the weapons the party gathered from the troll encounter.

Goblins are a recurring enemy within the story that the hero and party must continue to face, fight, and run from. The goblins present consistent challenges that force Bilbo to face fear and learn and adapt, not only to survive but to save his friends.

7. Approach to the Inmost Cave

The approach to the inmost cave of the Hero’s Journey is the tense quiet before the storm; it’s the part of the story right before the hero faces their greatest fear, and it can be positioned in a few different ways. By now, the hero has overcome obstacles, setbacks, and tests, gained and lost allies and enemies, and has transformed in some way from the original protagonist first introduced in the ordinary world.

The moment when the hero approaches the inmost cave can be a moment of reflection, reorganization, and rekindling of morale. It presents an opportunity for the main characters of the story to come together in a moment of empathy for losses along the journey; a moment of planning and plotting next steps; an opportunity for the mentor to teach a final lesson to the hero; or a moment for the hero to sit quietly and reflect upon surmounting the challenge they have been journeying toward for the length of their adventure.

The “cave” may or may not be a physical place where the ultimate ordeal and conflict will occur. The approach represents the momentary period where the hero assumes their final preparation for the overall challenge that must be overcome. It’s a time for the hero and their allies, as well as the reader, to pause and reflect on the events of the story that have already occurred, and to consider the internal and external growth and transformation of the hero.

Having gained physical and/or emotional strength and fortitude through their trials and tests, learned more rules about the special world, found and lost allies and friends, is the hero prepared to face danger and their ultimate foe? Reflection, tension, and anticipation are the key elements of crafting the approach to the cave.

Step Seven example

The approach to the cave in The Hobbit occurs as the party enters the tunnel of the Lonely Mountain. The tunnel is the access point to the ultimate goal—Thorin’s familial treasure, as well as the ultimate test—the formidable dragon Smaug. During this part of the story, the party must hide, plot, and plan their approach to the final conflict. It’s at this time that Bilbo realizes he must go alone to scout out and face the dragon.

8. The Ordeal

The ordeal is the foreshadowed conflict that the hero must face, and represents the midpoint of the story. While the ordeal is the ultimate conflict that the hero knows they must overcome, it’s a false climax to the complete story—there’s still much ground to cover in the journey, and the hero will still be tested after completing this, the greatest challenge. In writing the ordeal phase of the Hero’s Journey, the writer should craft this as if it actually were the climax to the tale, even though it isn’t.

The first act, and the beginning of the second act, have built up to the ordeal with characterization and the transformation of the hero through their overcoming tests and trials. This growth—both internal and external—has all occurred to set the hero up to handle this major ordeal.

As this stage commences, the hero is typically faced with fresh challenges to make the ordeal even more difficult than they previously conceived. This may include additional setbacks for the hero, the hero’s realization that they were misinformed about the gravity of the situation, or additional conflicts that make the ordeal seem insurmountable.

These setbacks cause the hero to confront their greatest fears and build tension for both the hero and the reader, as they both question if the hero will ultimately succeed or fail. In an epic fantasy tale, this may mean a life-or-death moment for the hero, or experiencing death through the loss of an important ally or the mentor. In a romance, it may be the moment of crisis where a relationship ends or a partner reveals their dark side or true self, causing the hero great strife.

This is the rock-bottom moment for the hero, where they lose hope, courage, and faith. At this point, even though the hero has already crossed the threshold, this part of the story shows how the hero has changed in such a way that they can never return to their original self: even if they return to the ordinary world, they’ll never be the same; their perception of the world has been modified forever.

Choosing to endure against all odds and costs to face the ordeal represents the loss of the hero’s original self from the ordinary world, and a huge internal transformation occurs within the hero as they must rise and continue forth to complete their journey and do what they set out to do from the beginning.

The ordeal may also be positioned as an introduction to the greater villain through a trial with a shadow villain, where the hero realizes that the greatest conflict is unveiled as something else, still yet to come. In these instances, the hero may fail, or barely succeed, but must learn a crucial lesson and be metaphorically resurrected through their failure to rise again and overcome the greater challenge.

Step Eight example

Bilbo must now face his ultimate challenge: burgle the treasure from the dragon. This is the challenge that was set forth from the beginning, as it’s his purpose as the party’s 14th member, the burglar, anointed by Gandalf, the mentor. Additional conflicts arise as Bilbo realizes that he must face the dragon alone, and in doing so, must rely on all of the skills and gifts in the form of talismans and tokens he has gained throughout the adventure.

During the ordeal, Bilbo uses the courage he has gained by surmounting the story’s previous trials; he’s bolstered by his loyalty to the group and relies upon the skills and tools he has earned in previous trials. Much as he outwitted Gollum in the cave, Bilbo now uses his wit as well as his magical ring to defeat Smaug in a game of riddles, which ultimately leads Smaug out of the lair so that Bilbo can complete what he was set out to do—steal the treasure.

The reward of the Hero’s Journey is a moment of triumph, celebration, or change as the hero achieves their first major victory. This is a moment of reflection for both the reader and the hero, to take a breath to contemplate and acknowledge the growth, development, and transformation that has occurred so far.

The reward is the boon that the hero learns, is granted, or steals, that will be crucial to facing the true climax of the story that is yet to come. The reward may be a physical object, special knowledge, or reconciliation of some sort, but it’s always a thing that allows for some form of celebration or replenishment and provides the drive to succeed before the journey continues.

Note that the reward may not always be overtly positive—it may also be a double-edged sword that could harm them physically or spiritually. This type of reward typically triggers yet another internal transformation within the hero, one that grants them the knowledge and personal drive to complete the journey and face their remaining challenges.

From the reward, the hero is no longer externally driven to complete the journey, but has evolved to take on the onus of doing so.

Examples of rewards may include:

A weapon, elixir, or object that will be necessary to complete the quest.

Special knowledge, or a personal transformation to use against a foe.

An eye-opening experience that provides deep insight and fundamentally changes the hero and their position within the story and world.

Reconciliation with another character, or with themselves.

No matter what the reward is, the hero should experience some emotional or spiritual revelation and a semblance of inner peace or personal resolve to continue the journey. Even if the reward is not overtly positive, the hero and the reader deserve a moment of celebration for facing the great challenge they set out to overcome.

Step Nine example

Bilbo defeats the dragon at a battle of wits and riddles, and now receives his reward. He keeps the gifts he has earned, both the dagger and the gold ring. He is also granted his slice of the treasure, and the Lonely Mountain is returned to Thorin. The party at large is rewarded for completing the quest and challenge they set out to do.

However, Tolkien writes the reward to be more complex than it first appears. The party remains trapped and hungry within the Mountain as events unfold outside of it. Laketown has been attacked by Smaug, and the defenders will want compensation for the damage to their homes and for their having to kill the dragon. Bilbo discovers, and then hides, the Arkenstone (a symbolic double edged reward) to protect it from Thorin’s selfishness and greed.

10. The Road Back

The road back in the Hero’s Journey is the beginning of the third act, and represents a turning point within the story. The hero must recommit to the journey, alongside the new stakes and challenges that have arisen from the completion of the original goal.

The road back presents roadblocks—new and unforeseen challenges to the hero that they must now face on their journey back to the ordinary world. The trials aren’t over yet, and the stakes are raised just enough to keep the story compelling before the final and ultimate conflict—the hero’s resurrection—is revealed in the middle of the third act.

The hero has overcome their greatest challenge in the Ordeal and they aren’t the same person they were when they started. This stage of the story often sees the hero making a choice, or reflecting on their transformed state compared to their state at the start of the journey.

The writer’s purpose in the third act is not to eclipse the upcoming and final conflict, but to up the stakes, show the true risk of the final climax, and to reflect on what it will take for the hero to ultimately prevail. The road back should offer a glimmer of hope—the light at the end of the tunnel—and should let the reader know the dramatic finale is about to arrive.

Step Ten example

What was once a journey to steal treasure and slay a dragon has developed new complications. Our hero, Bilbo, must now use all of the powers granted in his personal transformation, as well as the gifts and rewards he earned on the quest, to complete the final stages of the journey.

This is the crisis moment of The Hobbit ; the armies of Laketown are prepared for battle to claim their reward for killing Smaug; the fearless leader of their party, Thorin, has lost reason and succumbed to greed; and Bilbo makes a crucial choice based his personal growth: he gives the Arkenstone to the king as a bargaining chip for peace. Bilbo also briefly reconnects with the mentor, Gandalf, who warns him of the unpleasant times ahead, but comforts Bilbo by saying that things may yet turn out for the best. Bilbo then loyally returns to his friends, the party of dwarves, to stand alongside them in the final battle.

11. Resurrection

The resurrection stage of the Hero’s Journey is the final climax of the story, and the heart of the third act. By now the hero has experienced internal and external transformation and a loss of innocence, coming out with newfound knowledge. They’re fully rooted in the special world, know its rules, and have made choices that underline this new understanding.

The hero must now overcome the final crisis of their external quest. In an epic fantasy tale, this may be the last battle of light versus darkness, good versus evil, a cumulation of fabulous forces. In a thriller, the hero might ultimately face their own morality as they approach the killer. In a drama or romance, the final and pivotal encounter in a relationship occurs and the hero puts their morality ahead of their immediate desires.

The stakes are the highest they’ve ever been, and the hero must often choose to make a sacrifice. The sacrifice may occur as a metaphoric or symbolic death of the self in some way; letting go of a relationship, title, or mental/emotional image of the self that a hero once used as a critical aspect of their identity, or perhaps even a metaphoric physical death—getting knocked out or incapacitated, losing a limb, etc.

Through whatever the great sacrifice is, be it loss or a metaphoric death, the hero will experience a form of resurrection, purification, or internal cleansing that is their final internal transformation.

In this stage, the hero’s character arc comes to an end, and balance is restored to the world. The theme of the story is fully fleshed out and the hero, having reached some form of self-actualization, is forever changed. Both the reader and the hero experience catharsis—the relief, insight, peace, closure, and purging of fear that had once held the hero back from their final transformation.

Step Eleven example

All the armies have gathered, and the final battle takes place. Just before the battle commences, Bilbo tells Thorin that it was he who gave the Arkenstone to the city of men and offers to sacrifice his reward of gold for taking the stone. Gandalf, the mentor, arrives, standing beside Bilbo and his decision. Bilbo is shunned by Thorin and is asked to leave the party for his betrayal.

Bilbo experiences a symbolic death when he’s knocked out by a stone. Upon awakening, Bilbo is brought to a dying Thorin, who forgives him of his betrayal, and acknowledges that Bilbo’s actions were truly the right thing to do. The theme of the story is fully unveiled: that bravery and courage comes in all sizes and forms, and that greed and gold are less worthy than a life rich in experiences and relationships.

12. Return with the Elixir

The elixir in the Hero’s Journey is the final reward the hero brings with them on their return, bridging their two worlds. It’s a reward hard earned through the various relationships, tests, and growth the hero has experienced along their journey. The “elixir” can be a magical potion, treasure, or object, but it can also be intangible—love, wisdom, knowledge, or experience.

The return is key to the circular nature of the Hero’s Journey. It offers a resolution to both the reader and the hero, and a comparison of their growth from when the journey began.

Without the return, the story would have a linear nature, a beginning and an end. In bringing the self-actualized hero home to the ordinary world, the character arc is completed, and the changes they’ve undergone through the journey are solidified. They’ve overcome the unknown, and though they’re returning home, they can no longer resume their old life because of their new insight and experiences.

Step Twelve example

The small yet mighty hero Bilbo is accompanied on his journey home by his mentor Gandalf, as well as the allies he gathered along his journey. He returns with many rewards—his dagger, his golden ring, and his 1/14th split of the treasure—yet his greatest rewards are his experience and the friends he has made along the way. Upon entering the Shire Bilbo sings a song of adventure, and the mentor Gandalf remarks, “My dear Bilbo! Something is the matter with you, you are not the hobbit you were.”

The final pages of The Hobbit explore Bilbo’s new self in the Shire, and how the community now sees him as a changed hobbit—no longer quite as respectable as he once was, with odd guests who visit from time to time. Bilbo also composes his story “There and Back Again,” a tale of his experiences, underlining his greatest reward—stepping outside of the Shire and into the unknown, then returning home, a changed hobbit.

Books that follow the Hero’s Journey

One of the best ways to become familiar with the plot structure of the Hero’s Journey is to read stories and books that successfully use it to tell a powerful tale. Maybe they’ll inspire you to use the hero’s journey in your own writing!

The Lord of the Rings trilogy by J. R. R. Tolkien.

The Harry Potter series by J. K. Rowling.

The Earthsea series by Ursula K. Le Guin.

The Odyssey by Homer.

Siddhartha by Herman Hesse.

Pride and Prejudice by Jane Austen.

Writing tips for the Hero’s Journey

Writing a Hero’s Journey story often requires planning beforehand to organize the plot, structure, and events of the story. Here are some tips to use the hero’s journey archetype in a story:

Use a template or note cards to organize and store your ideas. This can assist in ensuring that you tie up any loose ends in the plot, and that the cadence of your story is already outlined before you begin writing.

Use word count goals for writing different sections of your story. This can help you keep pace while you plan and write the first draft. You can always revise, edit, and add in detail at later stages of development, but getting the ideas written without bogging them down with details can assist in preparing your outline, and may perhaps provide additional inspiration and guidance along the way.

Lean into creativity and be flexible with the 12 steps. They don’t need to occur in the exact order we’ve listed above, but that ordering can offer great checkpoint moments for your story.

Invest in characterization and ensure that your main character is balanced with credible strengths and weaknesses. A perfect, pure hero has no room to grow. A one-dimensional villain who relies on the trope of “pure evil” without any motivations for their actions is boring and predictable.

Ensure tension and urgency is woven into the story. An epic tale to the grocery store for baby formula may still be fraught with danger, and the price of failure is a hungry child. Without urgency, tension, and risk, a Hero’s Journey will fall flat.

Be hard on your characters. Give them deep conflicts that truly test their nature, and their mental, physical, and spiritual selves. An easy journey isn’t a memorable one.

Have a balance of scenes that play on both positive and negative emotions and outcomes for the hero to create a compelling plot line that continues to engage your reader. A story that’s relentlessly positive doesn’t provide a pathway for the hero to transform. Likewise, a story that’s nothing but doom, strife, and turmoil, without a light at the end of the tunnel or an opportunity for growth, can make a story feel stagnant and unengaging.

Reward your characters and your reader. Personal transformation and the road to the authentic self may be grueling, but there’s peace or joy at the end of the tunnel. Even if your character doesn’t fully saved the world, they—and the reader—should be rewarded with catharsis, a new perspective, or personal insight at the end of the tale.

Hero’s Journey templates

Download these free templates to help you plan out your Hero’s Journey:

Download the Hero’s Journey template template (docx) Download the Hero’s Journey template template (pdf)

Prompts and practices to help you write your own Hero’s Journey

Use the downloadable template listed below for the following exercises:

Read a book or watch a movie that follows the Hero’s Journey. Use the template to fill in when each step occurs or is completed. Make note of themes and symbols, character arcs, the main plot, and the subplots that drive complexity in the story.

When writing, use a timer set to 2—5 minutes per section to facilitate bursts of creativity. Brainstorm ideas for cadence, plot, and characters within the story. The outline you create can always be modified, but the timer ensures you can get ideas on paper without a commitment; you’re simply jotting down ideas as quickly as you can.

Use the downloadable template above to generate outlines based on the following prompts.

A woman’s estranged mother has died. A friend of the mother arrives at the woman’s home to tell her that her mother has left all her belongings to her daughter, and hands her a letter. The letter details the mother’s life, and the daughter must visit certain places and people to find her mother’s house and all the belongings in it—learning more about her mother’s life, and herself, along the way.

The last tree on earth has fallen, and technology can no longer sustain human life on Earth. An engineer, having long ago received alien radio signals from a tower in their backyard, has dedicated their life to building a spaceship in their garage. The time has come to launch, and the engineer must select a group of allies to bring with them to the stars, on a search for a new life, a new home, and “the others” out there in the universe.

A detective is given a new case: to find a much-talked-about murderer. The twist is, the murderer has sent a letter to the detective agency, quietly outing a homicidal politician who is up for re-election and is a major financial contributor to the police. In the letter, the murderer states that if the politician doesn’t come clean about their crimes, the murderer will kill the politician on the night of the election. The detective must solve the case before the election, and come to terms with their own feelings of justice and morality.

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A Complete Guide to The Hero’s Journey (or The Monomyth)

Learn how to use the 12 steps of the Hero’s Journey to structure plot, develop characters, and write riveting stories that will keep readers engaged!

Before I start this post I would like to acknowledged the tragedy that occurred in my country this past month. George Floyd, an innocent man, was murdered by a police officer while three other officers witnessed that murder and remained silent.

To remain silent, in the face of injustice, violen ce, and murder is to be complicit . I acknowledge that as a white man I have benefited from a centuries old system of privilege and abuse against black people, women, American Indians, immigrants, and many, many more.

This systemic abuse is what lead to the murder of George Floyd, Breonna Taylor, Ahmaud Arbery, Sandra Bland, Eric Garner, Treyvon Martin, Philando Castile, Freddie Gray, Walter Scott, Tamir Rice and many more. Too many.

Whether I like it or not I’ve been complicit in this injustice. We can’t afford to be silent anymore. If you’re disturbed by the violence we’ve wit nessed over, and over again please vote this November, hold your local governments accountable, peacefully protest, and listen. Hopefully, together we can bring positive change. And, together, we can heal .

In this post, we’ll go over the stages of Joseph Campbell’s Hero’s Journey, also known as the Monomyth. We’ll talk about how to use it to structure your story. You’ll also find some guided questions for each section of the Hero’s Journey. These questions are designed to help guide your thinking during the writing process. Finally, we’ll go through an example of the Hero’s Journey from 1997’s Men In Black.  

Down at the bottom, we’ll go over reasons you shouldn’t rely on the Monomyth. And we’ll talk about a few alternatives for you to consider if the Hero’s Journey isn’t right for your story.  

But, before we do all that let’s answer the obvious question- 

What is the Hero’s Journey?

The Hero’s Journey was first described by Joseph Campbell. Campbell was an American professor of literature at Sarah Lawrence College. He wrote about the Hero’s Journey in his book The Hero with a Thousand Faces . More than a guide, this book was a study on the fundamental structure of myths throughout history. 

Through his study, Campbell identified seventeen stages that make up what he called the Monomyth or Hero’s Journey. We’ll go over these stages in the next section. Here’s how Campbell describes the Monomyth in his book:

“A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.” 

Something important to note is that the Monomyth was not conceived as a tool for writers to develop a plot. Rather, Campbell identified it as a narrative pattern that was common in mythology. 

George Lucas used Campbell’s Monomyth to structure his original Star Wars film. Thanks to Star Wars ’ success, filmmakers have adopted the Hero’s Journey as a common plot structure in movies. 

We see it in films like The Matrix , Spider-man , The Lion King , and many more. But, keep in mind, this is not the only way to structure a story. We’ll talk about some alternatives at the end of this post. 

With that out of the way, let’s go over the twelve stages of the Hero’s Journey, or Monomyth. We’ll use the original Men In Black film as an example (because why not?). And, we’ll look at some questions to help guide your thinking, as a writer, at each stage. 

Quick note – The original Hero’s Journey is seventeen stages. But, Christopher Vogler, an executive working for Disney, condensed Campbell’s work. Vogler’s version has twelve stages, and it’s the version we’re talking about today. Vogler wrote a guide to use the Monomyth and I’ll link to it at the bottom.)

The 12 Stages of The Hero’s Journey 

The ordinary world .

This is where the hero’s story begins. We meet our hero in a down-to-earth, or humble setting. We establish the hero as an ordinary citizen in this world, not necessarily “special” in any way. 

Think exposition . 

We get to know our hero at this stage of the story. We learn about the hero’s life, struggles, inner or outer demons. This an opportunity for readers to identify with the hero. A good idea since the story will be told from the hero’s perspective. 

Read more about perspective and POV here.

In Men In Black, we meet our hero, James, who will become Agent J, chasing someone down the streets of a large city. The story reveals some important details through the action of the plo t. Let’s go over these details and how they’re shown through action. 

Agent J’s job: He’s a cop. We know this because he’s chasing a criminal. He waves a badge and yells, “NYPD! Stop!” 

The setting: The line “NYPD!” tells us that J is a New York City cop. The chase sequence also culminates on the roof of the Guggenheim Museum. Another clue to the setting. 

J’s Personality: J is a dedicated cop. We know this because of his relentless pursuit of the suspect he’s chasing. J is also brave. He jumps off a bridge onto a moving bus. He also chases a man after witnessing him climb vertically, several stories, up a wall. This is an inhuman feat that would have most people noping out of there. J continues his pursuit, though. 

Guided Questions

• What is your story’s ordinary world setting? 
• How is this ordinary world different from the special world that your hero will enter later in the story? 
• What action in this story will reveal the setting? 
• Describe your hero and their personality. 
• What action in the story will reveal details about your hero? 

The Call of Adventure

The Call of Adventure is an event in the story that forces the hero to take action. The hero will move out of their comfort zone, aka the ordinary world. Does this sound familiar? It should, because, in practice, The Call of Adventure is an Inciting Event. 

Read more about Inciting Events here. 

The Call of Adventure can take many forms. It can mean a literal call like one character asking another to go with them on a journey or to help solve a problem. It can also be an event in the story that forces the character to act. 

The Call of Adventure can include things like the arrival of a new character, a violent act of nature, or a traumatizing event. The Call can also be a series of events like what we see in our example from Men In Black.  

The first Call of Adventure comes from the alien that Agent J chases to the roof of the Guggenheim. Before leaping from the roof, the alien says to J, “Your world’s going to end.” This pique’s the hero’s interest and hints at future conflict. 

The second Call of Adventure comes after Agent K shows up to question J about the alien. K wipes J’s memory after the interaction, but he gives J a card with an address and a time. At this point, J has no idea what’s happened. All he knows is that K has asked him to show up at a specific place the next morning. 

The final and most important Call comes after K has revealed the truth to J while the two sit on a park bench together. Agent K tells J that aliens exist. K reveals that there is a secret organization that controls alien activity on Earth. And the Call- Agent K wants J to come to work for this organization.  

• What event (or events) happen to incite your character to act? 
• How are these events disruptive to your character’s life? 
• What aspects of your story’s special world will be revealed and how? (think action) 
• What other characters will you introduce as part of this special world? 

Refusal of the Call

This is an important stage in the Monomyth. It communicates with the audience the risks that come with Call to Adventure. Every Hero’s Journey should include risks to the main characters and a conflict. This is the stage where your hero contemplates those risks.  They will be tempted to remain in the safety of the ordinary world. 

In Men in Black, the Refusal of the Call is subtle. It consists of a single scene. Agent K offers J membership to the Men In Black. With that comes a life of secret knowledge and adventure. But, J will sever all ties to his former life. No one anywhere will ever know that J existed. Agent K tells J that he has until sunrise to make his decision.

J does not immediately say, “I’m in,” or “When’s our first mission.” Instead, he sits on the park bench all night contemplating his decision. In this scene, the audience understands that this is not an easy choice for him. Again, this is an excellent use of action to demonstrate a plot point. 

It’s also important to note that J only asks K one question before he makes his decision, “is it worth it?” K responds that it is, but only, “if you’re strong enough.” This line of dialogue becomes one of two dramatic questions in the movie. Is J strong enough to be a man in black? 

• What will your character have to sacrifice to answer the call of adventure? 
• What fears does your character have about leaving the ordinary world? 
• What risks or dangers await them in the special world? 

Meeting the Mentor 

At this point in the story, the hero is seeking wisdom after initially refusing the call of adventure. The mentor fulfills this need for your hero. 

The mentor is usually a character who has been to the special world and knows how to navigate it. Mentor’s provides your hero with tools and resources to aid them in their journey. It’s important to note that the mentor doesn’t always have to be a character. The mentor could be a guide, map, or sacred texts. 

If you’ve seen Men In Black then you can guess who acts as J’s mentor. Agent K, who recruited J, steps into the mentor role once J accepts the call to adventure. 

Agent K gives J a tour of the MIB headquarters. He introduces him to key characters and explains to him how the special world of the MIB works. Agent K also gives J his signature weapon, the Noisy Cricket. 

• Who is your hero’s mentor? 
• How will your character find and encounter with their mentor? 
• What tools and resources will your mentor provide? 
• Why/how does your mentor know the special world? 

Crossing the Threshold 

This is the point where your hero finally crosses over from the ordinary world into the special one. At this point, there is no turning back for your hero. 

Your hero may not cross into the special world on their own. Or, they may need a dramatic event that forces them to act.

At this point, you’ll want to establish the dramatic question of your story. This is the question will your reader wants to answer by the end of your story. A dramatic question is what will keep your audience reading. 

Once J decides to commit to the MIB Agent K starts the process of deleting J’s identity. The filmmakers do a great job communicating the drastic nature of J’s decision. This is done through, again, action and an effective voice-over. J’s social security number is deleted, and his fingerprints are burned off. He dons a nondescript black suit, sunglasses, and a sick-ass Hamilton watch . 

This scene is immediately followed by a threatening message sent by aliens called the Arquillians. They tell the MIB they will destroy the Earth unless J and K can deliver a galaxy. The only problem is no one knows what the galaxy is. So, we get our story question. Can J and K find and deliver the MacGuffin before the Earth is destroyed? 

Read more about MacGuffins here.

• What event will push your hero into the special world? 
• Once they enter the special world, what keeps them from turning back?
• What is the dramatic question you will introduce?
• How will your hero’s life change once they’ve entered the special world?

Tests, Allies, Enemies

This is stage is exactly what it sounds like. Once they’ve entered the special world, your hero will be tested. They will learn the rules of this new world. Your hero’s mentor may have to further teach your hero. 

The hero will also begin collecting allies. Characters whose goals align with those of your hero’s. People who will help your hero achieve their goal. These characters may even join your hero on their quest. 

And this is also the point where your hero’s enemy will reveal themselves. Now, you’ve may have hinted at, or even introduced the villain in the earlier stages. But, this is where the audience discovers how much of a threat this villain is to your hero. 

Read more about creating villains here. 

J and K arrive at the city morgue to investigate the body of a slain member of Arquillian royalty. While there, J encounters the villain of the film. He is lured into a standoff with Edgar. Edgar isn’t Edgar. He’s a 10 foot tall, alien cockroach wearing an “Edgar suit.” 

J doesn’t know that yet, though. 

Edgar has also taken a hostage. He threatens the life of Dr. Laurel Weaver who has discovered the truth about aliens living on Earth. Dr. Weaver becomes an ally of J’s as he continues his search for the Arquillian’s galaxy. 

J is faced with a new test as well. Just before he dies, the Arquillian alien tells J that the galaxy is on Orion’s Belt. J must discover the meaning behind this cryptic message if he hopes to save Earth. 

• Who is the villain of your story, and what is their goal?
• Who are your hero’s allies?
• How will your hero meet them? And, How do everyone’s goals align? 
• How will your hero be tested? Through battle? A puzzle? An emotional trauma? 

Approach to the Inmost Cave

The inmost cave is the path towards the central conflict of your story. In this section, your hero is preparing for battle. They may be regrouping with allies, going over important information, or taking a needed rest. This is also a part of the story where you may want to inject some humor. 

The approach is also a moment for your audience to regroup. This is an important aspect of pacing. A fast-paced story can be very exciting for the audience, but at some point, the writer needs to tap the breaks. 

This approach section gives your audience time to process the plot and consider the stakes of your conflict. This is also a good time to introduce a ticking clock, and it’s perfect for character development. 

In Men, In Black the Approach the Inmost Cave involves an interview with a character called Frank the Pug. Frank is a Pug breed of dog. He’s an alien in disguise. 

Frank knows important details about the conflict between the Arquillians and Edgar. This is one of the funnier scenes in an overall funny film. 

Read more about alliteration here… jk. 

Frank also gives J a vital clue to determine the location of the Arquillian’s galaxy. They also discover that the galaxy is an energy source and not an actual galaxy. 

Finally, we have the arrival of the Arquillian battleship come to destroy Earth. They give the MIB a warning. If the galaxy is not returned in one hour the will fire on the planet. So, we have a literal ticking clock. 

• Where and how will your hero slow down and regroup? 
• What information or resources will they need to go into the final battle? 
• How can you introduce some humor or character development into this section? 
• What kind of “ticking clock” will you introduce to increase the stakes of your final act? 

The Ordeal 

The Ordeal is about one thing, and that’s death. Your hero must go through a life-altering challenge. This will be a conflict where the hero faces their greatest fears. 

It’s essential that your audience feels as if the hero is really in danger. Make the audience question whether the hero will make it out alive. But, your story’s stakes may not be life or death, such as in a comedy or romance. 

In that case the death your character experiences will be symbolic. And, your audience will believe that there’s a chance the hero won’t achieve their goal. 

Through the ordeal, your hero will experience death whether that be real or symbolic. With this death, the hero will be reborn with greater powers or insight. Overall, the ordeal should be the point in which your character hits rock bottom. 

The Ordeal in Men In Black comes the moment when J and K confront Edgar at the site of the World’s Fair. In the confrontation with Edgar, K is eaten alive by Edgar. At this moment J is left alone to confront death. The audience is left to wonder if J can defeat Edgar on his own. 

Guided Questions 

• What death will your hero confront? 
• What does “rock bottom” mean for your character? 
• How will your hero be changed on the other side of this death event? 

Reward or Seizing the Sword

At this point in the story, your hero will earn some tangible treasure for all their trouble. This can be a physical treasure. In the context of the monomyth, this is often referred to as the elixir or sword. 

However, the reward can be inwardly focused. Your hero might discover hidden knowledge or insight that helps them vanquish their foe. Or, your hero can find their confidence or some self-actualization. This reward, whatever it is, is the thing that they will take with them. It is what they earn from all their hard-fought struggles. 

Once K is eaten J seems to be on his own with a massive alien cockroach. This is a pretty bad spot for the rookie agent. What’s worse is the Arquillian clock is still ticking. Edgar, the cockroach, is about to escape Earth, with the galaxy, sealing the planet’s fate. 

All seems lost until J claims his reward. In this case, that reward comes in the form of an insight J has about Edgar. Being a giant cockroach, J realizes that Edgar may have a weakness for his Earth-bound counterparts. So, J kicks out a dumpster and starts to smash all the scurrying bugs under his foot. 

J guesses correctly, and Edgar is momentarily distracted by J’s actions. Edgar climbs down from his ship to confront J. Agent K, who is still alive in Edgar’s stomach, can activate a gun, and blow Edgar in two.  J’s reward is the knowledge that he is no longer a rookie, and he is strong enough for this job. J also captures a physical treasure. After Edgar has exploded, J finds the galaxy which Edgar had swallowed earlier in the film. In this scene, both dramatic questions are answered. The MIB can save the world. And, J is strong enough for the MIB.  

• What reward will your hero win?
• A physical treasure, hidden knowledge, inner wisdom, or all of the above? 

The Road Back 

At this point, your hero has had some success in their quest and is close to returning to the ordinary world. Your hero has experienced a change from their time in the special world. This change might make your hero’s return difficult. Similar to when your hero crossed the threshold, your hero may need an event that forces them to return. 

The road back must be a dramatic turning point that heightens stakes and changes the direction of your story. This event will also re-establish the dramatic question of your story. This act may present a final challenge for your hero before they can return home. 

In Men In Black, the road backstage gets a little tricky. The film establishes that when J crosses the threshold he is not able to go back to the ordinary world. His entire identity is erased. Having J go back to his life as a detective would also undo his character growth and leave the audience feeling cheated. Luckily, the filmmakers work around this by having K return to the ordinary world rather than J. 

After Edgar is defeated, K tells J that he is retiring from the MIB and that J will step in as K’s replacement. The movie establishes early that agents can retire, but only after having their memory wiped. So, K asks J to wipe his memory so that he can return to a normal life. Once again, J has to grapple with the question of whether he is strong enough for this job. Can he bring himself to wipe K’s memory and lose his mentor forever? Can he fill K’s shoes as an MIB agent? 

• How will your hero have to recommit to their journey? 
• What event will push your hero through their final test? 
• What final test will your hero face before they return to the ordinary world? 

Resurrection 

This is the final act of your story. The hero will have one last glorious encounter with the forces that are set against them. This is the culminating event for your hero. Everything that has happened to your hero has prepared them for this moment. 

This can also be thought of as a rebirth for your hero. A moment when they shed all the things that have held them back throughout the story. The resurrection is when your hero applies all the things they’ve learned through their journey. 

The final moment can be a physical battle, or again, it can be metaphorical. This is also a moment when allies return to lend a last-minute hand. But, as with any ending of a story, you need to make sure your hero is the one who saves the day. 

So, here’s where things start to get a little clumsy. There are a couple of moments that could be a resurrection for our hero J. It could be the moment he faces off with Edgar. This is right before Edgar is killed. But, it’s K that pulls the trigger and kills Edgar. Based on our explanation J needs to be the one who saves the day. Maybe by stalling for time J is the one responsible for saving the day? It’s hard to say what the filmmakers’ intention was here. 

The second moment that could represent a resurrection for J might be when he wipes K’s memory. It is the final dramatic hurdle that J faces before he can become a true Man in Black. But, this moment doesn’t resolve the conflict of the film. 

Notice that the Hero’s Journey framework isn’t always followed to the letter by all storytellers. We’ll get back to this point at the end of the article. 

• What final challenge will your hero face? 
• How will your hero use the skills they’ve used to overcome their last challenge?
• How will your hero’s allies help save the day?  

Return with the Elixir

The ending of your story. Your hero returns to the ordinary world, but this time they carry with them the rewards earned during their journey. They may share these rewards with others who inhabit the ordinary world. But most important, is that you show that your hero has changed for the better. 

The elixir represents whatever your hero gained on their journey. Remember, the elixir can be an actual physical reward like a treasure. But, the elixir can also be a metaphorical prize like knowledge or a feeling of fulfillment.  This is a moment where your hero will return some sort of balance to the ordinary world. 

Be sure to show that the journey has had a permanent effect on your hero. 

In the final scene of the movie, we see that J has taken on a mentor role for Dr. Weaver, an MIB recruit now. He has physically changed- his clothes are more representative of his personality. This physical transformation is meant to show that J has fully embraced his new life and journey. No longer a rookie, J has stepped into his mentor, K’s, role. 

• How will you show that your character has changed from their journey? 
• What reward will they bring back to the ordinary world? 
• In what way will they change the ordinary world when they return? 

Should I Use the Hero’s Journey for My Story? 

This is a question you should ask yourself before embarking on your journey. The Monomyth works well as a framework. This is pretty obvious when you realize how many films have used it as a plotting device. 

But there’s a downside to the popularity of the Monomyth. And that’s that audiences are very familiar with the beats of this kind of story. Sure, they may not be able to describe each of the twelve sections in detail. But, audiences know, intuitively, what is going to happen in these stories. At the very least, audiences, or readers, know how these stories are going to end. 

This isn’t necessarily a bad thing. If your story is exciting, well-paced, and the stakes are high, people aren’t going to mind some predictability. But, if you want to shock your readers- 

(And if you’re interested in how to shock readers with a plot twist, click here. )

this might not be the best story structure. And, despite how popular it is, the hero’s journey ain’t the only game in town when it comes to story structure. And, you can always take artistic liberty with the Hero’s Journey. The fact that audiences are expecting certain beats means you have an opportunity to subvert expectations. 

You can skip parts of the hero’s journey if they don’t fit your plot. With my example, Men In Black it was difficult to fit the story neatly into the hero’s journey framework. This is because aspects of the movie, like the fact that it’s a buddy comedy, don’t always jive with a hero’s journey. Agent K has an important character arch, and so he ends up killing the villain rather than J. But, K’s arch isn’t at all a hero’s journey. 

The point is, don’t feel locked in by any single structure. Allow yourself some freedom to tell your story. If there’s no purpose to a resurrection stage in your story then skip it! No one is going to deduct your points. 

With that said, here are a few resources on the Hero’s Journey, and some alternate plot structures you’ll want to check out! 

This post contains affiliate links to products. We may receive a commission for purchases made through these links

Further Reading on Plot Structure and the Hero’s Journey

If you’d like to learn more about the Hero’s Journey, or Monomyth, why not go straight to the source? The Hero With 1000 Faces is a collection of work written by Joseph Campbell. His version of the hero’s journey has 17 stages. This is less of a writing manual and more of an exploration of the evolution of myth and storytelling through the ages. 

The Seven Basic Plots , by Christopher Booker, is another academic study of storytelling by Christopher Booker. Booker identifies seven basic plots that all stories fit into. They are: 

• Overcoming the Monster
• Rags to Riches
• Voyage and Return

The Snowflake Method is a teaching tool designed by Randy Ingermanson that will take you through a step-by-step process of writing a novel. The Snowflake Method boils down the novel-writing process six-step process. You will start with a single sentence and with each step you build on that sentence until you have a full-fledged novel! If you’re love processes then pick up a copy of this book today.  

In The Writer’s Journey: Mythic Structure for Writers, Hollywood consultant, Christopher Vogler teaches writers how to use the Hero’s Journey to write riveting stories.

Resources: 

Wikipedia- Joseph Campbell

Wikipedia- Hero With 1000 Faces

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I don’t understand the use of all those pictures/graphics you threw in as I was reading. They were extremely distracting and seriously detracted from whatever message you were trying to convey.

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8 Epic Journeys in Literature

Reading Lists

Micheline aharonian marcom, author of "the new american," recommends quest stories.

The journey story, where the hero must venture out into the world for reasons not necessarily entirely of his/her own devising, is likely as old as recorded literature.

Of course the journey story can also be understood as an allegory of the self, or soul, and its evolution in a lifetime, for storytelling is always an act, as Ann Carson says, “of symbolization.” In this sense, the journey story not only narrates the material events of a life, but also the interior transformations an individual undergoes.

As I wrote my seventh novel, The New American —which takes up the story of a young Guatemalan American college student at UC Berkeley, a DREAMer who is deported to Guatemala and his journey back home to California—I thought a lot about these kinds of archetypal stories in imaginative literature. Here are a few of my favorites. 

The Epic of Gilgamesh, or He Who Saw Deep translated by Andrew George

The epic poem, one of oldest works of world literature, was composed in its earliest versions over 4,000 years ago in Mesopotamia and written in Babylonian cuneiform on clay tablets. Much of the reason it is lesser known than the younger works of Homer is because the epic itself was not rediscovered until 1853, cuneiform was not deciphered until 1857, and it wasn’t well translated until 1912. Fragments of the story on stone tablets continue to be found in modern-day Turkey, Iraq and Syria.

The basic story follows the King Gilgamesh of Uruk (modern-day Warka, Iraq) and his friendship with the wild man Enkidu. They undergo various battles including fighting and defeating the bull of heaven. Later, upon Enkidu’s death, Gilgamesh journeys to the edge of the earth where he goes in search of the secret of eternal life and, not finding it, returns home to Uruk having in some manner, in spite of life’s sorrows and travails, made peace with his own mortality.

“Ever do we build our households, ever do we make our nests, ever do brothers divide their inheritance, ever do feuds arise in the land. Ever the river has risen and brought us the flood, the mayfly floating on the water. On the face of the sun its countenance gazes, then all of sudden nothing is there!”

The Odyssey by Homer

Written down, along with the Iliad , soon after the invention of the Greek alphabet around the 8 th -century BCE, the epic poem sings of Odysseus’ return home after the Trojan War and his encounters with monsters, the Sirens, shipwrecks, and captivity by Calypso on her island until he finally makes it back to Ithaca. Because the poem survived more or less continuously until modern times and has had influence in so many cultures for millennia (unlike the more recently rediscovered and older Gilgamesh ), there’s no need to reiterate a narrative which so many of us already know, either directly or through the many stories the poem has inspired and influenced. One of my favorite moments comes in Book 14 when Odysseus finally makes it to Ithaca after ten years of traveling and, disguised as a beggar, seeks out Eumaeus the swineherd, who, not recognizing Odysseus, asks “But come…tell me of thine own sorrows, and declare me this truly, that I may know full well. Who art thou among men, and from whence?” These lines have seemed to me to in some way encapsulate some of storytelling’s most basic questions across the ages. 

The Divine Comedy by Dante

Written after Dante had been sent into exile from his beloved city of Florence, the Commedia tells of the pilgrim’s descent into hell, his travel through purgatory, and eventually his ascent to paradise, with the Roman poet Virgil as his first guide, and later his beloved, Beatrice. The Commedia —the adjective “divine” in the title wasn’t added for several hundred years—begins with “Nel mezzo del cammin di nostra vita/mi ritrovai per una selva oscura” which can be translated from the Italian to “Midway through the road of our life I found myself in a dark wood.” This is another line from literature that has haunted me for years, not only for the allegorical  “dark wood” many of us might at times find ourselves lost in, but at Dante’s strange use of the word “our” even though the Commedia will tell of one pilgrim’s journey and search for the right way. The first person plural points, I think, to the common story of seeking meaning, understanding, and wisdom, and how in the case of this beautiful work, the company of literature with its manner of encoding in the song of language (even if you don’t speak Italian, read a few lines out loud and you can hear the poem’s rhythms) is a blessing in any reader’s life’s journey. 

Don Quixote by Miguel de Cervantes Saavedra, translated by John Rutherford

Alfonso Quixano has read too many chivalric romances (popular in 15 th and 16 th -century Europe), has gone mad from his reading, and now confuses reality with fantasy: he imagines himself the knight-errant Don Quixote and he determines to set off in search of adventure. From that premise, we journey through the countryside with our knight errant and his squire, Sancho Panza, as they slay giants (windmills) and defend the honor of his lady-love, Dulcinea del Toboso (a neighboring farm girl), who doesn’t actually ever appear in the story. In addition to being an amusing, laugh-out-loud tour de force of strange encounters as the pair travel across La Mancha, the reality of the violence, ignorance, and venality—not of Don Quixote, but of the society in which he lives in 17 th -century Spain—of corrupted clergy, greedy merchants, deluded scholars, and the like, is on full display. To this day, Don Quixote continues to reveal the joyous role of reading in our lives, how fictions make for all kinds of realities, and how very often it is the fool who sees the truth.

“When life itself seems lunatic, who knows where madness lies? Perhaps to be too practical is madness. To surrender dreams—this may be madness. Too much sanity may be madness—and maddest of all: to see life as it is, and not as it should be!”

Season of Migration to the North by Tayeb Salih

Tayeb Salih’s mid 20th-century masterpiece is narrated by an unnamed young scholar who returns from England to his village on the Nile after seven years of study abroad and encounters a mysterious newcomer, Mustafa Sa’eed, who also lived for many years in the north. The novel takes up the many complexities and legacies of colonialism in post 1960s Sudan, the difficulties of encroaching modernity, the tragedy of Sa’eed’s life in England, and the intricate web of communal relationships in a traditional village. It is some of the women characters, especially the irreverent and bawdy storyteller, Bint Majzoub, very much like a storyteller out of the Nights , who regales the elder male listeners with bawdy tales, that has stayed in my imagination since I first read the book a decade ago. But it is the style of the book, its formal narrative complexity and interplay, the beauty of its prose, its deep and complex interrogation of the self in the world, that have made it a book I continue to return to. “How strange! How ironic! Just because a man has been created on the Equator some mad people regard him as a slave, others as a god. Where lies the mean?”

The Bear by William Faulkner

The journey here is into the woods to hunt Old Ben, the last remaining brown bear of his kind and stature in the quickly diminishing woods of Mississippi at the turn of the 19 th -century. As with so much of Faulkner’s work, the writing is sublime, the form strange, the land is a character, and we witness the maw of industrial capitalism as it reduces everything—animals, the land, people—to a ledger of profits and loss. The last scene of the illiterate woodsman, Boon, in a clearing—the land by then has been sold, Old Ben is dead, and loggers will imminently cut the remainder of the old woods down—sitting beneath a lone tree with squirrels running up and down its trunk screaming “They’re mine!” has long haunted me.  

Invisible Cities by Italo Calvino

Italian writer Italo Calvino’s fantastical novel is about the imagined conversations between the 13th-century Venetian traveler, Marco Polo, and the Tartar Emperor Kublai Khan of the cities Polo has seen during his travels. The book, however, is mostly made up of descriptions of cities—fantastical forays not into any visible or historical cities, but imaginary invented ones: both ones that might have been and could be, and ones which perhaps did or do exist but are now transformed by the lens of story and distilled to their strange often wondrous essences. Calvino reminds us in this glorious book how the stories we tell greatly shape our thinking, our cultural formations, our views. “You take delight not in a city’s seven or seventy wonders, but in the answer it gives to a question of yours.”

Their Eyes Were Watching God by Zora Neale Hurston

When I think of Hurston I recall her description in her essay “ How It Feels to Be Colored Me ” of the “cosmic Zora” who would emerge at times as she walked down Seventh Avenue, her hat set at a certain angle, who belonged “to no race nor time. I am the eternal feminine with its string of beads.” In Hurston’s extraordinary novel, Their Eyes Were Watching God , the eternal and timeless qualities of imaginative literature are on full display in the very specific groundings of place and time, spoken language and culture. The book opens with Janie Crawford recounting her life story to her friend Pheoby upon her return to the all-Black town of Eatonville, Florida. The book, set in the 1930s, follows Janie’s narration of her early life, her three marriages (the last for love), and the many trials she undergoes including the death of her beloved during her travels, before she finally returns changed, wiser, independent. “You got tuh go there tuh know there…Two things everybody’s got tuh do fuh theyselves. They got tuh go tuh God, and they got tuh find out about livin’ fuh theyselves.”

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The Hero’s Journey: 12 Steps That Make Up the Universal Structure of Great Stories

by David Safford | 0 comments

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At some in your writer's life, you've probably come across the term Hero's Journey. Maybe you've even studied this guide for storytelling and applied it to your own books—and yet, something about your own application felt off. You wanted to learn more, but didn't know where to start.

Maybe you needed a resource that would simplify the hero's journey steps and all the other major details instead of complicate them.

The Hero's Journey is as old as humanity itself. And through history, this single story form has emerged over and over again. People from all cultures have seemed to favor its structure, and its familiar types of characters (archetypal hero, anyone?), symbols, relationships, and steps.

If you want to build or strengthen your writing career and win a following of many happy readers, you want this particular tool in your writer's toolbox.

Let's dive in.

Need help applying The Hero's Journey to your story outline and manuscript? Download this free Hero's Journey worksheet now!

Why I Love the Hero's Journey (And You Will, Too)

Like many, I grew up loving Star Wars. I especially loved the music and bought the soundtracks at some point in middle school. When my parents weren't home and I had the house all to myself, I'd slip one of the CDs into my stereo, crank the volume up, and blast the London Symphony Orchestra. I even pretended I was conducting the violins and timpani myself.

I know it's nerdy to admit. But we love what we love, and I love the music of great movies.

In a way, the Hero's Journey is like a soundtrack. It follows familiar beats and obeys age-old principles of human emotion. We can't necessarily explain why a piece of music is so beautiful, but we can explain what it does and simply acknowledge that most people like it.

As I've come to understand Joseph Campbell's groundbreaking monomyth theory, commonly known as the Hero's Journey, I've fallen deeper and deeper in love with it.

But it's important to make sure you know what it is, and what it isn't.

The Hero's Journey isn't a formula to simply follow, plugging in hackneyed characters into cliched situations.

It's not “selling out” and giving up your artistic integrity

The Hero's Journey is a set of steps, scenes, character types, symbols, and themes that tend to recur in stories regardless of culture or time period. Within these archetypes are nearly infinite variations and unique perspectives that are impacted by culture and period, reflecting wonderful traits of the authors and audiences.

Also, the Hero's Journey is a process that your reader expects your story to follow, whether they know it or not. This archetype is hard-wired into our D.N.A. Let's look at how to use it to make your own stories stronger.

How to Use This Hero's Journey Post

In the beginning, there were stories. These stories were told by mothers, soldiers, and performers. They were inscribed on the walls of caves, into tablets of stone, and on the first sheets of papyrus.

This is how the Hero's Journey was born.

In this post, I'll walk you through the Hero's Journey twelve steps, and teach you how to apply them into your story. I'll also share additional resources to teach you some other Hero's Journey essentials, like character archetypes, symbols, and themes. By the end of this post, you'll be able to easily apply the Hero's Journey to your story with confidence.

And don't skip out on the practice exercise at the end of the post! This will help you start to carve out the Hero's Journey for your story with a practical fifteen minute exercise—the best way to really retain how the Hero's Journey works is to apply it.

Table of Contents: The Hero's Journey Guide

What is the Hero's Journey?

Why the Hero's Journey will make you a better writer

The Twelve-Step Hero's Journey Structure

• The Ordinary World
• The Call to Adventure
• The Refusal of the Call
• Meeting the Mentor
• Crossing the Threshold
• Trials, Allies, and Enemies
• The Approach
• The Road Back
• The Resurrection
• Return With the Elixir

5 Essential Hero's Journey Scenes

A Guide to Structuring Your Hero's Journey

Bonus! Additional Hero's Journey Resources

• 5 Character Archetypes
• 5 Hero's Journey Symbols
• 5 Hero's Journey Themes

What Is the Hero's Journey?

The Hero's Journey is the timeless combination of characters, events, symbols, and relationships frequently structured as a sequence of twelve steps. It is a storytelling structure that anyone can study and utilize to tell a story that readers will love.

First identified and defined by Joseph Campbell, the Hero's Journey was theorizied in The Hero With a Thousand Faces . Today, it has been researched and taught by great minds, some including Carl Jung and Christopher Vogler (author of The Writer's Journey: Mythic Structure for Writers ).

This research has given us lengthy and helpful lists of archetypes , or story elements that tend to recur in stories from any culture at any time.

And while some archetypes are unique to a genre, they are still consistent within those genres. For example, a horror story from Japan will still contain many of the same archetypes as a horror story from Ireland. There will certainly be notable differences in how these archetypes are depicted, but the tropes will still appear.

That's the power of the Hero's Journey. It is the skeleton key of storytelling that you can use to unlock the solution to almost any writing problem you are confronted with.

Why the Monomyth Will Make You a Better Writer

The Hero's Journey is the single most powerful tool at your disposal as a writer.

But it isn't a “rule,” so to speak. It's also not a to-do list.

If anything, the Hero's Journey is diagnostic, not prescriptive. In other words, it describes a story that works, but doesn't necessarily tell you what to do.

But the reason you should use the Hero's Journey isn't because it's a great trick or tool. You should use the Hero's Journey because it is based on thousands of years of human storytelling.

It provides a way to connect with readers from all different walks of life.

This is why stories about fantastical creatures from imaginary worlds can forge deep emotional connections with audiences. Hollywood knows this, and its best studios take advantage. As an example, The Lord of the Rings, by J. R. R. Tolkien, contains mythical creatures like elves and hobbits. Yet it is Frodo's heroic journey of sacrifice and courage that draws us to him like a magnet.

Learn how to easily apply the Hero's Journey 12 Steps to your books in this post. Tweet this

Step 11: Resurrection

Everything in the Hero's Journey leads up to this climactic step: the Resurrection. In this scene, the Hero must face the story's evil in an ultimate way, often in the actual final battle (after the fake-out ending in Step 10). Then the Hero must  suffer a form a death. It may not be literal, actual death; but it must be a death, regardless. During this death, the hero is often trapped somewhere, like a dungeon or the “belly of the whale.”

Then the Hero must be resurrected. This is not easy to pull off. It requires careful planning and revision when the details don't add up exactly as you'd like. But through their own power, skill, righteousness, cleverness, or kindness to others, the Hero must earn a resurrection that brings them back into the fight.

Learn more: Hero's Journey Step #11: The Resurrection

Step 12: Return With the Elixir

The conclusion of your Hero's Journey necessitates some kind of return. This is a return to the original Ordinary World, or a return to the community of the world if it has had to relocate.

When they return, the Hero brings back gifts and blessings, an ultimate boon that usually takes physical form, like food, rain, or safety. However, it also takes spiritual form, as in hope, faith, and love. The Hero must  bring these gifts back and share them with their community. It is essential to your reader's experience of catharsis, and represents the apotheosis of the story's themes and values.

Learn more: Hero's Journey Step #12: Return With the Elixir

Inside the Steps: 5 Essential Hero's Journey Scenes

One final way to do this is by noting checkpoints as they outline and/or verify if and how the Hero's Journey works in their story.

To distill this lengthy structure into an easy checklist, writers need to learn how to plan and draft five scenes that are the building blocks of a well-written Hero's Journey. I cover each of these in their own individual post, which I highly recommend you check out:

Scene One: “Choice to Go” 

Two: “Initation” 

Scene Three: “Task” 

Four: “All Hope is Lost” 

Scene Five: “Hero Returns with the Ultimate Boon”

Structure is an extremely subjective matter to storytellers. It is the source of the schism between so-called “Planners” (those who write with a plan) and “Pantsers” (those who write by the seat of their pants ).

No matter where your preference lies, there are principles of storytelling that can benefit you on your mission to write a great story with a solid, timeless Hero's Journey at its core.

In order to help you apply the Hero's Journey Twelve Steps to your story, consider these three (practical!) principles of solid story structure:

1. Divide Your Story Into 3 Acts

How does Three-Act Structure overlap with a Twelve-Step Hero's Journey? It's actually not that complicated. Usually, the Three-Act Hero's Journey looks like this.

Act 1 = Steps 1 through 5

The Beginning of your story shows the reader the Hero's Ordinary World, their Call to Adventure and Refusal, the introduction and early work of the Mentor, and the Hero's “Choice to Go,” or Crossing of the Threshold.

Act 2 = Step 6

Yup. All of Act Two, the Middle Build, is a single Step: Trials, Allies, and Enemies. This is why it's essential to realize that this Step uses the entire twelve-step structure within itself, and must put the Hero to the test a number of times on their journey toward the final goal.

Act 3 = Steps 7 through 12

The Ending of the story begins when the Hero pauses to Approach the final Ordeal. It then proceeds to the major Ordeal, the Reward and consequential false ending, any Road Back that may be involved, the ultimate showdown resulting in Resurrection, and the Hero's triumphant Return with the Elixir.

2. Use Word Counts to Plan Your Drafting

There are benefits to generating an idea of how many words and chapters you should be writing. If that sounds like too much planning for you, consider this question: Do you like wasting time?

I don't. And I'd prefer to waste as little as possible. That's one of the great benefits of planning your writing with word counts in mind.

Knowing a rough estimate of how a Hero's Journey could break down by the numbers can help you plan, write, and edit a novel with a steady and strong pace. And simultaneously, it's likely that this road map will give you even more motivation to finish your story.

You might also consider devoting certain percentages of your time to the Beginning, Middle, and Ending of your book, which I'll cover more in a future post.

3. Specifically Plan Your Steps

Once you've made upon a rough word count estimate, you can plan your steps quite deliberately. As you complete this process, you can alter your estimate as well.

With this kind of plan in place, you can determine when it's time to move on to the next step as you draft. This isn't to “follow the rules,” but to stay attuned to the kind of stories that readers love and have loved for thousands of years.

With this in mind, you'll be able to use the Hero's Journey as a guide that provides a massive canvas for you to freely paint upon—and one that will come in extreme convenience as you study and apply the Twelve-Step Hero's Journey.

Hero's Journey Examples

Learning these concepts one-by-one is certainly useful, but might not help you see the power in a well-told, well-structured Hero's Journey story.

In order to really master the Hero's Journey, you can explore popular books and films that use these steps and archetypes with expert artistry.

These three examples were a turning point in my writing career while studying the Hero's Journey:

Example #1: Star Wars

Perhaps the most obvious Hero's Journey example, Star Wars  contains a feast of archetypes and structural choices that will help us see Campbell's work in action.

As an appetizer, I explore some Hero's Journey essentials in Star Wars in its own post. In it, I discuss topics like the ways Luke Skywalker is an ideal Hero,  and how on his journey, Luke faces the villainous Darth Vader, the story's Shadow . And who could forget the mysterious supernatural aid: Luke's Mentor , Obi-wan?

Whether you love or hate George Lucas's space opus (and/or what Disney has done with it since 2012), the films of the Star Wars  universe are excellent examples to study and learn from.

Learn more: Discover ALL the ways  Star Wars  uses archetypes here!

Example #2: Toy Story

Few Hollywood studios regularly utilize the Hero's Journey to incredible effect more than Pixar. In its first outing, Toy Story,  Pixar successfully told two  Hero's Journeys for both Sheriff Woody and Buzz Lightyear. In subsequent sequels, it would recapture the magic, taking its cowboy protagonist along a sequence of heroic steps that resonant with the human experience.

For example, Woody begins in an Ordinary World  in which he comfortably runs Andy's bedroom; he's Called to Adventure  when a new toy arrives and challenges him for the role of Andy's favorite toy; and he Refuses the Call  by choosing a crooked path, in which he attempts to have Buzz knocked into a corner where Andy won't find him.

As you can imagine, the story continues from there, with Woody and Buzz split between two worlds, and our heroes choices seem to perfectly follow the Hero's Journey as they attempt to reunite with Andy and forge a relationship that isn't purely antagonistic.

Beloved by generations of audiences, Toy Story  is an ideal work to focus on as we study Campbell's work.

I ‘ll breakdown the Hero's Journey Twelve Steps in this iconic film in a future post. 

Example #3: The Hunger Games

The dystopian genre is filled with unlucky heroes who realize that their worlds are broken, only to rise up against invincible forces. In one of the most popular of these stories, Suzanne Collins's The Hunger Games,  follows a dirt-poor girl on a quest to unseat a tyrant and bring justice to Panem. As you certainly expected, The Hunger Games  is a perfect case study of the power of myth to bring a fantastic world into stark reality.

For example, Katniss Everdeen, the story's hero, follows in the footsteps of many other protagonists by bearing a Magic Weapon,  or object that seems to heighten the hero's powers and reveal his/her greatness.

Once out of her comfort zone, she endures numerous Tests and Trials,  including the lengthy Task  of surviving the Hunger Games themselves. Along the way she enters a Belly of the Beast,  or cave, where she must nurse her partner Peta back to health. And in the story's gripping conclusion, Katniss must survive an onslaught of Creatures of Nightmare  as the “Mutts” swarm the Cornucopia where she and Peta must make their last stand.

These situations, symbols, and more appear all throughout the Hunger Games trilogy, and I'll share exactly how these Hero's Journey essentials apply in a future post. 

Additional Examples of The Hero's Journey

These three stories are by no means the only examples of the monomyth executed to perfection. Some other stories great for analyzing the Hero's Journey could include:

• The Lord of the Rings,  by J.R.R. Tolkien
• Harry Potter,  by J.K. Rowling
• Pixar's Ratatouille
• Pixar's WALL-E
• Back to the Future
• The Great Gatsby
• Pride and Prejudice,  by Jane Austen
• Alien and Aliens  (directed by Ridley Scott and James Cameron, respectively)

BONUS! Additional Hero's Journey Resources

Applying the Hero's Journey steps to your story will connect with readers on a human level. However, that's not the only insight you can learn from the Hero's Journey. If you're up for it, learn more about why the Hero's Journey touches readers with these bonus essentials.

Hero's Journey Character Archetypes

Every story begins with great characters, and the Hero's Journey is the study of recurring character types , known as archetypes.

A character archetype is a character type that serves a specific role in a story and tends to reoccur in myths, legends, and stories across genres, cultures, and time periods.

In order to be properly utilized, a character archetype must fulfill its set purpose while exhibiting new, innovative traits. There are several important character archetypes used in heroic storylines—especially these five: hero, shadow, loyal retainer, mentor, and threshold guardians.

Learn more: Hero's Journey Character archetypes that will make your story awesome

5 Hero's Journey Symbols to Use

A Hero's Journey Symbol, also known as a symbolic archetype , is an object, location, or image in a story that contains more than one functional meaning. It has both a physical meaning in the story world and a thematic meaning for the reader to interpret.

Within your Hero's Journey scenes and relationships, you can use objects and small events to add even more thematic significance to your story.

Read more about five effective Hero's Journey symbols here:

1. “Light vs. Darkness” Symbol

2. “Magic Weapon” Symbol

3. “Underworld” Symbol

4. “Castle” Symbol

5. “Unhealable Wound” Symbol

5 Hero's Journey Themes to Explore

A Hero's Journey Theme is a relationship between two opposite ideas or elements. Throughout the story, the pros and cons of each idea/element are explored, with the Hero making high stakes choices in the context of this conflict-filled relationship. The conclusions the reader comes to about this relationship are its themes.

Read about five favored Hero's Journey themes in these posts:

1.   “Good vs. Evil” Thematic Relationship

2. “ Have n vs. Wildnerness” Thematic Relationship

3. “Nature vs. Machine” Thematic Relationship

4. “Father vs. Son” Thematic Relationship

5. “Sibling vs. Sibling” Thematic Relationship

It's Time to Tell Your Hero's Journey

Star Wars, Toy Story,  and The Hunger Games  are just three members of a near-limitless collection of stories, new and old, that use the Hero's Journey structure and archetypes to thrill readers.

The next, I hope, will be written by you!

Use the Hero's Journey Twelve Steps to outline, write, and/or edit your book—and touch all your readers on a human level.

Have you applied the Hero's Journey to your stories  before? How did it go?  Let us know in the comments .

There's no way to write a full Hero's Journey novel in just fifteen minutes. But you  can plot out your next story according to the Hero's Journey, which is what I encourage you to do.

For today, spend fifteen minutes writing a story premise that (1) you're eager to write, and (2) you can use to outline the Hero's Journey. Then, if you're up for it, journal about how the twelve steps in the Hero's Journey could apply to this story idea.

Write your ideas in the Pro Practice Workshop here . When you're done, leave some feedback for your fellow writers, as well!

David Safford

You deserve a great book. That's why David Safford writes adventure stories that you won't be able to put down. Read his latest story at his website. David is a Language Arts teacher, novelist, blogger, hiker, Legend of Zelda fanatic, puzzle-doer, husband, and father of two awesome children.

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The Hero’s Journey: A Classic Story Structure

Writing a compelling story, especially if you’re new at this, can be grueling.  

Conflicting advice online can overwhelm you, making you want to quit before you’ve written a word.

But you know more than you think.

Stories saturate our lives. We talk, think, and communicate with story in music, on television, in video games, in books, and in movies.

Every story, regardless of genre or plot , features a main character who begins some adventure or quest, overcomes obstacles, and is transformed.

This is generically referred to as The Hero’s Journey, a broad story template popularized by Joseph Campbell in his The Hero with a Thousand Faces (1949).

In essence, every story ever told includes at least some of the seventeen stages he outlined .

In 1985, screenwriter Christopher Vogler wrote a memo for Disney titled The Practical Guide to Joseph Campbell’s The Hero with a Thousand Faces that condensed the seventeen steps to twelve.

The Hero’s Journey template has influenced storytellers worldwide, most notably George Lucas (creator of Star Wars and Indiana Jones ).

Vogler says of Campbell’s writings: “The ideas are older than the pyramids, older than Stonehenge, older than the earliest cave painting.”

The Hunger Games by Suzanne Collins is a prime example of The Hero’s Journey, so I use “she” inclusively to represent both genders.

• The 3 Hero’s Journey Stages

1. The Departure (Separation)

The hero is compelled to leave her ordinary world.

She may have misgivings about this compulsion, and this is where a mentor may come to encourage and guide her.

Example: Katniss Everdeen is a devoted sister, daughter, and friend. She’s an avid hunter, well acquainted with the forbidden forest outside District 12, where she and her friend Gale hunt to keep their families from starving. The Hunger Games, wherein only one winner survives,  loom, and she fears she or one of her friends will be chosen. 

2. Initiation

The hero crosses into the other world, where she faces obstacles.

Sometimes she’s alone, sometimes she’s joined by a companion. Maybe a few.

Here she must use the tools she’s been given in her ordinary life to overcome each obstacle. She’ll be rewarded, sometimes tangibly.

Eventually she must return to the ordinary world with her reward.

Example: District 12’s Representative and Stylist Effie Trinket arrives to choose the Tributes who will compete in The Hunger Games. 

Katniss and her family attend, and she breathlessly wills Effie not to draw her name. She gets her wish, but to her horror, her little sister Primrose is chosen. 

Peacekeepers shove Prim toward the stage before Katniss volunteers to take her place. She’s joined by the male tribute, the baker’s son Peeta. They are soon whisked away for training and then the competition. 

The hero crosses the threshold back into her ordinary world, which looks different now. She brings with her the rewards and uses them for good.

Example: Unexpectedly, Katniss and Peeta are told there can be two victors instead of one. But Katniss and Peeta, to the dismay of the Capitol, decide they’ll die together or emerge as victors together. They emerge not only as victors, but also as celebrities. They have changed in unimaginable ways. 

• The 12 Hero’s Journey Steps (and How to Use Them)

1 — Ordinary  World

Before your hero is transported to another world, we want to see her in her ordinary world—who is she when no one is watching? What drives her?

This sets the stage for the rest of your story , so show her human side. Make her real and knowable.

But don’t wait long to plunge her into terrible trouble. Once you give your readers a reason to care, give them more to keep them turning the pages.

Example: Katniss Everdeen is introduced as a teenager for whom life isn’t easy. Her father is dead, her mother depressed, and Katniss will do anything to provide for her family and protect her little sister. 

2 — The Call to Adventure

This is the point at which your hero’s world can never be the same. A problem, a challenge, or an adventure arises—is she up to the challenge?

Example: The Reaping, where Katniss volunteers to take Prim’s place. 

3 — Refusal of the Call

Occasionally, a hero screeches to a halt before the adventure begins. When faced with adversity, she hesitates, unsure of herself.

She must face her greatest fears and forge ahead.

Example: There is no refusal of the call in The Hunger Games. Katniss eagerly steps forward. 

4 — Meeting With the Mentor

The mentor may be an older individual who offers wisdom, a friend, or even an object, like a letter or map.

Whatever the form, the mentor gives your hero the tools she needs for the journey—either by inspiring her, or pushing her in the direction she needs to go.

Example: Katniss is introduced to Haymitch the minute she reaches the stage to accept the challenge. He’s the only person from District 12 to have ever won The Hunger Games. She’s not initially impressed, but he eventually becomes her biggest ally. 

5 — Crossing the First Threshold

In the final step of the departure phase, your hero musters the courage to forge ahead, and the real adventure begins.

There’s no turning back.

By now, you’ve introduced your hero and given your readers a reason to care what happens to her. You should have also introduced the underlying theme of your story .

Why is it important for your hero to accomplish this task?

What are the stakes?

What drives her?

Example: Katniss is transported via train to the Capitol to begin training for The Hunger Games. She’s promised Prim she’ll do everything in her power to return home.

Your hero is laser focused, but this is the point at which she faces her first obstacle. She will meet her enemies and be forced to build alliances. She will be tested and challenged.

Can she do it?

What does she learn in this initiation phase?

Example: Katniss meets her competitors for the first time during training and is able to watch them to get a sense of what challenges lie ahead.  

6 — Tests, Allies, and Enemies

Things have shifted in the new world. Danger lies ahead. Alliances are formed, chaos ensues.

Your hero may fail tests she’s confronted with at first, but her transformation begins. She has the ability and knowledge to accomplish her tasks, but will she succeed?

Example: The Hunger Games begin. Tributes die. Katniss fights without water or a weapon. Her allies are Peeta and young Rue (the 12-year-old Tribute from District 11). The strongest players have illegally spent their young lives training for The Hunger Games and loom as her enemies from the start. 

7 — Approach to the Inmost Cave

Your hero approaches danger—often hidden, sometimes more mental than physical. She must face her greatest fears time again and may even be tempted to give up. She has to dig deep to find courage.

Example: Katniss is in the arena, the games underway. There’s no escape. She’s seen death, fears she may be next, and must find water and a weapon to survive. 

8 — The Ordeal

Your hero’s darkest moment and greatest challenge so far, in a fight for her life, she must find a way to endure to the end.

This may or may not be the climax of your story, but it is the climax of the initiation stage.

During this terrible ordeal, the steepest part of her character arc takes place.

Example: Katniss faces dying of thirst (if she’s not killed by another Tribute first) and faces every obstacle imaginable, including the death of Rue, before she finally wins the battle. 

9 — Reward (Seizing the Sword)

Against all odds, your hero survives. She’s defeated her enemies , slain her dragons—she has overcome and won the reward.

Whether her reward is tangible depends on the story. Regardless, your hero has undergone a total inward and outward transformation.

Example: Peeta and Katniss stand alone in the arena, told that because they are from the same district they can both claim the victory—or can they?

10 — The Road Back

As she begins to cross the threshold back into the ordinary world, she learns the battle isn’t finished.

She must face the consequences for her actions during the initiation stage.

She’s about to face her final obstacle.

Example: The Capitol reverses and announces that only one winner will be allowed. 

11 — The Resurrection

During this climax of your story, your hero faces her final, most threatening challenge.

She may even face death one more time.

Example: Katniss and Peeta decide that if they can’t win together, there will be no winner. They decide to call the Capitol’s bluff and threaten to die together. As they are about to eat poison berries, the Capitol is forced to allow two winners. 

12 — Return With the Elixir

Your hero finally crosses the threshold back into her ordinary life, triumphant. Only things aren’t so ordinary anymore.

She’s been changed by her adventure. She brings with her rewards, sometimes tangible items she can share, sometimes insight or wisdom. Regardless, this all impacts her life in ways she never imagined.

Example: Katniss and Peeta return home celebrities. They’re given new homes, plenty of food to share, and assistants who tend to their needs. Katniss learns that her defiance of the Capitol has sparked a revolution in the hearts of residents all across Panem. 

• Hero’s Journey Examples

You may recognize The Hero’s Journey in many famous stories, including Greek Mythology and even the Bible. Other examples:

• Sleeping Beauty
• Lord of the Rings
• Indiana Jones
• Sherlock Holmes
• Pilgrim’s Progress
• The Wizard of Oz
• Should You Use The Hero’s Journey Story Structure?

Structure is necessary to a story , regardless which you choose. Because the Hero’s Journey serves as a template under which all story structures fall, each bears some variation of it.

For fiction or nonfiction, your story structure determines how effectively you employ drama, intrigue, and tension to grab readers from the start and keep them to the end.

For more on story structure, visit my blog post 7 Story Structures Any Writer Can Use .

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 The Hero’s Journey in Interview with a Vampire

 The Hero’s Journey in The Hunger Games

 the hero’s journey in interstellar,  the hero’s journey in harry potter and the philosopher’s stone, unlock your writing potential.

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Great adventures: five examples of a hero’s journey.

• March 2, 2020
• TEDxMileHigh Admin
• Art & Design

It’s the common thread woven throughout all storytelling. A lens that can be applied to any film or work of literature where each story will look the same. This arc of character and plot development is called the hero’s journey, and it’s everywhere.

In part one of this series , we learned what the hero’s journey is and the steps a character must take in order to fulfill their quest. We also learned that this story arc is relatable to us because our lives follow a similar pattern. If you still aren’t convinced that the hero’s journey permeates the fictional world, here are five great examples of a hero’s journey from different classics.

Spoiler Alert: If you are unfamiliar with any of these books or movies, skip them! We discuss the entirety of the story, including the end. 

Examples of a Hero’s Journey in Five Stories

This 2009 sci-fi blockbuster became the top-grossing film of all time just 47 days after it premiered. Its success is largely due to the incredible Computer-Generated Imagery (CGI) characters and visual effects that are vibrantly convincing. Underlying messages and morals such as the importance of a peoples’ culture and land conservation accompany the film. While all of these elements play a role in the resounding praise of this film, there’s another reason people loved the film: the main character followed a typical hero’s journey.

Jake Sully starts out as a paraplegic former Marine. He is chosen to be a bodyguard for a research team on a search for a new energy source on the planet Pandora. While on their mission, Sully meets Neytiri, a native of Pandora, and is quickly accepted by her and her people. Sully is then faced with the moral choice to continue his work with the team he came with, and thus destroy the sacred native land, or join the native tribes and fight back against his own people. In the end, he helps save the land and its people and makes a permanent transition from his human body to the able-bodied avatar. 

Sully’s time on Pandora is the perfect example of a hero’s journey: 

• Separation: He is called to his adventure as a bodyguard, separating himself from his otherwise ordinary life
• Initiation: The initiation stage involves his meeting Neytiri and his introduction to her native tribe, and his moral dilemma of helping the natives of Pandora or staying with his team
• Return: His return is marked by the triumph of the natives. He returns to the tribe, physically changed from a human to one of their own, and mentally a new being with a new purpose

2. Marvel’s Spiderman

Another dominating movie franchise is Marvel’s The Avengers and the superhero spin-offs that it consists of. The movies have been a force to be reckoned with in the box office. However, each character had their start as a part of a comic book. Perhaps one of the most classic of this comic-book-hero-turned-movie-star is Spiderman.

The most recent adaptation of this beloved character is in the Marvel Avenger movies and the spin-off hits. In case there is any question that he is a hero, here is his journey in three steps:

• Separation: After the iconic spider bite, Peter Parker discovers his spider-like powers, prompting his new superhero life. He needs to adapt to life as a teenager with superpowers and fight crime at the same time
• Initiation: Tony Stark (a.k.a. Iron Man) and the other Avenger superheroes recruit him to help them in their battle against their extraterrestrial enemies
• Return: In the end, Spiderman returns as Peter Parker to his normal high school life, but is changed by the knowledge of his bigger responsibility as a superhero

Marvel’s Avenger version of Spiderman follows the classic hero’s journey, but we can see a major emphasis on the introduction of a mentor throughout Parker’s adventure. Iron Man serves as a father-like figure and helps Parker not only navigate his newfound superpowers but also how to harness them and use them for good. 

  3. The Wizard of Oz

A beloved novel-turned-film story that includes wicked witches, ruby slippers, and flying monkeys. This film is known for its brilliant use of color to separate real life from the fantasy world of Oz, as well as its iconic song “Somewhere Over the Rainbow.” Dorothy’s journey, however, is different from other examples of a hero’s journey because she is a woman. (In part one we learned about the difference between a hero and heroine’s journey, and Dorothy’s yellow-brick-road path embodies a classic example.)

• Separation: After the twister drops her house in the magical land of Oz, and coincidentally on top of the Wicked Witch of the East, all Dorothy wants is to return home to Kansas
• Initiation: On her adventure, she meets three iconic friends, the scarecrow, the tin man, and the lion. They ultimately help her defeat her enemy, the Wicked Witch of the West and find the Emerald City 
• Return: Dorothy returns home to her family in Kansas only to realize she’s been on an incredible independent adventure

Like Spiderman, Dorothy also has a mentor: Glenda. She advises Dorothy to seek the Wizard of Oz at the end of the yellow brick road. 

The key to a heroine’s journey is overcoming society’s expectations of women . Dorothy does this several times throughout the film, like when she longs for adventure when the expectation is that she lives on her family’s farm. Or the expectation that her new, male friends will help her when she ultimately helps them. Finally, when Dorothy returns home on her own, proving she doesn’t need to rely on her uncles or anyone else to get what she wants.

The other stages of Dorothy’s quest make it one of the many examples of a hero’s journey, but it is this power that she finds as a woman that distinguishes her as a heroine.

4. To Kill A Mockingbird

This Pulitzer-Prize winning novel is at once a coming-of-age story and an attack of racism in the depression-ridden South. The main character and heroine, Scout Finch, grows up conflicted between how she feels and how other people think she should feel.

• Separation: When Atticus, Scout’s father, and a prominent lawyer, agrees to defend a black man in court, the implications are felt by the entire family. The two kids are alienated at school for their father’s decision
• Initiation: Their initiation stage takes up the bulk of the story. Atticus remains a prominent mentor to Scout and her conflicted societal views. The elusive Boo Radley remains a friend and helper although never showing his face. The conflict of this novel is woven throughout the story. Scout struggles to understand the racial views of those around her. There is also major discontent from the Maycomb townspeople surrounding Atticus’s decision to defend a black man
• Return: In the end, Scout finally puts a face to the name when Boo Radley saves her and her brother from a man who disapproved of their father’s case in court. She also realizes that regardless of what other people think, it’s better to do the right thing than cave into societal pressures

Scout can be seen as a heroine on her journey because she defies the expectations of her as a young girl. She also disregards what society thinks of her interactions with black people. She sees no problem with her father defending a black man in court. Although she can feel the discontent from those around her, Scout understands that a person deserves equal treatment despite their race, and she spends most of the novel making that point.

Disney characters and movies follow the hero’s journey.

• Separation: Aladdin lives as a poor “street-rat” until he fatefully meets the Genie in the Cave of Wonders. With the Genie’s help, Aladdin is transformed from poor bread-stealer to Prince Ali in order to win the heart of Princess Jasmine
• Initiation: Aladdin is confronted with not only Jafar, the hand to the Sultan but also the moral struggle of living a lie in order to impress the person he loves
• Return: In the end, Aladdin realizes no magical genie power can truly give him what he wants. After defeating Jafar, he admits to lying about who he is and why he felt he needed to be someone he wasn’t

The emphasis of the return in Aladdin’s hero journey is what is important. He met the Genie and was pushed into this magical adventure as Prince Ali. With the Genie at his side as his mentor, he is able to defeat Jafar, but he realizes the Genie can’t help him with everything. The lesson Aladdin learns about being himself in order to get what he wants is important. It proves that he has had what he needed all along—that is all he will ever need.

The Moral of the Story

From comic books to blockbusters, Pulitzer-Prize novels to classic films, these works have seen varying levels of success. Some were the biggest movies of all time and some were classic novels that are still read generations later. Despite the details in each piece, all of these stories follow the same narrative archetype—the arc of the hero’s journey.

These examples of a hero’s journey are five of many, but they are also proof that this story arc can be applied to any piece of film or literature. I encourage you to apply this arc to any and all of your favorite stories—including your own life.

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Best Short Stories for Teaching the Hero’s Journey

Looking to shake up your approach to teaching the Hero’s Journey? Whether you’re looking to replace a novel with a range of short stories or to use them as additional texts, this post reveals 8 short stories that will get the job done.

Gearing up to teach the Hero’s Journey? Before you grab your go-to book from the shelf, I urge you to consider an alternative approach—using short stories.

While there are plenty of great novels out there to emphasize the Hero’s Journey, it was always a challenge to choose just one. Did I want to go with a popular classic, like The Odyssey ? Or an engaging modern text, like The Hunger Games ? That very challenge is what first got me thinking—What if my students could dive into multiple examples of the Hero’s Journey? Besides, heroes come in all shapes and sizes, right? So, in an attempt to expose my students to a classic narrative archetype and a variety of texts, I turned to short stories. And, honestly, I haven’t turned back since.

Whether you’re looking for short stories to take center stage or serve as a stepping stone before jumping into a full-length novel, they make the perfect addition to a Hero’s Journey unit. Keep reading to learn the advantages of teaching the Hero’s Journey using short stories and 8 short story titles that are sure to enhance your lessons.

What Is the Hero’s Journey?

Whether this is your first time teaching the Hero’s Journey or you need a quick review, let’s go over the basics. The Hero’s Journey is a narrative framework coined by Joseph Campbell in his book called The Hero With A Thousand Faces , published in 1949. However, the concept and pattern of the journey have been around since the earliest days of storytelling. It outlines the transformative journey of a protagonist who overcomes obstacles, faces inner and outer challenges, and emerges with newfound strength and wisdom. 

While variations certainly exist across different narratives, cultures, and uses, the classic phases of the Hero’s Journey include the following:

• The Ordinary World: An introduction to the protagonist’s everyday life, relationships, and any challenges or limitations they face are first introduced.
• The Call to Adventure: The protagonist receives a compelling invitation or challenge that initiates the on the heroic journey.
• Refusal of the Call: The protagonist resists the call to adventure due to fear, doubt, or a sense of inadequacy.
• Meeting the Mentor: The protagonist encounters a mentor figure who provides guidance, advice, and assistance needed for the journey.
• Crossing the Threshold: The protagonist leaves the familiar and ordinary world behind and enters the unknown.
• Tests, Allies, and Enemies: The protagonist encounters various obstacles,enemies, and allies that test their will, determination and character.
• Approach to the Inmost Cave: The protagonist prepares for a significant challenge or confrontation, symbolizing their innermost fears, doubts, or weaknesses.
• Ordeal: The protagonist is pushed to their limits when faced with their greatest challenge, undergoing a transformative experience.
• Reward: After overcoming the ordeal, the protagonist is rewarded with something, often knowledge, that empowers them to continue their journey.
• The Road Back: The protagonist begins a journey back to the ordinary world.
• Resurrection: They face a final challenge, where they must apply everything they have learned and experienced.
• Return with the Elixir: The protagonist returns and is reunited with the ordinary world, having been transformed by “the elixir”—an object, knowledge, or insight—for the greater good.

Why Teach the Hero’s Journey with Short Stories?

You can apply the Hero’s Journey to a wide variety of literary texts, including myths, fairy tales, novels, short stories, and plays. Heck, you can even track the Hero’s Journey in movies, too. No matter which avenue you use, the Hero’s Journey encourages students to analyze plot structure, character motivation and development, and universal themes.

It gets them shrinking about essential questions like, are heroes born or are they made? What defines a hero? How can an individual change through taking heroic action? What can we learn about ourselves through studying a protagonist’s Hero’s Journey?

While many teachers opt for teaching the Hero’s Journey through a novel, here’s why I love using short stories to do so:

• Concise Storytelling: Short stories allow students to explore the Hero’s Journey in a concise format. This brevity allows for you to utilize short stories in various ways. Have students explore multiple examples of the Hero’s Journey, comparing and contrasting the variations. Alternatively, you can use a short story as Hero’s Journey review or as an introductory experience before diving into a full-length novel.
• Engaging Narratives: Given the waning attention spans of today’s students, it can be challenging to keep them engaged and on track with a longer text. On the other hand, short stories captivate students with their fast-paced narratives and intriguing characters. Short stories can make it through a 12-phase Hero’s Journey in a matter of pages. They often pack a punch with their themes and conflicts, giving students plenty to work with.
• Diverse Perspectives: Heroes come from different places and backgrounds, and possess various strengths and skills. It’s not a one-size-fits-all thing. Therefore, short stories allow you to expose your students to a range of protagonists and the different journeys they take. In fact, students can analyze multiple heroes in the same amount of time it would take to read an entire novel. In turn, you expose students to different voices, perspectives, and cultural experiences, fostering empathy and understanding in addition to highlighting the Hero’s Journey. Talk about two birds with one stone!
• Accessibility and Differentiation: Short stories are a great way to make literature accessible for students of varying abilities and interests. Teaching the Hero’s Journey through these shorter narratives is a great way to set students up for success by assigning a text based on their reading and comprehension level. And, if you ask me, it’s far easier for teachers to manage various short stories than multiple novels.

8 Short Stories for Teaching the Hero’s Journey

If you’ve made it this far down in the post, I’ve convinced you to at least consider using short stories when teaching the Hero’s Journey. (You won’t regret it.) But, let’s take it one step further, shall we? Instead of starting from the drawing board, here are 8 short stories that are perfect for teaching the Hero’s Journey in secondary ELA.

1. “A Sound of Thunder” by Ray Bradbury

Would it be a great short story list without at least one Bradbury title? “A Sound of Thunder” may not follow every stage of the Hero’s Journey in a traditional sense, but the protagonist, Eckels, certainly experiences his own form of the journey. Bradbury’s story incorporates elements of the hero’s transformation, the challenges faced, and the revelation of the consequences of their actions as Eckles ultimately learns the hard truth that even the smallest actions can have big consequences.

2. “The Secret Life of Walter Mitty” by James Thurber

This is another short story that doesn’t completely follow the journey in the most traditional sense. However, students will enjoy tracking protagonist Walter Mitty’s own form of his Hero’s Journey. Walter Mitty’s journey involves vivid daydreams that serve as an escape from his mundane reality. Students can track the stages of the Hero’s Journey as Mr. Mitty sets out on a quest for self-expression, courage, and embracing the extraordinary within.

3. “The Yellow Wallpaper” by Charlotte Perkins Gilman

This is not your average Hero’s Journey, making it the perfect challenge text for advanced students. Students can track how the unnamed narrator turns to the titular yellow wallpaper as her supernatural aid, becoming the catalyst for her journey of self-discovery.

4. “Thank you, Ma’am” by Langston Hughes

Students will appreciate the simple realness of Roger’s Hero’s Journey. What begins as an attempted purse robbery, Roger is faced with a different kind of call to “adventure.” Ironically, the woman he tried to steal from, Mrs. Luella Bates Washington Jones, serves as his mentor during this journey, ultimately leading him to gain a newfound understanding of the importance of kindness and compassion.

5. “The Most Dangerous Game” by Richard Connell

The story’s protagonist and skilled hunter, Sanger Rainsford, goes on a harrowing Hero’s Journey when he falls off his yacht and winds up stranded on a mysterious island. Suddenly, he finds himself caught in a deadly game of survival. (Dun, dun, dun.) However, by the end of his journey, Rainsford returns to civilization with a newfound perspective and appreciation for life.

6. “Raymond’s Run” by Toni Cade Bambara

Squeaky, the story’s young protagonist, is a talented runner who unexpectedly embarks on her own Hero’s Journey. While she is initially focused on her own ambitions, Squeaky’s perspective shifts as she heads down a path of self-discovery and compassion. By the end of her journey, Squeaky transforms from a self-centered competitor to a caring sister who is able to support her brother.

7. “Marigolds” by by Eugenia Collier

The story’s protagonist, Lizabeth, finds herself on a transformative journey initiated by frustrations with the poverty and hopelessness in her community. By the end, despite the struggles around her, she is able to find moments of beauty and to approach others with kindness and understanding. Ultimately, Lizabeth’s Hero’s Journey is one of learning empathy and self-realization in the face of adversity.

8.  “To Build a Fire” by Jack London Does this story follow the traditional Hero’s Journey? Nope. But that’s what makes it the perfect companion text to a storyline that follows the traditional journey structure and stages. In London’s story, the protagonist, simply known as “the man,” sets out on a journey through the frozen Yukon wilderness. The man’s survival skills and overall resilience are tested again and again as he faces numerous challenges and tests throughout his journey. Rather than ending with a traditional elixir or triumphant return, the man learns the power of nature and the consequences of overestimating one’s abilities. (Yikes!)

There you have it, my teacher friend! If you’re looking to shake up your approach to the Hero’s Journey, short stories may just be what you need. The stories above offer diverse examples of the Hero’s Journey, showcasing different characters, settings, and themes. As a result, your students can explore variations of this classic narrative structure, laying the groundwork for engaging discussions, a cumulative compare and contrast activity, or analytical essay.

Have any other titles to add to the list? Don’t forget to share your favorite short stories for teaching the Hero’s Journey in the comments below!

1 thought on “Best Short Stories for Teaching the Hero’s Journey”

I was searching for short stories that fit the monomyth and came across “Through the Tunnel” by Dorris Lessing. It’s fantastic and fits beautifully. Thanks for your list!

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The Heroine’s Journey: Examples, Archetypes, and Infographic

By Julia Blair

Joseph Campbell popularized the Hero’s Journey that has become a mainstay among writers. But he also said the symbols of ancient myths no longer fit the modern world. This is why we need to add the heroine’s journey to our myths.

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We Need New Myths

Myths are archetypal stories that reflect our inner selves. They reveal our foibles and laud our innate strengths so that we can better understand our shared humanity.

But society has changed a lot since Theseus slew the minotaur.

“When the world changes, then the religion has to be transformed. The only mythology that is valid today is the mythology of the planet—and we don’t have such a mythology.” – Joseph Campbell

Campbell was right about our changing world. We face challenges our ancestors never even dreamed of.

• Technology revolutionizes our lives. We’ve transferred much of our making and thinking to computers. We socialize online. Memory is digitized. 
• Societies struggle to cope with conflict and suffering based on socioeconomic, racial, and gender inequality.
• In business and politics, women are still subject to lower wages and discriminatory policies. 
• The Earth itself is in critical danger as climate change impacts land, sea, and air, and alters the habitats of plants and animals.

In a recent tweet, Glasgow International Fantasy Conversations affirmed:

“The great theme of our age is one of loss. In a time of ecological crisis, we need stories. We need to imagine better tomorrows, stories as alibis that get us through the day.”

This failure of old myths to deliver answers is echoed in the very movie franchise that put the Hero’s Journey into popular culture.

In  The Force Awakens , Rey exclaims, “Luke Skywalker! I thought he was a myth!”

She speaks for all of us in  The Last Jedi when she implores Luke, “I need someone to show me my place in all of this.” 

Luke reveals his disillusionment. “I only know one truth: It’s time for the Jedi to end.”

The loss of meaning in one’s life is painful to him—and to us, the audience—a feeling that echoes all too well our era of crisis and loss.

But when a myth becomes part of the collective memory, it’s remarkably persistent. We see that in the repetition of stories and movies based on the Hero’s Journey. The only way to change an outdated myth is to replace it with a better one, whose symbols make more sense and resonate with contemporary society. In this post, I’d like to look at alternative stories of self-discovery based on a pattern called the Heroine’s Journey.

A Female Perspective

Female action heroes like  Wonder Woman’s Diana Prince and  Divergent’s Tris rake in big bucks for Hollywood, showing that a woman can carry an action film and attract huge audiences. These movies stick to the basic shape of the Hero’s Journey, just replacing the male protagonist with a woman. That’s not necessarily a bad thing, but it’s the same old story dressed up in a new outfit.

In movies like  Thelma and Louise , where women break the rules, the audience feels empowered. In this David and Goliath trope even when the heroines take freedom to the ultimate extreme, we feel that justice has been done in a fight against an unfair system.

In real life, women who push back against societal norms aren’t always seen in a positive light. “Nevertheless, she persisted,” originally meant to denigrate Senator Elizabeth Warren’s resistance to a male colleague’s effort to stop her from speaking, epitomizes how women who dare to challenge the patriarchy are seen. Intended to demonstrate, the catchphrase was transformed into a feminist call to action.

Psychologists, mythologists, and writers have searched for feminine alternatives to Campbell’s monomyth, one that gives women and disenfranchised protagonists the agency and power to carry stories that follow a different path to self-actualization. From this search, the Heroine’s Journey was born. But unlike the classic Hero’s Journey, there are multiple versions of a Heroine’s Journey. Let’s take a look at two of the best known.

Maureen Murdock’s  The Heroine’s Journey

Maureen Murdock wrote  The Heroine’s Journey as counterpoint to Joseph Campbell’s  Hero with a Thousand Faces .

When she asked Campbell about women and the Hero’s Journey, he famously responded:

“Women don’t need to make the journey. In the whole mythological tradition, the woman is [already] there. All she has to do is to realize that she’s the place that people are trying to get to.”

This reply inspired Murdock, a trained psychologist, to dig deeply into the realms of myth and psychoanalysis to develop an archetypal pattern of a woman’s quest for enlightenment and wholeness: the Heroine’s Journey. 

You can trace the path of Heroine’s Journey in two popular stories. In the Pixar movie  Brave, the protagonist Merida closely follows Murdock’s model as she struggles to make a place for herself without compromise in a fantasy version of medieval Scotland. And, notably, Zuko from the animated series  Avatar the Last Airbender also follows a path that mirrors the Heroine’s Journey, which contributes to a powerful redemption arc of emotional depth and sensitivity.

The journey includes ten stages, modeled here:

The Heroine’s Journey

1.  separation from the feminine.

Women leave the nurturing shelter of the archetypal Mother behind. Some strike out in search of success and and a sense of self. Others flee from the negative associations of feminine behavior, wanting to be taken seriously and not unrealistically sexualized.

2.  Identification with the Masculine

To flourish in a male-oriented world, successful women often emulate male behavior by abandoning the domestic sphere, suppressing emotional displays, and adopting male traits in the boardroom or on the campaign trail. Merida rejects traditional women’s activities such as needlework. She excels in archery, defeating all her potential suitors in a competition. Zuko is separated from the nurturing love of his mother as a child and thrust into his father’s world of domination through conquest.

3.  The Road of Trials

The heroine confronts challenges and obstacles to her goals. She survives trials, earns degrees, or learns difficult skills. She must balance her personal and professional lives. She must prove herself to those who think she’s not worthy to succeed by male standards. Zuko chases the Avatar to restore his honor.

4.  The Illusory Boon of Success

Having overcome her trials, the heroine attains a measure of success, a powerful title, position, or wealth. She is a superwoman who has it all. Imposter syndrome still sneaks in, and she wonders when she will feel she has truly succeeded.

5.  Awakening to Spiritual Emptiness

Despite her successes, the heroine feels empty. She senses that there must be more to life. She may feel betrayed by the system or by her allies. She hears her inner voice after years of ignoring it. Even when he has returned home and regained his honor, Zuko finds the victory hollow. He questions his feelings and realizes that he has chosen the wrong path.

6.  Initiation and Descent to the Goddess

The heroine experiences the dark night of her soul. She sometimes withdraws from friends and family. She no longer sees the point in struggling for success by her previous terms. The heroine must face her Shadow, an archetype that, simply put, represents the things within herself that hold her back from what she truly needs. She learns to  be , not to  do . Merida travels deep into a wild forest to seek help from an old wise woman or witch. The Wise Woman is a strong archetype in her own right, the dark face of the Goddess representing danger and wisdom.

7.  Yearning to Reconnect with the Feminine

Having rejected the pursuit of outward success, the heroine may end associations with people or institutions that compromise her newly awakened spiritual growth. She turns to creative work and activities that enable mind-spirit-body connections. She begins to purify herself for the next stage.

8.  Healing the Mother/Daughter Split

The heroine reconnects with her roots and finds strength in the past. She emerges from the darkness with a deeper sense of self. She is able to nurture others and be nurtured by them. She reclaims feminine traits she once saw as weak. Merida must draw upon her knowledge of the feminine activities she rejected in order to save her mother from an enchantment.

9. Healing the Wounded Masculine

Having reoriented her concept of femininity, the heroine must shed toxic perceptions of masculinity. If she has rejected her earlier pursuits in the male-oriented world, she searches for what remains meaningful to her. She casts aside unrealistic concepts of men. Having rejected his father’s (and nation’s) violent traditions, Zuko’s loses his firebending skills until he learns how to use them in positive rather than destructive ways.

10.  Integration of Masculine and Feminine

Our heroine has come full circle. Male and female aspects of personality are integrated in a union of ego and self. She is whole and capable of genuine love for others. She remembers her true nature. Not until Zuko joins up with Avatar Aang, who represents the antithesis of violence, is Zuko able to integrate his dual nature and achieve wholeness on his own terms before bringing balance to the world. Merida, too, has learned to embrace the different aspects her life. She accepts the value of her mother’s instruction in feminine pursuits while retaining her interest in archery and other stereotypical masculine activities.

Murdock’s model has roots in the women’s movement of the Sixties and Seventies, with a generation who raised their fists against the status quo. She and her contemporaries had heavy cultural shackles to break. Their efforts enabled subsequent generations to build on and benefit from a growing acceptance of the equality of women.

The Heroine’s Journey described by Maureen Murdock is a quest for integration and healing. The circle closes with the union of male and female, representing a journey toward spiritual and societal growth.

Its real strength is found in its understanding of the duality of human nature. The yin-yang symbol incorporates dark in the light, and light in the dark. There is strength in our Shadow selves, but only when we face our personal demons does our Shadow step aside and let us move forward.

Murdock built her model as a path for introspection and self-awareness, not specifically as a tool for writers. Nevertheless, it is one of the most widely known versions of a female counterpart to the Hero’s Journey.

Kim Hudson’s  The Virgin’s Promise

Author Kim Hudson describes the Heroine’s and Hero’s Journeys as “two halves of a whole.” Although  The Virgin’s Promise portrays a feminine take on the search for one’s authentic self, it avoids limiting the gender of the protagonist. Viola in  Shakespeare in Love exemplifies the journey with a female lead and Billy in the movie  Billy Elliot , is a male protagonist following a similar path.

Hudson developed her model for writers, specifically screenwriters, so it’s structured in three acts and frames archetypes and imagery in storyteller’s terms. 

Some of the thirteen stages in this model have no equivalent in the Hero’s Journey. They reflect, instead, an inner emotional approach to life’s challenges. The thirteen stages are:

1.  The Dependent World

The protagonist is tied to her normal world in order to survive, either by social convention, physical protection, or as a stipulation of conditional love. She is dependent on others to get by.

2.  The Price of Conformity

The Virgin suppresses her inner gift to maintain the status quo. She may not realize she is captive in her Dependent World, or she may be critically aware of the need to hide her true nature. She may believe the low opinions others have of her and feel worthless. She is unable to break her chains or spread her wings.

3.  Opportunity to Shine

A chance to express herself comes without risk to her dependent world. She may discover a talent, be pushed to it (fairy godmothers are great at this), or she may act in the interest of another person who requires her help. She recognizes a dormant part of her soul, or uses her talent in a new way.

4.  Dresses the Part

The Virgin realizes her dreams may actually be within in reach. “Dressing the part” means she willingly steps into a role. In  Shakespeare in Love , for example, Viola dons costume and becomes an actor. Cinderella wears a magical gown and goes to the ball after all. Sometimes, the Virgin receives an object or talisman that symbolizes her secret self. She “becomes beautiful” physically, metaphorically, or both.

5.  The Secret World

Now she has a foot in the world of her dreams yet remains unwilling (or unable) to leave her old life behind. People might depend on her. She may be in physical danger, or fears the consequence of letting go of the Dependent World. Change is a hard thing. Who hasn’t hesitated before plunging into the unknown?

6. No Longer Fits Her World

As the Virgin discovers her true nature, she realizes her double life can’t go on. The risk of being caught increases. She may feel that she’s still an outsider in her secret world. Her behavior ranges from risk-taking to rejecting her dreams, thinking she can return to the way she used to be. 

7.  Caught Shining

The Virgin is revealed, exposed in one world or the other by betrayal or changing circumstance. Her secret is secret no longer. She may reveal her newfound strength by coming to the rescue of another. Ayla, in  Clan of the Cave Bear , exposes her skill with a forbidden weapon by saving a child from a hyena.

8. Gives Up What Kept Her Stuck

Many things may hold the Virgin back: fear of losing loved ones, being hurt by a new love, fear of success or loss. Now she faces those fears and breaks the hold that others have on her. Sometimes the Dependent World vanishes and she finds herself on her own for the first time. She is her own boss, the mistress of her fate.

9. Kingdom in Chaos

In the wake of her assertiveness comes disruption. She has rocked the boat and changed the status quo by her rejection of the things that held her back. She has upset the old order and the Dependent World may come after her with all its strength in order to re-establish itself.

10. Wanders in the Wilderness

The Virgin faces her moment of doubt. Despite her newfound confidence, things don’t go as planned. Her belief in herself is tested to the max. Things might look very good back home, tempting her to give up her crazy notions of independence.

11. Chooses Her Light

But the Virgin eventually chooses to shine. She expresses her gifts in an imperfect world, accepting her flaws and her strengths. She gains new insights about the world she left behind. Power has shifted, and she now holds at least some of it. She can take care of herself and has become a self-actualized soul. But her journey doesn’t stop here.

12. Re-ordering/Rescue

The world readjusts itself around her. The Virgin broke ties with the Dependent World in Stage 8. Now she returns to her community. Her transformation makes the old world a better place. She reunites with people she loves who recognize and value her true self. She is no longer controlled by others.

13. The Kingdom is Brighter

Not only has the Virgin grown, but the world has also become a better place as a result of her journey. She integrates her inner self with the outer world. Hudson explains, “She has moved from knowing conditional love to unconditional love.”

Shared Elements of Male and Female Archetypal Journeys

The Heroine’s Journey and  The Virgin’s Promise show us what stories are like when women achieve their full potential. The Heroine’s Journey (HJ), The Virgin’s Promise (VP), and the monomyth (MM) share some elements, demonstrating that at least some components of heroic stories are universal:

• The protagonist rejects or suppresses part of themselves to fit in the normal world. HJ: Separation of the Feminine; VP: The Price of Conformity; MM: Call to Adventure, Rejecting the Call.
• The protagonist expresses new talent or knowledge without risking themselves. For a while, things look like they’ll work. HJ: The Illusion of Success; VP: The Secret World; MM: Tests, Allies, Enemies.
• The protagonist experiences a moment of doubt. They wonder if they have chosen the right path and if they can return to the way things used to be. HJ: The Descent; VP: Wanders in the Wilderness; MM: Approaching the Inmost Cave.
• Continuing on the journey, the protagonist does what they must to defeat their demons, conquer the adversary, or complete their quest. HJ: Reconciliation with the Feminine, Reincorporation of the Masculine; VP: Chooses Her Light; Wanders in the Wilderness; HJ: The Road Back, The Final Battle.
• The protagonist integrates their conflicting selves, rejoins the world, brings inner and outer balance.  They have transformed themselves and the world. HJ: The Union; VP: Reordering/Rescue; MM: Return with the Elixir.

(The VP crisis occurs in Act III. In HJ and MM, the crisis takes place in Act II.)

You can download a printable version of this chart here .

Contrasts with the Hero’s Journey

The male and female journeys of self-actualization follow different paths but arrive at a similar destination. Both trace a voyage of self-discovery, of confronting and breaking down self-deception and learning to integrate aspects of personality in positive, productive ways. 

Heroine’s journeys are about self-worth and identity. The heroine brings balance to herself, then changes the world around her. It’s more about the journey than the destination. 

The Hero’s Journey is a quest for an external objective.  It is about obligation and rising to the task. The Hero seeks to right a wrong and bring balance to the world. In doing so, he is transformed.

One of the loudest and most legitimate complaints to be made about the Hero’s Journey is that it’s become formulaic. The constant barrage of mediocre action/adventure sequels out of Hollywood attests to that.  I’m not saying it’s time to abandon the Hero’s Journey. It’s still capable of surprises.  Star Wars’ Darth Vader arc gives us a failed Hero’s Journey and a fascinating character study. The Cohen brothers’  O Brother, Where Art Thou delivers a twist on the classic with escaped convicts as heroes. As writers create new variations on a theme, the archetypal pattern is shifting.

Putting It To Work

If you read my post on archetypes , you know I believe that writers have the ability and responsibility to bring joy, hope and change to the world. Myths and archetypes are powerful tools for accomplishing that.

While reading about alternatives to the Hero’s Journey, I began to see that the Heroine’s Journey and Virgin’s Promise are more than just female versions of the monomyth. They meet the responsibility to spark change because they arose in response to a need for change. 

Immutable Story Grid Truth: All good stories are about change.

All of them. Without exception. In every scene, sequence, and act there must be a change, or it’s not a working scene, sequence or act. Characters must change or fail.

The Virgin’s Promise and the Heroine’s Journey are different ways to achieve transformation. They’re alternative narrative structures that can breathe new life into the stories we tell and have the potential to bring some hope and joy as well.

In Story Grid terms, these models relate to the higher ranges of Maslow’s hierarchy of needs. You’ll find them especially good fits for the internal genres of Worldview (self-actualization) and Status (self-esteem). You can also find elements of these models in the Love Story, an external genre, when characters seek a mature and unconditional love.

MASLOW’S HIERARCHY OF NEEDS

Balancing internal and external genres within a plot is one of the hallmarks of a compelling story. Both Heroine’s Journey models enable us as writers to delve into the psyche of a character in a different way. They inspire new responses to the challenges of change and growth and the consequences of failing to change. 

How might your current work-in-progress benefit by incorporating elements of the Heroine’s Journey?

Consider how your protagonist changes through the course of your story. Are they thrust into a situation that forces them to change whether they want to or not? Very often that’s the monomyth, and you can draw from the stages of the Hero’s Journey for inspiration.

Does your protagonist feel a growing dissatisfaction with the way things are? Are they faced with the realization that the problem is something inside them? Are they held back by external circumstance and lacking opportunity for their inner gift to bloom? You’ve got a great candidate for the Virgin’s Promise or Heroine’s Journey.

A Call To Action

Old myths are no longer as relevant in our complex 21 st century world as they once were, but we’ve not yet replaced them with something as strong and inspiring—and we need to. Campbell says that the most important purpose of myth is to guide humans through the stages of life, from cradle to grave. 

Robert McKee, an authority on writing powerful stories, tells writers to write the truth. The truth is, we need desperately need new myths to guide us forward in a compassionate and enlightened way.

So where do new myths come from?

Mythologists don’t create our myths, they study them. They dissect them, examine the pieces, investigate symbols and themes. But myth is far more than just the search for meaning. It is the  experience of meaning.

That’s precisely what happens inside a reader’s head when they read a book. Consuming stories gives readers the experience of meaning. Stories are how we deliver the new myths that the world needs now. 

You, dear writer, are a mythmaker. 

It’s our calling as writers to create new myths, to draw upon our experiences, uncover new symbols, and reinterpret archetypes. 

McKee and others tell us that through story, people experiment with change without risking themselves. Readers and movie-goers try on different mindsets and personas, just like trying on clothes before a mirror.

When they find something that fits, a new way of thinking about themselves, the world, and themselves in the world, you the writer have made a change.

J.K. Rowling’s Harry Potter series taught me that there is no greater power in all the world than love. Masashi Kishimoto’s long-running anime  Naruto taught me to never give up on my dreams.  The Gate to Women’s Country , a novel by Sheri S. Tepper, taught me that going through a stupid phase doesn’t mark me for life.

The monomyth has roots in humanity’s psycho-emotional past. It connects us with ancient storytellers. And that’s not a bad thing. But there are other ways of knowing. 

It’s time we looked to the future. You have a superpower that can change lives. Use it wisely, but  use it.

It is time for us to imagine and write better tomorrows.

More Heroic Journey Resources

• Villain Archetype
• Hero Archetype
• Mentor Archetype
• Trickster Archetype
• Shapeshifter Archetype
• Herald Archetype
• Threshold Guardian Archetype
• Allies Archetype

I am grateful to Shelley Sperry for her insightful comments and assistance in making this a better post.

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Julia Blair

Julia Blair knows firsthand the challenges of balancing writing, family, and an outside job. Her most creative fiction always seemed to flow when faced with grad school deadlines. While raising a family of daughters, horses, cats, and dogs, Julia worked as an archaeologist and archivist. She brings a deep appreciation of history and culture to the editing table.

As a developmental editor and story coach, her mission is to help novelists apply the Story Grid methodology to their original work and create page-turning stories that readers love. Her specialties are Fantasy, SciFi, and Historical Fiction.

She is the published author of the short story Elixir, a retelling of fairy tale Sleeping Beauty, and has several several articles on the Story Grid website. She the co-author of a forthcoming Story Grid masterguide for the Lord of the Rings.

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7 Hero’s Journey Examples In Real Life

If you’re looking for hero’s journey examples in real life, here are the books and movies to seek out – plus, get tips on applying the template to your story!

The hero’s journey is one we all know well: it has formed the structure of our stories, myths, and legends since humans first began to weave tales and remains part of our collective subconscious today. Joseph Campbell detailed the tropes of the hero’s journey in his seminal book, The Hero with a Thousand Faces , setting out the key stages that a main character typically progresses through: Odysseus and Katniss Everdeen , though thousands of years apart in their creation, must navigate these same phases of their journeys.

So, we know the hero’s journey in movies and stories is a popular storytelling framework, but what about real life?

Below, we take a look at how this template can translate into real-world tales of heroism and adventure and how the story structure of the hero’s journey can inform our understanding of them. Plus, we give you a getting-started guide on applying the hero’s journey template to recount your own real-life experiences.

Here Are Best Hero’s Journey Examples In Real Life

1. jarhead by anthony swofford, 2. the pursuit of happyness by chris gardner, 3. gorillas in the mist by dian fossey, 4. apollo 13 by jim lovell and jeffrey klugar, 5. a beautiful mind by sylvia nasar, 6. girl waits with gun by amy stewart, 7. annapurna by maurice herzog, how to craft your hero’s journey, finding each stage, becoming your own mythologist.

As the narrator of his own story, Swofford offers up to the reader his experiences as a young Marine rifle sniper in the first Gulf War . Although the book is based on real events, its structure perfectly reflects the steps of the hero’s journey as they appear in stories through the ages.

Beginning in the ordinary world of his childhood, the narrator details his desire to join the military (specifically, the Marine Corps) from a young age. On the surface, our hero’s journey may look very different from that of Odysseus or Frodo Baggins, but dig a little deeper, and it mirrors the quests that these characters undertake. Leaving his known world behind to join the military, the narrator soon fears he has made a terrible error.

This narrator appears to be The Warrior archetypal hero – but herein lies the rub. The protagonist aligns with an entirely different archetype (possibly that of The Researcher), which causes much of the psychological conflict within the book.

After the Crossing the Threshold section, where the narrator begins his military training and endures the various privations of boot camp, he must face many trials and tribulations, from mental breakdown to dealing with the inadequate kit that puts the life of himself and his comrades at risk, and the daily discomfort of living in the desert.

The book is a disturbing insight into the psychological impact of being trained to kill, and war. The Return with the Elixir is powerful: it’s only many years after leaving the Marines, and much time spent reflecting that the narrator can dissect his experiences and recognize the lessons inherent within them – the book that he wrote, as a result, is the manifestation of the elixir.

“Every war is different. Every war is the same.” Anthony Swofford

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• Swofford, Anthony (Author)
• English (Publication Language)
• 272 Pages - 04/05/2024 (Publication Date) - Scribner Book Company (Publisher)

Perfectly embodying all the stages of the hero’s journey, this book tells the true story of a man who’d just landed a promising role in the world of finance before getting caught up in a terrible, unexpected spiral of life events that result in him and his young son finding themselves on the streets, homeless.

The road of trials is a bitter and brutal one. The narrator spends nearly a year in shelters, waiting in soup lines and sleeping rough. But, despite the terrible tribulations he faces, Gardner does not give in, determined never to be parted from his son but to seek the Road Back – just as the heroes in Campbell’s monomyths successfully do. Eventually, the circle closes, and the narrator and his son return home as Campbell transitions from the invisible homeless to an influential, powerful, highly visible figure in the world of high finance.

Critics have likened The Pursuit of Happyness to a myth for its resonance, power, and timelessness. This means that when the hero returns, we’re all on our feet, having rooted for his triumph throughout. Because his victory becomes our collective redemption.

“Still a dream, yet more a realist than ever before, I knew this was my time to sail.” Chris Gardner

• Chris Gardner (Author)
• 320 Pages - 10/24/2006 (Publication Date) - Amistad (Publisher)

Widely cited as one of the most important books ever written about the connection of humans to the natural world, Gorillas in the Mist follows Fossey as she leaves behind her everyday life to enter a special world deep within the rainforests of the Virunga Mountains in Africa. Fossey subsequently spent thirteen years studying and living with a family of mountain gorillas , enduring the daily challenges of loneliness, constant rain, and the threat of poachers.

Fossey’s work was highly influential in convincing people of primates’ innate sentience, and she was fiercely determined in her conversation efforts and opposition to poaching. Tragically, Fossey was murdered in her remote cabin in Rwanda in 1985. But her legacy was powerful: her research and work in the field helped reduce the downward trend of the mountain gorilla population.

The book is a personal adventure story and a quest for enlightenment, with Fossey detailing her attempts at securing the future of the mountain apes that she spends so many years studying. The publication itself serves as her Return with the Elixir (a key stage in the hero’s journey): designed to pass on knowledge of our closest primate relatives, the specialness of these animals, and what must be done to safeguard their survival.

“There are times when one cannot accept facts for fear of shattering one’s being.” Dian Fossey

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Used as the basis of the Apollo 13 movie, this is the real-life account of the lunar shot that nearly ended in total catastrophe. As well as spawning the Hollywood blockbuster film of the same name, the book is told using the classic hero’s journey template – evidence of how ingrained this storytelling is in our collective subconscious.

This story literally starts in the known world, Earth, before the Crossing of the Threshold stage, where Jim and his crew are recruited for the daring mission. Next comes The Ordeal. An explosion shortly after launch forces the astronauts to abandon the main ship, seeking refuge in the lunar capsule – which was designed to keep two men alive for just two days. The Return Home stage is fraught with danger, and the narrative shifts focus to what’s going on at mission control to ensure the men’s safe return.

The Return with the Elixer is the last of the steps of the hero’s journey. In the case of this story, it is represented both by the astronauts’ changed sense of self in the wake of the events they’ve endured and in the vital information that NASA has gained from the experience and the rescue, which will inform future space missions.

“From now on, we live in a world where man has walked on the moon. And it’s not a miracle, we just decided to go.” Jim Lovell

• James Lovell (Author)
• 400 Pages - 08/17/1995 (Publication Date) - Coronet (Publisher)

This biography of the Nobel prize-winning mathematician and economist John Forbes Nash Jr. was nominated for the Pulitzer prize upon its release. It was later adapted into a film directed by Russell Howard. It features an unlikely hero – but a hero nonetheless – in its subject, Nash, a brilliant mathematician whose descent into serious mental illness derailed his career and had devastating effects on his personal life.

The Road of Trials was a harrowing one for Nash. Schizophrenia meant he missed out on a Nobel Prize, despite his game-changing work on game theory – which, by the 1980s, was underpinning much of economics. The Nobel committee decided they weren’t prepared to give the award to him due to his mental illness.

Step-by-step Nash recovered, and in 1994 his work finally received the credit it deserved. He shared the Nobel Prize for Economics with two others. In the subsequent critically-praised film, the movie’s screenwriter perfectly captured the impact of this journey on Nash and those around him.

Nash’s subsequent invitation from Princeton to join the faculty as a professor is his apotheosis moment: this is a key stage of the hero’s journey, as described by Joseph Campbell. It’s the point where, after defeating the enemy, the hero travels toward and meets their destiny.

Linked to this stage is the receiving of the Ultimate Boon: in A Beautiful Mind, this is represented by Nash’s re-connection with his old life. He rebuilds relationships with friends and family members that had been lost during his trials. And, most powerfully of all, connecting once more with his ex-wife, the pair remarried in 2001 and lived – of course – happily ever after.

“People look to the order of numbers when the world falls apart.” Sylvia Nasar

• Sylvia Nasar (Author)
• 461 Pages - 04/04/1999 (Publication Date) - Faber and Faber (Publisher)

Based on the true story of one of the US’ first female sheriffs, Girls Waits with Gun tells the story of Constance Kopp and her two sisters. It’s a hero’s journey story that, like Kopp herself, breaks the mold of the genre. The tale, as a whole, is about finding your place in a world that sees you as a misfit: Kopp isn’t interested in getting married and has no time for a quiet domestic routine. Instead, she yearns for adventure and independence.

The Call to Action announces itself loud and clear: when a drunk driver, Henry Kaufman (owner of the local silk factory), crashes into the sisters’ buggy, Kopp demands the man pay for the damages. When he refuses, she begins plotting how to obtain justice. The First Threshold is crossed when, turning up at the silk factory, Kopp meets an employee in a state of high distress: her baby has gone missing.

A campaign of intimidation against the sisters unfolds, which results in the sheriff arming the women for them to defend themselves. But neither Kopp nor her sisters are prepared to back down, and Constance can’t get the missing baby out of her mind…

As a direct result of successfully navigating her trials and tribulations, Kaufman ends up in court, and the judge finds against him. There’s a buzz around Kopp, who’s now famed for her bravery and tenacity – so much so that the sheriff offers her the Ultimate Boon: the position of undersheriff – a role in which no woman had ever served before.

“We have to be a part of the world in which we live. We don’t scurry away when we’re in trouble, or if someone else is. We don’t run and hide.” Amy Stewart

• 416 Pages - 03/10/2016 (Publication Date) - Scribe Publications (Publisher)

A survival story is a perfect vehicle in which to deploy the hero’s journey structure. Annapurna recounts Herzog’s attempt in 1950 (along with his climbing partner Louis Lachenel) to scale the notorious, treacherous Himalayan mountain, after which the book is named.

The trials and tribulations that follow are brutal: frostbite and snow blindness nearly resulted in the death of the two climbers, but ultimately, they were successful in their quest. The Road Back is not just a spiritual one: it’s represented by the very real climb back down the mountain. And the Ultimate Boon? Having passed through The Ordeal, Herzog and Lachenel were recognized as the first expedition in history to have reached the summit of an 8,000-plus meter mountain…and return alive.

The book has enjoyed enduring appeal since its first publication in 1951, which turned Herzog into the world’s first mountaineering celebrity! National Geographic ranked Annapurna at number six in its list of 100 Greatest Adventure and Exploration Books, claiming it to be one of the most influential books on mountaineering of all time.

“Annapurna, to which we had gone empty-handed, was a treasure on which we should live the rest of our days. With this realization we turn the page: a new life begins.” Maurice Herezog

• Herzog, Maurice; Joe Simpson (new introduction) (Author)
• 288 Pages - 04/04/1997 (Publication Date) - Pimlico (Publisher)

Applying the Hero’s Journey Template to Your Own Life Story

The monomyth template is a powerful tool for fictional and real-life stories. The same steps can be discerned in Frodo’s journey to Mordor in The Lord of the Rings, in Harry Potter’s quest to discover his wizarding destiny, and in Luke Skywalker’s adventure that takes him from moisture farm worker to Jedi in Star Wars can be deployed to create a compelling true-life tale.

Begin by identifying some of the key stages in the hero’s journey to add structure and dynamism to your story. Start the tale in the Ordinary World. Write about your subject’s life before the Call to Adventure. Next is a Refusal of the Call moment. Perhaps the individual unexpectedly got awarded a scholarship or was presented with an opportunity to travel abroad? If they were initially reluctant to cross this First Threshold, then this marks the important Refusal stage. For inspiration, read our article profile common essays about heroes .

Work through the story you want to tell, using Campbell’s hero outline to find those milestones in the tale that can act as both strong organizing and structural devices. While there may not be the presence of supernatural aids as mentors, look to your narrator’s key allies with a view to how they fulfill this role. Consider a moment that marked the Return Threshold and how your narrator and those around them reacted to it.

You may be surprised at just how natural the hero’s journey template fits when crafting a real life story – whether your own or someone else’s. The power of myth is so potent, after all, because it captures the kernel of our collective human experience, across borders and time.

Try using this story structure when creating a piece of creative writing or crafting a documentary or video content. The hero’s journey structure can even be used to assemble and edit a wedding video to create a powerful narrative that stirs emotions!

Melanie Smith is a freelance content and creative writer from Gloucestershire, UK, where she lives with her daughter, long-suffering partner, and cat, The Magical Mr. Bobo. Her blog posts and articles feature regularly in magazines and websites around the world.

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Looking within: plotting a story using the heroine's journey, maureen murdock created the heroine's journey in response to the popular hero's journey, citing that the feminine experience wasn't accounted for..

Table of Contents

Joseph Campbell’s Hero's Journey has long been celebrated as a quintessential plot structure, but have you heard of the Heroine’s Journey?

Conceptualized in 1990, Maureen Murdock’s Heroine's Journey is a narrative framework for exploring a woman's quest for wholeness and enlightenment, outlining ten distinctive stages of self-discovery and realization.

This guide explores the essence of the Heroine’s Journey, providing insights into its origins, steps, application tips, and examples from popular stories, to assist writers in leveraging this method to create compelling women-centric narratives.

What are the Origins of the Heroine’s Journey?

Maureen Murdock's The Heroine’s Journey emerged in response to a perceived gap in Joseph Campbell's famous Hero's Journey framework.

When Murdock, a trained psychologist, approached Campbell about the role of women in his model, his assertion that women were already the destination, not the travelers, left her unsatisfied.

Inspired, she too looked to mythology and psychoanalysis to craft an archetypal journey centered around a woman's unique path through life. 

Her model resonated deeply with readers, illuminating the distinct challenges and transformations women face, and establishing the Heroine’s Journey as a seminal narrative tool for exploring feminine self-realization.

How are the Hero’s and Heroine’s Journeys Different?

While both the Hero's and Heroine's Journeys are quests for self-discovery, their paths diverge significantly.

The Hero's Journey, as outlined by Campbell, is often external, centering on overcoming tangible obstacles and adversaries to attain a clear goal. In contrast, the Heroine’s Journey looks at internal landscapes, emphasizing personal reconciliation, inner growth, and relationships.

10 Stages of the Heroine’s Journey

The Heroine’s Journey unfolds in ten structured steps , with each one signifying a pivotal moment of transformation and realization in the heroine’s journey toward self-discovery and enlightenment.

To bring clarity to this narrative arc, we'll explore each step in detail, using Clarice Starling from the film adaptation of The Silence of the Lambs as our guide. Spoiler warning!

1. Separation From the Feminine

Separation from the Feminine involves the protagonist distancing from feminine traits, often seeking approval in a patriarchal setting. They feel they need to do this in order to be seen in some certain way. In other words, they have a need or desire that forces them to reject an aspect of themselves.

For Clarice Starling, we see her separation from feminine aspects within her environment starting as a child. At a young age, she experiences multiple traumas in her home life. She is then sent to live with a family member on his farm where she witnesses animals being sent to slaughter (the inspiration behind the infamous title The Silence of the Lambs ).

Following in her late father's footsteps later in life, she joins the male-dominated FBI and suppresses her vulnerabilities, striving for recognition amidst dismissive and demeaning attitudes.

2. Identification With the Masculine and Gathering of Allies

Identification with the Masculine and Gathering of Allies sees the protagonist adopting masculine traits and forming partnerships that aid her journey.

In Clarice’s case, she aligns with masculine principles through her determination and strength in her FBI training, and she gathers allies like Jack Crawford (and later Hannibal Lecter) to aid in her investigation of Buffalo Bill.

3. Road of Trials: Meeting of Ogres and Dragons

The Meeting of Ogres and Dragons represents the protagonist facing numerous challenges, confronting fears, and battling foes.

This is evident for Clarice as she encounters terrifying serial killers, including Multiple Miggs, Hannibal Lecter, and eventually, Buffalo Bill. Simultaneously, she must contend with the institutional biases of her industry and scummy actors like the manager of the Baltimore mental institution, Frederick Chilton, who makes an unwanted pass at her.

4. Finding the Boon of Success

Finding the Boon of Success represents the moment the heroine achieves what they initially set out to do, but often realizes it's not the ultimate fulfillment they yearn for.

In seeing Clarice's response to Chilton, and feeling disrespect on her behalf when Multiple Miggs assaults her, Hannibal Lecter agrees to aid in her hunt for Buffalo Bill—but only under the additional condition that she shares personal information about herself with Lecter.

5. Awakening to Feelings of Spiritual Aridity: Death

In this stage, the heroine becomes conscious of a profound emptiness, realizing their accomplishments are void of meaningful value. It is a symbolic death of the spiritual self. Illusions begin to shatter or fade.

For Clarice, this could symbolize her realization that her successes have not brought her peace or fulfilled her deeper needs, as the ghosts of her past and the darkness of her work continue to haunt her.

Jack Crawford warns Clarice not to share personal information with Hannibal, but she does it anyway because a part of her knows that this is the only way to move forward. In sharing information about herself and her upbringing, she successfully acquires Hannibal as an ally.

6. Initiation and Ascent to Goddess

In this step, the heroine undergoes a period of introspection and encounters the divine feminine (or, the goddess within), initiating a profound internal transformation. They withdraw from their surroundings to face an internal darkness; and from that darkness, they'll emerge into a new light.

This stage is represented by the strange relationship that Clarice forms with Hannibal over the course of several visits to the asylum in which he's held. In exchange for clues (however cryptic), Clarice digs deep into her psyche to face her traumatic childhood memories, which she shares with Hannibal.

7. Urgent Yearning to Reconnect With the Feminine

Here, the heroine yearns to reconnect to the feminine traits or actions that they forcibly shed at the start of their journey. They emerge from their Initiation in the previous plot point to form new relationships or try something new.

The story heads towards its explosive climax by this stage—the hunt for Buffalo Bill becomes more desperate as the clock ticks on and the situation grows more dire for Bill's latest victim (a Senator's daughter, Catherine Martin) as each second passes.

Clarice makes one more visit to the asylum and confronts Hannibal just as he's about to be transferred—in return, he demands she share her most difficult memory. Against all the advice she's been given to this point, she tells him about the farm she lived on for a brief period as a child, where she recalls the terror of the lambs as they were sent to slaughter. Unable to handle it, she was sent to spend the rest of her childhood in an orphanage.

The recollection of this time in her life and the haunting screams of the lambs in Clarice’s memories symbolize her lingering sense of helplessness over being unable to save the innocent. Hannibal is seemingly satisfied with this and shares a final clue with Clarice, which reveals an essential piece of information about Buffalo Bill.

8. Healing the Mother/Daughter Split

In this step, the heroine firmly reconnects with their formerly abandoned feminine traits and, in doing so, begins to rediscover themselves. In a literal sense, "the daughter" (the heroine), reconciles with "the mother" (the ultimate symbol of their feminine origins). This is a process of acknowledging and healing past wounds, allowing for a renewal of self.

Here, Clarice combines her intuitive, empathic nature with her learned, analytical skills to uncover the truth, stop Buffalo Bill, and save his latest victim. Following Hannibal's final clue, Clarice deduces that Buffalo Bill personally knew his first victim. She travels to the victim's hometown in Ohio, where she inadvertently stumbles into the killer himself.

It doesn't take her long to realize the man feigning to be "Jack Gordon" is Buffalo Bill, and she decides to confront him, which leads to a chase and final showdown. Buffalo Bill is killed and Clarice saves Catherine.

While some might consider this a bit reckless—an FBI agent-in-training confronting a cold-bolded serial killer on her own—it can also be said that this moment is symbolic of Clarice facing that which she was too afraid to as a child.

9. Healing the Wounded Masculine

Here, the heroine reconciles with the masculine aspects of themself, understanding and integrating these energies in a balanced manner—the masculine traits they tried to emulate are not inherently bad. They keep what is valuable to them and leave all else.

Having faced her darkest moment and successfully taken down Buffalo Bill, Clarice is promoted in her role at the FBI and celebrated by her colleagues. It's a triumph that resolves her struggle with the masculine-dominated environment of the FBI, brings her reconciliation with her father’s legacy, and allows her to embrace her strength and authority without compromising her femininity.

10. Integration of Masculine and Feminine

In this final step, the heroine achieves a harmonious balance between their masculine and feminine aspects, attaining a state of wholeness and self-acceptance.

The movie ends with Crawford congratulating Clarice on her successes, and remarking how her father would have been proud of her. She receives a phone call—it's Lecter, and he asks her if the lambs are still screaming, and tells her in no uncertain terms that she'll never be one of his victims. In the book, Hannibal sends Clarice a letter with the same sentiments, and we see her peacefully fall asleep.

In either scenario, Clarice has fully accepted her past and overcome any feelings of inadequacy that may have forced her to act in ways that didn't feel true to herself. She is stronger for the journey she embarked on while being able to move forward in a way that is authentic to the true Clarice Starling.

Tips for Using the Heroine’s Journey

• Explore Inner Conflicts: The Heroine’s Journey often revolves around internal struggles and moral dilemmas; delve deep into the protagonist's psyche, exploring their emotions, desires, and fears.
• Focus on Relationships: Given the emphasis on connectivity and reconciliation in this model, developing rich, multifaceted relationships between characters is crucial to depict the journey authentically.
• Use Symbolism: Symbolic elements can underscore the heroine’s transformation and the integration of masculine and feminine, adding layers of meaning to the narrative.
• Ensure Balance: Strive for equilibrium between action and introspection, allowing room for both external challenges and internal reflections. This can offer a rounded view of the protagonist's journey.

Variations of the Heroine’s Journey

The Heroine's Journey is not constrained to any specific genre; its universal themes of self-discovery and actualization can weave through the fabric of any narrative, whether it be a mystery, a thriller, or an epic quest.

However, there is a distinctive resonance of the Heroine's Journey within the romance genre , where self-reflection and the exploration of relationships are at the core of many stories.

Murdock's framework opens the door to reflect on how interpersonal connections shape our identity and understanding of ourselves, making the romance genre an optimal platform for such insightful journeys of self-discovery.

Stories that Use the Heroine’s Journey

There are numerous examples of the Heroine's Journey in both novels and movies. Examining these celebrated stories can illuminate how this framework manifests in varied narratives. Let’s explore a few below.

Eat Pray Love (2006)

Elizabeth Gilbert's memoir, Eat Pray Love , eloquently narrates her transformative journey following a painful divorce. Seeking solace and meaning, she travels to Italy, India, and Indonesia, each place offering a new path to self-discovery and healing.

Throughout the trip, Gilbert reconnects with her feminine essence, heals long-standing wounds, and finds a delicate balance between her internal and external worlds. 

This journey is a vivid portrayal of self-realization and the pursuit of happiness, encapsulating the essence of the Heroine’s Journey by showcasing the internal metamorphosis crucial to Murdock's model.

Black Panther: Wakanda Forever (2022)

In the sequel to the hit movie Black Panther , Letitia Wright's character, Shuri, feels pressure in her brother's absence. Shuri is intelligent and passionate about the work she does in her lab. She's also playful, a little bit snarky, and emotionally intense.

But in dealing with grief, an increased sense of responsibility to her family and her people, external threats, and eventually, more loss, she feels forced to become someone else—someone darker and even violent.

When there would have been no way to reverse certain actions, Shuri sees that she shouldn't let her anger guide her. She makes peace with her bother's passing and recalls intimate conversations shared with her mother, realizing that she didn't need to change to find strength within herself in the face of new challenges.

Room (2010)

In Emma Donoghue’s Room , the narrative is centered around “Ma,” who, along with her young son, endures years of captivity in a confined space. In this confinement, she crafts an elaborate imaginary universe to shield her son from their grim reality, exemplifying immense resilience and sacrificial love. 

Once freed, she faces the daunting task of being in the real world and wrestling with her internal traumas, showing the audience the multifaceted transformation characteristic of the Heroine's Journey. 

Her odyssey is not simply about liberating herself physically but also going on a profound emotional and psychological journey to reconcile her turbulent past with the present.

Heroine's Journey Campfire Template

Is your heroine ready to embark on a journey of self-transformation? The  Timeline Module in Campfire  offers a versatile canvas to plot out each basic component of your story while featuring nested "notebooks."

Simply double-click on each event card in your timeline to open up a canvas specific to that card. This allows you to look at your plot at the highest level, while also adding as much detail for each plot element as needed!

If you're just hearing about Campfire for the first time, it's free to sign up! Let's take a tour through your heroine's psyche 👇

Lessons From the Heroine’s Journey 

Understanding and employing the Heroine’s Journey in your narratives can open up a wealth of possibilities for richer, more nuanced storytelling, allowing you to explore themes of self-discovery and transformation that resonate deeply with readers.

Are you familiar with this method? Let us know about your experience below!

STORY ENVELOPE

Storytelling

The story circle in 8 steps with tons of examples.

May 9, 2023

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Dan Harmon’s Story Circle Is a Modern Take on the Hero’s Journey

Article by Colette Nichol, Story Strategist, SEO Expert, and Solo Filmmaker

What Is Dan Harmon’s Story Circle with Examples?

The story circle is a story structure guide created by Dan Harmon based on Joseph Campbell’s analysis of the Hero’s Journey.

The story circle consists of the eight main plot points that create a story’s foundational structure, which Dan Harmon has labelled: you, need, go, search, find, take, return, changed.

• You – A character with a problem.
• Need – Has a need.
• Go – And crosses the threshold in the world of adventure.
• Search – To find the answer to their problem.
• Find – They find that things are not what they seem.
• Take – They get what they want but it was not as they expected.
• Return – They return to the ordinary world.
• Changed – And they are transformed by their journey.

For a ton of extensive examples with videos, read through this entire post where I cover each important turning point in a story in details with examples. But first, some background!

Who Is Dan Harmon?

Dan Harmon is a TV writer known for writing and creating Community.

He also co-created Rick and Morty and is credited with writing 61 episodes.

To get the juices flowing in the writer’s room and guide the writing of new episodes, he simplified the hero’s journey into eight key concepts that make it easy to assess or build a story idea quickly.

It’s brilliant. It’s simple. And dammit, it’s delicious!

I got obsessed with Dan Harmon’s story circle a few years ago, hunting down every time Harmon wrote about or spoke about his method of breaking down stories. If he talked about it on the internet, I found it and ate it up.

It’s not that Harmon is saying anything new.

But the way he’s broken down the Hero’s Journey is so practical and, frankly, beautiful that it’s worth knowing and using. If you’re a writer, storyteller, director, producer, or even business owner, you need to know how to pull apart and put together a story.

So let’s discuss and dissect this beautiful tool. Onward!

Table of Contents

• How Dan Harmon’s Story Circle Works
• Part 1: The 8 Stages of Dan Harmon’s Story Circle

YOU, NEED: A Protagonist Needs Something

Go: the hero crosses the threshold into the world of adventure, search: the hero is on the road of trials, find: reckonings, meeting the goddess, vulnerability, bliss, take: the face off, meet your maker, facing the father, return: the flight home, change: the hero is transformed and shares their wisdom, the universal structure of storytelling, top and bottom half of the story circle, part 2: the world of adventure vs. the regular world, crossing the threshold, part 3: starting value or idea and ending value or idea, watch: the dan harmon story circle explained by dan harmon.

• Common Story Circle Questions

How Dan Harmon’s Story Circle Works

First, let me be clear that I’m explaining the story circle in the way that I use it.

I’m not Dan Harmon, and I’m not trying to explain this concept verbatim. So take what you want from this analysis, and don’t hold it against me if I don’t explain this exactly the way Dan Harmon does.

That said, I’m probably the only person on the internet who has hunted down every single thing Mr. Harmon has written about the story circle, put it in a Google doc, printed it, highlighted it, and then practiced it…over and over again!

Anyway, at the end of the day, what matters is HOW you use this information, not whether it was delivered to you in some perfect authoritative package. Now, let’s get to it!

There are three main parts to the story circle:

• The 8 Stages
• The World of Adventure vs. The Regular World
• The Starting Value/Idea vs. The Ending Value/Idea

Part 1: The 8 Stages of Dan Harmon’s Story Circle

There are eight basic stages in the structure of Dan Harmon’s story circle.

It’s no different from the eight stages in the Hero’s Journey. But the way he describes these stages, with a punchy one-word descriptor, makes this tool easy to use.

• Stage 1: YOU
• Stage 2: NEED
• Stage 3: GO
• Stage 4: SEARCH
• Stage 5: FIND
• Stage 6: TAKE
• Stage 7: RETURN
• Stage 8: CHANGE

Before I describe how to interpret and use these stages, look at that list yourself. What do you think each stage means?

Think of a story in your life, and run it through those stages.

You: The Main Character Is in the Comfort Zone

Before anything crazy happens, it’s just you and your regular everyday life.

Things aren’t great. You’re dissatisfied. But you’re not willing to make massive changes. You’re just living life in a quasi-apathetic state, aka normal.

Every story needs a hero—ideally, one, not ten. Even multi-character dramas or action movies like Oceans 11 have one main character who drives the story forward.

Need: The Character Wants Something, Desire Blooms

You want something. You’re not satisfied with just the status quo. Either this desire comes internally and is there before the inciting incident. Or something or someone comes along and awakens the desire within you.

Story Circle Examples

Wizard of oz story structure example:.

Dorothy is in the black-and-white world, moaning and groaning (in song) about how she’d like to be somewhere over the rainbow rather than hanging in Kansas. She needs something to happen so she can escape from her humdrum lands.

Beauty and the Beast Story Structure Example:

Belle reads her fantasy adventure book and longs to be in the middle of a great adventure.

STAGE 1 & 2 – STORY CIRCLE MOVIE EXAMPLE

Go: The Hero Takes Action, Crosses the Threshold and Enters an Unfamiliar World

Your bags are packed, and you’re not just ready to go; you’re going !

This is the part of the story where you exit the ordinary world and enter the world of adventure.

If you’re writing a fish-out-of-water tale about an entitled starlet whose private plane crashes in the Ecuadorian paramo and has to find her way home against all odds, then THIS is the moment her plane crashes, and she’s in the paramo.

Before, she was in her cozy privileged life of plush seats, white leather, and multi-million-dollar movie deals. And now, she’s in an alien landscape where nobody speaks English, and nobody knows who she is.

Dorothy’s little house gets dumped in a colourful town square. She’s no longer in the black-and-white world. She’s now entered a land of technicolour.

Watch the video below and pay attention to how the sound design indicates that she’s entered a world of adventure.

STAGE 3 – STORY CIRCLE MOVIE EXAMPLE

Search: The Hero Begins the Journey and Must Adapt to the Unfamiliar World

You land in a new country without any language skills or understanding of the culture, and now it’s time to fake it ‘til you make it.

Will you survive?

Or will you fall apart?

According to Dan Harmon, “the point of this part of the circle is, our protagonist has been thrown into the water, and now it’s sink or swim.”

Joseph Campbell, the original story circle creator, i.e. the man behind the hero’s journey analysis, calls this phase in a story the Road of Trials. (+)

This is the phase in a story where your main character tries to get the lay of the land. They may meet new friends and mentors. They may be given a helpful aid critical to their future. They may learn new skills.

But most of all, they get beaten up emotionally—and sometimes physically too.

Yellow bricks are everywhere, and adorable human beings with odd singing voices greet her! Hurrah, she’s in the Land of Oz! But wait, now she has to figure out how to get back home. She needs to follow the yellow brick road. Just her and Toto on a road towards the great unknown. Dorothy begins her adventure.

STAGE 4 – STORY CIRCLE MOVIE EXAMPLE

Find: The Hero Gets What They Wanted, But It’s Not How They Expected

Mother, womb, emergence, transcendence, bliss, reckonings, vulnerability, bliss.

For months, maybe years, you’ve wanted something, and finally, you have a taste.

Let’s say you’ve always wanted to be rich. You’ve been scraping by for years. You graduate from university, and boom! Suddenly, you get a job that pays you 10x what you’ve been earning.

You’re working on Wall Street, making so much money you don’t know what to do with it.

But it doesn’t feel the way you thought it would. Instead of floating through life in blissful happiness, you’re grinding your teeth while you sleep and waking up with headaches. This is not what you bargained for, and you’re not sure what to do about it.

In this part of the story, the hero finds part of what they were looking for, but it’s not how they expected it to be.

This part of the story, as per the hero’s journey, is also the transcendent or “meeting the mother” stage. There is feminine energy at the bottom of the story circle.

In a romantic comedy, this is where the two lovers finally really fall in love or realize what love is all about.

In an action-packed drama, the hero would likely have a moment of rest and romance with a woman who represents his deepest desires.

According to Mr. Harmon, this part of the story circle is where our character is the most vulnerable. The following six concepts are all potentially part of the mix when you reach the bottom of the story circle.

• MEETING WITH THE GODDESS
• CONFESSIONS
• VULNERABILITY
• INTO THE PSYCHE

This part of the story is a major turning point.

It’s another threshold that the character must cross— as they do, the story takes an entirely new turn. The hero is now on the road HOME. They have come this far, and now they have to “screw their courage to the sticking place” and do everything within their power to fight their way home.

Fun fact: this stage in the story circle often involves water.

Pay attention to the next few movies you watch and see if there’s water involved in Stage 5! In the example below, it’s frozen water that’s used to create the moment of bliss.

Dorothy and her friends are near the end of their journey. The Emerald City is finally in sight. But the Wicked Witch of the West has placed a field of magical sleep-inducing poppies on the outskirts of the city, and Dorothy and Toto fall into a deep slumber. This heroine reference hints at the darkness that creeps within us all, particularly as we’re about to make our dreams come true.

This scene is a beautiful example of the fifth stage of the story circle.

As Glenda enchants the field with snow and the white flurries fall upon the field, Dorothy and Toto are revived.

STAGE 5 – STORY CIRCLE MOVIE EXAMPLE

Take: Meet Your Maker, Facing the Father, the Vader Face Off

The hero battles to the next stage, paying a price for what they have won.

It’s time to meet your metaphorical (or real) maker.

This is the moment in the story where you face off with the villain and come close to real or metaphorical death. This climax is the culmination of everything the hero has been fighting for throughout the story.

If they make it through this face-off, they’ll be transformed.

Story Structure Examples:

• Luke Skywalker faces Darth Vader.
• Peter faces Hook as he frees Wendy and the boys.
• The Titanic is sinking— Jack and Rose face a wall of water that could eat them alive.
• Dorothy faces the Wicked Witch of the West.

STAGE 6 – STORY CIRCLE MOVIE EXAMPLES

Return: The Flight Home

You’ve gotten what you needed, defeated the villain, learned something about yourself, and now you’re ready to return home with your new knowledge. But not so fast!

This is the part in a romantic comedy where the hero chases after the one he (or she) loves. He races to the airport to make sure his soul mate doesn’t get on that flight.

In an action movie, the hero has just defeated the villain and must head home, sometimes chased by more attacking gremlins.

Dorothy discovers the wizard is a fake. But luckily, it turns out there’s still a way to get home. It turns out that the pathway to getting home had been on Dorothy’s feet the entire time. She clicks her heels three times and repeats, “There’s no place like home.”

Titanic Story Structure Example:

Rose lies on the wooden board, the night is cold, and she’s nearly frozen. Then flashlights pierce the darkness. A boat has arrived. She and Jack can go home. She turns to Jack to wake him up, but he’s cold to the touch. Jack has died. But Rose can still go home. Broken-hearted, she nearly gives up. But at the last minute, as the boat is gliding away, Rose calls out. She leaves her raft and swims towards the boat and the possibility of going home.

STAGE 7 – STORY CIRCLE MOVIE EXAMPLES

Change: The Hero Has Transformed and Brings New Gifts to their World

You’re home now after your 300-day trip around the world.

You’re no longer the same. You’ve learned things about yourself and the world you can never unlearn. You’ve tested your strength and courage. You have wisdom to share and are happy to be back in the ordinary world. This transformation you’ve undergone in your journey into the unknown and back is irreversible.

Dorothy finally realizes that her home and family are the most valuable treasures on earth. She’s no longer the dreamy girl who wishes to be far away. She’s grateful for what she has and sees treasure in the simple things. She is transformed.

STEP 8 – STORY CIRCLE MOVIE EXAMPLE

There is a basic universal structure to a good story.

The hero starts out in their regular world. Things are normal. Perhaps they are unfulfilled.

Early in the story, the hero develops a burning need.

They want something, but there are obstacles in the way. To get into the meat of the story, the hero has to answer the call and race across the threshold into the World of Adventure.

There are two slices to the story circle.

You can cut your story circle in half vertically and horizontally. On the top is the regular world, and on the bottom is the world of adventure.

Meanwhile, when you cut your story circle in half vertically, the left side is the starting idea or value, and the right side is the ending idea or value i.e. the transformation.

Can you see how if you use the story circle, you can quickly test your story and see if it works?

The horizontal slice represents the moment the hero crosses the threshold into a new world, out of her comfort zone, and into the mud.

And near the end of the story, it represents her return to the familiar world again. The top half of the story circle is the Regular World. The bottom half of the story circle represents the World of Adventure.

It wouldn’t be a story if you didn’t end up in The World of Adventure.

The reason we love stories so much is that they transport us. They take us out of the everyday grind. They show us who we can become if we take a leap of faith and follow our dreams, passions, and inner guidance.

When you split your story circle in half horizontally, you see how the hero must cross the threshold, passing from the regular world into the world of adventure.

For the story to get going, the hero must enter a quagmire of challenges.

The character enters an unfamiliar situation.

They are now in the World of Adventure. They are no longer stuck or stagnant. They are NOT in their comfort zone any longer. They’ve stepped out onto the rickety bridge and are moving forward, one foot in front of the next, creeping over the abyss.

They adapt to the situation.

This is the part in the story where the hero meets friends and foes and gains tools and tricks that they can use to defeat their enemy in the future.

You could think of this as the training stage.

In your own life, when you embark on a new adventure, there’s a stage where you’ve landed in the new world, and you have to learn the ropes.

You start a new job, and you have no idea what the hell you’re doing.

You meet new co-workers, figure out who the crazy people are, and learn how to use the weird 1980s coffee maker they inexplicably have in the break room.

Joseph Campbell called this stage of the Hero’s Journey the Road of Trials.

The final part of the story circle is the vertical cut.

On the left, you have the idea or value that drives the character and the story from the beginning. On the right, you have the idea or value that takes over after the character lives through the moment of reckoning or meeting with the goddess.

If you begin the love story guarded, unwilling to trust your heart with anyone, after you experience a true-love kiss, you change.

You begin to act out of love instead of fear.

You’re no longer guarded; you’re driven by a desire to love and be loved.

If you begin a coming of age story as a selfish, bratty, spineless child, you will cross the threshold at the bottom of the story circle and move into adulthood. You are no longer in it for yourself alone; you fight for others and give of yourself selflessly.

If your story can’t be split into two opposing values, it will lack tension.

Common Story Circle Questions:

When you’re writing a story or coming up with the plot points for a screenplay or video, it’s common to get lost or stuck.

Although storytelling is a natural part of how we share the moments in our lives with friends and family, when doing it formally, things can go sideways fast.

So, let’s answer some of your pressing story circle questions!

When should you use Dan Harmon’s story circle?

You should use Dan Harmon’s story circle and the Hero’s Journey structure whenever you’re crafting a story.

Before you start writing a story or script, create an outline of the structure and use Dan Harmon’s story circle to test your idea. Make sure that you have all the basic structural elements before you start writing.

What is a story circle?

A story circle is a way of breaking down your story’s structure to identify if your story works.

The story circle is based on Joseph Campbell’s Hero’s Journey. It is Dan Harmon’s simplified version of the hero’s journey and is a simple structural analysis tool for storytellers.

What is the concept of the story circle?

The basic concept of the story circle is that every story follows a universal pattern.

Every story starts with a main character that has a need, goes on a journey into a world of adventure and is changed through facing challenges.

How many steps are in a story circle? And what are the steps?

There are eight steps in the story circle.

• You – A main character in the ordinary world
• Need – Has a need and a desire to take action
• Go – They leave their ordinary world and take decisive action
• Search – The hero searches for what they need, facing obstacles
• Find – They find what they were looking for, but it’s not what they expected
• Take – They pay the price and face their mortality as they take what they need
• Return – Finally, the hero can return home
• Change – Transformed and ready to share their wisdom

Where did the story circle come from?

The story circle came from Dan Harmon’s obsession with storytelling and his need for a simple story structure tool that could help him while writing hundreds of television episodes.

Did Dan Harmon create the story circle?

Dan Harmon created the story circle based on Joseph Campbell’s analysis of the hero’s journey.

Become a Confident Storyteller

Hi, I’m Colette Nichol! I’m a video producer, story strategist, and solo filmmaker based out of Vancouver, Canada.

If you’re interested in becoming a confident storyteller, check out my online storytelling course Story Guru .

Or read more of the storytelling articles on the blog:

📖 Top 10 Elements of a Story

📖 How to Tell a Captivating Story

📖 What Story Should I Write?

📖 How to Write a Logline for a Movie

About the Author

Hi! I’m Colette Nichol . I’m a solo filmmaker and story strategist based out of rainy Vancouver, Canada. I’ve been making videos and micro films for small businesses and global brands since 2014.

Plus, I LOVE to help aspiring filmmakers pursue their dreams and start making films. This blog is designed to help you gain the knowledge you need to become a filmmaker.

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Titans first-round pick JC Latham's journey an example of ability to embrace change

JC Latham was born to do this.

Just the sheer size of the man, 6-foot-6 and 342 pounds, suggests the Tennessee Titans' first-round NFL draft pick of 2024 is ready for whatever is thrown his way.

A physically imposing offensive tackle with powerful, long arms and a mean streak, Latham was the overall No. 7 selection, and the Titans are confident he can stabilize an offensive line built to protect its franchise quarterback, Will Levis.

No pressure.

Latham has dealt with that since he was a freshman defensive end at Catholic Memorial in Milwaukee. He was handling some of the nation's best high school defensive linemen as a first-time offensive lineman at IMG Academy in Bradenton, Florida, 1,300 miles from home. He was mauling the SEC's top defenders in three seasons at Alabama.

NFL DRAFT HUB: Latest NFL Draft mock drafts, news, live picks, grades and analysis.

"The journey has been incredible to watch," Jerome Latham, JC's father, said. "We're blessed that it gets to continue."

JC Latham had to leave to grow

JC Latham, accompanied by his family, was smiling Friday during his introductory news conference at Ascension St. Thomas Sports Park in Nashville, the culmination of his decision to leave Catholic Memorial for IMG after winning a state championship in 2018.

"Everywhere I've been, my whole family has been able to be a part of it," he said. "Being able to celebrate the biggest moment of my life was very special to me."

The separation was not without its stress. JC Latham was right at home in Bradenton despite being more than 1,300 miles away — more at ease at IMG Academy than his family was at letting him go. He was a 16-year-old living the life reserved for college students, still two years from joining coach Nick Saban in Tuscaloosa.

Langston Latham, 18 months younger, decided it was easier for him not to call his brother too much. While JC was thriving at IMG, Langston was missing his best friend.

"He asked me what I thought he should do when he was deciding on whether to stay or go to IMG," Langston said. "I told him he could take his game to the next level. You have to go. It was the hardest thing I've ever had to say to anyone."

JC, who was born in Meridian, Mississippi, moved to Milwaukee when he was 5 and lived with his father and brother. JC's mother, Monique Pruitt, lived in Chicago, so family has been at the center of JC's life. When he arrived at IMG Academy in 2019, though, he adapted quickly.

"His adjustment was incredible," said former IMG coach Bobby Acosta, who coached Latham for one season.

Latham's family had a harder time adjusting to his departure. Langston Latham was a freshman, JC a sophomore when Catholic Memorial won the Division 3 Wisconsin state title. Langston, a linebacker, thought they'd stack up titles together for years.

"I thought that'd continue forever," Langston said. "Then he was gone."

JC Latham thrives in journey

Pruitt admitted there was some trepidation with her son so far away.

"When you're sending a 15- or 16-year-old child away, it's like sending him away for college . . . early," she said. "I believed he could do it. I was pretty sure he could do it, but it's like . . . what if?"

While Langston went on to win two more state titles at Catholic Memorial, JC's IMG Academy team finished the 2020 season as the No. 1-ranked team by USA TODAY Super 25.

"JC has always pushed himself," Jerome Latham said. "He's self-motivated. He wanted to challenge himself after Catholic. I told him if he wants to be the best, he has to play against the best."

As soon as Latham shifted from defensive end to offensive line at IMG, he was dominating four- and five-star defensive linemen on the team.

"He would just swallow them up," Acosta said.

ESTES Tennessee Titans drafted a project in JC Latham because of trust in Bill Callahan

Latham got to Alabama and was named second-team All-American by USA TODAY, starting every game at right tackle for the Crimson Tide. He allowed only two sacks in more than 400 passing attempts last fall and is slotted to play left tackle for the Titans . It shouldn't be a problem for a guy who played left and right tackle as well as guard at IMG.

Latham's easy demeanor shapes his character

But what kept Latham grounded was his fun-loving nature.

"He's a jokester," Jerome Latham said.

When NFL commissioner Roger Goodell called JC Latham's name Thursday in Detroit, the new Titans player with the 35⅛-inch arm length wrapped Goodell in a bear hug and lifted him clear off the stage floor.

"That's JC," Kate Meyers, Jerome's former girlfriend who helped raise JC with Jerome and Monique, said with tears welling in her eyes. "It was emotional for sure because he's such a great man, and a great player. No one deserves this more. We're all proud."

Reach sports writer George Robinson at georgerobinsontheleafchronicle.com and on the X platform (formerly Twitter) @Cville_Sports.