heroine's journey definition

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 The only way to change an outdated myth is to replace it with a better one, whose symbols make more sense and resonate with contemporary society.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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Articles: The Heroine’s Journey

By Maureen Murdock Published in the Encyclopedia of Psychology and Religion edited by David A. Leeming, 2016

In 1949 Joseph Campbell presented a model of the mythological journey of the hero in The Hero with a Thousand Faces, which has since been used as a template for the psycho-spiritual development of the individual. This model, rich in myths about the travails and rewards of male heroes like Gilgamesh, Odysseus, and Percival, begins with a Call to Adventure. The hero crosses the threshold into unknown realms, meets supernatural guides who assist him in his journey, and confronts adversaries or threshold guardians who try to block his progress. The hero experiences an initiation in the belly of the whale, goes through a series of trials that test his skills, and resolves before finding the boon he seeks – variously symbolized by the Grail, the Rune of Wisdom, or the Golden Fleece. He meets a mysterious partner in the form of a goddess or gods, enters into a sacred marriage, and returns across the final threshold to bring back the treasure he has found (Campbell 1949, pp. 36–37).

The hero’s journey is a search for one’s soul and is chronicled in mythologies and fairy tales throughout the world. This quest motif does not, however, address the archetypal journey of the heroine. For contemporary women, this involves the healing of the wounding of the feminine that exists deep within her and the culture.

Fig. 1: The Heroine’s Journey

In 1990, Maureen Murdock wrote The Heroine’s Journey: Woman’s Quest for Wholeness as a response to Joseph Campbell’s model. Murdock, a student of Campbell’s work, felt his model failed to address the specific psycho-spiritual journey of contemporary women. She developed a model describing the cyclical nature of the female experience. Campbell’s response to her model was, “Women don’t need to make the journey. In the whole mythological tradition the woman is there. All she has to do is to realize that she’s the place that people are trying to get to” (Campbell, 1981). That may be true mythologically as the hero or heroine seeks illumination but psychologically, the journey of the contemporary heroine involves different stages.

The Heroine’s Journey begins with an Initial Separation from feminine values, seeking recognition and success in a patriarchal culture, experiencing spiritual death, and turning inward to reclaim the power and spirit of the sacred feminine. The final stages involve an acknowledgement of the union and power of one’s dual nature for the benefit of all humankind (Murdock, 1990, pp. 4-11). Drawing upon cultural myths, Murdock illustrates an alternative journey model to that of patriarchal hegemony. It has become a template for novelists and screenwriters, shining a light on twentieth-century feminist literature.

The Heroine’s Journey is based on the experience of fathers’ daughters who have idealized, identified with, and allied themselves closely with their fathers or the dominant masculine culture. This comes at the cost of devaluing their personal mothers and denigrating values of the female culture. This occurs for both men and women if not on a personal level, then certainly on a collective level. If the feminine is seen as negative, powerless or manipulative the child may reject those qualities she associates with the feminine, including positive qualities such as nurturing, intuition, emotional expressiveness, creativity and spirituality. On a cultural level, the Separation from the Feminine results from a reaction to images of the feminine presented by the media that are impossible to identify with or because of a lack of feminine imagery in religion.

Gods and goddesses are often seen as diverse ways of being in the world and the ancient goddess Athena symbolizes the second stage of the Heroine’s Journey. This Greek goddess of civilization sprang full grown from the head of her father, Zeus. Her mother Metis had been swallowed whole by Zeus, thus depriving Athena of a relationship with her mother. This stage involves an Identification with the Masculine, but not one’s inner personal masculinity. Rather, it is the outer patriarchal masculine whose driving force is power. An individual in a patriarchal society is driven to seek control over themselves and others in an inhuman desire for perfection.

The young girl may see men and the male world as adult and becomes identified with her inner masculine voice, whether that is the voice of her father, god the father, the professional establishment, or the church. Unfortunately, masculine consciousness often tries to help the feminine to speak; it jumps in, interrupts, and takes over, not waiting for her body to know its truth.

The next stage, like the hero’s journey, is the Road of Trials where the focus is on the tasks necessary for ego development. In the outer world, the heroine goes through the same hoops as the hero to achieve success. Everything is geared to climbing the academic or corporate ladder, achieving prestige, position and financial equity, and feeling powerful in the world.

However, in the inner world, her task involves overcoming the myths of dependency, female inferiority or deficit thinking, and romantic love. Many females have been encouraged to be dependent, to disregard their needs for another’s love, to protect another from their success and autonomy.

We live in a society dominated by a masculine perspective where the feminine is perceived as less than the masculine. The Mother Tongue, the language of experience and body knowing is not seen as valid as the Father tongue, the language of analysis. In some families, cultures and religions, being born in a female body is second rate; the female child has therefore failed from the beginning and is marked psychologically as inferior solely because of her gender. In this century the foremost moral issue, from third world countries to the leading world powers, is the abuse and oppression of women and girls around the globe.

The myth of romantic love is that the other will complete her life whether the other is a husband, lover, son, ideology, political party or spiritual sect. The attitude here is that the “other” will actualize her destiny. This stage is symbolized by the myth of Eros and Psyche.

The first part of the heroine’s journey is propelled by the mind and the second part is in response to the heart. The heroine has been working on the developmental tasks necessary to be an adult, to individuate from her parents, and to establish her identity in the outer world. However, even though she has achieved her hard-earned goals, she may experience a sense of Spiritual Aridity. Her river of creativity has dried up and she begins to ask, “What have I lost in this heroic quest?” She has achieved everything she set out to do, but it has come at great sacrifice to her soul. Her relationship with her inner world is estranged. She feels oppressed but doesn’t understand the source of her victimization.

At this stage, she is afraid to look into the depths of herself and clings instead to past patterns of behavior, old relationships, and a familiar life style. There’s a fear of saying “no” and holding the tension of not knowing what’s next. In Leaving My Father’s House, Jungian analyst Marion Woodman (1992) writes,

“It takes a strong ego to hold the darkness, wait, hold the tension, waiting for we know not what. But if we can hold long enough, a tiny light is conceived in the dark unconscious, and if we can wait and hold, in its own time it will be born in its full radiance. The ego then has to be loving enough to receive the gift and nourish it with the best food that new life may eventually transform the whole personality” (p. 115).

At this point, the heroine is faced with a Descent or dark night of the soul, a time of major de-structuring and dismemberment. A descent brings sadness, grief, a feeling of being unfocused and undirected. What usually throws a person into a descent is leaving home, separating from one’s parents, the death of a child, lover or spouse, the loss of identity with a particular role, a serious physical or mental illness, an addiction, the midlife transition, divorce, aging, or loss of community. The descent may take weeks, month, years, and cannot be rushed because the heroine is reclaiming not only parts of herself, but also the lost soul of the culture. The task here is to reclaim the discarded parts of the self that were split off in the original separation from the feminine–– parts that have been ignored, devalued, and repressed, words and feelings swallowed in her quest for success.

Dismemberment and renewal is a key feature of the ancient Sumerian myth of Inanna and Ereshkigal. Inanna, the Queen of the Great Above, journeys to the Underworld to be with her sister Ereshkigal, the Queen of the Great Below. Ereshkigal’s consort has died and Inanna traverses seven thresholds and seven gates to be with her sister in her grief. At each gate she divests herself of symbols of her power. When she reaches the Underworld, Ereshkigal fixes her with the eye of death and hangs her on a peg to rot. Inanna sacrifices herself for the earth’s need for life and renewal. Her death and subsequent return to life predates Jesus Christ’s crucifixion and resurrection by three thousand years.

At this stage in the heroine’s journey, a woman seeks to reclaim a connection with the sacred feminine to better understand her own psyche. She may become involved in research about ancient goddess figures such as Inanna, Ereshkigal, Demeter, Persephone, Kali, or the Marian mysteries. There is an Urgent Yearning to reconnect with the Feminine and to heal the mother/daughter split that occurred with the initial rejection of the feminine. This may or may not involve a healing with one’s personal mother or daughter, but it usually involves grieving the separation from the feminine and reclaiming a connection to body wisdom, intuition and creativity.

The next stage involves Healing the Unrelated or Wounded Aspects of her Masculine Nature as the heroine takes back her negative projections on the men in her life. This involves identifying the parts of herself that have ignored her health and feelings, refused to accept her limits, told her to tough it out, and never let her rest. It also involves becoming aware of the positive aspects of her masculine nature that supports her desire to bring her images into fruition, helps her to speak her truth and own her authority.

The final stage of The Heroine’s Journey is the Sacred Marriage of the Masculine and Feminine, the hieros gamos . A woman remembers her true nature and accepts herself as she is, integrating both aspects of her nature. It is a moment of recognition, a kind of remembering of that which somewhere at the bottom she has always known. The current problems are not solved, the conflicts remain, but one’s suffering, as long as she does not evade it, will lead to a new life. In developing a new feminine consciousness, she has to have an equally strong masculine consciousness to get her voice out into the world. The union of masculine and feminine involves recognizing wounds, blessing them, and letting them go.

The heroine must become a spiritual warrior. This demands that she learn the delicate art of balance and have the patience for the slow, subtle integration of the feminine and masculine aspects of her nature. She first hungers to lose her feminine self and merge with the masculine, and once she has done this, she begins to realize this is neither the answer nor the objective. She must not discard nor give up what she has learned throughout her heroic quest, but view her hard-earned skills and successes not so much as the goal but as one part of the entire journey. This focus on integration and the resulting awareness of interdependence is necessary for each of us at this time as we work together to preserve the health and balance of life on earth (Murdock, 1990, p.11).

In the Navaho Creation Story Changing Woman speaks to her consort the Sun:

“Remember, as different as we are, you and I, we are of one spirit. As dissimilar as we are, you and I, we are of equal worth. As unlike as you and I are, there must always be solidarity between the two of us. Unlike each other as you and I are, there can be no harmony in the universe as long as there is no harmony between us” (Zolbrod,1984, p. 275).

See also : The Hero Within, Dark Mother, Inanna, Ereshkigal, Demeter, Persephone, Femininity, Great Mother, Campbell, Joseph, Mother, Myths and Dreams, Feminine Psychology, Feminine Spirituality

Bibliography

Campbell, J. (1949). The hero with a thousand faces. Princeton, NJ: Princeton UP. Campbell, J. interview with author, New York, 15 September 1981. Murdock, M. (1998). The heroine’s journey workbook. Boston: Shambhala Pub. Murdock, M. (1990). The heroine’s journey: Woman’s quest for wholeness. Boston: Shambhala Pub. Woodman, M. (1992). Leaving my father’s house: A journey to conscious femininity. Boston: Shambhala Pub. Zolbrod, P. G. (1984). Dine bahane: The Navaho creation story. Albuquerque: U of New Mexico P.

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The hero's journey: a story structure as old as time, the hero's journey offers a powerful framework for creating quest-based stories emphasizing self-transformation..

Table of Contents

Holding out for a hero to take your story to the next level? 

The Hero’s Journey might be just what you’ve been looking for. Created by Joseph Campbell, this narrative framework packs mythic storytelling into a series of steps across three acts, each representing a crucial phase in a character's transformative journey.

Challenge . Growth . Triumph .

Whether you're penning a novel, screenplay, or video game, The Hero’s Journey is a tried-and-tested blueprint for crafting epic stories that transcend time and culture. Let’s explore the steps together and kickstart your next masterpiece.

What is the Hero’s Journey?

The Hero’s Journey is a famous template for storytelling, mapping a hero's adventurous quest through trials and tribulations to ultimate transformation. 

What are the Origins of the Hero’s Journey?

The Hero’s Journey was invented by Campbell in his seminal 1949 work, The Hero with a Thousand Faces , where he introduces the concept of the "monomyth."

A comparative mythologist by trade, Campbell studied myths from cultures around the world and identified a common pattern in their narratives. He proposed that all mythic narratives are variations of a single, universal story, structured around a hero's adventure, trials, and eventual triumph.

His work unveiled the archetypal hero’s path as a mirror to humanity’s commonly shared experiences and aspirations. It was subsequently named one of the All-Time 100 Nonfiction Books by TIME in 2011.

How are the Hero’s and Heroine’s Journeys Different? 

While both the Hero's and Heroine's Journeys share the theme of transformation, they diverge in their focus and execution.

The Hero’s Journey, as outlined by Campbell, emphasizes external challenges and a quest for physical or metaphorical treasures. In contrast, Murdock's Heroine’s Journey, explores internal landscapes, focusing on personal reconciliation, emotional growth, and the path to self-actualization.

In short, heroes seek to conquer the world, while heroines seek to transform their own lives; but…

Twelve Steps of the Hero’s Journey

So influential was Campbell’s monomyth theory that it's been used as the basis for some of the largest franchises of our generation: The Lord of the Rings , Harry Potter ...and George Lucas even cited it as a direct influence on Star Wars .

There are, in fact, several variations of the Hero's Journey, which we discuss further below. But for this breakdown, we'll use the twelve-step version outlined by Christopher Vogler in his book, The Writer's Journey (seemingly now out of print, unfortunately).

You probably already know the above stories pretty well so we’ll unpack the twelve steps of the Hero's Journey using Ben Gates’ journey in National Treasure as a case study—because what is more heroic than saving the Declaration of Independence from a bunch of goons?

Ye be warned: Spoilers ahead!

Act One: Departure

Step 1. the ordinary world.

The journey begins with the status quo—business as usual. We meet the hero and are introduced to the Known World they live in. In other words, this is your exposition, the starting stuff that establishes the story to come.

National Treasure begins in media res (preceded only by a short prologue), where we are given key information that introduces us to Ben Gates' world, who he is (a historian from a notorious family), what he does (treasure hunts), and why he's doing it (restoring his family's name).

With the help of his main ally, Riley, and a crew of other treasure hunters backed by a wealthy patron, he finds an 18th-century American ship in the Canadian Arctic, the Charlotte . Here, they find a ship-shaped pipe that presents a new riddle and later doubles as a key—for now, it's just another clue in the search for the lost treasure of the Templars, one that leads them to the Declaration of Independence.

Step 2. The Call to Adventure

The inciting incident takes place and the hero is called to act upon it. While they're still firmly in the Known World, the story kicks off and leaves the hero feeling out of balance. In other words, they are placed at a crossroads.

Ian (the wealthy patron of the Charlotte operation) steals the pipe from Ben and Riley and leaves them stranded. This is a key moment: Ian becomes the villain, Ben has now sufficiently lost his funding for this expedition, and if he decides to pursue the chase, he'll be up against extreme odds.

Step 3. Refusal of the Call

The hero hesitates and instead refuses their call to action. Following the call would mean making a conscious decision to break away from the status quo. Ahead lies danger, risk, and the unknown; but here and now, the hero is still in the safety and comfort of what they know.

Ben debates continuing the hunt for the Templar treasure. Before taking any action, he decides to try and warn the authorities: the FBI, Homeland Security, and the staff of the National Archives, where the Declaration of Independence is housed and monitored. Nobody will listen to him, and his family's notoriety doesn't help matters.

Step 4. Meeting the Mentor

The protagonist receives knowledge or motivation from a powerful or influential figure. This is a tactical move on the hero's part—remember that it was only the previous step in which they debated whether or not to jump headfirst into the unknown. By Meeting the Mentor, they can gain new information or insight, and better equip themselves for the journey they might to embark on.

Abigail, an archivist at the National Archives, brushes Ben and Riley off as being crazy, but Ben uses the interaction to his advantage in other ways—to seek out information about how the Declaration of Independence is stored and cared for, as well as what (and more importantly, who) else he might be up against in his own attempt to steal it.

In a key scene, we see him contemplate the entire operation while standing over the glass-encased Declaration of Independence. Finally, he firmly decides to pursue the treasure and stop Ian, uttering the famous line, "I'm gonna steal the Declaration of Independence."

Act Two: Initiation

Step 5. crossing the threshold.

The hero leaves the Known World to face the Unknown World. They are fully committed to the journey, with no way to turn back now. There may be a confrontation of some sort, and the stakes will be raised.

Ben and Riley infiltrate the National Archives during a gala and successfully steal the Declaration of Independence. But wait—it's not so easy. While stealing the Declaration of Independence, Abigail suspects something is up and Ben faces off against Ian.

Then, when trying to escape the building, Ben exits through the gift shop, where an attendant spots the document peeking out of his jacket. He is forced to pay for it, feigning that it's a replica—and because he doesn't have enough cash, he has to use his credit card, so there goes keeping his identity anonymous.

The game is afoot.

Step 6. Tests, Allies, Enemies

The hero explores the Unknown World. Now that they have firmly crossed the threshold from the Known World, the hero will face new challenges and possibly meet new enemies. They'll have to call upon their allies, new and old, in order to keep moving forward.

Abigail reluctantly joins the team under the agreement that she'll help handle the Declaration of Independence, given her background in document archiving and restoration. Ben and co. seek the aid of Ben's father, Patrick Gates, whom Ben has a strained relationship with thanks to years of failed treasure hunting that has created a rift between grandfather, father, and son. Finally, they travel around Philadelphia deciphering clues while avoiding both Ian and the FBI.

Step 7. Approach the Innermost Cave

The hero nears the goal of their quest, the reason they crossed the threshold in the first place. Here, they could be making plans, having new revelations, or gaining new skills. To put it in other familiar terms, this step would mark the moment just before the story's climax.

Ben uncovers a pivotal clue—or rather, he finds an essential item—a pair of bifocals with interchangeable lenses made by Benjamin Franklin. It is revealed that by switching through the various lenses, different messages will be revealed on the back of the Declaration of Independence. He's forced to split from Abigail and Riley, but Ben has never been closer to the treasure.

Step 8. The Ordeal

The hero faces a dire situation that changes how they view the world. All threads of the story come together at this pinnacle, the central crisis from which the hero will emerge unscathed or otherwise. The stakes will be at their absolute highest here.

Vogler details that in this stage, the hero will experience a "death," though it need not be literal. In your story, this could signify the end of something and the beginning of another, which could itself be figurative or literal. For example, a certain relationship could come to an end, or it could mean someone "stuck in their ways" opens up to a new perspective.

In National Treasure , The FBI captures Ben and Ian makes off with the Declaration of Independence—all hope feels lost. To add to it, Ian reveals that he's kidnapped Ben's father and threatens to take further action if Ben doesn't help solve the final clues and lead Ian to the treasure.

Ben escapes the FBI with Ian's help, reunites with Abigail and Riley, and leads everyone to an underground structure built below Trinity Church in New York City. Here, they manage to split from Ian once more, sending him on a goose chase to Boston with a false clue, and proceed further into the underground structure.

Though they haven't found the treasure just yet, being this far into the hunt proves to Ben's father, Patrick, that it's real enough. The two men share an emotional moment that validates what their family has been trying to do for generations.

Step 9. Reward

This is it, the moment the hero has been waiting for. They've survived "death," weathered the crisis of The Ordeal, and earned the Reward for which they went on this journey.

Now, free of Ian's clutches and with some light clue-solving, Ben, Abigail, Riley, and Patrick keep progressing through the underground structure and eventually find the Templar's treasure—it's real and more massive than they could have imagined. Everyone revels in their discovery while simultaneously looking for a way back out.

Act Three: Return

Step 10. the road back.

It's time for the journey to head towards its conclusion. The hero begins their return to the Known World and may face unexpected challenges. Whatever happens, the "why" remains paramount here (i.e. why the hero ultimately chose to embark on their journey).

This step marks a final turning point where they'll have to take action or make a decision to keep moving forward and be "reborn" back into the Known World.

Act Three of National Treasure is admittedly quite short. After finding the treasure, Ben and co. emerge from underground to face the FBI once more. Not much of a road to travel back here so much as a tunnel to scale in a crypt.

Step 11. Resurrection

The hero faces their ultimate challenge and emerges victorious, but forever changed. This step often requires a sacrifice of some sort, and having stepped into the role of The Hero™, they must answer to this.

Ben is given an ultimatum— somebody has to go to jail (on account of the whole stealing-the-Declaration-of-Independence thing). But, Ben also found a treasure worth millions of dollars and that has great value to several nations around the world, so that counts for something.

Ultimately, Ben sells Ian out, makes a deal to exonerate his friends and family, and willingly hands the treasure over to the authorities. Remember: he wanted to find the treasure, but his "why" was to restore the Gates family name, so he won regardless.

Step 12. Return With the Elixir

Finally, the hero returns home as a new version of themself, the elixir is shared amongst the people, and the journey is completed full circle.

The elixir, like many other elements of the hero's journey, can be literal or figurative. It can be a tangible thing, such as an actual elixir meant for some specific purpose, or it could be represented by an abstract concept such as hope, wisdom, or love.

Vogler notes that if the Hero's Journey results in a tragedy, the elixir can instead have an effect external to the story—meaning that it could be something meant to affect the audience and/or increase their awareness of the world.

In the final scene of National Treasure , we see Ben and Abigail walking the grounds of a massive estate. Riley pulls up in a fancy sports car and comments on how they could have gotten more money. They all chat about attending a museum exhibit in Cairo (Egypt).

In one scene, we're given a lot of closure: Ben and co. received a hefty payout for finding the treasure, Ben and Abigail are a couple now, and the treasure was rightfully spread to those it benefitted most—in this case, countries who were able to reunite with significant pieces of their history. Everyone's happy, none of them went to jail despite the serious crimes committed, and they're all a whole lot wealthier. Oh, Hollywood.

Variations of the Hero's Journey

Plot structure is important, but you don't need to follow it exactly; and, in fact, your story probably won't. Your version of the Hero's Journey might require more or fewer steps, or you might simply go off the beaten path for a few steps—and that's okay!

What follows are three additional versions of the Hero's Journey, which you may be more familiar with than Vogler's version presented above.

Dan Harmon's Story Circle (or, The Eight-Step Hero's Journey)

Screenwriter Dan Harmon has riffed on the Hero's Journey by creating a more compact version, the Story Circle —and it works especially well for shorter-format stories such as television episodes, which happens to be what Harmon writes.

The Story Circle comprises eight simple steps with a heavy emphasis on the hero's character arc:

• The hero is in a zone of comfort...
• But they want something.
• They enter an unfamiliar situation...
• And adapt to it by facing trials.
• They get what they want...
• But they pay a heavy price for it.
• They return to their familiar situation...
• Having changed.

You may have noticed, but there is a sort of rhythm here. The eight steps work well in four pairs, simplifying the core of the Hero's Journey even further:

• The hero is in a zone of comfort, but they want something.
• They enter an unfamiliar situation and have to adapt via new trials.
• They get what they want, but they pay a price for it.
• They return to their zone of comfort, forever changed.

If you're writing shorter fiction, such as a short story or novella, definitely check out the Story Circle. It's the Hero's Journey minus all the extraneous bells & whistles.

Ten-Step Hero's Journey

The ten-step Hero's Journey is similar to the twelve-step version we presented above. It includes most of the same steps except for Refusal of the Call and Meeting the Mentor, arguing that these steps aren't as essential to include; and, it moves Crossing the Threshold to the end of Act One and Reward to the end of Act Two.

• The Ordinary World
• The Call to Adventure
• Crossing the Threshold
• Tests, Allies, Enemies
• Approach the Innermost Cave
• The Road Back
• Resurrection
• Return with Elixir

We've previously written about the ten-step hero's journey in a series of essays separated by act: Act One (with a prologue), Act Two , and Act Three .

Twelve-Step Hero's Journey: Version Two

Again, the second version of the twelve-step hero's journey is very similar to the one above, save for a few changes, including in which story act certain steps appear.

This version skips The Ordinary World exposition and starts right at The Call to Adventure; then, the story ends with two new steps in place of Return With Elixir: The Return and The Freedom to Live.

• The Refusal of the Call
• Meeting the Mentor
• Test, Allies, Enemies
• Approaching the Innermost Cave
• The Resurrection
• The Return*
• The Freedom to Live*

In the final act of this version, there is more of a focus on an internal transformation for the hero. They experience a metamorphosis on their journey back to the Known World, return home changed, and go on to live a new life, uninhibited.

Seventeen-Step Hero's Journey

Finally, the granddaddy of heroic journeys: the seventeen-step Hero's Journey. This version includes a slew of extra steps your hero might face out in the expanse.

• Refusal of the Call
• Supernatural Aid (aka Meeting the Mentor)
• Belly of the Whale*: This added stage marks the hero's immediate descent into danger once they've crossed the threshold.
• Road of Trials (...with Allies, Tests, and Enemies)
• Meeting with the Goddess/God*: In this stage, the hero meets with a new advisor or powerful figure, who equips them with the knowledge or insight needed to keep progressing forward.
• Woman as Temptress (or simply, Temptation)*: Here, the hero is tempted, against their better judgment, to question themselves and their reason for being on the journey. They may feel insecure about something specific or have an exposed weakness that momentarily holds them back.
• Atonement with the Father (or, Catharthis)*: The hero faces their Temptation and moves beyond it, shedding free from all that holds them back.
• Apotheosis (aka The Ordeal)
• The Ultimate Boon (aka the Reward)
• Refusal of the Return*: The hero wonders if they even want to go back to their old life now that they've been forever changed.
• The Magic Flight*: Having decided to return to the Known World, the hero needs to actually find a way back.
• Rescue From Without*: Allies may come to the hero's rescue, helping them escape this bold, new world and return home.
• Crossing of the Return Threshold (aka The Return)
• Master of Two Worlds*: Very closely resembling The Resurrection stage in other variations, this stage signifies that the hero is quite literally a master of two worlds—The Known World and the Unknown World—having conquered each.
• Freedom to Live

Again, we skip the Ordinary World opening here. Additionally, Acts Two and Three look pretty different from what we've seen so far, although, the bones of the Hero's Journey structure remain.

The Eight Hero’s Journey Archetypes

The Hero is, understandably, the cornerstone of the Hero’s Journey, but they’re just one of eight key archetypes that make up this narrative framework.

In The Writer's Journey , Vogler outlined seven of these archetypes, only excluding the Ally, which we've included below. Here’s a breakdown of all eight with examples: 

1. The Hero

As outlined, the Hero is the protagonist who embarks on a transformative quest or journey. The challenges they overcome represent universal human struggles and triumphs. 

Vogler assigned a "primary function" to each archetype—helpful for establishing their role in a story. The Hero's primary function is "to service and sacrifice."

Example: Neo from The Matrix , who evolves from a regular individual into the prophesied savior of humanity.

2. The Mentor

A wise guide offering knowledge, tools, and advice, Mentors help the Hero navigate the journey and discover their potential. Their primary function is "to guide."

Example: Mr. Miyagi from The Karate Kid imparts not only martial arts skills but invaluable life lessons to Daniel.

3. The Ally

Companions who support the Hero, Allies provide assistance, friendship, and moral support throughout the journey. They may also become a friends-to-lovers romantic partner. 

Not included in Vogler's list is the Ally, though we'd argue they are essential nonetheless. Let's say their primary function is "to aid and support."

Example: Samwise Gamgee from Lord of the Rings , a loyal friend and steadfast supporter of Frodo.

4. The Herald

The Herald acts as a catalyst to initiate the Hero's Journey, often presenting a challenge or calling the hero to adventure. Their primary function is "to warn or challenge."

Example: Effie Trinket from The Hunger Games , whose selection at the Reaping sets Katniss’s journey into motion.

5. The Trickster

A character who brings humor and unpredictability, challenges conventions, and offers alternative perspectives or solutions. Their primary function is "to disrupt."

Example: Loki from Norse mythology exemplifies the trickster, with his cunning and chaotic influence.

6. The Shapeshifter

Ambiguous figures whose allegiance and intentions are uncertain. They may be a friend one moment and a foe the next. Their primary function is "to question and deceive."

Example: Catwoman from the Batman universe often blurs the line between ally and adversary, slinking between both roles with glee.

7. The Guardian

Protectors of important thresholds, Guardians challenge or test the Hero, serving as obstacles to overcome or lessons to be learned. Their primary function is "to test."

Example: The Black Knight in Monty Python and the Holy Grail literally bellows “None shall pass!”—a quintessential ( but not very effective ) Guardian.

8. The Shadow

Represents the Hero's inner conflict or an antagonist, often embodying the darker aspects of the hero or their opposition. Their primary function is "to destroy."

Example: Zuko from Avatar: The Last Airbender; initially an adversary, his journey parallels the Hero’s path of transformation.

While your story does not have to use all of the archetypes, they can help you develop your characters and visualize how they interact with one another—especially the Hero.

For example, take your hero and place them in the center of a blank worksheet, then write down your other major characters in a circle around them and determine who best fits into which archetype. Who challenges your hero? Who tricks them? Who guides them? And so on...

Stories that Use the Hero’s Journey

Not a fan of saving the Declaration of Independence? Check out these alternative examples of the Hero’s Journey to get inspired: 

• Epic of Gilgamesh : An ancient Mesopotamian epic poem thought to be one of the earliest examples of the Hero’s Journey (and one of the oldest recorded stories).
• The Lion King (1994): Simba's exile and return depict a tale of growth, responsibility, and reclaiming his rightful place as king.
• The Alchemist by Paolo Coehlo: Santiago's quest for treasure transforms into a journey of self-discovery and personal enlightenment.
• Coraline by Neil Gaiman: A young girl's adventure in a parallel world teaches her about courage, family, and appreciating her own reality.
• Kung Fu Panda (2008): Po's transformation from a clumsy panda to a skilled warrior perfectly exemplifies the Hero's Journey. Skadoosh!

The Hero's Journey is so generalized that it's ubiquitous. You can plop the plot of just about any quest-style narrative into its framework and say that the story follows the Hero's Journey. Try it out for yourself as an exercise in getting familiar with the method.

Will the Hero's Journey Work For You?

As renowned as it is, the Hero's Journey works best for the kinds of tales that inspired it: mythic stories.

Writers of speculative fiction may gravitate towards this method over others, especially those writing epic fantasy and science fiction (big, bold fantasy quests and grand space operas come to mind).

The stories we tell today are vast and varied, and they stretch far beyond the dealings of deities, saving kingdoms, or acquiring some fabled "elixir." While that may have worked for Gilgamesh a few thousand years ago, it's not always representative of our lived experiences here and now.

If you decide to give the Hero's Journey a go, we encourage you to make it your own! The pieces of your plot don't have to neatly fit into the structure, but you can certainly make a strong start on mapping out your story.

Hero's Journey Campfire Template

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—forever! Let's plot the most epic of hero's journeys 👇

Lessons From the Hero’s Journey

The Hero's Journey offers a powerful framework for creating stories centered around growth, adventure, and transformation.

If you want to develop compelling characters, spin out engaging plots, and write books that express themes of valor and courage, consider The Hero’s Journey your blueprint. So stop holding out for a hero, and start writing!

Does your story mirror the Hero's Journey? Let us know in the comments below.

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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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Exploring the F-word in religion at the intersection of scholarship, activism, and community.

The Via Feminina: Revisioning the Heroine’s Journey by Mary Sharratt

Joseph Campbell’s monomyth, the Hero’s Journey, is outlined in his 1949 book, The Hero with a Thousand Faces . Drawn from his studies of comparative mythology and Jungian psychology, the Hero’s Journey has become a foundation myth of modern culture. The hero, generally young and vigorous, sets off into the unknown to battle antagonistic forces and returns transformed, a hero and guide to his people.

As Campbell writes in The Hero with a Thousand Faces :

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.

The Hero’s Journey has served as the go-to template for Hollywood screenwriters and bestselling novelists. We see this mythic pattern of the conquering male hero played over and over again in popular culture. Think Luke Skywalker in the original 1977 Star Wars— or any protagonist in a George Lucas or Steven Spielberg movie. Creative writing teachers encourage their students to pattern their story arcs on the Hero’s Journey to give a sense of archetypal depth and resonance. But this technique has been overused to the point of becoming a cliché. A deeply sexist cliché.

Campbell drew his monomyth primarily from classical Greek mythology, which evolved in one of the most misogynist eras of history. Women appear as either the disempowered chattels of men (mothers, daughters, wives, damsels in distress) or—if they have any power or agency—as the evil temptress/witch/monster that the hero must defeat. These Greek myths evolved in a time when being a hero meant taking up arms, subjugating other peoples, and burning your enemy’s city to the ground.

Campbell, who was born in 1904 and died in 1987, was not only patriarchal in his outlook but apparently willfully ignorant of the fact that women might want to set off on their own journeys and be the protagonist, not the helpmeet. When his student, Maureen Murdock, questioned him about where women fit into his monomyth, he replied, “Women don’t need to make the journey. In the whole mythological journey, the woman is there. All she has to do is realize that she’s the place people are trying to get to.”

In response to this, Maureen Murdock wrote her watershed book The Heroine’s Journey: Women’s Quest for Wholeness , first published in 1990 .

In the Heroine’s Journey, Murdock explores the cyclical nature of female experience. As screenwriter Jill Soloway observes, “If the Hero’s Journey was an arc, it increasingly became apparent to me that the Heroine’s Journey was a circle.”

Murdock also describes that the Heroine’s Journey, in patriarchal culture, is much more complicated than the Hero’s Journey, as she must battle the sexism of the dominant culture, as well as her internal assumptions of what women can or should do.

Murdock, a Jungian analyst, envisioned her Heroine’s Journey as a quest that culminates in the heroine healing the wounded masculine and reconciling the masculine and feminine within her own psyche. “The final stage of The Heroine’s Journey is the Sacred Marriage of the Masculine and Feminine, the hieros gamos ,” Murdock writes.

This is a concept that some feminists and non-Jungians may find as dated and unhelpful as Campbell’s original male-centric monomyth. Why is it women’s work to heal the wounded masculine and why is this inner reconciliation symbolized as a hetero marriage? Is this relevant imagery for our 21 st century world?

Recent cinematic adaptations of the Heroine’s Journey take it in another direction entirely . In popular films such as Wonder Woman , Brave , Hunger Games , etc., women and girls at last have agency and drive the action. But there are clichés here, too. These heroines are inevitably young and beautiful, physically healthy and victorious. They wield weapons and brute force as skillfully as their male peers. Think of She-Achilles in a sexy corset battling zombie armies.

What would the Heroine’s Journey look like if it truly reflected our authentic, lived experience as women and girls today? And if it was conceived wholly from a female reference point and not derivative of the work of men like Campbell or Jung?

In her book Writing a Woman’s Life , Carolyn G. Heilbrun observes how both biographers and autobiographers have suppressed the truth about lived female experience to force it to conform to society’s script of how a woman’s life should be. Heilbrun even mentions Margery Kempe, the first person to write an autobiography in English and also the heroine of my new novel, Revelations .

Margery’s Heroine’s Journey started not when she was in the bloom of youth but amid the disillusionment of midlife. She was forty, a desperate housewife, a failed business woman, a mother of fourteen, and trapped in an abusive marriage. Marital rape was her lived reality and a fifteenth child might have killed her. She seized back control by setting off on the perilous pilgrim’s path to Rome, Jerusalem, and Santiago de Compostela. In era when women were subject to forced marriage and forced childbirth, she literally walked away from it all. She could have chosen the safer option by fleeing her husband in order to enter the cloistered life as a vowess, but instead she chose the open road with all its adventures and perils, thus forging her own way, a Via Feminina.

It’s soul-destroying for a woman to force herself to conform to someone else’s script or template. Every heroine embarks on her own unique quest and enters terra incognita. She has no choice but to draw her own map and blaze her own trail. Later, when she returns, she can share her authentic story as a guide for other women.

On May 13, I’ll be teaming up with Christine Valters Paintner of Abbey of the Arts to offer a mini-retreat centered on the Via Feminina as mirrored in the lives of the mystics Margery Kempe and Julian of Norwich. You can learn more here .

Mary Sharratt  is on a mission to write women back into history. Her acclaimed novel  Illuminations , drawn from the dramatic life of Hildegard von Bingen, is published by Mariner.   Her new novel   Revelations ,  about the globe-trotting mystic and rabble-rouser, Margery Kempe, will be published in April 2021. Visit her  website .

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Author: Mary Sharratt

Mary Sharratt is on a mission to write women back into history and is the author of eight acclaimed novels, including ILLUMINATIONS, drawn from the life of Hildegard von Bingen, and REVELATIONS, which delves into the intersecting lives of Margery Kempe and Julian of Norwich, two mystics and female literary pioneers who changed history. Visit her website: www.marysharratt.com View all posts by Mary Sharratt

25 thoughts on “The Via Feminina: Revisioning the Heroine’s Journey by Mary Sharratt”

Thanks for this post.

Murdock’s book is a great critique. But the Jungian categories are problematic. Intelligence and courage etc. are not masculine properties nor are love and care feminine. These are human qualities. I am not expressing my sacred masculine when I am smart and strong. I am expressing my female selfhood. Also I think the sacred marriage “archetype” comes into being as part of the patriarchal takeover. The marriage is between the king and the Goddess. Kings are conquerors and they have not always been part of human cultures. In marrying the Goddesses of the land, the kings assert their power over the land they have conquered.

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Hi, Carol, my comment below was in reply to yours, so I’m reposting it here for clarity!

Thank you for so eloquently pointing out the problems with the Jungian designations of “masculine” and “feminine,” which seem completely at odds with feminism and human wholeness and integration.

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Agreed – I believe the sacred marriage archetype (is there such a thing or is this part of our CURRENT socially constructed reality?) did come into being as part of the patriarchal takeover.

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Thank you, finally someone who sees it this way! I’m all for splitting these universally human traits into two groups – but not gendered groups. Instead of masculine/feminine energy, I prefer fire/water or sun/moon energy, etc. I’m sick of being told the healthiest expression of my “feminine energy” is softness, surrender, flow and nurturance, etc. I’m sick of being told that women who are doing a lot have “imbalanced masculine energy”. It all reeks of New Age sexism to me and it drives me nuts that more people, particularly spiritual feminists, aren’t more critical of it.

I’m not opposed to gender roles. I love traditional gender roles and I love conforming to them – consciously and in moderation. When they’re applied to everyone, even those who don’t fully resonate all the time with their narrow definitions, and imposed upon us as some kind of inescapable divine spiritual truth, they become oppressive.

Thanks so much for reading and commenting, Laura!

Thank you for so eloquently pointing out the problems with the Jungian designations of “masculine” and “feminine,” which seem completely at odds with feminism and human wholeness and integration.

I could not agree more with your assessment of the heroine’s journey than I do. I was spoon-fed by Campbell and became a Jungian analyst who stopped practicing when she realized that she was harming the women she worked with…By the way, what a relief to see the word heroine – note how today we have returned to “hero” – The female’s journey is a tough one – perilous too. But if we are dedicated to becoming authentic we must make it and it helps to tell the truth about how difficult this journey can be for some. I almost never read fiction but your book intrigues me…. Thanks so much for this post and the photos that reveal the POWER based heroines of today complete with guns – these photos are as much of an assault on my psyche as “barbie” is.

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Thank you so much for reading, Sara! How fascinating that you stopped being a Jungian analyst when you realized it was harming the women you worked with. This is a book in itself!

“the photos that reveal the POWER based heroines of today complete with guns – these photos are as much of an assault on my psyche as “barbie” is.”

YES!!! Barbie with deadly weapons . . .

Excellent essay, Mary. Thank you. Your sentence: “It’s soul-destroying for a woman to force herself to conform to someone else’s script or template” is exactly right. I’ve spent a lifetime trying to get out from under that heavy yoke. One lifetime just isn’t enough!

Thank you for reading and brava for liberating yourself from other people’s scripts!

SOUL DESTROYING YES!!!

Brava, brava, brava! Excellent and very useful and topical post in these misogynistic times. Well, gee, I guess all times have been largely misogynistic. Ever since I first read the Iliad in high school, I kept rooting for the Trojans to win that war and drown all the Greek armies and their heroes, especially Odysseus. But I guess I hold a minority view. Except in this community? I’ve also been very suspicious of Jung’s patriarchal archetypes and Campbell’s hero. I like the word HERA to refer to female heroes because it’s also the name of the Queen of the Gods before Zeus arrived and raped and diminished her. (End of rant.)

Mary, thanks for writing this post and for all your excellent work and your terrific books. I’m eager to read the next one! I hope you and your husband and the horses are happy in Portugal. Bright blessings to you and your talent and your work.

Thank you so much, Barbara. I love your idea of using HERA instead of heroine. HERA’S JOURNEY!!!

I’ve long thought we need fairytales and myths featuring middle-aged or old women as the heroine. As I’ve commented in the past couple of posts, I’m eager to read your novel about Margery Kempe! Go, Margery!

Thanks so much, Elizabeth! I love the witch and wisewoman archetype in traditional fairy tales. Baba Yaga rocks!

Great post, Mary. I started a book about the “hero’s myth” about twenty years ago, but never finished it. I never called it the hero’s myth, but instead the dragon-slaying myth. I wanted to call attention to the idea undergirding our culture that any conflict must necessarily involve potential or actual violence, you vs. me, us vs. them, even good vs. evil. Of course, the dragon was almost always female.

Yes, any powerful female becomes the monster or witch that must be slain. We definitely need better myths and stories than this! Thanks so much for reading!

I wrote a trilogy based on the Hero’s Journey but with a female protagonist. Not a role-reversal but a hero whose strengths are rooted in compassion and relationship.

Brava, Catherine!

Please feel free to put in a link for your trilogy here so we can find out more! :)

Here’s the link to Amazon. Book I of the trilogy is free.

Here’s a link to my web page, which has a lot more information about how the story is constructed. http://www.whenwomenwerewarriors.com

How the book relates to the Hero’s Journey is here: http://www.shieldmaidenpress.com/the-quest.html

How female heroes differ from male heroes is here: http://www.shieldmaidenpress.com/female-heroes.html

Thank you so much for this edifying analysis. I really enjoyed the originality of illuminations, and I, too, have always been turned off by the Jungian sexualized “hero” myth. Yet there are elements in the myth that I find powerful, so I’ve designed my own gender-free template – to use or not!

1. There is a protagonist (for lack of a better neutral word for someone of any age or gender) who is called to adventure, which involves righting a wrong that is oppressing, damaging, or threatening to destroy another person– and often a whole community. The protagonist usually has a psychic wound, which can only be healed by righting the wrong, which in turn can only happen when the protagonist is transformed in some vital way, which usually means letting go of some cherished illusion.

2. The adventure occurs in a “dark wood,” a dangerous place with its own rules, where the “Evil One” responsible for the above-mentioned injustice dwells. In the dark wood, the protagonist encounters allies and enemies. The first of these, the threshold guardian, attempts to stop the protagonist with warnings that to enter the wood will result in failure or death. The protagonist’s courage/determination to do the right thing overcomes these warnings, and she/he/they enters the dark wood and learns its rules.

3.In the dark wood, the protagonist strives to right the wrong in ways that need not involve violence but which in most cases will have physical consequences (e.g., the dark wood is a sweat shop, which the protagonist is attempting to unionize, resulting in better working conditions and perhaps unseating the CEO). The dark wood is also where all sorts of characters test the protagonist’s moral and spiritual values, enabling us to identify what values actually underlie this quest, while coming to ever new understandings of the values themselves. The ultimate confrontation is with the Evil One, whose underlying values are egoistic – and this confrontation usually happens in the Evil One’s personal domain. Usually, the penultimate or the final confrontation includes a temptation for the protagonist to achieve her/his/their superficial ego-goals at the expense of her/his/their underlying virtue. This is the ultimate test, involving the healing of the psychic wound and the abandoning of the cherished illusion. In the final confrontation, the protagonist chooses for the ultimate good and defeats the Evil One. Again, this defeat does not have to involve violence.

4. The protagonist then returns to the community, having healed or saved it in a significant way.

This template allows for many variations – e.g., sometimes the protagonist can’t return to the community and founds a new one instead, or the Evil One is not defeated but transformed. I realize that this template can be horribly misused, – as we’ve seen through the ages. But I’d hate to throw out the baby with the bath.

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Brava! I love this. A much needed re-vision!

• Pingback: The Via Feminina: Revisioning the Heroine’s Journey by Mary Sharratt — – Just waving

In his Hero with a Thousand Faces Campbell also said that the hero can be a man or woman. The point is that the ‘hero’ represents the ‘masculine’ energy and the ‘heroine’ represents ‘feminine’ energy – whoever or whatever contains it. The monomyth can also be seen as a metaphor for the creative process, in which we go searching and questing and actively ‘trying’ (the masculine) but only receive our insight (in the belly of the whale) once we surrender our conditioned beliefs and ‘let go’ in order to receive new insights. This represents the incubation period of creativity. So in a patriarchal society most stories would all be about men as the hero – that’s the only reason Campbell named the protagonist a hero rather than a heroine. We all have masculine and feminine components, which could be described as the person above says, as fire and water etc. Or intellect and unconscious, in the creative process.

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The Art of Narrative

Learn to write.

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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6 comments on “A Complete Guide to The Hero’s Journey (or The Monomyth)”

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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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The Reward and the Road Back

From Christopher Vogler's "The Writer's Journey: Mythic Structure"

De Agostini Picture Library / Getty Images

• Tips For Adult Students
• Getting Your Ged

• B.A., English, St. Olaf College

Once our hero has cheated death during the ordeal and has seized the sword, the much sought-after prize is hers. The prize of the hero's journey can be an actual object, like a holy grail, or it can mean the knowledge and experience that lead to greater understanding and reconciliation. Sometimes the reward is love.

The Hero's Destination

This is the climax or denouement of the hero's story, and she's come a long way, both physically and as a character, since first refusing the call . Seizing the sword may be a moment of clarity for the hero when she sees through a deception. After having cheated death, she may find she has special powers of clairvoyance or intuition, experience profound self-realization, or have an epiphany, a moment of divine recognition.

We all know that cheating death will have consequences for our hero, but first the action pauses, and the hero and her gang celebrate. The reader is given a break and is allowed to become more acquainted with the characters while life is relaxed.

The Reward in the Wizard of Oz

In the "Wizard of Oz," Dorothy wins the burned broomstick she has been challenged to steal. She returns to Oz to seize her next reward: her trip home. The wizard balks and Toto (Dorothy’s intuition) reveals the little man behind the curtain. This is the hero's moment of insight.

The wizard finally gives Dorothy’s friends their own elixirs, which represent the meaningless gifts we give each other. Those who have not survived death can take the elixir all day long and it won’t make a difference. The true, all-healing elixir is the achievement of inner change. The wizard tells Dorothy that only she can grant herself the self-acceptance to get home, to be happy inside herself wherever she is.

The Road Back

With the hero armed with the reward, we move into Act Three. Here, the hero decides whether to stay in the special world or go back to the ordinary world. The energy of the story is revved back up. The hero's passion for the quest is renewed. However, all is not necessarily well. If the hero has not resolved the issue with the conquered villain, the shadow, it comes after her with a vengeance.

The hero runs for her life, fearing the magic is gone. The psychological meaning of such counterattacks is that neuroses, flaws, habits, desires, or addictions we have challenged may retreat for a time, but can rebound in a last-ditch defense or a desperate attack before being vanquished forever.

This is when expendable friends, often killed by the avenging force, come in handy. Transformation is an important aspect of chases and escapes. The hero attempts to stall the opposition in any way possible. A twist on the road back may be a sudden catastrophic reversal of the hero’s good fortune. For a moment, after great risk, effort, and sacrifice, it looks like all is lost.

The Hero's Resolve to Finish

Every story needs a moment to acknowledge the hero’s resolve to finish, to return home with the elixir despite the trials that remain. This is when the hero finds that old familiar ways are no longer effective. She gathers up what she has learned, stolen, or been granted, and sets a new goal .

But there is one final test on the journey. The wizard has prepared a hot-air balloon to take Dorothy back to Kansas. Toto runs. Dorothy runs after him and is left behind in the special world. Her instincts tell her she can’t return in the usual manner, but she’s ready to find a new way.

Resources and Further Reading

• Vogler, Christopher. The Writer's Journey: Mythic Structure for Writers . Michael Wiese, 2007.
• An Introduction to The Hero's Journey
• The Ordinary World in the Hero's Journey
• The Hero's Journey: Refusing The Call to Adventure
• The Resurrection and Return With the Elixir
• The Approach to the Inmost Cave in the Hero's Journey
• The Role of Archetypes in Literature
• The Ordeal in the Hero's Journey
• The Hero's Journey: Meeting with the Mentor
• The Hero's Journey: Crossing the Threshold
• "The Wonderful Wizard of Oz" Study Guide
• The Big Apple: How NYC Got Its Name
• The Tin Man's Toxic Metal Makeup
• The Definition of Quest in Literature
• Foreshadowing in Narratives
• Exercise in Identifying Prepositional Phrases
• Ulysses (Odysseus)

Heroine’s Journey, The

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In 1949 Joseph Campbell presented a model of the mythological journey of the hero in The Hero with a Thousand Faces , which has since been used as a template for the psycho-spiritual development of the individual. This model, rich in myths about the travails and rewards of male heroes like Gilgamesh, Odysseus, and Percival, begins with a Call to Adventure. The hero crosses the threshold into unknown realms, meets supernatural guides who assist him in his journey, and confronts adversaries or threshold guardians who try to block his progress. The hero experiences an initiation in the belly of the whale, goes through a series of trials that test his skills, and resolves before finding the boon he seeks – variously symbolized by the Grail, the Rune of Wisdom, or the Golden Fleece. He meets a mysterious partner in the form of a goddess or gods, enters into a sacred marriage, and returns across the final threshold to bring back the treasure he has found (Campbell 1949 , pp. 36–37).

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Bibliography

Campbell, J. (1949). The hero with a thousand faces . Princeton: Princeton UP.

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Hero's Journey, Heroine's Journey, or Journey to Wholeness?

There is a unifying pattern within us that is common to all..

Posted February 10, 2023 | Reviewed by Tyler Woods

• Psychology contains the inner world of mythology.
• One universal pattern of transformation connects women and men and the entire human family.
• The archetypes we are all born with embedded in our unconscious are human potentialities.
• Our journey to wholeness fulfills who we are as human beings and removes the perceived boundaries between masculine and feminine.

What has become known as the hero’s journey is just as, if not more, important in psychology as it is in mythology, especially in the sub-fields of developmental psychology, gender psychology, positive psychology, cross-cultural psychology , evolutionary psychology , and consciousness studies.

When Joseph Campbell introduced into public awareness a universal, timeless pattern found in the world’s myths that he called the monomyth , because it represented the one myth common to all cultures, he identified a pattern of archetypes and motifs that not only told the story of the journey of the hero but also decoded an innate pattern of transformation that is available to everyone.

This journey consists of the three primary archetypes of departure, initiation, and return . The emphasis was put on the beginning and the end, a call to a great adventure ending with returning as a hero. What was often overlooked was the middle phase, or muddle , which consists of challenges and crises necessary for us to overcome as part of the deeper process of inner transformation taking place that leads us to a resolution and a more unifying level of consciousness.

What also happened a s Campbell’s The Hero with a Thousand Faces became more and more popular is that a gender-based split developed between how men understood it and how women understood it.

Many men took it literally as a “hero’s” journey that became a great adventure story with the emphasis on overwhelming odds to beat. Many women saw it as missing their experience of what their life is really about, and so distinct versions of a “heroine’s” journey appeared.

In the process, there was a separation of potentialities and archetypes into masculine and feminine categories. This view keeps apart what we all have access to as human beings, having more in common with each other than we acknowledge.

We have much to learn from each other about how all the archetypes are human potentialities, not either feminine or masculine. Keeping them separate runs the risk of letting the whole get lost in its parts.

A New Story of Wholeness re-unites the hero’s journey and the heroine’s journey into a single journey that illustrates how this pattern, in its essence, is designed to return us all to our inherent wholeness, with a unitive consciousness. This is what truly makes our lives heroic, as we discover our purpose is to give back to the world what we have learned and gained from the process itself.

Remembering our wholeness fulfills who we are as human beings, and what we all share as members of one human family. It eliminates the choice of either/or, either masculine or feminine, and upholds the integrity of both/and, emphasizing all qualities and characteristics we have in common as human beings.

We know we are well into the process of remembering our wholeness when the eternal breaks through from the temporal realm, when light merges with dark, and when polarities are consciously acknowledged and confronted in our everyday lives.

When these opposites are experienced, and their lessons learned in the classroom of the world, we remember what we came here for, and we evolve as we are intended to. We become the woodcarver who sees the tree spirits wanting to be fashioned even before the tree is carved, in what is already there yet invisible.

All the fleeting chaos, confusion, conflict, and suffering resulting from the interaction of opposites we experience here provide us with the jarring contrast between what will pass and what will last.

As we communicate more with the inner realm, we become fully aware of when the eternal bursts forth from the unconscious , giving us a timeless understanding that countless others have experienced before us.

The pattern of the journey to wholeness provides a model that gets to the core of what we are made for. It contains all we need to fulfill our innate potential. Every single human being on the planet can realize the fruits of living this pattern and can become conscious of its meaning. In doing so, we benefit others as well, by passing on its understanding and transforming the world in the process.

The universal pattern guiding our living into wholeness is a roadmap for achieving the greatest expansion of consciousness that is humanly possible. It is first and foremost an all-human inner journey that unites us all as conscious storytellers, sharing our experience of returning to our innate wholeness.

Living into the “new” story of our wholeness—the process of remembering who and what we are—removes the perceived boundaries between masculine and feminine, to show they are vestiges of our long history of living with a consciousness of duality.

Living into our wholeness results in a deeply lived life, having wrestled with our demons, danced with our angels, made plans with our inner guide, and connected with our soul. Only the fullest evolution of our own consciousness fulfills our greatest desire and potential.

In this process, we discover that, at our essence, we are more like others than not. This prepares us for the most satisfying thing we can experience: the sense of union with creation that comes through service to, and deep interpersonal relationships with, others.

Atkinson, R. (2022). A New Story of Wholeness: An Experiential Guide for Connecting the Human Family. NY: Light on Light Press.

Robert Atkinson, Ph.D., is Professor Emeritus at the University of Southern Maine and Nautilus Book Award-winning author of The Story of Our Time: From Duality to Interconnectedness to Oneness.

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Want to Give Your Life More Meaning? Think of It As a ‘Hero’s Journey’

Y ou might not think you have much in common with Luke Skywalker, Harry Potter, or Katniss Everdeen. But imagining yourself as the main character of a heroic adventure could help you achieve a more meaningful life.

Research published earlier this year in the Journal of Personality and Social Psychology touts the benefits of reframing your life as a Hero’s Journey—a common story structure popularized by the mythologist Joseph Campbell that provides a template for ancient myths and recent blockbusters. In his 1949 book The Hero with a Thousand Faces , Campbell details the structure of the journey, which he describes as a monomyth. In its most elementary form, a hero goes on an adventure, emerges victorious from a defining crisis, and then returns home changed for the better.

“The idea is that there’s a hero of some sort who experiences a change of setting, which could mean being sent off to a magical realm or entering a new thing they’re not used to,” says study author Benjamin A. Rogers, an assistant professor of management and organization at Boston College. “That sets them off on a quest where they encounter friends and mentors, face challenges, and return home to benefit their community with what they’ve learned.”

According to Rogers’ findings, perceiving your life as a Hero’s Journey is associated with psychological benefits such as enhanced well-being, greater life satisfaction, feeling like you’re flourishing, and reduced depression. “The way that people tell their life story shapes how meaningful their lives feel,” he says. “And you don’t have to live a super heroic life or be a person of adventure—virtually anyone can rewrite their story as a Hero’s Journey.”

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The human brain is wired for stories, Rogers notes, and we respond to them in powerful ways. Previous research suggests that by the time we’re in our early 20s, most of us have constructed a narrative identity—an internalized and evolving life story—that explains how we became the person we are, and where our life might go in the future. “This is how we've been communicating and understanding ourselves for thousands of years,” he says. Rogers’ research suggests that if people view their own story as following a Hero’s Journey trajectory, it increases meaning regardless of how they initially perceived their lives; even those who thought their lives had little meaning are able to benefit.

While Rogers describes a “re-storying intervention” in his research, some psychologists have used the Hero’s Journey structure as part of their practice for years. Lou Ursa, a licensed psychotherapist in California, attended Pacifica Graduate Institute, which is the only doctoral program in the country focused on mythology. The university even, she notes, houses Campbell’s personal library. As a result, mythology was heavily integrated into her psychology grad program. In addition to reflecting on what the Hero’s Journey means to her personally, she often brings it up with clients. “The way I talk about it is almost like an eagle-eye view versus a snake-eye view of our lives,” she says. “So often we’re just seeing what’s in front of us. I think that connecting with a myth or a story, whether it’s the Hero’s Journey or something else, can help us see the whole picture, especially when we’re feeling lost or stuck.”

As Rogers’ research suggests, changing the way you think about the events of your life can help you move toward a more positive attitude. With that in mind, we asked experts how to start reframing your life story as a Hero’s Journey.

Practice reflective journaling

Campbell described more than a dozen key elements of a Hero’s Journey, seven of which Rogers explored in his research: protagonist, shift, quest, allies, challenge, transformation, and legacy. He says reflecting on these aspects of your story—even if it’s just writing a few sentences down—can be an ideal first step to reframe your circumstances. Rogers offers a handful of prompts that relate back to the seven key elements of a Hero’s Journey. To drill in on “protagonist,” for example, ask yourself: What makes you you ? Spend time reflecting on your identity, personality, and core values. When you turn to “shift,” consider: What change or new experience prompted your journey to become who you are today? Then ponder what challenges stand in your way, and which allies can support or help you in your journey. You can also meditate on the legacy your journey might leave.

Ask yourself who would star in the movie of your life

One way to assess your inner voice is to figure out who would star in a movie about your life, says Nancy Irwin, a clinical psychologist in Los Angeles who employs the Hero’s Journey concept personally and professionally. Doing so can help us “sufficiently dissociate and see ourselves objectively rather than subjectively,” she says. Pay attention to what appeals to you about that person: What traits do they embody that you identify with? You might, for example, admire the person’s passion, resilience, or commitment to excellence. “They inspire us because there’s some quality that we identify with,” Irwin says. “Remember, you chose them because you have that quality yourself.” Keeping that in mind can help you begin to see yourself as the hero of your own story.

Go on more heroic adventures—or just try something new

In classic Hero’s Journey stories, the protagonist starts off afraid and refuses a call to adventure before overcoming his fears and committing to the journey. Think of Odysseus being called to fight the Trojans, but refusing the call because he doesn’t want to leave his family. Or consider Rocky Balboa: When he was given the chance to fight the world’s reigning heavyweight champion, he immediately said no—before ultimately, of course, accepting the challenge. The narrative has proven timeless because it “reflects the values of society,” Rogers says. “We like people who have new experiences and grow from their challenges.” 

He suggests asking yourself: “If I want to have a more meaningful life, what are the kinds of things I could do?” One possible avenue is seeking out novelty, whether that’s as simple as driving a new way home from work or as dramatic as finally selling your car entirely and committing to public transportation.

Be open to redirection

The Hero’s Journey typically starts with a mission, which prompts the protagonist to set off on a quest. “But often the road isn’t linear,” says Kristal DeSantis, a licensed marriage and family therapist in Austin. “There are twists, turns, unexpected obstacles, and side quests that get in the way. The lesson is to be open to possibility.”

That perspective can also help you flip the way you see obstacles. Say you’re going through a tough time: You just got laid off, or you were diagnosed with a chronic illness. Instead of dwelling on how unfortunate these hurdles are, consider them opportunities for growth and learning. Think to yourself: What would Harry do? Reframe the challenges you encounter as a chance to develop resilience and perseverance, and to be the hero of your own story.

When you need a boost, map out where you are on your journey

Once you find a narrative hero you can relate to, keep their journey in mind as you face new challenges. “If you feel stuck or lost, you can look to that story and be like, ‘Which part do I feel like I’m in right now?’” Ursa says. Maybe you’re in the midst of a test that feels so awful that you’ve lost perspective on its overall importance—i.e., the fact that it’s only part of your journey. (See: When Katniss was upset about the costume that Snow forced her to wear—before she then had to go fight off a pack of ferocious wolves to save her life.) Referencing a familiar story “can help you have that eagle-eye view of what might be next for you, or what you should be paying attention to,” Ursa says. “Stories become this map that we can always turn to.” Think of them as reassurance that a new chapter almost certainly awaits.

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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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Hero’s Journey Resurrection: How to Write the Most Important Scene In a Story

by David Safford | 0 comments

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Ultimately, heroes confront death. They rise against the most powerful villains and the worst sources of evil imaginable.

And on their journeys, they often suffer the consequences of tangling with these bad guys.

But not all heroic journeys require villains on the scale of Sauron and Voldemort and Emperor Palpatine. Some villains are local bullies, arrogant coworkers, and voices of doubt in our heads. And even these villains require heroic efforts to overcome.

It's time to tackle a difficult yet important step in your heroic story: the Resurrection.

If you get this step right, you'll have a story on your hands that readers won't be able to get enough of.

Let's dive in!

Step 11: Resurrection

For starters, let's give ourselves a working defintion of this crucial step:

The Resurrection is the moment when your hero has a final and ultimate encounter with death. In almost every case, the hero is able to survive the encounter through their strength, courage, wit, nobility, heroism, or teamwork.

How We Got Here

The Hero's Journey is a well-known and oft-used mythological storytelling structure. Devised first by Joseph Campbell in his book The Hero With a Thousand Faces, the Hero's Journey has been organized into Christopher Vogler's twelve-step structure that many stories and films follow today. While you've undoubtedly read and watched stories that use this story model, you may not be familiar with how each step functions.

To reach the crucial Resurrection step, your hero must travel a long road:

• Your hero will always begin in some sort of  Ordinary World , a slice of normal life where no one expects much of anyone.
• Then they experience a Call to Adventure that they are definitely not ready for, at least yet.
• The hero will  refuse  that call somehow . . .
• . . . and find themselves assisted by the wisdom and skill of a Mentor .
• After receiving ample training, the hero will cross the  Threshold into adventure, the boundary between the familiar and the foreign, and voyage into a new world in order to begin their heroic journey.
• The story then enters the sixth phase, the world of  Trials, Allies, and Enemies . where the hero will make friends, confront enemies, overcome tests and traps, defeat monsters, and prepare for the big challenge to come. The cast of characters expands and the central conflict deepens.
• Before the big climax, there is a moment of Approach , where the hero makes final preparations and often experiences a humble fall, where their pride takes over or their friends abandon them (for a while).
• The hero confronts the biggest conflict, known as the Ordeal , and makes a decision that wins them the prize.
• After succeeding at this task, they are usually Rewarded , but not in a long-lasting or ultimate way.
• This leads to a “fake-out” ending , in which the hero thinks they are done, or is chased by the Shadow or Devil Figure back home. The Road Back is what this step is commonly called.

After all that, it's time to deploy the most important and heroic step in the entire journey. It's time to do what heroes do: to confront death in a deep and meaningful way, and to emerge victorious in a way that restores other characters and community as a whole.

It's time for Resurrection.

Types of Death . . . and Resurrection

When you think of “Resurrection,” you probably think of physical death. And this makes sense. Perhaps the most famous resurrection of all time, that of Jesus Christ, took place after a physical death.

However, not all heroic stories involve physical stakes of life and death. They deal, rather, with the death of dreams, hope, and self-esteem. They are battles fought in the places of everyday life.

With this in mind, don't make the mistake of thinking that your hero needs to actually  die.  Rather, their dreams may die. Their hope may die. Their relationships may die.

In a nutshell, there are four levels or “planes” or resurrection you can use in your story's climax, and they all involve a death and then a resurrection. These resurrection planes are:

• Mental / Emotional

For each death, there must be a resurrection of some kind. Sometimes a resurrection will occur across planes.

For example, a physical death might yield a spiritual rebirth, as in Braveheart. 

• William Wallace physically dies –> His spirit is reborn in the Scottish rebels

Usually, though, the resurrection will remain in the same plane. Here's how  Star Wars  handles resurrection:

• A New Hope, Spiritual: Obi-wan Kenobi is “killed” but disappears upon death –> Obi-wan speaks to Luke as a Force ghost
• A New Hope, Physical: The Rebels are about to be destroyed by the Death Star (death) –> Luke heroically destroys the Death Star

This carries on through the sequels, and ultimately Darth Vader is the benefactor of a spiritual and social resurrection:

• Return of the Jedi,  Spiritual and Societal: Vader turns to the Dark Side and commits mass murder (death) –> Vader betrays the Emporer to save his son and help the Rebellion (societal resurrection) –> Vader is reincarnated as a Force Ghost, joining his mentors Obi-wan and Yoda in the afterlife (spiritual resurrection)

Before he passed away, Joseph Campbell proclaimed that George Lucas was his greatest student. By following an ancient, mythical story structure to assemble his space odyssey, Lucas was able to tap into the power of these classic stories and superpower his own story.

Make Your Hero Earn Their Resurrection

Resurrection can't simply happen .  It must be  earned. 

This will prove to be one of the greatest challenges you'll face as a writer. You need to make sure that your hero, through their cleverness, skill, knowledge, ingenuity, compassion, sacrifice, or honor, is able to earn an escape from Death's jaws. They cannot get lucky. They cannot be randomly saved because the villain suddenly changes his mind.

The hero must earn their resurrection with sacrifice. Otherwise your ending will feel like a cheat.

Before the final book in the  Harry Potter  saga was released, everyone had a theory on whether or not Harry would die. Many thought that the boy wizard  had  to die, given all his lucky encounters with evil throughout the wizarding world. Others felt that Harry and his friends had suffered enough and it was time to let them live happy, ordinary lives.

So when J.K. Rowling published  Harry Potter and the Deathly Hallows,  the answer was revealed: Harry  does  die… sort of. Just like many other heroes, Harry faces death in an ultimate way. He marches into the Dark Forest, stands face to face with Voldemort, and gets blasted into oblivion with an  Avada Kedavra  curse. He dies.

Yet he  doesn't  die. He enters a strange special world where he learns, thanks to the ghost or memory of Dumbledore, that he survived the killing curse thanks to the piece of Voldemort's own soul living in Harry's head. Harry survives not because he is an exceptional wizard, but because he is willing to sacrifice himself for his friends.

Harry earns his resurrection because of his sacrifice. He isn't completely responsible for the mechanism behind it (Voldemort is), but this is thematically consistent.

How often do evil plans and twisted schemes backfire and blow up in the perpetrators' faces? Such is the case with Voldemort who consistently failed to factor love and sacrifice into his plans.

I know this example might be overwhelming. After all, it is the culmination of a seven-book application of story structure. But the essence is the same whether you're writing an epic series or a short story: Make your hero earn their resurrection with sacrifice, and plan ahead to put the mechanisms of the resurrection in place so your story isn't fraught with plot holes.

Resurrect Everything

Good stories resurrect their heroes, but  great  stories resurrect so much more.

If you pay close attention, you'll notice that the best stories use the hero's resurrection as a vehicle to restore other characters, and even society at large.

That's why you can plan for and execute multiple resurrections in your story, and on multiples planes (physical, emotional/mental, spiritual, societal). While this may sound complicated, you can start planning it with a simple question:

On whom does my hero have the greatest impact? 

Your hero isn't doing hero stuff in a vacuum. They exist in a society with laws and justice and virtues. They have made friends and enemies on the journey.

When this hero faces death, nearly succumbs, but then makes a sacrifice in order to overcome evil, other characters are almost certain to be impacted by this.

So who is it? Who stands to experience their own mental or spiritual resurrection thanks to the hero's deeds? How will society at large be positively affected by the hero's selflessness?

As we already discussed, Luke Skywalker's sacrifices resurrect Darth Vader at the end of the original trilogy. But even before that, his selflessness was inspiring other characters to be more honorable.

Think of  A New Hope  and how Han Solo decides not to fight the Empire with the Rebels. Luke challenges him to think of others more than himself. At first Solo refuses; yet he changes his mind off-screen and then reappears in the nick of time, surprising Vader and clearing the way for Luke to destroy the Death Star.

Han, a notorious selfish and brash person, put his own wellbeing aside for the greater good. That counts as a resurrection.

Here are a few prompts to get you thinking about multiple resurrections and how to incorporate them into your story:

• How can the hero's Friends make sacrifices to defeat evil?
• How can the hero make sacrifices to save the Friends?
• How can the hero's sacrifices make an impact on an Enemy?
• What “Greater Good” is the hero's quest really about?

When you plan for, and pull off, a story with multiple Resurrections, you're setting yourself up for incredible success. Readers want to see society restored. In order for society to be restored, individual characters have to be restored.

When your story reflects this reality, it wields tremendous power.

Resurrect Like Pixar

No one tells stories quite like Pixar. And while they have the occasional storytelling whiff out there ( Cars 2, The Good Dinosaur ), they usually stick the landing when it comes to the Resurrection. Here are some examples to help you see how the hero must earn their resurrection.

In Andy's bedroom, Woody runs the show. He's clearly the favorite and serves as a strong leader. However, when Buzz Lightyear appears and threatens Woody's place as Andy's beloved toy, Woody lashes out. He attempts to sideline Buzz and accidentally knocks him out of the window. What follows is a delightful adventure as Woody and Buzz try to get back to Andy's bedroom before the family moves.

Yet the story isn't so much about getting back to Andy's room as it is about redeeming it. By violating the other toys' trust, Woody has fallen from grace. He is no longer welcome in his home as the others believe him to be a murderer. To win back their approval and his place with Andy, Woody must overcome his pride and befriend the new “space toy” that took his place.

With this in mind,  Toy Story  features two deaths.

The first is emotional, as Woody and Buzz both succumb to despair in Sid's house of horrors. The second is physical when RC runs out of battery power and the two toys are stranded on the road. Woody earns resurrections both times by putting his safety at risk: First by putting himself between Buzz and Sid, and secondly by lighting the rocket which will soon explode.

Both scenes are thrilling and high stakes, leading to a joyful reunification. Yet Pixar's resurrections would improve as their stories and animation grew more complex.

Monsters, Inc

Mike and Sully's adventure is all about returning a “toxic” child, “Boo,” to her home. And when they are finally successful, Boo's door is shredded in order to prevent such a situation from occurring again.

And while Mike has always been opposed to Boo's presence, his heart has changed during the journey. He has seen what Boo means to his friend, Sully, and decides to make a huge sacrifice. Little by little, he reassembles the door from all the woodchips. And then Sully and Boo are reunited, their relationship resurrected (emotional).

Yet so much more happens here. Earlier, Boo is rescued (and thereby physically resurrected) by Sully. And by discovering that human laughter is much more powerful than human screams (for monster energy), Sully and Mike transform their society from a place of horrendous terror to one of joyful levity.

Society has been resurrected, all because of our heroes' adventure.

Ratatouille

Remy the rat longs to be a gourmet chef, and thanks to his noble (human) steed Linguini, is able to cook several game-changing dishes at Gusteau's Restaurant. In the process he overcomes Chef Skinner, a conniving businessman intent on using the Gusteau name to sell frozen burritos. Yet after a falling-out with Linguini, food critic Anton Ego, known as the “Grim Eater,” has descended on Gusteau's with the intention of destroying its reputation once and for all.

When Remy reveals himself to the cooks and Linguini explains how the rat has been controlling him, all the chefs abandon them. Linguini even cowers in his office, leaving Remy alone on the floor, his hope of becoming a chef effectively dead.

But through his devotion to cooking, Remy has earned his father's respect, and sure enough, his father shows up with the rest of the rat clan to cook a meal for Ego.

Trusting his instincts about food, Remy cooks ratatouille for Ego, a dish that transports Ego to his childhood when a warm meal meant love from his mother. The devilish critic is stunned and can do nothing but shower respect on the rat who shocked him with great food.

The pale, death-dealing critic becomes an enthusiastic investor in Remy's own restaurant, resurrected from his pit of bitterness and skepticism. Remy's dream is, of course, resurrected now that he runs his own café. And society as a whole gets to enjoy Remy's inspiring creations, rather than the frozen foods that Chef Skinner was mass-producing under Gusteau's name.

After an embarrassing moment at her new school in San Francisco, Riley loses her ability to feel both joy and sadness. This is partially because her emotional cores, Joy and Sadness, have been swept into Riley's long-term memory and cannot get back to headquarters to help Riley feel things properly again. On this journey, Joy believes wholeheartedly that Riley needs to be happy, and continuously tries to shut Sadness out and keep her away from the controls.

Yet it is finally in the deep, dark pit of the Memory Dump that Joy realizes the truth: Sadness is crucial. Sadness is the only way that Riley can process the dramatic changes in her life, and the only way to save Riley is to get Sadness back to HQ. Unfortunately, though, Joy is trapped in the pit with Bing Bong, Riley's imaginary friend from a long time ago. How will they escape?

Well, if you've seen the movie, your tear ducts know the answer. They can use Bing Bong's wagon-rocket, but it only has enough “song power” to save one of them: Joy. And as Joy reaches the top and looks back down into the pit, she beholds Bing Bong laughing and crying out with happiness that Riley will be saved . . . as he slowly fades into nothingness, and is forgotten. This sacrifice chokes me up every time I think about it.

Thankfully, Joy is able to take Sadness back to headquarters, and lets Sadness take the controls just as Riley is about to run away from home. Riley comes to her senses and hurries back to her parents.

She sighs . . . a mix of joy that she's home and sadness that life is so hard . . . but the audience knows that all is going to be better. Riley's emotional well-being is resurrected, and so is her family. Inside Riley's head, Joy, too, is resurrected from her deadly narcissism into a new appreciation for her fellow Emotions.

Stick the Resurrection Landing

This is not an easy step of the Hero's Journey to write. It will take you multiple approaches and drafts. Please . . . for the sake of your own well-being . . . go into the process knowing this.

What you are attempting to capture is the power of centuries of human truth. While physical resurrection is rare, emotional, mental, spiritual, and societal resurrection is familiar and dreamed of.

It's what Martin Luther King Jr. dreamt of in his famous speech. It's what Malala Yousafzai dreams of for girls in Pakistan and around the world. It's what you, perhaps, dream of, when you look at your country, your city or town, your family, and yourself.

We long for resurrection because it fills us with hope. And portraying scenes of resurrection instills our stories with unbelievable, long-lasting power that has the potential to stick with our readers for a lifetime.

That's something you don't want to miss!

What Resurrections can you think of from your favorite stories? Let us know in the comments .

Writing a successful Resurrection requires a lot of planning. However, for our practice, let's free-write without worry about all the buildup. Today, journal a scene where a protagonist faces an enemy in a moment that risks or requires a sacrifice. Remember that a sacrifice doesn't have to be a physical death—but it can be!

Don't worry about getting all the details right. Just take fifteen minutes  to explore the beats of this crucial hero's journey scene. When you're done, ask yourself:

• Did the hero make sacrifices to defeat evil?
• Did the hero make sacrifices to save their Friends?
• Did the hero's sacrifices make an impact on an Enemy?
• What “Greater Good” came from the hero's sacrifices?

Post your Practice in the box below. Then find someone else's Practice and leave constructive comments on it!

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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Screen Rant

My hero academia's final arc proves deku's biggest strength isn't all for one.

While One For All has been a great help to Deku during his Hero journey, his real strength is his heroic heart and overwhelming kindness.

• Deku's true strength lies in his heroic nature, determination, and the connections he makes with others.
• The world has come together to support Deku and his friends, inspiring unity in the face of danger.
• My Hero Academia highlights the importance of heroism and coming together to fight for justice and peace.

Warning: The following cotains spoilers for My Hero Academia!!

As the final battle against All For One in the My Hero Academia manga comes closer to commence, more and more Heroes are joining Deku on the battlefield. Many of them, mainly those who have a personal connection with Izuku, have commented on how much he has inspired them. It was not his power or resilience during combat that motivated them to join the fight, but rather his heroic spirit, kindness, and desire to do good.

One For All may have given Deku the encouragement to follow his dream, but it is not what makes him an amazing Hero . The real strength of Izuku lies in his heart, his determination, and the deep connections he can make with people.

The Final War arc proves that Deku never needed All Might’s power to become the greatest Hero in history , although it helped him greatly on his journey.

My Hero Academia's Deku is One of Modern Anime's Best Heroes For a Simple Reason

What it means to be a hero, deku is the epitome of what heroism should be.

One of the first details we learn about Izuku in My Hero Academia is how incredibly heroic he has always been. Even since he was a child, he would always stand up for those who couldn’t, as seen in chapter #1 when he saved a classmate. No matter what happened to him, Izuku would never allow an injustice to take place without him doing something to help. This same heroic spirit is what caused All Might take an interest in the young man, choosing him as his successor. Izuku was the only worthy inheritor in Toshinori’s eyes.

Throughout this latest arc, we have only seen Deku’s heroic nature manifest itself stronger than ever. Not only did Izuku choose to fight Shigaraki alone after watching what the villain did to his friends, but he also made the controversial choice of saving Tenko . His self-sacrificing nature and reluctance to give up, even when faced with unsurmountable odds, has maintained the fragile hope of the world intact. The fact that his friends, despite being equally tired and injured , keep fighting by his side, just proves that Deku’s real power was always his heroic heart.

The World Has Come Together

Deku and his friends have inspired the whole world.

The world of My Hero Academia , despite living in relative peace before All For One’s rise to power, was never shown as united. When Shigaraki first became a threat to the world, most countries decided that it would be better to appease the Villain than to fight him. In chapter #364, the President of the United States tells his commander, Timothy Agpar, that they will not be joining the efforts to defend the planet. This is an understandable approach, as most leaders would be more worried about their people’s safety than the rest of the world .

Yet, the world slowly began regaining hope and becoming one while supporting Deku and his friends. The bravery of Japan’s Heroes caused a ripple effect, bringing everyone closer and inspiring them to keep fighting. Izuku’s optimism and tenacity have reached the further corners of the Earth, motivating people to become real Heroes . The fight against All For One for the sake of the Earth will likely be the catalyst for the world to become more united , and for Hero Society to become what it should have always been.

Kohei Horikoshi, the creator of My Hero Academia , has often tried to incorporate criticisms of current events in his manga. From the civil rights movements to discrimination; the world Deku lives in, just like the real world, still has a lot to learn. How Izuku inspires people to come together and fight for justice and peace may not solve every problem , but it is an amazing start.

My Hero Academia

In My Hero Academia, some humans have superpowers called quirks. Izuku Midoriya, nicknamed Deku, is not one of them. Deku has always idolized heroes like the number one hero, All Might, and since he was a child, he has always wanted to be a hero. However, his lack of a quirk has always held him back, but a chance encounter with All Might after discovering a classmate in danger sets Deku on the path to becoming a true hero. My Hero Academia centers around Deku and a class of heroes-in-training at UA. This school shapes young quirk users into future heroes through fake rescue missions, combat training, and other hero-tempering tasks. With young Deku inheriting the "One-For-All" quirk, he will learn what it means to be a true hero while facing off with dastardly supervillains.

How Bernie Sanders went from a small-city mayor to a progressive hero

• Bernie Sanders has become a towering figure in American politics. It wasn't always that way.
• He got his start in government as a small-town mayor, decades before his 2016 and 2020 campaigns.
• Here's everything to know about the Democratic socialist senator.

Bernie Sanders is known today as perhaps the most important leader on the American left. It wasn't always that way.

Long before his 2016 and 2020 presidential campaigns helped steer the Democratic Party leftward, the Vermont senator was a lonely voice in American politics — the rare politician willing to call himself a "socialist" in a country defined heavily by its opposition to the Soviet Union during the Cold War.

Sanders was born on September 8, 1941 in Brooklyn, New York to a working class Jewish family . His father was an immigrant from Poland. He attended James Madison High School, where he was a track star , and graduated in 1959, eight years before his present-day colleague Senate Majority Leader Chuck Schumer.

He later attended the University of Chicago, where he was famously arrested for protesting against segregation in Chicago public schools. He graduated in 1964, spent some time on an Israeli kibbutz, and moved to Vermont in 1968.

From mayor of Burlington to the longest-serving independent in congressional history

Sanders's initial foray into politics took place far outside the Democratic party: In the 1970s, he ran for both governor and US Senate multiple times under the banner of the socialist "Liberty Union" party.

His first political victory came in 1981, when he was elected mayor of Burlington — the largest city in Vermont — by a mere 10 votes. He would go on to serve four terms, easily winning reelection each time.

After coming second in a three-way race for Vermont's sole House seat in 1988, he was elected to Congress in 1990 with significant Democratic support. Despite that, he maintained his status as an independent, and would later earn the title of the longest-serving independent in congressional history.

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Sanders has been an avowed socialist the entire time, and was forthright in defending that position even when the Soviet Union still existed.

"I am a socialist and everyone knows that," Sanders said in 1990 . "They also understand that my kind of democratic socialism has nothing to do with authoritarian communism."

Sanders was elected to the Senate in 2006 and was reelected by overwhelming margins in 2012 and 2018.

The 2016 and 2020 presidential campaigns

In April 2015, Sanders took perhaps the most impactful step of his career — announcing that he would run for president, challenging former Secretary of State Hillary Clinton for the 2016 Democratic nomination under the slogan "A Future To Believe In."

Running on a platform that included Medicare for All, addressing income inequality, and enacting campaign finance reform, Sanders helped awaken a movement on the American left that persists to this day, inspiring the rise of figures like Rep. Alexandria Ocasio-Cortez.

Though he lost his bitterly fought primary against Clinton that year, he demonstrated that there was a robust appetite for more left-wing economic proposals than the Democratic Party had long offered. In the years between his 2016 run and 2020 campaign, several other potential Democratic presidential contenders embraced Sanders's proposals, especially Medicare for All.

In 2020, Sanders ran again, ultimately coming in second to now-President Joe Biden in the primary. He dropped out on April 8, 2020, roughly a month after the COVID-19 pandemic began.

Who Sanders is today — and what he's fighting for

Since his 2020 campaign, Sanders has assumed a more institutional role in the United States Senate.

During the first two years of Biden's presidency, he served as the chairman of the Budget Committee, a perch that afforded him a key role in shaping Biden's domestic agenda, including the ill-fated "Build Back Better" social spending bill that laid the groundwork for the Inflation Reduction Act.

Since 2023 — a period of divided government — Sanders has been the chairman of the Health, Education, Labor and Pensions (HELP) Committee, a perch he's used to take on corporations while pushing proposals such as a 32-hour workweek and a $17 federal minimum wage.

He's also been especially outspoken against Israel since the October 7 Hamas attacks, calling for conditions on US aid to the country and voting against bills that don't include those conditions.

Sanders is worth at least $2 million and owns three homes, according to numerous reports. Much of that wealth has come from book sales, a frequent source of outside income for lawmakers with high profiles.

In 2022, for example, Sanders nearly doubled his income via book royalties for his latest book, "It's OK to Be Angry About Capitalism."

"I wrote a best-selling book," he told the New York Times in 2019 . "If you write a best-selling book, you can be a millionaire, too."

The 82-year-old Vermont senator, the second-oldest US senator behind the 90-year-old Republican Sen. Chuck Grassley of Iowa, has not yet said whether he will seek reelection in 2024.

If he chooses to run, he will essentially be a lock for reelection. If he chooses to retire, several candidates may seek to replace him, including Democratic Rep. Becca Balint.

Watch: Joe Biden is running for reelection, and Trump slammed the announcement

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