examples of the journey archetype

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The hero’s journey archetype: a call to adventure.

• February 26, 2020
• TEDxMileHigh Admin
• Art & Design

Think of the last movie you watched. Think of everything that happens in this film. Think about the characters, plot, conflict, and ending. Now think of a different movie or even a book. Think about the same elements. Do you notice a trend? Yes, all stories are different and have different characters and outcomes, but have you noticed how most characters in a story follow a similar path?  This path— this overlaying arc— is called the Hero’s Journey. Joseph Campbell first introduced this term in 1949, but the hero’s journey archetype has a longstanding place in storytelling.

Essentially, every character, whether in a book or a film, follows the same path and encounters three fundamental experiences along the way— separation, initiation, and return.

This is the beginning of our Hero’s Journey series where we will explore the archetype and how it shows up in our everyday lives. 

As we lead up to TEDxMileHigh’s Summer 2020 event, Journey , discover that this journey is more relatable than you think—and that you may be the hero or heroine of your own journey.

The Hero’s Journey Archetype

So what exactly are we talking about here? We are diving into and dissecting the most basic form of storytelling, the arc that can be laid over any plotline and match it exactly, more or less.  We’re talking about how Harry Potter receives his Hogwarts letter and goes on this massive quest to ultimately defeat Lord Voldemort and save the wizarding world. Marlin travels the entire Pacific Ocean, meets Dori and some sharks along the way, and finds Nemo. Luke Skywalker trains with Master Yoda, discovers who his father is, and blows up the Death Star. 

All of these stories, every story, follow this hero’s journey archetype. It is the ultimate narrative archetype. And, you can break them all down into three basic points.

Whether they ask for it or not, something happens to the protagonist, or hero, that separates them from their ‘normal’ mundane world. This event, also termed the “call to adventure,” is the start of their journey, and it can manifest in different ways. 

In the hero’s journey, drawn out by Campbell in The Hero with a Thousand Faces , there are several sub-points that occur along the hero’s journey that accompany the three main encounters. In the separation stage, the hero receives some kind of aid to push them to the threshold of their adventure. This aid can be the discovery of supernatural powers or the hero’s realization that they are not totally who they think they are.

For example, Harry Potter’s call to adventure came bursting through the door on his 13th birthday in the form of Rubeus Hagrid and his acceptance letter from Hogwarts. Harry discovers and fully embraces his wizarding powers and thus is pushed to the threshold of the next part of his hero’s journey: the initiation.

This stage of the hero’s journey archetype takes up the bulk of the journey. Throughout this stage, the hero meets several sub-points along the way including the introduction of a helper, a mentor, and the trials and temptations that eventually lead to a major conflict. 

A classic example of this stage is Dorothy’s yellow-brick road journey to find the Wizard of Oz. Glenda, her mentor that she meets when she first lands in Oz, provides Dorothy with an answer to her problem (i.e., getting back home to Kansas) and aids her along the way. She meets helpers like the Scarecrow, the Tin Man, and the Lion. On her journey, Dorothy also runs into conflict with the Wicked Witch of the West. 

A few flying monkeys and a conveniently placed water bucket later, Dorothy resolves, or melts, her conflict and is set to embark on the final part of her journey: the return.

This is the end of the hero’s journey. *Spoiler alert* Lord Voldemort dies, the Death Star blows up, and Dorothy makes it back to her family in Kansas. However, this resolution goes deeper than just a happy homecoming. In this stage, the hero returns but has changed. They have learned valuable information about themselves and the world around them. 

In some cases, the hero’s journey is not complete unless this knowledge is shared. For example, Luke Skywalker defeats the Dark Side but is also left with the responsibility to continue to teach and share the ways of the Jedi. Dorothy’s lesson is more personal. She learns that there is adventure out there over the rainbow, but she shouldn’t take her current life or family for granted.

The Hero’s Versus the Heroine’s Journey

The hero’s journey archetype is similar across seemingly every example. However, how does the journey differ for a female character?

Author Maureen Murdock has examined and written about a key difference in her work The Heroine’s Journey: A Woman’s Quest for Wholeness . In her response to Campbell’s initial publication of the hero’s journey, Murdock outlined the separate experience the contemporary women embark on in their own heroine’s journey.  

The three points along the journey are still the same. However, each stage consists of a deeper level of overcoming the expectations assumed by society. Essentially the journey “ involves the healing of the wounding of the feminine that exists deep within her and the culture,” says Murdock.

Returning to our Wizard of Oz example, Dorothy embarks on the quintessential heroine’s journey. During the separation stage, she has to overcome the expectations that the rest of her life will be spent on her family’s farm. Society’s expectations are that she will continue to support her uncles and follow in her aunt’s footsteps.  When she finally receives the adventure she is longing for, Dorothy has to overcome the notion that she can’t complete this journey on her own. She meets helpers along the way, but rather than depending on them, they depend on her to help, thus reversing society’s view of women . 

Upon her return, Dorothy learns that her life can be different and that she does not need to depend on her uncles. She can live her own life and have her own adventure all while still appreciating her family.

Are You a Hero or Heroine?

So, maybe you’ve read through these stages and are thinking ‘ That’s great! Why should I care? ’ Or maybe you’ve heard of the hero’s journey archetype before or you’ve at least noticed the trend in your favorites books or movies, but you don’t really see why it’s important. 

The hero’s journey is important because it’s personal.

We are all the heroes of our own lives. That is, we are the protagonist in our own story— we are the main character. We are all on our own hero’s journey. Fictional characters are based on human experiences, and this time, that experience is ours. It’s our lives.

We are all in different stages of this journey but are on it, or will be on it soon. It’s important to understand where you are in your life in order to see where you are going.  Maybe you’re in the midst of massive conflict and it seems endless and impossible. The hero’s journey tells us that this stage of your life is temporary and the next stage will be one of learning and resolution. 

Maybe you’re hearing that call to adventure or an opportunity has presented itself and you’re unsure of what to do. The hero’s journey tells you to take that leap. Cross that threshold and discover your path, but be prepared for some conflict along the way. 

The hero’s journey is important because it is a map, a cheat sheet, to life. Whether you wield a lightsaber or not, we are all on this same journey. And knowing where you are will give you a glimpse into where you are headed. 

The hero’s journey is relatable and personal. We all find ourselves on some part of the path eventually. But what happens when you deviate from that path? Where are you on your path and who are the important characters in your journey? Stay tuned. We will explore the details of the hero’s journey archetype and discover just how relatable it is.

TEDxMileHigh is gearing up for its next event: Journey . This summer, we will explore the individual journeys that form societies, advance technologies, and inspire movements. If this article sparked your interest, and if you’re looking to dive deeper into your own personal life journey, join us on June 27th.

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

By Julia Blair

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

Are you writing a Heroine's Journey?

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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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The Hero’s Journey Ultimate Writing Guide with Examples

by Alex Cabal

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

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

What is the Hero’s Journey?

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

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

Joseph Campbell and Christopher Vogler

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

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

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

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

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

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

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

Why is the Hero’s Journey so popular?

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

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

Hero’s Journey character archetypes

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

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

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

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

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

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

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

The Threshold Guardian

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

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

The Shape Shifter

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

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

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

The Trickster

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

Hero’s Journey themes and symbols

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

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

Situational archetypes

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

Death, rebirth, and transformation in the cycle of life

Nature vs. technology, and the evolution of humanity

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

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

Setting archetypes

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

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

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

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

Symbolic items

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

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

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

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

The three act structure of the Hero’s Journey

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

Act One: Departure (Steps 1—5)

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

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

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

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

Act Two: Initiation (Steps 6—9)

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

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

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

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

Act Three: Return (Steps 10—12)

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

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

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

The 12 steps of the Hero’s Journey

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

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

1. The Ordinary World

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

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

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

Step One example

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

2. Call to Adventure

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

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

Step Two example

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

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

3. Refusal of the Call

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

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

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

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

Step Three example

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

4. Meeting the Mentor

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

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

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

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

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

Step Four example

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

5. Crossing the Threshold

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

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

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

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

Step Five example

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

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

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

6. Tests, Allies, Enemies

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

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

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

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

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

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

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

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

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

Step Six example

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

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

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

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

7. Approach to the Inmost Cave

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

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

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

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

Step Seven example

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

8. The Ordeal

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

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

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

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

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

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

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

Step Eight example

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

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

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

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

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

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

Examples of rewards may include:

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

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

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

Reconciliation with another character, or with themselves.

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

Step Nine example

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

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

10. The Road Back

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

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

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

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

Step Ten example

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

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

11. Resurrection

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

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

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

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

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

Step Eleven example

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

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

12. Return with the Elixir

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

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

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

Step Twelve example

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

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

Books that follow the Hero’s Journey

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

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

The Harry Potter series by J. K. Rowling.

The Earthsea series by Ursula K. Le Guin.

The Odyssey by Homer.

Siddhartha by Herman Hesse.

Pride and Prejudice by Jane Austen.

Writing tips for the Hero’s Journey

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

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

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

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

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

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

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

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

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

Hero’s Journey templates

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

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

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

Use the downloadable template listed below for the following exercises:

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

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

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

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

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

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

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The Role of Archetypes in Literature

Christopher Vogler's work on archetypes helps us understand literature

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• The Hero's Journey

The Job of the Herald

The purpose of the mentor, overcoming the threshold guardian, meeting ourselves in shapeshifters, confronting the shadow, changes brought about by the trickster.

• B.A., English, St. Olaf College

Carl Jung called archetypes the ancient patterns of personality that are the shared heritage of the human race. Archetypes are amazingly constant throughout all times and cultures in the collective unconscious, and you'll find them in all of the most satisfying literature. An understanding of these forces is one of the most powerful elements in the storyteller’s toolbox.

Understanding these ancient patterns can help you better understand literature and become a better writer yourself. You'll also be able to identify archetypes in your life experience and bring that wealth to your work. 

When you grasp the function of the archetype a character expresses, you will know his or her purpose in the story.

Christopher Vogler, author of The Writer's Journey: Mythic Structure , writes about how every good story reflects the total human story. In other words, the hero's journey represents the universal human condition of being born into this world, growing, learning, struggling to become an individual, and dying. The next time you watch a movie, TV program, even a commercial, identify the following archetypes. I guarantee you'll see some or all of them.

The Hero's Journey

The word "hero" comes from a Greek root that means to protect and serve. The hero is connected with self-sacrifice. He or she is the person who transcends ego, but at first, the hero is all ego.

The hero’s job is to incorporate all the separate parts of himself to become a true Self, which he then recognizes as part of the whole, Vogler says. The reader is usually invited to identify with the hero. You admire the hero's qualities and want to be like him or her, but the hero also has flaws. Weaknesses, quirks, and vices make a hero more appealing. The hero also has one or more inner conflicts. For example, he or she may struggle over the conflicts of love versus duty, trust versus suspicion, or hope versus despair.

In The Wizard of Oz  Dorothy is the story's hero, a girl trying to find her place in the world.

Heralds issue challenges and announce the coming of significant change. Something changes the hero’s situation, and nothing is the same ever again.

The herald often delivers the Call to Adventure, sometimes in the form of a letter, a phone call, an accident.

Heralds provide the important psychological function of announcing the need for change, Vogler says.

Miss Gulch, at the beginning of the film version of The Wizard of Oz , makes a visit to Dorothy's house to complain that Toto is trouble. Toto is taken away, and the adventure begins.

Mentors provide heroes with motivation , inspiration , guidance, training, and gifts for the journey. Their gifts often come in the form of information or gadgets that come in handy later. Mentors seem inspired by divine wisdom; they are the voice of a god. They stand for the hero’s highest aspirations, Vogler says.

The gift or help given by the mentor should be earned by learning, sacrifice, or commitment.

Yoda is a classic mentor. So is Q from the James Bond series. Glinda, the Good Witch, is Dorothy's mentor in The Wizard of O z.

At each gateway on the journey, there are powerful guardians placed to keep the unworthy from entering. If properly understood, these guardians can be overcome, bypassed, or turned into allies. These characters are not the journey's main villain but are often lieutenants of the villain. They are the naysayers, doorkeepers, bouncers, bodyguards, and gunslingers, according to Vogler.

On a deeper psychological level, threshold guardians represent our internal demons. Their function is not necessarily to stop the hero but to test if he or she is really determined to accept the challenge of change.

Heroes learn to recognize resistance as a source of strength. Threshold Guardians are not to be defeated but incorporated into the self. The message: those who are put off by outward appearances cannot enter the Special World, but those who can see past surface impressions to the inner reality are welcome, according to Vogler.

The Doorman at the Emerald City, who attempts to stop Dorothy and her friends from seeing the wizard, is one threshold guardian. Another is the group of flying monkeys who attack the group. Finally, the Winkie Guards are literal threshold guardians who are enslaved by the Wicked Witch.

Shapeshifters express the energy of the animus (the male element in the female consciousness) and anima (the female element in the male consciousness). Vogler says we often recognize a resemblance of our own anima or animus in a person, project the full image onto him or her, enter a relationship with this ideal fantasy, and commence trying to force the partner to match our projection.

The shapeshifter is a catalyst for change, a symbol of the psychological urge to transform. The role serves the dramatic function of bringing doubt and suspense into a story. It is a mask that may be worn by any character in the story, and is often expressed by a character whose loyalty and true nature are always in question, Vogler says.

Think Scarecrow, Tin Man, Lion.

The shadow represents the energy of the dark side, the unexpressed, unrealized, or rejected aspects of something. The negative face of the shadow is the villain, antagonist, or enemy. It may also be an ally who is after the same goal but who disagrees with the hero’s tactics.

Vogler says the function of the shadow is to challenge the hero and give her a worthy opponent in the struggle. Femmes Fatale are lovers who shift shapes to such a degree they become the shadow. The best shadows have some admirable quality that humanizes them. Most shadows do not see themselves as villains, but merely as heroes of their own myths.

Internal shadows may be deeply repressed parts of the hero, according to Vogler. External shadows must be destroyed by the hero or redeemed and turned into a positive force. Shadows may also represent unexplored potentials, such as affection, creativity, or psychic ability that goes unexpressed.

The Wicked Witch is the obvious shadow in the Wizard of Oz.

The trickster embodies the energies of mischief and the desire for change. He cuts big egos down to size and brings heroes and readers down to earth, Vogler says. He brings change by drawing attention to the imbalance or absurdity of a stagnant situation and often provokes laughter. Tricksters are catalyst characters who affect the lives of others but are unchanged themselves.

The Wizard himself is both a shapeshifter and a trickster.

• The Approach to the Inmost Cave in the Hero's Journey
• The Hero's Journey: Crossing the Threshold
• An Introduction to The Hero's Journey
• The Hero's Journey: Refusing The Call to Adventure
• The Ordeal in the Hero's Journey
• The Reward and the Road Back
• The Hero's Journey: Meeting with the Mentor
• The Ordinary World in the Hero's Journey
• The Resurrection and Return With the Elixir
• "The Wonderful Wizard of Oz" Study Guide
• Therapeutic Metaphor
• The Definition of Quest in Literature
• Foreshadowing in Narratives
• The Tin Man's Toxic Metal Makeup
• The Heroes of Ancient Greece and Rome
• What Is an Antagonist?

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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.

Breaking Down the Character Archetypes of the Hero’s Journey

You’ve  read about George  Lucas’s  use of Joseph  Campbell’s Monomyth found in his 1949 book, A Hero with a Thousand Faces ,  which   is  a  common  narrative pattern found in many stories from many different cultures worldwide. This narrative journey typically involves several character archetypes that affect the  hero’s journey from beginning to end.

After the successful debut of  Star Wars   and  Lucas’s  discussions on using  Campbell’s work as inspiration for his space opera, many producers, development executives, filmmakers, and screenwriters have explored the Monomyth with deeper and simplified approaches.

Christopher Vogler's Interpretation of the Hero's Journey

When Christopher Vogler, a development executive and screenwriter at Disney, was inspired by Joseph  Campbell's  concept of the story monomyth, he crafted a seven-page memo for  Disney's  development team and incoming screenwriters.

This memo,  A Practical Guide to Joseph  Cambell’s  The Hero with a Thousand Faces , laid the groundwork for what would later become  Vogler's  1992 book,  The  Writer's  Journey: Mythic Structure for Storytellers and Screenwriters . In this book, Vogler expanded upon  Campbell’s  ideas.

He adapted  Campbell's  mythical story structure into twelve distinct stages (from  Campbell’s  initial seventeen). Our concise interpretations of these stages include:

• The Ordinary World : We see the  hero's   normal  life at the start of the story before the adventure begins.
• Call to Adventure : The hero faces an event, conflict, problem, or challenge that makes them begin their adventure.
• Refusal of the Call : The hero initially refuses the adventure because of hesitation, fear, insecurity, or  any  other issues.
• Meeting the Mentor : The hero encounters a mentor who can give them advice, wisdom, information, or items that ready them for the journey ahead.
• Crossing the Threshold : The hero leaves their ordinary world for the first time and crosses the threshold into adventure.
• Tests, Allies, and Enemies : The hero learns the  rules of the new world  and endures tests, meets friends, and comes face-to-face with enemies.
• The Approach : The initial plan to take on the central conflict begins, but setbacks cause the hero to try a new approach or adopt new ideas.
• The Ordeal : Things go wrong, and added conflict  is introduced . The hero experiences more difficult hurdles and obstacles, some of which may lead to a life crisis.
• The Reward : After surviving The Ordeal, the hero seizes the sword — a reward that  they've  earned that allows them to take on the  biggest  conflict. It may be a physical item or piece of knowledge or wisdom that will help them persevere.
• The Road Back : The hero sees the light at the end of the tunnel, but they are about to face even more tests and challenges.
• The Resurrection : The climax.  The hero faces a final test, using everything they have learned to take on the conflict once and for all.
• The Return : The hero  brings  their knowledge or the  " elixir "  back  to the ordinary world.

Within these stages are character archetypes that help to shape the  hero’s   journey, and their eventual character arc throughout the story.

Read More: Exploring the Twelve Stages of the  Hero’s  Journey

'Tron: Legacy' (2010)

What Are Character Archetypes?

A character archetype is a common  recurring  representation of a character that embodies a set of universal and recognizable traits or characteristics. These archetypes  are seen  throughout literature, film, and other storytelling mediums—and they resonate with audiences because they  are based  on  common human experiences or cultural norms.

Archetypes work well because they are instantly recognizable to readers and audiences.  For writers, character archetypes can  be adapted and molded with ease  during character development.

Character archetypes are not specific characters in a story but  rather broad categories or templates that individual characters can be based on or inspired by. They represent typical roles characters play in the narrative, and their actions and motivations are often predictable based on the archetype they represent.

However, writers can also choose to subvert those expectations to create a more dynamic character , as well as  introduce much-needed twists and turns within the story.

Read More: 10 Character Archetypes in Comedies

'The Goonies' (1950)

The benefits of using character archetypes include:

• Universality : Archetypes are universally understood and have similar meanings across cultures and historical contexts.  This  can  especially  help in the cinematic realm  as  movies  are released  in multiple countries and languages.
• Symbolism : These character traits can symbolize a particular  aspect of  human experience or life.  Once again, symbolism is identifiable across many cultures.
• Predictability :  Because they  are based  on common patterns,   their behaviors and roles in stories can often be anticipated .  Because of that anticipation, writers can choose between subverting those expectations or using the predictability of the archetypes to service the story and protagonist with ease.  
• Variability : While archetypes are typical patterns, they allow for variations and depth, meaning a single archetype can manifest in different ways across various stories, allowing writers  can  adapt these traits to any character. 

Character archetypes can  be used   as tools  to tell a compelling and universal story. 

'Finding Nemo' (2003)

What Are the Character Archetypes in the Hero's Journey?

Many archetypes in the hero's journey—the threshold guardian, the herald, the shapeshifter, the trickster, the ally, and the tempter/temptress—are more defined in later interpretations and expansions of Campbell's  work. People like Vogler applied his theories to modern storytelling so writers, readers, and audiences could more easily understand the dynamics of  Campbell’s  monomyth.

Here,  we’ll break down the main character archetypes in the hero's journey utilized in  Campbell’s  Monomyth and  Vogler’s  expanded breakdowns and interpretations. 

The hero is the  central figure of the story  (protagonist) who undergoes a journey, facing challenges and transformations.  The hero often starts as an ordinary person who  is  then  called  to adventure. They are present throughout the  entire   journey , from the ordinary world to the return with newfound knowledge or power.

Luke Skywalker (Star Wars), Indiana Jones ( Raiders of the Lost Arc ), Katniss Everdeen ( The Hunger Games ), Barbie ( Barbie ), and Harry Potter (the  Harry Potter series) are perfect examples of the hero character archetypes. You can include any protagonist within a story that goes on a physical or emotional journey.

As mentioned above, the hero in the  hero’s  journey usually begins their adventure within their ordinary world.  This   offers readers and audiences the chance  to relate to the protagonist, empathize with their plight, and see the beginning of their character arc.  

Read More: Why the 'Barbie' Movie is the Perfect Example of the Hero’s Journey

The shadow is the main antagonist of the story. The shadow reflects the darker aspects of the hero, sometimes represented as the mirror image (opposite) of the hero and their beliefs. Overall, they are the antagonist or villains  present throughout the whole  story in varied ways. 

Read More:  15 Types of Villains Screenwriters Need to Know  

The shadow can also be represented  in metaphorical terms. If a  story’s hero journey is the protagonist dealing with alcoholism or addiction, those vices can serve as the shadow/antagonist/villain.

The quintessential shadows in cinema include characters like Darth Vader ( Star Wars ), Voldemort (the Harry Potter series), and Sauron ( The Lord of the Rings series). But you can also find a less villainous shadow that takes on a lighter antagonistic role without purely evil intentions.

A perfect example of that would be  Principal Rooney in  Ferris Bueller’s Day Off .  He  doesn’t  have evil intentions like a villain does. However, he is the shadow or mirror image of Ferris Bueller. Ferris believes in freedom  an expression . Rooney believes in order and control of others.

'Ferris Bueller's Day Off' (1986)

This character serves as a guide or teacher to the hero, providing them with advice, training, or magical assistance.  The mentor is often a wise or experienced figure, although there have been literary and cinematic variances.

Look no further than the likes of Obi-Wan Kenobi ( Star Wars ), Yoda ( The Empire Strikes Back ), Mr. Miyagi ( The Karate Kid ), and Gandalf ( The Lord of the Rings series ) as core examples of the mentor.

'The Karate Kid' (1984)

Allies are friends or companions who support and accompany the hero through their journey. They often complement the  hero's  skills and help them face challenges.

In  Star Wars , the allies of Luke Skywalker include Han Solo, Chewbacca, and the droids. In  The Lord of the Rings series , the fellowship companions of Frodo encompass this character archetype. You can also look to any sidekick-type character as the perfect example of an ally:

• Goose in  Top Gun
• Patrick in  Spongebob Squarepants
• Ron in  Harry Potter
• Billy in  Big
• Julie in  Lady Bird
• Rod in  Get Out
• Ned in the  Spider-Man  movies
• Sam in  The Lord of the Rings
• Short Round in  Indiana Jones and the Temple of Doom

Allies can also be characters who  aren’t  as close to the hero but offer  some  type of help along the way.

'Lady Bird' (2017)

The Threshold Guardian

These characters serve as obstacles the hero must overcome or circumvent on their journey. They are not always enemies but are present within the story to test the hero and give them the belief and ability to continue on their adventure.

Little John in the  Robin Hood   stories is initially the threshold guardian of the Sherwood Forest. 

He eventually becomes an ally to Robin. But he’s initially a threshold guardian. 

You can turn to   Monthy Python and the Holy Grail  as well. The Black Knight  isn’t  necessarily King  Arthur’s  foe. However,  he’s there to defend the bridge at all costs.

 The Herald

The herald is the character that initiates the call to adventure, pushing the hero to  action,  or providing the news or event that triggers their journey.

In  Star Wars , R2-D2 is the herald of  Luke’s  journey because he delivers the message from Princess Leia  to him . If Luke  doesn’t  see that message, he  doesn’t  show it to Obi-Wan Kenobi. And if Obi-Wan  doesn’t  see that message, he  doesn’t  convince Luke to come with him to join the Rebellion. 

In  Barbie , Weird Barbie is the one who tells Barbie the truth about what she is going through and what she must do to seek out the answers she needs. 

The herald can be a  major  character, a supporting character, or even a minor character. In  The Lord of the Rings , Gandalf is both mentor  and  herald, as he is the one who appears to Frodo, telling him he must bring the ring to Mordor. 

The Shapeshifter

This  archetype's loyalty and role are often unclear, and they can serve as an ally or an enemy to the hero. Sometimes both. Their unpredictable nature adds complexity to the story, usually resulting in twists and turns within the plot.

Snape in the  Harry Potter series is one of the greatest shapeshifters in literature and film. His motives are unknown, mistaken, and hidden. He acts as both a shadow to Harry and later an ally.

Jack Sparrow in the Pirates of the Caribbean   series is another  great  example, embodying the role of an unpredictable ally whose loyalty is often questionable. Yes, he can  be  looked  upon as an antihero protagonist of the movie. However, the clear hero of the story is Will.

'Pirates of the Caribbean: The Curse of the Black Pearl' (2003)

The Trickster

The trickster usually adds  levity  to the story through comic relief. They can be allies or enemies, but typically  they  cause trouble for both.

Jack Sparrow falls under this character archetype as well. But a better example may be Loki in the Marvel Cinematic Universe   movies. He embodies the definition of a trickster.  He brings more comic relief to the  movies   after his initial first appearance in  Thor .

Perhaps the better example would be Genie in  Disney's   Aladdin . He uses his powers for humorous and unexpected effects, often bending the rules and adding a lighthearted element to the story.

Tempter/Temptress

This archetype can be of any gender and represents temptation or distraction that diverts the hero from their path.

Catwoman in the  Batman  movies often plays the role of a temptress to Batman, combining allure with a morally ambiguous character.

Many of the Bond Girls in the   James Bond  films serve as temptresses, combining allure and mystery and often leading Bond into dangerous situations.

The Indiana Jones variation would be Elsa from  Indiana Jones and the Last Crusade . 

One of the best examples of the Tempter playing a more pivotal role in the story is Avery Tolar in The Firm .  He’s  a senior partner at  the law firm  Bendini, Lambert & Locke. His role is crucial in seducing the protagonist, Mitch McDeere, into the luxurious and corrupt world of the law firm.

He has a charismatic and persuasive personality. He mentors Mitch and exposes him to the high-stakes, high-reward lifestyle  that the  firm offers, including wealth, prestige, and power.  Tolar's  character is complex. He is a nuanced character who embodies the charm and allure  that the  firm uses to entice and trap its young associates.

His influence on Mitch is significant, as he represents the allure of success and the moral compromises that often accompany it.  Tolar's  character effectively demonstrates how  the tempter archetype can be used  to explore themes of corruption, temptation, and ethical dilemmas in a narrative.

The character archetypes  found  within the h ero’s  journey offer writers the ability to take universal character templates and mold them to fit into stories that embrace the monomyth structure or use it as a starting point to tell a compelling and engaging story. 

Use them in whatever way  you’d like. They can encompass the more traditional definition within your story, or you can use these archetypes to set up expectations and later subvert those expectations to create a more enthralling and surprising plot.

Read More: Is Joseph Campbell's "The Hero's Journey" Dead in Screenwriting Today?

CHECK OUT OUR PREPARATION NOTES SO YOU START YOUR STORY OFF ON THE RIGHT TRACK!

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner, the feature thriller Hunter’s Creed, and many Lifetime thrillers. Follow Ken on Twitter @KenMovies and Instagram @KenMovies76

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

Dan Schriever

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

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

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

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

What Is the Hero’s Journey?

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

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

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

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

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

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

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

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

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

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

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

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

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

#1: The Ordinary World

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

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

The Ordinary World in The Matrix :

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

#2: The Call to Adventure

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

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

The Call to Adventure in The Matrix :

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

#3: Refusal of the Call

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

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

Refusal of the Call in The Matrix :

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

#4: Meeting the Mentor

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

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

Meeting the Mentor in The Matrix :

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

#5: Crossing the First Threshold

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

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

Crossing the First Threshold in The Matrix :

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

#6: Tests, Allies, and Enemies

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

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

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

Tests, Allies, and Enemies in The Matrix :

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

#7: Approach to the Inmost Cave

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

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

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

Approach to the Inmost Cave in The Matrix :

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

#8: The Ordeal

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

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

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

The Ordeal in The Matrix :

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

#9: Reward (Seizing the Sword)

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

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

Reward (Seizing the Sword) in The Matrix :

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

#10: The Road Back

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

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

The Road Back in The Matrix :

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

#11: Resurrection

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

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

Resurrection in The Matrix :

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

#12: Return with the Elixir

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

Return with the Elixir in The Matrix :

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

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

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

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

Are you prepared to write your novel? Download this free book now:

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What Are The Hero’s Journey Archetypes?

Storytellers have used hero’s journey archetypes in the greatest stories, novels modern films. Learn what they are.

You may not think you know anything about the hero’s journey archetypes – but you’re actually way more familiar with these character types than you think! Hero’s journey archetypes permeate literary and popular culture and have done for time out of mind. They appear, in different forms, in cultures from around the world, and without them, the scaffolding behind the narrative structures of works from Indiana Jones to King Lear would likely collapse.

But who exactly, then, are these hero’s journey archetypes? Come along with us on a deep dive into these enigmatic, charismatic figures, their role, and why they’re so important – plus, we’ll give you some getting-started tips on how to use them in your own stories.

What’s an Archetype?

The hero’s journey explained, the warrior, the innocent, the creative, the romantic, the researcher, a mentor figure, the shadow: the hero’s dark reflection, developing your hero’s journey archetype’s character, combining hero archetypes, fulfilling expectations.

In the early 1900s, the psychiatrist and psychoanalyst Carl Jung started writing about archetypes. He termed them ancient personality patterns that are the shared heritage of humanity. Archetypes have characteristics that mark them as a typical example of a certain person (or thing). The word comes from the ancient Greek verb ‘archein’, which translates as ‘to begin’ or ‘to rule.’

The hero’s journey story involves the hero setting off on an adventure, often leaving their familiar world behind. This stage is typically described as The Departure. During the next stage, the Initiation, the character learns a lesson and usually wins some form of victory due to this new knowledge.

Next comes The Return, in which the hero returns to his/her familiar world, transformed. In this guide, we also explain how the hero’s journey works , but for context, let’s put some flesh on those conceptual monomyth bones, shall we?

Harry Potter is a classic hero archetype (more on the different versions of the hero archetype in a bit). In the first film and book, Potter sets off to Hogwarts, leaving the world of the muggles behind to begin an exciting new adventure (The Departure). Among the various trials inherent in settling into an enchanted boarding school, Potter and his friends discover the hidden location of the Philosopher’s Stone and triumph over many obstacles to recover it.

Along the way, they learn the true meaning of courage and friendship. Quirrell, who has been harboring Voldemort, then attempts to kill the boy wizard – unsuccessfully (The Initiation). Finally, after recovering in the school’s infirmary, Potter returns to the muggles’ world for the summer vacation, happy with the knowledge that his wizarding journey has just begun (The Return).

This pattern can be discerned in many stories, from The Lord of the Rings to The Wizard of Oz – and now you know about it, you’ll be spotting it in the most unlikely of places! The renowned scholar and professor of literature Joseph Campbell broke down the stages of the hero’s journey even further in his 1949 book The Hero with a Thousand Faces . Story doctor Christopher Vogler has also written extensively about this topic.

The Hero’s Journey Archetypes

So, now we’ve established the hero’s journey trope and how to recognize it, let’s move on to the archetypal characters we’ll meet in these stories. Whether you’re watching a TV series or a movie that follows the hero’s journey , these are the archetypes that you’ll come across.

Probably the archetype that most people would most easily identify as ‘heroic’ is The Warrior. Think Jason Bourne, Superman, Wonder Woman, and Luke Skywalker in Star Wars. These characters, as part of their journey, might find themselves confronted by a ‘dark night of the soul’ moment: the point right before the storm, the very edge of the precipice, beyond which is chaos and mayhem.

For Clark Kent/Superman, this is the bit in the movie when he knows he’s got to face an adversary who has kryptonite – or when he’s building up to telling Lois Lane his secret. For other Warrior hero archetypes, it could be the moment they discover the villain’s abducted someone they care about or that the baddie has got hold of a world-obliterating weapon.

The character archetypes offer room for flex, which can add interest or tension to the story. For example, how might The Warrior fare in a world or situation where his skills have become redundant?

One of the most common archetypes of the hero’s journey, this character, often a child and/or an orphan, finds themselves thrust into a dangerous world they’d previously not imagined existed. This is Dorothy finding herself a long way from Kansas, or Luke Skywalker suddenly whisked from his ordinary life on a moisture farm in Tatooine to become a key part in the fight to disarm Darth Vader’s Death Star. It’s Frodo Baggins swept away on that treacherous road to Mordor in The Lord of the Rings trilogy.

The Innocent often has an optimistic outlook and is loyal, honest, and sincere. They’re able to see the good in others and may be prone to be tricked by characters with fewer scruples.

Fundamentally, The Innocent archetype discovers a strength, resolve, tenacity, or skill they didn’t know they had. Dorothy realizes she can navigate the world independently. Luke learns how to use the Force, while Frodo, a hobbit from the Shire, finds he has the courage to journey to Mordor. For more examples, read our guide to movies that follow the hero’s journey .

Usually plagued by self-doubt, on the verge of obsession, and caught in an unconscious spiral of self-neglect. Characters in the mold of The Creative Archetype aren’t usually the most relaxed of folk.

This archetype often faces staunch resistance from the status quo, who reject or are fearful of their innovations, inventions, or new ways of thinking, which could herald the start of a new world. They have great powers of flair, imagination, and innovation but also tend towards perfectionism and even neuroticism.

As a result, they are often depicted as having a hard time navigating relationships and forming connections. Examples of The Creative hero archetype include Viktor Frankenstein, and Ed Wood, in the Tim Burton-directed movie of the same name. Being a Creative type usually comes at a great cost.

An essential part of The Creative’s story arc is the struggle to bring their vision to physical reality. In the course of the story, they’ll usually succeed, but things don’t pan out, often with disastrous consequences. Interestingly, many of fiction’s greatest villains start on the path of The Creative archetype: Voldemort and Professor Moriarty are just a few examples.

This archetype is prepared to live and die in the service of others; while they’re often cast as the main character, they also frequently appear as a sidekick or foil, adding balance to the narrative and a little comic relief.

Empathy, compassion, and the ability to nurture are traits typically found in The Carer. The drive to protect or heal is often the motivating force behind their actions, and they’re prepared to sublimate their own needs to accomplish these things. These characters often possess a strong sense of intuition – even a sixth sense that tells them when others are in need.

Sandra Bullock’s Leigh Anne Tuohy in Blindside and Denzel Washington’s character in The Equalizer are both caregiver hero archetypes. Woody from the movie Toy Story also falls into this category: his role is to take care of Andy’s toys, arranging their activities in such a way as to bring benefits to the whole group.

However, the Caregiver archetype needs to be wary of their shadow side. Many stories in which they appear as a hero find them confronting this darker reflection. Caring for someone may easily segue into becoming overbearing, even controlling.

Alternatively, they could have trouble finding their path if specific caring duties are no longer required. If you’re interested in using The Caregiver archetype in your own story, introducing these elements is a great way to ratchet up narrative tension and drive the plot.

It’s not enough for a hero to fall in love for his or her character to be categorized as a Romantic archetype. After all, James Bond might fall in love (multiple times) during the course of a movie, but finding love isn’t ever his main goal, so he doesn’t count as one of The Romantic archetypes.

This archetype often appears in literature and film as a Byronic hero . These characters have a set of traits codified by the English Romantic poet Lord Byron: a little aloof, even sullen, but with a rich inner life beneath that prickly surface.

The Romantic hero often also crosses into the neighboring territory of the Tragic Hero, a sub-category of hero archetypes. These characters labor under a single fatal flaw or make one catastrophic error in judgment in the course of the story that ultimately dooms them. As the audience, we can only watch their sad downfall, knowing all too well what will happen.

Romeo Montague is, of course, the epitome of this hero archetype – all his other goals and motivations are secondary to his pursuit of romantic love. The inimitable Mr. Darcy from Jane Austen’s Pride and Prejudice is also a great example of a romantic, Byronic hero.

Whereas The Warrior may overcome his/her enemies with physical strength, skill, and tenacity, The Researcher relies on his wits and his superior mind to succeed.

Character traits of this archetype include persistence, dependability, and curiosity. You can rely on them to come up with the goods. Their minds can make connections that others simply can’t, and a moment of insight is likely to lead to victory.

The Researcher often likes to spend time alone and isn’t afraid to move outside of social ‘norms’ – they’re more concerned with their work and ideas than fitting in. They’re self-sufficient, and this hero archetype may have problems (initially) working with others.

This archetype often manifests as a detective in stories and movies, most notably, Sherlock Holmes and in the tales of the many cases solved by Hercule Poirot. Indiana Jones is another example, using his intellect and exceptional research chops to overcome his adversaries.

Many hero’s journey books and stories include a mentor figure of some description. For example, Obi-Wan Kenobi forms this archetype in Star Wars. At first, he’s reluctant to train Luke in the ways of the force. Later, we discover he’s been looking out for and protecting Luke for years.

He becomes a type of mentor to Luke until his untimely death. He assists Luke in crossing over from an ordinary world into a special world: that of a Jedi Knight! In the subsequent films, Yoda fills this trope.

This hero archetype regularly appears in stories from fairy tales (Jack in Jack and the Beanstalk ) to contemporary movies. All five main characters from The Breakfast Club belong to The Rebel class for different reasons. Katniss Everdeen from The Hunger Games falls in this category, as does Prometheus from ancient Greek mythology, who did some serious sneaking about in a bid to give fire to humanity. For more, read our guide to popular hero’s journey books .

The Rebel figure connects with audiences as this character is usually an underdog: a small cog in a huge machine, apparently powerless to make a difference. Everyone knows the frustration of wanting but feeling unable to change things – of not being heard and seen.

Winston Smith, the protagonist in George Orwell’s 1984, is The Rebel hero archetype. In a world where one’s every move and thought is watched and controlled by the state, he still finds a way to express personal freedom. To learn more, read our guide to the best dystopian novels .

What motivates The Rebel character is to seek out their oppressor, or the root cause of their oppression, and overthrow him/her/them/it. In a nutshell, this archetype wants nothing more than to stick it to The Man – and as an audience, we’re usually right there behind them.

The Ruler archetype frequently takes the form of a king or queen. Throughout the story, they need to negotiate threats to their power. Often, the story begins with this archetype at the peak of their powers and then follows their decline. Needless to say, these tales usually take the form of a tragedy. Mafia or crime stories like Scarface tend to feature these character types and follow this overarching structure. And King Lear follows a similar template, too.

This archetype’s key traits include responsibility and extremely strong leadership skills. They’re usually organized and analytical and are driven by success, prosperity, and the importance of safeguarding their community. The Ruler usually fears a loss of control or influence and chaos.

As a hero archetype, The Ruler is motivated by a desire to provide stability and direction, especially during difficult times. These characters are good at looking at the big picture, aren’t afraid to make tough decisions, and are great at handling stress.

King Theoden, leader of the Rohan people in The Lord of the Rings, is a great example of The Ruler archetype. He is fearless in mounting a defense of his kingdom and committed to protecting all citizens under his care.

The Shadow is one of the most common versions of the villain archetype. This archetype is the hero’s reflection.

The Shadow character isn’t ‘pure evil’. They often believe that they’re the piece’s hero. And while their background is similar to that of the hero, they tend to foster a selfish, indifferent attitude toward others. They may take the form of the trickster: such as The Riddler in Batman or Puck-type figures in folklore.

George Lucas understood this: Anakin and Luke Skywalker’s early stories are similar, and both are inspired, ultimately, to hope and believe in the power of good eventually – even if it takes one of them much longer to get there than the other.

The connections don’t end there; the characters share many of the same associations, and Darth Sidious attempts to recruit both Luke (unsuccessfully) and Anakin (successfully). When it comes to The Shadow, the reader always gets the impression that this incarnation could easily have been the hero’s own destiny but for a twist or two of fate.

Typically, The Shadow will have started out pursuing a moral goal or design to create a better new world, but they end up pushing too far or going too fast and losing sight of their original noble vision. For The Shadow archetype, whatever the ends, they always justify the means, no matter the destruction that will result. And it’s this that most fundamentally differentiates them from the hero.

Choosing Your Own Hero’s Journey Archetype

If you’d like to write your own story and are wondering which of the hero archetypes to choose for your main character, think about the kind of tale you’re telling. Genre is an important consideration.

For example, The Creative will likely work well in a political thriller, while The Warrior will fit neatly into an action-adventure story. If you’ve narrowed it down but are struggling to make a decision, then pick the hero archetype that you’d feel most excited to write about – or how about creating an archetype hybrid?

So now what? The next stage of planning your story is giving your hero a mission or a reason for them to go on a quest. Ideally, this takes the form of a physical goal (taking the ring to Mordor) and a nonphysical imperative (a wistful longing to experience life beyond The Shire). As well as this, you’ll need to ensure you give your hero certain key character traits that will allow your readers or audience to relate to him or her. Inspiring empathy is crucial.

A consistent element of the hero’s journey is the fact that, at some point in the story, what they need isn’t necessarily the same as what they want, and there’ll be a conflict. For example, the hero may have an opportunity to achieve their goals…but at the expense of their values. Think about how you could incorporate this into your own story and how it will drive your narrative. It can make for neat dichotomies and the chance to get stuck into psychological drama.

Want to create a hybrid hero archetype? Go for it! In the film of the same title, Erin Brockovich is both The Researcher and The Rebel, while Simba, in The Lion King, is simultaneously The Innocent and The King. Consider different fusions of archetypes and how each would affect the tone and direction of the story you want to tell.

Finally, to captivate your readers and engage them thoroughly with your story, you need your hero archetype to fulfill audience expectations. They might not know why or even realize it’s happening, but folk love a recognizable archetype.

So if you’ve gone with The Creative hero archetype, be sure to show your readers clearly just how obsessed this character is with their invention or their concept that they’re convinced is going to improve…whatever it is. Let us see them still awake in the early hours, scribbling notes about tweaks they need to make to their plans or knocking on the door of patent offices and getting consistently turned away.

And once you’ve fulfilled your readers’ expectations? Now it’s time to innovate. Don’t be afraid to throw a literary cat in amongst the pigeons. Reimagine the archetype, keeping his/her key tropes intact but adding a large dollop of your own imagination. Your Creative hero? How about having him as someone in their eighties who’s lived a normal life until this point, when he suddenly woke up this morning with the tech idea of the century that could herald the dawn of a whole new world?

Combining fulfillment and innovation makes for the perfect blend, allowing you to create a fresh version of a hero archetype that’ll have your audience rooting for them throughout.

Melanie Smith is a freelance content and creative writer from Gloucestershire, UK, where she lives with her daughter, long-suffering partner, and cat, The Magical Mr. Bobo. Her blog posts and articles feature regularly in magazines and websites around the world.

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The Eight Character Archetypes of the Hero’s Journey

Classic trickster.

In The Hero of a Thousand Faces , Joseph Campbell demonstrated that many of the most popular stories, even over thousands of years and across cultures, shared a specific formula. That formula is now commonly referred to as mythic structure, or the hero’s journey . Even if you’ve never heard of it before, you’ve consumed this “ monomyth ” in works like Star Wars and Harry Potter.

Along with a specific plot structure, the hero’s journey has a repeating cast of characters, known as character archetypes. An archetype doesn’t specify a character’s age, race, or gender. In fact, it’s best to avoid stereotyping by steering clear of the demographics people associate with them. What archetypes really do is tell us the role a character plays in the story. Thinking about your characters in terms of their archetype will allow you to see whether they’re pulling their weight, or if they’re useless extras.

There are many way to categorize the cast of the hero’s journey, but most central characters fall into one of these eight roles:

The hero is the audience’s personal tour guide on the adventure that is the story. It’s critical that the audience can relate to them, because they experience the story through their eyes. During the journey, the hero will leave the world they are familiar with and enter a new one. This new world will be so different that whatever skills the hero used previously will no longer be sufficient. Together, the hero and the audience will master the rules of the new world, and save the day.

J is the heroic tour guide in Men in Black . A cop at the top of his beat, he is suddenly taken behind the masquerade of everyday life. Waiting for him is a world where aliens are hiding among everyday people, and a galaxy can be as small as a marble. While he’s still a cop in essence, his adversaries – and the tools he must wield against them – are nothing like he’s previously known.

Other heroes: any protagonist fits the hero role. Some heroes from stories that stick closely to the hero’s journey are Dorothy from The Wizard of Oz, Alice from Alice in Wonderland, and Luke Skywalker from Star Wars.

The hero has to learn how to survive in the new world incredibly fast, so the mentor appears to give them a fighting chance. This mentor will describe how the new world operates, and instruct the hero in using any innate abilities they possess. The mentor will also gift the hero with equipment, because a level one hero never has any decent weapons or armor.

Glinda the Good Witch from The Wizard of Oz appears soon after Dorothy enters Oz. She describes where Dorothy is, and explains that she’s just killed the Wicked Witch of the East. Then, before the Wicked Witch of the West can claim the ruby slippers, Glinda gifts them to the hero instead.

Often, the mentor will perform another important task – getting the plot moving. Heros can be reluctant to leave the world they know for one they don’t. Glinda tells Dorothy to seek the Wizard, and shows her the yellow brick road.

Once the hero is on the right path and has what they need to survive, the mentor disappears. Heroes must fight without their help.

Other mentors: Morpheus from the Matrix, Dumbledore from Harry Potter, and Tia Dalma from Pirates of the Caribbean 2 and 3.

The hero will have some great challenges ahead; too great for one person to face them alone. They’ll need someone to distract the guards, hack into the mainframe, or carry their gear. Plus, the journey could get a little dull without another character to interact with.

Like many allies, Samwise looks up to Frodo in The Lord of the Rings . He starts the story as a gardener, joining the group almost by accident. He feels it’s his job to keep Frodo safe. But not all allies start that way. They can be more like Han Solo, disagreeable at first, then friendly once the hero earns their respect. Either way, the loyalty and admiration allies have for the hero tells the audience that they are worthy of the trials ahead.

Other allies: Robin from Batman, Ron and Hermione from Harry Potter, and the Tin Man from The Wizard of Oz.

The herald appears near the beginning to announce the need for change in the hero’s life. They are the catalyst that sets the whole adventure in motion. While they often bring news of a threat in a distant land, they can also simply show a dissatisfied hero a tempting glimpse of a new life. Occasionally they single the hero out, picking them for a journey they wouldn’t otherwise take.

The great boar demon that appears at the beginning of Princess Mononoke is a herald bearing the scars of a faraway war. Ashitaka defeats him, but not without receiving a mark that sends him into banishment. This gets the hero moving and foreshadows the challenges he will face.

Heralds that do not fill another role will appear only briefly. Often, the herald isn’t a character at all, but a letter or invitation.

Other heralds: Effie from the Hunger Games, R2D2 from Star Wars, and the invitation to the ball in Cinderella.

5. Trickster

The trickster adds fun and humor to the story. When times are gloomy or emotionally tense, the trickster gives the audience a welcome break. Often, the trickster has another job: challenging the status quo. A good trickster offers an outside perspective and opens up important questions. They’re also great for lampshading the story or the actions of the other characters.

Dobby from Harry Potter is an ideal trickster. He means well, but his efforts to help Harry Potter do more harm than good. And every time he appears in person, his behavior is ridiculous. However, underlying the humorous exterior is a serious issue – Dobby is a slave, and he wants to be free of his masters.

Other tricksters: Luna Lovegood (also from Harry Potter), Crewman #6 from Galaxy Quest, and Merry and Pippin from LoTR.

6. Shapeshifter

The shapeshifter blurs the line between ally and enemy. Often they begin as an ally, then betray the hero at a critical moment. Other times, their loyalty is in question as they waver back and forth. Regardless, they provide a tantalizing combination of appeal and possible danger. Shapeshifters benefit stories by creating interesting relationships among the characters, and by adding tension to scenes filled with allies.

Dr. Elsa Schneider, from Indiana Jones and the Last Crusade , is a very effective shapeshifter. Even after she reveals she is working for the enemy, she and the hero still have feelings for each other. She allows him to steal an item back without getting caught, and he allows her to discover the McGuffin with him. But the distrust between them remains.

Other shapeshifters: Gollum from LoTR, Catwoman from Batman, and Gilderoy Lockhart from Harry Potter.

7. Guardian

The guardian, or threshold guardian, tests the hero before they face great challenges. They can appear at any stage of the story, but they always block an entrance or border of some kind. Their message to the hero is clear: “go home and forget your quest.” They also have a message for the audience: “this way lies danger.” Then the hero must prove their worth by answering a riddle, sneaking past, or defeating the guardian in combat.

The Wall Guard in Stardust is as classic as guardians get. He stands alone at a broken section of stone wall between real world England and the fairy realm of Stormhold. The guard is friendly when Tristan tries to pass into the fairy realm to start his adventure, but he carries a big stick and he’s not afraid to use it.

Other guardians: The Doorknob from Alice in Wonderland, the Black Knight from Monty Python and the Holy Grail, Heimdall from Thor.

Shadows are villains in the story. They exist to create threat and conflict, and to give the hero something to struggle against. Like many of the other archetypes, shadows do not have to be characters specifically – the dark side of the force is just as much a shadow for Luke as Darth Vader is.

The shadow is especially effective if it mirrors the hero in some way. It shows the audience the twisted person the hero could become if they head down the wrong path, and highlights the hero’s internal struggle. This, in turn, makes the hero’s success more meaningful. The reveal that Darth Vader is Luke’s father, right after Luke had ignored Yoda’s advice, makes the dark side feel more threatening.

Other shadows: Voldemort from Harry Potter, Sauron from LoTR, and Maleficent from Sleeping Beauty.

It’s unusual for stories to have exactly one character per archetype. Because archetypes are simply roles a character can take, Obi Won and Yoda can both be mentors, J can be a hero and a trickster, and Effie Trinket can be first a herald, then later an ally. While you shouldn’t rush to add archetypes that are missing, any character that fits more than one is probably important to the story. If you have a character that doesn’t fit any, make sure they are strengthening, and not detracting from, your plot.

Learn More About These Archetypes

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Comments on The Eight Character Archetypes of the Hero’s Journey

Thanks for this great guide!!

Thank you, very informative. Gives a better understanding on how to create a story and “important” NPCs.

Like your name. :)

I like your name

I have a question. In Disney’s/ABC’s Once Upon a Time would you consider Rumplestiltskin/The Dark One to be a Trickster or a Shapeshifter? He’s not a ‘true’ villain though the writer’s class him as a villain. He’s way too complicated to just be a villain!!! He does evil things, bad things, neutral things and sometimes good things, but he keeps changing back and forth. He has the ability to love (his son and his wife Belle) but he ALWAYS puts power above them (it’s more important to him than his son or wife). I always thought of him as ‘the Trickster’ but when I read your description of the Shapeshifter it started me thinking again! hmmmmmm

I haven’t watched enough Once Upon a Time to tell you for sure based on my personal knowledge of Rumplestiltskin, but if he is often working together with the good guys but is liable to betray them or do other bad things, he’s probably a shapeshifter. Tricksters almost always provide comic relief. In the few episodes I watched, it did not look like Rumplestiltskin was a comical character.

However, because the archetypes are roles, characters can have more than one or change what they are. It sounds like sometimes when he is doing especially bad things, he might be a Shadow temporarily.

Shapeshifter

Dianne its a very good question but its really what you think he is.he is apart of many difrent grous and some arnt on this site . The most common thing ppl think he is is a villan but it really isnt like that at all but its up to you. hope i help . sincerely wesh

Would I be right in saying that Magneto in X-Men would be considered a shapeshifter?

Based on my very crude knowledge of X-Men, Magneto is mostly a shadow. Like a good shadow, he is a dark reflection of Professor X. However, he also takes on the role of shapeshifter during their temporary alliances.

No no, the shapeshifter is Mystique. ;)

HA! Good one :D

She can turn into other people, too, so, in literal sense, she is one. I think Chris was talking figuratively.

You’re Welcome!!!!!!!!!!

Msytique es da best chicka in da world mahhh boi

dont do drugs kids

bahahahahah

The description of the shadow is a little misleading. He is not the antagonist, and not evil. He mirrors the side of the hero that he/she is not aware of, but must acknowledge in order to continue and be sucessful on his/her journey.

The Star Wars example with the cave sets it: Yes, Darth Vader is evil (he is antagonist and shadow all in one), but he is also Lukes father. Therefore, he wasn´t always evil. Luke knows this.

A great example for a shadow in film are the two girls in American Beauty. Angela is Janes Shadow. She represents everything that Jane must leave behind in order to get on with her life, find her destiny etc. But Angela is not evil. She is a rather normal teenager. She is Janes friend.

Interesting approach :) (I’m not being ironic)

Usually, shadows are antagonists.

I’m not super familiar with American Beauty, so I could be totally wrong on this, but it sounds like the character dynamic you are describing is the use of a foil. A foil is character who starkly contrasts with attributes of a character (nearly always the main character) in order to highlight certain attributes of a character.

The Shadow is most definitely the opposing force in a literary work. It is true that the shadow – when it is a character – is most effective if it is also a foil of the protagonist as this helps to illustrate how the hero’s conflict is as much internal as external, but existing expressly to mirror the hero in some way is not a defining feature of the shadow.

The villain of American Beauty is societal pressure to be “normal” and the havoc it wreaks on people who are unique and special.

All the characters in the movie in some way rebel against that pressure, some prevail and others are destroyed.

It would be interesting to think up ways to realign quest stories to make different figures the protagonist. Like, say, in the Matrix, they really had me going that Neo wasn’t the one – I thought it would turn out to be Morpheus. Which would mean we were seeing Morpheus’s Hero journey through the eyes of one of his last Guardians (the obstacle preventing Morpheus seeing the Hero he sought was himself).

That would have been really cool. Nobody thinks of themselves as the hero (no competent person anyway). And it would fit perfectly with the Oracle telling Trinity that she would love The One, because love can also be fraternal.

I have only a secondary knowledge of Science Fiction and mythical creatures, gleaned from sitting with my husband and son when they watch shows in the same room with me. I found your page very informative, interesting, and helpful so that I may understand what I am watching Sci-Fi shows or shows about mythology with my family. Thank you.

Thanks for this article! I am actually a sculptor building a portfolio for character modeling. I was told by an industry recruiter to include different archetypes. For the longest time I only vaguely knew what he meant until I read your post. Currently reading the recommended book – excellent by the way! – which I see is the industry bible on this subject. I now have a much clearer picture on what direction to take my work! I also am now starting to see the types as I watch and read things. Great article :-)

I actually feel like Snape is a better example of the shapeshifter than Lockhart.

Good point. He’s always portrayed as evil … up until the end, when you see he was on the other side the whole time.

Zuko from Avatar the Last Airbender seems to be a perfect shapeshifter to me.

Yes. The most common form of the shapeshifter is one who begins as Ally and betrays the hero, but a character taking the inverse course of action is also an example of a shapeshifter. What defines the shapeshifter is that there is at least a key moment where the audience is left to wonder for themselves if the character is friend or foe. Zuko is also a wonderfully written character who undergoes a Heroes quest of his own with Iroh serving as his mentor and Azula taking on the role of shadow. He can be viewed as many roles in series depending on which part of the series you are thinking about.

Sir Didimus (sp?) from Labyrinth would be a penultimate Guardian.

Welcome to the Mythcreants comment section, Jemma Caffyn!

p.s. You have the same name as my favorite scientist (a made-up spec fic scientist, of course)

what about a villian that goes from bad to good?

Unless somehow showing up as the shadow, redeemed villains are not part of Joseph Campbell’s monomyth. The overwhelming majority of myths and stories written before the romantic period had clear villains and heroes. Nietschze explained this by saying that all myths are morality tales; if people believe that there is a definite good and evil then it will be easier for them to accept anything their leaders do so long as their is a greater enemy. It is no coincidence that so many mythical heroes are of noble birth. It has even be argued that morally ambiguous characters are a feature of democracy ( https://www.theatlantic.com/entertainment/archive/2017/03/whats-so-american-about-john-miltons-lucifer/519624/ ).

If you are interested in redeemed villains, this blog has an article and a podcast about them: https://mythcreants.com/blog/creating-your-villains-journey/ https://mythcreants.com/blog/122-redeeming-a-villain/

Can the Drayo State feasibly be attained by a character who doesn’t just confront his or her shadow but cannibalises it and therefore digests the darker side of his or her own nature? Asking for a friend.

Well, first of all, what is the “Drayo State”?

Fantastically useful site & not just for sf & fantasy writers. I’ve learned such a lot. Thanks!

i agree, very useful.

Thanks for helping me do my homework!

Archetypes are kind of like personas in life in general.

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Archetypes: Definitions and Examples from Literature

by Kaelyn Barron

Archetypes are tools used in literature and film to represent common elements of the human experience and life in general.

They’re universally recognizable, and even used in psychology to identify behavior patterns based on the symbols and myths of different cultures.

Being able to recognize character and situation archetypes can make reading a much more rewarding experience, since you’ll be able to make connections across different works and understand key symbols.

Archetype Definition

Generally speaking, an archetype is a typical example of a person or thing. It can also serve as a pattern or model from which future things are copied or built on (like a prototype).

However, archetypes can take on more specific meanings when placed in the context of literature or psychology.

In literature, archetypes are universal symbols, which might present themselves as characters, themes, symbols, or settings. These are the archetypes we’ll be focusing on today.

What Are Jung’s Archetypes?

In psychology, Swiss psychiatrist Carl Jung used the term archetype to refer to “a collectively inherited unconscious idea, pattern of thought, image, etc., that is universally present in individual psyches.”

The 12 Jungian archetypes represent behavior patterns, and they’re based on the symbols and myths of many different cultures.

They include:

• The Sage : The goal of the Sage is to use their intelligence to find the truth and better understand the world.
• The Innocent: Their goal is to be happy, and their strategy is to do things right, thus avoiding their greatest fear, which is to be punished for doing something bad or wrong. They’re known for their wits and wisdom.
• The Explorer: Explorers are bold travelers who set out with no clear path, leaving themselves open to adventure. They love discovering new things about the world and themselves.
• The Ruler: The Ruler is a born leader. They always strive for excellence and believe they are the ones who can bring order to every situation.
• The Creator: Creators love novelty and have a deep desire for freedom. They’re clever non-conformists, but sometimes prefer thinking to doing.
• The Caregiver: Caregivers strive to provide maternal protection to others and try to prevent any threats or risks of danger. However, they may risk becoming martyrs who remind everyone of their sacrifices.
• The Magician : They like to renew and regenerate, both for themselves and for others. Magicians are constantly growing and transforming.
• The Hero: The Hero uses their vitality and resistance to fight for power or honor. They never give up, which sometimes leads them to controlling or overly ambitious behaviors.
• The Rebel: Rebels like to go against the grain; they don’t care what others think. They think for themselves and don’t like to be pressured, but they can sometimes exhibit self-destructive behaviors.
• The Lover: Lovers value beauty and love to love others. Their greatest source of happiness is feeling loved.
• The Jester: Jesters don’t wear masks; in fact, they like to use their humor to break down the walls of others. They love to laugh (even at themselves) and simply want to enjoy life.
• The Orphan : Orphans have open wounds; they wish others would take control of their lives for them, and when no one does, they feel sad and disappointed. They often have a cynical and manipulative side.

As you’ll see below, some of the Jungian archetypes overlap with common archetypes that can be found in literature.

Archetypes in Literature

In literature, there are 2 categories of archetypes: character and situation. Character archetypes are placed within situation archetypes (which describe how certain situations unfold in the story).

Below are archetypes that frequently appear throughout literature, along with some famous examples.

Character Archetypes

The Hero is the “good guy” of the story, often the protagonist , who struggles against some evil force (often the antagonist , which can be either human or some other force).

The hero seeks to bring justice and harmony to the situation.

• Beowulf, from the book Beowulf
• Harry Potter, from the Harry Potter series
• Katniss Everdeen, from The Hunger Games

The Mother Figure

The Mother Figure provides protection or nurturing for other characters. (Note that she doesn’t have to be the actual mother of any of the characters).

Though she is usually selfless, nurturing, and a teacher in some way, she might not be perfect all of the time, and she may struggle with decisions or doing what’s right.

• Ma Joad in The Grapes of Wrath
• Glinda in The Wizard of Oz
• Galadriel in The Lord of the Rings

The Innocent

Also referred to as The Youth or The Naïve, this archetype character is usually inexperienced. Their life has not been touched by danger, depravation, or sad experiences.

Instead, their main goal is happiness, and they want the same for others. They are usually very trusting (though that trust is sometimes misplaced). Usually, The Innocent’s coming of age transformation is part of the bigger story’s plot.

• Snow White in Snow White
• Pip in Great Expectations
• Nicholas in The Life and Adventures of   Nicholas Nickleby

The Mentor protects and guides the main character. With the training and advice of the Mentor, the protagonist is able to succeed in his or her quest.

This character is often presented as an older man or woman, but that’s not always the case. For example, Yoda from the Star Wars franchise can be considered a Mentor.

• Gandalf from The Lord of the Rings
• Hagrid from Harry Potter
• Parson Adams in Joseph Andrews

The Scapegoat

The Scapegoat takes or is given the blame for just about everything that goes wrong in the story.

They can be represented by a single character, or a collective group that is blamed for the actions of others. They often pay undue consequences, sometimes even paying with their lives.

• The tributes in The Hunger Games
• Snowball in Animal Farm
• Elizabeth Proctor in The Crucible

The Sidekick

The Sidekick is the loyal friend or assistant to one of the main characters. They can be on the side of either the protagonist or antagonist.

Sometimes, the Sidekick is used as an outlet for the author to express their thoughts and feelings toward other characters.

Often, the Sidekick will make a grand gesture, perhaps even throwing themselves in harm’s way to protect their hero.

• Dr. Watson in Sherlock Holmes
• Hermione and Ron in Harry Potter
• Tinkerbell in Peter Pan

The Villain

The Villain’s purpose is to bring down the hero, or to inspire a reason for the hero’s quest. The villain is the antagonist to the hero’s protagonist.

• Dmitri and Ivan in The Brothers Karamazov
• Long John Silver in Treasure Island
• Sauron in The Lord of the Rings

Archetypal Situations

The journey.

In this situational archetype, also sometimes called the hero’s journey , the main character takes a journey, which might be emotional mental, or physical.

As a result of this journey, the protagonist discovers their true nature, likely after battling it out with the villain or antagonistic force several times.

• Gulliver’s Travels by Johnathan Swift
• The Divine Comedy by Dante Alighieri

The Initiation

In these situations, the protagonist’s journey leads them toward growth and maturity, which can be the result of either good or bad experiences.

This is often the situational archetype found in “loss of innocence” or “coming of age” stories.

• Candide by Voltaire
• History of Tom Jones, a Foundling by Henry Fielding

Good vs. Evil

In this classic archetype of good vs. evil, two forces clash, one representing goodness, and the other evil. Good almost always wins, though there are exceptions.

• Heart of Darkness by Joseph Conrad
• King Lear by William Shakespeare

In The Fall, main character experiences a fall from grace as a result of his or her own actions. They might recover, or this might simply be how the story concludes.

• The Godfather by Mario Puzo
• Oedipus Rex by Sophocles

Why Do Archetypes Exist?

By using archetypes in their works, writers can add realism to their stories, since archetypes are representative of real types of people and situations that are known and experienced universally.

While characters and plots can be based on archetypes, they should still be individual and original enough to avoid becoming clichés .

Which is your favorite archetype? Share your thoughts in the comments below!

If you enjoyed tis post, then you might also like:

• What is a Protagonist? Common Types and Examples from Literature
• How to Write A Great Protagonist: 5 Steps for Creating an Unforgettable Lead
• What is an Antagonist? Common Types and Examples from Literature
• Exploring the Monomyth: 6 Lessons from Joseph Campbell’s Theory of “The Hero’s Journey”

As a blog writer for TCK Publishing, Kaelyn loves crafting fun and helpful content for writers, readers, and creative minds alike. She has a degree in International Affairs with a minor in Italian Studies, but her true passion has always been writing. Working remotely allows her to do even more of the things she loves, like traveling, cooking, and spending time with her family.

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5 Essential Hero’s Journey Symbolic Archetypes (And 4 Bonus Archetypes)

by David Safford | 0 comments

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Symbols enrich your story's meaning by connecting what's literally happening with overarching themes. Does your story include symbols? And what symbols should you include? In this article, we'll look at symbolic archetypes that will help you create powerful symbols in your story.

The Hero's Journey is a beloved storytelling style. One of the reasons why audiences love it so much is that it uses familiar storytelling elements that are familiar and creating a feeling of connectedness between the audience and storyteller.

This begins with character . And while stories are essentially about great characters, a powerful Hero's Journey also includes a number of other objects or symbolic elements.

These are called Symbolic Archetypes.

If character archetypes are the steak, symbolic archetypes are the delicious seasonings that bring out the meat's flavor (sorry to all you vegans/vegetarians out there!).

These storytelling elements are often subtle details that the reader may not consciously notice, but work to great effect in telling your heroic story in a way that establishes a deep and meaningful theme.

Here's how to weave them into your story and create a wonderful reading experience for your audience.

Symbolic Archetypes of the Hero's Journey

Is this post going to be another boring lesson from high school English class?

Of course not! We're about to discover how to put symbols in your story, often hiding them in plain sight.

Here's what a symbolic archetype is and how it works.

Symbolic Archetype Definition

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

First, the object, location, or image “is what it is” in the world of the story. A dungeon is a dungeon. A river is a river. And a sunrise is a sunrise.

But second, the object, location, or image also contains an additional function or meaning connected to eternal themes of human existence. A dungeon represents captivity. A river represents a journey or growth. And a sunrise represents rebirth or a new opportunity.

The Power of Symbols

Joseph Campbell's “monomyth” theory, also known as the Hero's Journey , is the idea that all characters, situations, and symbols in any story (regardless of culture, genre, or time period) are incredibly similar. This means that stories are the product of human psychology, not just a specific culture or generation.

Symbols form the physical fabric of meaning in society. We use them all the time, often without thinking of their meaning.

Companies use them by creating logos, and then fill our world with that symbol everywhere they can. Religions use them, and followers wear those symbols as jewelry and tattoos. We even notice them when certain situations seem ironic, as when a red light stops us in our tracks and we are forced to wait when we'd much rather hurry onward.

In stories, symbols do the same thing. Symbolic Archetypes connect the physical world your characters live in to the nonphysical world of Theme.

That being said, it's important to make a distinction before going forward: Not all symbols are the same. 

A better way to say this is that while archetypes are universal, their implementation and interpretation is not. Here's an example.

In the West, black clothing is symbolic of death and mourning. In many other cultures, however, the color for death and mourning is white. If you're from Europe or America, it may seem absurd to wear white clothing to a funeral! Yet this is exactly what one would find in many other cultures and religious sects.

However, the colors “black” and “white” are not archetypes. They are simply colors.

What is universal and archetypal is the association of color with grief. It is a symbol (an image) that functions as it is, clothing, and as a thematic message, grief.

How you choose to implement this in your story is up to you. What if characters in your world used a different color for grief? This is one way to consider innovating an established symbolic archetype.

So as you consider texturing your world with Symbolic Archetypes, remember that the archetype is a way that humans connect the physical world to the nonphysical, not necessarily the specific way that connection is made (in various cultures, perhaps).

The 5 Essential Symbolic Archetypes of the Hero's Journey

What are the most common symbolic bridges in the Heroic Journey stories that readers love? Let's discuss five essential symbols you can use to add meaning to your story and help establish its themes!

1. Light vs. Darkness

The dichotomy between light and darkness is a straightforward way to show contrast. Usually, light means purity, truth, hope, or holiness. Darkness and shadows, to the contrary, represents guilt, deceit, despair, and being cursed or damned.

This dichotomy works as an archetype for a number of reasons. Humans tend to fear the dark and all the unknowns within it. But when light is thrown upon that darkness, revealing all to see, healing can occur and hope is restored. To see this in effect, simply turn on the bedroom lights for a child who thinks there's a monster in his closet.

How to Use It

In your story, consider how this dichotomy can occur. Remember that the colors, or shades of light, don't have to mean what I've written above. What's primary is the functional fear of darkness that lives inside your reader, and the peace that comes when light shines into that darkness.

2. The Magic Weapon

Heroes are heroic because of their ultimately selfless actions.

However, they may exhibit physical heroism through mastery of some kind of weapon, known in Campbell's theory as the Magic Weapon. Just look at Marvel's superheroes to see this in action.

Iron Man's weapon is his suit. Captain America's weapon is his shield. Black Widow doesn't have a tool as her weapon; her weapon is her body and the martial arts skills she possesses (though she shoots a lot of guns in the Marvel movies, too).

If you're going to give your hero a Magic Weapon, then you do consign yourself to at least one “obligatory” scene : the loss of the Weapon.

Since it is ultimately the hero's heart, not his weapons, that make him a hero, there is almost always a scene where the hero's weapon is lost, damaged, or stolen, rendering the hero vulnerable for a period of time. It is in this time of testing that his true nature is revealed and he becomes “worthy,” at least in the narrative, of wielding the weapon once more.

3. The Underworld

This archetype is so common that it was spoofed in the Austin Powers  films: the villainous underground “lair.”

This archetype is derived from classic epics like  Beowulf  and Dante's  Inferno,  where the hero must descend into the depths of a cave or underwater cavern to slay a beast. In medieval tales, it evolved into dungeons, tunnels, crypts, and more.

But the reason why your story needs a symbolic Underground is because as humans, we know what “going underground” really means: Dying. As is spoken at many a funeral, “From dust you came, and to dust you shall return.” In our guts, we know that the Underground or Underworld is a place of death, darkness, and evil.

That's why so many climactic scenes take place underground. It could be a confrontation with the Shadow or Devil Figure character(s); it could be an escape scene, where the hero(es) must pass through a tunnel or flooded area.

One of the earliest examples of this step is the famous “Red Sea” scene in the story of the Hebrew  Exodus.  Fleeing from Pharaoh's army, the Hebrews pass through the parted Red Sea, a place where no human should logically be. At any moment, God could release the waters and every single man, woman, and child would be destroyed.

But instead, the Hebrews pass through unscathed, a symbolic resurrection and baptismal washing from their previous slavery status.

Indeed, it is not uncommon for the Resurrection step of the Hero's Journey to take place in a symbolic Underground or Underworld!

There are a lot of ways to craft an Underground or Underworld: cellars and basements, caves, tunnels, ditches, underwater areas, and so on. Regardless of your story's genre, there are ways to craft your darkest and highest-stakes scenes in a place that is underground or near to it.

How can you put your characters in a position of symbolic death while they wrestle with the death of their hopes and dreams as well?

4. The Castle

Just as every human instinctually associates the Underground with death, humans connect castles and fortresses with power. There is something overwhelming about a massive structure of reinforced stone, wood, and steel. Even visiting a crumbling castle from the ancient past, one can easily imagine its ramparts manned by innumerable soldiers and archers ready to repel any attack.

This is why your Shadow character needs a Castle.

Of course it doesn't need to be an actual European castle. Remember, symbols are physical representations of nonphysical truths. And the nonphysical truth of a castle is power.

To fashion your Shadow's Castle, consider: What is the type of power that the Shadow wields in your story?

Is it political power? Then perhaps the Shadow should be hidden behind the facade of a massive government building, like the Kremlin.

Perhaps the power in your story is military. In that case, the Shadow should lurk inside the fenced, heavily patrolled walls of a base or compound.

If the power in your world is financial, put your Shadow in a mansion or skyscraper.

Even a film like  Elf  uses this archetype when Buddy first attempts to connect with his father, Walter Hobbs, who works in the upper floors of the Empire State Building. Buddy doesn't realize that his father is the Shadow of the story, a man who hides in his office, surrounded by secretaries and security staff, doing little-to-nothing as he produces crappy children's books.

Yet Buddy, through his kindness and perseverance, is able to penetrate the defenses of Walter's Castle (for awhile) until the story no longer needs the archetype anymore.

So consider what goal your hero is pursuing, and what the Shadow would logically do to thwart the hero. What kind of fortress would the Shadow erect for himself in the world of your story? What defenses would the Shadow put in place?

Remember, the Castle is symbolic, evoking the idea of great defensive power gathered into one impressive place. How would your Shadow bring this about in his or her world?

5. The Unhealable Wound

Injuries are a part of life. Thankfully most of them heal within a few days or weeks.

However, sometimes life brings an injury that never fully heals. The victim is forever scarred, perhaps unable to walk without a limp, use an arm, or live a functional life like before.

While these types of injuries are physical and not symbolic, the emotions that come from them are. With an Unhealable Wound comes feelings of brokenness, mortality, and an inability to let go of the past. That's why this archetype is a subtle-yet-powerful element to include in your story.

As an example, think of Frodo Baggins's wounding by the Witch King of the Nazgul. Trapped on the hilltop at Weathertop, Frodo puts on the Ring of Power to avoid being seen. Instead, however, he sees his attackers in the spiritual realm and one of them stabs Frodo in the shoulder with a Morgul blade.

While he is healed of the wound's immediate danger by the elves, it continues to hobble and hurt him throughout his life. Even at the end of the lengthy novel, Frodo complains of its pain as he nears the time when he will have to choose between staying in the Shire or taking the boats to the Undying Lands (which is, conversely, a symbolic death).

Consider a way that your Hero can be injured or wounded, even nonphysically, in pursuit of their goal.

How can this wound hamper the Hero throughout the journey? How can learning to live with it be a part of the Hero pursuing their internal needs, rather than just external wants? Also, how can this process help the Hero become more selfless (and therefore heroic) in a way that benefits the entire community of your story?

4 Additional Symbolic Archetypes of the Hero's Journey

There are a lot of ways to add meaning and depth to your story using other sources of symbolism. An internet search for “symbolic archetypes” will take you to a long list of Western-centric colors, shapes, and numbers, along with their “meanings.”

But it's important to remember that these are often culturally specific and only reflect how one particular group of people link the physical world to nonphysical meaning. How will you innovate the following four tropes for your story?

1. The Significance of Color

Physical colors bear nonphysical meanings in various cultures. In the United States, for example, red is often associated with love and passion; however, it is also associated with violence, blood, and death. Green, on the other hand, represents a wide variety of things: nature, money, and greed, to name a few.

You are welcome to incorporate these interpretations into your own story. But be aware that all readers might not make the same symbolic connections that you intend.

That is why I encourage you to forge ahead with your own use of symbolic color.

J. R. R. Tolkien did this, making the color “white” differ based on regions in his world of Middle Earth. In Gondor, “the White Tower” was a symbol of hope against the black smoke and ash of Mordor. But in Rohan, “the white hand of Saruman” was a symbol of terror and evil, as a “white wizard” attempted to eradicate an entire race of men.

2. The Significance of Numbers

Numerical symbology is heavily dependent on cultural context. In Judeo-Christian societies, the numbers three, seven, and twelve are very symbolic and used in countless ways. This is connected to the Trinity, the holiness of the number seven, and the twelve disciplines and months of the year.

But in other cultures, especially ones that don't embrace Judeo-Christian heritage, the number four is deeply symbolic. It is tied to cycles of nature: the four cardinal directions, the four seasons, and the four classic elements of earth, wind, fire, and water.

So what numbers will be significant in your world? What mythology or history will they be based on?

If your genre is more realistic, like a contemporary romance, then you'd be wise to adopt the numeric symbolism of your story's setting or your character's backgrounds. This could be especially interesting in a story about two people from vastly different cultures falling in love.

But if your genre is more fantastical and open to creative world-building, feel free to conjure a few symbolic numbers. Just make sure they are tied to mythology or history that is relevant to your hero's pursuit of the goal.

3. The Significance of Shapes

Shapes are like the bones of many symbols. For more on this, see anything by Dan Brown about the Catholic Church!

Essentially there are four shapes used to establish physical symbols: circle, triangle, square, and diamond. Animators often use these simple shapes as the building blocks for characters. Pixar's  Inside Out  features five main characters each based on a simple shape.

Another example of this symbology put to use is that of the “deathly hallows” in J.K. Rowling's final  Harry Potter  novel. Even today you can see this symbol on people's car windows and flesh.

A guiding principle for this is to limit the number of shapes you use in your story's symbolic world. Don't overwhelm your reader with ten symbols when one will capture the ideas you're presenting.

Think of it this way: Use the symbol to establish or illustrate your story's primary theme. Make it simple, memorable, and easy to draw (even in one's mind). One can see this principle embodied perfectly in Rowling's “deathly hallows.”

4. The Significance of Seasons

Finally, human beings who live in any latitude with seasons have gut-level feelings that associate seaons with nonphysical realities of life (sorry, Floridians).

In a nutshell, Spring symbolizes birth (hence the festival of eggs and rabbits that we now connect with the resurrection of Jesus, called “Easter”). Summer represents the vibrancy of youth and adulthood.

Autumn symbolizes advanced age and the slow decay of the body (consider how the image of slowly-falling discolored leaves makes you feel); and Winter undeniably represents death, as all life ceases to thrive and succumbs to a long, quiet sleep under the cruel, cold snow.

As with color and numbers, you are free to co-opt these commonly understood associations of the seasons. However, these associations are specifically Western and may not reflect the values of your story's culture, or the culture you are creating for your story.

What does each season mean? Why? How can the passage of time and seasons provide a meaningful backdrop for your Hero's transformation into a truly sacrificial source of hope and redemption?

Bring Meaning With Symbols

The great news about Symbolic Archetypes is that you don't need a ton of them to succeed. You also don't need to use them throughout the entire story. If it serves your story well, you may use an archetype in only a small number of scenes, as Elf  does with the Empire State Building (the Castle).

So how will you build the bridge of meaning between your story's physical world and the nonphysical feelings, sensations, and beliefs we all experience?

Because this is what separates “good” stories from truly great stories. The truly great stories that we love and talk about are layered with symbolic meaning that seem to say something important about how we live our lives.

And these great stories do so with carefully crafted subtlety. Finding the balance between a story with no meaning and a story that bashes readers over the head with preachy symbolism is a tough, time-tested challenge. You will need to rewrite scenes and chapters several times to find the right balance.

You'll also need to share your drafts with your writing community, asking its members to let you know if the symbolism and themes were clear without being too heavy-handed.

After some focused and insightful feedback comes your way, you'll be able to sharpen your symbols like chef's knives so they make a precise impact on your story, and its readers, all the way through.

What symbols can you think of from stories you love? Let us know in the comments .

Think about the Hero's Journey story you've been planning throughout this series. (Want to start from the beginning? Kick off your own Hero's Journey here. )

How might these Symbolic Archetypes appear in your story? Take fifteen minutes to journal about one of the five Essential Symbolic Archetypes, brainstorming ways to craft a physical object, location, or image that could have nonphysical meaning.

Share your writing in the comments , and then leave some constructive feedback on another writer's post!

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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Mastering the Hero’s Journey and Archetypes: Essential Guide

This lesson dissects the age-old narrative structure that underpins countless stories, from Homer’s Odyssey to today’s cinematic epics. Understanding this journey and the roles that populate it is not just about analyzing literature; it’s about recognizing the patterns that shape our understanding of heroism, challenge, and transformation across cultures and ages. It’s a tool to engage students with the universal truths woven into the fabric of the stories they love, and it’s a testament to the timeless relevance of storytelling in human experience.

Learning Goals

• I will be able to identify and explain the stages of the Hero’s Journey, including the Call to Adventure, the Initiation, and the Return.
• I will be able to distinguish between different archetypes, such as the Mentor, Ally, Herald, Trickster, Shapeshifter, Guardian, and Shadow, within various narratives.
• Either present and have students take down the hero’s journey note or distribute it as a handout.
• Distribute the archetypes handout.
• Have students read and summarize the handout on the worksheet.

Either take up the worksheet together or collect and mark it.

12 Stages of a Hero's Journey

1. Ordinary World

• The hero is a normal person or member of society
• The hero’s surroundings are common, comfortable, mundane, or even boring

2. Call to Adventure

• The call establishes the stakes of the game and makes clear the hero’s goals
• The hero learns what is at stake The hero is expected to leave the Ordinary World
• The call is usually made by a herald

3. Refusal of the Call

• Hero expresses his, her, or their reluctance
• Hero does not wish to commit to the journey

4. Meeting the Mentor

• Mentor serves as a motivator or teacher to the hero
• He, she, or they helps the hero prepare for the unknown
• Old hero passes the torch However, the mentor can only go so far…

5. Crossing the First Threshold

• Hero finally agrees to face the conflict
• Hero is willing to accept the consequences of entering the special world
• Adventure gets moving!

6. The Special World

• The hero is tested.
• We meet new allies.
• We discover new enemies.

7. Approach to the Inmost Cave

• Cave may symbolize where a secret object may be found
• Cave may be where the enemy is hiding or the edge of some dangerous place
• Many heroes pause before entering to prepare a plan to outwit the enemy

8. The Supreme Ordeal

• Hero is forced to confront his, her, or their greatest fear!
• Hero faces a possibility of death Audience or reader is held in suspense
• Hero overcomes his, her, or their obstacle and takes possession of the reward
• The reward can be an object, person, knowledge, sword, secret, etc.

10. The Road Back

• This stage marks the hero’s return to the Ordinary World
• However, hostile forces still rage after the hero…he’ not out of the woods yet

11. The Resurrection

• This state marks a second life and death moment for the hero.
• He cannot quite reach the Ordinary World just yet.

12. Return with Elixir

• Hero returns to the Ordinary World with new treasure, knowledge, or lesson from the special world.
• Hero takes his, her, or their new experiences from the Special World home.

Archetypes in The Hero’s Journey

An archetype is a very typical example of a certain person or thing, or an original that has been imitated. In the context of literature, art, and psychology, the term has specific nuances:

Both of the following definitions are important to us:

Literature and Art: An archetype can refer to a character, a theme, a symbol, or even a setting that represents universal patterns of human nature. It is also commonly used in mythology, where certain figures or themes recur across various cultures and are considered archetypal because they are imbued with a certain universal significance. For example, the “hero” archetype is seen in characters that embody courage and adventure; the “mentor” archetype is a figure that guides or aids the hero.

Psychology: The term was adopted by Carl Jung, who used it to describe his theory of the human psyche. He believed archetypes are innate, universal prototypes for ideas and may be used to interpret observations. In Jungian psychology, archetypes are thought of as universal, archaic symbols and images that derive from the collective unconscious and are the psychic counterpart of instinct. They are inherited potentials that are actualized when they enter consciousness as images or manifest in behavior on interaction with the external world.

Fill out the archetypes worksheet, using the following information:

The archetype of the Hero represents the protagonist of a story who is often called to leave their ordinary world and enter into a new, challenging environment where they must face a series of trials. The Hero is usually portrayed as a character who seeks something of great value, whether it be a physical object, knowledge, wisdom, or peace. The journey they undertake is as much an external adventure as it is an internal transformation, with the Hero often experiencing significant personal growth and development.

Characteristics of the Hero archetype include courage, perseverance, sacrifice, and the willingness to face the unknown. The Hero is often, but not always, destined for greatness or has an inherent nobility, either in their character or their lineage. They typically possess a strong moral compass, and their actions are usually driven by a sense of duty, love, or honor.

Harry Potter, from J.K. Rowling’s “Harry Potter” series, is an exemplary literary Hero. Luke Skywalker from “Star Wars” is a classic cinematic Hero.

The archetype of the Mentor represents the guide or teacher who assists the Hero on their journey. This figure often possesses wisdom and experience and serves to motivate, inspire, or educate the Hero, helping them to overcome doubts and prepare for the challenges ahead. The Mentor can be a protective presence, offering gifts of knowledge or tools, crucial advice, or even magical support to the Hero. They are a source of spiritual and moral guidance and often embody the Hero’s aspirations.

Characteristics of the Mentor archetype include wisdom, knowledge, insight, and often a certain degree of patience and compassion. They are usually portrayed as a benevolent figure, though their methods of teaching may sometimes seem harsh or challenging. Mentors are critical in helping the Hero to build the necessary skills or acquire the knowledge needed to overcome impending trials. Their influence is pivotal to the Hero’s development and in shaping the path that will lead to maturity or fulfillment of the quest.

In literature, Gandalf from J.R.R. Tolkien’s “The Lord of the Rings” series is a quintessential Mentor. As a wise wizard, Gandalf guides the young hobbit, Frodo Baggins, on his perilous journey to destroy the One Ring. Gandalf offers wisdom, support, and guidance, not only to Frodo but to the entire Fellowship, steering them through their darkest moments.

In cinema, Mr. Miyagi from “The Karate Kid” is an iconic Mentor. He teaches Daniel LaRusso not just the physical skills of karate but also valuable life lessons about balance, patience, and respect, transforming Daniel not just into a skilled martial artist but into a more confident and resilient individual.

The archetype of the Ally represents a companion or supporter of the Hero on their journey, playing a crucial role in the Hero’s adventure. Allies come in many forms, sometimes as friends, lovers, or family members, and they often complement the Hero’s strengths or compensate for their weaknesses. An Ally may also provide emotional support, encouragement, and camaraderie, which are essential as the Hero faces the unknown. These characters can also inject humor, provide a sounding board for ideas, and assist in problem-solving throughout the narrative.

Characteristics of the Ally archetype include loyalty, devotion, and the willingness to face shared risks. While the Hero may be the primary focus of the narrative, Allies are often well-developed characters with their own quirks, backgrounds, and arcs. They contribute significantly to the plot, aid in the development of the Hero, and sometimes undergo their own growth and transformation. Allies may challenge the Hero’s ideas and actions, fostering critical growth and change.

In literature, Samwise Gamgee from J.R.R. Tolkien’s “The Lord of the Rings” series epitomizes the Ally archetype. Sam is the steadfast companion of Frodo Baggins, offering unwavering loyalty, physical assistance, and emotional support. His down-to-earth wisdom, courage, and dedication play a pivotal role in the success of Frodo’s mission to destroy the One Ring.

In movies, Ron Weasley and Hermione Granger from the “Harry Potter” series are exemplary Allies. They support Harry in various ways: Ron provides loyalty and relief from the weight of Harry’s destiny, while Hermione offers intelligence, resourcefulness, and a voice of reason. Both characters contribute significantly to Harry’s journey and to the triumph over the challenges they face together.

The archetype of the Herald is the character or force in a story that initiates the call to adventure, signaling the beginning of the Hero’s journey and the impending change in their life. The Herald often appears at the outset of the story to challenge the status quo and to push or invite the Hero out of their comfortable existence into the realm of the unknown. This call to adventure can be a direct challenge, an invitation, a threat, or simply a piece of news that shakes the Hero’s ordinary world.

Characteristics of the Herald archetype include the delivery of significant news, the triggering of action, and often serving as a catalyst for change. The Herald may not necessarily be a person; it can be an event, an object, or a message that compels the Hero to act. Heralds often appear briefly, but their impact on the plot is profound as they set the narrative in motion.

In literature, the White Rabbit from Lewis Carroll’s “Alice’s Adventures in Wonderland” serves as the Herald. The White Rabbit’s appearance and subsequent dash down the rabbit hole beckon Alice to follow, leading her away from her mundane, everyday life into the fantastical world of Wonderland, where her incredible journey begins.

The Trickster

The archetype of the Trickster is a character in a story known for their cunning, mischievous nature, and tendency to break the rules and conventional behavior. The Trickster is often a catalyst for change and a disruptor of the status quo. They challenge other characters and can alter the course of the narrative through unpredictable behavior. Tricksters are shapeshifters in the metaphorical sense, navigating the story with a fluidity that both aids and complicates the Hero’s journey.

Characteristics of the Trickster archetype include a propensity for humor, wit, and the ability to cross boundaries. They often serve as a comic relief in the story but their role is much deeper—they question and mock authority, expose hypocrisy, and can bring to light uncomfortable truths that others are not willing to confront. The Trickster can be both a creator and a destroyer, a figure who provides critical insight or necessary distraction that forces characters to look at situations in new ways.

In literature, Puck from William Shakespeare’s “A Midsummer Night’s Dream” exemplifies the Trickster archetype. As a mischievous fairy, Puck’s antics and errors with a love potion create chaos and confusion among the play’s couples, leading to a series of comedic and unforeseen events that propel the various subplots of the play.

Shapeshifter

The archetype of the Shapeshifter in storytelling is a character whose motives, loyalty, or intentions are unclear, creating suspense and intrigue within the narrative. This archetype is named for their ability to “shape-shift” — metaphorically changing their demeanor, appearance, or side in the conflict as it suits their purposes. Shapeshifters are often complex, multidimensional characters who play a pivotal role in the Hero’s journey by providing tests or trials.

Characteristics of the Shapeshifter archetype include ambiguity, unpredictability, and transformation. They often contribute to the theme of appearance vs. reality in a story, as they can present one thing while being another. The uncertainty surrounding a Shapeshifter can serve to mirror the Hero’s insecurities, challenge their trust, and force the Hero to question their perceptions and beliefs.

In literature, Severus Snape from J.K. Rowling’s “Harry Potter” series is an iconic Shapeshifter. Throughout the series, Snape’s true intentions are questionable. He appears to serve the dark antagonist, Voldemort, while also showing moments of protecting Harry. The complexity of his character keeps his true allegiance hidden until the very end, revealing a depth of character that is both surprising and fitting to the narrative.

The Guardian

The archetype of the Guardian, also known as the Threshold Guardian, represents a challenge or obstacle the Hero must overcome to enter into a new phase of life or embark further on their journey. The Guardian stands at the precipice of important change or at critical gateways the Hero must pass through. These characters, creatures, or even situations are tests that the Hero must confront and overcome, usually to prove their worthiness, resolve, or commitment to the journey.

Characteristics of the Guardian archetype include the role of protector or keeper of a particular passage or knowledge. They are not necessarily enemies; rather, they serve as a form of quality control for the Hero’s progress and can even become allies once their challenge is met or understood. The Guardian can embody fear, doubt, or any other form of inner conflict the Hero must face and conquer in order to continue on their journey.

In literature, the Sphinx from Greek mythology, famously encountered by Oedipus, is a classic example of a Guardian. It poses a riddle that Oedipus must solve to pass and save the city of Thebes, symbolizing a gatekeeper to his own destiny and the destiny of the city.

The archetype of the Shadow in storytelling embodies the darker side of humanity and often represents the antagonist or the Hero’s nemesis. This figure can be a character, group of characters, or even an inner darkness within the Hero themselves. The Shadow exists to oppose the Hero and create conflict within the story. It often represents the qualities that the Hero has rejected or prefers not to acknowledge within themselves, serving as a reflection of their greatest fears and challenges.

Characteristics of the Shadow archetype include the projection of the Hero’s inner fears, moral weakness, or flaws. The Shadow can reveal the Hero’s repressed desires or unresolved conflicts. It is not necessarily evil, though it is commonly depicted that way; rather, it represents the unexpressed or underdeveloped aspects of the Hero’s personality or the chaos and disorder challenging the Hero’s world.

In literature, the character of Voldemort in J.K. Rowling’s “Harry Potter” series is a prime example of a Shadow. He is the dark counterpart to Harry Potter, embodying the fear, power, and aggression that Harry must confront and overcome both within himself and in the external world.

In movies, Darth Vader from the “Star Wars” saga epitomizes the Shadow archetype. Representing the darkness and fear that Luke Skywalker must face, Darth Vader is not only a physical threat but also a psychological one, as he is revealed to be Luke’s father, thus embodying the darkness within the Hero’s own lineage and potential future.

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The Hero’s Journey: Examples of Each Stage

• DESCRIPTION Superhero girl with cape on city rooftop
• SOURCE nadia_bormotova / iStock / Getty Images Plus
• PERMISSION Used under Getty Images license

Mythology can be simultaneously fascinating and complex. Intrigued by these legendary tales, author Joseph Campbell studied myths and made the famous claim that nearly all myths and some other story types have similar ideas, and the heroes' adventures are almost identical in their format. The different stages of adventure he identified have come to be called the hero's journey. Explore the stages of a hero's journey and hero's journey examples.

Stages of the Hero's Journey

There are multiple steps to the hero's journey, and each step falls into one of three stages.

• Stage 1: Departure - During this stage, the hero is preparing for his quest.
• Stage 2: Initiation - This begins as the hero crosses the first threshold, and it ends as the hero begins the road back.
• Stage 3: Return - This starts as the hero begins the road back, this stage continues through the end of the story.

Joseph Campbell's Hero's Journey Steps

In his book, The Hero with a Thousand Faces , Joesph Campbell broke down the 17 steps of the hero's journey.

• Call to Adventure - A problem or threat interrupts the hero's normal life.
• Refusal of the Call - Initially, the hero is hesitant to embark on the journey. Therefore, they refuse the call.
• Supernatural Aid - Someone they look up to helps them find the inspiration to join the journey.
• Crossing the Threshold - This is the point where the hero leaves on their journey.
• Belly of the Whale - In this stage, the hero encounters the first obstacle after leaving on the journey. This step is the end of the departure stage.
• Road of Trials - The first step of the initiation stage, these are the trials the hero undergoes and the beginning of the change in some aspect of the hero. They learn from their mistakes in this step.
• Meeting With the Goddess - The hero meets the allies that will help them through their journey.
• Woman as Temptress - The temptation that arises to try to get the hero to abandon the journey.
• Atonement With the Father - One of the major turning points of the story where the hero faces the ultimate reason for the journey. The hero might face a villain or even their own doubt.
• Apotheosis - From the previous step, the hero learns how they will face the rest of the journey. This is the moment that the hero gains profound understanding or knowledge that helps them to prevail.
• Ultimate Boon - The final step of the initiation stage, this step is where the hero fulfills the reason for their journey.
• Refusal of Return - The first step of the return stage, the hero is initially reluctant to return to their mundane life.
• Magic Flight - Though the hero has answered their call and completed the reason for their journey, they are still chased by others. In this step, the hero works to evade those chasing them.
• Rescue From Without - Again an outside source or mentor works to guide them home and rescue them from those chasing them.
• Crossing the Return Threshold - The hero crosses back into their mundane world.
• Master of Two Worlds - Since the hero has been on the journey, they need to learn to balance their mundane life and the world they experienced on the journey.
• Freedom to Live - The hero acclimates back into their mundane life and lives peacefully.

Christopher Vogler's 12 Step Hero's Journey

In his book, The Writer's Journey , Christopher Vogler, a Hollywood consultant, simplified Joseph Campbell's hero's journey into only 12 steps. The 12 steps of the hero's journey include:

• Ordinary World - This step refers to the hero's normal life at the start of the story, before the adventure begins. It’s the starting point, and it gives a glimpse into the character of the hero before the adventure begins. Often, this hero will change over the course of the story. We may see evidence of hamartia or a fatal flaw in the hero at this early point in the story.
• Call to Adventure - The hero is faced with something that makes them begin their adventure. This might be a problem or a challenge they need to overcome. In general, the hero must make a choice about whether to undertake the adventure.
• Refusal of the Call - The hero attempts to refuse the adventure because of fear. They may feel unprepared or inadequate, or may not want to sacrifice what is being asked of them.
• Meeting With the Mentor - The hero encounters someone who can give advice and ready them for the journey ahead. Acting as a mentor, this person imparts wisdom that may change the hero’s mind.
• Crossing the First Threshold - The hero leaves their ordinary world for the first time and crosses the threshold into adventure. This step may seem almost inevitable, but it also represents a choice the hero is making. It’s a door through which the hero must pass for the story to really begin.
• Tests, Allies, Enemies - The hero learns the rules of their new world. During this time, they endure tests of strength and tests of will, meets friends, and come face to face with foes. This period in the journey helps define the hero's relationship with other characters in the story. During this part of the journey, the hero learns who will help and who will hinder.
• Approach - Setbacks occur, sometimes causing the hero to try a new approach or adopt new ideas. This is a lesson in persistence for the hero. When they fail, they need to try again. Often, the stakes are rising, and real overall failure becomes less of an option.
• Ordeal - The hero experiences a major hurdle or obstacle, such as a life or death crisis. They must come face to face with their weaknesses and must overcome them. This will be something the hero barely manages to accomplish.
• Reward - After surviving death, the hero earns a reward or accomplishes their goal. This is a moment of great success in the story. The hero is a changed person now, though they may not fully realize the extent of the change in their continued focus on the matter at hand.
• The Road Back - The hero begins the journey back to ordinary life. In some ways, integrating back into their life will be a challenge. They are different now after the ordeal.
• Resurrection Hero - The hero faces a final test where everything is at stake, and they must use everything they have learned. This is where personal changes prove useful. The hero is now ideally suited to overcoming the obstacles in front of them.
• Return With Elixir - The hero brings their knowledge or the "elixir" back to the ordinary world, where they apply it to help all who remain there. 
This is the true reward for the journey and transformation.

Printable Hero's Journey Worksheet

Test your understanding of the 12 steps of the hero's journey with this guided worksheet.

Hero journey worksheet

Hero's journey examples in literature and movies.

This concept of the hero's journey is one that has gained much praise and consideration of worth in the literary community. This classic formula for an epic tale has been around for a long time, and it’s satisfying to readers and viewers today. You’ll recognize it in many of the most famous stories, including Ancient Greek mythology .

The Odyssey

In the Greek classic The Odyssey , the hero Odysseus must also go on a hero’s journey.

• Ordinary world - Odysseus is at home with his wife and son.
• Call to adventure - Odysseus is called to fight the Trojans.
• Refusal of the call - He doesn’t want to leave his family.
• Meeting with the mentor - The goddess Athena guides Odysseus.
• Crossing the first threshold - After the war, the gods are angry, and Odysseus’ ship is taken off course.
• Tests, allies, and enemies - Odysseus and his men must go through several tests, including fighting a sea monster and a cyclops.
• Approach - Odysseus’ crew opens the bag of winds when they are nearly home, sending them away again.
• Ordeal - Odysseus must go to the underworld.
• Reward - Odysseus receives passage home.
• The road back - Odysseus returns home to find his wife is being courted by many suitors.
• Resurrection of the hero - Odysseus is patient and dresses as a beggar to test his wife’s fidelity.
• Return with the elixir - He learns she has been faithful, and their union is restored.

The Old English poem Beowulf is a great example of the hero’s journey. You’ll recognize the following stages:

• Ordinary world - Greatland is Beowulf’s ordinary world.
• Call to adventure - Beowulf heard stories of Grendel, who had killed many men. He was asked to help.
• Refusal of the call - Beowulf chooses not to refuse the call.
• Meeting with the mentor - King Hrothgar becomes Beowulf’s mentor, helping him learn what it is to be a good king.
• Crossing the first threshold - Beowulf sails across the sea to Denmark.
• Tests, allies, and enemies - Beowulf battles Grendel.
• Approach - Beowulf learns that Grendel’s mother lives.
• Ordeal - Beowulf must fight the swamp hag.
• Reward - Beowulf receives treasures as a reward.
• The road back - Beowulf becomes the king.
• Resurrection of the hero - Beowulf fights a dragon to defend his kingdom.
• Return with the elixir - Beowulf dies a hero’s death and is remembered by his people.

Lilo and Stitch

Professionals, such as Christopher Vogler, even use the hero's journey in the creation of Disney classics. Here is a step-by-step outline of how the hero in the Disney movie Lilo and Stitch follows this journey:

• Ordinary world - Lilo's ordinary world is in Hawaii; Stitch is Experiment 626.
• Call to adventure - The call to adventure occurs when Lilo is sent away. The problem/challenge is a threat that Lilo will be taken from her sister Nani. Stitch then crashes onto Earth.
• Refusal of the call - There is no refusal of the call in this story.
• Meeting with the mentor - The meeting with the mentor occurs when Lilo adopts Stitch. They are each other's mentors.
• Crossing the first threshold - The crossing of the first threshold occurs when Stitch crashes on Earth.
• Tests, allies, and enemies - The characters endure many tests as Stitch learns to become a model citizen.
• Approach - The approach occurs because Stitch causes problems, and there are threats to take Lilo away from Cobra.
• Ordeal - The ordeal occurs when Stitch learns he has no family and is alone, and when Cobra takes Lilo who then runs away. Lilo also takes Stitch to go away after discovering he is an alien. Both characters are then captured, and it appears that Stitch is dead.
• Reward - The reward for Stitch is that he wants to be a family, and he must rescue Lilo.
• The road back - The road back occurs when Stitch rescues Lilo from the spaceship.
• Resurrection of the hero - The resurrection occurs when Stitch and Lilo get to become a family.
• Return with the elixir - The return with elixir occurs when everyone comes together, the aliens assist with the construction of a new house, and everyone becomes friends.

Recognizing the Hero’s Journey Examples

The hero's journey can be found in all genres of literature including mystery, science fiction, thriller, romance, and historical fiction. Learning to recognize this important literary element helps you gain a deeper understanding of the stories you read and experience.

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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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8 Key Archetypes of the Hero’s Journey

by Lewis / July 14, 2018 / Character Development

Archetypes are something we experience every day…

An older coworker passing along important tips at your new job or a friend turns out to be talking behind your back. Most of us can recognize these as archetypes, but can we apply these familiar patterns to our fictional worlds and characters? The answer is a resounding yes!

Just as we see these character archetypes mirrored in our own lives, they’ll show up in our storytelling as well. Not only do they provide guidelines for making our characters feel like real people, but they can add a whole new layer of complexity and depth to our stories too.

What Is an Archetype?

• 1 What Is an Archetype?
• 2 Our Case Study: Solo
• 3.1 The Hero:
• 3.2 The Shadow:
• 3.3 The Mentor:
• 3.4 The Ally:
• 3.5 The Threshold Guardian:
• 3.6 The Herald:
• 3.7 The Trickster:
• 3.8 The Shapeshifter:
• 4 Repeat Archetypes and How They Work
• 5 Using Archetypes in Your Own Novel

An archetype is a repeated motif or trait found in storytelling.

Based on that definition, you might initially think of the classic “damsel in distress” or “knight in shining armor” from European fairy tales. Both of these do fall under the umbrella of archetypes, however, these aren’t the archetypes we’ll be exploring here.

Instead, the character archetypes of the Hero’s Journey are universal archetypes, roles all characters can fill at different points along their journey. These archetypes help you flesh out your story with a complete cast, while ensuring no character exists without a purpose.

“The archetypes are part of the universal language of storytelling, and a command of their energy is as essential to the writer as breathing.” – Christopher Vogler, The Writer’s Journey

While most of these ideas originated with Joseph Campbell’s Monomyth and the Hero’s Journey, these eight universal archetypes are actually based on Christopher Vogler’s The Writer’s Journey. This book is beyond excellent, and breaks down the ideas of Campbell into a more usable storytelling guide—versus the highly academic The Hero With a Thousand Faces .

Both books are well worth your time, but we’ll be covering Vogler’s description of character archetypes here.

Of course, throughout this article I’ll assume you have at least a basic understanding of the Hero’s Journey. If you’re not familiar with this story structure, then check out my breakdown of the Hero’s Journey here.

Our Case Study: Solo

Rather, Solo is great for studying universal archetypes because each of its characters exhibits archetypal roles in interesting ways. Far from being stereotypes, Solo proves that these universal archetypes are the building blocks for forming unique characters.

For those unfamiliar with the movie, Solo is the origin story of Han Solo from the original Star Wars trilogy—and there will be major spoilers for Solo in this article.

Please enter at your own risk.

If you wish to continue but need a refresher on the plot, check out the Movie Structure Archives entry for Solo. It’ll give you a full breakdown of all the plot points I’ll be referencing here.

The 8 Universal Character Archetypes

You’re likely already familiar with the basics of the Hero archetype. After all, your protagonist will fill this role for most of your story as they overcome their flaws, drive your plot forward, and make important sacrifices.

Ultimately, their decisions will determine the outcome of the Climax .

However, other characters can also wear the Hero archetype at different points in your story. An Ally may become the Hero while your protagonist is incapacitated, or a Trickster may face a sudden change of heart. This dynamic allows other characters to temporarily take the spotlight and fulfill important story functions or resolve subplots.

In our case study, Han Solo fills the role of the Hero, though various Allies such as Val also fill it under special circumstances.

This makes sense because—beyond being on all the posters—this is Han’s journey. He grows the most from beginning to end, and is the catalyst for the movie’s progression. When the cast gets into a tight spot with Dryden Vos, it’s Han’s choices that propel them into the conflict. Not only that, but he is who the audience identifies with the most, meaning he checks all the boxes of the Hero archetype.

Of course, because the Hero is such a central archetype, it also has a whole host of specific traits and trials that go along with it. For more on the Hero’s character arc, check out this article.

The Shadow:

Just as the Hero archetype aligns with your protagonist, the Shadow is linked to your antagonist. This archetype seeks the antithesis of your Hero’s goals, often the destruction of what the Hero wishes to preserve.

Essentially, the Shadow embodies the dark aspects of the Hero.

The Shadow is meant to personify the suppressed wounds and inner struggles that the Hero will need to overcome—and this is why antagonists are often called “foil characters.” They’re a warning about what your protagonist will become if they fail to learn.

Of course, just like many characters can act as the Hero, many characters take on aspects of the Shadow. Your Hero may behave like the Shadow in moments. Allies, Heralds, and Threshold Guardians may do so as well, allowing you to create depth in characters that have thus far served only one purpose.

In Solo, Dryden Vos—from his name to his appearance and demeanor—screams antagonist. Because of this, it’s fairly obvious that Vos serves as the Shadow for most of the story.

However, he’s not the only character who plays this role.

While it’s easy to see Vos as the Shadow, Qi’ra actually fills this archetype in an even more crucial way. You see, Qi’ra’s role as a Shadow is intrinsically tied to Han’s character arc. Both begin from the same place and both are seeking to escape to a better life, but where Han’s journey molds him into a Hero, Qi’ra becomes a Shadow. This is a powerful contrast, and one we’ll be returning to later in the article.

The Mentor:

Acting as the Hero’s main guidance throughout their journey, the Mentor comes in many forms, but they always serve a critical purpose.

An elderly woman giving a soon-to-be bride a magic mirror to see the true face of her new husband or a veteran sports coach training young players both embody the Mentor archetype. This archetype is there to equip the Hero through knowledge, encouragement, and skills that allow them to overcome the conflict of the story and eventually surpass their flaws.

Of course, Mentors are a great opportunity to add depth to a story.

Because of this, Mentors often take on aspects of Threshold Guardians as Heroes prove their worth in exchange for help. Meanwhile, Shadow Mentors may seem to guide the Hero while actually misleading them—sometimes maliciously, sometimes mistakenly.

For example, while Han works under the guidance of a variety of Mentors throughout Solo , Tobias Beckett fills this role most often. He guides Han in how to deal with Vos, he teaches Han about this new world of crime, and he encourages Han at every step to leave it. Tobias clearly wears the mask of the Mentor archetype, but we’ll be coming back to him soon, as that isn’t the only archetype he wears.

The third of the well-known archetypes, Allies are seen in every story.

After all, Heroes need a friend to lean on, someone to lighten the load of the journey or to practice their growing skills with. That’s the role of the Ally, seen through characters like Samwise Gamgee in The Lord of the Rings , or Toto in The Wizard of Oz .

Because of how broad this archetype is, it serves many functions and can take on the aspects of many other archetypes. An Ally might act as a Mentor or may descend into a period of being a Shadow or Trickster. Thanks to this complexity, Allies are a great tool for humanizing your Hero, relieving tension, and furthering explore your story’s themes through subplots.

Fortunately, Ally archetypes are usually easy to identify, and primary Ally for Han is Chewbacca.

Audiences knew Chewie well before the story of Solo began, and he has served the same Ally role throughout the Star Wars series. Chewie is someone for Han to banter with and rely on, and he ends the movie as Han’s only lasting companion. While other characters such as Lando and Qi’ra wear the Ally archetype for only a short period of time, Chewie remains an Ally archetype for the entirety of Han’s life.

The Threshold Guardian:

Often an aspect of the Shadow, Threshold Guardians are there to represent the fears of your Hero and to challenge them as they progress along their journey. Of course, much like the midterm exams you may have had in school, Threshold Guardians aren’t the final test. Still, without your Hero proving they’ve mastered their new skills, these Guardians will prevent them from reaching their final test at all.

While Threshold Guardians are often henchmen of the Shadow, Mentors and Allies can also fulfill this role. For example, an Ally who has second thoughts about their quest might challenge the resolve of your Hero, forcing them to overcome their own doubts to convince their uncertain ally.

One of the primary Threshold Guardians on Han’s journey—though there are many—is a familiar character: Tobias Beckett.

Beckett’s role as a Threshold Guardian cannot go understated, and he actually embodies this role before he takes on the mantle of Mentor. When Han is struggling to get out of the Imperial Army, Tobias refuses to allow him into his gang and even gives him up to Imperial forces as a traitor. Fortunately, Han is persistent, and proves his value to the gang through his quick thinking. Only after he proves himself does Tobias allow him to join, fulfilling the role of the Threshold Guardian.

The Herald:

The Herald’s name gives away much of its function—your story’s Herald is there to give the Call to Adventure, to foreshadow the coming conflict, and to warn the audience that your Hero’s Ordinary World will soon fall away.

Based on this description, the Herald may sound like another aspect of the Shadow, and it certainly can be. However, it can also be a positive force, such as the spitfire young girl who coaxes the lonely bounty hunter out of his shell in, True Grit .

In Solo , the Herald is a character we’ve mentioned before.

From the start of Han’s journey, his mission has been the same—go back for Qi’ra. When he gets caught up with Beckett and his gang, this is still his focus. However, when he finally finds Qi’ra again, she’s not the scrappy child he remembers. This Qi’ra is powerful, elegant, respected, and under the frightening control of Vos.

Suddenly the dynamics of Han’s journey have shifted, and he can no longer live with the “one-day” mentality he had previously been had. His goal becomes urgent and firmly focused on the present, all thanks to Qi’ra’s role as the Herald.

The Trickster:

Next up, we’ll be looking at the Trickster archetype. A classic comedy character seen in sidekicks from a variety of genres, Tricksters are a great way to manage the pace your story. These moments of comedy relieve the tension built up by more action-packed moments, letting your readers take a moment to breathe.

Used in reverse, Tricksters are also great at increasing the weight of key scenes.

A character that’s been light-hearted throughout your story can suddenly turn serious as they approach the Climax. Your readers will take notice, and will soon find themselves anxiously wondering about what’s to come. If this previously comedic character is suddenly changing their tune, then the stakes of the adventure must be rising.

Serving as the Trickster in Solo , we have another repeat character from the original Star Wars trilogy: Lando Calrissian, along with his droid L3-37.

They provide the audience with plenty of antics and absurdities, lightening the mood between darker segments. For periods of the story Lando also serves as an Ally, but his true alliance is always with himself. Fortunately this isn’t malicious and is instead played for laughs, making him a strong Trickster character.

The Shapeshifter:

If you like to fill your stories with suspense you likely have one—if not many—important Shapeshifter characters.

Like the example of the traitorous friend we talked about at the start of this article, the Shapeshifter shows a different face when looked at from different angles. Seductresses, both sexually and in other ways, work to trick the Hero by presenting an alluring offer to their problems while seeking to trap or defeat them when they aren’t looking.

Shapeshifters aren’t always Shadows either.

For instance, the Hero may believe they have an Ally only to find a Shadow, leaving them betrayed and confused. Other times the Shapeshifter may start out as a Shadow, before becoming an Ally later on. This flexibility lets you layer the Shapeshifter archetype into existing characters to create suspense and tension in your story.

Unfortunately for Han, one of his key allies and his Mentor both embody the Shapeshifter archetype, causing suffering on two fronts. For starters, Beckett spends much of the movie acting as a pseudo father-figure, only to betray Han to Vos. This forces Han to kill Beckett to save himself and Chewie, robbing him of his Mentor figure.

Qi’ra engages in a similar betrayal after killing Vos. Han believes he has achieved his goal and that the pair can finally be together, but Qi’ra reveals her allegiance to the Sith and abandons Han. Her betrayal is arguably even more painful for Han than Beckett’s, as it robs him of everything he’s worked towards on his journey.

Repeat Archetypes and How They Work

By this point in the article, you may be wondering…

Why does Qi’ra show up in so many of these archetypes?

Well, to a large extent, this is a sign of how complex her character is. At its core,  Solo is about Han and Qi’ra’s shared journey. While Han takes the traditional Hero’s path, Qi’ra represents the failed Hero.

In Qi’ra’s desperation to improve her life, she accepts the horrible actions committed by herself and other to gain power in exchange for using that power to protect herself. While the Climax sees Han letting go of his past and adhering to his moral compass, Qi’ra gives into her inner struggle, choosing security at the expense of happiness.

Ultimately, her archetypal roles reflect her struggle against herself. In the end, power and safety are more important than anything else—she’s suffered too much to make any other choice.

Using Archetypes in Your Own Novel

Like many other aspects of story structure , the archetypes of the Hero’s Journey are a guide—and as you’ve seen, they can be combined to create an infinite cast of characters. To help manage this complexity, I would recommend thinking of these archetypes in terms of primary and secondary archetypes.

• Primary Archetype:  the main role the character embodies for the majority of their story.
• Secondary Archetype: the other, smaller archetypal roles they play during specific moments.

Each character has a primary archetype, such as the Mentor, and at different stages of the journey will wear secondary archetypes, such as the Trickster.

From there, if you feel someone is missing from your cast of characters, look at what archetypes aren’t represented. Likewise, if your cast feels bloated, look for characters with repeated archetypes you can remove or combine into one. As we’ve seen, individual characters can serve many archetypal roles, making extraneous characters often unnecessary.

Above all, I would recommend reading up on both the work of Joseph Campbell and Christopher Vogler. Each of them have a lot to offer, and they go into much more detail than I can here.

How do these archetypes appear in your own story? Let me know in the comments!

Thoughts on 8 key archetypes of the hero’s journey.

I’ve always thought that Qi’ra chooses safety in the end, yes, but is also a hero because she saves Han. She takes all eyes off of him and buys his freedom by absorbing responsibility.

Thanks for this.

I loved how detailed these descriptions are. I can see I need to learn more about shapeshifters and my first thought is going to be taking one of the antagonists in my story and shifting them over to being an ally character. This is going to be interesting.

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4 Illuminating Hero’s Journey Examples From Popular Stories

POSTED ON Aug 14, 2021

Written by Gloria Russell

Ah, the hero’s journey. Some of the best hero’s journey examples are recognizable as the tried-and-true storytelling structure that creates the backbone of our favorite movies, books, and TV shows. You may not be aware of it, but most of your favorite stories probably follow the hero’s journey. 

If you’re an author, you’re may also familiar with using the hero’s journey to outline your story. An outline can make or break a draft. Thankfully, the hero’s journey can be as rigid or flexible as you need for your story. 

But let’s slow down. What is the hero’s journey? And how can we learn to identify hero’s journey examples in the stories we watch?

Below we’ll break down the structure of the hero’s journey when writing, how to use it to build your stories, and literary examples of the hero’s journey in practice.

When looking at examples of the hero’s journey, you’ll want to consider:

What are some hero’s journey examples in books .

The hero’s journey is a narrative structure popularized by Joseph Campbell in his 1949 book The Hero With a Thousand Faces. Campbell was partly inspired by Carl Jung, who believed in overarching archetypes: the mother, the father, etc. Instead of creating a new story structure, Campbell identified common beats and pieces seen in stories across genres and types. 

In Christopher Vogler’s book, The Writer’s Journey , he offers the following insight into the hero’s journey:

At heart, despite its infinite variety, the hero’s story is always a journey. A hero leaves her comfortable, ordinary surroundings to venture into a challenging, unfamiliar world. It may be an outward journey to an actual place: a labyrinth, forest, or cave, a strange city or country, a new locale that becomes the arena for her conflict with antagonistic, challenging forces. But there are as many stories that take the hero on an inward journey, one of the mind, the heart, the spirit. In any good story the hero grows and changes, making a journey from one way of being to the next: from despair to hope, weakness to strength, folly to wisdom, love to hate, and back again. It’s these emotional journeys that hook an audience and make a story worth watching. Vogler, C. (2020). The Writer’s Journey – 25th Anniversary Edition: Mythic Structure for Writers . Michael Wise Productions. (Original work published 1998)

The hero’s journey isn’t adapted in every story. While it does apply to many, this isn’t a universal structure—not every TV show, movie, or book will fall into this, and yours doesn’t have to, either. That said, hero’s journey examples abound in storytelling culture and have since before Campbell wrote his book.

In order for the hero’s journey to work, the structure must rely heavily on setup and payoff. This includes beats that audiences have grown to expect. In many ways, these familiar plot points and the order they’re in are what we know and understand as storytelling. 

The Steps in Every Hero’s Journey Example

We can break the hero’s journey into three big chunks: the departure, the initiation, and the return—your classic three-act structure. If you don’t like a detailed outline , this might be enough. 

Let’s go a little deeper and look at the whole thing, piece by piece. 

1. The Ordinary World 

This is our picture of the regular world before anything comes along to muck it up. We get a shot of the characters, the setting, what the characters want and need, and maybe a little bit of what tensions and challenges exist in this world. The characters aren’t being challenged yet, themselves, but this is where we learn about the world’s premise. 

2. The Call of Adventure 

Our hero is called to action. Maybe someone shows up at their door and asks them to go on an adventure, or they run into the love of their life–whatever it is, this is the part of the story where the character is asked to leave their state of normalcy and embark on an adventure. 

3. Refusal of the Call 

This doesn’t always happen, but sometimes, the hero will refuse the call at first. Doing this means the character must be thrust into the action against their will. 

 4. Meeting the Mentor 

The hero has either gone off on an adventure or has been thrust into one–now, they get some sort of guide to take them through this new world. This new guide is a mentor character , and they’ll often have something to help our hero out along the journey. Think Gandalf or Hagrid. 

5. Crossing the First Threshold

This is the point of no return! The hero has entered the unknown world, and there’s no going back to the way things were before. This is the start of the second act or the initiation.

6. Tests, Allies, Enemies 

Also known as ‘the road of trials,’ this is the bulk of your novel or that big middle chunk that authors like to complain about. Your character is making friends, and enemies, facing trials, and adapting to the new world on their quest to achieve their goal. 

7. The Ultimate Boon 

This is the hero doing what they set out to do, or the climax of the piece. Everything in the novel culminates here, and everything afterward offers a resolution. This is the end of the second act, and from here, we transition into the third act. 

8. Crossing the Return Threshold 

It’s time to go back home. Sometimes, the journey back is a struggle unto itself, and sometimes it’s smooth sailing–this is our transition into the resolution. 

9. Master of the Two Worlds 

Our hero is now the master of the normal world and the new world. He or she can now move seamlessly between both worlds without being broken by either.

10. Freedom to Live 

Now that the hero has mastered both the challenging, new world and the old world they came from, they have the freedom to live. The new world no longer poses a threat, and they have conquered the threat of defeat. Hurray! 

Can a Nonfiction Book Have a Hero’s Journey?

Yes, all books, whether fiction or nonfiction, should include some type of hero in the story. This hero’s journey is what the book is about. Consider Donald Miller in his book Blue Like Jazz . Miller’s book is semi-autobiographical but he demonstrates his character arc and how he changes throughout the story. Even though his book is nonfiction, he applies the hero’s journey to his work in a compelling way to engage the reader and pull them deeper into his story.

Even with all that, there are still more steps to the hero’s journey we didn’t touch here. But this is more than enough to start getting into some examples, so let’s go! 

Hero’s Journey Book Examples

Again, remember that not every story will fit perfectly into this structure. Sometimes things are moved around or interpreted differently, especially across genres . That being said, here are some book favorites that are good hero’s journey examples. Spoiler alert: these hero’s journey examples do give away key plot points and the endings of these stories, so if you haven’t read the books, you might want to skip those examples.

The Wizard of OZ by L. Frank Baum

The Ordinary World 

Dorothy lives on a Kansas farm with her Aunt Em, Uncle Henry, and dog Toto.

The Call to Adventure 

A cyclone rips through Dorothy’s Kansas town. When she and her dog Toto don’t make it to the shelter, they get swept up into the air when the strong winds pick the house up and spin it through the air.

Refusal of the Call 

Meeting the Mentor

When the house lands on and kills the Wicked Witch of the East in the fanciful city of Oz, Dorothy meets the Good Witch of the North who tells her she must go to the City of Emeralds to meet the Great Wizard. She later meets Glinda the Good Witch of the South who tells her how to get home.

Crossing the First Threshold 

Dorothy prepares a basket for her journey to the City of Emeralds and replaces her old leather shoes with the silver shoes that belonged to the Wicked Witch of the East. She then sets out to find the yellow brick road the Good Witch of the North told her would lead her to the City of Emeralds.

Tests, Allies, Enemies 

On the journey, Dorothy meets the Scarecrow, the Tin Woodman, and the Cowardly Lion. She develops friendships with them and learns that each has their own set of fears and desires that they must battle. Along the way, they meet beastly enemies like the Kalidahs, vicious wolves, flying crows, black bees, flying monkeys, fighting trees, and Hammer Heads. They also gain unexpected allies like a stork, a mouse queen, and friendly residents. Dorothy and her companions must face tests that force them to strategize, work together, and overcome their fears to accomplish great things.

The Ultimate Boon 

After finally making it to the Great Wizard and making their requests, they are told that their wishes will be granted only after they kill the Wicked Witch of the East which is the last thing they believe they are prepared to do. But their desires outweigh their fears and they set out on another journey to find the Wicked Witch of the East to kill her.

Master of the Two Worlds 

Dorothy and her companions conquer the enemies of Oz and gain the respect of the inhabitants of the kingdom.

Freedom to Live 

The Tin Woodman, Scarecrow, and Lion all overcome their fears and receive their own kingdoms to rule. Dorothy finds out that the answer she’s been looking for to get back home has been with her all along.

Alice’s Adventures in Wonderland by Lewi Caroll

We’re introduced to Alice hanging out on a river bank with her sister who’s reading a book that Alice finds terribly boring.

Alice sees a white rabbit with a pocket watch racing to an appointment. She decides to leave her sister and run off after the rabbit.

Alice escapes the rabbit’s house and enters the world of Wonderland.

Before her escape into Wonderland, Alice is stuck in the Rabbit’s house drinking and eating things that cause her to shrink and grow too big. When she escapes into Wonderland, she meets a caterpillar who instructs her on how she can choose what size she becomes. Throughout her journey, she meets other mentors/guides who help point her in the right direction including a Chesire Cat.

Because everyone in the magical world of Wonderland is nonsensical, and their behavior is confusing to Alice, they can be seen as her antagonists. This includes the Pigeon, Mad Hatter, March Hare, Dodo bird, Duchess, Queen of Hearts, the King of Hearts, a Gryphon, Mock Turtle, and the Dormouse.

Alice’s adventure culminates with a strange trial that the Queen of Hearts is conducting. Throughout the ridiculous discourse, Alice becomes more confident in who she is and begins to reconsider how she feels about the craziness unfolding around her and she says as much. When the Queen of Hearts threatens her with beheading, Alice dismisses her boldly.

Although Alice’s sister wakes her from her odd dream, her brief escape into Wonderland has caused a shift in how she views herself in the world. Her journey toward maturity has started to unfold.

Alice survives the odd imaginary adventure and in the end, sees it as nothing more than a “curious dream.”

The Hunger Games by Suzanne Collins

Katniss Everdeen lives in District Thirteen in Panem. The audience learns about the Hunger Games, and that the reaping is coming up. 

The reaping happens—Primrose, Katniss’s little sister, is selected. 

Katniss volunteers in place of Prim, putting herself in the Hunger Games instead. 

Katniss and Peeta meet Haymitch Abernathy, who will be preparing them for the games.  

Our heroes go to the Capital, where they’re thrust into Capital life. The first aspect of this is optics—Katniss learns about how social games are played and how to move and perform for cameras. Then, she’s sent to the Games themselves, where she has to apply what she’s learned in the arena. 

This is the meat of the Hunger Games. Katniss buries Rue, escapes other tributes and works to save herself and Peeta from being killed. 

Katniss and Peeta are the last tributes standing, and the Capital wants them to kill each other for the drama of it all. Thinking quickly, Katniss tells Peeta they’ll both eat nightlock berries, which will kill them both. The Capital doesn’t want to be without a winner, so they name Katniss and Peeta both victors. 

Katniss and Peeta return from the Games alive. Katniss has mastered performing for the cameras and surviving in the arena. 

In the Hunger Games, this isn’t quite as clear-cut. Katniss is allowed to live but doesn’t know what’s in store. 

Chronicles of Narnia: The Lion, The Witch and The Wardrobe

Siblings Peter, Susan, Edmund, and Lucy Pevensie live in the English countryside with an eccentric professor during World War II.

One rainy day, the kids begin exploring the house, and the youngest, Lucy, finds a magic portal at the back of a wardrobe that leads to the mystical world of Narnia.

Each sibling represents a hero in the story with a personal journey. The youngest, Lucy, is eager to begin the journey into Narnia. Edmund knows that Narnia exists but initially refuses to admit what he knows to his older siblings. Finally, after resisting the possibility that there is a magical world, the two oldest, Peter and Susan, discover Narnia for themselves and decide to explore it.

When their journey begins, the 4 siblings meet characters individually and as a group. Lucy meets the faun Tamnus first who deceives her initially but then protects her. Edmund meets the White Witch. They all meet Mr. and Mrs. Beaver, and Father Christmas.

Peter, Susan, and Lucy meet Aslan who promises to do all he can to save Edmund who has gone rogue after aligning himself with the White Witch who deceived him.

The four siblings fight alongside the Narnian army to defeat the witch’s soldiers as Aslan kills the White Witch.

In the magical world of Narnia, Peter, Susan, Edmund, and Lucy become royalty and rule the kingdom well into adulthood. One day they come across the location where they first entered Narnia and find their way back into the wardrobe and back to the professor’s house where they become children again.

When they return to their world, hardly any time has passed, but their experiences of an internal war of the heart in Narnia have prepared them for the current real-world conflicts.

Hero’s Journey Examples Abound

Regardless of what genre you’re reading or writing, examples of the hero’s journey can be found in many stories. Even in nonfiction, the familiarity of the hero’s journey structure can help you create a book that resonates with readers. There are different frameworks that you can follow when building a story. When structuring yours, consider the universality of the hero’s journey and whether it could work for you.

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Definition of Archetype

An archetype is a literary device in which a character is created based on a set of qualities or traits that are specific and identifiable for readers. The term archetype is derived from the studies and writings of psychologist Carl Jung who believed that archetypes are part of humanity’s collective unconscious or memory of universal experiences. In a literary context , characters (and sometimes images or themes ) that symbolically embody universal meanings and basic human experiences, independent of time or place, are considered archetypes.

For example, one of the most common literary archetypes is the  Hero . The hero is generally the protagonist of a narrative and displays ubiquitous characteristics such as courage , perseverance, sacrifice, and rising to challenge. Though heroes may appear in different literary forms across time and culture, their characterization tends to be universal thus making them archetypal characters.

Common Examples and Descriptions of Literary Archetypes

As a rule, there are twelve primary character types that symbolize basic human motivations and represent literary archetypes. Here is a list of these example literary archetypes and their general descriptions:

• Lover: character guided by emotion and passion of the heart
• Hero : protagonist that rises to a challenge
• Outlaw: character that is rebellious or outside societal conventions or demands
• Magician: powerful character that understands and uses universal forces
• Explorer: character that is driven to explore the unknown and beyond boundaries
• Sage: character with wisdom, knowledge, or mentor qualities
• Creator:  visionary character that creates something significant
• Innocent:  “pure” character in terms of morality or intentions
• Caregiver:  supportive character that often sacrifices for others
• Jester:  Character that provides humor and comic relief with occasional wisdom
• Everyman:  Character recognized as average, relatable, found in everyday life
• Ruler:  Character with power of others, whether in terms of law or emotion

Examples of Archetype in Shakespearean Works

William Shakespeare utilized archetype frequently as a literary device in his plays. Here are some examples of archetype in Shakespearean works:

• Lover: Romeo (“Romeo and Juliet”), Juliet (“Romeo and Juliet”), Antony (“Antony and Cleopatra”)
• Hero : Othello (“Othello”), Hamlet (“Hamlet”), Macduff (“ Macbeth ”)
• Outlaw: Prince Hal (“Henry IV”), Edmund (“ King Lear ”), Falstaff (“Henry IV”)
• Magician: Prospero (“The Tempest”), The Witches (“Macbeth”), Soothsayer (“Julius Caesar”)
• Sage: Polonius (“Hamlet”), Friar Laurence (“Romeo and Juliet”), Gonzalo (“The Tempest”)
• Innocent: Viola (“ Twelfth Night ”), Ophelia (“Hamlet”), Hero (“Much Ado about Nothing”)
• Caregiver: Nurse (“Romeo and Juliet”), Mercutio (“Romeo and Juliet”), Ursula (“Much Ado about Nothing”)
• Jester: Touchstone (“As You Like It’), Feste (“Twelfth Night ”), Fool (“King Lear”)
• Everyman: Lucentio (“ The Taming of the Shrew ”), Valentine (“The Two Gentelmen of Verona”), Florizel (“The Winter ’s Tale”)
• Ruler: King Lear (“King Lear”), Claudius (“Hamlet”), Alonso (“The Tempest”)

Famous Examples of Archetype in Popular Culture

Think you don’t know of any famous archetypes? Here are some well-known examples of archetype in popular culture:

• Lovers: Ross and Rachel ( Friends ), Scarlett O’Hara ( Gone with the Wind ), Jack and Rose ( Titanic )
• Heroes: Frodo Baggins ( The Lord of the Rings ), Luke Skywalker ( Star Wars ), Mulan (Mulan)
• Outlaws: Han Solo ( Star Wars ), Star-Lord/Peter Quill ( Marvel Universe ), Ferris Bueller ( Ferris Bueller’s Day Off )
• Magicians: Gandalf (The Lord of the Rings), Dumbledore (Harry Potter ), Doctor Strange ( Marvel Universe )
• Explorers: Huck Finn ( The Adventures of Huckleberry Finn ), Indiana Jones ( Indiana Jones ), Captain Kirk ( Star Trek )
• Sages: Atticus Finch ( To Kill a Mockingbird ), Jiminy Cricket (Disney’s  Pinocchio ), Obi-Wan Kenobi ( Star Wars )
• Creators: Victor Frankenstein ( Frankenstein ), Willy Wonka ( Charlie and the Chocolate Factory ), Daniel Plainview ( There Will Be Blood )
• Innocents: Tiny Tim ( A Christmas Carol ), Dorothy ( The Wizard of Oz ), Forrest Gump ( Forrest Gump )
• Caregivers: Mary Poppins ( Mary Poppins ), Alice ( The Brady Bunch ), Marge Simpson ( The Simpsons )
• Jesters: Donkey ( Shrek ), Kramer ( Seinfeld ), Eric Cartman ( Southpark )
• Everyman Characters: The Dude ( The Big Lebowski ), Homer Simpson ( The Simpsons ), Jim Halpert ( The Office )
• Rulers: Daenerys Targaryen ( Game of Thrones ), T’Challa/Black Panter ( Marvel Universe ), Don Corleone (The Godfather)

Difference Between Archetype and Stereotype

It can be difficult to distinguish the difference between archetype and stereotype when it comes to literary characters. In general, archetypes function as a literary device with the intent of complex characterization. They assign characters with specific qualities and traits that are identifiable and recognizable to readers of literary works. Stereotypes function more as limited and often negative labels assigned to characters.

For example, the movie “The Breakfast Club” features characters that are far more stereotypical than archetypal. This movie features five representations of “typical” teenagers such as a dumb jock, conceited rich girl, skinny nerd, misunderstood rebel, and disaffected slacker that are forced to spend time together. These representations include what may appear to be archetypes in that they are identifiable by the audience . However, they function much more as stereotypes in the sense that their characterization is oversimplified and primarily negative. The characters assume their given stereotypical roles rather than display the complex characterization generally demonstrated by archetypes.

Writing Archetype

Overall, as a literary device, archetype functions as a means of portraying characters with recurring and identifiable traits and qualities that span time and culture. This is effective for readers in that archetypes set up recognizable patterns of characterization in literary works. When a reader is able to identify an archetypal character, they can anticipate that character’s role and/or purpose in the narrative. This not only leads to expectations, but engagement as well on the part of the reader.

It’s essential that writers bear in mind that their audience must have a reasonably clear understanding of how the character reflects a particular archetype in order for it to be effective. If the characterization of the archetype is not made clear to the reader, then that level of literary meaning will be lost. Of course, archetypal characters can be complex and fully realized. However, they must be recognizable as such for the reader on some level.

Here are some ways that writers benefit from incorporating archetype into their work:

Establish Universal Characters

Archetypal characters are recurrent when it comes to human experience, especially in art. A literary archetype represents a character that appears universal and therefore gives readers a sense of recognition and familiarity. This ability to relate to an archetypal character alleviates a writer’s burden of excessive or unnecessary description, explanation, and exposition . Due to a reader’s experience, they are able to understand traits and characteristics of archetypes in literature in an almost instinctual way without detailed explication .

Establish Contrasting Characters

Archetypes can also help writers establish contrasting characters, sometimes known as foils . In general, a literary work does not feature just one archetypal character. Since readers have an awareness of the inherent and typical characteristics of an archetype, this can create contrast against other characters in the narrative that are either archetypes themselves or not. Therefore, writers are able to create conflict and contrast between characters that are logical and recognizable for the reader.

Examples of Archetype in Literature

Archetype is an effective literary device as a means of creating characters with which the reader can identify. Here are some examples of literary archetypes and how they add to the significance of well-known literary works:

Example 1: Nick Carraway: Everyman ( The Great Gatsby , F. Scott Fitzgerald)

In my younger and more vulnerable years my father gave me some advice that I’ve been turning over in my mind ever since. “Whenever you feel like criticizing any one,” he told me, “just remember that all the people in this world haven’t had the advantages that you’ve had.”

In this passage, Fitzgerald establishes for the reader that Nick Carraway’s character is not just the narrator of the novel , but an “everyman” archetype as well. Though Nick’s father reminds him of “advantages” that he’s had, Nick is nevertheless considered the novel’s most relatable and “average” character. Therefore, as an everyman archetype, the reader is able to identify with Nick and consequently trust his observations and narration of the events of the story . This allows Nick’s character to influence the way in which the reader engages with the novel’s characters and events, as his everyman actions and interactions become vicarious experiences for Fitzgerald’s audience as well.

Example 2: Ma Joad: Caregiver ( The Grapes of Wrath , John Steinbeck)

Her hazel eyes seemed to have experienced all possible tragedy and to have mounted pain and suffering like steps into a high calm and a superhuman understanding. She seemed to know, to accept, to welcome her position, the citadel of the family, the strong place that could not be taken. And since old Tom and the children could not know hurt or fear unless she acknowledged hurt and fear, she had practiced denying them in herself.

In Steinbeck’s heart-breaking novel, the female characters represent a life force. This is epitomized by Ma Joad’s character as a “caregiver” archetype. Ma Joad is not only literally a caregiver in the sense that she is the mother of the protagonist and cares for her family, but she is also an archetypal caregiver in the sense that she makes sacrifices in order to care for others. Readers’ recognition of the characterization of Ma Joad as a caregiver allows Steinbeck to portray her as a traditional and symbolic mother figure.

However, Steinbeck elaborates on this archetype by portraying the effects of these caregiver traits on Ma Joad’s character. Rather than establishing her as a passive maternal character which would be identifiable and understood by a collective readership, Steinbeck reveals the universal consequences of this archetype’s traits on the character herself. Ma Joad is a universal character, yet her character also has a universal understanding and experience of tragedy and suffering. This makes her role and sacrifices as a caregiver even more meaningful.

Example 3: Sancho Panza: Jester ( Don Quixote , Miguel de Cervantes)

The most perceptive character in a play is the fool, because the man who wishes to seem simple cannot possibly be a simpleton.

In Miguel de Cervantes’ novel, Sancho Panza reflects the complexity and importance of the “jester” archetype. As Don Quixote’s sidekick, Sancho Panza provides humor and comic relief as a contrast to the title character’s idealism. However, as Sancho Panza’s character becomes more developed in the novel, his jester archetype develops as well into a voice of reason and example of empathy and loyalty. This is beneficial for the reader in that, though they are contrasting characters, Sancho Panza as a jester beside Don Quixote becomes a more legitimate and influential character. In turn, the jester archetype legitimizes the protagonist as well, making the novel’s fool the “most perceptive character.”

Related posts:

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• Customer Archetype
• Goddess Archetype
• Jester Archetype
• King Archetype
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• Mother Archetype
• Maiden Archetype
• Outlaw Archetype
• Queen Archetype
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StarsInsider

Real-world examples of the 12 brand archetypes

Posted: March 25, 2024 | Last updated: March 25, 2024

First described by 19th-century psychoanalyst Carl Jung, personality archetypes are best described as a collection of character traits and behavioral tendencies that form a character to which people can easily relate. In the context of brands , there are 12 classic archetypes. These cover the full spectrum of brand types, from brands that want to evoke comfort to those that want to create excitement.

Curious? Check out this gallery for real-world examples of the 12 brand archetypes.

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What is an archetype?

Archetypes consist of a collection of character traits and behaviors that are instantly recognizable and to which everyone can relate.

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Archetypes in storytelling

When it comes to storytelling, archetypes are used to create a sense of familiarity between the characters and the listener, viewer, or reader.

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Archetypes in brand building

The same goes for brand building. The best brands position themselves carefully, aligning themselves with a single archetype that they feel reflects their visi on and values.

Brands use their archetype to differentiate themselves from the competition and to build a strong relationship with the consumer.

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The Creator

The first brand archetype on the list is the Creator. Creators are non-conformists and visionaries; they are often first to realize a concept, and they love to push boundaries.

Brands that align with this archetype include Apple, Lego, and GoPro. Their goal is to encourage others to tap into their creativity using their products.

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Next up is the Sage. This archetype is a constant seeker of knowledge and believes in empowering others to seek out and share important information .

Examples of Sage brands include TED, Google, and the BBC. They are all about learning, and they make very strong thought leaders.

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The Caregiver

The Caregiver is driven by a strong desire to help others, particularly those who are less fortunate than themselves. This archetype is all about taking care of others.

Brands that embody this archetype include UNICEF , Johnson & Johnson, and Pampers. There is often a maternal element to the branding.

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The Innocent

The Innocent has a genuine desire to bring happiness to others, and they will avoid ill intention at all costs. Of course, in the business world, take this with a grain of salt.

Innocent brands include McDonald's and Coca-Cola. These brands tend to focus on simplicity rather than innovation.

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The main aim of the Jester is to make people laugh and to bring joy and lightheartedness to everything they do.

Brands that align with this archetype are playful and tend to bring out the good in every situation. Examples include Old Spice and and M&Ms.

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The Magician

The Magician is the archetype that wants to dazzle its audience and take them on a magical journey that makes all their dreams come true.

Magician brands are ones like Disney, Polaroid, and MAC Cosmetics. They aim to provide their followers with a magical moment that will stick firmly in their memory.

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Now we have the Ruler, a dominant archetype that is all about power and control. Ruler brands tend to be very confident and possess exceptional leadership skills.

Ruler brands include the likes of Microsoft, Rolls Royce, and Hugo Boss. These brands see themselves as leaders and will vehementl y defend their position as such.

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Up now is the Hero, the archetype that takes it upon itself to fight injustices and show people that success is the reward for hard work .

Examples of Hero brands include Nike and BMW. These brands are proud of their work and feel that it sets the m apart.

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The Everyman

The Everyman archetype is best described as unpretentious, relatable, and always approachable. Everyman brands want to create deep connections and be liked by everyone.

Levis and IKEA are great examples of Everyman brands. They tend to be very generalized and have a strong focus on community and belonging.

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At the opposite end of the spectrum, we have the Outlaw (otherwise known as the Rebel), which does everything it can to really disrupt the industry and challenge the status quo.

Outlaw brands don’t care about being liked by everyone— they would rather have a close-knit, smaller following. Examples include Harley-Davidson, Uber, and Red Bull.

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The Explorer

Next up is the Explorer, which is like the Rebel, but is more about exploration than disruption. Explorer brands are driven by freedom and independence ; they don’t respect typical boundaries.

Another aspect of Explorer brands is their journey of continuous discovery. Examples of Explorer brands include NASA, Jeep, and The North Face.

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The last brand archetype on the list is the Lover. Lover brands are passionate and intimate; they are motivated by desire.

Real-world examples of the Lover brand include Victoria’s Secret, Alfa Romeo, and Chanel. Their passion can sometimes be overbearing, but they can also be companionable and family-oriented.

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Choosing an archetype

If you are considering starting a company and you’re wondering how to build your brand, deciding on an archetype would be a good place to start.

Remember, however, that you will also need to build your brand personality on top, since brand archetypes are too raw to connect with people directly.

Sources: (March Branding) (Iconic Fox)

See also: Have you noticed these brands in your favorite movies?

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Titans first-round pick JC Latham's journey an example of ability to embrace change

JC Latham was born to do this.

Just the sheer size of the man, 6-foot-6 and 342 pounds, suggests the Tennessee Titans' first-round NFL draft pick of 2024 is ready for whatever is thrown his way.

A physically imposing offensive tackle with powerful, long arms and a mean streak, Latham was the overall No. 7 selection, and the Titans are confident he can stabilize an offensive line built to protect its franchise quarterback, Will Levis.

No pressure.

Latham has dealt with that since he was a freshman defensive end at Catholic Memorial in Milwaukee. He was handling some of the nation's best high school defensive linemen as a first-time offensive lineman at IMG Academy in Bradenton, Florida, 1,300 miles from home. He was mauling the SEC's top defenders in three seasons at Alabama.

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"The journey has been incredible to watch," Jerome Latham, JC's father, said. "We're blessed that it gets to continue."

JC Latham had to leave to grow

JC Latham, accompanied by his family, was smiling Friday during his introductory news conference at Ascension St. Thomas Sports Park in Nashville, the culmination of his decision to leave Catholic Memorial for IMG after winning a state championship in 2018.

"Everywhere I've been, my whole family has been able to be a part of it," he said. "Being able to celebrate the biggest moment of my life was very special to me."

The separation was not without its stress. JC Latham was right at home in Bradenton despite being more than 1,300 miles away — more at ease at IMG Academy than his family was at letting him go. He was a 16-year-old living the life reserved for college students, still two years from joining coach Nick Saban in Tuscaloosa.

Langston Latham, 18 months younger, decided it was easier for him not to call his brother too much. While JC was thriving at IMG, Langston was missing his best friend.

"He asked me what I thought he should do when he was deciding on whether to stay or go to IMG," Langston said. "I told him he could take his game to the next level. You have to go. It was the hardest thing I've ever had to say to anyone."

JC, who was born in Meridian, Mississippi, moved to Milwaukee when he was 5 and lived with his father and brother. JC's mother, Monique Pruitt, lived in Chicago, so family has been at the center of JC's life. When he arrived at IMG Academy in 2019, though, he adapted quickly.

"His adjustment was incredible," said former IMG coach Bobby Acosta, who coached Latham for one season.

Latham's family had a harder time adjusting to his departure. Langston Latham was a freshman, JC a sophomore when Catholic Memorial won the Division 3 Wisconsin state title. Langston, a linebacker, thought they'd stack up titles together for years.

"I thought that'd continue forever," Langston said. "Then he was gone."

JC Latham thrives in journey

Pruitt admitted there was some trepidation with her son so far away.

"When you're sending a 15- or 16-year-old child away, it's like sending him away for college . . . early," she said. "I believed he could do it. I was pretty sure he could do it, but it's like . . . what if?"

While Langston went on to win two more state titles at Catholic Memorial, JC's IMG Academy team finished the 2020 season as the No. 1-ranked team by USA TODAY Super 25.

"JC has always pushed himself," Jerome Latham said. "He's self-motivated. He wanted to challenge himself after Catholic. I told him if he wants to be the best, he has to play against the best."

As soon as Latham shifted from defensive end to offensive line at IMG, he was dominating four- and five-star defensive linemen on the team.

"He would just swallow them up," Acosta said.

ESTES Tennessee Titans drafted a project in JC Latham because of trust in Bill Callahan

Latham got to Alabama and was named second-team All-American by USA TODAY, starting every game at right tackle for the Crimson Tide. He allowed only two sacks in more than 400 passing attempts last fall and is slotted to play left tackle for the Titans . It shouldn't be a problem for a guy who played left and right tackle as well as guard at IMG.

Latham's easy demeanor shapes his character

But what kept Latham grounded was his fun-loving nature.

"He's a jokester," Jerome Latham said.

When NFL commissioner Roger Goodell called JC Latham's name Thursday in Detroit, the new Titans player with the 35⅛-inch arm length wrapped Goodell in a bear hug and lifted him clear off the stage floor.

"That's JC," Kate Meyers, Jerome's former girlfriend who helped raise JC with Jerome and Monique, said with tears welling in her eyes. "It was emotional for sure because he's such a great man, and a great player. No one deserves this more. We're all proud."

Reach sports writer George Robinson at georgerobinsontheleafchronicle.com and on the X platform (formerly Twitter) @Cville_Sports.