hero's journey steps 8

• Story Writing Guides

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

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

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

• What is the hero's journey?

Stage 1: The Ordinary World

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

• Free Hero's Journey Templates

What is the hero’s journey?

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

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

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

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

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

12 Hero’s Journey Stages

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Free Hero’s Journey Templates

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

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

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

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

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Last updated on Aug 10, 2023

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

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

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

FREE RESOURCE

Hero's Journey Template

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

What is the Hero’s Journey?

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

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

The 12 Steps of the Hero’s Journey

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

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

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

1. Ordinary World

In which we meet our Hero.

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

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

2. Call to Adventure

In which an adventure starts.

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

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

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

3. Refusal of the Call

In which the Hero digs in their feet.

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

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

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

4. Meeting the Mentor

In which the Hero acquires a personal trainer.

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

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

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

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5. Crossing the First Threshold

In which the Hero enters the other world in earnest.

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

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

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

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

Reedsy’s Character Profile Template

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

6. Tests, Allies, Enemies

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

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

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

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

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

7. Approach to the Inmost Cave

In which the Hero gets closer to his goal.

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

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

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

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

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

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

9. Reward (Seizing the Sword)

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

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

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

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

10. The Road Back

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

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

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

11. Resurrection

In which the last test is met.

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

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

12. Return with the Elixir

In which our Hero has a triumphant homecoming.

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

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

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

Examples of The Hero’s Journey in Action

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

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

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

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

The Martian 

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

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

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

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

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

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

When should writers use The Hero’s Journey?

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

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

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

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

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

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

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

Get our Book Development Template

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

When your focus is on a single protagonist

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

Which story structure is right for you?

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

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

6 responses

PJ Reece says:

25/07/2018 – 19:41

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

↪️ C.T. Cheek replied:

13/11/2019 – 21:01

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

Lexi Mize says:

25/07/2018 – 22:33

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

Bailey Koch says:

11/06/2019 – 02:16

This was totally lit fam!!!!

↪️ Bailey Koch replied:

11/09/2019 – 03:46

where is my dad?

Frank says:

12/04/2020 – 12:40

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

Comments are currently closed.

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

Table of Contents

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

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

Challenge . Growth . Triumph .

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

What is the Hero’s Journey?

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

What are the Origins of the Hero’s Journey?

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

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

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

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

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

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

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

Twelve Steps of the Hero’s Journey

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

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

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

Ye be warned: Spoilers ahead!

Act One: Departure

Step 1. the ordinary world.

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

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

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

Step 2. The Call to Adventure

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

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

Step 3. Refusal of the Call

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

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

Step 4. Meeting the Mentor

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

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

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

Act Two: Initiation

Step 5. crossing the threshold.

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

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

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

The game is afoot.

Step 6. Tests, Allies, Enemies

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

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

Step 7. Approach the Innermost Cave

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

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

Step 8. The Ordeal

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

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

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

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

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

Step 9. Reward

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

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

Act Three: Return

Step 10. the road back.

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

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

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

Step 11. Resurrection

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

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

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

Step 12. Return With the Elixir

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

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

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

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

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

Variations of the Hero's Journey

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

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

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

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

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

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

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

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

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

Ten-Step Hero's Journey

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

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

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

Twelve-Step Hero's Journey: Version Two

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

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

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

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

Seventeen-Step Hero's Journey

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

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

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

The Eight Hero’s Journey Archetypes

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

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

1. The Hero

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

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

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

2. The Mentor

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

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

3. The Ally

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

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

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

4. The Herald

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

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

5. The Trickster

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

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

6. The Shapeshifter

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

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

7. The Guardian

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

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

8. The Shadow

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

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

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

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

Stories that Use the Hero’s Journey

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

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

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

Will the Hero's Journey Work For You?

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

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

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

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

Hero's Journey Campfire Template

The Timeline Module in Campfire offers a versatile canvas to plot out each basic component of your story while featuring nested "notebooks."

Simply double-click on each event card in your timeline to open up a canvas specific to that card. This allows you to look at your plot at the highest level, while also adding as much detail for each plot element as needed!

If you're just hearing about Campfire for the first time, it's free to sign up—forever! Let's plot the most epic of hero's journeys 👇

Lessons From the Hero’s Journey

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

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

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

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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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The Art of Narrative

Learn to write.

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

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

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

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

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

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

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

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

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

What is the Hero’s Journey?

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

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

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

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

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

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

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

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

The 12 Stages of The Hero’s Journey 

The ordinary world .

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

Think exposition . 

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

Read more about perspective and POV here.

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

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

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

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

Guided Questions

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

The Call of Adventure

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

Read more about Inciting Events here. 

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

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

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

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

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

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

Refusal of the Call

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

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

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

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

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

Meeting the Mentor 

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

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

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

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

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

Crossing the Threshold 

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

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

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

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

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

Read more about MacGuffins here.

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

Tests, Allies, Enemies

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

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

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

Read more about creating villains here. 

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

J doesn’t know that yet, though. 

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

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

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

Approach to the Inmost Cave

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

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

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

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

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

Read more about alliteration here… jk. 

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

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

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

The Ordeal 

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

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

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

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

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

Guided Questions 

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

Reward or Seizing the Sword

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

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

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

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

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

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

The Road Back 

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

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

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

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

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

Resurrection 

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

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

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

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

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

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

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

Return with the Elixir

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Further Reading on Plot Structure and the Hero’s Journey

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

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

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

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

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

Resources: 

Wikipedia- Joseph Campbell

Wikipedia- Hero With 1000 Faces

Published by John

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

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Hero's Journey: A Guide to Becoming The Hero Of Your Story

What will your story be.

Be the hero of your story . It’s common advice from motivational speakers and life coaches, a call to arms to take centre stage and tackle life’s challenges head-on, to emerge victorious in the face of adversity, to transform through hardship. 

As humans, hardwired to view the world and share experiences through the medium of stories, myths often act as powerful motivators of change. From ancient cave paintings to the Star Wars and its Death Star to Harry Potter and his battle against evil, the hero’s journey structure is a familiar one. It’s also one you need to know if you want to know how to write a book , but I digress. 

This article will outline the stages, and psychological meaning, of the 12 steps of Joseph Campbell’s hero’s journey. So, are you ready to become the hero of your story? Then let the adventure begin...

Who is Joseph Campbell? 

Joseph Campbell was an American professor of literature at Sarah Lawrence College, and an expert of mythology that once spent five years in a rented shack, buried in books for nine hours each day. His greatest contribution is the hero’s journey, outlined in his book The Hero with A Thousand Faces . Campbell was able to synthesise huge volumes of heroic stories, distilling a common structure amongst them.

Near the end of his life, Campbell was interviewed by Bill Moyers in a documentary series exploring his work, The Power of Myth .

Throughout their discussion, Campbell highlighted the importance of myth not just in stories, but in our lives, as symbols to inspire us to flourish and grow to our full potential.

How is the hero’s journey connected to self development?

You might be wondering what storytelling has to do with self-development. Before we dive into the hero’s journey (whether that is a male or a female hero’s journey), context will be useful. Joseph Cambell was heavily inspired by the work of Carl Jung, the groundbreaking psychologist who throughout his life worked on theories such as the shadow, collective unconscious, archetypes, and synchronicity.

Jung’s greatest insight was that the unconscious is a vast, vibrant landscape, yet out sight from the ordinary conscious experience. Jung didn’t only theorize about the unconscious; he provided a huge body of work explaining the language of the unconscious, and the way in which it communicates with the conscious mind.

The nature of the unconscious

Due to its vast nature, the unconscious doesn’t operate like the conscious mind, which is based in language, logic, and rationality. The unconscious instead operates in the imaginal realm — using symbols and meaning that take time to be deciphered and understood consciously. Such symbols surface in dreams, visualizations, daydreams, or fantasies.

For Jung, the creative process is one in which contents of the unconscious mind are brought to light. Enter storytelling and character development — a process of myth-making that somehow captures the truth of deep psychological processes. 

Campbell saw the power of myth in igniting the unconscious will to grow and live a meaningful life. With that in mind, his structure offers a tool of transformation and a way to inspire the unconscious to work towards your own hero’s journey.

The 12 steps of the hero’s journey

The hero’s journey ends where it begins, back at the beginning after a quest of epic proportions. The 12 steps are separated into three acts: 

• departure (1-5)
• initiation (5-10)
• return (10-1)

The hero journeys through the 12 steps in a clockwise fashion. As Campbell explains:

“The usual hero adventure begins with someone from whom something has been taken, or who feels there is something lacking in the normal experience available or permitted to the members of society. The person then takes off on a series of adventures beyond the ordinary, either to recover what has been lost or to discover some life-giving elixir. It’s usually a cycle, a coming and a returning.”

Let’s take a closer look at each of the steps below. Plus, under each is a psychological symbol that describes how the hero’s journey unfolds, and how when the hero ventures forth, he undergoes an inner process of awakening and transformation.

1. The ordinary world

The calm before the storm. The hero is living a standard, mundane life, going about their business unaware of the impending call to adventure. At this point, the hero is portrayed as very, very human. There could be glimpses of their potential, but these circumstances restrict the hero from fulfilling them. Although well within the hero’s comfort zone, at this stage, it’s clear something significant is lacking from their life.

Psychological symbol

This is represented as a stage of ignorance, pre-awakening. Living life by the status quo, on other people’s terms, or simply without questioning if this is what you want. At this point life is lived, but not deeply satisfying.

2. Call to adventure

Next is a disruption, a significant event that threatens the ways things were. This is a challenge that the hero knows deep down will lead to transformation and change, and that the days of normality, “the way things are,” are numbered. The hero confronts the question of being asked to step into their deeper potential, to awaken the power within, and to enter a new, special world.

Many of us embark on inner-journeys following hardship in life — the death of a loved one, the loss of a job, physical or mental illness. This stage occurs when it becomes apparent that, to move through suffering, one has to look within, to adventure into the soul.

3. Refusal of the call

No compelling story would be complete without friction. The hero often resists this call to adventure, as fear and self-doubt surface at full force, and the purpose of this new life direction is questioned. Can the reluctant hero journey forth? Do they have the courage?

The only way to grow and live a deeply fulfilling life is to face the discomfort of suffering. Campbell himself once said: “ The cave you fear to enter holds the treasure you seek .” At this stage, fears, and anxieties about delving deep into the psyche arise. The temptation is to remain blissfully ignorant, to avoid discomfort, and to stay in your familiar world.

4. Meeting a mentor

As the hero faces a crisis of confidence, a wise mentor figure appears.

This character offers inspiration, guidance, or understanding that encourages the hero to have the self-belief to start this new adventure. In many stories, a mentor is someone else who has embarked on the hero’s journey, or someone who attempted, and failed. This person reflects the importance of this mission, reminding the hero their calling far exceeds their fear.

When the journey of exploration has to begin, people or situations enter your life at just the right time, guiding you in the right direction. This could be a close friend, a peer, a professional, such as a coach or therapist, or even a fictional character in a film or book. In most cases, these are chance encounters that contain a sense of knowing before the hero leaves on his or her adventure.

5. Crossing the threshold

This is a pivotal moment in the hero’s journey, as the initiation begins. This occurs when the hero fully commits to their quest, whether physical, emotional, or spiritual. This is the point of no return, where the reluctant hero embarks on their adventure, and has accepted that the way things were must change. The hero enters a new zone, one in which the call to adventure must be accepted. The hero’s resolve is hardened, and they understand they have a responsibility to confront what is ahead of them.

Whatever your life was before the call to action, this is a crossroads which is accepted, knowing your life may never be the same. This is a point of empowerment, where you realize that journeying within will lead you to greater self-understanding, even if those insights will dramatically change your life direction. 

6. Test, allies, enemies

Now the hero has ventured outside of their comfort zone, the true test begins. This is a stage of acclimatizing to unknown lands. Unknown forces work against them, as they form bonds with allies who join them along the way, or face formidable enemies or encounters that have to be conquered. Throughout this testing time, the hero will be shaped and molded through adversity, finding deeper meaning in their life and mission.

Once the journey of self-discovery is underway, the initial burst of inspiration might be tested by the difficulty of the task. You might meet people who are able to offer advice or guide you, or those who reflect areas of yourself you have to work on. 

Often, these are inner experiences, in the forms of memories, emotions, or outward tests, such as difficult circumstances that challenge your resolve and commitment to your new life direction.

7. Approach to the inmost cave

Having already crossed the threshold into the unknown and the uncertain, having faced obstacles and enemies, and having begun to utilize their qualities along the way, the next stage is another threshold. 

This is the beating heart of the hero’s challenge, where again self-doubt and fear can arise, as another threshold has to be crossed. This is often a period of respite, giving the hero time to pause and reflect. Will the hero make the leap?

The hero’s journey has ups and downs. There may be quick wins in the beginning — your new life direction may go well, or inner-work may lead you to a new place of calm or confidence. But then, out of nowhere, comes an even bigger challenge, surfacing as a question mark to the person you’ve become. Life often has a way of presenting the right challenges at the right time…

This is the life-or-death moment. This can be a meeting with an ultimate enemy or facing the hero’s deepest fear. There is an awareness that if the hero fails, their new world, or their life, could be destroyed. 

Everything the hero has fought for up to this point, all the lessons learned along the journey, all the hidden potentials actualized, will have to be utilized to survive this supreme ordeal, for the hero to be victorious. Either way, the hero will undergo a form of death, and leave the ordeal forever changed.

There are inner challenges that have to be confronted on the journey of self-discovery. This might be in the form of trauma that has to be confronted and healed, people with whom you have to have difficult conversations, or fears you have to face, actions that in the past you never thought you’d be capable of. But, with the skills you’ve learned along the way, this time you’ll be ready. But it won’t be easy.

9. Reward (seizing the sword)

Through great adversity comes triumph. Having confronted their greatest fear, and survived annihilation, the hero learns a valuable lesson, and is now fully transformed and reborn — with a prize as a reward. 

This object is often symbolized as a treasure, a token, secret knowledge, or reconciliation, such as the return of an old friend or lover. This prize can assist in the return to the ordinary world — but there are still a few steps to come.

When confronting deep inner fears or challenges, you are rewarded with deep insights or breakthroughs. That might be in the form of achieving a significant goal or inwardly having a sense of peace or reconciliation with your past, or moments that have previously felt unresolved. As a spiritual process, this may also be the realization that behind suffering and pain lies freedom or inner peace.

10. The road back

Having traveled into distant, foreign lands and slain the dragon, now it’s time for the hero to make their return journey. This stage mirrors the original call to adventure and represents another threshold. 

The hero may be understanding their new responsibility and the consequences of their actions, and require a catalyst to make the journey back to the ordinary world with their prize.

The hard work has been done, the ultimate fear confronted, new knowledge found. Now, what’s the next step? For many, the initial stages of growth come with a period of renunciation or are symbolized by an outward journey away from home, or away from familiarity. 

Then comes the stage of returning to familiarity, or the things left behind — be it family, friends, locations, or even behaviors that were once loved and sacrificed during the journey.

11. Resurrection

When it appears the hero is out of the woods, there comes a final confrontation — an encounter with death itself. Transformed inwardly and with a personal victory complete, the hero faces a battle that transcends their individual quest, with its consequences far-reaching, for entire communities or even humanity itself. 

This purification solidifies the hero’s rebirth, as their new identity fully emerges just in time to return to the ordinary world.

In Maslow’s hierarchy of needs, self-actualization is secondary to self-transcendence. In other words, once inner battles have been faced, and the alchemy of psychological transformation is underway, the next stage is to apply the newfound insights and knowledge to a bigger cause — supporting others, or standing up a mission that will benefit the wider world.

12. Return with the elixir

Following the final battle, the hero finally returns home. By now, personal transformation is complete, they’re returning home a different person. Having faced indescribable hardship, the hero returns with added wisdom and maturity. The elixir is the treasure they’ve returned with, ready to share with the ordinary world. This could be a sense of hope, freedom, or even a new perspective to assist those originally left behind.

The hero has a new level of self-awareness, seeing the ordinary world through fresh eyes. They’ve left internal conflict behind. There’s an understanding that things will never be the same, but that the hero’s journey was part of their destiny. 

Then comes the ultimate prize: a final reconciliation, acceptance from the community, celebration, redemption. Whatever the prize, there are three elements: change , success , and proof of the journey .

Following a transformative psychic process, there’s an understanding of what is within your control. The “ordinary world” may have many elements that remain the same, but this is accompanied by a realization that when you change, so does your reality. Previously modes of thinking may be replaced, as bridges are built with your past, giving opportunity for a renewed approach to life.

What can we learn from the hero's journey?

At the time of writing this article, I’m in the UK visiting my family for the first time in 18 months. As I walked down paths I’d walked throughout my childhood, I was struck by how much I’ve changed over the years. A passage from T.S Eliot’s poem Little Gidding came to mind:

“We shall not cease from exploration. And the end of all our exploring. Will be to arrive where we started. And know the place for the first time.”

I reflected on the notion of coming full circle — to begin a journey, outwardly or inwardly, before finding yourself back at the beginning, transformed. In spiritual traditions, the circle is a powerful symbol of timelessness, death and rebirth, totality, and wholeness. Aptly, the 12 steps of the hero’s journey are depicted as a circle. It’s not a coincidence.

What can we learn from the hero’s journey? In a way, it is similar to the writer’s journey. Above all else, it’s a reminder that we each within us have a purpose, a quest and a mission in this life that can and will invoke our truest potential. The path isn’t easy — there are many, many challenges along the way. But at the right time, people and situations will come to our aid.

If you’re able to confront the mission head-on and take bold steps along the way — just like all the heroes of fiction before you, from Shakespeare’s characters to Luke Skywalker and Rey from the universe brought to us by George Lucas —  then you will be transformed, and then you can return to where you started, reborn, ready to share your gifts and your lessons with the world.

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Austin von Letkemann is the military officer strangers feel "sorry" for — and the reason is infuriating.

Whenever the devoted father leaves the house with his four children, strangers can't help but notice the officer in uniform is holding hands with 4 adorable little girls. They will tell the traditionally "masculine" and "all American" dad they feel sorry for him, because he has no sons. This dad makes one thing very clear: They are his daughters, they aren't a burden.

In a passionate video, von Letkemann took to Instagram to share with his followers that the only thing that's "difficult" about being a girl dad — is clapping back to these sexist remarks over and over again.

They Mock His Daughters To Their Face

"All my kids can speak and understand English. They know what you’re saying. It hurts their feelings." - Austin von Letkemann, Instagram

Saying "Get Your Shotgun" Isn't Funny — It's Sexist

Another common comment that Austin von Letkemann encounters is the old "better get your shotgun ready" trope, often delivered with a smirk or a wink. This line is typically intended to suggest that a father with daughters should be on high alert to protect them from potential "suitors," implying that they are objects to be guarded rather than individuals with agency.

"No one says this to my wife. They only say this to me." - Austin von Letkemann, Instagram

Von Letkemann finds this line of thinking outdated and sexist. In his viral Instagram video, he points out that these jokes are not just stale — they're damaging.

By suggesting that his daughters require armed protection, the joke reinforces the idea that women are inherently vulnerable and need to be shielded from men. Von Letkemann argues that instead of promoting this narrative, society should focus on teaching respect and consent, challenging these sexist tropes at their source.

Watch Austin von Letkemann's Video:

View this post on Instagram A post shared by Austin von Letkemann (@mandatoryfunday)

"If I Had A Fifth Child, I'd HOPE It Was A Girl" — One Dad's Message For Other Parents

Despite the constant remarks about his lack of sons, Austin von Letkemann is clear: He wouldn't trade his daughters for anything.

View this post on Instagram A post shared by Kate von Letkemann (@kate_vonlet)

In fact, he told his Instagram followers that if he were to have a fifth child, he would hope for another girl. This declaration isn't just about doubling down on his pride in his family — it's a pointed response to those who see fathering daughters as a misfortune.

Von Letkemann's stance is a powerful one, rejecting the notion that a family is incomplete without sons. He encourages others to question the assumptions behind these comments and to appreciate the joy and fulfillment that his daughters bring. By sharing his story, von Letkemann hopes to create a more inclusive perspective on fatherhood, one that values daughters just as much as sons.

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blonde haired woman and a Facebook page

Marlena Karbowski, is the Liverpool banker who found herself sucked into a modern-day love story — with a dark twist.

Elderly Woman Was Going to Sell Her Home for Her Mystery “Boyfriend”

It all began when a sweet elderly woman entered the Westpac branch Karbowski worked at. But despite appearances, Karbowski couldn't help but notice there was something suspicious about this woman.

When the client (who remained anonymous) approached Karbowski's desk, she revealed her shocking intentions for showing up that day and it instantly raised a red flag for Karbowski. This elderly client had suddenly decided she wanted to sell her home and cancel her Westpac home insurance.

Even though Karbowski didn't know what exactly was going on, one thing was absolutely clear. The elderly woman – who had been a loyal Westpac client for years and did not have a diverse history of investing — was acting out of character. The only question was what — or who — was making her act so irrationally?

When Karbowski probed further, she received a vague answer from her client about "helping her son." But this surface-level explanation didn't satisfy Karbowski. Her instincts kicked in so she delved deeper. Finally, during a private conversation with her client, the dark truth hidden beneath the surface was revealed.

Her Gut Instinct Knew There Was More to This Story

"I asked her to send me photos of the guy and I put them into a Google reverse image search. There were so many different pictures of this guy, one was of a model somewhere in America, so then we knew it was a scam,” recounted Karbowski.

After a brief investigation, Karbowski discovered the elderly woman's true mission. She was seeking funds to secure her "boyfriend's" release from imprisonment overseas. The only way she knew how to get the money was to sell her home. Karbowski calmly asked to see photos of her alleged online beau. It didn't take the tech-savvy Karbowski much time to discover a disturbing pattern.

Her “Guardian Angel” Rescued Her in the Nick of Time

A reverse Google search heartbreakingly revealed that this mysterious "boyfriend" was not who he said he was. Many of the photos the woman had received from her purported beau were found online, stolen from other people's accounts with different names. When Karbowski realized her client had already negotiated the sale of her home, she felt sick to her stomach.

Due to the immediate nature of the matter, Karbowski made it her number one priority to save this elderly woman from homelessness. Fortunately, the settlement of the property was still one week away so her elderly client still had time to cancel the sale of her house. But she wasn't finished with her just yet.

Hand-in-hand Karbowski walked her client over to the Liverpool Police Station. She encouraged her to report the crime, ensuring that the necessary steps were taken to protect her client from further harm.

As Marlena Karbowski spoke to the elderly woman, a single question made the whole puzzle come into focus. With a gentle, unassuming voice, Karbowski asked, “When was the last time he took you out for coffee?” The silence that followed was more revealing than any words could be. The elderly woman’s eyes flickered with the painful realization that she had never actually met her "boyfriend" in person. In that moment, it all became clear to both of them.

"We cried together. We care and when we see those red flags, we act.” - Marlena Karbowski

Karbowski knew this was the turning point. It wasn’t just about money or property; it was about unraveling the emotional manipulation and lies that had ensnared her client. The air in the room grew heavier as they sat together, acknowledging the gravity of the situation. Karbowski offered a comforting presence as the elderly woman processed the truth, tears welling in her eyes.

This simple question was the key to unlocking a story of betrayal that had been expertly woven by the scammer. Karbowski's instincts had paid off, and she was ready to guide her client through the difficult steps that would follow.

Do You Think a Loved One Is Involved in a Romance Scam? Here Are a Few Simple Tips:

• Trust Your Instincts : Sometimes, our gut feelings speak louder than words. If something feels off, don't ignore it.
• Ask Probing Questions: Delve deeper into their story with gentle inquiries that encourage honesty and reflection.
• Verify Information: Empower them to verify the identity of their online partner through simple checks and searches.
• Seek Support: Let them know they're not alone. Connect them with resources and support networks that offer guidance and assistance.
• Report Suspicious Activity: If you suspect foul play, don't hesitate to reach out to the authorities or financial institutions for help. Together, we can protect our loved ones from the pitfalls of online deception.

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The Hero’s Journey Ultimate Writing Guide with Examples

by Alex Cabal

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

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

What is the Hero’s Journey?

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

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

Joseph Campbell and Christopher Vogler

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

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

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

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

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

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

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

Why is the Hero’s Journey so popular?

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

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

Hero’s Journey character archetypes

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

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

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

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

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

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

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

The Threshold Guardian

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

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

The Shape Shifter

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

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

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

The Trickster

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

Hero’s Journey themes and symbols

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

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

Situational archetypes

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

Death, rebirth, and transformation in the cycle of life

Nature vs. technology, and the evolution of humanity

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

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

Setting archetypes

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

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

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

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

Symbolic items

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

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

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

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

The three act structure of the Hero’s Journey

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

Act One: Departure (Steps 1—5)

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

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

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

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

Act Two: Initiation (Steps 6—9)

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

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

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

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

Act Three: Return (Steps 10—12)

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

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

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

The 12 steps of the Hero’s Journey

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

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

1. The Ordinary World

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

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

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

Step One example

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

2. Call to Adventure

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

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

Step Two example

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

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

3. Refusal of the Call

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

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

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

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

Step Three example

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

4. Meeting the Mentor

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

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

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

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

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

Step Four example

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

5. Crossing the Threshold

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

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

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

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

Step Five example

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

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

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

6. Tests, Allies, Enemies

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

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

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

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

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

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

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

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

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

Step Six example

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

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

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

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

7. Approach to the Inmost Cave

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

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

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

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

Step Seven example

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

8. The Ordeal

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

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

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

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

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

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

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

Step Eight example

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

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

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

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

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

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

Examples of rewards may include:

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

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

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

Reconciliation with another character, or with themselves.

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

Step Nine example

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

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

10. The Road Back

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

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

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

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

Step Ten example

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

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

11. Resurrection

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

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

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

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

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

Step Eleven example

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

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

12. Return with the Elixir

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

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

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

Step Twelve example

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

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

Books that follow the Hero’s Journey

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

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

The Harry Potter series by J. K. Rowling.

The Earthsea series by Ursula K. Le Guin.

The Odyssey by Homer.

Siddhartha by Herman Hesse.

Pride and Prejudice by Jane Austen.

Writing tips for the Hero’s Journey

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

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

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

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

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

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

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

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

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

Hero’s Journey templates

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

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

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

Use the downloadable template listed below for the following exercises:

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

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

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

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

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

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

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A Practical Guide to Joseph Campbell and the Hero’s Journey

OVERVIEW: What are the hero’s journey steps? That is, what’s the psychological process we go through that can lead to inner transformation? This guide answers these questions.

______________

Treasure, love, reward, approval, honor, status, freedom, and survival … these are some of the many things associated with the hero’s journey.

However, we don’t find the meaning of the hero’s journey in slaying the dragon or saving the princess.

These are but colorful metaphors and symbols for a more significant purpose.

Battling inner and outer demons, confronting bullies, and courting your ideal mate symbolize a passage through the often treacherous path of self-discovery toward adulthood.

If you complete one of these “adventures,” you’re different. Sometimes visually, but always internally.

Here, we’ll explore the meaning of the hero’s journey steps and see how it applies to psychological development and our ability to actualize our potential.

Let’s dive in …

What is the Hero’s Journey?

The hero’s journey refers to a common motif, or set of patterns, found in many ancient mythologies around the world.

The hero’s journey steps are said to be universal and found throughout recorded history.

The popularization of the hero’s journey is attributed to the late mythologist Joseph Campbell.

These stages lead an individual (the would-be hero) through a challenging process of change that often includes great hardships.

This well-known story structure is used in many modern films and storytelling. However, the true meaning of the hero’s journey motif is psychological in origin.

What is the Monomyth?

Joseph Campbell was a curious mythologist. In the field of comparative mythology, most scholars examine how one culture’s myths are different than another.

Instead of focusing on the many differences between cultural myths and religious stories, however, Campbell did the opposite: He looked for the similarities.

His studies resulted in what’s called the monomyth . The monomyth is a universal story structure.

Essentially, it’s a story template that takes a character through a sequence of stages. Campbell began identifying the patterns of this monomyth (the hero’s journey steps).

Over and over again, he was amazed to find this structure in the cultures he studied. He also observed the same sequence in many religions including the stories of Gautama Buddha, Moses, and Jesus Christ.

Campbell outlined the stages of the monomyth in his classic book  The Hero with a Thousand Faces (1949).

What is the Hero?

The main character in the monomyth is the hero .

The hero isn’t a person, but an archetype —a set of universal images combined with specific patterns of behavior.

Think of a protagonist from your favorite film. He or she represents the hero.

The storyline of the film enacts the hero’s journey.

The Hero archetype resides in the psyche of every individual, which is one of the primary reasons we love hearing and watching stories.

What is a Myth?

We might ask, why explore the hero’s journey steps?

Sure, Hollywood uses it as their dominant story structure for its films (more on that later). But what relevance does it have for us as individuals?

Today, when we speak of “myth,” we refer to something that’s commonly believed, but untrue.

Myth, for minds like Campbell and Carl Jung however, had a much deeper meaning. Myths, for them, represent dreams of the collective psyche .

That is, in understanding the symbolic meaning of a myth, you come to know the psychological undercurrent—including hidden motivations , tensions, and desires—of the people and culture.

What is the Power of Myth?

Campbell explains to Bill Moyer in The Power of Myth : 1 Joseph Campbell, The Power of Myth , 1991, 193.

Mythology is not a lie, mythology is poetry, it is metaphorical. It has been well said that mythology is the penultimate truth–penultimate because the ultimate cannot be put into words. It is beyond words. Beyond images, beyond that bounding rim of the Buddhist Wheel of Becoming. Mythology pitches the mind beyond that rim, to what can be known but not told.

As Campbell eloquently puts it in The Hero with a Thousand Faces ,

Mythology is psychology misread as biography, history, and cosmology.

Because the hero’s journey steps represent a monomyth that we can observe in most, if not all, cultures, it represents a process that is relevant to the entire human family .

What is this Process Within the Hero’s Journey?

It’s the process of personal transformation from an innocent child into a mature adult.

The child is born into a set of rules and beliefs of a group of people.

Through the child’s heroic efforts, he must break free from these conventions (transcend them) to discover himself.

In the process, the individual returns to his soul.

If we think of the hero’s journey as a roadmap for self-development, it can hold a lot of value for us.

A Quick Note About Gender: Masculine vs Feminine

This psychological decoding is based on a “Jungian” understanding of the psyche.

The hero is ultimately a masculine archetype. The female counterpart would be the heroine. While the hero and the heroine certainly share many attributes, they are not the same.

Similarly, the hero’s journey is predominantly a process of development for the masculine psyche. The hero archetype is associated with autonomy, building structure, and learning about limitations, which are qualities associated with masculine energy.

However, note that “masculine” and “feminine” are not the same as “man” and “woman.” The psyche of a man has a feminine counterpart—what Jung called the anima . The psyche of a woman has a masculine archetype called the animus . For this reason, the hero’s journey does have universal relevance.

While Western culture seems riddled with gender confusion, there are distinct differences between the masculine and the feminine psyche.

Okay, now back to our story …

The 3 Main Stages of the Hero’s Journey

Okay, so now let’s begin to break down the structure and sequence of the hero’s journey.

As Campbell explains:

The usual hero adventure begins with someone from whom something has been taken, or who feels there is something lacking in the normal experience available or permitted to the members of society. The person then takes off on a series of adventures beyond the ordinary, either to recover what has been lost or to discover some life-giving elixir. It’s usually a cycle, a coming and a returning.

This cycle of coming and returning has 3 clear stages:

Stage 1: Departure

Campbell called the initial stage departure or the call to adventure . The hero departs from the world he knows.

Luke Skywalker leaves his home planet to join Obi-Wan to save the princess. Neo gets unplugged from The Matrix with the help of Morpheus and his crew.

In the Departure stage, you leave the safety of the world you know and enter the unknown.

Campbell writes of this stage in The Hero with a Thousand Faces :

This first step of the mythological journey—which we have designated the “call to adventure”—signifies that destiny has summoned the hero and transferred his spiritual center of gravity from within the pale of his society to a zone unknown.

That is, the hero must leave the known “conventional world” and enter a “special world” that is foreign.

Stage 2: Initiation

Now the hero must face a series of trials and tribulations. The hero’s journey isn’t safe.

The hero is tested in battle, skill, and conflict. He may not succeed in each action but must press on.

The protagonist will meet allies, enemies, and mentors with supernatural aid throughout the initiation stage.

Stage 3: Return

Having endured the trials and hardships of the adventure, the hero returns home.

But the hero is no longer the same. An internal transformation has taken place through the maturation process of the experience.

Luke is now a Jedi and has come to peace with his past. Neo embraces his destiny and liberates himself from the conventions of The Matrix.

The Hero’s Journey in Drama

In Three Uses of a Knife , famed playwright David Mamet suggests a similar three-act structure for plays and dramas: 2 David Mamet, Three Uses of the Knife: On the Nature and Purpose of Drama , 2000.

Act 1: Thesis . The drama presents life as it is for the protagonist. The ordinary world.

Act 2: Antithesis . The protagonist faces opposing forces that send him into an upheaval (disharmony).

Act 3: Synthesis . The protagonist attempts to integrate the old life with the new one.

We note that problems, challenges, and upheavals are the defining characteristic of this journey.

Without problems, the path toward growth is usually left behind. (More on this topic below.)

Assessing Your Place in the Hero’s Journey

Before we explore the stages of the monomyth more closely, let’s look at what these three phases reveal about self-mastery and psychological development.

Stage 1 represents our comfort zone. We feel safe here because it is known to us.

Stages 2 and 3, however, represent the unknown . Embracing the unknown means letting go of safety.

Abraham Maslow points out that we are confronted with an ongoing series of choices throughout life between safety and growth, dependence and independence, regression and progression, immaturity and maturity.

Maslow writes in Toward a Psychology of Being : 3 Abraham Maslow, Toward a Psychology of Being , 2014.

We grow forward when the delights of growth and anxieties of safety are greater than the anxieties of growth and the delights of safety.

Is it now clear why so many of us refuse the call to adventure?

We cling to the safety of the known instead of embracing the “delight of growth” that only comes from the unknown.

Campbell’s 17 Stages of the Hero’s Journey

Joseph Campbell didn’t just outline three stages of the monomyth. In The Hero with a Thousand Faces , he deconstructs every step along the journey.

The stages of the hero’s journey are the common sequence of events that occurred in the monomyth motif.

Technically speaking, Campbell outlined 17 stages in his The Hero with a Thousand Faces:

• 1: The Call to Adventure
• 2: Refusal of the Call
• 3: Supernatural Aid
• 4: The Crossing of the First Threshold
• 5: Belly of the Whale
• 6: The Road of Trials
• 7: The Meeting with the Goddess
• 8: Woman as the Temptress
• 9: Atonement with the Father
• 10: Apotheosis
• 11: The Ultimate Boon
• 12: Refusal of the Return
• 13: The Magic Flight
• 14: Rescue from Without
• 15: The Crossing of the Return Threshold
• 16: Master of the Two Worlds
• 17: Freedom to Live

These 17 stages or hero’s journey steps can be found globally in the myths and legends throughout recorded history.

The Modified 12 Hero’s Journey Steps

Now, let’s review these stages of the hero’s journey in more detail.

I’m going to outline these steps below using a slightly simplified version from Christopher Vogler’s The Writer’s Journey: Mythic Structure for Writers .

Vogler’s model, which is used throughout Hollywood, only has 12 steps (compared to 17), and I think it does a solid job of keeping the essence of Campbell’s monomyth structure intact.

As you read these hero’s journey steps, see if you can determine how they apply to your development.

Step 1: The Ordinary World

Before a would-be hero can enter the special world, he must first live in the ordinary world.

The ordinary world is different for each of us—it represents our norms, customs, conditioned beliefs, and behaviors. The ordinary world is sometimes referred to as the “conventional world.”

In The Hobbit , the ordinary world is the Shire where Bilbo Baggins lives with all the other Hobbits—gardening, eating and celebrating—living a simple life.

Novelist J.R.R. Tolkien contrasts this life in the Shire with the special world of wizards, warriors, men, elves, dwarfs, and evil forces on the brink of world war.

Step 2: The Call to Adventure

The first hero’s journey step is the call to adventure.

The call to adventure marks a transition from the ordinary world to the special world. The hero is introduced to his quest of great consequence.

Obi-Wan said to Luke, “You must come with me to Alderaan.” That is, Luke is invited to leave the ordinary world of his aunt and uncle’s farm life and go on an adventure with a Jedi knight.

Joseph Campbell explains: 4 Joseph Campbell, The Hero’s Journey: Joseph Campbell On His Life And Work , 1990.

The call to adventure signifies that destiny has summoned the hero and transferred his spiritual center of gravity from within the pale of this society to a zone unknown.

Step 3: Refusal of the Call

Fear of change as well as death, however, often leads the hero to refuse the call to adventure .

The ordinary world represents our comfort zone; the special world signifies the unknown.

Luke Skywalker immediately responds to Obi-Wan, “I can’t go with you,” citing his chores and responsibilities at home.

Step 4: Meeting the Mentor

Campbell called this archetype the “mentor with supernatural aid.”

Generally, at an early stage of the adventure, the hero is graced by the presence of a wise sage . Personified in stories as a magical counselor , a reclusive hermit, or a wise leader, the mentor’s role is to help guide the hero.

Think Obi-Wan, Yoda, Gandalf, Morpheus, or Dumbledore. Sometimes cloaked in mystery and secret language, a mentor manifests when the hero is ready.

Sadly, our modern world is depleted of wise elders or shamans who can effectively bless the younger generation. (A topic for a different day.) For most of us, it is best to seek wise counsel from your inner guide , the Self within.

Step 5: Cross the First Threshold

The hero resists change initially but is ultimately forced to make a critical decision: embark on the adventure or forever remain in the ordinary world with its illusion of security.

Although Luke refuses the call to adventure initially, when he returns home to see his aunt and uncle dead, he immediately agrees to go with Obi-Wan. He crossed the first threshold.

In one sense, the first threshold is the point of no return. Once the hero shoots across the unstable suspension bridge, it bursts into flames.

There’s no turning back, at least, not how he came.

The first threshold can mark a major decision in our personal lives:

• “I’m going to travel around the globe.”
• “I’m going to transform my physical health.”
• “I am going to write a book.”
• “I’m going to master the flute.”
• “I’m going to realize my true nature.”

This first breakthrough is a feat within itself; however, it is only the first of many turning points.

Step 6: Tests, Allies, Enemies

Along the hero’s journey, the main character encounters many obstacles and allies.

Luke meets Obiwan (mentor), Han Solo, Princess Leia, and the rebel alliance while fighting many foes. Neo meets Morpheus (mentor), Trinity, and the rest of the Nebuchadnezzar crew while having to fight Agents in a strange world.

Some people may try to stop you along your quest—possibly saying you’re unreasonable or unrealistic. These “dream-stoppers” are often cleverly masked as friends and family who appear to have positive intentions but hinder your development nonetheless.

Your ability to identify obstructions on your path and align with support along your adventure is critical to your adventure.

Unfortunately, because few complete their hero’s journey to mature adulthood, most people will unconsciously attempt to sabotage yours.

Step 7: Approach to the Inmost Cave

The next significant threshold is often more treacherous than the first.

Entering the villain’s castle or the evil billionaire’s mansion, this second major decision usually puts the hero at significant physical and psychological risks.

Neo decides to go save Morpheus who’s being held in a building filled with Agents.

Within the walls of the innermost cave lies the cornerstone of the special world where the hero closes in on his objective.

For a man, the innermost cave represents the Mother Complex, a regressive part of him that seeks to return to the safety of the mother. 5 Robert Johnson, He: Understanding Masculine Psychology, 1989.  When a man seeks safety and comfort—when he demands pampering—it means he’s engulfed within the innermost cave.

For a woman, the innermost cave often represents learning how to surrender to the healing power of nurturance—to heal the handless maiden. 6 Robert Johnson, The Fisher King and the Handless Maiden: Understanding the Wounded Feeling Function in Masculine and Feminine Psychology , 1995.

Step 8: Ordeal

No worthwhile adventure is easy. There are many perils on the path to growth, self-discovery , and self-realization.

A major obstacle confronts the hero, and the future begins to look dim: a trap, a mental imprisonment, or imminent defeat on the battlefield.

It seems like the adventure will come to a sad conclusion, as all hope appears lost. But hope remains and it is in these moments of despair when the hero must access a hidden part of himself—one more micron of energy, strength, faith, or creativity to find his way out of the belly of the beast.

Neo confronts Agent Smith in the subway station—something that was never done before. The hero must call on an inner power he doesn’t know he possesses.

Step 9: Reward

Having defeated the enemy and slain the dragon, the hero receives the prize. Pulling the metaphorical sword from the stone, the hero achieves the objective he set out to complete.

Whether the reward is monetary, physical, romantic, or spiritual, the hero transforms. Usually, the initial prize sought by the hero is physical—the sword in the stone or a physical treasure of some kind.

Step 10: The Road Back

Alas, the adventure isn’t over yet. There usually needs to be one last push to return home. Now the hero must return to the world from which he came with the sacred elixir.

Challenges still lie ahead in the form of villains, roadblocks, and inner demons. The hero must deal with whatever issues were left unresolved at this stage of the journey.

Taking moral inventory, examining the Shadow , and performing constant self-inquiry help the hero identify weaknesses and blindspots that will later play against him.

Step 11:  Resurrection

Before returning home—before the adventure is over—there’s often one more unsuspected, unforeseen ordeal.

This final threshold, which may be more difficult than the prior moment of despair, provides one last test to solidify the growth of the hero. This threshold represents the final climax.

Neo is shot and killed by Agent Smith. And, he literally resurrects to confront the enemy one last time following his transformation.

The uncertain Luke Skywalker takes that “one in a million” shot from his X-Wing to destroy the Death Star.

Step 12: Return with the Elixir

Often, the prize the hero initially sought (in Step 9) becomes secondary as a result of the personal transformation he undergoes.

Perhaps the original quest was financially driven , but now the hero takes greater satisfaction in serving others in need. The real change is always internal .

In this final stage, the hero can become the master of both worlds , with the freedom to live and grow, impacting all of humanity.

Returning with the prize, the hero’s experience of reality is different. The person is no longer an innocent child or adolescent seeking excitement or adventure.

Comfortable in his own skin, he has evolved and is now capable of handling the demands and challenges of everyday life.

The Hero’s Journey in Films

Are you now more aware of how these hero’s journey steps play out in popular films and television series?

George Lucas was friends with Joseph Campbell. Lucas used these hero’s journey steps from Campbell’s The Hero with a Thousand Faces to produce the original Star Wars film. 7 https://billmoyers.com/content/mythology-of-star-wars-george-lucas/

It’s difficult to appreciate the impact Star Wars still has on American culture and around the world. It’s even more difficult to articulate how much of that impact is attributed to Campbell’s insights.

However, one challenge our culture faces is that many popular film franchises produce movies that, most often, never complete the hero’s journey.

Many popular characters in action films like Marvel and DC Comics superheroes, James Bond, Ethan Hunt (Mission Impossible), Indiana Jones, etc. never actually transform.

These characters stay in the adolescent stage of development (and we tend to celebrate that reality).

These heroes don’t evolve into the warm, vulnerable, generative adults who no longer seek adventure and excitement.

That said, since I originally published this guide in early 2018, this has begun to change.

For example, in the final Bond film, No Time to Die (2021), James Bond did demonstrate some generative growth.

The same goes for Tony Stark’s character (Ironman) in Avengers: Endgame (2019).

Where Are You On Your Hero’s Journey?

More importantly, do you see how these hero’s journey steps are unfolding in your life?

Although each of our stories is unique, they have common threads—elements of this universal structure we all share.

Returning from the moment of despair—from inside the dragon’s lair—without the reward (or lesson), you are presented with a similar adventure repeated ad infinitum —until you either learn the lesson or give up.

In the beginning, the hero’s journey is about achievement.

Whether you’re trying to build a successful business, raise a family, write a screenplay, travel to a distant land, or become a skilled artist, these all represent external achievements that often launch us into our hero’s journey.

But through this external quest—if we become more conscious—the journey transitions to an emphasis on internal growth that leads to transformation.

The Hero isn’t an expression of mature adulthood. This archetype is a by-product of adolescence. The archetypes of adulthood are different, but to access them, we must complete the hero’s journey first .

The Primary Ingredient in Every Hero’s Journey

Compelling stories and real life comes down to one thing: problems .

The protagonist faces a problem and tries to overcome it. Problems represent the essence of drama and the key to good storytelling.  Without problems, there’s no story. Problems engage us, tantalizing the human mind.

The hero must face his problems, surmount his fears, resolve his tensions, or fail.

The same is true for our development: without problems and tensions, there can be no growth.

Psychological development is the process of overcoming setbacks, limitations, and conditioned behavior to reach maturity.

Refusing the Call to Adventure

Few people ever fully embrace the Hero’s Journey, a psychological odyssey that leads the individual to wholeness .

Because of our fear of the unknown, many refuse the call to adventure. We delay our journey in many ways:

• Put important things aside.
• Procrastinate.
• Distract ourselves with TV, social media, and other people’s lives.
• Make excuses.
• Stay stuck in the lazy part .
• Focus on competing with others.

But something brews inside of us. An internal tension builds. The tension may be small at first, but it grows stronger in the darkness. Tensions are those opposing forces at play within us. This internal conflict creates disharmony.

Humans don’t like disharmony when it bubbles into consciousness, and so these internal tensions can catapult us out of the familiar. The feeling of discord can lead to action and ultimately, some resolution.

Maybe you’re currently embracing your hero’s journey. Or perhaps you’ve been refusing the call. It matters not. What matters is what you do today— right now .

How to Embrace Your Hero’s Journey, Step by Step

The main thing you need to do to embrace your hero’s journey is stay present.

Remember, as Campbell explained, “You are the hero of your own story.”

Psychological development is supposed to be a natural process. But we aren’t currently in a world that supports healthy development.

As such, it’s vital to listen within .

Here are a few guides that may serve you:

• Access Your Inner Guide
• How to Ground Yourself
• How to Stay in Your Center
• How to Overcome Internal Resistance

Ultimately, be mindful of your fears and aspirations.

Left unchecked, your fears can subconsciously lead you to endlessly refuse the call to adventure.

In contrast, your aspirations can help you embrace your adventure.

As Joseph Campbell often said,

Follow your bliss!

Videos Related to the Hero’s Journey Steps

Book related to the hero’s journey steps.

The hero’s journey steps are outlined in the books referenced throughout this guide:

The Hero with a Thousand Faces by Joseph Campbell

The Power of Myth by Joseph Campbell

Joseph Campbell’s Mythos Lecture Series (DVD)

The Writer’s Journey by Christopher Vogler

How to Be an Adult by David Richo

What Do You Think?

Are you going through the hero’s journey steps?

About the Author

Scott Jeffrey is the founder of CEOsage, a self-leadership resource publishing in-depth guides read by millions of self-actualizing individuals. He writes about self-development, practical psychology, Eastern philosophy, and integrated practices. For 25 years, Scott was a business coach to high-performing entrepreneurs, CEOs, and best-selling authors. He's the author of four books including Creativity Revealed .

Learn more >

I would like to understand the Hero’s journey. Joseph Campbell describes it as something that has been taken/lost or life giving. How do I know if my hero’s journey has been done?

If you’re examining the hero’s journey from the perspective of individuation — that is, the journey to mature adulthood — it takes many years to come to wholeness within oneself.

Psychologically speaking, the hero’s journey is inward. The characters you meet (like the Mentor) are within yourself. So it involves active imagination in bringing the archetype into some form of harmony within yourself.

You have mentioned a choice to stay in the comfort of safety or the unknow for growth. I am wondering if this is done in a Psychological manner where your life’s circumstances stay as they are or you physically live in a different environment, leaving your surroundings, people and material responsibilities etc.. Hope you can answer this for me.

If you’re a young adult, there’s often an external aspect to the hero’s journey — for example, leaving home and separating from one’s parents. But what Campbell was highlighting with the monomyth is ultimately a psychological process akin to Jungian individuation: https://scottjeffrey.com/individuation-process/

I want to share my thoughts on the heroes journey. After reading the twelve steps, and what you said- I quote “Step 12: Return with the Elixir Often, the prize the hero initially sought (in Step 9) becomes secondary as a result of the personal transformation he undergoes.

Perhaps the original quest was financially driven, but now the hero takes greater satisfaction in serving others in need.

The real change is always internal.

In this final stage, the hero can become the master of both worlds, with the freedom to live and grow, impacting all of humanity.”

My favorite movie for a while now has been The Peaceful Warrior, I have just watched Coach Carter. They seem to tell the same story and I think the story of The Heroes Journey. You have mentioned Star Wars, James Bond and the Matrix.

In the movies The Peaceful Warrior, and Coach Carter, the achievement earned is an inward spiritualism that is, I quote” impacting all of humanity.” Thank-you.

If The Peaceful Warrior is your favorite movie, read Dan Millman’s “The Way of the Peaceful Warrior” — the book the film is based on. Much deeper insights. It’s a magical book — especially when you’re just setting out on your self-discovery journey.

I have read about 25% so far, I am not a good reader. I give myself three pages each day, yet often I’m reading more. It is as if the movie is replaying and I’m able to go with it, imaging the main characters. There is more information from reading than watching the movie, though I am thinking there is a lot of fiction, as it has been described on the net. Though I just need to adhere to the believable parts. I don’t know if it is possible to remember the day’s events that happened during college. For example, what people said, what they were doing throughout the day. My college day’s I can only remember situations that happened all dispersed from one another, with only a few minutes recalled. Does someone like yourself able to recall conversations and put them as dialogs for a book? Or is it a writer’s privilege to invent these for the book?

“The Peaceful Warrior” is a work of fiction. The genre is technically called “visionary fiction.”

There is a passage in the book where Socrates say’s “Mind is an illusory reflection of cerebral fidgeting. It comprises all the random uncontrolled thoughts that bubble into awareness from the subconscious. Consciousness is not the mind; awareness is not mind; attention is not mind. Mind is an obstruction, an aggravation, a primal weakness in the human experiment. It is a kind of evolutionary mistake in the human being. I have no use for the mind.” I don’t think think this way because what we have as humans is natural and so it has a purpose. I am interested if you would give an opinion on this statement Socrates said.

For the most part, I agree with Millman’s statements. They are also consistent with much of the Eastern traditions. An essential aspect of the meditative traditions is to “pacify the mind”. They sometimes even use stronger longer of “killing the mind.” But at other times, they make the distinction between the “aware mind” versus the “monkey mind” or the “shining mind” versus the “stirring mind.” But in terms of the untrained mind (which is the mind of over 99% of people), I agree with Millman. I just wouldn’t call it “evolutionary.”

Millman would have already made ethical judgment towards any begger, so, he should not have thought twice about ignoring him. But because his story, is going through a transformation, he had these menacing mind talks. Do you think if you were in the same situation as him, would you give the begger money or use your self-consciousness to clear negative mind noise? I am wondering if a second time in the same situation would make one change their reaction…

This is quoted from the book; “A scrawny young teenager came up to me. “Spare some change, can’t you?” “No, sorry,” I said, not feeling sorry at all. As I walked away I thought, “Get a job.” Then vague guilts came into my mind; I’d said no to a penniless beggar. Angry thoughts arose. “He shouldn’t walk up to people like that!” I was halfway down the block before I realized all the mental noise i had tuned in to, and the tension it was causing – just because some guy had asked me for money and I’d said no. In that instant I let it go.”

I finished the peaceful warrior and found it enjoyable. The preview of Dan’s second book (Sacred Journey of the peaceful warrior) sums up what he was expressing through his life.

There was one part I have heard before where the dialog between Dan and Soc was flat, with no meaning. Thank-you.

I would like to balance the four functions Jung describes (thinking, feeling, sensation and intuition) in your Individuation Process page. How do I know when feeling and sensation are active in everyday events? Could you give me an example? Thank-you.

Brett, please use the related guide page to address your questions.

The Individuation process page has not got a comments section.

I was walking in the bush on a moonlit windy night. The moving branches displayed a moving shadow, I was startled at first thought someone was behind me. Then I put the moonlight and the moving branches together and summed up what had happened without turning around. Was my thinking a Feeling, thinking, intuition or sensation? Thank-you.

I didn’t realize the comment sections weren’t open on that other guide. The psychological types represent our dominant orientations for processing information. When you were startled, was your attention on your body or the fear itself? Was your mind focused on “what could that be”? No need to answer here.

But the main thing about psychological types, from a Jungian perspective, is to understand what your dominant and inferior types are so you can develop your weakest side. Taking an Enneagram assessment test can help you determine your dominant type. In that system, it’s either thinking, feeling, or sensing.

Thank-you for your reply. You gave me an example of what I believe would be my dominant (being the first impression of the event) type. The second instance you described, is that too my dominant type? I do already know what it was that brings me fear. Can you follow up with this scenario? I have done enneagram questions before, and I am hopeless in giving a true response as all multiple question apply to equally.

“I have done enneagram questions before, and I am hopeless in giving a true response as all multiple question apply to equally.”

In my experience, when people say things like this, it’s often because they are “out of center” and analyzing things in their heads. If, for example, you read detailed descriptions of each Type, there’s no way you’re going to relate equally to all of them. Only one (sometimes a few) will strike a deep cord within you. It may leave you feeling “raw” and exposed.

Using the example you provided isn’t really going to help in this context. Do you mostly live in your head (mind/thoughts/analysis), your body (gut/sensations/sensory perception), or feelings? We all use all of them, but one tends to be more dominant than the others.

Thank-you. I agree with you Quote “If, for example, you read detailed descriptions of each Type, there’s no way you’re going to relate equally to all of them”. You might think I’m procrastinating as I want to work this out. Quote” Superior Function versus Inferior Function We like to do things we’re good at and avoid doing things in which we feel inadequate. Thus, we develop specific skills while undeveloped capacities remain in the unconscious. Jung grouped these four functions into pairs: thinking and feeling, sensing and intuiting”. Follow me for a sec, I have determined my superior function is Thinking, that would leave my inferior function to feeling. I assume sensing and intuition would be in the middle. I’m going to give the answer that you will give to my question, how do I bring the four functions to the middle? Answer ; center yourself. Do you agree or tell me what I should be doing?

Brett, I can’t really speak to what you should be doing. From a Jungian perspective (as well as transpersonal psychology), you would develop your inferior function and grow in that line of intelligence. I borrow the concept of the Center from the Taoist tradition. Western psychology mainly seeks to build a healthy ego while Eastern traditions mainly focus on transcending the ego.

Is the answer to “center yourself”? Sure. But most likely you’ll only be able to do this temporarily (representing a “state” of consciousness), while if you develop via various practices, you establish different structural changes that become more stable.

How to Center Yourself.

I like this article and want to learn more. I’m sending you my questions in this article as there isn’t a comments section.

I have so many questions, do I really need these answered to be comfortable with learning? Or should I take a calming with acceptance approach, that will eventually find the answers I seek? Should I go ahead and ask… ok I will ask. In the four centers, take in information via the physical center, interpret experience via the emotional center, evaluate the world via the mental center. Could all be take in information? Thank-you.

Brett, I just opened the comment section on that centering guide. Please post your question there and then I’ll reply.

Is it always a Heroes journey to take on what seems an insurmountable task? I see this at the beginning of inspirational films. Thank-you.

Always be careful with the term “always.”

Remember that what Campbell was ultimately highlighting with his monomyth structure was a psychological process of development. So it’s best to keep that in context.

Insurmountable tasks can sometimes be a catalyst for one’s journey, but this is not always the case.

In films and storytelling, you need major a problem for the hero/protagonist to face. Otherwise, there’s no story.

With what you said in keeping the psychological process in context. I was thinking of the film where a football coach leaves a successful career in the city, to coach no-hoper orphans in the country. My first impression was that the coach is on a hero’s journey with much to lose but great inward comfort to gain. Now I think it is the orphan footballers who are on a hero’s journey, (by leading as an example of being an orphan and becoming successful to inspire them to do the same) to stand up with confidence to be equal to the rest of the world. The movie is twelve mighty orphans. Is this reasonable thinking and do you see different interpretation? Thank-you

I can’t really comment as I haven’t seen the film. In any decent film, multiple characters have “arcs.” In many cases, the coach in sports films plays the mentor/sage role but then has his own transformation as well. This is the case with Gandalf the Gray who has to “die” and be resurrected, transforming into Gandalf the White.

Merry Christmas Scott digital guide. Type to you soon:)

Does the hero’s journey have the same thoughts and feelings for a woman as a man?

From a Jungian perspective, the process would be different.

As Jungian Robert A. Johnson highlights in many of his books, the myths related to the feminine psyche are different than the myths related to the masculine. As such, they follow a different structure and aim.

That said, because there’s an anima in each male psyche and an animus in each female psyche, a part of us can relate to the hero’s journey in its totality. Hence, a heroine can go on a similar hero’s journey as a man.

What an excellent and thorough treatment. Thanks for these invaluable insights for my writing class.

Thank you for the feedback, Craig!

I love this observation about modern cinematic heroes: “Many popular characters in action films like Marvel and DC Comics superheroes, James Bond, Ethan Hunt (Mission Impossible), Indiana Jones, etc. never actually transform.”

Have you written elsewhere at greater length on this topic? I thought I read an article on this topic a few years back but don’t remember where! Certainly the weightiness of the observation was such a lightbulb moment.

Thanks and kind regards M.

You can find a more detailed archetypal decoding of the hero here:

https://scottjeffrey.com/hero-archetype/

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The Hero’s Journey Climax: 3 Key Principles to Write the Ordeal Scene

by David Safford | 1 comment

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Writing a Hero's Journey climax isn't easy. Even when you outline it properly, you might struggle to put the right words on the paper.

If you understand what makes a great Hero's Journey climax, however, you can defeat this daunting task easier.

In this article, you'll learn what the Hero's Journey climax, otherwise known as the Ordeal, is—and why it is so important.

You'll also learn writing tips that can help you write this well: how to raise the stakes and maintain the action without losing the heroic arc that your protagonist has learned along the way.

Understanding A Strong Hero's Journey Climax

As a judge of several writing contests, I've read many stories filled with action, violence, shouting, and assorted conflict. While a few of these stories pulled off their hero's journey climaxes, most of them bombarded me with noise, gore, curses, and even sexual activity—all while abandoning their protagonist's true journey.

When that happens, you can count your reader out.

Here's how to write your story's climax and keep your reader excitedly turning pages.

The Hero's Journey (Recap)

Joseph Campbell's Hero's Journey is a theory exploring a timeless, mythical story structure. Following a hero as they flee their everyday life, the hero's central conflict involves a quest for justice and rebirth that must come from defeating an evil force, usually called the Shadow.

This entire journey has been condensed into Christopher Vogler's 12 Steps of the Hero's Journey , an outline of story elements and the series of events leading from the beginning to the climactic event (the moment when the hero either achieves their goal or is defeated).

Prior to the climatic event, or the Hero's Journey Ordeal, there's an Approach to the Inmost Cave . Here, before the hero performs a big, decisive action, there is a brief pause. During this time the author establishes three key things:

• The villain guarding the goal is really, really nasty
• The cost of losing (known as stakes ) are extremely high
• The task that must be completed in order to achieve victory

Once this “calm before the storm” has occured, you are free to send your hero unto the breach so they can face the tests ahead.

Let's talk about how to do just that!

Hero's Journey Step 8: The Ordeal (the Climax)

In Hero's Journey-speak, the climax of the story is known as the Ordeal .

The Ordeal is a complicated and nearly-impossible task that your hero must accomplish in order to achieve their goal. Accomplishing it, however, cannot end the story, but merely reveal that the goal itself does not satisfy your hero's deepest need. But more on that later.

An easy way to think of the Ordeal is as an action sequence, but this may not always be the case. It could be a test of character, like in The Queen's Gambit.  It could be a test of wit and wisdom, as in  WandaVision.  And it can be a test of loyalty, as in  Pride and Prejudice. 

But most often it is, in fact, a test of strength, strategy, and skill.

There is a “storming of the castle,” so to speak, where your hero must face a task that is greater than anything they have encountered so far. It's also likely your hero comes face to face with the villainous Shadow in this scene.

From 30,000 feet, though, remember that the goal of the Ordeal scene is to have your hero obtain the Goal of the quest.

This usually involves rescuing someone, acquiring a treasure or weapon, or fulfilling some other task (like destroying the One Ring of Sauron, à la The Lord of the Rings). 

However, the act of doing so much reveal something about the Goal, the world it lives in, and/or the hero themselves that leads to dissatisfaction or fails to resolve the issues facing the story in a complete way.

3 Key Principles in a Hero's Journey Climax (Ordeal)

The Ordeal is a lengthy scene, filled with many beats, and each beat must be carefully designed to maximize its impact. This is the moment your reader has been waiting for, after all!

How do you write it so it is irresistibly good?

1. Focus on what got you here: Desire

It's easy to screw this up. When we plan and write a story, we spend a lot of time building up toward the exciting climactic event. So when we get there, it's easy to overdo it with physical details as we attempt to take the movie playing in our heads and put it down on paper.

Unfortunately, the same movie will never play in your reader's mind. There might not be a movie playing at all.

Instead, when readers confront pages of physical description and noise (whether they're depictions of fistfights, gun battles, sexual intimacy, or shouted opinions), they instinctively recoil.

This is especially true if the bombast isn't earned, but thrust too quickly or emphatically into the story.

This is natural. We avoid conflict , especially conflict that we can't comprehend or establish ourselves in, even as observers. It is imperative that your reader understands every piece of your story's action, and that they care about the outcome of each punch, jump, kiss, or insult.

That's why you need to focus on what got you here: Your protagonist's desire.

And along with that desire (for their want and need), is their fear. What do they have to lose? Why is success so important to them?

Each moment of action must be filtered through the protagonist's journey of hope and fear. Each step forward or retreat backward must come with hope, disappointment, terror, anticipation, belief, despair . . . all the emotions that accompany an active protagonist.

A great example can be found in George Lucas's epic space fantasy,  Star Wars. 

The final battle between the Rebellion and the Empire is ultimately a loud, bombastic explosion of lasers and engines screaming across the screen. But there are two elements infusing it with incredible emotion: Friendship and the Force.

First, Luke is fighting not just for the Rebellion, but for his friends. Leia, Chewbacca, and C-3PO are on Yavin-4, the planet about to be obliterated by the Death Star. And his best friend from home, Biggs, gets killed in the fight.

Then to add to it, Luke seems to know that computers and technology alone cannot win the battle for him. After all, they are fighting a massive machine (the Death Star) and a small machine (Darth Vader); clearly the Empire has the upper hand when it comes to dehumanizing control.

The scene , and his character, takes a massive turn when Luke listens to the voice of his master, speaking through the mystical energy field called the Force, instructing him to trust in it and use it.

Luke does, and this is what gives  Star Wars'  climactic moment its most powerful punch. Luke doesn't just desire to beat the Empire; he desires for his life to have meaning. The Force gives him that meaning that he deeply seeks.

2. Use beats of quiet contemplation or conversation

Another mistake authors make with their story climaxes is to load them with nonstop action.

Again, this may be a result of “writing the movie in your head,” as we hope to create a scene of pulse-pounding excitement, and write one blindingly exhausting scene after another.

But this isn't how the human mind processes things. It also doesn't allow much room for your hero to process how the stakes (and their dreams) are changing in the moment. Human beings are constantly evaluating and strategizing, and you need little moments of quiet thought or peaceful conversation to punctuate the sound and the fury of your story climax.

More movies do this than you might immediately realize. Rewatch your favorite action movie and you'll notice throughout the climactic action scenes just how often the story pauses for characters to think, reflect, and reorient themselves.

The Hunger Games  excels at this.

Partially, author Suzanne Collins is at an advantage, since the Ordeal could include all of the “Games.” Yet the Games aren't packed with wall-to-wall violence. Take the relationship between Katniss and Rue.

Neither come from wealth or privilege. District 12 is hardly a paradise, and from what Katniss learns from Rue, neither is District 11. With an ordinary world in common, the two form a friendship which seems based on love and respect for life. It's these quiet, beautiful moments that make Rue's death so gut-wrenching. They are also why her death is such a critical moment in both the plot and Katniss's character development.

So add in a few moment for your characters to catch their breath and connect in the midst of the chaos. Your reader will probably need to do the same, too!

3. Don't give the hero what they want

One final trick that will make your climax unbelievably thrilling is to withhold the very thing the scene promises to deliver: The Goal.

This isn't just meant to mess with your reader. It's to reflect a painful reality of life: That what we want is often deeply unsatisfying, or at least not so easily won.

There are two ways to do this.

First, you can simply have the Goal be taken away. Destroy the MacGuffin. Kill off the character. Have the Shadow, or villain, hide the Goal or protect it in a more ultimate way.

Or secondly, and perhaps more meaningfully, let the hero obtain the Goal, only to feel a deep and hollow disappointment.

So often we orient our lives toward some physical goal, like money, fame, sex, or treasure, only to obtain that goal and find ourselves feeling emptier than ever before. We realize that no matter how much we believe we will be fulfilled by this “thing,” that no thing can ever fulfill as deeply as we'd hope.

That's why your hero must have something in addition to their object of desire: your hero must have an internal need .

Internal needs take the form of validation, acceptance, peace with oneself, spiritual harmony, reconciliation, forgiveness, acceptance of death, emotional/spiritual rebirth, and more. These needs are what will ultimately drive your Hero's Journey forward, because heroic journeys aren't just about getting prizes like weapons, money, or “peace.”

They're about peace within, and the peace all human beings long for in a world filled with so much injustice and suffering.

Such a story is the epic saga of Harry Potter .

This series is filled with several MacGuffin goals that J.K. Rowling sends her cast of characters out to find, but all of them point to the deeper problem lurking under the surface: Voldermort.

This is why Harry Potter will begin one of his adventures thinking he wants a magical object, like the Sorcerer's Stone, but soon learns that such a thing won't ultimately help him satisfy his deepest needs.

When Harry seeks to acquire the Sorcerer's Stone in order to prevent Voldemort from regenerating. Yet when he looks in the Mirror of Erised (that's Desire if you weren't reading this in a mirror), Harry realizes that he doesn't want a magic rock. He wants his family back. But because Voldemort destroyed it, he can never have what he truly wants.

What a powerful message to package into a children's book! Yet this is the reality of life, and great writers use their stories' climaxes to reflect it.

If you do this too, your story will also ripple with unfathomable power. Readers will gasp, but they won't give up. They'll have  to keep reading, because what happens to the hero will say something about the readers' lives as well.

That's the kind of story we all want to write.

Ordeal/Climax: Action of the Heart

No matter what kind of climactic Ordeal your story requires, never forget that the most important action must occur in your protagonist's heart.

It can be so easy to compose physical imagery and believe it will thrill our readers. But without the necessary action of the heart—the action of wanting, hoping, fearing, disbelieving, and more—the physical action will fall painfully flat, leaving your reader disappointed.

Don't fall leave your reader wanting. Deliver an incredible reading experience by nailing your story's Ordeal.

What are your favorite climax scenes from stories you enjoy? What do you love about those scenes? Let us know in the comments .

To practice writing this crucial scene, freewrite for fifteen minutes about a high stakes choice. Here's all you need:

• Character (call them “A” or “B”)
• A goal (make it something simple, like a bottle of water)
• High stakes

Dream up ways for the pursuit to be challenging, heartbreaking, and filled with dilemmas in which the character must choose between two “best bad” options.

Then jump into the hero's psyche and react with thought or dialogue. Write how the hero processes this emotion physically: Do they sweat? Do their fingers become ice-cold? Does their vision blur?

Experiment with this physical-emotional back-and-forth to discover new ways of composing climactic action! Post your Practice in the box below, and be sure to leave a constructive critique on another writer's practice when you're done!

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.

A looked out the window. the clouds were blocking the sun, as usual. she put her chin in her hands and sighed woefully. She wanted to go outside, so so bad. To feel the rain, the wind, the grass, but mostly the sun. She would never be allowed outside. for her own good, of course. She flopped onto the bed as a nurse hurried in. the nurse closed the curtains and turned to A. “remember, honey, that the sun is dangerous. even a few rays through the clouds could be dangerous for your health!” She scolded. A whimpered, and looked at her pale hands. the hands of a ghost. “i’m dying anyways, why not let me look at the sun before I go?” The nurse softened, “we’re trying our best, and you’re a fighter. you’ll make it.” “What’s living, without the sun? There’s no purpose. always being inside, no nature. no LIGHT.” A waved her hand at the LED lights on the ceiling that were never on. It seemed the nurse couldn’t take the depressive state of A anymore, so she fled. tail between her legs. A sat up, conscious of the weakness in her limbs, and cautiously clambered out of the bed. she gribbed the edges to steady herself, and walked out the door. she made it out the door, only to trip, and stub her toe. She yelped in pain, drawing the attention of a doctor down a hallway. “Miss! miss! You’re not supposed to be out!” He started running toward A. A panicked, and fled the hallway, she stumbled and fell on her face, but, grunting in pain, she pushed herself up, her weak arms shaking from the strain of her bodyweight. she crawled, into an unused room, and sat with her back to the wall, breathing heavily and crying quietly. She couldn’t afford to be found, not yet. The doctor passed the room A is in, as she stifled her cries, his strong footsteps passed as he ran by. A wiped her tears, and held out her arms. the were weak, limp, and pale white. she flexed them, but couldn’t make out a muscle. A got up, and, gripping the walls, walked as quietly as possible into the hallway and the reception area of the hospital. the receptionist was busy with a phone call, her back turned toward the entrance. A could see the clouds pulling away, revealing the blue of the firmament, the green of the grass, the rolling hills, the purple, pink, white, yellow of flowers, the trees, the trunks, the bees the birds, A almost gasped, her heart was beating joy into her soul, her body coming alive again. A walked to the entrance door, the soles of her feet masking her footsteps. she carefully danced in the shadows around the light shining through the glass doors. she opened the door, the black metal warming her hand. she opened the door, and stepped out. She ran to the middle of the lawn, squealing and giggling. The wind mussing her hair, the grass irritating her feet, and the sun… the sun warming her body from head to toe. she squeezed her eyes shut as she felt the sun getting to her eyes, and the sensitivity keeping her from feeling the true joy of vitamin D. A laid on the prickly grass, her face towards the sky, and cried. Cried of joy, for being able to feel the sun, of sadness, that this is the last time, of content, for she’ll be joining her creator, and of happiness, that it was her, and not her sister, that was diagnosed with all the problems. The tears flowed freely, and it felt nice. nice to let her emotions out, nice to feel something other than cold shadows, and stiff beds. The door opened, and A heard footsteps. she let a few more tears escape, because it was over, then wiped her eyes. It hurt, to rub the sensitive, blistering skin around her eyes after being in the sun. The doctors and nurses rushed towards her, applying tonic and gels to the skin around her eyes, and her arms, which were quickly burning and showing signs of spider-web veins. They tried to pull her inside, but A refused, she wanted to spend her last moments outside, but they wouldn’t understand; what it’s liked to suffocate in a dark white room, with only shadows to comfort, and stiff beds to feel. “NO!” Finally, A pleaded, and slipped out of their grasps. “please..no. I only have a few more moments, why not spend it in nature?” She whispered, mostly to herself, but they heard, and answered. “But, A. We just got the news. You’re expected to live for months, maybe YEARS more!” A looked up, a sob building in her chest. years more of the agony of life. she cried out, in pain, to the heavens, and let the doctors and nurses take her to her stark white prison. Resigned to a state of choking on tonics and gels and liquids the demon nurses shove down her throat. “it’ll heal you…” they tell her. “It’ll HELP you…” they scream. but she knows its just another way of keeping her on the planet she doesn’t want to be on.. with the people she doesn’t know. when really, she just wants to be with her loved ones who have moved on. So she, moved on.

Trackbacks/Pingbacks

• The Hero’s Journey: How to Write the Climax of Your Story – Books, Literature & Writing - […] “Want to create a gripping climax? Give your hero a win-but-lose ending: there’s some success, but there’s also failure—or…
• The Hero's Journey: How to Build Suspense With a Fake-Out Ending - […] he or she confronts the big task, known as the Ordeal, and makes a decision that wins him or…
• The Hero's Journey: How to Write the Resurrection - […] they confront the big task, known as the Ordeal, and makes a decision that wins them the […]
• The Hero’s Journey: The Ultimate Guide to the Universal Structure of Great Stories - […] Learn more: Here’s how to craft Hero’s Journey Step #8: The Ordeal […]

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The Hero’s Journey: A 17 Step Story Structure Beat Sheet

The Hero’s Journey is a classic plot structure made up of 17 steps. Learn how to craft an epic story using the Hero’s Journey story beats.

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Sharing is caring!

The Hero’s Journey is a story structure that tells how a hero starts in one place, goes on an adventure into an unknown world, and then returns to what they started with.

This blog post will explain the 17 steps of the Hero’s Journey and share how you can use this common plot structure to write your own story or novel.

What is the Hero’s Journey?

Joseph Campbell first introduced the Hero’s Journey in 1949. It is based on the idea that we can break down most stories into one basic story structure.

The plot structure of the Hero’s Journey is made up of 17 steps, all of which can be excellent guideposts for you when plotting your novel and planning your chapters.

To simplify the 17 steps of the Hero’s Journey, there are 3 main acts of the story: The Departure, The Initiation, and The Return.

Here’s an overview of all of the 17 steps of Joseph Campbell’s Hero’s Journey:

Act One: The Departure

The Call to Adventure

Refusal of the call, supernatural aid.

• The Crossing of the First Threshold

Belly of the Whale

Act 2: The Initiation :

The Road of Trials

The meeting with the goddess, woman as the temptress, atonement with the father/abyss, the ultimate boon.

Act 3: The Return:

Refusal of the Return

The magic flight, rescue from without, the crossing of the return threshold, master of the two worlds, freedom to live.

In this post, we will cover each step of the Hero’s Journey and what it includes. If you are writing a novel , think of this as the ultimate beat sheet to help you plan and plot your novel !

To understand the 17 steps of the hero’s journey, we will share with you exactly what happens in each step and what it should include. We’ve divided the 17 steps into the three main acts: The Departure, The Initiation, and the Return.

Let’s dive on in, shall we?

The Departure

The Departure (Act 1) of the Hero’s Journey is all about your novel’s main characters and their ordinary lives. You want to show how they live before something happens that throws them into a world outside of what was normal for them.

In a nutshell, The Departure is when we see our heroes start in their current environment and set out on an adventure where they leave their comfort zone.

There are 5 steps of the Departure, each of which can help you base your chapters for your novel. Let’s look at these 5 steps in detail.

In the first 1 or 2 chapters of our book, our character is introduced and is given the call to adventure. Of course, the call to adventure is what sets our character on their journey. There is a moment when our hero realizes something isn’t right, and it’s time for them to become the hero of their own story.

The Call to Adventure should introduce your main characters and what part of life they are living before things start changing for them. You want this to be a scene that you can use to give your reader an idea of who they are and what their life is like.

The call to adventure is sometimes also called the inciting incident because it often comes from another character or situation in which our hero feels compelled to do something. This could come in the form of a problem or something that they’ve always wanted to accomplish.

Once we understand the character’s life and why they must go on their journey, we move onto the next crucial element: Refusal of the Call.

The Refusal of the Call sounds like it’s a bad thing, but in reality, it can help the hero grow and become more self-sufficient. In this step of the Departure, we see that our character isn’t sure if they are ready for such an adventure.

The refusal of the call is often used as a way for your reader to get more insight into some of your character’s weaknesses. It can also open up the character to seeing what they are missing in their life and get them a little more excited about going after it.

When writing your story, you will show your readers why your hero is reluctant to go on the journey. Why don’t they want to change? What are their fears? This step helps build your character arc, as well as builds some suspense in the story.

You also want to make sure in this step that the refusal of the call is resolved in some way. This can be through another character encouraging your hero or by realizing what they are missing out on if they don’t go on the journey.

Either way, you need to ensure this scene or chapter ends with the hero deciding to accept the challenge.

After your main character decides whether or not they want to go on this journey, we move onto Supernatural Aid.

Supernatural aid is the hero’s first experience with a mentor or teacher. While we use the term supernatural here, it does not necessarily have to be some mystical being.

It could be a random stranger giving our hero advice or someone who has been to this magical place before and knows the path. The important thing is this character is someone who will help your protagonist in their journey.

Supernatural aid helps your audience understand there will be obstacles along the way. The hero will need help. You will need a strong supporting character willing to give our main character advice on how they should proceed through their journey.

In this scene, you want to show us why you chose these characters for mentors. What qualities do they possess? Do they have experience with adventures like this? Why can they help the hero, and more importantly, why do they want to help the hero?

Once this person is introduced, we are ready for the next stage of the Hero’s Journey: Crossing the First Threshold.

Crossing the First Threshold

Crossing the first threshold is where your hero commits to going on the journey. They may have made some attempts at it before, but now they are fully committed and ready to go, even if that means leaving their comfort zone behind.

Your character will be doing something different than what they’ve done in the past, or perhaps this act will lead them into a dark and dangerous place.

For example, your hero may leave their home for the first time to go on this journey, or they are finally ready to go and confront someone who has been standing in their way of happiness.

In this 4th step of the Hero’s Journey, you want to show your reader why this is such a big change for the character.

You want to show your character scared and uncertain of what lies ahead for them while still being brave enough to continue on their journey! You don’t need to make this scene too long or spend time explaining every little detail; just put us in the headspace of your hero so we can understand what unknown dangers and fears are ahead.

Once our hero takes their first steps towards danger, we find ourselves in the Belly of the Whale.

The Belly of the Whale is the last step before the hero breaks away from their normal existence and sense of self. When someone enters this stage, they are showing that they want to change.

A typical element of the Belly of the Whale Scene is displaying a small problem or threat. These problems aren’t the major conflict of the story, but it is enough of an obstacle that we see the hero absolutely cannot go back to where they used to be and must change.

In this scene, it’s common to show a “dark night of the soul.” This is where they feel like everything in their life has been turned upside down, and things seem hopeless. Yet, they must commit to making a change and continuing on their journey in this final step of the Departure stage.

Now that we’ve covered all the steps of the Departure state let’s move onto Act 2: The Initiation.

The Initiation

The second act of our story, the Initiation, is the part where things get interesting. The character is now deeper into their journey and facing new challenges that they must overcome.

Not only are we focusing on our hero’s personal development, but our protagonist’s character traits start to change. They will be showing how they’ve become different from who they were in Act One and developing the traits needed for a successful journey.

The first scene or chapter of the Initiation stage of the Hero’s Journey is The Road of Trials. The Road of Trials is where the protagonist faces a series of tests that your hero must pass to move onto the next stage.

These trials will continue until our hero has shown they are ready for whatever is waiting ahead on their journey and have discovered what lessons they needed to learn along the way.

Usually, there is a series of 3 tests, and your hero will not ace all of them immediately. Sometimes, we will revisit the person introduced as a mentor or guiding force from Act One in these scenes, as the hero will certainly need some support in going through these trials.

In this scene, you want to make sure your reader sees how the hero experiences growth and changes. You want your reader to appreciate how far our hero has come along their journey, but there are still more experiences ahead for them!

The next step of the Initiation stage is The Meeting with the Goddess/Saviour. This is where we are introduced to someone who will give our protagonist a sense of love, peace, safety, and unity.

This character is essential because they offer our protagonist something he didn’t have before and will be the support that helps them through whatever journey lies ahead. Sometimes they appear as a love interest, but not always.

The Goddess figure is often human but could also be an animal or nature spirit. They are someone who will help your hero become whole again. They are an equal opposite of your hero.

In this scene, we want our hero to feel everything is going to be okay now. They will learn that they don’t need to face their problems alone; someone here with them understands what they are going through.

Of course, this doesn’t last forever as we move into the next chapter: Woman as the Temptress.

In this next step, the hero faces physical temptations that might cause them to be distracted from their quest. Again, it’s important to understand this does not mean you need to introduce a female character in this scene – the woman is only a metaphorical symbol.

Many things can tempt our heroes to stray from their path. It might be money, power, or fame. It could even be something as simple as food and drink. But, of course, these temptations are not meant actually to distract the protagonist from their path. Our hero must resist them to gain a greater reward at the end of this stage.

Throughout this scene, they may face several such temptations until our hero learns how to resist them and stay focused on what they really want.

The word Atonement means “reparations for a wrong or injury,” and the Father is a symbol for an authority figure in the hero’s life. Finally, the Abyss represents death or darkness.

In this scene, the hero must confront whatever it is that holds the most power over them. This could be another character or it could even be internal conflict where the hero must come face-to-face with the dark side of their personality and be willing to embrace it.

The goal of this step in the Hero’s Journey is to make your protagonist question their entire being. Only when they confront the most powerful obstacle in their path and reconcile with it can they move forward on their journey.

As with most characters, the father does not have to be an actual father or even a male figure. The important thing is this figure is a person of power and authority over the hero.

There are many ways the hero can reconcile with the father figure – they can defeat this person, win this person’s approval, or reconcile with a part of themselves that is related to the father.

This step is important because it forces your protagonist to face their biggest fears and insecurities. It gives them the opportunity and confidence boost to overcome these obstacles once and for all.

Apotheosis is another word for “the highest point of a person’s spiritual, moral or intellectual development.” It is when the protagonist transcends their humanity and becomes something more than they were before.

In this step of The Hero’s Journey, your protagonist will undergo an important change that brings them closer to being the ideal self they set out to be at the beginning.

In this stage of the Hero’s Journey, our hero learns something new about themselves that prepares them for the hardest part of their journey. This revelation gives them the necessary knowledge to complete their quest.

This step is often referred to as “the answer.” The protagonist will usually gain this new insight from a character who embodies wisdom or spiritual power, such as their mentor figure.

Now that our character has finally grown to where they need to be to accomplish their quest, they are ready for The Ultimate Boon’s next step.

The ultimate boon is the fulfillment of the purpose of the journey. This is when the hero finally achieves what they set out to accomplish.

All of the previous steps of the journey worked to this point to help the hero finally reach their goal.

In mythology, the “boon” is often something otherworldly. It could be the fountain of youth, an ancient scroll with sacred information, or a magical potion.

There are many ways to play out this step of The Hero’s Journey, so your character’s end goal will determine what the boon is.

This step of The Hero’s Journey often includes a battle with something that opposes your protagonist, such as an enemy or villain.

Our heroes might have to face their own dark side to achieve this final prize and complete their journey successfully. This could cause them to question whether or not they even want what the boon is.

When your protagonist achieves this final goal, it marks a major change in their life. Now we are ready to proceed to Act 3: The Return.

Act 3: The Return

Act Three of the Hero’s Journey often moves faster than the other acts of our story. In The Return, we see how the protagonist’s newfound knowledge and achievement of their goal affect their life and world.

This step of The Hero’s Journey is crucial because it gives us a glimpse as to what our character has learned from this journey, which is the ultimate test of whether they have truly successfully achieved their quest or not.

Let’s dive into the remaining scenes of our story.

The Refusal of the Return is when our protagonist does not want to return home after achieving their goal. They may be too frightened of what awaits them, or they may not want to give up the new life and world they have found themselves in.

Just as they were hesitant to go on the adventure in the beginning, they are also hesitant to go back.

They may be concerned with how their “boon” might affect the world – such as a magic potion or secret power that could get into the wrong hands. They may worry about what consequences they may face when they go back, or they may be afraid nothing is left for them to return to.

In some cases, our hero doesn’t want to leave because they have become comfortable with their new world and who they have become.

However, to truly finish the quest, our hero must return home. This refusal of return helps build up the tension to the final resolution of the story. This is when the reader questions whether the hero will return home – and wonders with great anticipation of what might happen when it happens.

The Magic Flight is the final conflict to the story where our protagonist must escape danger, sometimes using their newfound knowledge or boon. This is a way of symbolically proving that they have truly learned from this journey and are ready to bring it back home with them.

This part of The Hero’s Journey often involves a chase scene or battle against an opposing force. However, this is the final push necessary push they need to realize they must make the journey home because it becomes apparent they cannot stay where they are.

The Rescue From Without step of the Hero’s Journey is when the protagonist is rescued from danger by an outside source.

This outside source may be an ordinary person, or it might resemble deus ex machina, or god-like intervention, where something rescues our hero from an impossible situation, such as lightning striking that saves the day for our hero.

When you are writing the rescue scene, the circumstances of the rescue must be believable. Most people do not like the deus ex machina in writing simply because it’s too easy.

Those of us who have lived life long enough all know that a magic fairy godmother isn’t going to swoop us in, wave her wand and make all our problems disappear.

After being rescued, the hero truly has no other choice except to return home.

The Crossing of the Return Threshold is when our protagonist finally returns home after completing their adventure and achieving their goal.

This is the part of The Hero’s Journey where we see what they have learned from this journey and how it affects them.

In this story scene, you will want to answer the following questions: How has the hero changed from their journey? How is their old world different from when they left? How do they acclimate to being back home? Finally, how do others react to their return?

This is the part of The Hero’s Journey where our protagonist has reached their full potential. They have overcome their fears and grown in ways they could never have imagined.

They are a new person and have been forever changed by what they’ve experienced. Yet, it allows them to go back into society with heightened wisdom, power, skills, or resources that will help others in need when called upon again.

In this scene, we see the hero apply their knowledge and share it with the world.

After our hero has conquered all of their fears and has put their wisdom to good use, the hero finally has the freedom to do anything they want.

This is the resolution of our story – we see our heroes accomplish their “happily ever after.” Their fears or concerns no longer control them, and nothing exists between them and what they want.

More often than not, this closing chapter of the story gives the reader some closure. We want some type of affirmation that the story is truly complete. We get a glimpse of what our protagonist will do with their life now that they are free to live it.

If you’re looking for a story structure that is proven and effective, the Hero’s Journey might be perfect for you. With 17 stages of development, it will help you create an engaging plot with your readers and develop strong characters .

And of course, while the Hero’s Journey is the classic beat sheet for writers, remember you don’t always have to dedicate one chapter to each step. Sometimes you can combine 2-3 steps in one scene, while other steps might take several chapters to cover.

The important thing is you now know the Hero’s Journey! We hope this is helpful for you – whether you are writing your own novel or studying the Hero’s Journey arc in literature. Most of all, we hope that by breaking down each step of the Hero’s Journey, you can better understand all of it.

Do you have any thoughts or questions on the Hero’s Journey? We’d love to hear from you in the comments section below!

Chelle Stein wrote her first embarrassingly bad novel at the age of 14 and hasn't stopped writing since. As the founder of ThinkWritten, she enjoys encouraging writers and creatives of all types.

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So if you’re writing an epic fantasy that will be a series, are these 17 steps strung out across the entire series, or redone in each book?

Thank you for such a helpful article. This has helped me fill in a glaring hole in my novel outline and shown me what was missing. I’m really grateful for this advice.

Glad it was helpful for you Laura!

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The Hero’s Journey: A Classic Story Structure

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

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

But you know more than you think.

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

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

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

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

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

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

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

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

• The 3 Hero’s Journey Stages

1. The Departure (Separation)

The hero is compelled to leave her ordinary world.

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

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

2. Initiation

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

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

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

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

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

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

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

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

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

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

1 — Ordinary  World

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

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

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

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

2 — The Call to Adventure

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

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

3 — Refusal of the Call

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

She must face her greatest fears and forge ahead.

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

4 — Meeting With the Mentor

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

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

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

5 — Crossing the First Threshold

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

There’s no turning back.

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

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

What are the stakes?

What drives her?

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

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

Can she do it?

What does she learn in this initiation phase?

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

6 — Tests, Allies, and Enemies

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

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

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

7 — Approach to the Inmost Cave

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

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

8 — The Ordeal

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

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

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

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

9 — Reward (Seizing the Sword)

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

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

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

10 — The Road Back

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

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

She’s about to face her final obstacle.

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

11 — The Resurrection

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

She may even face death one more time.

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

12 — Return With the Elixir

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

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

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

• Hero’s Journey Examples

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

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

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

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

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

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The Hero’s Journey: The 12 (or 17) Steps for Writers

• by Sam Howard

In this article, you will learn all about the hero’s journey – the common template seen in many myths, legends, and stories across cultures that involves a hero going on an adventure, overcoming challenges, and returning home transformed. Specifically, we will cover:

• What the hero’s journey is and why it’s so prevalent in storytelling
• The origins of the hero’s journey concept by Joseph Campbell
• The 12 main stages of the journey outlined by Christopher Vogler
• Examples of the hero’s journey in famous myths, films, novels, and stories
• Tips for using the hero’s journey structure in your own writing

When I first learned about the hero’s journey, I was fascinated by how this template seems to capture the essence of storytelling and the universal human experience. In this article, I’ll share my own excitement and perspectives on this captivating concept as we explore what makes the hero’s journey such a timeless and powerful narrative structure. Let’s begin our own adventure into the world of the monomyth!

What Is the Hero’s Journey And Why Do People Talk About it All The Time?

The hero’s journey, also referred to as the monomyth, is essentially the common template of stories that involve a hero who goes on an adventure, faces various challenges, comes through a crisis or major ordeal, and returns home transformed in some fundamental way.

This basic narrative arc can be traced back centuries and is found in myths, legends, folklore, and religious tales across vastly different cultures. For example, the epic of Gilgamesh from ancient Mesopotamia, the Odyssey by Homer, the legend of the Buddha’s enlightenment, the Bible stories of Moses and Jesus, and medieval Arthurian legends, all follow this fundamental template.

The hero’s journey was popularized in the 20th century by American mythologist Joseph Campbell. In his seminal 1949 book The Hero with a Thousand Faces, Campbell analyzed myths across cultures and found this common throughline structure he called the monomyth. He summarized the journey in this way:

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

Ever since Campbell published his work, the hero’s journey concept has been applied extensively in understanding myths, legends, films, novels, plays, video games, and all types of stories. Writers, directors, storytellers, and artists have latched onto this idea because it seems to resonate with universal themes about human experience.

We all face trials and challenges in life. We go on both physical and emotional journeys to overcome obstacles and grow. In stories, we get to live vicariously through the heroic protagonist. The hero’s journey allows us to relate to them and be inspired by their perseverance. At its core, this monomythic cycle ties into concepts like love, sacrifice, courage, transformation, and fulfilling one’s destiny. These timeless themes and character arcs continue to captivate audiences and new generations.

The 12 Stages of the Hero’s Journey (as outlined by Christopher Vogler)

While Joseph Campbell originally outlined 17 stages of the monomyth in his book, screenwriter Christopher Vogler simplified it into 12 stages in a popular guidebook for writers. Known as the hero’s journey model, these 12 steps are:

• Ordinary World
• Call to Adventure
• Refusal of the Call
• Meeting the Mentor
• Crossing the Threshold
• Tests, Allies, Enemies
• Approach to the Inmost Cave
• The Road Back
• Resurrection
• Return with the Elixir

Let’s look at each of these 12 stages in more detail:

1. Ordinary World

The hero exists in the ordinary world, their normal environment, when we first meet them. This allows us to see what their daily life is like before the adventure begins. In The Matrix, we see Neo living an ordinary life as a computer programmer before he is called to his destiny. In Harry Potter, we witness Harry’s difficult life with the Dursleys until he’s summoned to Hogwarts.

The ordinary world establishes the status quo that will eventually be disrupted as the journey unfolds. It lets us relate to the hero as an everyday person like us before they embark on something extraordinary.

2. Call to Adventure

The hero receives a call to go on an adventure that disrupts their ordinary world. It may come in the form of a threat to the hero or their community. This call could come from a herald like Gandalf summoning Frodo in Lord of the Rings. Or it may be adventure itself that calls to the hero, spurring them to seize new opportunities.

However it arrives, the call ignites the hero’s journey as they are drawn into a new world of possibilities. But hearing the call is just the beginning of their transformation.

3. Refusal of the Call

When presented with the call to adventure, the hero may initially refuse or express reluctance to embark on the journey. Refusing the call hints at their fears or shortcomings that must be overcome.

At this stage, heroes might believe they are unfit for the journey ahead. Bilbo Baggins tries refusing Gandalf’s request for him to join the dwarves in reclaiming their home. Other times, refusal comes from a sense of duty preventing the hero from leaving home.

4. Meeting the Mentor

The hero needs guidance to answer the call, which comes in the form of a mentor figure. The mentor prepares the hero for the journey ahead by training, advising, and empowering them.

The mentor can appear as a wise old wizard like Merlin or Dumbledore. Or they may impart wisdom in less obvious ways. In The Karate Kid, the unassuming maintenance man Mr. Miyagi mentors Daniel through karate lessons and life advice that transform him. Whatever form they take, the mentor molds the hero toward being ready to face their destiny.

5. Crossing the Threshold

The hero commits wholeheartedly to the adventure by crossing the threshold into the special world beyond their ordinary one. There is often an actual threshold representing the boundary between worlds.

Dorothy leaves Kansas behind by squinting through the door of her tornado-blown house into the colorful Land of Oz. By committing to the journey, the hero enters Act Two, facing tests in the special world. The threshold marks the point of no return.

6. Tests, Allies, Enemies

In the special world of Act Two, the hero faces a series of tests that allow them to gather allies and enemies. The tests are part of the training the hero must undergo to prepare for the bigger ordeals yet to come.

The hero discovers new abilities, but also weaknesses that they seek to overcome. Allies join the hero on the journey and work with them to pass tests. Enemies create obstacles and complications for the hero. Through these trials and relationships, we see the hero change and grow.

7. Approach to the Inmost Cave

The inmost cave may be an actual location in the special world, but really represents the innermost darkness of the hero’s psyche, their deepest fear they must face. As they approach this critical juncture, they prepare themselves for facing this ultimate ordeal.

On the approach, the hero may appear to be reaching their goal or think the journey is coming to an end, only to find this is yet another prelude to a more difficult confrontation with death ahead.

8. The Ordeal

Here, the hero undergoes the supreme ordeal of facing their greatest fear in the hope of being rewarded or resurrected anew. This is the climactic central confrontation often representing facing death and rebirth both metaphorically and literally.

The ordeal allows the hero to conquer their enemies or shadowy aspects of themselves once and for all. By dying to their old self, they can be reborn as their true heroic self.

After surviving death in the ordeal, the hero gains the reward they’ve sought like the holy grail or some elixir to save their people. It may come in the form of new knowledge or insight. This rest period lets us see the hero enjoy the fruits of their labor and sacrifice.

10. The Road Back

Carrying the reward, the hero begins their return journey home to the ordinary world. But the adventure isn’t over yet. New dangerous obstacles arise that imperil the hero’s journey home.

The stakes are raised once more as the hero must stay resilient on the road back, holding onto the reward and wisdom gained from their difficult trials. The journey is about mastery of two worlds.

11. Resurrection

As the hero nears the threshold home, they must endure one last test where everything learned so far is put to the ultimate test. Facing mortal danger, they may need rescue from without. This final trial leads to the hero’s resurrection and ascension as a superior being.

12. Return with the Elixir

This brings the hero full circle as they return to the ordinary world, but able to bestow gifts on that world as a powerful guide ready to lead others. Their elixir is the wisdom gained from the ordeal. The hero comes back from death transformed and enlightened.

By mastering and balancing both worlds, the hero is a carrier of boons to help renew their community. They return wiser and more enlightened than when they started.

The Original 17 Stages of the Hero’s Journey (as outlined by Joseph Campbell)

Joseph Campbell’s original 1949 outline of the monomyth actually had more stages – 17 steps versus the simplified version’s 12 steps. Campbell’s 17 stages, grouped into a three act structure, are:

Act I – Departure

• The Call to Adventure
• Supernatural Aid
• Crossing the First Threshold
• Belly of the Whale

Act II – Initiation

• The Road of Trials
• Meeting with the Goddess
• Woman as Temptress
• Atonement with the Father
• The Ultimate Boon

Act III – Return

• Refusal of the Return
• Magic Flight
• Rescue from Without
• Crossing the Return Threshold
• Master of Two Worlds
• Freedom to Live

While containing more steps, Campbell’s outline aligns with Vogler’s simplified version covering departure, initiation, and return. The expanded 17 stages provide more details about certain phases of the journey. Both models offer a guide to crafting an archetypal heroic story.

My Favorite Examples of the Hero’s Journey

The hero’s journey monomyth structure has been analyzed in many myths, legends, films and stories. Here are some of my personal favorites:

• The Odyssey – This classic epic by Homer shaped much of the hero’s journey template through Odysseus’s long difficult voyage home after the Trojan War.
• Star Wars – Luke Skywalker’s journey follows the hero template faithfully, one reason the film resonates so powerfully.
• The Matrix – Neo’s journey from hacker to hero/savior closely aligns with the monomyth. Facing Agent Smith is akin to an ordeal and resurrection.
• Harry Potter – Harry progresses through each stage, mentored by Dumbledore, gaining allies like Hermione and Ron, facing enemies like Voldemort, dying and returning to defeat evil.
• The Lion King – Simba’s epic quest contains numerous stages like crossing a threshold into the elephant graveyard, undergoing an ordeal facing his evil uncle, and returning to restore the kingdom.

Each example above takes the universal monomyth template and makes it singular and unforgettable by creating iconic heroes, mentors, allies and villains. The hero’s journey is infinitely malleable.

How to Use the Hero’s Journey in a Novel

If you want to employ the hero’s journey structure in your own novel or screenplay, here are some tips:

• Have a clear vision of your hero and their ordinary world before disrupting it with the call to adventure.
• Make your mentor, allies and enemies dimensional, memorable characters that impact the hero.
• Structure key events like the ordeal, the climax, and the hero’s resurrection around the middle and end to shape the emotional arc.
• Customize the template to fit your unique story needs. Not all 17 stages must be included.
• Outline the stages before writing, but also allow some to emerge organically from story and characters.
• Include symbolic thresholds like crossroads, gates, bridges, or actual magical portals marking transitions into new worlds.
• Use tests in the special world to allow your hero to grow incrementally through small wins and losses.
• Consider how bringing back the “elixir” transforms not just the hero but also their community.

In essence, incorporating a monomyth structure provides a time-tested narrative arc while leaving plenty of room for your own imaginative embellishment. Allow the template to guide, not limit, your creativity.

That concludes my personal guide to the hero’s journey draws from myths, films and literature! I hope relaying my own perspectives and enthusiasm brought this monomyth template to life. Now that you’ve completed your own vicarious adventure through the world of the hero’s journey, you have all the tools to craft an epic tale full of memorable characters, riveting ordeals and triumphant returns. Wishing you the best as you set forth on your own writing journey ahead!

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Home / Book Writing / The Dan Harmon Story Circle: The Ultimate Guide in 8 Steps

The Dan Harmon Story Circle: The Ultimate Guide in 8 Steps

One of the most recently appreciated and widely-used story structures is the Dan Harmon Story Circle.

While the model draws heavily on the hero's journey and other similar models, it also tends to simplify things in a way that makes crafting a story easy.

But what exactly is Dan Harmon's Story Circle? Well, that is what I am here to unpack.

• What the Story Circle is
• A detailed breakdown of all eight steps in the Story Circle
• Examples of the Story Circle in use
• How you can use the Story Circle in your writing

Table of contents

• What Is the Dan Harmon Story Circle?
• Who Is Dan Harmon?
• How Does the Dan Harmon Story Circle Work?
• 1. You: the character is in a comfort zone
• 2. Need: The Character Must Want Something
• 3. Go: The Protagonist Enters an Unfamiliar Setting
• 4. Search: The Character Must Adapt To the Unfamiliar World
• 5. Find: The Character Finds What They Wanted
• 6. Take: The Character Must Pay the Price of What They Found
• 7. Return: The Hero Returns to Where They Started
• 8. Change: The Character Is Able to Shift the World around Them
• Harry Potter
• While You Were Sleeping
• How to Use the Dan Harmon Story Circle

Side note: I recommend Plottr as a storytelling software to help you outline your book. With it, you can follow the Story Circle, or a wide variety of other story structures , as you are plotting your books. If you use the links in this article, I do get a small affiliate commission, but it costs you nothing extra and goes straight to the coffee fund. More on Plottr later.

The Story Circle is a narrative structure, first coined by screenwriter and creator Dan Harmon, which is modeled off of the hero's journey , first popularized by Joseph Campbell.

Like the hero's journey, the Story Circle can be found, in one form or another, in almost every story ever told. You will find it in myths from all over the world, you will find in modern storytelling, you may even find it when you hear your neighbor telling you what happened to them last week.

That said, it is not exactly like the hero's journey. The Story Circle has eight stages:

• You – Where the character is in a zone of comfort
• Need – And they want something
• Go – So they enter an unfamiliar situation
• Search – Adapt to it
• Find – They find what they wanted
• Take – Pay the price of taking it
• Return –  They go back to where they started
• Change – And is now changed

I’ll discuss each of these in more depth further down, but notice how this compares to the 12 steps of the hero's journey, as outlined by Christopher Vogler:

• Ordinary world
• Call to adventure
• Refusal of the call
• Meeting the mentor
• Crossing the threshold
• Tests, allies, enemies
• Approach to the innermost cave
• The road back
• Resurrection

What Dan Harmon has done in his Story Circle is to boil these 12 steps down to eight, focusing specifically on the character arc, motivations, actions, as well as consequences.

And by making the Story Circle even more simple, Dan Harmon has also managed to make it more universal.

In fact, because the Dan Harmon Story Circle focuses so much on character, it can be used in far more situations than the hero's journey.

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Dan Harmon is a celebrated screenwriter, best known for Community and the animated show Rick and Morty, though he has been screenwriting since the mid-1990s.

Earlier in his career, Dan Harmon thoroughly researched the hero's journey, as presented by Joseph Campbell, as well as Christopher Vogler who popularized the hero's journey in the world of screenwriting.

Harmon took this concept and simplified it in such a way that screenwriters could easily use in their day-to-day writing. What he came up with is now known as the Story Circle.

The top part of the circle, i.e. the first three steps and the last step, represents order. During these four steps, everything is in a state of equilibrium, and all is right with the world.

The bottom half, i.e. steps four through seven, represent chaos. It is during these times that the world brings unknown temptations and trials, and our character has to deal with situations that are uncomfortable.

It is through these trials that the characters are able to gain strength, overcome weaknesses, and ultimately return to the place of order, this time a changed character.

So as the character progresses through these eight stages, they manage to go from order, to chaos, and back to order again.

The 8 Stages of Dan Harmon's Story Circle

Now it's time to dive straight into all eight stages of Dan Harmon's Story Circle. I'll give you the basic information about each, as well as breakdown approximately how this should fit your story overall.

Step 1 takes place at the very beginning of your story, when you are introduced to your main character , understand the world that your character lives in, and demonstrate that they are in a familiar situation of some kind (whether that is emotional, physical, etc.).

Quick tips to make step one shine:

• Find a way to help the reader care about your protagonist (i.e. save the cat), as readers will not care what happens to your protagonist if the don't have a reason to.
• Allow the protagonist sometime to interact with the world around them so that we understand that they are in the comfort zone, and why that comfort zone is important to them.
• Keep the exposition to a minimum. Add just enough that the reader understands the location that the protagonist is in, and anything that is immediately important to know for that character. Remember that a lot can be picked up by context alone.

Chronology note: this step takes place during Act I, and should take up approximately 12% of your story.

Right from the beginning, you should make it clear that all is not right in the protagonist's world. While they are operating from a place of comfort, they have some internal or external need.

Often, it is this need, or something related to it, that creates the inciting incident of the plot. So it is important that you get this part right.

Quick tips to make step two shine:

• For plot-driven stories, use external needs, where the protagonists wants to change or achieve something. This can be anything from a physical object to the love of someone, to respect of their peers.
• For character-driven stories, go with an internal need, which can be something like humility if they are prideful characters, courage if they are a timid character, etc.
• Many stories have external and internal motivations.
• During this section, you should introduce the inciting incident, ideally related to their need.
• Ideally, this needs should be so great that it propels the character outside of their comfort zone.

Chronology note: this step should be introduced early on within Act I of the three act structure , ideally on or before the 15% mark of your book.

It is at this point that the characters are thrust into worlds unknown, completely outside of their comfort zone, whether that be literally or emotionally.

This section introduces the core conflict of a good story, conflict that will be with the protagonist until near the end of the story. This is where the character starts working towards their goals, but encounters resistance along the way.

Quick tips to make step three shine:

• Make the conflict of the story readily apparent, as this can increase the tension and get readers excited to read more.
• The character should have their first encounter with a real challenge at this point.
• While the character is firmly outside of their comfort zone, they should still be willing to take action to get what they need.

Chronology note: step three ventures into Act II of a three act structure, roughly around the 25% mark. At this point we have left Act I behind and should be firmly entrenched in the main narrative.

It is at this point that the character realizes that they may have bitten off more than they can chew. Suddenly, the journey to get what they need has become much more complicated.

So in order to get what they need, they must search for solutions to their challenges, which can lead to more challenges, and more crises, all leading to the ultimate climax of the story.

Quick tips to make step four shine:

• Start adding additional conflict to make yours a better story. Show the protagonist continuing to try and overcome the conflict, only to fail and try again.
• If you have not already, introduce allies that are there to help your protagonist along the way.
• You can increase the stakes by ensuring that something or someone is lost along the way.

Chronology note: by now, we are firmly in Act II of a three act structure, and the stakes are beginning to rise. Nevertheless, don't spend too much time in this section, and let it take you to approximately the 30% mark of your story.

Now we come to a pivotal turning point, roughly at the midpoint of your book, where the protagonist finds what they need, and they are awarded a brief moment of victory.

What we don't know, however, is that finding the solution brings new problems with it. The character may discover that what they wanted was not what they actually needed, or looks considerably different from what they thought.

Quick tips to make step five shine:

• Start by showing a victory, a.k.a. the protagonist finds something that appears to be the correct solution.
• Take a moment to celebrate, allow the reader to think there is hope, then use this as an opportunity for a plot twist and raise the stakes once again.
• For external motivations, this can be a physical item or achievement. For internal motivations, the thing that the hero finds is often a revelatory piece of information about themselves.

Chronology note: this step takes place roughly at the middle of the story, around the 50% mark.

At this point in the story, the character must face a hefty price for the thing that they thought they wanted, and that they achieved in the last step.

This huge price tag should bring the character to a new low, building up to the final climax of the story. This new low will create a new need, one that is a little more fitting of the character. 

It is what the character truly needed, despite the fact that it probably conflicts with what the character wanted.

Quick tips to make step six shine:

• Make it clear that the character’s actions have huge consequences, sometimes catastrophic.
• Have the character face new challenges as a result of finding what they think they wanted.
• You should have the character face a significant loss, the nature of which will depend on the genre and the type of story you want to tell.

Chronology note: This takes place towards the end of Act II, right around the 65-75% mark.

This is a figurative or literal return to where the hero started, complete with new knowledge, skills, items, etc. that they found along the journey. It is these things that the character finds that prepares them to confront the final conflict of the story.

While this is not the same type of return talked about in Joseph Campbell's hero's journey, as the climax has not happened yet, it is a return to more familiar grounds. You will often see stories returning to where they started, often literally, but also thematically.

Quick tips to make step seven shine:

• This is a moment to pause and show how the character is returning to their normal world.
• This is also an opportunity to show how the character has changed.
• Remember we are still in the stage of chaos. Not all is set right with the world yet, but by returning to the comfort zone armed with new power, the character is building towards that climax.

Chronology note: this is the start of Act III, roughly 75% of the way through the story.

At last we get the final climax of the story. This is where we see the character use all that they have gained/learned in order to achieve their goal or defeat the antagonist.

This is where the main conflict and the hero come head-to-head, and we see what the characters' discoveries are truly worth. And they change a lot.

Not only has the character changed, but they are able to change the world around them.

Quick tips to make step eight shine:

• Don't hold back. Make this the biggest showdown of your story, whether that be a physical battle, an emotional punch, a huge triumph over inner demons, etc.
• Remember this is a circle. We want to show that the protagonist is returning to their place of comfort, but this time a changed person. The more you can thematically tie the ending to your beginning, the better it will read.

Chronology note: this climax takes place roughly between the 85 to 87% mark of your story. Bear in mind that there is still room for falling action once this section is done. You will still need to tie up any loose ends.

Examples of Dan Harmon's Story Circle

Let's take a look at some better-known stories, and see how they implement Dan Harmon's Story Circle. While none of these were specifically intended to use this circle, you will start to see it pop up in almost every story you ever hear.

• You: Harry starts out in the familiar (albeit distressing) situation as an orphan living with his aunt and uncle who wants nothing to do with him.
• Need: Harry learns that he is a wizard and that he has untold possibilities ahead in his future.
• Go: Harry goes to Hogwarts, completely immersed in an unfamiliar world.
• Search: Harry learns various spells, gains friends and mentors, and learns to fly.
• Find: Harry finds what he thinks he wants when he learns that he has natural talent at Quidditch.
• Take: slightly overconfident, Harry believes that there is a conspiracy going on involving Professor Snape. He is thrown closer to an encounter with Lord Voldemort.
• Return: Harry defeats Voldemort and eventually returns to his home.
• Change: he is no longer the shy boy living under the stairs. He has changed, and his aunt and uncle know it.
• You: Lucy lives alone, working a tedious, boring job at a ticket booth.
• Need: she wants to have a family, and specifically wants to marry a man that she sees every day at her job.
• Go: Lucy saves the man she is infatuated with from an oncoming train.
• Search: she lies to Peter's family and tells them that she is his fiancée.
• Find: Lucy gains the family she always wanted, but finds that she is falling for Peter's brother Jack.
• Take: it is revealed that she was not Peter's girlfriend, and it seems like her relationship with the family is over.
• Return: instead, Lucy marries Jack before returning to her work at the train station.
• Change: even though she is back in her familiar world, she is changed. She enjoys her life more now that she has Jack.
• You: Bryan, Liam Neeson's character, lives a comfortable life as a retired government operative.
• Need: Bryan wants to be a little more involved in the life of his daughter.
• Go: his daughter is kidnapped in Paris, and Bryan must go after her to save her.
• Search: Bryan searches for his daughter, using his past skill and expertise to lay waste to the opposition.
• Find: Bryan finds his daughter, but is not able to rescue her yet.
• Take: Bryan is forced to kill the head of the human-trafficking organization in order to save his daughter from them.
• Return : Bryan brings his daughter back from Paris, gaining more respect from her and her mother.
• Change: Bryan is able to go back to his familiar life, but this time with a new connection to his daughter.

The Story Circle is a great framework to make your story better. It is likely that you are already doing some of these things instinctively, as they have been ingrained in us through pop culture.

In fact, you will find that the Story Circle is applicable to almost anything. Even while telling a personal story to a friend, there is a good chance that you have unconsciously used this story structure.

For example, imagine telling someone about that time you got food poisoning:

• You: You were at home
• Need: You were hungry
• Go: You went out to eat
• Search: Spent a while looking at the menu
• Find: Ate your food
• Take: Got horribly sick
• Return: You went home
• Change: And never went back to that restaurant again

That is, essentially, the Story Circle. It is easy to incorporate into your storytelling process as well.

That said, I highly recommend Plottr as the perfect software to help you track and outline your story according to the Story Circle or any other number of story structures. It easily walks you through your outline, with pre-built templates to help you along.

I love it because it works very similar to using notecards on a wall, and it is very easy to switch things around and mix things up. 

But by far the most useful feature is the ability to follow a template. And yes, they have Dan Harmon's Story Circle as one of them.

Jason Hamilton

When I’m not sipping tea with princesses or lightsaber dueling with little Jedi, I’m a book marketing nut. Having consulted multiple publishing companies and NYT best-selling authors, I created Kindlepreneur to help authors sell more books. I’ve even been called “The Kindlepreneur” by Amazon publicly, and I’m here to help you with your author journey.

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The Hero's Journey: Stages, Steps, and Examples

Remember when you were younger, probably around middle school age, and your teacher introduced the Greek mythology lesson? It was such an exciting time of reading books like Rick Riordan's Percy Jackson & The Olympians: The Lightning Thief . Maybe you fell in love with Percy, a lovable and relatable young boy struggling with his identity. Or maybe you were a part of the dystopian crave and fell in love with Katniss Everdeen from Suzanne Collins' The Hunger Games . Either way, this may have been your first introduction to the hero's journey (we're sure you've seen the templates). After all, the hero's journey is all around us!

If you fell in love with reading a hero's journey archetype and want to try to create your own modern hero, then you've come to the perfect place. We're going to explore the crucial steps of a hero's journey and what they entail, so you can have a template through which to write your own story. Your questions act as our call to action (you'll understand what we mean by that shortly). But first, let's define a hero's journey. After all, how can we possibly evaluate the steps of a hero's journey if we don't even have a solid definition?

The hero's journey

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

The hero's journey is the story of a hero who leaves the ordinary world to go on an adventure full of peril. On it, the hero will gain both adversaries and allies, and will face a great evil. The hero will also face his shadow self, which is perhaps the most frightening antagonist of all.

Campbell references 17 total steps in the hero's journey. Wait a minute, 17 steps? That seems like a lot. Don't worry! Depending on who you ask, the number of steps and what those steps look like will differ, though they all follow a similar template. The hero's journey is commonly accepted to have 12 main steps. To make it even simpler on you, these steps can actually be broken down into three stages: the departure, the initiation, and the return.

Stage 1: the departure

The departure is just as you might expect. This is the stage where the protagonist is introduced, typically in a modern, realistic setting, and we are introduced to some struggles the protagonist may be experiencing or questions they may have about their own identity. This stage can be broken into our first four steps.

• The ordinary world : As we said, we are first introduced to our protagonist and soon-to-be hero in the reality we know. It is just as the first step is listed: the ordinary world. There is no magic, mayhem, or supernatural creatures evident in this ordinary world. It is the world the protagonist has known all their life.
• Call to adventure : This is one of the steps you may be most familiar with, as it's one of the most commonly known phrases in literature. Regardless of what genre you are writing, your hero has a call to action. After all, there must be a reason why the protagonist leaves the mundane, comfortable lifestyle they've lived up until now. This is the moment where the journey or quest is initiated: a problem, challenge, or quest is presented to the protagonist, and they must decide to leave behind their ordinary lives to face new challenges. Whether the protagonist is immediately threatened, a family member is threatened, or they see something they shouldn't have, it is up to the protagonist to respond to the call.
• Refusal of the call : Wow, isn't it so cool that the hero was discovered by some other world (or they discovered it!) and now they get to embark on this awesome journey? Yes, well, sometimes. Despite how amazing it may seem to be called to accept a quest (hence the reason why this archetype is so popular in literature), the protagonist may not be feeling that excitement. In fact, it's likely that the protagonist is feeling nervous, anxious, scared, hesitant, and thus, resistant to the call at first (don't worry, they'll give in eventually).
• Meeting the mentor/supernatural aid : Okay, so the protagonist is done refusing the call. Maybe they've gotten over their fears, or maybe something happened that makes it impossible for them to continue to deny their inevitable quest. Yay! Now it's time for our protagonist to meet their mentor. The mentor can be supernatural or not, but they act as a teacher, trainer, and instructor for the protagonist. After all, the protagonist is going to need some serious guidance once they've been booted out of their ordinary world. This step involves a lot of trust, though, as the protagonist may barely know their mentor. This step also involves the passing on of certain tools and equipment the protagonist may need to succeed on their journey. These can be special powers or physical instruments.

Stage 2: the initiation

Now that you've spent a decent chunk of time introducing your protagonist (and hero!) and their conflict, it's time to head into the second stage of the hero's journey: the initiation. Before you do this, though, ensure you've checked off the first four items on the previous list. It is crucial that you meet these criteria for a successful hero's journey. After all, the hero can't be truly initiated into their new world if you have not established their old world, their main conflict, and the introduction of their next steps.

This next stage will take up the largest portion of your story. You should fill it with lots of new characters, settings, and trials and tests for your protagonist to endure. This is also a stage where you should focus a lot on character development for your protagonist. No person is going to go through a massive journey and end up the same person they once were when everything is said and done. Take this time to think about how you want your protagonist to change and what it's going to take to accomplish that change.

• Crossing the first threshold : This is the point at which the hero decides to embark on the adventure and cross over into the unknown, leaving his or her ordinary world behind. This is called the threshold because there is something or someone acting as a literal barrier between the protagonist's ordinary world and their new world. Beyond the threshold lies trials and tribulations and potential risks and dangers. Once the protagonist takes that first step beyond this threshold, there is no returning to the life they once knew. This is where the hero's actual journey truly begins.
• Introduction to tests, friends, and foe : This is the step of the story where the cast of characters expands and a new setting, the new world, is introduced. The protagonist may be lost in their new world, so they must evaluate the new people around them to identify potential allies, enemies, or morally ambiguous characters. Trust is established or denied. Just like anyone would struggle with encountering anew environment, the protagonist will endure some struggles of their own, but this is how they'll determine who is friend and who is foe, establishing other character roles in the process. The rules of the ordinary world do not apply to this new world, so hopefully the protagonist meets some good people who will teach him the new ways of life.
• Approaching the innermost cave : At this point on the hero's journey, they have left all semblance of the ordinary world behind. This step marks the preparation for the main event of the journey. The protagonist may gather materials and even other characters, if they're trustworthy enough, to take on the rest of the steps of the quest with them. The cave acts as a metaphor for what the protagonist is about to endure: risk, danger, darkness, and even potential loss. This step also includes some of the tests leading up to the large test yet, which happens to be the next step in the hero's journey.
• The ordeal : Buckle up, this is about to be a wild ride! That's right, your hero has finally made it to one of the biggest challenges of all. The protagonist is no longer approaching the innermost cave. Rather, the protagonist is now fully in the belly of the beast, and what a beast it is! The ordeal is usually not the climax of the story, but this is the moment where the protagonist truly transforms from an ordinary character into a true hero. It may involve their greatest fear or a physically or mentally demanding task.
• The reward : If your protagonist, now hero, succeeds in their greatest challenge, then they will be given a reward that makes the journey worth so much time, effort, and challenge. If they can succeed, then there is hope for them, that bright light that shines through the top of a dark cave and promises fulfillment and a future. This is what the hero has been fighting for this whole time. As for the reward itself, you should make sure it makes sense in the context of your story. It can be an object, a piece of knowledge, or even something entirely different, so long as its value matches the degree of the journey.

Stage 3: the return

Wahoo, your hero has endured so much and has finally gotten their reward! It's over, right? They can return to their ordinary life and reap the benefits of all their hard work? Wrong! Things are never as easy as they seem, especially in a hero's journey, so why would the road back to the ordinary world be any different for your hero?

• On the road again : This is the turning point, literally. The hero turns back around, hoping to return to their normal life after receiving their reward. But thing's are never that simple, so be sure to make sure that road is blocked. Traffic cones, stoplights, maybe a supernatural villain or catastrophic natural disaster! That should do the trick. If the road back home was easy, we'd be bored, so maintain the stakes with challenges for the hero to face as they make their way back home.
• The resurrection : Congratulations, you've finally reached the climax of your story. Remember how we said the ordeal was the moment where your protagonist transformed from an ordinary character into an actual hero, this is the moment where they can prove to us that they deserve the hero title, after all. The stakes become extremely high, as the hero does not want to fail after having endured so much already. This is the final test for the hero and the final opportunity for the villain or opposing forces to defeat the hero. If the hero comes out on top, then they will finally be able to reach that light at the end of the tunnel.
• Return with the elixir : The hero has finally completed all their challenges and is able to return home with their reward. Their transformation is complete, and they've most likely become a better person because of the journey. Or, if you want to add a twist to this step, you can always have the hero fail to return without they set out to receive, but you better be prepared to write a sequel and a whole other journey!

Following the template

Since we mentioned The Hunger Games at the very beginning, let's use Katniss Everdeen and her hero's journey as a model for this template.

• The ordinary world : Katniss Everdeen is introduced as a citizen on District 12, a poor mining district. She spends her days hunting in the woods to provide food for her family.
• The call to action : Every year, a reaping takes place where a male and female tribute from each district is randomly chosen to take place in the Hunger Games, a fight to the death. During the reaping, Katniss' sister Primrose is selected, so Katniss volunteers to take her place as the female tribute from District 12.
• Refusal of the call : As we mentioned, you may not include all 12 steps of the hero's journey in your own story. Katniss does not actually refuse the call, as she volunteered herself to save her sister. A refusal of the call is slightly seen in Peeta, Katniss' fellow tribute, as he is visibly nervous and shaken up. The nature of this story makes it so that a refusal is impossible.
• Meeting the mentor : Katniss meets Haymitch Abernathy, a previous Hunger Games victor from her District. He is her literal mentor and is meant to teach her how to make allies, get sponsors, and survive in the arena. She also finds a mentor in Cinna, the person in charge of her appearance for promotions.
• Crossing the threshold : Katniss is whisked out of District 12 and on the train to the gaudy, wealthy Capitol.
• Introduction to tests, friends, and foe : Katniss must attempt to learn who to trust while also earning sponsors and impressing the Game Makers. Katniss makes a reluctant alliance with Peeta and admires Rue from District 11. During training, it is evident that the Careers (tributes from the wealthier districts) are enemies.
• Approaching the innermost cave : Katniss enters the physical arena.
• The ordeal : The arena is full of challenges: tracker jackers, mutant wolves, poisonous berries, and other tributes trying to survive. The games themselves are the whole ordeal.
• The reward : Katniss and Peeta are the last tributes standing.
• On the road again : Although Katniss and Peeta have survived, there can only be one winner, and the Capitol wants to force them to select who lives and who dies.
• The resurrection : Katniss' bold attempt at a mutual suicide leads to both of them being allowed to live as victors, lest they become martyrs in front of the whole country.
• Return with the elixir : Katniss and Peeta return to District 12 as victors, allowing them to live lives of wealth and luxury. If you've read the books, you'll know this is nowhere near the end of Katniss' journey.

Reaping the rewards

If you've managed to check off all 12 steps on our hero's journey checklist, then you've got yourself an awesome hero's journey. If you're just starting out on your own journey of writing for a hero, then be sure to follow this template for maximum results. Be the hero in your own journey and remember to never give up as you face those roadblocks and challenges while buckling down and writing a story of your own!

Header photo by Zoltan Tasi .

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Joseph Campbell’s Hero’s Journey: A Better Screenplay in 17 Steps

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dds are that if you’ve had any interest in writing a script within the past fifty years you’ve heard of the Hero’s Journey. A writer you got drinks with swore by it, a film professor suggested you read about it.  Or you overheard the barista at your local coffee shop talking about how Die Hard is a picture-perfect template for it. But… what is it? I’ll explain all of the Hero’s Journey’s 17 steps and provide examples in the modern canon. Then you can kick writer’s block and get a strong script into the hands of agents and producers.

Watch: The Hero's Journey Explained

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• Call to Action
• Refusal of Call
• Supernatural Aid
• Crossing The Threshold
• Belly of the Whale
• The Road of Trials
• Meeting the Goddess
• Atonement With the Father
• The Ultimate Boon
• Refusal of Return
• Magic Flight
• Rescue from Without
• Crossing the Return Threshold
• Master of Two Worlds
• Freedom to Live

Hero’s Journey Examples

The monomyth featuring three of your favorite franchises!

The hero's journey begins, 1. call to action.

Adventure is calling. Will your hero pick up?

The initial step in the first act of the Hero’s Journey - known as the departure - is the “call to action." The Hero is beckoned to go on a journey. Think Frodo Baggins meeting Gandalf. Or the Owl inviting Harry Potter to Hogwarts. 

If having a tall wizard extend a hand may be a little too on the nose for you, don't worry. This comes in all forms. In   Citizen Kane , the mystery surrounding Charles Foster Kane’s final words is the call to action for the reporter, Jerry Thompson, to get to work.

The Hero Hesitates

2. refusal of call.

Next is the Hero’s “refusal of call.” The Hero initially balks at the idea of leaving their lives. The Shire is beautiful, after all, who wants to embark on a dangerous journey across the world? 

This refusal is typically because of a duty or obligation they have at home. Be it family, or work, it’s something our Hero cares deeply about. But, as pressure mounts, they eventually succumb and decide to leave with the help of “supernatural aid.”

The Hero Receives Assistance

3. supernatural aid.

Once the Hero has committed themselves to embarking on whatever that quest may be (keep in mind, a Hero’s Journey can apply to a modern, emotional story, as well), they receive “supernatural aid.”

Individuals give the Hero information or tools at the start of their journey to help their chances of completing the task. Rome wasn’t built in a day, and it definitely wasn’t built alone. Every hero has a set of allies helping them get the job done. From Luke, Han, and Chewie to Harry, Ron, and Hermoine, these teams are iconic and nearly inseparable.

The tools provided come in handy as the Hero begins…

The Hero Commits

4. crossing the threshold.

Now the hero ventures into a new, unfamiliar world where the rules and dangers are unknown. They’re not in Kansas anymore, Toto, and that becomes evidently clear when monkeys start flying. 

This stage often requires a few examples to crystalize the change in environment from familiar to dangerous. The contrast is key to play up how ill-prepared they initially are.

The Hero is Challenged

5. belly of the whale.

Next thing you know, we're in “the belly of the whale.” The first point of real danger in the Hero’s Journey. Taken from the Biblical story of Jonah entering a literal whale’s belly, it’s here that the dangers we’ve been warned about are manifested into tangible characters. Like hungry Orcs with swords.

This is Jonah moments before actually being in the belly of the whale.

Now our Hero must make a decision to continue and, in turn, undergo a personal metamorphosis in the process. 

They will not be the same individual at the end of this tale as they were in the beginning.  This must be made clear while in the belly of the whale, as we enter Initiation, or act two. Which is the longest slice of the Hero’s Journey pie.

This part is filled with the most failure and risk, and ends with the climax. But first, it starts with... 

The Hero is Tested

6. the road of trials.

“Road of trials” is a set of three tests that the Hero must take. Usually they will fail at least one of these tests. This could be a montage. It could also be a series of obstacles leading to a smaller goal in the journey. 

Here is where the Hero learns to use his or her tools and allies while on their way to a...

The Great Advisor

7. meeting the goddess.

At this point in the monomyth, our Hero needs a break to adjust perspective and digest the ways they've changed. It’s here that they meet with an advisor, or a trusted individual, who will help them gain a better insight into the next steps of the journey. Frodo met with Galadriel, an elf who enlightened him with visions of potential futures.

This is Frodo meeting with the goddess

Luke met Leia, and the two formed of a bond of kinship, motivating them to commit more to their cause. This individual doesn’t have to be a woman, but whoever it is our hero will gain something from the wisdom they impart.

But no good deed goes unpunished, and as we reward our Heroes in storytelling, we must also tempt them to failure.

The Hero is Torn

8. temptation.

Much like “road of trials,” “temptation” is a test in the Hero’s Journey. It presents a set of, well… temptations... that our Hero must either overcome or avoid. These temptations pick and pull at the insecurities of the Hero. A microcosm can be found in our own everyday lives with the simple act of getting out of bed.

The temptation to stay in the cozy confines of our comforters (and comfort zones) can be strong and sometimes overwhelming. This must be manifested in our story with some type of a cheap way out. Or an opportunity to throw in the towel. Our Hero must decline and press forward, nobly facing danger.

A Moment of Catharsis

9. atonement with the father.

Once they’ve thrown away their temptations, the Hero enters the “atonement with the father.” This is always an emotional part of the Hero’s Journey. It's a point in the monomyth where our protagonist must confront an aspect of their character from act one that has been slowing them down.

Something that could be fatal to their journey in the coming climactic stages. While this is actuated as a confrontation with a male entity, it doesn’t have to be.

The point here is that the Hero finds within themselves a change from who they were into someone more capable. Harry has to reconcile with the loss of his father figure, Dumbledore. Now take on Voldemort alone, using the lessons he’s learned on the way. Just like Luke...and every other hero ever. This is the emotional climax of the story.

"Tell your sister... you were riiiiiiiiiight..."

Death of the hero, 10. apotheosis.

With a new sense of confidence and clarity we must then make our Hero deal with “apotheosis.” This is the stage of the Hero’s Journey where a greater perspective is achieved. Often embodied by a death of the Hero’s former self; where the old Frodo has died and the new one is born.  

But this is sometimes interpreted as a more “a-ha!” moment — a breakthrough that leads to the narrative’s climax. This, too, can be tied to the death of Dumbledore and Harry’s reconciliation with the loss. This step is usually the final motivator for the Hero, driving the story into...

THe Hero Victorious

11. the ultimate boon.

This monomyth step is the physical climax of the story. This is often considered the MacGuffin of a film — the physical object that drives our Hero’s motivation. But it's a MacGuffin, to use Hitchcock's famous term, because ultimately... it doesn't matter.

In  Pulp Fiction , we never find out what’s in the briefcase, but it’s the briefcase that led them on the wild journey. When we find out what “Rosebud” actually means, it simply forms a lynchpin to help us understand who Charles Foster Kane was. The mission is accomplished and the world can rest easy knowing that it is safe from evil.

The Hero's Journey Home

12. refusal of return.

Upon a successful completion of the Hero’s Journey, and a transformation into a different person, the Hero has a “refusal to return.” The Shire seems so boring now and the last thing Harry wants is to go back to that drawer under the stairs. 

And, oftentimes, the return can be just as dangerous. This is the beginning of the third act of Campbell’s Hero’s Journey (known as the Return) and, while shorter, should still contain conflict. Our next step is an opportunity for that...

The Hero Transported

13. magic flight.

This is the point in the Hero’s Journey where they must get out alive, often requiring the help of individuals they met along the way. Dorothy still has to get back to Kansas, the solution to which may seem like a leap of faith.  

The eagles rescue from without with a magic flight to Frodo and friends

The hero's rescue, 14. rescue from without.

Bringing us to the “rescuers from without” point in the monomyth. Just because Frodo destroyed the one ring to rule them all doesn’t mean he gets a free ride back to the Shire. Remember those giant eagles we met a while back in act two? Well their back just in time!

Homeward Bound

15. crossing the return threshold.

Once the Hero is back home, it’s time to acknowledge their change in character. “Crossing the return threshold” is the stage in the monomyth where the hero has left the chaos of the outer world and return home.

But it's hard to adjust to the old world. Remember that scene where Frodo tried to enjoy a beer back at the shire? Hard to go back to normal when you essentially live with Dark Lord PTSD.

A Triumphant Return

16. master of two worlds.

The hero survived an adventure in the chaos realm, and now survives in the normal order realm. This makes him or her the master of two worlds. Not many people come back and live to tell the tale.  

Frodo and Gandalf wandering off into the sunset post accomplishing their mission

Plus which, throughout the story, they’ve become someone much more capable and resilient than they were in act one. They've learned lessons, and brought what they learned home with them. 

Whatever issues they may have had before embarking on this chaotic tale (often the ones preventing from taking the call to action) now pale in comparison with what they’ve been through.

It’s easier to deal with your annoying cousin, Dudley, after you’ve defeated Voldemort. This, in turn, leads to...

The New Status Quo

17. freedom to live.

In many ways the Hero's Journey is about death and rebirth. The story may manifest as the death of an aspect of character, and the birth of some new way of life. But the metaphor behind any story is one about mortality.

Change is constant. Hero's living through the Hero's Journey are models for us. Models that we can travers the constant change of existence, face our mortality, and continue. In a religious sense, and religions are all part of the monomyth, this is about the eternal spirit. 

Look no farther than the prayer of St. Francis to understand this final step in the Hero's quest. "It is in dying that we are born to eternal life." 

The Hero’s Journey Concludes

Cinematic heroes.

The monomyth is practically ubiquitous in Hollywood. As you’ve read earlier, Harry Potter , Star Wars ,   Lord of the Rings ,  and   Citizen Kane all follow the Hero’s Journey. But, because this concept was built upon the foundations of major mythologies, it's truly a "tale as old as time." 

Because Campbell discovered the Hero's Journey. He didn't make it up. Neither did those older myths. He realized as an anthropologist, that every culture all around the globe had the same story beats in all their myths. 

Sure, some myths, and some movies, use 10 of the 17, or even just 5. But throughout human history, around the world, these story beats keep showing up. In cultures that had nothing to do with one another. 

The Hero's Journey is a concept innate to being human. 

And if remembering these 17 steps may seem a little daunting, fear not. Make sure to check out Dan Harmon's abridged 8-step variation of the Hero's Journey monomyth.  Same structure, just made more digestible.

Dan Harmon’s Story Circle 

Practically speaking, the Hero’s Journey is an excellent tool for structuring an outline in a clear and familiar way. It has the power to make your script much more powerful and emotionally resonant. 

It’s circular, allowing for repeat adventures (which works well if you're learning how to write a TV pilot ) and each aspect drives the hero to the next. From the Goddess, the Hero finds temptation. From reconciling with the father, the Hero is now prepared for the final boon.

Story Circle  •  8 Proven Steps to Better Stories

Using a Hero’s Journey worksheet can help you write a treatment or create a well-structured outline , which is a valuable tool for creating a strong first draft.

By putting in the 17 steps of the Hero’s Journey before building the outline, you can ensure that the writing process will flow smoothly and efficiently. Let us know in the comments how the monomyth has helped you craft a story that escalates with every beat to an exciting climax.  

Up Next: Dan Harmon's Story Circle →

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The Hero’s Journey: Explained in 12 Steps

This article explains the hero’s journey, where it came from, and how it can help you tell better stories.

Would you like a proven way of telling better stories, ones that readers remember long after they put your work down? Well, you don’t need to sell your soul to do it either. Instead, use the Hero’s Journey to master the art of storytelling .

It’s a heroic journey that the storytellers behind popular dramas, stories, myths, legends, and even religious rituals often use it.

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What Is The Hero’s Journey?

Stage 1. the ordinary world, stage 2. the call to adventure, stage 3. refusal of the call, stage 4. meeting with the mentor, stage 5. crossing the first threshold, stage 6. test, allies, and enemies, stage 7. approach to the inmost cave, stage 8: the ordeal, stage 9. the reward (seizing the sword), stage 10. the road back, stage 11. the resurrection, stage 12. return with the elixir, what the hero’s journey means for writers, the hero’s journey: the final word, why is the hero’s journey important, what is the purpose of the hero’s journey, storytelling resources.

The Hero’s Journey is a popular storytelling framework used in films like Star Wars, The Matrix , Toy Story, and the recent Marvel superhero films. Although it’s in vogue today, it’s a rather old form of story structure.

In the 1949 book The Hero With a Thousand Faces, scholar Joseph writes about the Hero’s Journey:

“The usual hero adventure begins with someone from whom something has been taken, or who feels there is something lacking in the normal experience available or permitted to the members of society.”

“The person then takes off on a series of adventures beyond the ordinary, either to recover what has been lost or to discover some life-giving elixir. It’s usually a cycle, a coming and a returning.”

Essentially, the hero (it could be you or your protagonist) of any story goes on a journey and comes back a changed person. Star Wars is one of the most popular stories of the modern era, but did you know George Lucas guided his story for the first film around using the twelves stages of the Hero’sJourney?

Let’s dive into this storytelling technique using examples from Star Wars and other popular films.

We meet our hero.

Here, the reader or viewer meets an uneasy, ordinary person going about their daily lives and sympathizes with the unlikely hero.

For example:

In Star Wars , we meet Luke living a bored and isolated life on Tatooine’s backwater desert planet. He is an ordinary man with ordinary problems.

Similarly, in Lord of the Rings , we meet Frodo and his friends living a care-free life in the Shire.

Our hero goes on an adventure.

A dramatic incident calls the hero on a dangerous path and leaves the known world behind. He may encounter and disbelieve fabulous forces.

In Star Wars , Luke cleans an old droid called R2D2 and accidentally plays a help message from Princess Leia.

So, he seeks out an old hermit Obi-Wan Kenobi to help him understand what this message means. His world is about to change.

In Lord of the Rings , Gandalf visits Frodo Baggins and sends him on a mysterious adventure: to carry a magic ring to Rivendell.

In Toy Story, this is the moment Woody leaves Andy’s bedroom’s safety, albeit accidentally.

Our hero wants to turn back and go home.

The hero catches a glimpse of a new unknown world. An archetypal hero becomes reluctant and afraid to embrace this call to adventure.

In Star Wars , Obi-Wan Kenobi tells Luke about the age-long struggle between the evil Empire and the Rebels. Then, he says he will bring Luke to Alderaan and train him in the ways of the Force.

In Lord of the Rings , Frodo travels to Rivendell, meets Elrond, and learns the ring must be destroyed. The council immediately begin fighting with each other over what to do next.

Our hero meets a more knowledgeable teacher or guide.

The hero meets a seasoned traveler of the world and receives training and equipment from him or her.

In Star Wars , Luke meets Obi-Wan Kenobi. He offers Luke his father’s old light-saber and promises to train him in the mysterious ways of the Force.

In the recent Spiderman films , the hero meets Ironman and gains a special suit, which gives him new powers.

Our hero leaves his or her old life behind.

This moment comes at the end of the first act of the story. Here, the hero finally leaves his or her ordinary world and enters the other or unknown world.

In Star Wars , Luke returns home to find his aunt and uncle are dead. Having nowhere to go, he accepts Obi-Wan’s call to adventure and goes on a quest to rescue Princess Leia.

In The Matrix , Neo accepts the red pill from his mentor Morpheus. He swallows the red pill and learns the truth about the ordinary world.

Our hero assembles a crew.

Here, the hero is tested by his enemies and recruits some friends who can help him.

In Star Wars , Luke and Obi-Wan recruit a reluctant Han Solo and Chewbacca. Then, they battle against the Empire’s stormtroopers.

In almost any Marvel movie, our hero assembles side-kicks and friends who will help him or her.

Our hero gets ready to do battle.

Now, the hero and his or her allies get ready to achieve their goal. They prepare to do battle against the antagonists of the story.

The inmost cave is a metaphor deployed by mythologist Joseph Campbell describing an imminent conflict.

In Star Wars , Luke and his new allies travel to the planet of Alderaan so Luke can train in the ways of the Force and prepare to rescue Princess Leia.

Our hero faces their greatest challenge or ordeal yet.

In this pivotal moment of the story, the hero confronts death, his or her greatest fear, or a traumatic experience. It occurs in the innermost cave of the myth in question.

Also described by Campbell as entering “the belly of the whale,” it’s their biggest test so far. If they overcome this challenge, they will fundamentally change at a great cost. If they fail, all is lost.

In Star Wars , this is the moment where Darth Vadar and Obi-Wan Kenobi attack each other with light-sabers inside the Death Star. Luke looks on helplessly while Vadar strikes down and kills his mentor.

All is lost for Obi-Wan Kenobi. Later on, in the trilogy, Luke faces and defeats his father. All is won.

Our hero, if successful, receives a prize.

The hero, after facing and escaping certain death, takes possession of a treasure. He achieves a decisive victory over his enemies.

In Star Wars , Luke saves Princess Leia and captures the plans for the Death Star. Now, the Rebels have what they need to defeat the Empire finally.

Or do they?

Our hero tries to return with this prize to their old life.

Typically, there is a chase whereby the hero is driven to complete his adventure and bring his or her treasure home.

In Star Wars , Luke rescues Princess Leia from Darth Vadar with Han Solo and Chewbacca’s help. He joins the Rebels on their hidden base on Yavin 4. There, he is accepted as an X-Wing fighter pilot.

There, they regroup and plan an attack against Vadar’s forces and the Death Star.

Wait! Our hero has one final test, battle, or challenge.

Here, the hero is tested one last time and must make a sacrifice before he or she can defeat the primary antagonist.

Luke attempts to destroy the Death Star and is almost shot down and killed by Darth Vadar, flying a TIE Fighter.

All looks lost for Luke… until his old mentor appears in a vision, tells Luke to turn off the sensors of his X-Wing, and “Use the Force.”

In the final Lord of the Rings film, this is the moment when Frodo is about to die before being rescued by the Eagles.

Our hero returns home at last.

The hero returns home or continues with his journey, having embraced his identity and carrying some element of the treasure.

Luke uses the Force to destroy the Death Star and returns to the Rebels a hero. He will continue to fight the Empire using the Force on his side.

In the first Matrix film, Neo defeats Smith and leaves the Matrix before an electromagnetic pulse destroys the Sentinels.

He then phones Smith and reveals he will show those trapped in Matrix “a world where anything is possible.”

In Lord of the Rings, Bilbo returns to the Shire with treasure and a new understanding of the ordinary world.

I like the Hero’s Journey, not just because I enjoy superhero films or Star Wars , but because it’s a narrative device that a writer can tell more powerful stories .

Listen to what George Lucas said about the Hero’s Journey:

“Here is a lifetime of scholarship, a life of work that is distilled down to a few books that I can read in a few months that enable me to move forward with what I am trying to do and give me focus to my work.”

“It was a great feat and very important. It’s possible that if I had not run across him I would still be writing Star Wars today.”

He’s not the only successful creative person to use Hero’s Journey to tell better stories .

From the Matrix to almost all the recent Marvel offerings, the filmmakers behind popular franchises tell their stories using variations of the Hero’s Journey, as do the writers of popular thriller stories.

So what does the Hero’s Journey storytelling technique mean for you?

Well, you can…

Look for traces of the Hero’s Journey in popular works: Now that you’re aware of it, it’s easy (and fun) to find elements of this narrative device in books, films, and stories.

Use the Hero’s Journey to find creative ideas: Once you understand how a popular story is put together, you can extract elements from this story and combine them with your own to come up with more creative ideas.

Use the Hero’s Journey to overcome writer’s block: It’s not a color-by-numbers template that you must rigidly follow, but it will help you break your writing (or stories) into smaller, more approachable sections, like the opening , the middle, or the ending .

Tell stories with the Hero’s Journey: Whether you write short stories , novels, or non-fiction works, storytelling is an art that demands practice. The good news is the Hero’s Journey offers a proven way of practicing storytelling.

Remix this storytelling technique: George Lucas played with the Hero’s Journey’s order to tell his story in the first Star Wars film. There’s no reason why you can’t play around with it to tell your stories too.

Remember, the Hero’s Journey is just one way of mastering the art of storytelling. There are dozens more out there.

You have to accept your call-to-adventure and find them.

The hero’s journey is a popular form of storytelling, particularly with today’s screenwriters. It also works well for novels and even non-fiction.

Work through these 12 steps the next time you outline a book or story. Understanding the rules and mythology of this framework and see where your plot takes you.

Hero’s Journey FAQs

The hero’s journey demonstrates that change is possible for everyone. It shows us that an ordinary person can overcome great adversity and defeat their enemies or fears. With some help, they can affect the world in some way. It’s also important as it explains how popular stories and myths work.

The hero’s journey is a framework for crafting a compelling story. It charts the heroic journey of an ordinary person or main character to becoming a hero. It’s used in many popular mythical stories like Star Wars and Toy Story.

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Bryan Collins is the owner of Become a Writer Today. He's an author from Ireland who helps writers build authority and earn a living from their creative work. He's also a former Forbes columnist and his work has appeared in publications like Lifehacker and Fast Company.

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12 Step Guide to the Hero’s Journey

Every story has a hero! And every hero has a journey to achieve a goal, avert a crisis or beat incredible odds. Whether you’re a speaker looking to impress your audience with a PowerPoint presentation or someone aiming at self-improvement, the 12 Step Guide to The Hero’s Journey can help guide you towards awakening your inner hero.

What is the Hero’s Journey?

In 1871 anthropologist Edward Burnett Tylor pointed out some of the common aspects of how a hero is narrated in stories. Over the following years, there was much deliberation regarding the concept of the hero’s journey by various theorists.

Different philosophers have narrated this in various stages. A 20th-century American Professor of Literature, Joseph Campbell, gave 17 stages of the hero’s journey. Another professor, David Adams Leeming, and an American author, Phil Cousineau, gave their own version of 8 stages for the hero’s journey. More recently, author and Disney screenwriter Christopher Vogler came up with 12 stages to the hero’s journey .

12 Steps of the Hero’s Journey

In what is to follow, we will dig deep into the 12 steps based on Christopher Vogler’s concept of the hero’s journey. Like all steps outlined by philosopher’s in the past, these 12 steps are also divided into three acts, namely; Departure, Initiation and Return. As an example for each stage, we will narrate the concept of the hero’s journey by comparing it to the famous fairytale, Jack and the Beanstalk.

Act 1: Departure

This Act consists of 5 stages: the ordinary world, call to adventure, refusal of the call, Meeting with the mentor, and crossing the first threshold.

1. Ordinary world

This is where the hero is living an oblivious life, not realizing his true destiny and the adventure ahead. This is a safe place for the hero, as he lives through his ordinary life. If we are to take the example of Jack from the story Jack and the beanstalk, it is the stage when he is living an ordinary life with his mother. 

If you’re delivering a business presentation, an author, or even a teacher, you can use this phase to take your audience on a journey. Starting with something ordinary can be a great way to make your audience relate to the hero.

2. Call to adventure

This is the part when the hero is called to the adventure. You might have seen this happen in movies and novels in the form of a threat to the hero or his loved ones, an impending disaster that the hero learns about, or an incident that transforms the hero’s ordinary life with a sudden jolt. This is when Jack’s mother sends him to sell the cow due to the family’s financial woes, and he comes across the tempting offer to sell the cow for magical beans instead of money. 

This is the part where the audience is likely to get excited and tense at the same time, where there is a sense of mystery as to how the hero might react to the situation. 

3. Refusal of the call

Every hero has fears and doubts that hold them back, at least for a while. This is the part where the hero has doubts about his abilities. Many famous stories show the hero as demoralized and beaten down in this stage; it is the part where Jack is reluctant to sell the cow to the man offering him magical beans.

Refusal to call can be a great way to describe a success story to an audience. It can resonate with people’s fears and doubts and motivate them towards an exciting storyline that they will find motivating.

4. Meeting with the mentor

This is the part where the hero meets the mentor. In the case of Jack, it is the man who offers him magical beans for his cow. Meeting the mentor realizes one’s dreams, where the protagonist might receive an object of great importance, some advice, training, or motivation from his mentor.

When narrating a story, this is when a key character is meant to transform the life of the hero forever. In a presentation, this is the defining moment that needs to be identified and explained before an audience.

5. Crossing the threshold

This is the stage where Jack climbs the beanstalk, which appears after his mother throws the magical beans away, thinking that Jack was hoodwinked into selling the cow. At this stage, the hero is now ready to heed the call to adventure and departs on the amazing journey, completing the first act, i.e., Departure. This is usually the take-off point of any story and holds immense importance in keeping your audience intact.

Act 2: Initiation

The second act consists of four vital stages, i.e. tests, allies and enemies, approach to the inmost cave, the ordeal, and finally, the reward.

6. Tests, allies and enemies

This is the part where the hero is confronted with challenges by his enemies. This is a time of trial and tribulations. The hero must decide who to trust in the wake of great obstacles and threats, testing his abilities to the bitter end. 

Many presenters also use this stage to discuss the doom and gloom they or their organization faced amidst disastrous circumstances. This is where the audience is thrown into a spin, and the hero appears struggling amidst incredible odds. This is the moment when Jack finds the giant after he reaches the castle across the beanstalk. 

7. Approach to the inmost cave

This represents a danger, confrontation with a foe, or an actual place where the hero must enter to face the true challenge. It is the call for the final battle. While entering the cave, the hero might once again face his fears and doubts, making the audience realize the hero’s plight. This is Jack’s face-off against the giant.

Many presenters use this stage to create sympathy for the protagonist’s struggle, be it a hero from an actual story, an organization that faced a crisis, or a historical figure under discussion confronted with incredible odds.

8. The ordeal

This is when the final battle occurs. When Jack must fight the giant, this is the moment of truth when the hero will be reborn through some ‘death,’ even if it is metaphorical. Facing all his fears, to achieve an incredible feat. 

For a presenter, this is the extension of the inmost cave. Where the narrative of the final battle is laid out before an audience so that they might get a grip of the true sacrifices the hero has made to achieve something extraordinary. If you can sell your ordeal to the audience, your call to action will likely be well received.

This is when the hero achieves some success. Such as when Jack acquires the giant’s harp and golden eggs and runs for home as the giant chases him. This is when the hero has achieved a major goal and now must return home!

Whether you boast about an achievement or keep it short as a presenter will depend upon the topic, the mood of your audience, and the magnitude of the success achieved. The Reward completes the second act, where the Initiation phase is completed.

Act 3: Return

The Return symbolizes the effect of the achievement and what lies ahead for the hero. There would be new obstacles. However, the hero now must return home, even if it is symbolic. This act has three stages, i.e., the road back, the resurrection, and return with the elixir.

10. The road back

Going back home symbolizes the hero’s return with the reward. The hero might be returned with acclaim after achieving a great feat. It is Jack after climbing down from the beanstalk. 

If you’re a presenter, the road back can be kept brief, as this is the part where your audience might be a bit tired and might be looking for a quick conclusion.

11. The resurrection

This is when the hero is reborn. The hero must face a major threat, which is often a face-off with death itself. This is the part when the giant chases Jack down the beanstalk, as Jack climbs down.

If you want to stretch out the final battle for your audience, you might want to keep some of the previous sections short during a presentation. While people read novels at a time of their convenience, the audience sitting in a hall might not be all that patient. Nonetheless, the final battle is crucial and must be played out to the satisfaction of the audience.

12. Return with the elixir

This is when the hero achieves success. Jack acquires the giant’s harp and golden eggs after defeating him by cutting the tree. In the story, the giant is never seen again, which is a reference to the giant being slain. After this stage, the hero is no longer the same. The enemy has been defeated, the challenge achieved, and death has been beaten, one way or the other. The reward is the ultimate goal of the hero that is achieved in some form. Some stories might see the hero dying in the end after achieving a goal. This might include slaying a tyrant, winning a war, or inspiring a revolution. In Jack and the Beanstalk, it is Jack living happily ever after with his mother.

Return with the elixir is the satisfaction that the audience desire, so to speak. Everyone likes a story where the protagonist achieves something great. As a presenter, you can discuss the protagonist’s success to show the audience how great the protagonist achieved a feat in the wake of hard work, sacrifice, and perseverance. Reward also concludes the final stage of the second act, and now the hero must return. 

You will require weaving in your call to action with this stage as a presenter to use the inspirational story to achieve your final goal. The same can be done by a teacher, a student during a class presentation, or someone looking to write an inspirational story with a moral at the end to inspire people with an idea.

When working with the hero´s journey

Final Words

The hero’s journey reflects myths and legends and human nature, and the human will achieve something extraordinary. If you’re someone looking to take your audience on a journey through a presentation, story, video, or even a class lecture or school presentation, you can use the 12 step guide to create a compelling story for your audience.

If you’re someone looking to use the hero’s journey as a guide for self-improvement, you can also use this as a guide as to what phase of your life was the most impactful, what decisions you made, and how you might improve your decision making.

Finally, if you´re looking into the hero´s journey because you are creating content for marketing purposes, or even defining storyboards to understand users better in tech products, hopefully this article will have been helpful for you.

1. Hero’s Journey Diagram for PowerPoint

When creating or understanding a character, the Hero´s Journey Diagram is a fantastic way to map out the different stages of the journey. This diagram is great, not only for fantasy characters but also to use a metaphor in real-life situations. 

Use This Template

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Ten years, eight clubs, one dream: The story of Fa'amanu Brown, rugby league's ultimate journeyman

Analysis Sport Ten years, eight clubs, one dream: The story of Fa'amanu Brown, rugby league's ultimate journeyman

Fa'amanu Brown has had plenty of days to remember though his 10-year, eight-club career in rugby league, but the past week was something new, even for him.

After securing a release from Hull FC, he flew from England on Sunday, landed in Australia on Monday, signed with St George Illawarra on Tuesday, trained with them on Thursday and played in the club's 30-12 win over the Warriors on Friday.

"I didn't think I'd play on Friday but Flanno (coach Shane Flanagan) said he'd throw me in the deep end," Brown said.

"It was surreal to get a win against a quality side like the Warriors and it was the first time we won back-to-back in a couple of years, so that's important.

"Nobody is ever going to turn down an offer to play in the NRL, even if you're straight off the plane."

Brown's move is the latest chapter of a long, winding journey that started in Christchurch and has taken the 29-year-old from Cronulla, to Canterbury, to Featherstone Rovers in the English second division, to North Sydney Bears in NSW Cup, to Wests Tigers, back to Canterbury, then to Newcastle, Hull FC and finally the Dragons.

That's nine different stints at eight different clubs across two continents and four different leagues in 11 seasons, for those of you playing at home. The Dragons are the fourth team he's played for in 18 months.

Throw in his appearances for Samoa, his belated debut for New Zealand – where he played in last year's record Pacific Championship final belting of Australia – and the fact he overcame a leg injury that left doctors telling him he'd never walk again let alone play, and it's one of the most remarkable careers in modern rugby league.

Some players might take being described as a journeyman as disparaging. Brown uses it as a sign-off on Instagram and wears it as a badge of honour. Few can match his journey, on the field or off it.

Plenty of people who have faced Brown's hardships would have retired long ago. The uncertainty of life as a rugby league vagabond isn't for everyone but Brown has been making the very most of what he's got his whole life.

"It's from my upbringing. We all face adversity on our own journeys but I grew up in a three-bedroom state house as one of nine kids. We just had to deal with what we had," Brown said.

"It's the hardships I've had to go through. I grew up in a home with domestic violence. I grew up in a house where you had to deal with what you had and I've carried that with me.

"When you're chucked in the deep end it's swim or drown and I've been put in that position my whole life.

"That's what built my resilience and my character. I'm so lucky with my family and my support base, my fiance Jordan has been with me through everything. She's been right there on the rollercoaster with me.

"There have been plenty of times when I've wanted to retire but I'm so lucky."

Brown got his first shot at the top grade back in 2014 with Cronulla as the club struggled in the grip of the ASADA scandal.

The Sharks were outscored 56-0 in his first two matches. But, as he's done so many times, Brown kept at it and Cronulla, somehow, won their following two games – overturning 22-0 and 24-0 deficits in the process.

He stayed at the Sharks until the end of 2017 – that's where he worked with Flanagan, who was instrumental in bringing him to the Dragons this season — before he headed to Canterbury and began his wandering.

"It sounds like a cliché, but I love giving back. For me, the only way out of the hood was rugby league. That was all I knew. So I have to represent people who do it tough," Brown said. 

"There's a lot of kids, some kids who come from nothing, who might be unlucky with injuries or they're down and out and think there's no way back, that's who I represent. If I can do it then, bloody hell, anyone can.

"I never left a stone unturned. You can have all the achievements in the world, but you know in your heart if you gave it your all, if you never stopped fighting."

That attitude helped Brown the most during the toughest stretch of his career in 2020 when a succession of foot injuries put his career on the brink.

Five doctors told him he'd never play again. Some of them said he'd never run again. At the same time, he was nursing his mother through the final stages of her life as she battled lung cancer.

Amid everything, he found a way to keep going. He always does. He's realised he's more than his football career, a perspective that gives him the strength to carry on in the hardest times.

"Rugby league is a part of me, but it's not all of me. I still have so much away from the game and I'm still young in the real world. I had to learn that rugby league is so important to me but it isn't me," Brown said.

"So when you go through injuries, or when you're on a string of one-year deals or you lose yourself trying to train too hard or think about it too much, you have to remember that, and you only learn it through experiences."

Brown is still hopeful of having some experiences left. He'll play for the Dragons on Anzac Day against the Roosters in front of a sold out crowd at the Sydney Football Stadium, which is one of rugby league's great occasions, and with Flanagan's coaching beginning to take effect on the Red V, who knows where this season could end up?

"When you look at the Dragons you can see that when they face adversity they play for one another, they turn up. That's something they haven't had in recent years and that's what I think Flanno has bought, that winning mentality," Brown said. 

"He knows what he's doing and a lot of the boys are trusting him and what he's trying to do."

For the time being, Brown's goals are modest. He wants to earn more minutes as he re-acclimatises to the NRL. He wants to lock down a contract for next year, to get just a little bit of security.

He's taking his career year-by-year at this point, but the end isn't in sight yet. The man is still on his journey.

"Not many people get to do this, not many people get to be in our shoes, so I was always going to take it with both hands," Brown said.

"It doesn't matter if it's one minute or 80 minutes, you get to be out there in front of 20,000 fans.

"A normal person doesn't get to experience that, so I'm so grateful for everything, I'm so grateful to be at the elite level and I believe this is where I belong.

"I'm a full believer that everything happens for a reason. With my journey you can't really write a story like this."

• X (formerly Twitter)
• Rugby League

[DUNGEON NO.8] Anime Dungeon Fighters Codes For April 2024

Anime Dungeon Fighters is an experience on the Roblox platform inspired by multiple anime, manga and manhua series, where players choose a weapon and start their journey to become the strongest anime fighter, acquiring abilities and traits of anime heroes, defeating bosses and engaging in other such activities.

To help you with your journey of becoming powerful in Anime Dungeon Fighters, we are here with active codes for the game that you can use to obtain Con Coins, Gems, Season Exp and other lucrative rewards for free.

So keep reading as we share all active codes for Anime Dungeon Fighters codes for this month, along with steps on redeeming them.

All Active Codes

Here are all the working redeem codes that we have managed to find for Anime Dungeon Fighters that you can use to get free rewards.

Keep in mind that Anime Dungeon Fighters redeem codes are subject to expiration, so we recommend you redeem them as soon as possible.

Update : We checked for new codes on April 26, 2024.

• LEOPARD - 500 Gems (new) [Works in new server only]
• AURAUPDATE - 300 Gems
• NEWUPDATE - 500 Gems
• NEWHERO - 300 Gems
• PVPUPDATE - 100 Cos Coins
• ENCHANTINGUPDATE - 5 Weapon Magic Dust and 5 Hero Magic Dust
• DISCORD - x100 Cos Coins and x600 Gems
• BOOSTGIFT - x1 30 min Money Boost and x1 30 min EXP Boost
• freegift2 - 1k Season EXP
• GEMGIFT - Rewards
• GOLDGIFT - $100k

We will update this section with more Anime Dungeon Fighters redeem codes as the developers make it available.

That being said, while we verify and update the code pieces every week, if you find any of the above codes not working, in case we missed it, please tell us in the comments, and we will update them as soon as possible.

All Expired Codes

Here is the complete list of expired redeem codes for Anime Dungeon Fighters that you cannot claim anymore:

• WEEKENDGIFT2
• WEEKENDGIFT1

We verify and update this list with Anime Dungeon Fighters codes whenever they expire.

How To Redeem Codes

You can redeem Anime Dungeon Fighters codes by following the below steps:

• Open Anime Dungeon Fighters on Roblox
• Click on the golden ' Shop ' icon
• Select the ' Codes ' tab
• Enter the working codes in the given field
• Click on the ' Claim ' button
• Enjoy the freebies!

Where To Find More Anime Dungeon Fighters Codes

You can get more codes for Anime Dungeon Fighters from the following sources:

• Roblox Page

Apart from that, it would be best if you bookmark this page and visit it every week, as we update the code list weekly with new codes and updates.

For more game codes, you may be interested in:

• Lords Mobile Codes: Free Boosts, Energy, Items & Rewards
• Arena Breakout Codes: Free Weapons, Items, Koen & Rewards