heroes journey story ideas

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

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

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

• What is the hero's journey?

Stage 1: The Ordinary World

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

• Free Hero's Journey Templates

What is the hero’s journey?

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

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

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

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

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

12 Hero’s Journey Stages

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Free Hero’s Journey Templates

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

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

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

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

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Last updated on Aug 10, 2023

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

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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 arc 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. 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 author-approved 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 bestselling novel (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 here to read about the ever-popular Three-Act Structure, here to discover Dan Harmon's Story Circle, and here to learn about 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:

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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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100 Epic Journey Story Prompts

The epic journey—a story involving a hero or protagonist tasked with venturing into different lands, worlds, times, and universes—is as old as time itself. From Homer’s epic journey in  The Odyssey  to Luke Skywalker’s venture into the stars in  Star Wars , the epic journey has always served as one of our greatest forms of storytelling. 

An epic journey is a metaphor for the journeys of conflict we face in life, both physical (external) and emotional (internal). Stories like these act as escapism, where we can live adventures vicariously through the eyes and experiences of the characters. And they also manage to challenge characters the most, which offers an even more cathartic and enticing experience for the reader or audience. 

The more epic the journey, the more conflict that the characters need to face. And conflict is the driving force of any story—big or small.

With that said, here we offer 100 epic journey prompts to get your creative juices flowing! 

Note: Because we’re all connected to the same pop culture, news headlines, and inspirations, any similarity to any past, present, or future screenplays, novels, short stories, television pilots, television series, plays, or any other creative works is purely coincidence.

Read More: Exploring the 12 Stages of the Hero’s Journey

'Star Wars: Episode V The Empire Strikes Back' (1980)

• A time traveler must venture through time to find a villain.
• A forgotten map leads characters through magical doorways, each transporting them to a different fantastical realm.
• A Steampunk airship captain embarks on a daring expedition to find the mythical floating city hidden among the clouds.
• The last astronaut on Earth must save all of mankind in the last spaceship.
• A lone warrior searches the world for a long-lost magical sword.
• An archaeologist uncovers a portal in an ancient ruin that transports them to the time of the dinosaurs.
• An archaeologist uncovers a portal in an ancient ruin that transports them to the time of the Egyptians. 
• An archaeologist uncovers a portal in an ancient ruin that transports them to the Medieval Ages. 
• An archaeologist uncovers a portal in an ancient ruin that transports them into the future.
• In a post-apocalyptic wasteland, a group of survivors stumbles upon a hidden gateway leading to an untouched, flourishing oasis.
• A scientist creates a time loop that forces them to relive the same epic journey across parallel dimensions until they can set things right.
• A spacefaring nomad encounters a sentient nebula leading to parallel universes.
• A hero must navigate the surreal landscapes of the dreams to restore balance to the waking realm.
• A librarian discovers that books in a magical library can open portals to fantasy worlds. 
• A librarian discovers that books in a magical library can open portals to historical events.
• A librarian discovers that books within a magical library can open portals to futuristic landscapes. 
• A librarian discovers that books within a magical library can open portals to alien worlds.
• A group of astronauts crash-lands on an alien planet.
• A mission sends a time-traveling assassin to manipulate key events in different historical periods to alter the course of history.
• Middle school friends discover a magical book that can open portals to a different world.
• Middle school friends discover a magical book that can open portals to a parallel universe within their school. 
• An underwater explorer stumbles upon an aquatic realm.
• A time-traveling detective chases a criminal through different eras.
• An astronaut goes through a wormhole and discovers a planet with floating islands.
• A pair of siblings discover a hidden doorway in their basement that transports them to an alternative universe.
• An Old West wagon train strives to survive the open range.
• A gamer must seek the way out of the virtual world where they are trapped.
• A ship, its crew, and its captain decide to take the same route as Columbus. 
• A ship, its crew, and its captain decide to cover every point of the Bermuda Triangle. 
• An astronaut on a routine space mission is plunged into a parallel universe.
• A group of survivors in a post-nuclear world try to make it to an island.
• A sled dog team tries to keep their master alive as they journey through a winter storm.
• A pirate ship, its crew, and its captain try to track down a royal ship full of gold.
• A baseball team in a post-nuclear world travels the country to provide entertainment and hope for survivors. 
• A terminally ill father and his son embark on a road trip across the country. 
• A presidential candidate in a post-apocalyptic world travels the country to earn votes.
• A dog is reincarnated as a puppy, remembering their past life, and tries to get back home.
• A group of spelunkers finds a long-lost world. 
• A group of spelunkers finds proof of a very different past. 
• A group of friends tubing on a river gets lost in the Everglades.
• A group of friends tubing on a river are transported to the world of dinosaurs.
• An artist attains the ability to venture into their paintings of surreal landscapes. 
• A museum employee discovers they can enter into the world of iconic paintings.
• A time-traveling botanist explores different epochs to collect samples of extinct plants, hoping to revive a lost ecosystem in a world ravaged by environmental disasters.
• A young dinosaur is transported to the future through a strange portal. 
• An interdimensional bounty hunter tracks down dimension-traveling fugitives.
• A time-traveling bounty hunter tracks down time-traveling fugitives.
• A spaceship pilot discovers a wormhole that leads to an alien galaxy.
• The discovery of the Hawaiian Islands. 
• The first space flight to Mars.
• The first expedition to the dark side of the moon.
• A young character can explore the world of their dreams.
• Young friends discover they can meet up and explore the worlds of their dreams. 
• A detective must travel through different time periods to solve a case.
• A group of explorers discovers a forgotten jungle where dinosaurs never went extinct.
• Young siblings find a series of caves behind their grandparents’ old mansion. 
• A spacefaring cartographer maps out uncharted territories in space.
• Two young siblings walk the burnt landscapes of a post-nuclear world. 
• A widow decides to travel to all the places she and her husband never were able to visit.
• A stranded astronaut on the moon, thought to be dead, must try to find a way to tell Earth that they are alive.
• A young baseball player joins a traveling baseball team and comes of age.
• Young lovers meet on a backpacking trip across Asia. 
• A plane crashes, and the crew must find their way home.
• An ant gets a glimpse of the larger world around their habitat and wants to go explore.
• A knight must travel across the land to find the princess he’s tasked with rescuing.
• A character dies, and their ghost must find their way through purgatory.
• An alien receives a message from Earth and strives to find a way to get there.
• Disneyland’s rides are portals into the real worlds they depict.
• Characters must find their way out of a seemingly endless haunted mansion.
• An expedition through the Rocky Mountains. 
• An explorer sails along the coast of the Americas to create the first map of the continent.
• Mark Twain’s adventures down the Mississippi. 
• A group of kayakers decide to kayak down the Mississippi. 
• A group of tubers decide to tube down the Mississippi. 
• A journey to the Earth’s core.
• A journey to the bottom of the ocean.
• Grade school friends decide to climb to the top of a local bluff. 
• A man loses his dog and tries to track it through the GPS chip.
• A boy and his dog are separated when their canoe tips over in a raging river, and they struggle to find each other.
• A time traveler from the future is stuck in the past and must find a way back home. 
• Characters struggle to find a military bunker before nuclear missiles hit their country. 
• A Navy ship is lost in time and must find the portal back home. 
• Characters find a real-life bean stock leading up to a world of giants.
• The first Westerner expedition of the Amazon. 
• A plane crash-lands in the Amazon Jungle, and the survivors struggle to find their way out. 
• A man is given the chance to save his family from death by finding them in the afterlife. 
• Technology allows people to explore the minds of people to save them from dementia.
• A veteran NFL quarterback is traded from team to team until they find a team they can win the Superbowl with.
• Old West cowboys must move their herd across the frontier while they face the elements and other threats. 
• A contemporary retelling of  The Odyssey .
• A character discovers their adoption and now must travel to another country to find their birth parents.
• During a hiking trip in the mountains, the family accidentally leaves a child behind, and the child must survive the elements until they find them.
• A child runs away from their Midwestern home to find Santa.
• A character takes the ashes of their deceased parent across the country. 
• A character vows to run from the East Coast to the West Coast of the United States of America. 
• A character vows to sail to every continent of the world.
• A character vows to fly to every continent of the world.
• Old retired astronauts enlist the help of a billionaire to fly them to the moon.
• A father does everything to return home from a WWII war zone for Christmas.
• The first ascent of Everest.

Read More:  101 Epic Sci-Fi Story Prompts

'Dune: Part Two' (2024)

Have fun, and travel well within your stories these prompts may have inspired. 

WANT MORE IDEAS? TAKE A LOOK AT OUR OTHER  STORY PROMPTS !

Check out our preparation notes so you start your story off on the right track.

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

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

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The Hero’s Journey

What is the Hero's Journey in Literature?

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

Narratology and Writing Instructions for Heroic Characters

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

Which Story Structure is Right for You?

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

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

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

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

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

Structure of the Monomyth: The Hero's Journey Summary

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

Part One - Call to Adventure

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

Part Two - Supreme Ordeal or Initiation

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

Part Three - Unification or Transformation

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

Part Four - Road Back or Hero's Return

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

Popular Hero's Journey Examples

Monomyth example: homer's odyssey.

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

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

To Kill a Mockingbird Heroic Journey

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

Classroom Applications and Uses

Example exercises.

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

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

Common Core

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

Related Resources

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

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

Introduce the concept of the heroic journey.

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

Analyze Characters Using the Heroic Journey

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

Compare and Contrast Character Journeys

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

Discuss the Role of Character Motivation

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

Apply the Concept to Real-Life Situations

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

Frequently Asked Questions about the Hero's Journey

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

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

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

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

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

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

Why should students learn about the hero's journey?

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

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

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

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

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

By Dan Schriever

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

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

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

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

What Is the Hero’s Journey?

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

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

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

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

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

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

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

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

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

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

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

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

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

#1: The Ordinary World

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

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

The Ordinary World in The Matrix :

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

#2: The Call to Adventure

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

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

The Call to Adventure in The Matrix :

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

#3: Refusal of the Call

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

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

Refusal of the Call in The Matrix :

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

#4: Meeting the Mentor

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

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

Meeting the Mentor in The Matrix :

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

#5: Crossing the First Threshold

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

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

Crossing the First Threshold in The Matrix :

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

#6: Tests, Allies, and Enemies

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

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

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

Tests, Allies, and Enemies in The Matrix :

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

#7: Approach to the Inmost Cave

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

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

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

Approach to the Inmost Cave in The Matrix :

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

#8: The Ordeal

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

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

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

The Ordeal in The Matrix :

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

#9: Reward (Seizing the Sword)

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

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

Reward (Seizing the Sword) in The Matrix :

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

#10: The Road Back

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

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

The Road Back in The Matrix :

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

#11: Resurrection

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

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

Resurrection in The Matrix :

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

#12: Return with the Elixir

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

Return with the Elixir in The Matrix :

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

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

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

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

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Best Short Stories for Teaching the Hero’s Journey

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

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

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

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

What Is the Hero’s Journey?

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

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

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

Why Teach the Hero’s Journey with Short Stories?

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

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

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

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

8 Short Stories for Teaching the Hero’s Journey

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

1. “A Sound of Thunder” by Ray Bradbury

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

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

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

3. “The Yellow Wallpaper” by Charlotte Perkins Gilman

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

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

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

5. “The Most Dangerous Game” by Richard Connell

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

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

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

7. “Marigolds” by by Eugenia Collier

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

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

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

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

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

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

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The Hero’s Journey Ultimate Writing Guide with Examples

by Alex Cabal

Alex Cabal is the founder and CEO of Scribophile, one of the web’s oldest and largest writing communities, and the editor-in-chief of Standard Ebooks , a volunteer-led project that creates commercial-quality public domain ebooks for free distribution.

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

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

What is the Hero’s Journey?

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

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

Joseph Campbell and Christopher Vogler

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

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

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

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

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

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

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

Why is the Hero’s Journey so popular?

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

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

Hero’s Journey character archetypes

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

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

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

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

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

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

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

The Threshold Guardian

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

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

The Shape Shifter

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

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

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

The Trickster

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

Hero’s Journey themes and symbols

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

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

Situational archetypes

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

Death, rebirth, and transformation in the cycle of life

Nature vs. technology, and the evolution of humanity

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

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

Setting archetypes

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

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

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

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

Symbolic items

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

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

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

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

The three act structure of the Hero’s Journey

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

Act One: Departure (Steps 1—5)

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

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

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

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

Act Two: Initiation (Steps 6—9)

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

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

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

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

Act Three: Return (Steps 10—12)

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

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

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

The 12 steps of the Hero’s Journey

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

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

1. The Ordinary World

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

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

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

Step One example

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

2. Call to Adventure

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

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

Step Two example

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

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

3. Refusal of the Call

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

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

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

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

Step Three example

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

4. Meeting the Mentor

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

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

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

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

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

Step Four example

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

5. Crossing the Threshold

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

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

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

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

Step Five example

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

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

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

6. Tests, Allies, Enemies

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

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

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

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

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

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

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

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

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

Step Six example

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

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

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

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

7. Approach to the Inmost Cave

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

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

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

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

Step Seven example

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

8. The Ordeal

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

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

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

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

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

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

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

Step Eight example

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

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

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

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

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

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

Examples of rewards may include:

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

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

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

Reconciliation with another character, or with themselves.

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

Step Nine example

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

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

10. The Road Back

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

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

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

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

Step Ten example

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

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

11. Resurrection

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

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

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

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

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

Step Eleven example

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

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

12. Return with the Elixir

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

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

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

Step Twelve example

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

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

Books that follow the Hero’s Journey

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

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

The Harry Potter series by J. K. Rowling.

The Earthsea series by Ursula K. Le Guin.

The Odyssey by Homer.

Siddhartha by Herman Hesse.

Pride and Prejudice by Jane Austen.

Writing tips for the Hero’s Journey

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

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

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

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

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

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

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

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

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

Hero’s Journey templates

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

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

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

Use the downloadable template listed below for the following exercises:

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

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

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

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

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

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

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

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

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

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

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

Examples of a Hero’s Journey in Five Stories

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

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

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

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

2. Marvel’s Spiderman

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

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

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

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

  3. The Wizard of Oz

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

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

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

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

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

4. To Kill A Mockingbird

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

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

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

Disney characters and movies follow the hero’s journey.

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

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

The Moral of the Story

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

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

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How to Write a Hero: The 12 Stages of the Hero’s Character Arc

by Lewis / September 17, 2019 / Character Development

Heroes are integral to the history of storytelling.

Not only are heroes beloved, but they’re practically required for many stories. Classic heroes such as Robin Hood and King Arthur mix with modern variations like Simba and Shane to form a formidable pantheon. However, perhaps more interesting than who we consider a hero is what all heroes have in common: the hero’s character arc.

This hero’s character arc demands that the hero leave home, sent away to prove themselves and grow into the leader their community needs. Their journeys are always ones of service and self-sacrifice. Most importantly, this hero’s character arc is something you can use to write memorable, compelling heroes all your own!

How to Write a Classic Hero: The Hero’s Journey

• 1 How to Write a Classic Hero: The Hero’s Journey
• 2 Understanding the Hero’s Inner Journey
• 3.1 Starting in the Ordinary World:
• 3.2 Entering the Unknown:
• 3.3 Returning Home:
• 4.1 Starting in the Ordinary World:
• 4.2 Entering the Unknown:
• 4.3 Returning Home:
• 5 Writing a Hero’s Character Arc for Your Story

After all, we can’t talk about heroes without first talking about the Hero’s Journey.

At its most basic, the Hero’s Journey is a common pattern all hero characters follow, popularized by Campbell.

It follows a character as they’re called on an adventure, face a series of trials, and undergo a final challenge where they prove they’ve grown into the hero’s archetype. However, unlike similar story structures like the Three Act Structure , the Hero’s Journey doesn’t stop there.

You see, the success of society is just as important as the success of the hero themself.

This is why the Hero’s Journey requires the hero to return home and share their new skills and knowledge, helping their society heal and prosper as the final phase of their journey. Without that crucial step, their hero’s character arc is incomplete.

“Heroes are symbols of the soul in transformation, and of the journey each person takes through life. The stages of that progression, the natural stages of life and growth, make up the Hero’s Journey.”  — Christopher Vogler

While Campbell’s legacy may be complex these days (especially because of his rather toxic views of women), the basic structure he outlined in The Hero with a Thousand Faces remains one of the best explanations of the journey characters must go on to be considered a hero.

You can find his Hero’s Journey at work in nearly every myth, novel, movie, and play out there—and, despite Campbell’s views, there’s absolutely no requirement for the hero character to be male or female.

Understanding the Hero’s Inner Journey

Despite how useful Campbell’s work is on its own, there have been some important additions that have not only clarified his ideas, but added new and unique interpretations. Most notably is The Writer’s Journey by Christopher Vogler, which turned the Hero’s Journey into a more usable guide for writers.

In particular, Vogler helped create the idea of the hero’s character arc by separating the Hero’s Journey into two halves:

The Outer Journey (story structure) and the Inner Journey (character development).

This Outer Journey is all about the plot of the Hero’s Journey, which we discussed above, while the Inner Journey focuses on the growth and psychological state of the hero. This Inner Journey is the foundation of the hero’s character arc, and you can see it at work in any of the three different primary character arcs . It’s this journey that takes a standard character arc and turns it into a hero’s arc, even if the hero fails at the end.

This understanding of the hero’s Inner Journey is incredibly valuable, because almost all writers will wonder how to write a hero at some point. Heroes are an integral part of our storytelling language, and this pattern of the hero’s character arc provides a guide to help you create the type of memorable, compelling heroes readers can’t get enough of.

The 12 Stages of the Hero’s Character Arc

Starting in the ordinary world:.

In every hero’s character arc, the hero begins in their ordinary world. This is their home and community, and it gives the reader a baseline from which to judge their later growth.

At this stage the hero is often ignorant of the outside world, but still feels a certain level of discontent. Something about their ordinary world isn’t right, and this something will slowly push them to venture into the unknown in hopes of solving this problem.

#1: The Call to Adventure:

The Call to Adventure is a pretty well know plot point within the hero’s Outer Journey. Here they’re introduced to the conflict and pushed to engage with it. However, there’s another side to this.

In the hero’s Inner Journey, the Call to Adventure marks the first time they’re asked to come face to face with the flaws of themselves and their world. Until now they’ve lived a life sheltered from the outside, even if only through their own naivety.

#2: Refusing the Call:

The Refusal of the Call is the immediate follow up from the Call to Adventure. Here, most heroes will refuse to believe the flaws they saw through the Call. They’ll be unwilling to answer the Call at this stage.

#3: Meeting the Mentor:

To clear their mind, the hero will need to meet with a mentor figure . This could be another character, a spiritual guide, or even an aspect of the hero’s own mind. Whatever it is, this stage helps push the hero to recognize reality by showing them another example of the conflict, both Inner and Outer, that they’re being called to face.

#4: Finding Allies:

Before the hero can set out on their journey, they need allies to support them. These allies help the hero mentally prepare for the massive change they’re about to experience by giving them a lasting connection to their community and their old self.

#5 Facing the First Threshold:

This much like the traditional First Plot Point of the Three Act Structure . At the First Threshold, the hero begins their Outer Journey, setting off from their community into the unknown world. In their Inner Journey, the hero finally recognizes the Call and sets out hoping to find answers. At this stage, most heroes still believe their lives can return to normal, and it is often this belief that propels them forward—even though they’ll soon find it isn’t true.

Entering the Unknown:

Once the hero has faced the first threshold and stepped outside their ordinary world, they’ve begun the next phase of the hero’s character arc.

This portion of their journey is all about learning.

Here they suddenly come face to face with the truth of what the outside world is—and often, the truth about their own community as well. They’ll likely be beat down a lot at this stage as the story shows them their weaknesses and forces them to grow. They can no longer remain naive if they’re to survive here.

#6: The Road of Trials:

The hero has entered the unknown, and will now have to face the many new challenges and tests of that world. Here they’ll learn a lot about themselves, and will come face to face with the conflict they were warned about in the Call. In their Inner Journey, they’re likely holding on to hopes of returning home, but slowly they will recognize that things were never as simple as they seemed.

#7: Approaching the Cave:

Here the hero will approach a major showdown (The Ordeal), both in their Outer and Inner Journeys. For their Inner Journey in particular, the hero will need to face their old beliefs in new ways and will be tempted to abandon their quest.

In many traditional stories, this manifested as the hero meeting with a goddess or being tempted by an evil female figure—though again, there are no gendered requirements when creating a hero’s character arc. If they overcome this challenge, they’ll have passed a critical test of the hero’s character arc.

#8: The Ordeal:

Here the hero will have to prove all they’ve learned thus far. They’ve overcome their temptation, and now must show that through action. The conflict of the Outer Journey will reach a turning point, and the psychological conflict of the Inner Journey will as well. The hero will need to make a choice here; either embrace their role in healing the wounds of their world, or abandon their quest and their role as the hero.

#9: A Reward:

If the hero succeeded during The Ordeal, they’ll receive a reward. This reward is key both to the conflict of their Outer Journey, and the wounds they’re struggling to heal in their Inner Journey. Their reward could be anything, but it must have both plot and character related aspects. It should reveal the answer they set out to find after the First Threshold.

Returning Home:

The final phase of the hero’s character arc sees them return to their community.

It’s finally time for them to share their newfound knowledge and skills.

The hero has learned the secrets of the outside world, but their community is still suffering. This is when the self-sacrifice of the hero’s character arc really comes into play, as the hero often has to risk losing their newfound life and allies to return home.

They’re no longer the person they once were, but that doesn’t free them from their responsibility to their community. Returning home and healing society is integral to the hero’s character arc, and the final stage in the hero’s development.

#10: The Road Back:

The Road Back is, in many ways, a mirror of the first five stages of the hero’s character arc. The hero will refuse to return home, unwilling to give up their new life (or sometimes unwilling to jeopardize up their old life, depending on the Inner Journey of the hero). This is the hero’s darkest moment, when they’re unsure what all of this has been for and if they’re really capable of fulfilling the hero’s role.

Eventually, if they’re to succeed in the hero’s character arc, they’ll realize they must return. From there, they’ll often receive aid from a spiritual guide or from another powerful source that helps transport them home, often in the nick of time before the conflict of the Outer Journey reaches its head.

#11: Resurrection:

Here the hero crosses the “return threshold,” returning to their community and using all of their skills and knowledge to help heal their world and overcome the conflict of the story. This is the Climax of their story, where all the threads of both the Outer and Inner Journey meet.

#12: Returning With the Elixir:

Finally the hero has returned. They’ve resolved the story’s conflict and put their reward to work, helping their society proper. They’ve overcome the flaws of their world and of themselves, and will help steer their community on a new and better path.

This also comes with the freedom for the hero to live their own life at last, often with a foot in both the outside world and their own community. This resolution is often bittersweet, but triumphant, and it what sets the hero apart from other protagonists.

Ashitaka: The Hero’s Arc of Princess Mononoke

While working on the first draft of this article, I was watching Princess Mononoke by Hayao Miyazaki. It’s no secret that I’m a huge fan of Miyazaki’s work, and this movie is no exception, but this time I saw the movie in a new light.

You see, the protagonist of Princess Mononoke , Ashitaka, perfectly follows the hero’s character arc.

If you’re not familiar with it, Princess Mononoke follows Ashitaka as he journeys west, searching for a way to lift the curse placed on him when he defeated the demon boar Nago. What he finds outside his isolated village is a world torn by violence.

On one side feudal lords wage war against each another, and on the other the spirits of nature struggle to survive against encroaching humans. As you might imagine, Ashitaka gets caught up between these wars, both sympathetic to the humans but deeply reverent towards the spirits.

Ashitaka’s time in his ordinary world is short.

He begins the story when the demon boar Nago arrives at his village (The Call to Adventure) . At first he avoids it, watching from afar (Refusal of the Call) , and an older village guard warns him not to let the demon touch him or risk being cursed himself.

As the demon approaches the village, it traps a group of girls in front of it, and Ashitaka dives in to kill the demon and protect them. In the process he enters the demon’s path and it touches his arm. Though he kills the boar, he is now cursed.

That evening, Ashitaka meets with the elders of his village (Meeting with the Mentor) and they tell him the curse will eat away at him, eventually killing him. The elders talk about how their bloodline is weakening, and how all the human kingdoms outside their isolated village are in decay as well. They mourn Ashitaka’s loss, but know he cannot stay.

However, before he goes they tell him to journey west in hopes of lifting his curse. Ashitaka leaves under the cover of night, bringing his loyal elk, Yakul, with him (Finding Allies) . He and Yakul disappear into the darkness of the forest (Facing the First Threshold) .

Having officially left home, Ashitaka makes the long journey west, facing a variety of challenges along the way. He gets caught up in a battle with samurai and discovers his cursed arm gives him increased strength, and a traveling monk tells him to seek the mountain of the Deer God to find answers.

Later, he helps rescue two men who were thrown from a cliff, and they warn him about the war between the people of the Ironworks and the nature gods that live in the Deer God’s mountains. Ashitaka even sees the Deer God while traveling through their woods, and discovers that his cursed arm moves on its own, still imbued with the raging spirit of the demon boar (Road of Trials) .

The plot of the story moves more quickly when Ashitaka finally reaches the Ironworks. There he discovers the humans have been clearing the forests and killing the local gods to mine more iron. When he finds out their leader, Lady Eboshi , personally killed Nago and turned him into a demon, he feels enraged by her cruelty.

However, Lady Eboshi shows him another side of the Ironworks; not only is it a shelter for the sick, but it provides safe haven for people who otherwise would face terrible abuse from those more powerful than them. Still, Lady Eboshi is bent on killing the Deer God once and for all. Ashitaka isn’t sure what to think (Approaching the Cave) .

At first, Ashitaka helps around the Ironworks, unsure if he should stay or go. When he is about to leave, however, the wolf-princess Mononoke arrives intent on killing Lady Eboshi. Ashitaka knows Eboshi will kill her if he doesn’t stop them and fights to protect Mononoke, getting shot in the process.

He carries Mononoke out of the Ironworks and back to the wolf gods who raised her, before passing out from his wound (The Ordeal) . At first Mononoke wants to kill him, but realizes he is on nature’s side. She and the wolves take him to the Deer God’s forest, where the Deer God heals him. However, the curse remains; it seems the Deer God won’t save him after all (A Reward) .

Ashitaka struggles with the fact that he is still cursed and is unsure what he should do next. Meanwhile, the war between the humans of the Ironworks, the opposing samurai, and the nature gods escalates into a massive battle. Ashitaka goes to the wolf gods and tries to explain that humans and nature can coexist, but they refuse to believe him. Eventually Ashitaka gives up, leaving the Deer God’s forest and Mononoke behind.

However, Ashitaka won’t surrender so easily. When he passes the Ironworks and sees that it’s under attack, he steps in to protect it—Ashitaka races to find Lady Eboshi so she can send reinforcements to protect the people at the Ironworks.

In the process he realizes Mononoke has gone to war with the humans, and that one of the other leaders of the nature spirits is horribly wounded. They’re heading for the Deer God’s forest, and Ashitaka must stop Lady Eboshi from following them (The Road Back) .

Upon reaching the forest, Ashitaka saves Mononoke from certain death, but cannot stop Lady Eboshi, who kills the Deer God and steals his head. As soon as he loses his head the Deer God becomes a massive demon, consuming and killing everything it touches.

Ashitaka and Mononoke race to retrieve the head and warn the Ironworks of the coming calamity. Eventually, they force Eboshi’s allies to relinquish the head and return it to the Deer God, seeming to die in the process (Resurrection) . However, when the Deer God regains his head, a divine wind blows across the mountains.

Not only are the forests healed, but the sick people of the Ironworks are as well. Ashitaka and Mononoke are both alive and Ashitaka’s cursed arm is healed. While Mononoke is unwilling to come live at the Ironworks with him, she promises to live in peace alongside the humans. Ashitaka returns to the Ironworks, forging a new balance between nature and humanity (Returning With the Elixir) .

Writing a Hero’s Character Arc for Your Story

If you’re wondering how to write a hero of your own, Ashitaka’s journey is a great example of the hero’s character arc in action.

Not only does he follow every beat of the hero’s character arc, but he shows how the Outer and Inner Journeys of the hero interact and weave together into a powerful story. When you sit down to write a hero of your own, start by considering what flaw, sickness, or weakness their society has. What does their society need to grow and prosper? Most importantly, what does their society need to learn to become better?

With that information you can build the basic framework of your hero.

The world around Ashitaka was decaying because humans and nature were at war, so his Hero’s Journey ties into a quest to unite the two. While Ashitaka was a flat arc character , your hero can follow any of the three primary character arcs —positive, negative, or flat—as long as the ending wraps around to them solving the problems of their community.

This defines them as a classic hero, though it’s possible for them to be a failed hero (negative arc) that not only fails to grow into a better character, but fails to lift up their society.

Of course, there are plenty of other archetypes beyond the hero archetype, and Campbell and Vogler discuss many of them. If you want to learn more about the Hero’s Journey and the characters you can find within it, check out these articles next:

• 9 Stages of the Hero’s Journey and How to Use Them
• 8 Key Archetypes of the Hero’s Journey

—–

As you can see, the hero’s character arc follows many of the common patterns seen in the three primary character arcs all characters—regardless of hero status—follow. However, what sets it apart is its focus on the hero’s return to their community.

To truly be a hero, it seems we have to not only grow into a better person, but into a leader as well. 🙂

What journey does your story’s hero go on? Let me know in the comments!

Thoughts on how to write a hero: the 12 stages of the hero’s character arc.

The best description yet! Or is it because it confirms that without knowing this my character arc is right on track!

Thank you Marta. 🙂 I’m glad to hear you were already ahead of the curve. I’ve found that many writers pick up on these character arcs subconsciously over the years, and many are shocked it’s actually an official structure when they find out!

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10 Hero’s Journey Short Story Examples

The hero’s journey doesn’t just appear in novels! Discover our guide with the best hero’s journey short story examples.

The hero’s journey is a narrative structure used in literature for centuries. It can be found in the works of the best fantasy authors such as The Lord of the Rings and can also be used to powerful effect in short stories. Below is our pick of the best short stories that utilize the hero’s journey form: their diversity may surprise you!

Here Are The Best Hero’s Journey Short Story Examples

1. story of your life – ted chiang, 2. the swimmer – john cheever, 3. the long walk – richard bachman, 4. never stop on a motorway – jeffrey archer, 5. the greatest thing in the world – norman mailer, 6. one ordinary day, with peanuts – shirley jackson, 7. the ghost of the crossroads – frederick manley, 8. leaf by niggle – j.r.r. tolkien, 9. shot down over libya – roald dahl, 10. the way of the cross – daphne du maurier.

Incorporating the hero’s structure narrative but molding the form to serve the story, Story of Your Life begins with the narrator, Dr. Louise Banks, speaking to her as-yet-unborn child. Banks, an experienced linguist, is brought on board to attempt to communicate with aliens whose ships have arrived mysteriously at locations worldwide.  

It transpires that the past and future appear to the aliens with the same clarity as the present. Banks’ Return is represented by her memories of the date from the tale’s beginning and her words to her unborn child, but with the Elixir: knowledge. You might also be interested in these personal narrative examples .

“More interesting was that Heptapod B was changing the way I thought.” Ted Chiang, Story of Your Life

Beginning in an ordinary, affluent neighborhood in America, Ned Merrill is relaxing beside a friend’s pool on a summer’s day. But things take a surreal turn when Merrill decides that, to get home, he will swim across every backyard pool between his friend’s home and his own.

Although his endeavor starts as a fun frolic, it quickly becomes entirely different as Merrill encounters disgruntled neighbors and finds himself in uncomfortable situations. He eventually completes his swim and makes it back to his home. But the lightness of the venture has long gone, and when he realizes his house is empty, we get the sense that he’s talking about a deeper hollowness. 

“He had done what he wanted, he had swum the county, but he was so stupefied with exhaustion that this triumph seemed vague.” John Cheever, The Swimmer

This novella from Stephen King, written under a pen name, features a narrator who follows both a literal and figurative hero’s journey. It’s set in a near-future dystopian version of the USA, where every year, The Long Walk is broadcast live. It follows one hundred boys who’ve registered to appear in the contest. The starting gun sounds, and they set off; the winner is the last one standing.

Our hero Garraty, leaves his home at the start of the story, driven by his mother, heading to the starting line. His journey takes him over a hundred miles and over state lines. At the end of the tale, he receives the Elixir – the ultimate treasure – but it comes at a terrible cost. You might also be interested in these tragic hero examples .

“None of us really has anything to lose. That makes it easier to give away.” Richard Bachman, The Long Walk

The Call to Adventure, a key stage of the hero’s journey, is delineated in this short story: the protagonist, Diana, receives an invitation to her friend’s farmhouse. But on the drive there, Diana becomes increasingly nervous. She’s convinced an ominous-looking black van is tailing her. 

There are trials to overcome on her journey: traffic is slow, she’s stressed, and before joining the motorway, she accidentally hits a cat, killing it. The twist is too good to ruin by revealing, but it’s certainly true to say that the hero’s journey structure lends itself very well to the suspense genre.

“Diana gathered up her bag and walked purposefully towards the door, dropping the contract on Phil’s desk without bothering to suggest that he have a good weekend.” Jeffrey Archer, Never Stop on a Motorway

Written during the author’s sophomore year at Harvard, this short story follows Al Groot, who we meet haggling for a doughnut and coffee, remembering when he had more cash. He decides to hitch a ride with three strangers who walk into the cafe by making them understand that he has more money than he does (the Departure).

Later, he wins a gamble on a pool game but insists on quitting, angering his companions (The Initiation). They bundle him into their car and drive off with him, but Groot escapes by jumping out of the moving vehicle (The Return). The Greatest Thing in the World won Story magazine’s annual college contest in 1941. The ‘greatest thing’ – aka the Elixir, is luck. You might also be interested in these hero’s journey examples in real life .

“He stood there a small, old, wrinkled boy of eighteen or nineteen.” Norman Mailer, The Greatest Thing in the World

First published in 1955, this short story from the master of the form, Shirley Jackson, offers a new spin on the hero’s journey story. We begin the tale witnessing Mr. John Johnson going about his day in a good mood, spreading goodwill wherever he goes. 

When Mr. Johnson returns home, his benevolent mission complete, the Elixir is revealed and passed on, baton-like, to his wife when we learn the terrible truth: Mr. and Mrs. Johnson take turns undertaking acts of goodness – and acts of evil.

“Mr. Johnson radiated a feeling of well-being as he went down the steps and onto the dirty sidewalk.” Shirley Jackson, One Ordinary Day, with Peanuts

A traveler sets out from a  visit to a friend to return to the inn where he’s staying; it’s a bitter, snowy night, and he becomes hopelessly lost, wandering in the blizzard. He turns up suddenly at this inn – late at night –  in a state of terrible shock, meeting the Mentor figure in the story: Andy Sweeney, the publican.

We learn of his terrible ordeals and the sinister stranger he met at the crossroads. A seemingly well-to-do gentleman who is inordinately fond of gambling. After a time, the penny drops, and the narrator wises up to who exactly he was gambling against and what was at stake. In a frenzied return home, we see the narrator enter the Ordinary World again, where he tells the story of his close encounter and even closer shave.

“Night, and especially Christmas night, is the best time to listen to a ghost story. Throw on the logs! Draw the curtains! Move your chairs nearer the fire and hearken!” Frederick Manley, The Ghost of the Crossroads

This is one of the only short stories the Lord of the Rings and The Hobbit author ever wrote, and, despite the extremely different subject matter, it also follows the hero’s journey structure. The tale is an allegory following an artist’s journey through the stages of death. It could be viewed as a lighter take on that other epitome of the hero’s journey form, Dante’s The Divine Comedy.

Crossing the first threshold, Niggle arrives at the workhouse (purgatory) and, in gradual degrees, with the assistance of a couple of otherworldly and unseen mentors, arrives in the countryside (heaven).

“Things might have been different, but they could not have been better.” J.R.R. Tolkien, Leaf by Niggle

The hero’s journey structure can lend wonderfully to true-life stories; it’s a great tool to hone the narrative arc and regulate a story’s pace. The beloved children’s author, Roald Dahl, uses it to powerful effect in this short story, which details his experience of crashing in the desert in 1940 when, during World War II, he was flying for the Royal Air Force.

After being hit by ground anti-aircraft fire, Dahl believes he can return to the base, but his plane ends up nose diving into the sand. The author is badly wounded and must hope for rescue by the Allied Forces before it’s too late. For more, check out our hero’s journey examples in Disney movies .

“Blast this stick; it won’t come back. They must have got my tailplane and jammed my elevators.” Roald Dahl, Shot Down Over Libya

Leaving the Ordinary World of their quiet middle-class English village behind, their local vicar leads a group of modern-day pilgrims on a sightseeing trip to the Middle East. Following a visit to the Garden of Gethsemane, strange events and trials beset the travelers: each is forced to confront the fate they most fear. However, their experiences are ultimately liberating, and they return home with new self-knowledge. Why write fanfiction? Check out our guide to find out!

“Du Maurier excelled at evoking a sense of menace. Darkness comes to the fore in her macabre and chilling short stories” Lucy Sholes, writing for BBC Culture

Articles on the craft and business of writing

The hero’s journey story ideas.

You’ve probably heard of The Hero’s Journey as a plotting tool, but have you considered it as a tool for coming up with story ideas? In this article, The Hero’s Journey Story Ideas, you’ll find over 75 creative writing prompts to get your Hero’s Journey inspired story going.

But first, let’s review what The Hero’s Journey is and its origin.

Where to start with The Hero’s Journey

1. The Hero’s Journey Story Ideas, Ordinary World:

Introduction to the hero. Life is normal, but something happens that signifies things are about to change. ( The Ordinary World can be physical, but also a state of mind.)

• What do you want the reader’s first impression to be about your protagonist?
• What can happen to show this?
• How does the reader first meet your protagonist?
• What, where and when is your lead’s Ordinary World?
• What is good about it? Why is he or she comfortable here?
• What will the lead miss most when he or she leaves?
• What happens that feels a little off?
• Does your character notice this? How does he or she react?

2. The Hero’s Journey Story Ideas, Call to Adventure:

Something shakes up the Ordinary World, either external or something from within the hero. Your hero is forced to face the beginnings of change. Otherwise known as the inciting incident .

• What happens that changes everything?
• How does the hero feel about this?
• How does he or she react?
• What action does the main character take in response to what happened?
• What is now the main character’s goal?

3. The Hero’s Journey Story Ideas, Refusal of the Call:

The hero feels fear of the unknown. Another character may express uncertainty. The antagonist might enter here to keep the protagonist from entering the fray.

• What internal dilemma does your protagonist face in response to his goal?
• What does the antagonist do to make things worse for your protagonist?
• How does the protagonist react to this?
• Why? What is his or her fear?
• What will the hero lose (what is at stake?) if he or she doesn’t follow through?

4. The Hero’s Journey Story Ideas, Meeting with the Mentor:

The protagonist finds someone who gives him training or advice that will help him face the unknown. (Another character can take on the mentor role briefly during the story.) Or internally, the hero reaches within to find a source of courage and wisdom.

• Who in this new world can help the protagonist?
• How does the protagonist find him or her?
• Does the protagonist trust this character?
• What is the conflict between the mentor and the protagonist?
• Does this mentor accompany the lead, or send him or her on?

5. The Hero’s Journey Story Ideas, Crossing the Threshold:

The hero commits to the story and the challenge.

• What step does the lead take that he or she can’t take back?
• Why does he or she choose this? What does this step mean to him or her?
• What does his or her decision mean to the story? To others in the story?
• What does the antagonist do in response?

6. The Hero’s Journey Story Ideas, Tests, Allies, Enemies:

The hero encounters challenges and tests, is fully committed and has no choice but to move forward and keep fighting.

• Does your protagonist succeed? How?
• How does the antagonist react to this?
• Does your protagonist fail? How?
• How is the situation made worse?
• What character revelation takes place for both?
• What risks does the protagonist take?
• Who does the main character meet to help him or her in the journey? How do they help?
• Who does the lead meet who blocks him or her in the journey? What trouble do they cause?

(Repeat the above, complete and in pieces, as often as needed.)

7. The Hero’s Journey Story Ideas, Approach to the Inmost Cave:

The hero is on the edge of danger and prepares for the major challenge. (Keep up the conflict!)

• What does the lead need to face?
• What decisions does he or she have to make?
• What action does he or she take?
• What does the antagonist do in response to this?
• What is at risk for the protagonist?

(Repeat the above as often as needed.)

8. The Hero’s Journey Story Ideas, Ordeal:

The hero confronts death or faces his or her greatest fear. Out of the moment of death comes a new life. (Death: Physical, psychological, or professional.)

• What is impossible for the hero?
• How does he or she confront it?
• What happens as a result?
• What is revealed about his or her character?
• How does the antagonist respond to this?

9.  The Hero’s Journey Story Ideas, Reward (Seizing the Sword):

The hero takes possession of the treasure won by facing death. But it’s not over yet. Things might look brighter but they will get worse.

• What is settled?
• What has the protagonist learned? How does it change him or her?
• What decision does he or she now make?

10.  The Hero’s Journey Story Ideas, Road Back:

The hero is driven to complete the adventure and loses what is most important. Death does happen here…psychological, physical, or professional.

• What risk did the protagonist take in the story that comes back with consequences?
• What is the worst thing that can happen?
• How does it happen?
• When does the protagonist realize all is lost? What happens?
• What image/scene will the reader to experience (complete with all the pain)?

11.  The Hero’s Journey Story Ideas, Resurrection:

The hero is severely tested once more on the threshold of his home. The protagonist is changed forever and commits to a new plan. The meaning of the journey is clear.

• What decision does the protagonist make when he or she realizes the reality of the situation?
• What action does the protagonist now take?

12. The Hero’s Journey Story Ideas, Return with the Elixir:

The hero returns home, transformed. Satisfying, surprising-but-inevitable ending.

• What has the hero accomplished? How is he or she transformed?
• What is the final scene in the story?
• What is surprising?
• What is inevitable?
• What do I want the reader to remember?

Want more information on The Hero’s Journey ? Also check out Plotting with The Hero’s Journey .

Looking for more story ideas? What about some inspiration from Shapeshifters Real and Metaphorical ?

Award-winning novelist Kathy Steffen teaches fiction writing and speaks at writing programs across the country. Additionally, Kathy is also published in short fiction and pens a monthly writing column, Between the Lines. Her books, FIRST THERE IS A RIVER , JASPER MOUNTAIN and THEATER OF ILLUSION are available online and at bookstores everywhere.

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January 31, 2012 at 10:17 am

Love this. This is the topic of my next retreat — The Initiatory Journey of the Writer. Uses the Wheel of Initiation, borrowing some from the hero’s journey.

January 31, 2012 at 1:02 pm

Thanks Julie! Originally I did this to help me with my latest WIP and found the questions inspired some terrific thinking 🙂

February 8, 2012 at 2:02 pm

THis writing is a heroic journey. I shared this on Twitter. thanks again.

Esercizi di scrittura: come trovare nuove idee per lo sviluppo di una storia « Libri Wondermark

February 13, 2012 at 4:23 am

[…] cercato per voi alcuni esercizi di scrittura, questa settimana partiamo dall’estratto di  un bel post  che descrive i punti salienti di  The Writer’s Journey: Mythic Structure for Writers di […]

Book Review: The Writer's Journey by Christopher Vogler - How To Write Shop

April 11, 2018 at 9:37 am

[…] Campbell’s The Hero with a Thousand Faces for having a major impact on storytelling and then breaks down the mythic storytelling structure into steps to apply to any storyline. The idea is simple: there is a mythic story structure buried […]

Plotting with The Hero's Journey - How To Write Shop

May 14, 2018 at 10:25 am

[…] Those are all the stages of The Hero’s Journey. Are you a convert? Post any questions you have in the comments and let me know how you plan to use The Hero’s Journey when plotting your next book! Or maybe you will use it for inspiration… […]

June 14, 2023 at 4:52 pm

Could you give some story ideas?

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Hero’s Journey Themes: 5 Essential Themes That Will Thrill Your Readers

by David Safford | 0 comments

They say opposites attract. That holds true, even in a Hero's Journey story. But what are some Heroes' Themes that your readers might like in your story? How can you apply them?

While you may craft opposing characters who find themselves attracted to one another, you would be wise to study these universal relationships—also known as themes—that great stories have utilized for generations to the benefit of their readers.

In this article, you'll learn five essential Hero's Journey themes that will thrill your readers and transform your stories into best sellers!

What Is a Hero's Journey Theme?

As we get started, let's define just what kind of “relationship” we're talking about here.

In a Hero's Journey, a symbolic relationship is a Situational Archetype that tends to recur throughout storytelling history. It is a situation in which two different characters or forces are symbolically set in opposition to one another, mirroring the way opposing forces tend to collide, harmonize, and balance over time in the real world.

The beauty of these Situational Relationships is that they function like the utilities of a well-constructed building: They're invisible. Only a reader with a trained eye will be able to detect your intentions.

Another benefit of using these Situational Relationships is that they resonate with readers of all ages and backgrounds. They are simple and easy to understand.

They're also commonly known as themes , driving concepts underpinning stories from start to finish.

Yet they are inherently ripe with opportunity for deep exploration and clever innovation. That's why, after explaining each of these key themes, I'll provide some “Tips for Innovation” so you can hit the ground running with these essential archetypes!

5 Hero's Journey Themes Readers Love

Ready for the five Hero's Journey themes? Let's get started!

1. Good vs. Evil

Perhaps the most obvious Situational Archetype is the classic dichotomy between the forces of Good and the forces of Evil. This trope has been successfully used by storytellers like George Lucas and classic Western authors to great success.

In this theme, your protagonist and their companions are on the side of Good. They defend values such as Freedom, Compassion, Justice, and Mercy.

What they ultimately represent, though, is Selflessness. These are the kind of people who would sacrifice their desires, and even their own lives, for the sake of others. That is what we have come to define as “Good.”

“Evil,” therefore, stands opposite to this. Evil embraces control, pain, injustice, and cruelty, all for the sake of acquiring as much land, power, or wealth as possible. Evil is ultimately self-serving. This is why we tend to raise our children to be selfless, or “Good,” rather than destructively selfish, or “Bad.”

By aligning your protagonists with virtues of “Good” and your Shadow, Threshold Guardians, and Devil Figure with sins of “Evil,” you lay a moral foundation for your story that will make innate sense to your reader. Everyone knows, to an extent, what kind of behavior is “good” and “bad.” By connecting your characters to various virtues and vices, you can build your story's world by using age-old assumptions about right and wrong.

An easily identifiable example here is Luke Skywalker in Star Wars,  who represents a positive, selfless use of the almighty Force. This is contrasted against Darth Vader and the Emporer, both of whom use the Force for control, power, and destruction.

How to Innovate

While coordinating your characters' morality along the lines of Good and Evil is a fine starting point, you'd be wise to complicate things just a little. If you're familiar with older television shows that had to conform to strict content guidelines, you know that stories with clearly defined morals of Good and Evil can come off as inauthentic or even cheesy.

That's why it's wise to complicate your characters with some moral “gray area.”

In practice, this “gray area” means blending Good traits with Evil ones. For example, your heroic, selfless Hero may struggle with some amount of selfishness (like fear or an instinct for self-preservation). This struggle is believable and easily related to by your reader.

Similarly, complicate your villains with some “Good” traits. It is often these enduring traits, like kindness or loyalty, that make readers fall in love with despicable characters, like Darth Vader and Hannibal Lecter.

Then there are characters whose moral compass is wildly uncertain. Known as the Shapeshifter, this character will often swing back and forth between Good and Evil traits, ultimately choosing between selflessness and selfishness.

Several beloved characters of this variety are Captain Jack Sparrow in Pirates of the Caribbean,  and Bucky “Winter Soldier” Barnes in Marvel's Captain America: Civil War.  Some of the best anti-heroes explore all sides of the good-evil dichotomy, creating wildly intriguing conversations about morality.

2. Haven vs. Wilderness

It isn't just characters that should find themselves sorted between two opposing forces. Settings should, too.

The ultimate purpose of your story's setting is to provide textured resistance to your Hero's pursuit of the goal. While it may often be beautiful, it should always be dangerous. And while your settings may include pockets of safety and security, those pockets must be under threat or limited to a deadline.

Put simply, locations in your world exist on a spectrum stretching between Haven and Wilderness.

A Haven is a place of safety and restoration. Not only will your Hero needs moments to pause and restore their supplies and spirit, but your reader needs these locations as well. Haven settings function as waypoints. They are often locations the Hero travels to in order to find a clue or tool that helps on the journey.

And while a Haven may be a place of relative safety, it must always  be under threat from within or without. The enemy is not far behind. A spy lurks within. Or a ticking clock forces the Hero to quickly move on.

Then the Hero resumes their journey into the Wild. And the Wilderness can be both a physical one (desert, tundra, the vacuum of space, a swamp, the depths of an uncharted forest) and a spiritual one (loneliness, being a foreigner, exile, guilt).

Ideally your story takes the Hero into and through both kinds of locations with the intensity (and resistance to the journey) increasing with every foray into the Wilderness.

One can easily spot the difference between Haven and Wilderness in The Hunger Games,  as Katniss Everdeen is cast out of the cozy Capitol into the wild to survive a horrific act of bloodsport. A fun inversion here, however, is that while the Arena is far more dangerous than the Capitol, Katniss is somewhat more at home there, given her survival instincts gleaned from years of scrapping out a living in District 12. Sometimes these apparent contradictions can play to your advantage as a storyteller!

Readers like to be surprised within the safe context of the familiar. Consider ways that traditional “Havens” might be wild and dangerous (especially for introverted or outdoorsy types) and the “Wild” might be a comfortable Haven.

Many storytellers have found ways to explore the ways that humanity and its creations (machines, the city) can be alienating and deadening. Whenever you flip these locations on their heads, you aim to give the reader a fresh experience.

Just make sure that your Wilderness always resists the Hero's pursuit of the goal. That is what distinguishes Haven from Wilderness. A Haven restores, while the Wild resists.

3. Nature vs. Machine

This Hero's Journey trope is incredibly popular and widely used. Have you ever noticed that the good guys are often outgunned? And have you ever noticed that the good guys, to overcome these incredible odds, will rely on clever uses of nature to win?

Many stories do this, from Indiana Jones  to Avatar  to The Lord of the Rings .

These stories use this theme because it works. There's something cathartic about the Ents overthrowing Isengard or Indiana Jones taking down a German tank with nothing but a whip, a rock, and his grit.

In the world of your story, Nature is usually represented by trees and animals. Machine, meanwhile, is usually some mechanized weapon, like a tank, helicopter, plane, or some other unnatural creation of man.

This theme represents a harsh truth that many readers know: Man is painfully effective at destroying nature. Through deforestation, pollution, rising ocean temperatures, mass extinctions, and more, mankind is leaving a deathly footprint on the earth.

Yet even as we all consciously or unconsciously contribute to various natural disasters, we innately want earth to win. Nature, after all, is beautiful. Trees and mountains and horses and sunsets are beautiful. Tanks, while “cool,” are not beautiful.

The obvious way to implement this theme is through battle.

But there are more subtle ways to bring the reality of this dichotomy into your story.

One way this happens is through spirituality. When a character acts in faith, rather than reliance on technology, the effect is immediate: Audiences love it. Think of the end of Star Wars  when Luke uses the Force to destroy the Death Star, rather than his targeting computer. It's awesome.

You can also layer this conflict in your story's world through setting description. What kind of violence or destruction against nature is occuring? How is this affecting the characters as they pursue their own goals?

Or, possibly consider writing a story where mankind's attempts to control nature (through machines, of course) fail and go horribly wrong? This especially works when the characters are mindful of this theme and the havoc it wreaks. That's why Jurassic Park  is so beloved over its woeful sequels. It actually dares to ask the tough questions about man, his love of mechanical control, and the wild power of nature to defy anything that would control it.

Finally, try to structure your characters as occupants of opposite cultures or time periods.

This is one of the ways Pixar's Toy Story  cleverly sets Woody and Buzz against each other. Woody represents a classic, beloved time of American history when westward expansion represented optimism and discovery; the films of the 1950s crystallized this sentiment into the persona of John Wayne.

Yet in the 1970s, science fiction stories and their heroes began to supplant the Western as the genre of choice, and soon space toys were all the rage while cowboys bit the dust. Such is the inherent conflict when Woody sees Buzz Lightyear, a flashy space toy, literally take his place on Andy's bed, and later in Andy's heart.

4. Parent vs. Child

I don't care how great your father or mother is. There is probably something about them that drives you crazy.

That's the heart of this crucial relationship. Since fathers and sons (and mothers and daughters) are cut from the same genetic cloth, there will always be reason for conflict and reconciliation.

In a Hero's Journey, this can appear in two ways:

• Your hero is the child
• Your hero is the parent

For examples of the Hero being the child, think of Star Wars , Indiana Jones , or Pixar's Brave .

For examples of the Hero being the parent, think of The Odyssey , Freaky Friday , or (one of my absolute favorites) Arrival .

The key is that usually both the Hero and their parent (or child) are both Good. Yet they differ in traits that are Good, and also differ in complicating Evil traits as well. These differing values create the difference that result in the conflict that we all know so well from our own lives.

The best way to innovate within this theme is to be willing to explore multiple points of view. This is why Freaky Friday  is a beloved coming-of-age comedy.

Another crucial method of innovation is to avoid age-specific stereotypes. This will reduce your Parent vs. Child relationship to mere name-calling that never penetrates the surface of your characters.

Age, and the experiences that go with it, are entirely relative to each and every individual who has ever lived. No son or daughter feels  ignorant, emotional, immature, or unbalanced. In their mind, everything makes complete sense.

And similarly, no father or mother feels strict, cranky, unfair, or uncool (well, maybe some do), but not in the way they might be labeled as such by their frustrated children.

In a nutshell, everyone is trapped in their own experience and merits empathy.  Everyone has unique motivators that make complete sense in their own heads. That's why you, as the storyteller, need to consider how to give each point of view its own valid weight. Otherwise your story might devolve into stereotypes and assumptions about whatever age group you feel is in the wrong.

5. Sibling vs. Sibling

Whether by birth by adoption, siblinghood is the perfect dynamic for conflict.

Guardians of the Galaxy and The  Avengers  benefited from sibling angst, as the conflict between Nebula and Gamora anchors the plots of multiple films. Shakespeare centered the conflict of King Lear  around warring sisters and brothers.

Just as parents and their children share enough traits to call themselves “family” but enough differences to become enemies, siblings experience the same conflict but with an added twist: Competition.

Rarely do parents and children compete for the same prizes. While parents are busy trying to make money, their kids are trying to win sports competitions, love, or God-knows-what. But two siblings can easily compete for the same pretty girl's or guy's affections. Both can easily go to war over the same stockpile of scholarships.

That's why we've all heard of sibling rivalry.

And it begins young. Several years ago, my daughter had to learn to share time, food, toys, and her parents' affections with her baby brother. It took the little guy quite a while to learn how to say “Please” and “Thank you.” She had to do all the heavy (sacrificial) lifting in their relationship. It's by God's grace alone that she didn't try to sell him on Ebay!

Centering your story's conflict around two feuding siblings taps into age-old tension that your readers will understand quite well. It's also something you can use for side characters (like Nebula and Gamora in Guardians of the Galaxy ), villainous henchmen, or the primary antagonist of the story (Thor's sister in Ragnarock ).

Perhaps the most overused version of this relationship pits brother against brother as enemies. This dates back to myths of Oedipus's children, when his sons kill each other in civil war.

And while the siblings-as-protagonist-and-antagonist form can still be relevant, it may be far more interesting to your reader to put both siblings on the same side and force them to work together. How will they overcome their individual ambitions to achieve a common goal? How will they maneuver the challenges and conflicts of varying traits (some of which are self-serving, or “Evil”) in order to stay united?

This duel-protagonist structure can work with brothers, sisters, or both. Avengers: Age of Ultron  had it both ways, as Scarlet Witch and Quicksilver are twins recruited to fight the Avengers, only to be recruited to the side of “Good” before the story's end.

Bonus Theme: Bravery vs. Cowardice

There are an infinite number of thematic relationships your stories can explore, and I can't possibly cover them all here. But perhaps one very noteable one comes from acclaimed author Robert Cormier in his young adult novel Heroes. 

Considered Cormier's darkest novel, Heroes  asks questions about the nature of heroism and cowardice, two opposing forces that regularly clash in the human heart. Protagonist Francis Cassavant experiences both traits, namely when he tries to kill himself during World War II by falling on a grenade; however, the explosion doesn't kill him, only severly deforming his face. Yet the cowardly act ended up saving the lives of his fellow soldiers, and for this Francis is awarded a silver star.

More moments of stark contrast between bravery and dereliction of duty occur in flashbacks to Francis' childhood in Frenchtown, Massachussetts. When a friend of Francis's, Larry LaSalle, sexually assaults a love interest at the neighborhood hangout called the “Wreck Centre,” Francis fails to intervene and put a stop to the horrific situation. The moment sets him on the path toward revenge that concludes in ways the reader can't possibly predict, forcing Francis and Larry to take responsibility for their actions.

Like Cormier's Heroes,  your writing needs to explore the dual nature of life's starkest contrasts. But perhaps what is so essential, and so challenging, is harnessing the English language to depict how these contradictions often coexist within our hearts at the same precise moment.

Love and Hate. Joy and Sadness. Amazement and Horror.

These polar opposites are always coming together in the most intense moments of life. Just as Cormier utilized his Heroes  themes to ask near-impossible questions about Heroism and Cowardice, you can assemble thematic situations to ask your own questions.

Opposites Are Attractive to Your Readers

Each of these themes takes two similar things and shows the contrast between their two extremes:

• Morality: Good and Evil
• Human Inhabitability: Haven and Wilderness
• Naturalism: Nature and Machines
• Reproduction and Age: Father/Mother and Son/Daughter
• Children in the Same Family: Siblings
• Approaches to Conflict: Bravery and Cowardice

When you craft your story in a way that explores these extremes, readers will love it. You reap the benefit of exploring familiar themes, but in new ways that are unique to the world of the story you are telling.

How will you implement these situational, relational archetypes in your next Heroic Journey?

Can you think of examples of any of these Hero's Journey themes? Are there other opposing pairs you find in stories?   Share in the comments below !

Think about the Hero's Journey story you've been planning throughout this series. (Haven't started planning one, or want to start from the beginning? Check out the full Hero's Journey here. )

Which of these relationships could you build into your world? What characters and setting locations would be a great fit?

For fifteen minutes , identify one of the characters or settings in your story that fulfill one of the relationships and write a scene that shows that tension:

• Good vs. Evil
• Haven vs. Wilderness
• Nature vs. Machine
• Parent vs. Child
• Sibling vs. Sibling
• Bravery vs. Cowardice

Post your writing in the Practice box below. Then read another writer's comment and leave them some constructive feedback!

David Safford

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

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