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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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The Hero's Journey in The Lord of the Rings

Mihai Negrean

The Hero's Journey refers to a pattern found in many adventure stories or myths. This pattern usually includes ten stages. I will give the example of The Lord of the Rings because I read that book at least five times.

Stage 1: The Ordinary World

The ordinary world refers to how the world is for the main character before they went on their journey, or found out about a problem they need to solve. In the Lord of the Rings, this refers to the Shire, in which Frodo lives, oblivious to the outside world that was in war.

Stage 2: The Call to Adventure

In the call to adventure, the hero is made aware of an issue that they need to solve, or a danger that they must eliminate. In this case, Frodo is told about the Ring and about what he has to do with it 17 years after Bilbo leaves.

Stage 3: Refusing/Accepting the Quest

After the call to adventure, the hero must choose whether he refuses or accepts to go on the quest. If the hero refuses, then something will happen later on that will make the hero accept the quest. In The Lord of the Rings, Frodo accepts the quest to destroy the Ring in Mount Doom, but in The Hobbit, Bilbo doesn't accept right away. He has to be convinced when the dwarves appear at his house and tell him their story.

Stage 4: Entering into the Unknown

The next part of the story is the hero entering into a world which he has never experienced before, like Frodo leaving the Shire and wandering into the Wilds, through the Old Forest and the Barrow-Downs.

Stage 5: Supernatural Aid

In this stage, the main character is in a pickle, and he is helped somehow by a magical occurrence; like Frodo being saved from the Black Riders by the flood that happens near Rivendell, which was caused by Elrond and Gandalf.

Stage 6: Acquisition of an Important Object

In this stage, the main character gets an object that will help him on his journey. In the Lord of the Rings, Frodo gets Sting (a magic sword) and the mithril armor. Perhaps more significant is Bilbo getting the Ring in The Hobbit.

Stage 7: The Hero gets a Helper

In this stage, the hero gets an assistant, or someone who will help him later in the story. In the Lord of the Rings, Frodo gets Samwise Gamgee at the beginning of the story, and he helps him out through the entire tale.

Stage 8: Tests and The Supreme Ordeal

In this stage, the hero gets tested and goes through the most difficult stages of the journey, usually facing a “Final Boss” at the end.

This can be compared to level progression in many video games. For example, the Great Plateau in The Legend of Zelda: Breath of the Wild is nothing compared to the agony of getting past Hyrule Castle, and the enemies on the former are a joke compared to the Ganon fight at the end.

In The Lord of the Rings, Frodo passes through many tests (e.g., the Mines of Moria, the Dead Marshes, Shelob's tunnel), before getting to the ultimate challenge (Mount Doom). Another example is in the Hobbit, where Bilbo has to get past many obstacles (Goblin Tunnels, Mirkwood), to get to Erebor and fight the Final Boss Smaug (well, Bard kills it, so…).

Stage 9: Reward and the Journey Home

In this stage, the main character is rewarded and then goes back home, facing lesser challenges along the way. In The Lord of the Rings, Frodo is rewarded by having saved the world, and faces Saruman's minions back in the Shire.

A better example is in the Hobbit, where Bilbo gets a chest full of gold and the magical Ring before having to go back home.

Stage 10:  Master of Two Worlds/Saving the World

In this stage, the main character becomes knowledgeable about his home and the outside world, becoming a respected person in his home. In the Lord of the Rings, Frodo is honored by being invited to the Undying Lands across the Ocean, and Samwise becomes Mayor of the Shire for seven consecutive terms of seven years each (7×7 = 49 years in office!).

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The Hero’s Journey: The 12 (or 17) Steps for Writers

• by Sam Howard

In this article, you will learn all about the hero’s journey – the common template seen in many myths, legends, and stories across cultures that involves a hero going on an adventure, overcoming challenges, and returning home transformed. Specifically, we will cover:

• What the hero’s journey is and why it’s so prevalent in storytelling
• The origins of the hero’s journey concept by Joseph Campbell
• The 12 main stages of the journey outlined by Christopher Vogler
• Examples of the hero’s journey in famous myths, films, novels, and stories
• Tips for using the hero’s journey structure in your own writing

When I first learned about the hero’s journey, I was fascinated by how this template seems to capture the essence of storytelling and the universal human experience. In this article, I’ll share my own excitement and perspectives on this captivating concept as we explore what makes the hero’s journey such a timeless and powerful narrative structure. Let’s begin our own adventure into the world of the monomyth!

What Is the Hero’s Journey And Why Do People Talk About it All The Time?

The hero’s journey, also referred to as the monomyth, is essentially the common template of stories that involve a hero who goes on an adventure, faces various challenges, comes through a crisis or major ordeal, and returns home transformed in some fundamental way.

This basic narrative arc can be traced back centuries and is found in myths, legends, folklore, and religious tales across vastly different cultures. For example, the epic of Gilgamesh from ancient Mesopotamia, the Odyssey by Homer, the legend of the Buddha’s enlightenment, the Bible stories of Moses and Jesus, and medieval Arthurian legends, all follow this fundamental template.

The hero’s journey was popularized in the 20th century by American mythologist Joseph Campbell. In his seminal 1949 book The Hero with a Thousand Faces, Campbell analyzed myths across cultures and found this common throughline structure he called the monomyth. He summarized the journey in this way:

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

Ever since Campbell published his work, the hero’s journey concept has been applied extensively in understanding myths, legends, films, novels, plays, video games, and all types of stories. Writers, directors, storytellers, and artists have latched onto this idea because it seems to resonate with universal themes about human experience.

We all face trials and challenges in life. We go on both physical and emotional journeys to overcome obstacles and grow. In stories, we get to live vicariously through the heroic protagonist. The hero’s journey allows us to relate to them and be inspired by their perseverance. At its core, this monomythic cycle ties into concepts like love, sacrifice, courage, transformation, and fulfilling one’s destiny. These timeless themes and character arcs continue to captivate audiences and new generations.

The 12 Stages of the Hero’s Journey (as outlined by Christopher Vogler)

While Joseph Campbell originally outlined 17 stages of the monomyth in his book, screenwriter Christopher Vogler simplified it into 12 stages in a popular guidebook for writers. Known as the hero’s journey model, these 12 steps are:

• Ordinary World
• Call to Adventure
• Refusal of the Call
• Meeting the Mentor
• Crossing the Threshold
• Tests, Allies, Enemies
• Approach to the Inmost Cave
• The Road Back
• Resurrection
• Return with the Elixir

Let’s look at each of these 12 stages in more detail:

1. Ordinary World

The hero exists in the ordinary world, their normal environment, when we first meet them. This allows us to see what their daily life is like before the adventure begins. In The Matrix, we see Neo living an ordinary life as a computer programmer before he is called to his destiny. In Harry Potter, we witness Harry’s difficult life with the Dursleys until he’s summoned to Hogwarts.

The ordinary world establishes the status quo that will eventually be disrupted as the journey unfolds. It lets us relate to the hero as an everyday person like us before they embark on something extraordinary.

2. Call to Adventure

The hero receives a call to go on an adventure that disrupts their ordinary world. It may come in the form of a threat to the hero or their community. This call could come from a herald like Gandalf summoning Frodo in Lord of the Rings. Or it may be adventure itself that calls to the hero, spurring them to seize new opportunities.

However it arrives, the call ignites the hero’s journey as they are drawn into a new world of possibilities. But hearing the call is just the beginning of their transformation.

3. Refusal of the Call

When presented with the call to adventure, the hero may initially refuse or express reluctance to embark on the journey. Refusing the call hints at their fears or shortcomings that must be overcome.

At this stage, heroes might believe they are unfit for the journey ahead. Bilbo Baggins tries refusing Gandalf’s request for him to join the dwarves in reclaiming their home. Other times, refusal comes from a sense of duty preventing the hero from leaving home.

4. Meeting the Mentor

The hero needs guidance to answer the call, which comes in the form of a mentor figure. The mentor prepares the hero for the journey ahead by training, advising, and empowering them.

The mentor can appear as a wise old wizard like Merlin or Dumbledore. Or they may impart wisdom in less obvious ways. In The Karate Kid, the unassuming maintenance man Mr. Miyagi mentors Daniel through karate lessons and life advice that transform him. Whatever form they take, the mentor molds the hero toward being ready to face their destiny.

5. Crossing the Threshold

The hero commits wholeheartedly to the adventure by crossing the threshold into the special world beyond their ordinary one. There is often an actual threshold representing the boundary between worlds.

Dorothy leaves Kansas behind by squinting through the door of her tornado-blown house into the colorful Land of Oz. By committing to the journey, the hero enters Act Two, facing tests in the special world. The threshold marks the point of no return.

6. Tests, Allies, Enemies

In the special world of Act Two, the hero faces a series of tests that allow them to gather allies and enemies. The tests are part of the training the hero must undergo to prepare for the bigger ordeals yet to come.

The hero discovers new abilities, but also weaknesses that they seek to overcome. Allies join the hero on the journey and work with them to pass tests. Enemies create obstacles and complications for the hero. Through these trials and relationships, we see the hero change and grow.

7. Approach to the Inmost Cave

The inmost cave may be an actual location in the special world, but really represents the innermost darkness of the hero’s psyche, their deepest fear they must face. As they approach this critical juncture, they prepare themselves for facing this ultimate ordeal.

On the approach, the hero may appear to be reaching their goal or think the journey is coming to an end, only to find this is yet another prelude to a more difficult confrontation with death ahead.

8. The Ordeal

Here, the hero undergoes the supreme ordeal of facing their greatest fear in the hope of being rewarded or resurrected anew. This is the climactic central confrontation often representing facing death and rebirth both metaphorically and literally.

The ordeal allows the hero to conquer their enemies or shadowy aspects of themselves once and for all. By dying to their old self, they can be reborn as their true heroic self.

After surviving death in the ordeal, the hero gains the reward they’ve sought like the holy grail or some elixir to save their people. It may come in the form of new knowledge or insight. This rest period lets us see the hero enjoy the fruits of their labor and sacrifice.

10. The Road Back

Carrying the reward, the hero begins their return journey home to the ordinary world. But the adventure isn’t over yet. New dangerous obstacles arise that imperil the hero’s journey home.

The stakes are raised once more as the hero must stay resilient on the road back, holding onto the reward and wisdom gained from their difficult trials. The journey is about mastery of two worlds.

11. Resurrection

As the hero nears the threshold home, they must endure one last test where everything learned so far is put to the ultimate test. Facing mortal danger, they may need rescue from without. This final trial leads to the hero’s resurrection and ascension as a superior being.

12. Return with the Elixir

This brings the hero full circle as they return to the ordinary world, but able to bestow gifts on that world as a powerful guide ready to lead others. Their elixir is the wisdom gained from the ordeal. The hero comes back from death transformed and enlightened.

By mastering and balancing both worlds, the hero is a carrier of boons to help renew their community. They return wiser and more enlightened than when they started.

The Original 17 Stages of the Hero’s Journey (as outlined by Joseph Campbell)

Joseph Campbell’s original 1949 outline of the monomyth actually had more stages – 17 steps versus the simplified version’s 12 steps. Campbell’s 17 stages, grouped into a three act structure, are:

Act I – Departure

• The Call to Adventure
• Supernatural Aid
• Crossing the First Threshold
• Belly of the Whale

Act II – Initiation

• The Road of Trials
• Meeting with the Goddess
• Woman as Temptress
• Atonement with the Father
• The Ultimate Boon

Act III – Return

• Refusal of the Return
• Magic Flight
• Rescue from Without
• Crossing the Return Threshold
• Master of Two Worlds
• Freedom to Live

While containing more steps, Campbell’s outline aligns with Vogler’s simplified version covering departure, initiation, and return. The expanded 17 stages provide more details about certain phases of the journey. Both models offer a guide to crafting an archetypal heroic story.

My Favorite Examples of the Hero’s Journey

The hero’s journey monomyth structure has been analyzed in many myths, legends, films and stories. Here are some of my personal favorites:

• The Odyssey – This classic epic by Homer shaped much of the hero’s journey template through Odysseus’s long difficult voyage home after the Trojan War.
• Star Wars – Luke Skywalker’s journey follows the hero template faithfully, one reason the film resonates so powerfully.
• The Matrix – Neo’s journey from hacker to hero/savior closely aligns with the monomyth. Facing Agent Smith is akin to an ordeal and resurrection.
• Harry Potter – Harry progresses through each stage, mentored by Dumbledore, gaining allies like Hermione and Ron, facing enemies like Voldemort, dying and returning to defeat evil.
• The Lion King – Simba’s epic quest contains numerous stages like crossing a threshold into the elephant graveyard, undergoing an ordeal facing his evil uncle, and returning to restore the kingdom.

Each example above takes the universal monomyth template and makes it singular and unforgettable by creating iconic heroes, mentors, allies and villains. The hero’s journey is infinitely malleable.

How to Use the Hero’s Journey in a Novel

If you want to employ the hero’s journey structure in your own novel or screenplay, here are some tips:

• Have a clear vision of your hero and their ordinary world before disrupting it with the call to adventure.
• Make your mentor, allies and enemies dimensional, memorable characters that impact the hero.
• Structure key events like the ordeal, the climax, and the hero’s resurrection around the middle and end to shape the emotional arc.
• Customize the template to fit your unique story needs. Not all 17 stages must be included.
• Outline the stages before writing, but also allow some to emerge organically from story and characters.
• Include symbolic thresholds like crossroads, gates, bridges, or actual magical portals marking transitions into new worlds.
• Use tests in the special world to allow your hero to grow incrementally through small wins and losses.
• Consider how bringing back the “elixir” transforms not just the hero but also their community.

In essence, incorporating a monomyth structure provides a time-tested narrative arc while leaving plenty of room for your own imaginative embellishment. Allow the template to guide, not limit, your creativity.

That concludes my personal guide to the hero’s journey draws from myths, films and literature! I hope relaying my own perspectives and enthusiasm brought this monomyth template to life. Now that you’ve completed your own vicarious adventure through the world of the hero’s journey, you have all the tools to craft an epic tale full of memorable characters, riveting ordeals and triumphant returns. Wishing you the best as you set forth on your own writing journey ahead!

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Home / Book Writing / The Hero’s Journey: The 12 Steps of Mythic Structure

The Hero’s Journey: The 12 Steps of Mythic Structure

The Hero’s Journey plot structure is a common template for writing a compelling story. It also has a built-in character arc for the hero or heroine. Whether you write detailed outlines before getting into any prose, or you think writing is best done without an outline, the Hero’s Journey can help. Many writers fall somewhere in between, keeping in mind the broad strokes of a plot structure like the Hero’s Journey as they write. 

Now, before you roll up your sleeves and get started with plotting your brand new idea, make sure it's viable to become a bestseller. Take just a few minutes to use book idea validation – without it, your book risks obscurity after it's published. If you have already written your book with a structure like the Hero's Journey and are looking to increase your sales, read how to make your book #1 on Amazon so you don't miss out on new readers.

One thing’s for sure: learning the twelve steps of the Hero’s Journey can only help your writing. This is why I recommend Plottr as an excellent tool to strengthen your writing. They have the Hero’s Journey and other well-known story archetypes to choose from so you can find one that best fits your particular story. 

More on Plottr later. For now, let’s go on an adventure through the Hero’s Journey!

• The origins of the Hero’s Journey
• The 12 Steps of the Journey
• Examples of the Hero’s Journey
• How to incorporate this story structure into your writing

Table of contents

• What is the Hero’s Journey?
• The Hero’s Journey: An Overview
• 1. The Ordinary World
• 2. The Call to Adventure
• 3. Refusing the Call to Adventure
• 4. Meeting the Mentor
• 5. Crossing the Threshold
• 6. Test, Allies, and Enemies
• 7. Approach to the Inmost Cave
• 8. The Ordeal
• 9. The Reward
• 10. The Road Back
• 11. Resurrection
• 12. Return With the Elixir
• Star Wars: A New Hope
• The Lord of the Rings: The Fellowship of the Ring
• The Hunger Games
• Bonus Option: Use the Hero's Journey in a Series
• What Stories Work With the Hero’s Journey?

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Popularized by mythologist Joseph Campbell in his book The Hero With a Thousand Faces , the Hero’s Journey is a story structure that has been used to tell exciting and captivating stories for centuries. Campbell, a literature professor, found that this was a common mythic structure. It’s widely known by the moniker the Hero’s Journey, but this name didn’t come around until well after Campbell’s 1949 book.

Campbell’s name for it was the monomyth. 

Other scholars and storytellers have made tweaks to Campbell’s original monomyth structure, which has seventeen steps instead of the twelve I’ll be discussing today. The version of the Hero’s Journey widely used by screenwriters, authors, and playwrights today was popularized by screenwriter and producer Christopher Vogler .

You can apply this story structure to mythology, films, books, and even short stories.

There are three overall stages to the Hero’s Journey, each with individual story beats. These are 1) Departure, 2) Initiation, and 3) Return.

• The Ordinary World
• The Call to Adventure
• Refusing the Call to Adventure
• Meeting the Mentor
• Crossing the Threshold
• Test, Allies, and Enemies
• Approach to the Inmost Cave
• The Road Back
• Resurrection
• Return With the Elixir

Format Beautiful Professional Books

Easy to use, and and full of amazing features, you can quickly turn your book into a professional book.

The Twelve Stages of the Hero’s Journey

Each of the twelve steps has its own story beats that happen. As we finish each stage, we’ll reflect on each story beat with an example from a famous movie. 

The first step in the Hero’s Journey is your chance to familiarize the reader with the known world in which your story happens. This means giving the reader what they need to know to make sense of the world (otherwise known as exposition ). If your story takes place in a reality much like our own, you won’t have a lot to do. But if magic and mythical beasts are normal, or it’s far into the future and interstellar travel is possible, you’ll have a bit more work to do here.  If you're having trouble picking which type of world is best for your book, research popular keywords in your genre to reveal settings that readers find interesting.

While you introduce the world, you’ll want to introduce the main character(s) as well. And in doing so, it’s important to give the reader a reason to like him, her, or them . While the protagonist is in their normal, ordinary world, they should want something more or different. And this want or need should dovetail nicely with the primary conflict of the story. 

• Introduce the world and the character in an interesting way. Readers will give you some leeway at the beginning of the book, but if it reads like a textbook, you’ll lose them pretty quickly!
• Give the character personality and dimension . Needs, wants, flaws, and characteristics don’t all have to come out right away, but there should be enough for the reader to want to follow the hero through the story. 

Tip: This first step should take the first 10-12% of the story. 

Step two, the call to adventure, is also called the inciting incident. This is something disruptive that pulls the hero out of their ordinary world and toward a journey that will ultimately change their life . . . if they survive. 

This call propels the rest of the story forward , so it should be exciting enough for the reader to want to continue with the story. This will change from genre to genre, so it’s important to know the tropes of whatever genre you’re writing in.  On Amazon, there are thousands of genre categories to choose from, so research potential category options to better understand your market.

• Most heroes will resist this initial call to action. The stakes should be very real and clear to the reader at this point. In many stories, the stakes will be life or death.
• Remember that your story needs to grow in intensity until it peaks at the climax. So the call to action should be dramatic, but things will get worse for the protagonist from here.

Tip: The Call To Adventure should happen around the 12% mark.  

Not every protagonist will refuse the call. Some may be ready to go. But if you pay attention to some of your favorite stories, you’ll likely see that most heroes ‌resist initially until ‌they have no choice. 

Something should happen to make a refusing hero realize that they have no choice but to take on the challenge presented to them. For every refusal, some incident or information should come out that will raise the stakes and make the hero realize they must face the challenge . The hero ventures forth at the end of this section.

• It’s good to have the character refuse the call for a reason that ties in with the need or want established in the first step of the Hero’s Journey. 
• Give them a good reason to refuse — and an even better reason to finally heed the call to adventure. 

Tip: The refusal section starts around the 15% mark of the story.  

At this point in the story, the protagonist has responded to the call to adventure. But their initial unease is still there. They don’t yet have the skills, items, or knowledge to succeed against such a challenge. This is where the mentor comes in. 

The mentor helps the protagonist gain the confidence needed to continue on the journey. This is usually done in a multifaceted manner, with both physical and mental help. Much of the time, the mentor provides tough love, kicking the protagonist’s butt into action, so to speak. While mentors are often people, they can also take the form of information, like a map, a magic scepter, or any other number of things that help the hero along. 

• Make it clear that, without the mentor, the protagonist would likely fall flat were they to continue on unaided. 
• The hero’s time with the mentor should ultimately result in a revelation , giving the hero exactly what they need (or at least what they think they need) to face the antagonist or challenge. 

Tip: Have this section start around the 20% mark of the story.

Step five of the Hero’s Journey is often called the point of no return. While the protagonist has learned from the mentor and gained confidence, this story beat forces them to engage fully with the challenge. Usually, this dramatic turning point is orchestrated by the antagonist, giving both the reader and the protagonist an idea of how powerful the villain really is.

One common tactic is to have the mentor killed in this section. Whatever you choose to do, make it pivotal and have it reinforce the central theme and conflict of the story . This is also the end of the Departure section, otherwise known as the first act. 

• Until this point, the hero has had one foot in their ordinary world. Now, there’s no choice but to go forward into unknown territory, otherwise called the special world. 
• The hero’s reaction to this pivotal story beat should be in line with what the reader knows about them. They need to work for any major changes that come about in this section. 

Tip: Crossing the Threshold usually starts around the 25% mark. 

This section marks the beginning of the second act. Building on everything that has come before, the protagonist should be challenged, putting their new abilities and knowledge to the test. It will become clear that the hero still needs help to resolve the main conflict of the story. This is where allies come into play. By teaming up with allies, the hero should continue to grow, playing off the other characters and working to overcome the tests or setbacks in the Special World. 

Enemies are those that put the tests in their place, working actively against the hero and allies. The reader should learn to care about the allies, which ‌means making them multifaceted characters. By the time this section is done, not all allies will have made it. Some may have even betrayed the hero. Likewise, enemies can also transform in this section, turning into allies. 

• While the allies may want the same thing as the hero, they may have conflicting views on how to get it. Everyone in agreement all the time makes for a boring story. 
• The hero’s abilities should be in doubt — both by the hero and the reader. 

Tip: This section occurs around the 30% mark. 

The approach to the inmost cave section gives the characters (and reader) a chance to reflect on the challenges of the previous section. Remember that the stakes and tension need to continue rising, so the previous section should have been the hardest challenge yet. The hero and allies are beaten and bruised — maybe one or more has died along the way — but the protagonist is still alive. The journey continues. 

The group is closer to the goal — and to the place or time of ultimate danger. They’re regrouping and gathering their wits as they prepare to face the antagonist or some of the villain’s formidable forces.

• This is a good place for the characters to formulate a plan of attack, clarifying the price of failure and the prize for success. 
• At this point, the hero has redoubled his effort and believes he is ready to face the challenge, despite his setbacks. The ordinary world is now far behind and impossible to get back to. The only way out is through. 

Tip: This section happens around the 40% mark. 

The ordeal is the biggest test yet and a transformative event that affects how the hero goes forward on their journey. This confrontation has the highest stakes so far, and it’s part of the central conflict. It brings the hero to their darkest point yet, and results in a metamorphosis of sorts that allows them to push through to the other side. 

Campbell spoke of the ordeal in terms of death and rebirth for the protagonist. The hero uses all they have learned up to this point to push through the ordeal. A character close to the hero is often killed in this section, whether it be the mentor, a close ally, or a loved one. However, it’s not always a death. It could involve facing fears, going up against the biggest foe, or breaking through some seemingly insurmountable mental barrier. Whatever form the ordeal takes, the hero is broken down and comes out the other side stronger than before . 

• This section is a long one, taking nearly a fifth of the story. It should be dramatic, compelling, and speak directly to the heart of both the external and internal conflicts of the story.
• Don’t be afraid to make things hard on your characters in this section. Even though the reader knows the hero will prevail, they should be left wondering in this section. 

Tip: The Ordeal takes place from around the 50% mark. 

Also called seizing the sword, this is the section in which the hero gets whatever they were searching for during the story. They’ve made it through the ordeal, and this is the reward. It can be an object, clarity, knowledge, or new skills/abilities. Whatever the reward is, it needs to be important in defeating the antagonist at the coming climax . 

After the action and emotion of the ordeal, this section is a place for the reader and characters to regroup and catch their breath again. It can be a good place for a celebration of sorts, something to show for the sacrifices made so far. The hero may even reflect on all it took to get here. 

• It should be clear to the reader how the reward will help the hero to finish the journey.
• This is a major milestone in the journey and should be treated as such. It also marks the end of act two.  

Tip: The Reward section takes place around the 70% mark of the story. 

Reward firmly in hand, the hero starts the journey back to the ordinary world. But every action has consequences, and those of claiming the reward block the hero’s road back. It becomes clear that things aren’t so simple, and the hero’s tribulations aren’t yet over. 

The unforeseen consequences of claiming the reward make the hero realize they’re in more danger than ever before, and they must face the antagonist head-on before returning to the ordinary world. The hero prepares for the ultimate battle — the climax. 

• It should be clear to the reader why the hero must face the antagonist once and for all. There should be no choice, given who the hero has become and the stakes they now face. 
• This is a good place to re-establish the central conflict of the story and make clear the results of failure. 

Tip: This section happens around the 75% mark. 

This is the climax of the story — the ultimate showdown between hero and villain . The tension and the stakes are higher than they’ve been throughout the story. If the hero fails, the world as they know it will be forever changed for the worst. The hero uses all they have learned on the journey to defeat the antagonist. 

The hero comes out of the confrontation changed, transformed into a true hero. This should be a dramatic transformation, completing the resurrection started earlier in the story. 

• Like every other challenge, the hero needs to earn this victory by sacrificing something for it. In some stories, the hero may even sacrifice him or herself.
• By vanquishing the antagonist, the hero should find the strength or gain the knowledge to address their internal conflict in a satisfactory manner. 

Tip: This section happens around the 85% mark .  

The last section of the story details the hero’s return from the special world to the ordinary world. Sometimes called the magic flight, the hero now has changed for the better. Show what new skills, items, knowledge, or understanding of the world the hero brings with them (the elixir). This “elixir” can often be used to help those the hero left behind in the ordinary world. 

In most stories, the hero will return to celebration. They’ve risked it all, saved lives, and learned important lessons. The people in the ordinary world are happy to have them back. The hero may decide to settle back into this world to use their newfound abilities. Or they may find they’ve outgrown it and have a taste for adventure.

• Re-establish the hero’s internal conflict and show how solving it has changed their view and life, completing the character arc . 
• If you’re writing a series, provide a hook for the next story here by hinting at another conflict the hero will need to deal with. 

Tip: This section happens around the 95% mark and finishes out the story! 

Examples of the Hero’s Journey from Famous Works

In George Lucas's Star Wars Episode IV: A New Hope , we can see the Hero's Journey in action. We also see it in The Lord of the Rings: The Fellowship of the Ring and The Hunger Games . Let’s take a look now.

• Luke Skywalker — an archetypal hero — in his Ordinary World, living with his aunt and uncle, hoping for adventure. 
• Luke’s Call to Adventure comes when he activates a hidden message from Princess Leia that R2D2 is carrying for Obi-Wan Kenobi. 
• Luke initially Refuses the Call — until he returns home to discover his aunt and uncle have been killed by Imperial forces.
• While Luke has already met his Mentor (Obi-Wan), the active mentoring really starts after Luke's home has been destroyed and the only family he's ever known killed.
• When Luke, Obi-Wan, and the droids step into the dangerous Mos Eisley Spaceport, it signifies the beginning of Luke's heroic journey and the Crossing of the Threshold. 
• Luke and Obi-Wan hire a couple of Allies, Han Solo and Chewbacca, to transport them off the planet. Once on the Millennium Falcon, Luke's Tests begin. 
• The Approach to the Inmost Cave happens when the Death Star captures the Falcon in a tractor beam and pulls them in. 
• The Ordeal happens while Obi-Wan goes off to try and disengage the tractor beam. Luke, Han, and the others rescue Princess Leia. Obi-Wan confronts Darth Vader and sacrifices himself so the others can get away. 
• With the Rewards (the Death Star plans and the princess), Luke thinks he should be able to defeat the Empire. And while Obi-Wan's death weighs on him, he can see success ahead.
• The Road Back is interrupted as the Falcon is attacked. They have no choice but to go to the Rebel base to deliver the Death Star plans, even though they’re being tracked.
• As the Rebels are attacking the Death Star, Obi-Wan's voice speaks to Luke, telling him to use the Force. Luke does, using all that he's learned and finally “sacrificing” his old self, embracing the Force and “Resurrecting” as a true hero. He fires and blows up the Death Star.  
• Luke Returns to the Rebel base triumphant. Both he and Han Solo receive medals and accolades for delivering the (temporary) blow to the evil Empire.
• We get to see Frodo’s idyllic Ordinary World in the Shire. The idea of adventure is attractive to him, but not overly so.  
• Frodo’s Call to Adventure begins after Bilbo disappears, leaving behind the Ring, which Gandalf entrusts to young Frodo. 
• Frodo Refuses the Call not just once, but repeatedly throughout the story. He feels he is not the one to be entrusted with such a job of carrying and disposing of the Ring. 
• Gandalf acts as Frodo’s Mentor, instructing him on what he must do to protect the Ring and, in so doing, protecting the Shire. 
• Frodo and Sam quite literally Cross the Threshold as they leave the Shire after splitting from Gandalf. 
• Frodo and Sam run into Allies Merry and Pippin on their way toward Bree. They are also Tested by Enemies as they’re pursued by the Nazgûl. These tests continue until the group gets to Rivendell. 
• The Approach to the Inmost Cave is the group’s approach to the Mines of Moria — literal caves. 
• The Ordeal happens inside the Mines of Moria as the group is attacked by orcs and then Balrog, which Gandalf fights off, falling down into the depths and presumed dead. 
• The Reward is sparse in The Fellowship of the Rings. Gandalf is gone, and the group escapes with their lives. 
• The Road Back isn’t signified in this story by a turn back to the Ordinary World. Instead, it’s Frodo’s stay in Lothlórien, where he sees the stakes of his failure in a vision. 
• The Resurrection is the climax of the story, where the Uruk-hai catch up with the group and Boromir betrays Frodo, trying to take the ring from him. Frodo realizes he must travel alone to Mordor. 
• The Return with the Elixir portion is Sam’s refusal to let Frodo journey alone. Frodo pulls him into the boat and they cross the river together. Meanwhile, the rest of the Fellowship are determined to save Merry and Pippin. To be continued . . . 
• We see Katniss Everdeen living in her Ordinary World (District 12) with her mother and sister. It’s a bleak, depressing world, but it’s her Ordinary World nonetheless.
• After Prim, Katniss’s sister is called for Tribute, Katniss volunteers in her stead. This is the Call to Adventure. 
• This is one example of a story with no real Refusal of the Call. She may not want to take part in the Hunger Games, but she makes the decision and sticks with it to save her sister. 
• Katniss meets Haymitch, her Mentor. Though a drunk, he guides her on the politics and gives her tips on surviving the Games. 
• Katniss Crosses the Threshold when she’s put on the train to the capital, leaving her Ordinary World behind.
• The Tests, Enemies, and Allies section starts when she has to navigate the preparation for the Games. She meets Rue and has Peeta as an ally, as well. The Careers are clearly enemies to contend with later. 
• Katniss Approaches the Inmost Cave when the Hunger Games begin. 
• The Ordeal is plain to see as the Games commence, and Katniss struggles to stay alive amid the chaos. 
• The Reward comes when only Katniss and Peeta are left alive in the arena. They don’t have to fight, thanks to a rule change; they can both claim victory. 
• It looks good for Katniss and Peeta until the Capital changes the rules again, putting an obstacle in the path of the Road Back. Suddenly, they’re forced to decide which of them gets to live. 
• The Resurrection portion of the story plays out as Katniss and Peeta threaten to kill themselves, leaving no winner and possibly sowing the seeds of revolution. The Capital changes the rules again, allowing both of them to claim victory. 
• Katniss gets to live, Returning from the Games as a hero. One who just may be able to make some real change to her Ordinary World.  

Let's say you want to think big. Like a 12 book series big. One little fun way that I use the Hero's Journey is to use each of the 12 steps to represent an entire book as a whole. You could also condense this into 6 books, 3 books, etc.

For example, the original Star Wars trilogy does a fantastic job of fitting the hero's journey not only into the first movie (A New Hope) but also into the trilogy as a whole. The first movie could easily represent the first four steps of the hero's journey from a macro-perspective (as well as covering all 12 within its self-contained plot), with The Empire Strikes Back covering steps 5-8, and Return of the Jedi covering steps 9-12.

Seriously though, the OG Star Wars trilogy is a masterclass in plotting, you guys.

In other words, the Hero's Journey doesn't have to be used just for a single novel, it can be a great way to progress your character from a more zoomed out perspective through an entire series.

Now that you know what to look for, think about some of your favorite stories. See if you can see the beats of the Hero's Journey in them. From Harry Potter and Toy Story to the Lion King and The Hunger Games , you'll find evidence of this story structure.

Its uses aren't just for adventure stories, though. With a little tweaking, a sweet romance story could also follow this template pretty closely. The point of the Hero’s Journey plot template isn’t to lock you into a formula that you can’t deviate from. Instead, it’s a tool that can guide you along. When you know the tropes of your genre, you can marry them with the major beats of the Hero’s Journey to come up with a novel readers will love . Remember, however, that writing an incredible novel is only part of the battle to find loyal readers- it's also important to have a strong marketing strategy so people can actually discover your book, as outlined in my free e-book on how to become an Amazon bestseller.

To make story beats easier, I recommend giving Plottr a try. It’s a great storytelling tool for writers that can help keep you on track using structures like the Hero’s Journey, Dan Harmon’s Story Circle , the Three Act Structure , and more. 

Dave Chesson

When I’m not sipping tea with princesses or lightsaber dueling with little Jedi, I’m a book marketing nut. Having consulted multiple publishing companies and NYT best-selling authors, I created Kindlepreneur to help authors sell more books. I’ve even been called “The Kindlepreneur” by Amazon publicly, and I’m here to help you with your author journey.

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

by David Safford | 0 comments

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

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

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

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

Let's dive in.

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

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

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

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

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

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

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

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

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

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

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

How to Use This Hero's Journey Post

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

This is how the Hero's Journey was born.

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

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

Table of Contents: The Hero's Journey Guide

What is the Hero's Journey?

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

The Twelve-Step Hero's Journey Structure

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

5 Essential Hero's Journey Scenes

A Guide to Structuring Your Hero's Journey

Bonus! Additional Hero's Journey Resources

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

What Is the Hero's Journey?

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

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

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

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

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

Why the Monomyth Will Make You a Better Writer

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

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

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

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

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

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

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

David Safford

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

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The hero’s journey: a 12 step guide.

Jan 7, 2022 10:04:35 PM / by Byter Team

You’ve heard the story a thousand times. The protagonist embarks on an adventure, makes some new friends, overcomes obstacles and returns home a changed person. In short, the Hero’s Journey.

This classic story structure is shared by stories around the globe from Theseus and the Minotaur to   Rocky Balboa and as a result is lodged firmly into our cultural DNA. It was, though, Joseph Campbell, the academic who first coined the term way back in 1949, who provided its original structure:

The Departure Act : The Hero leaves the “Ordinary World”.

The initiation act : the hero ventures into the unknown “special world” and is birthed into a true champion through various trials and challenges., the return act : the hero returns in triumph..

A little over half a century later, screenwriter Christopher Vogler released his book  The Writer’s Journey , in which he refined Campbell’s three phases by identifying the 12 steps that make it up. 

Though they are not necessarily always carried out beat-for-beat, let’s now take a look at Vogler’s 12 steps in more detail and see how the Hero undergoes inner and outer transformation in each one.

The 12 Steps of the Hero’s Journey

Ordinary world ( we meet our hero).

This opening leg sets the stage, showing the Hero’s mundane, relatable reality. It provides the juxtaposition with the strange new world yet to be discovered.

Example:  Rocky Balboa working as an anonymous debt collector and underground boxer in downtown Philadelphia.

Call to Adventure   (the adventure begins)

This stage takes the Hero out of their comfort zone, confronting them with an unignorable problem. The catalyst can take several forms. With the stakes of the adventure set, the gauntlet is thrown down for our hero: will they rise to the challenge?

Example:  Dorothy being swept up in a tornado in The Wizard of Oz. 

Refusal of the Call   (the Hero digs in their feet)

It’s certainly not always a simple case of our Hero putting on their shoes and heading out the door. Often, they require quite a nudge. 

Example:  Luke Skywalker initially refusing to join Obi-Wan on his mission to rescue the princess, only changing his mind once he finds out stormtroopers have killed his aunt and uncle.

Meeting the Mentor  (the Hero acquires a personal trainer)

With the Journeys carrying with them significant dangers far too risky for our as yet unproven Heroes, we are often introduced to a mentor. The mentor ensures our Hero has the tools to carry out their adventure, usually through a mixture of practical training, seemingly limitless wisdom and some, let’s say, carefully chosen words of tough love. Although, the mentor can be something as faceless as a map, preparation for the Hero’s next step is still the case.

Example:  Mickey Goldmill in Rocky. The time-worn, but not time-beaten old trainer, who takes Rocky under his wing in preparation for his world title fight with Apollo Creed.

Crossing the First Threshold   (the Hero enters the other world in earnest.)

The central conflict has been launched, the theme has been established and the characters are developing nicely.

As Vogler writes: “This is the moment that the balloon goes up, the ship, the romance begins, the wagon gets rolling.” Our Hero is ready and there’s no going back.

Example:   Stitch crashes on Earth in Lilo & Stitch.

Tests, Allies, Enemies   (the Hero faces new challenges and gets a squad)

Our Hero has stepped into the Special Word and begins getting to grips with their new reality. Usually one of the longest stages, it makes a prime hunting ground for a series of tests to be passed. In this stage, we often are introduced to aliens, enemies, friends and foes.

Example:  In Jumanji: Welcome to the Jungle ,  Spencer, Bethany, Fridge, and Martha don’t get off to the smoothest of starts when they bump into a herd of bloodthirsty hippos.

Approach to the Inmost Cave   (the Hero gets closer to his goal)

The stage is all about the Hero’s approach to the most dangerous spot in the Special World, where the ultimate goal of the adventure is almost always located.

Example:  The Death Star in Star Wars. Obviously, use of the words ‘Inmost Cave’ aren’t necessarily literal.

Ordeal   (the Hero faces his biggest test of all thus far)

Described by Volger as a “black moment” and Campbell as the “belly of the whale”, this eighth stage is by no means fun for our Hero. Their greatest fear must now be faced, bringing with it their biggest test. Survive and they become transformed, and according to Volger, thereby informing every decision they make from then on. Though not necessarily the story’s climax, the Ordeal finally provides the opportunity for our Hero to be worthy of such a title.

Example:  Sam carrying Frodo on his back all the way up Mt Doom in The Lord of The Rings, using Samwise Gamgee as the Hero.

Reward (Seizing the Sword)  (the Hero sees light at the end of the tunnel…)

The “reward” is the object or knowledge of which the Hero has spent the entirety of their journey fighting. The time to reach out and grab them is now!

Example:  Dorothy can finally escape from the Wicked Witch’s castle with the broomstick and the ruby slippers.

The Road Back   (… but that light is a little further away than expected)

We’ve reached the beginning of Act Three. With the reward “in hand”, it’s time to return to the Ordinary World. However, obstacles can and do still arise.

Example:  Before Neo can leave the Matrix again, Agent Smith kills him.

Resurrection  (the last test is met)

Referred to by Volger as the protagonist’s “final exam”, we see if our Hero has “really learned the lessons of the Ordeal”. It’s a stage known for miraculous near-death escapes. Queue the sweet music…

Example:  Simba learns that Scar killed his father and throws him off Pride Rock.

Return with the Elixir  (our Hero has a triumphant homecoming)

… because, finally, the Hero gets to return home. They’ve grown. They’ve matured. All in all, they’re returning to the Normal World a different person, with the “Elixir” won during the journey in-hand.

Example:  Proving that some Hero’s Journeys can conclude elixir-less, Peter recalls his Uncle Ben’s words and embraces his role as Spider-Man.

Rigid Rules?

The 12 Stages of the Hero’s Journey were created to help readers dissect a plot by fostering a stronger understanding of story structure. But remember, they’re not a set of handcuffs. As long as your understanding of the basics is sound, feel free to experiment and bend it in ways that defy reader expectations. 

As always from the Byter Team,

www.byter.com

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• Scriptwriting

Joseph Campbell’s Hero’s Journey: A Better Screenplay in 17 Steps

• What is The Three Act Structure
• What is Freytag’s Pyramid
• What is a Story Mountain
• Joseph Campbell’s Hero’s Journey
• What is Save the Cat
• Dan Harmon’s Story Circle
• What is Exposition
• What is an Inciting Incident
• What is Rising Action
• What is the Climax of a Story
• What is the Falling Action
• What is Denouement
• Write Your Script For Free

dds are that if you’ve had any interest in writing a script within the past fifty years you’ve heard of the Hero’s Journey. A writer you got drinks with swore by it, a film professor suggested you read about it.  Or you overheard the barista at your local coffee shop talking about how Die Hard is a picture-perfect template for it. But… what is it? I’ll explain all of the Hero’s Journey’s 17 steps and provide examples in the modern canon. Then you can kick writer’s block and get a strong script into the hands of agents and producers.

• Call to Action
• Refusal of Call
• Supernatural Aid
• Crossing The Threshold
• Belly of the Whale
• The Road of Trials
• Meeting the Goddess
• Atonement With the Father
• The Ultimate Boon
• Refusal of Return
• Magic Flight
• Rescue from Without
• Crossing the Return Threshold
• Master of Two Worlds
• Freedom to Live

Hero’s Journey Examples

The monomyth featuring three of your favorite franchises!

The hero's journey begins, 1. call to action.

Adventure is calling. Will your hero pick up?

The initial step in the first act of the Hero’s Journey - known as the departure - is the “call to action." The Hero is beckoned to go on a journey. Think Frodo Baggins meeting Gandalf. Or the Owl inviting Harry Potter to Hogwarts. 

If having a tall wizard extend a hand may be a little too on the nose for you, don't worry. This comes in all forms. In   Citizen Kane , the mystery surrounding Charles Foster Kane’s final words is the call to action for the reporter, Jerry Thompson, to get to work.

The Hero Hesitates

2. refusal of call.

Next is the Hero’s “refusal of call.” The Hero initially balks at the idea of leaving their lives. The Shire is beautiful, after all, who wants to embark on a dangerous journey across the world? 

This refusal is typically because of a duty or obligation they have at home. Be it family, or work, it’s something our Hero cares deeply about. But, as pressure mounts, they eventually succumb and decide to leave with the help of “supernatural aid.”

The Hero Receives Assistance

3. supernatural aid.

Once the Hero has committed themselves to embarking on whatever that quest may be (keep in mind, a Hero’s Journey can apply to a modern, emotional story, as well), they receive “supernatural aid.”

Individuals give the Hero information or tools at the start of their journey to help their chances of completing the task. Rome wasn’t built in a day, and it definitely wasn’t built alone. Every hero has a set of allies helping them get the job done. From Luke, Han, and Chewie to Harry, Ron, and Hermoine, these teams are iconic and nearly inseparable.

The tools provided come in handy as the Hero begins…

The Hero Commits

4. crossing the threshold.

Now the hero ventures into a new, unfamiliar world where the rules and dangers are unknown. They’re not in Kansas anymore, Toto, and that becomes evidently clear when monkeys start flying. 

This stage often requires a few examples to crystalize the change in environment from familiar to dangerous. The contrast is key to play up how ill-prepared they initially are.

The Hero is Challenged

5. belly of the whale.

Next thing you know, we're in “the belly of the whale.” The first point of real danger in the Hero’s Journey. Taken from the Biblical story of Jonah entering a literal whale’s belly, it’s here that the dangers we’ve been warned about are manifested into tangible characters. Like hungry Orcs with swords.

This is Jonah moments before actually being in the belly of the whale.

Now our Hero must make a decision to continue and, in turn, undergo a personal metamorphosis in the process. 

They will not be the same individual at the end of this tale as they were in the beginning.  This must be made clear while in the belly of the whale, as we enter Initiation, or act two. Which is the longest slice of the Hero’s Journey pie.

This part is filled with the most failure and risk, and ends with the climax. But first, it starts with... 

The Hero is Tested

6. the road of trials.

“Road of trials” is a set of three tests that the Hero must take. Usually they will fail at least one of these tests. This could be a montage. It could also be a series of obstacles leading to a smaller goal in the journey. 

Here is where the Hero learns to use his or her tools and allies while on their way to a...

The Great Advisor

7. meeting the goddess.

At this point in the monomyth, our Hero needs a break to adjust perspective and digest the ways they've changed. It’s here that they meet with an advisor, or a trusted individual, who will help them gain a better insight into the next steps of the journey. Frodo met with Galadriel, an elf who enlightened him with visions of potential futures.

This is Frodo meeting with the goddess

Luke met Leia, and the two formed of a bond of kinship, motivating them to commit more to their cause. This individual doesn’t have to be a woman, but whoever it is our hero will gain something from the wisdom they impart.

But no good deed goes unpunished, and as we reward our Heroes in storytelling, we must also tempt them to failure.

The Hero is Torn

8. temptation.

Much like “road of trials,” “temptation” is a test in the Hero’s Journey. It presents a set of, well… temptations... that our Hero must either overcome or avoid. These temptations pick and pull at the insecurities of the Hero. A microcosm can be found in our own everyday lives with the simple act of getting out of bed.

The temptation to stay in the cozy confines of our comforters (and comfort zones) can be strong and sometimes overwhelming. This must be manifested in our story with some type of a cheap way out. Or an opportunity to throw in the towel. Our Hero must decline and press forward, nobly facing danger.

A Moment of Catharsis

9. atonement with the father.

Once they’ve thrown away their temptations, the Hero enters the “atonement with the father.” This is always an emotional part of the Hero’s Journey. It's a point in the monomyth where our protagonist must confront an aspect of their character from act one that has been slowing them down.

Something that could be fatal to their journey in the coming climactic stages. While this is actuated as a confrontation with a male entity, it doesn’t have to be.

The point here is that the Hero finds within themselves a change from who they were into someone more capable. Harry has to reconcile with the loss of his father figure, Dumbledore. Now take on Voldemort alone, using the lessons he’s learned on the way. Just like Luke...and every other hero ever. This is the emotional climax of the story.

"Tell your sister... you were riiiiiiiiiight..."

Death of the hero, 10. apotheosis.

With a new sense of confidence and clarity we must then make our Hero deal with “apotheosis.” This is the stage of the Hero’s Journey where a greater perspective is achieved. Often embodied by a death of the Hero’s former self; where the old Frodo has died and the new one is born.  

But this is sometimes interpreted as a more “a-ha!” moment — a breakthrough that leads to the narrative’s climax. This, too, can be tied to the death of Dumbledore and Harry’s reconciliation with the loss. This step is usually the final motivator for the Hero, driving the story into...

THe Hero Victorious

11. the ultimate boon.

This monomyth step is the physical climax of the story. This is often considered the MacGuffin of a film — the physical object that drives our Hero’s motivation. But it's a MacGuffin, to use Hitchcock's famous term, because ultimately... it doesn't matter.

In  Pulp Fiction , we never find out what’s in the briefcase, but it’s the briefcase that led them on the wild journey. When we find out what “Rosebud” actually means, it simply forms a lynchpin to help us understand who Charles Foster Kane was. The mission is accomplished and the world can rest easy knowing that it is safe from evil.

The Hero's Journey Home

12. refusal of return.

Upon a successful completion of the Hero’s Journey, and a transformation into a different person, the Hero has a “refusal to return.” The Shire seems so boring now and the last thing Harry wants is to go back to that drawer under the stairs. 

And, oftentimes, the return can be just as dangerous. This is the beginning of the third act of Campbell’s Hero’s Journey (known as the Return) and, while shorter, should still contain conflict. Our next step is an opportunity for that...

The Hero Transported

13. magic flight.

This is the point in the Hero’s Journey where they must get out alive, often requiring the help of individuals they met along the way. Dorothy still has to get back to Kansas, the solution to which may seem like a leap of faith.  

The eagles rescue from without with a magic flight to Frodo and friends

The hero's rescue, 14. rescue from without.

Bringing us to the “rescuers from without” point in the monomyth. Just because Frodo destroyed the one ring to rule them all doesn’t mean he gets a free ride back to the Shire. Remember those giant eagles we met a while back in act two? Well their back just in time!

Homeward Bound

15. crossing the return threshold.

Once the Hero is back home, it’s time to acknowledge their change in character. “Crossing the return threshold” is the stage in the monomyth where the hero has left the chaos of the outer world and return home.

But it's hard to adjust to the old world. Remember that scene where Frodo tried to enjoy a beer back at the shire? Hard to go back to normal when you essentially live with Dark Lord PTSD.

A Triumphant Return

16. master of two worlds.

The hero survived an adventure in the chaos realm, and now survives in the normal order realm. This makes him or her the master of two worlds. Not many people come back and live to tell the tale.  

Frodo and Gandalf wandering off into the sunset post accomplishing their mission

Plus which, throughout the story, they’ve become someone much more capable and resilient than they were in act one. They've learned lessons, and brought what they learned home with them. 

Whatever issues they may have had before embarking on this chaotic tale (often the ones preventing from taking the call to action) now pale in comparison with what they’ve been through.

It’s easier to deal with your annoying cousin, Dudley, after you’ve defeated Voldemort. This, in turn, leads to...

The New Status Quo

17. freedom to live.

In many ways the Hero's Journey is about death and rebirth. The story may manifest as the death of an aspect of character, and the birth of some new way of life. But the metaphor behind any story is one about mortality.

Change is constant. Hero's living through the Hero's Journey are models for us. Models that we can travers the constant change of existence, face our mortality, and continue. In a religious sense, and religions are all part of the monomyth, this is about the eternal spirit. 

Look no farther than the prayer of St. Francis to understand this final step in the Hero's quest. "It is in dying that we are born to eternal life." 

The Hero’s Journey Concludes

Cinematic heroes.

The monomyth is practically ubiquitous in Hollywood. As you’ve read earlier, Harry Potter , Star Wars ,   Lord of the Rings ,  and   Citizen Kane all follow the Hero’s Journey. But, because this concept was built upon the foundations of major mythologies, it's truly a "tale as old as time." 

Because Campbell discovered the Hero's Journey. He didn't make it up. Neither did those older myths. He realized as an anthropologist, that every culture all around the globe had the same story beats in all their myths. 

Sure, some myths, and some movies, use 10 of the 17, or even just 5. But throughout human history, around the world, these story beats keep showing up. In cultures that had nothing to do with one another. 

The Hero's Journey is a concept innate to being human. 

And if remembering these 17 steps may seem a little daunting, fear not. Make sure to check out Dan Harmon's abridged 8-step variation of the Hero's Journey monomyth.  Same structure, just made more digestible.

Dan Harmon’s Story Circle 

Practically speaking, the Hero’s Journey is an excellent tool for structuring an outline in a clear and familiar way. It has the power to make your script much more powerful and emotionally resonant. 

It’s circular, allowing for repeat adventures (which works well if you're learning how to write a TV pilot ) and each aspect drives the hero to the next. From the Goddess, the Hero finds temptation. From reconciling with the father, the Hero is now prepared for the final boon.

Story Circle  •  8 Proven Steps to Better Stories

Using a Hero’s Journey worksheet can help you write a treatment or create a well-structured outline , which is a valuable tool for creating a strong first draft.

By putting in the 17 steps of the Hero’s Journey before building the outline, you can ensure that the writing process will flow smoothly and efficiently. Let us know in the comments how the monomyth has helped you craft a story that escalates with every beat to an exciting climax.  

Up Next: Dan Harmon's Story Circle →

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The Twelve Stages of the Hero’s Journey: Unleash the Hero Inside You

• By Isaac Cotec

But the hero’s journey is not just a narrative formula that guarantees box office success, it is part of the DNA of mankind , and represents the path taken by thousands of heroes and heroines of our history. The psychology behind the Hero’s Journey, its meaning, can be a tool to give direction to what is going on right now in everyone’s life.

THE TWELVE STAGES OF THE HERO’S JOURNEY

The twelve phases of the Hero’s Journey could be briefly summarized as follows:

The hero, who lives in his ordinary world , receives one call . Initially, he does not accept the call and refuses , but instructed by a mentor, he overcomes his fear of him and crosses the first threshold , which allows him to enter the extraordinary world. From here a series of tests will begin, which will gradually approach the central test . After passing this test, the hero gets the prize and takes the way back . Before he can go home, however, he must also face a resurrection . Only then can he end the journey with one new elixir.

Below we will see in detail the meaning of each of the phases, trying to understand how this path can be translated into our lives and how it can help us face our daily challenges, to bring out our inner hero.

1) Status Quo / The ordinary world

Every great story begins with the hero represented as a nobody in his ordinary world. For example, he thinks of Neo (Keanu Reeves) in The Matrix when at the beginning of the film he is a simple employee of a multinational company.

Many of us are in this first phase of the journey: in our youth, it is not uncommon not to have had time to prove our worth yet, or perhaps we are no longer so young, but inside we have the impression that the life we are living it doesn’t belong to us and we know there must be more out there.

2) Call to Action / The call

At a certain point, an unexpected event occurs in the hero’s life: a serious problem, a wrong to be repaired, an unexpected challenge, an encounter with a special person, an adventure to be undertaken. This event will force the hero to come out of his shell and leave his ordinary world or “comfort zone”.

Even in our lives, we are often called to face unexpected difficulties and when this happens we have two options: to cry on ourselves and curse the universe or to take the situation on our own and face it with our own means.

3) Refusal to Change / Rejection

The hero does not always accept the call with enthusiasm, quite the contrary. As tight as he may be, leaving the ordinary world is not an easy choice. The hero hesitates and expresses reluctance. In other words: he feels fear.

This is perhaps the phase that most unites us in reality to the heroes of history. Faced with a difficulty that upsets our daily life, our first reaction is refusal. We just want things to go back to the way they used to be. We are afraid of what lies ahead: we do not feel like leaving our comfort zone. It is a completely normal phase.

4) Gathering Aid / Meeting the Mentor

To succeed in his enterprise, the hero needs help. To be precise, he needs a Mentor to guide him (the famous archetype of the Wizard). The relationship between the hero and his mentor is one of the most common themes of mythology and is rich in symbolic meanings; in fact it represents the relationship between parent and child, between god and man.

Throughout history, the mentor has had multiple representations: the wise old wizard (Merlin), the severe sports coach, and so on. The mentor’s task is to prepare the hero to face the challenges that await him, give him advice and tools with magical power. However, the mentor cannot face the hero’s challenges instead of him.

As far as we are concerned, it is essential that each of us find our own mentors.

If you are facing a difficult time, it is good to look for a trustworthy person who can guide us for our good. However, the mentor can show you the way, it is then up to us to follow it.

5) Crossing the threshold

Putting aside the initial reluctance and instruction by his mentor, the hero is ready to embark on his adventure and crosses the first threshold that leads him to enter the extraordinary world. Following the example of the Matrix, this is the moment when Neo decides to swallow the red pill and finally discover the truth.

This phase can be identified, for example, with that choice that in real life you are afraid to make: on the one hand, you can continue to live in the reassuring mediocrity of life you know all too well, on the other you can decide whether to embark on your own adventure. The challenges that await you on the other side are unknown, but the reward can be invaluable. What do you choose?

6) Test and Trials

Crossing the first threshold, the hero will face new challenges and by facing them he will create new allies and new enemies.

This also happens in our daily life. The moment we decide to get out of our shell, we will find ourselves tossed into new experiences and we will have the opportunity to form new friendships that will prove to be extremely valuable. During our adventure, however, we will also meet people who are ready to hinder us. The important thing is not to get knocked down, it’s part of the game: we are the protagonists of our life and every protagonist must have a worthy antagonist.

7) Final Approach

At this point in the story, the hero arrives at the edge of a dangerous and threatening place, where the object of his research is hidden. When the hero enters this scary place, he will cross the second great threshold. Before entering, however, there will be an “approach” phase, during which the hero will have to prepare himself and will have to study the best strategies to evade the threats that will hinder his entry.

Even in real life, you can experience this phase of approaching a great test, perhaps in this period. The best way is to face the great test with as much serenity as possible, always preparing first in an appropriate way for the circumstance.

8) Supreme Ordeal

The hero is now facing the most important test of his life. The stakes are huge and the hero will have to face death and overcome his deepest fears. The central test is a “dark” moment in history and often the hero seriously risks dying or even dying, only to be reborn.

When we watch a movie or read a book, we have that reassuring feeling that whatever happens, everything will be for the best. In our life, on the other hand, we tend to get discouraged much more easily and it is how we react in this phase that makes us heroes.

9) The Reward

Once the central test has been passed, the hero is finally worthy of this title and can appropriate his just reward (a treasure, a sword, an ancient priceless relic, the beloved or the beloved, etc.).

Sometimes the reward is not an object or a person, but greater self-knowledge and self-awareness. The prize is therefore also proof of the hero’s maturity.

Often in life, we are faced with really difficult moments, but if these moments have a purpose, that is, if we can put them in perspective and see these difficulties as part of a bigger plan, going through them will be easier. It is always good to have in mind what our goals in life are, what our goal is.

10) Returning Home

Passing the central test is not enough. Now the hero must face the consequences of having challenged the dark forces in the cave of the extraordinary world. The way back is full of dangers, temptations and new challenges.

A classic example of a way back scene is Luke Skywalker and Princess Leia’s escape from the Death Star, with plans to defeat Darth Vader.

How to interpret this phase in our daily life? Just think of all those moments when maybe you reached the first milestone and then you let your guard down: sometimes it’s not great, right?

11) The Resurrection

In this eleventh phase, the resurrection phase, the dark forces launch their last and desperate attack. The hero, to return to the ordinary world, must face this last exam. Having overcome this umpteenth crisis, the hero, reborn, can finally return to his ordinary life, but nothing will be the same again.

In our life, every time we face difficult times, even after having overcome them, we feel the consequences. Resurrecting means accepting that a part of us died during that difficult trial and becoming aware that another part, stronger and more prepared, was born from the ashes.

12) Integration

In the twelfth and last phase, the hero returns to the ordinary world, but he does not do so empty-handed, he brings with him an “elixir”, that is a treasure, an amulet, or a technology that can benefit the entire community.

For our journey to be complete and meaningful, we must learn to share what we have learned along the way with others, become their mentors if necessary and if we want to. If you find yourself in this phase of life and satisfaction and success have already been achieved, it may be time to give something back. Often there is no greater satisfaction than helping others, thanks to our advice, our experiences.

Another important lesson that can be learned from the meaning of the Hero’s Journey and its twelve phases is that in real life every day, more times than you think, you are called to make an important decision: you can decide whether to be the hero of your life or the victim.

After all, the only meaning of our life is what we decide to give it

The Masculine Archetype Deck gives you a tangibly way to explore your psyche and break free from unhealthy patterns.

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CHRIS VOGLER’S ’12 SCREENWRITING STAGES OF THE HERO’S JOURNEY’

• thefilmmakerspodcast
• 12 Stages of The Hero's Journey , Chris Vogler , Filmmaking , Screenwriting , The Writer's Journey
• January 20, 2021
• No Comments

The Filmmakers Podcast hosts, Giles Alderson and Matthew Butler-Hart, spoke to film legend Chris Vogler about his incredible screenwriting bible The Writer’s Journey . 

The book, which recently celebrated its 25th anniversary has been re-released with a new chapter focusing on the spiritual connection that people have when reacting to a film.

Using chakras – spiritual centres, in order “to cause people to feel things, allowing them to feel things in a specific zone of the body. I think that really helps with intentionality when you’re writing a scene, when you’re directing a scene, when you’re an actor in a scene.”

Chris’s concepts for his book were inspired by Joseph Campbell, an American professor of literature working with comparative mythology and comparative religion. He took Campbell’s ideas and translated them “into the language of film because he was not speaking about movies. I found it to be a wonderful system from anthropology that could be applied and turned over to work in making commercial movies.”

At the time, Chris was reporting to studios on whether the submitted scripts were worthy of their time or not, giving him a “generous sampling of all the possibilities” and allowing him to test his theories of the 12 Stages of The Hero’s Journey .

The Hero’s Journey

“The Hero’s Journey is a pattern, which I believe is deeply engraved into the human nervous system and we respond to it almost like we respond to colour and light and sound in film. It’s another aesthetic trigger for us.”

Campbell looked at mythology as a metaphor, and Chris does the same with stories: “People take stories in as metaphors for their own lives. The story has to touch some part of your life for you to feel engaged. And The Hero’s Journey is one way that creates a metaphor – the metaphor of travel, of going on a journey, which almost everybody can relate to.”

He took Campbell’s complex ideas, decoded them, and developed it “in a way that was clear, simple, practical and useful for writers. I called that first iteration The Practical Guide to the Hero with a Thousand Faces but I reduced it to 12 steps.”

The  12 Stages  of  The Hero’s Journey

1. “The First Step is simply – The Ordinary World that the hero exists in. You need this as a baseline.” As an audience, we want to know who the hero is, “what they want or what’s missing from their lives and how they relate to their background.”

2. “The Second Stage – A Call to Adventure – it’s necessary in every story for there to be some kind of bell that’s rung or a horn that’s blown that says there’s a journey at hand and we’ve got to make some change and this might be difficult. It might be dangerous.”

3. “Stage Three – The Refusal of the Call

Where it’s very common for heroes to say ‘I don’t think so. Not for me, not today. I’ve already done this.’ There’s this long list of excuses that they give or a really good reason why ‘I did this before and it was a mess and I’m never going in there again’.” 

This phase could instantaneously change to stage 4 or it could “extend through the whole story, like in a Hamlet he’s debating whether to take action all the way almost to the end.”

4. “The next stage often helps the hero get over this temporary hiccup of fear. And that’s Stage Four – Meeting with a Mentor . 

Many stories, in mythology, provide characters who are there to reassure the hero and basically give the hero something that’s needed on the quest.”

5. “So now the hero is armed and reassured and they’ve gone through their fears and they’re ready to take the next step. And that is Stage Five, which is Crossing the Threshold .

“Where they actually go from the ordinary world, that they know, to some special world that’s new and different.” This is where the travel happens and the story begins, “there’s a nice lift that you get from the music or from the new location.”

6. “The next stage is a little stage of orientation, as you enter that new world that I call Tests, Allies and Enemies – this is Stage Six. 

When you enter a new world, everything will be new and different, and you’ll have to go around gingerly touching things and figuring out what’s poisonous and what’s healthy. And who’s an ally and who’s an enemy. What are the new rules and conditions of this new world?”

7. Approach the Inner Most Cave “Stage Seven is sometimes a long phase where you’re going across a space to get to the centre – where the big thing is that you came for. 

There is a period of travel as you reach that, you’ll go a little deeper with yourself and with the other members of your team, and you’ll have maybe made some first decisions or impressions about them and yourself. 

This is where, as a filmmaker, as an actor, you spend a little more time getting to know the characters and build layers of relationships – romance, intrigue, comedy, all those things have a little chance to breathe here before we get to the serious matter in the centre.”

8. “The next stage – Stage Eight is The Ordeal.  

This is an old word from the middle ages that means some kind of a ritual struggle.”

“It’s a life and death struggle and it often results in the apparent death of the hero. Or you’re trying to make the audience think that the hero has either died or completely failed. This is something that is so strong. We don’t even see it sometimes, but it’s almost always there. If you crack open scripts about halfway through you often will find a death scene.”

This point in the film brings the audience down and can make them depressed or disappointed “but then you bring them back up, and the hero is reborn. The team comes back and they find their feet and they start to fight back. And so there’s a lift that happens.”

9. That also laps over into Stage Nine, which is The Reward .

“That’s the payoff of this lift that you get for facing your fears. That’s really what stage eight is about. You get to the treasure, it might be your birthright, it might be some better understanding about yourself that helps you go forward to see yourself more clearly.”

Chris found it fascinating that this scene almost always included a fire place or fire or smoking. “Or they’ll look in mirrors. I find a strong tendency for mirrors scenes, where the hero is gazing at herself or himself.”

10. Ten is where you’re turning back again, it’s called The Road Back.  

After getting a reward, at great cost, “we’re preciously holding it and trying to guard it as we take it home again.”

“We have to commit to finishing. And this is something that is operative in the life of the filmmaker, of the writer, of the artists. There are different kinds of energy needed to begin something, energy is needed to follow through on something, and a different kind of energy is needed to finish something. So this is summoning up that energy to complete the cycle.”

11. “The last two stages – Eleven is The Resurrection . 

And here you re-stage that Stage Eight ordeal, but on a broader scale. Everything is tested. This is where you have the show-downs, where you have the courtroom battles, where you have people standing up for their rights, and taking the ultimate risk. But it’s a way of resolving all the conflicts and you want it to be comprehensive and to sort of finish the thing and make it feel satisfying, but it involves a further test for the hero.”

12. “And then the final piece, Stage Twelve, is Return with the Elixir – which is some kind of magic potion that heals all wounds. 

In the current COVID crisis we’re all dealing with, this would be the vaccines that we’re looking for or some way of dealing with this worldwide problem that will bring us back to some kind of normal. 

It’s not going to be the same normal, but something we can live with and resolve all of the conflicts and try to get us going into a new cycle of life.” 

His last bit of advice: “If you perform these rituals correctly, it’s almost guaranteed that the audience will get this lift. It seems to refresh them and keep them going.” Chris has found these practices have been helpful for people from all walks of life and many varied careers. 

This is just the tip of the iceberg of Chris’ advice, you can find more brilliant advice on the full podcast – available here . 

Buy Christopher Vogler’s The Writer’s Journey book from Michael Weiss Productions here

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Breaking Down the Character Archetypes of the Hero’s Journey

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

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

Christopher Vogler's Interpretation of the Hero's Journey

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

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

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

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

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

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

'Tron: Legacy' (2010)

What Are Character Archetypes?

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

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

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

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

Read More: 10 Character Archetypes in Comedies

'The Goonies' (1950)

The benefits of using character archetypes include:

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

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

'Finding Nemo' (2003)

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

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

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

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

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

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

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

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

Read More:  15 Types of Villains Screenwriters Need to Know  

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

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

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

'Ferris Bueller's Day Off' (1986)

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

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

'The Karate Kid' (1984)

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

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

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

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

'Lady Bird' (2017)

The Threshold Guardian

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

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

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

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

 The Herald

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

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

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

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

The Shapeshifter

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

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

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

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

The Trickster

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

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

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

Tempter/Temptress

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

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

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

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

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

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

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

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

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

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

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

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

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

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The hero’s journey breakdown: ‘star wars’.

By Ken Miyamoto · October 11, 2019

How does Star Wars: A New Hope follow Joseph Campbell’s Hero’s Journey breakdown?

Welcome to the inaugural installment of our new series A Hero’s Journey Breakdown where we explore Joseph Campbell’s mythological storytelling structure and how iconic films fit into that mold.

First up is Star Wars Episode IV: A New Hope . Let’s break down the plot and structure of George Lucas’ 1977 space-opera, the first in what would become an epic franchise spanning nearly 40 years, and see how it fits within The Hero’s Journey. You can download the script below to follow along.

But before we do that, let’s make sure we have the basics down, including what the Hero’s Journey is, where it originated, and who created it.

The Hero’s Journey 101

The “hero’s journey” is a common narrative archetype that features the different stages of a protagonist’s journey in a story. It has been studied and analyzed by many scholars from a multitude of disciplines, but one interpretation has found its way into the minds of almost every writer studying the craft.

The Monomyth

In 1949, writer and professor of literature Joseph Campbell wrote one of the most influential works in storytelling, The Hero with a Thousand Faces, in which he theorizes that stories often share a basic structure. Dubbed the “monomyth” or “the hero’s adventure,” Campbell lays out 17 stages of this narrative archetype, from  but some have crafted their own interpretations and renditions that the writing community has used as guides in their own work.

Joseph Campbell’s Monomyth

Vogler: The Writer’s Journey

Christopher Vogler’s approach to Campbell’s structure broke the mythical story structure into 12 stages. For this series, we define the stages in simplified interpretations:

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

Breaking Down the Journey: A New Hope

Here we turn to George Lucas’s Star Wars Episode IV: A New Hope .

Note: As with any application of story structure or formula, this is just a hindsight interpretation and implementation of The Hero’s Journey to this cinematic tale. There can and will be variances. 

The Ordinary World

Luke Skywalker is living a normal and humble life as a farm boy on his home planet of Tatooine.

Call to Adventure

Luke is called to his adventure by two individuals — R2-D2 and Ben Kenobi. Luke triggers R2-D2’s message from Princess Leia and is intrigued by her and the message.

When R2-D2 escapes to find Ben Kenobi, Luke follows and is later saved by Kenobi, who goes on to tell Luke about his Jedi heritage. Kenobi suggests that he should come with him to Alderaan.

Refusal of the Call

Luke refuses Kenobi, telling him that he can take Kenobi and the droids as far as Mos Eisley Spaceport — but he can’t possibly leave his Aunt and Uncle behind for some space adventure.

Crossing the Threshold

When Luke discovers that the stormtroopers searching for the droids would track them to his farm, he rushes to warn his Aunt and Uncle, only to discover them dead by the hands of the Empire.

When Luke returns to Kenobi, he pledges to go with him to Alderaan and learn the ways of the Force like his father before him.

Tests, Allies, and Enemies

After Luke, Kenobi, and the droids hire Han Solo and Chewbacca to transport them off of Tatooine and onto Alderaan, Kenobi begins Luke’s training in the ways of the Force.

Wielding his father’s lightsaber, Kenobi challenges him to block the shots of a small training remote. At first, he can’t do it. But then Kenobi gives him a helmet to wear that has a blast shield that blocks his view of the remote. Kenobi teaches him to reach out and trust his feelings.

Luke blocks three shots from the remote — blind.

The Approach

The plan to defeat the Galactic Empire is to bring the Death Star plans to Alderaan so that Princess Leia’s father can take them to the Rebellion. However, when they arrive within the system, the planet is destroyed. They come across the Death Star and are pulled in by a tractor beam, now trapped within the metaphorical belly of the beast — The Galactic Empire.

As Kenobi goes off to deactivate the tractor beam so they can escape, Luke, Han, and Chewbacca discover that Princess Leia is being held on the Death Star with them. They rescue her and escape to the Millennium Falcon, hoping that Kenobi has successfully deactivated the tractor beam.

Kenobi later sacrifices himself as Luke watches Darth Vader strike him down. Luke must now avenge his fallen mentor and carry on his teachings.

Luke has saved the princess and retrieved the Death Star plans. They now have the knowledge to destroy the Galactic Empire’s greatest weapon once and for all.

The Road Back

Luke, Leia, Han, Chewbacca, and the droids are headed to the hidden Rebellion base with the Death Star plans. They are suddenly pursued by incoming TIE-Fighters, forcing Han and Luke to take action to defend the ship and escape with their lives — and the plans.

When they are triumphant, they realize that the Galactic Empire must be tracking them. But they have no choice but to race against time to take the plans to the Rebellion and prepare for battle.

The Resurrection

The Rebels — along with Luke as an X-Wing pilot — prepare to take on the Death Star.

The Rebellion and the Galactic Empire wage war in an epic space battle. Luke is the only X-Wing pilot that was able to get within the trenches of the Death Star. But Darth Vader and his wingmen are in hot pursuit. Just as Darth Vader is about to destroy Luke, Han returns and clears the way for Luke.

Luke uses the Force to guide his aiming as he fires upon the sole weak point of the deadly Death Star, destroying it for good.

Luke and Han return to the Rebellion base, triumphant, as they receive medals for the heroic journey. There is peace throughout the galaxy — at least for now.

Hopefully now you have a better idea of what the Hero’s Journey looks like in the wild. Be sure to check out our other Hero’s Journey Breakdowns for more examples from cinema’s greatest films.

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