(Very Short) Introduction
“Words are, in my not so humble opinion, our most inexhaustible source of magic, capable both of inflicting injury and remedying it.”
—Dumbledore (Harry Potter and The Deathly Hallows – By J.K. Rowling)
What is the Hero’s Journey?
American scholar Joseph Campbell discovered that most—if not all—works of literature, myths, folkloric tales, and religious texts follow a common narrative structure. That means that, deep down, all stories are the same, or that at least they mirror a general, archetypical story, called the Hero’s Journey (The Hero with a Thousand Faces, 1949. Graphic by the author):
What is this book about?
This book is about uncovering that structure with enough detail to inspire us to create, plot, and write on a whole new level.
Take for example the picture shown below. It has been going around the web, blogged and reblogged so many times that I couldn’t find the source anymore.
The comparison was only intended as a funny observation, but I found it so intriguing that I decided to go deeper down that rabbit hole.
After chewing and devouring tons of novels and movies, in this book I perform a similar exercise—but instead of doing it in one page, I do it in 195. I also include mythical associations, practical advice for writers, and examples from famous works of fiction.
Why 195 stages? Why not 196?
If the Hero’s Journey is described in too few steps—like in the circular graphic at the beginning of this introduction—it fails to reflect the parallels between different stories in a useful level of detail. For a critic or a writer, twelve, fifteen, or seventeen stages fall way too short.
On the other extreme, if you atomize the steps too much (I have seen versions with literallythousands of stages), it all becomes repetitive and blurry. You end up with too many stages that apply to some stories but not to others, which means that many of those stages are not truly fundamental.
So, why 195?
Because that’s the number I came to after distilling the stages that are truly essential, the ones that describe the mythical Hero’s Journey as presented in modern bestsellers and blockbusters.
A World in four acts
English writer E. M. Forster (1879-1970) said, “‘The king died and then the queen died’ is a story. ‘The king died, and then the queen died of grief’ is a plot.”
I respectfully disagree.
“The king died and then the queen died” is a chronology. “The king died, and then the queen died of grief” is almost a plot, but not quite.
So what’s missing?
Well, in their most elemental form, stories (or plots) have three parts:
1) Something happens (Act I – Setup).
2) Someone does something about it (Act II – Confrontation).
3) Either things change for good, or not (Act III – Resolution).
Anything less than this, and what you have is just a chronicle. For that reason, in this book I begin by dividing the Hero’s Journey as follows:
Act
Stages
What happens here:
0 - Hook
1
You grab your audience’s attention.
1 - Setup
2 to 62
You introduce the problem and the characters around it.
2.1 - Reaction
63 to 118
The Hero rolls with the punches.
2.2 - Epiphany
119
The Hero finally understands what’s really going on and what to do.
2.3 - Proaction
120 to 142
The Hero implements a plan. It fails.
3 - Climax
143 to 184
The forces of Good and Evil collide.
4 - Dénouement
186 to 195
You write an unforgettable ending.
Are all the 195 stages always there?
I am confident in saying that at least eighty percent of them are always there. The sequence changes, the characters change, the symbolism changes, but the stages are there.
What’s more, stories that leave too many stages out will probably feel hollow and incomplete, because they will not fully resonate with the mythical structure that we have engrained in our minds.
If you are a writer (or aspiring writer), I encourage you to include as many of these stages as possible in your story, even if some stages are represented by just one sentence. The exception would be those stages that only present backstory.The Matrix,for example, doesn’t deal with Neo’s infancy; it simply starts when the hero is already an adult (like most stories do).
Stages versus scenes
How much space, in paragraphs or pages, should each stage take in your novel?
If you write one page for each stage in this book, you have a 195-page novel right there. But it doesn’t work like that.
Some stages might take several pages, and others might only need a single sentence. It all depends on the relative importance of each stage in a particular story.
Consider the following, though:
The general sequence. The narrative timeline may jump around, which sometimes complicates things for both the writer and the reader, but the story has to have a consistent causal chain. The Call to Adventure can only happen after the Hero meets the Mentor, the Final Battle must take place (or resolve) at the end, and so on.
Some scenes represent more than one stage.Movies and novels have sixty scenes on average. So each scene comprises about three stages. For example, when Han Solo joins the battle at the end ofStar Wars:Episode IV - A New Hope, three different stages are represented by that one action (stages 165, 166, and 167 of this book).
Some stages don’t translate directly into scenes. These stages act as arcs, moods, motifs, or themes. This is where the authors use their talent to avoid rigidity and transcend clichés.
Clichés are the enemy
The 195 stages form the master structure of great stories. But two pitfalls lie ahead:
Predictability. When I watch a movie, I always know when the Mentor is going to die, whether or not the Hero is going to pass a particular test, and so on. In fact, I am gladly surprised when something happens that I didn’t see coming. And every good story should have an element of surprise.
Unconscious plagiarism.If you write a novel following the stages to the letter, you may end up with a rip-off ofHarry PotterorStar Wars on your hands—and a lawsuit at your doorstep. That would be a pity, because even if all stories are fundamentally similar, there is a myriad of great ways to tell them, waiting to be discovered by the next imaginative author.
Take advantage of the 195 stages, but stay creative because novels written by numbers only mimic the real thing. Don’t just follow the stages; make them sing and dance for you.
How to use The Ultimate Hero’s Journey
Use it to plot. You can use the stages either to develop the big picture of your story or to define scenes to the finest detail—or both (which is what I do).
Use it to defeat writer’s block. Getting lost in Act Two is pretty common because it is usually the longest act. But with this book you will never get stuck there again; just jump to the next stage and continue writing or plotting from there. Later on, everything will fall into place as you fill any remaining holes.
Use it to become a better critic. You don’t have to write a novel or a script, of course; you can simply read this book for learning and enjoyment. But something interesting will happen: You will become a sharper observer. Granted, you will be harder to please, because weak passages and plot holes will be more evident to you. But you will also gain appreciation for subtle, masterful touches.
I promise, after reading this book, you’ll enjoy everything you read or watch at a whole new level.
Types of stages
Plot points
These stages mark a change of direction in the story and, consequently, the beginning of a new act:
061 – First Epiphany
119 – Second Epiphany
142 – Third Epiphany
Note that all these represent epiphanies. Epiphanies emerge from revelations: It’s the acquisition of new knowledge or information that generates the change. These stages are printed ongray pages.
Repetitive stages
A great story takes the Hero—and the audience—to new, exciting landscapes. Every time a border is crossed (like a police checkpoint, a frontier, a passage between dimensions, or just a door), the Hero does the following:
Encounters a guardian. It can be a security check, a centurion, a monster, a padlock, a password, or just a lazy dog sleeping in the way, belly up. These guardians are tests.
Discovers new things. New smells, different colors, changing seasons, strange animals, or just underwear on the floor; in short, the Hero encounters things relevant to that new place.
Evolves. And the Hero’s external appearance reflects this inner growth. The Hero might change into new clothes or a disguise, armor, a space suit, a swimsuit, etc.
Now and then, we all fantasize about disappearing for a while, and transitions are a great chance to allow your readers to go on an imaginary trip. Use that opportunity well, and they will love you for it.
Consider reintroducing these stages whenever the setting changes:
006 – Foreshadowing
026 – The Hero’s Weakness
027 – The Lie the Hero Believes
044 – Transmogrifications
065 – New Clothes
066 – Transitions
072 – No Going Back
068 – Guardians
139 – Ticking Clock
Particularly important is006 – Foreshadowing. To paraphrase Chekhov, if there is a rifle hanging on the wall in the first act, it absolutely must go off in the second act. If the rifle is not going to be fired, it shouldn’t be hanging there.
Planting and removing elements ones is mostly done during re-writings, because you will only know what’s important and what’s not after you’ve finished the first draft.
Symbolic stages
These stages appeal to archetypal symbolism. Though almost subliminal, theyare there, even if you don’t notice them at first.
084 – Snake Symbolism
090 – Blindness Symbolism
Look for subtle and creative ways to introduce them in your story.
Joker stages
Joker stages introduce either relief or a touch of humor. Place them wherever they best serve the story. I use them to dissipate any excessive tension created by the most intense passages:
098 – The Awkward Innocent
144 – The Reluctant Aid
145 – The Comedic Relief
159 – The Oblivious Innocent
187 – Ally Is Fine
Spoiler alert
I took examples from movies because watching a 90-minute film is easier than analyzing a 400-page novel. Each movie follows its own timeline, of course, so the 195 stages won’t necessarily list the scenes of those movies in perfect sequence. Sometimes I couldn’t find the right scene to serve as example for a particular stage; in those cases I just left that movie out—maybe you can think of an example. And maybe you can even remember some alternative scene that represents the stages better than the scenes I selected.
The first three movies areStar Wars,The Matrix, andHarry Potter, which are similar to each other in that they all narrate the prophecy of the Chosen One. I use examples taken from the first installment in each series, although on occasion I will refer to later parts of their sagas.
Then I include a drama and a comedy, too. The drama isSideways,a multi-award winner novel and movie that shows how the Hero’s Journey works in a human story. There are no chosen ones here, no villains wearing black capes, no venerable mentors—just life-like characters incarnating those roles in a complex way, albeit in a simple story. The comedy isDodgeball, which shows how the stages can be satirized to humorous effect.
Last but not least
I use the terms “dark side” and “light side” (lowercase) to represent the Freudianidandsuperego(i.e., the bad guys and the good guys). When referring toStar Wars’ Dark Side, I use uppercase.
For simplicity I mostly use the masculine gender, but it also includes women. Sometimes I say “he,” and sometimes I say “she”; I mean both. In fact, the heroes of my own stories are women (and so is the “knight” depicted in the back cover of this book).
Repetitions are intentional; good stories always have motifs that echo through the pages. And please excuse the occasional expletive; they are never mine, but come from quoting passages. (Oh, you’ll be fine.)
As this is not an academic work I have chosen to leave references aside; I just loved writing this book, and I want you to enjoy reading it and getting inspired by it.
So, let’s start.
Jiu-Jitsu? I’m going to learn Jiu-Jitsu?”
—Neo (The Matrix, 1999)
(Tip: For a complete list of the 195 stages, go to the end of the book.)
001 – The Hook
The bad guy is either on top or getting there.
Description:
The Hook grabs the attention of your audience. The first pages have to be gripping, and the first line should be memorable.
What happens here? The antagonist is in power and in pursuit; he suppresses every resistance and eliminates every threat.
Recurring motif: strong contrasts. Light and darkness, or black and white clothes. Like a visual yin and yang, the contrasts represent the opposing sides of the theme (i.e., good versus evil). Avoid too many explanations; keep it dynamic and mysterious.
Examples:
Star Wars: Bright lasers explode against the blackness of space: An immense destroyer is in pursuit. A masked figure dressed in black—boards a smaller vessel. Who is that, and what is he looking for?
The Matrix: Total blackness. Suddenly, a flashlight blinds us. We see many policemen converging on an abandoned hotel. What is going on? (Also, note that pretty much everyone dresses in black or white).
Harry Potter: It’s already dark in Surrey. An old man in dark robes uses a magical gizmo to suck up the light from the street lamps. A stray cat transforms into an elderly witch dressed in black. Can they trust Hagrid (whoever that is) with something as important as this?
Sideways: Total blackness. A knock on the door. A man in white underwear opens the door, and the sunlight blinds him. Who is he?
Dodgeball:Welcome to Globo Gym, a place full of model-like customers wearing black sport outfits. Their motto:“We’re Better Than You—and We Know it!”
Related:
153 – Back to the Hook
002 – The Villain
We get to see the power of the dark side.
Description:
Enter the Villain. The display of power makes us realize that the dark side is either on top or mounting forces.
This guy is not the Über-Villain, though, like Sauron, Palpatine, Moriarty, and other master villains that pull the strings from the shadows.
Recurring motif: The number three, which has extensive mythical connotations. See how many times you spot it in the examples below.
Examples:
Star Wars: Darth Vader, number three in command after Governor Tarkin and the Emperor himself, gives his men the order to kill everyone on board, except for the princess, who is taken prisoner.
The Matrix: Three men in black suits arrive at the scene. They are supernaturally powerful, but they’re not the ultimate Villain. Their intention is to kill a woman who’s hiding inside the hotel. Her name is Trinity (note the number three in her name). She is in room #303.
Har
ry Potter: The three wizards leave a baby at the doorstep of the only family he has: Three of “the worst sort of muggles imaginable.” Still, they are nothing compared with the villains we will meet.
Sideways: As we will discover, the enemy in this story is Miles’s own personality.
Dodgeball: Enter hilarious and ridiculous White Goodman: Owner, operator, and founder (three functions) of Globo Gym America Corp. Wait, is that hairdo for real?
Related:
074 – The Traitor
081 – The False Enemy
125 – The Über-Villain
003 – The (Sleeping) Hero
We meet the Hero, who is largely oblivious to what’s going on.
And he’s sleeping.
Description:
Recurring motif: Sleeping and dreaming are symbols of the Hero’s pending awakening. The Hero still carries his Ordinary World name.
Superhero movies usually show the Hero in his childhood or adolescence, a narrative that involves bullies, high-school sweethearts, and an explanation of how the superpower was acquired. It’s also commonplace for superheroes to be millionaires: Bruce Wayne, Tony Stark, Danny Rand, Oliver Queen, Francis Xavier, etc. (The ones in the examples below aren’t millionaires, though).
Examples:
Star Wars:Meet Luke Skywalker, a young man living in his uncle’s farm. He’s not shown sleeping because, unlike the rest of the ones below, he is awilling Hero—eager to go into adventure.
The Matrix: Meet Thomas A. Anderson, employee by day and hacker by night. He fell asleep at his computer after hours spent online looking for a man called Morpheus.
Harry Potter: Meet Harry. He is a sweet kid living with his uncle, aunt, and bully of a cousin. He is asleep until his aunt angrily bangs at the door of the cupboard under the stairs—that’s his “room”.
Sideways: Meet Miles Raymond. He overslept, and he’s already late.
Dodgeball:Meet Peter La Fleur. He is sleeping on the couch, dreaming that the tickles in his testicles come from a woman. They come from Crash, Peter’s dog, who’s asking for food.
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