My own Writer's Journey begins with the peculiar power storytelling has always had over me. I got hooked on the fairy tales and Little Golden Books read out loud by my mother and grandmother. I devoured the cartoons and movies pouring out of TV in the 1950s, the thrilling adventures on the drive-in screens, the lurid comic books and mind-stretching science fiction of the day. When I was laid up with a sprained ankle, my father went to the local library and brought back wonder stories of Norse and Celtic mythology that made me forget the pain.
A trail of stories eventually led me to reading for a living as a story analyst for Hollywood studios. Though I evaluated thousands of novels and screenplays, I never got tired of exploring the labyrinth of story with its stunningly repeated patterns,
Christopher Vogkr
bewildering variants, and puzzling questions. Where do stories come from? How do they work? What do they tell us about ourselves? What do they mean? Why do we need them? How can we use them to improve the world?
Above all, how do storytellers manage to make the story mean something? Good stories make you feel you've been through a satisfying, complete experience. You've cried or laughed or both. You finish the story feeling you've learned something about life or about yourself. Perhaps you've picked up a new awareness, a new character or attitude to model your life on. How do storytellers manage to pull that off ? What are the secrets of this ancient trade? What are its rules and design principles?
Over the years I began to notice some common elements in adventure stories and myths, certain intriguingly familiar characters, props, locations, and situations. I became vaguely aware there was a pattern or a template of some sort guiding the design of stories. I had some pieces of the puzzle but the overall plan eluded me.
Then at the USC film school I was fortunate enough to cross paths with the work of the mythologist Joseph Campbell. The encounter with Campbell was, for me and many other people, a life-changing experience. A few days of exploring the labyrinth of his book The Hero with a Thousand Faces produced an electrifying reorganization of my life and thinking. Here, fully explored, was the pattern I had been sensing. Campbell had broken the secret code of story. His work was like a flare suddenly illuminating a deeply shadowed landscape.
I worked with Campbell's idea of the Hero's Journey to understand the phenomenal repeat business of movies such as Star Wars and Close Encounters. People were going back to see these films as if seeking some kind of religious experience. It seemed to me these films drew people in this special way because they reflected the universally satisfying patterns Campbell found in myths. They had something people needed.
The Hero with a Thousand Faces was a lifesaver when I began to work as a story analyst for major movie studios. In my first jobs I was deeply grateful for Campbell's work, which became a reliable set of tools for diagnosing story problems and prescribing solutions. Without the guidance of Campbell and mythology, I would have been lost.
It seemed to me the Hero's Journey was exciting, useful story technology which could help filmmakers and executives eliminate some of the guesswork and expense of developing stories for film. Over the years, I ran into quite a few people who had
been affected by encounters with Joe Campbell. We were like a secret society of true believers, commonly putting our faith in "the power of myth."
Shortly after going to work as a story analyst for the Walt Disney Company, I wrote a seven-page memo called "A Practical Guide to The Hero with a Thousand Faces" in which I described the idea of the Hero's Journey, with examples from classic and current movies. I gave the memo to friends, colleagues, and several Disney executives to test and refine the ideas through their feedback. Gradually I expanded the "Practical Guide" into a longer essay and began teaching the material through a story analysis class at the UCLA Extension Writers' Program.
At writers' conferences around the country I tested the ideas in seminars with screenwriters, romance novelists, children's writers, and all kinds of storytellers. I found many others were exploring the intertwined pathways of myth, story, and psychology.
The Hero's Journey, I discovered, is more than just a description of the hidden patterns of mythology. It is a useful guide to life, especially the writer's life. In the perilous adventure of my own writing, I found the stages of the Hero's Journey showing up just as reliably and usefully as they did in books, myths, and movies. In my personal life, I was thankful to have this map to guide my quest and help me anticipate what was around the next bend.
The usefulness of the Hero's Journey as a guide to life was brought home forcefully when I first prepared to speak publicly about it in a large seminar at UCLA. A couple of weeks before the seminar two articles appeared in the Los Angeles Herald-Examiner, in which a film critic attacked filmmaker George Lucas and his movie Willow. Somehow the critic had got hold of the "Practical Guide" and claimed it had deeply influenced and corrupted Hollywood storytellers. The critic blamed the "Practical Guide" for every flop from Ishtar to Howard the Duck, as well as for the hit Back to the Future. According to him, lazy, illiterate studio executives, eager to find a quick-bucks formula, had seized upon the "Practical Guide" as a cure-all and were busily stuffing it down the throats of writers, stifling their creativity with a technology the executives hadn't bothered to understand.
While flattered that someone thought I had such a sweeping influence on the collective mind of Hollywood, I was also devastated. Here, on the threshold of a new phase of working with these ideas, I was shot down before I even started. Or so it seemed.
Friends who were more seasoned veterans in this war of ideas pointed out that in being challenged I was merely encountering an archetype, one of the familiar characters who people the landscape of the Hero's Journey, namely a Threshold Guardian.
That information instantly gave me my bearings and showed me how to handle the situation. Campbell had described how heroes often encounter these "unfamiliar yet strangely intimate forces, some of which severely threaten" them. The Guardians seem to pop up at the various thresholds of the journey, the narrow and dangerous passages from one stage of life to the next. Campbell showed the many ways in which heroes can deal with Threshold Guardians. Instead of attacking these seemingly hostile powers head-on, journeyers learn to outwit them or join forces with them, absorbing their energy rather than being destroyed by it.
I realized that this Threshold Guardian's apparent attack was potentially a blessing, not a curse. I had thought of challenging the critic to a duel (laptops at twenty paces) but now reconsidered. With a slight change in attitude I could turn his hostility to my benefit. I contacted the critic and invited him to talk over our differences of opinion at the seminar. He accepted and joined a panel discussion which turned into a lively and entertaining debate, illuminating corners of the story world that I had never glimpsed before. The seminar was better and my ideas were stronger for being challenged. Instead of fighting my Threshold Guardian, I had absorbed him into my adventure. What had seemed like a lethal blow had turned into something useful and healthy. The mythological approach had proven its worth in life as well as story.
Around this time I realized the "Practical Guide" and Campbell's ideas did have an influence on Hollywood. I began to get requests from studio story departments for copies of the "Practical Guide". I heard that executives at other studios were giving the pamphlet to writers, directors, and producers as guides to universal, commercial story patterns. Apparently Hollywood was finding the Hero's Journey useful.
Meanwhile Joseph Campbell's ideas exploded into a wider sphere of awareness with the Bill Moyers interview show on PBS, The Power of Myth. The show was a hit, cutting across lines of age, politics, and religion to speak directly to people's spirits. The book version, a transcript of the interviews, was on the New York Times bestseller list for over a year. The Hero with a Thousand Faces, Campbell's venerable warhorse of a textbook, suddenly became a hot bestseller after forty years of slow but steady backlist sales.
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sp; The PBS show brought Campbells ideas to millions and illuminated the impact of his work on filmmakers such as George Lucas, John Boorman, Steven Spielberg, and George Miller. Suddenly I found a sharp increase in awareness and acceptance of Campbells ideas in Hollywood. More executives and writers were versed in these concepts and interested in learning how to apply them to moviemaking and screenwriting.
The Hero's Journey model continued to serve me well. It got me through reading and evaluating over ten thousand screenplays for half a dozen studios. It was my atlas, a book of maps for my own writing journeys. It guided me to a new role in the Disney company, as a story consultant for the Feature Animation division at the time The Little Mermaid and Beauty and the Beast were being conceived. Campbell's ideas were of tremendous value as I researched and developed stories based on fairy tales, mythology, science fiction, comic books, and historical adventure.
Joseph Campbell died in 1987. I met him briefly a couple of times at seminars. He was still a striking man in his eighties, tall, vigorous, eloquent, funny, full of energy and enthusiasm, and utterly charming. Just before his passing, he told me, "Stick with this stuff. It'll take you a long way."
I recently discovered that for some time the "Practical Guide" has been required reading for Disney development executives. Daily requests for it, as well as countless letters and calls from novelists, screenwriters, producers, writers, and actors, indicate that the Hero's Journey ideas are being used and developed more than ever.
And so I come to the writing of this book, the descendant of the "Practical Guide." The book is designed somewhat on the model of the I Ching, with an introductory overview followed by commentaries that expand on the typical stages of the Hero's Journey. Book One, Mapping the Journey, is a quick survey of the territory. Chapter I is a revision of the "Practical Guide" and a concentrated presentation of the twelve-stage Hero's Journey. You might think of this as the map of a journey we are about to take together through the special world of story. Chapter 2 is an introduction to the archetypes, the dramatis personae of myth and story. It describes eight common character types or psychological functions found in all stories.
Book Two, Stages of the Journey, is a more detailed examination of the twelve elements of the Hero's Journey. Each chapter is followed by suggestions for your further exploration, Questioning the Journey. An Epilogue, Looking Back on the Journey, deals with the special adventure of the Writer's Journey and some pitfalls to avoid on the road. It includes Hero's Journey analyses of some influential films including Titanic, Pulp Fiction, The Lion King, The Full Monty, and Star Wars. In one case, The Lion King, I had the opportunity to apply the Hero's Journey ideas as a story consultant during the development process, and saw firsthand how useful these principles can be.
Throughout the book I make reference to movies, both classic and current. You might want to view some of these films to see how the Hero's Journey works in practice. A representative list of films appears in Appendix I.
You might also select a single movie or story of your choice and keep it in mind as you take the Writer's Journey. Get to know the story of your choice by reading or viewing it several times, taking brief notes on what happens in each scene and how it functions in the drama. Running a movie on a VCR is ideal, because you can stop to write down the content of each scene while you grasp its meaning and relation to the rest of the story.
I suggest you go through this process with a story or movie and use it to test out the ideas in this book. See if your story reflects the stages and archetypes of the Hero's Journey. (A sample worksheet for the Hero's Journey can be found in Appendix 3.) Observe how the stages are adapted to meet the needs of the story or the particular culture for which the story was written. Challenge these ideas, test them in practice, adapt them to your needs, and make them yours. Use these concepts to challenge and inspire your own stories.
The Hero's Journey has served storytellers and their listeners since the very first stories were told, and it shows no signs of wearing out. Let's begin the Writer's Journey together to explore these ideas. I hope you find them useful as magic keys to the world of story and the labyrinth of life.
In the long run, one of the most influential books of the 20th century may turn out to be Joseph Campbells The Hero with a Thousand Faces.
The ideas expressed in Campbells book are having a major impact on storytelling. Writers are becoming more aware of the ageless patterns which Campbell identifies, and are enriching their work with them.
Inevitably Hollywood has caught on to the usefulness of Campbell's work. Filmmakers like George Lucas and George Miller acknowledge their debt to Campbell and his influence can be seen in the films of Steven Spielberg, John Boorman, Francis Coppola, and others.
It's little wonder that Hollywood is beginning to embrace the ideas Campbell presents in his books. For the writer, producer, director, or designer his concepts are a welcome tool kit, stocked with sturdy instruments ideal for the craft of storytelling. With these tools you can construct a story to meet almost any situation, a story that will be dramatic, entertaining, and psychologically true. With this equipment you can diagnose the problems of almost any ailing plot line, and make the corrections to bring it to its peak of performance.
These tools have stood the test of time. They are older than the Pyramids, older than Stonehenge, older than the earliest cave paintings.
Joseph Campbell's contribution to the tool kit was to gather the ideas together, recognize them, articulate them, name them, organize them. He exposed for the first time the pattern that lies behind every story ever told.
The Hero with a Thousand Faces is his statement of the most persistent theme in oral tradition and recorded literature: the myth of the hero. In his study of world hero myths Campbell discovered that they are all basically the same story, retold endlessly in infinite variation.
He found that all storytelling, consciously or not, follows the ancient patterns of myth and that all stories, from the crudest jokes to the highest flights of literature, can be understood in terms of the Hero's Journey: the "monomyth" whose principles he lays out in the book.
The pattern of the Hero's Journey is universal, occurring in every culture, in every time. It is as infinitely varied as the human race itself and yet its basic form remains constant. The Hero's Journey is an incredibly tenacious set of elements that springs endlessly from the deepest reaches of the human mind; different in its details for every culture, but fundamentally the same.
Campbell's thinking runs parallel to that of the Swiss psychologist Carl G. Jung, who wrote about the archetypes: constantly repeating characters or energies which occur in the dreams of all people and the myths of all cultures. Jung suggested that these archetypes reflect different aspects of the human mind — that our personalities divide themselves into these characters to play out the drama of our lives. He noticed a strong correspondence between his patients' dream figures and the common archetypes of mythology. He suggested that both were coming from a deeper source, in the collective unconscious of the human race.
The repeating characters of world myth such as the young hero, the wise old man or woman, the shapeshifter, and the shadowy antagonist are the same as the figures who appear repeatedly in our dreams and fantasies. That's why myths and most stories constructed on the mythological model have the ring of psychological truth.
Such stories are accurate models of the workings of the human mind, true maps of the psyche. They are psychologically valid and emotionally realistic even when they portray fantastic, impossible, or unreal events.
This accounts for the universal power of such stories. Stories built on the model of the Hero's Journey have an appeal that can be felt by everyone, because they well up from a universal source in the shared unconscious and reflect universal concerns.
They deal with the childlike universal questions: Who am I? Where did I come from? Where will I go when I die? What is good and what is evil? What must I do about it? What will tom
orrow be like? Where did yesterday go? Is there anybody else out there?
The ideas embedded in mythology and identified by Campbell in The Hero with a Thousand Faces can be applied to understanding almost any human problem. They are a great key to life as well as a major instrument for dealing more effectively with a mass audience.
If you want to understand the ideas behind the Hero's Journey, there's no substitute for actually reading Campbell's work. It's an experience that has a way of changing people.
It's also a good idea to read a lot of myths, but reading Campbell's work amounts to the same thing since Campbell is a master storyteller who delights in illustrating his points with examples from the rich storehouse of mythology.
Campbell gives an outline of the Hero's Journey in Chapter IV, "The Keys," of The Hero with a Thousand Faces. I've taken the liberty of amending the outline slightly, trying to reflect some of the common themes in movies with illustrations drawn from contemporary films and a few classics. You can compare the two outlines and terminology by examining Table One.
I'm retelling the hero myth in my own way, and you should feel free to do the same. Every storyteller bends the mythic pattern to his or her own purpose or the needs of a particular culture.
That's why the hero has a thousand faces.
A note about the term "hero": As used here, the word, like "doctor" or "poet," may refer to a woman or a man.
THE HERO'S JOURNEY
At heart, despite its infinite variety, the hero's story is always a journey. A hero leaves her comfortable, ordinary surroundings to venture into a challenging, unfamiliar world. It may be an outward journey to an actual place: a labyrinth, forest or cave, a strange city or country, a new locale that becomes the arena for her conflict with antagonistic, challenging forces.
The Writer's Journey Page 3