the hero's journey goodreads

The Hero's Journey: Joseph Campbell on His Life & Work

Joseph campbell , phil cousineau  ( editor ).

288 pages, cloth

First published May 1, 1990

About the author

Joseph Campbell

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Sexism can really kill a mood. I used to respect this guy somewhat, but if he couldn't shake the most basic of social constructs, after having clearly stated that he knew otherwise, then I can't help but to doubt the validity of all else he has interpreted. I'm not saying there's nothing of value in there. I'm saying that after a certain number of pages thinking surely they are done with this old-school sexist crap now, only to turn into yet another freaking page of the shite, I was disgusted & (quite literally) tossed it the hell away from me. So, I guess one could say I've lost faith in his interpretations, which is a shame, for he quite clearly knew better, but went on w/ that nonsense anyway. Take it for what it is, but that was my experience here. *sigh.* So utterly disappointed.

(Side note: I'm not a stranger to the male/female, positive/negative, polarities often set up in reading of a so-called mystical, or even magickal, orientation. That type of arrangement I have the background context for understanding.....and as such that is not what set me off in the reading of this book. I just wanted to be clear about that.)

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31 Best Hero’s Journey Books to Add to Your Reading List

Interested in learning more about the hero’s journey stories? Discover the best hero’s journey books to begin your reading adventure!

Writers and readers love hero’s journey stories . From the origin stories of cultures to the twelfth-century poems that make up The Mabinogion (themselves derived from earlier oral traditions) to today’s blockbuster SF-laden movies, the monomyth is a part of our collective, subconscious experience.

These stories feature certain archetypes and follow a set pattern. The hero sets off on a quest from his/her ordinary world (The Departure), subsequently learns a lesson or obtains new knowledge, and uses this to triumph over something, someone, or a set of circumstances (The Initiation).

The hero then returns to his/her own world, transformed or with the tools needed to enact positive change (The Return). Below, we take a look at the 31 best books to add to your reading list if you’re a fan of the genre. This list pairs nicely with our roundup of movies that follow the hero’s journey .

Here Are The Best Hero’s Journey Books

1. the hobbit by jrr tolkien, 2. the odyssey by homer, 3. harry potter and the sorcerer’s stone by jk rowling, 4. the alchemist by paulo coelho, 5. the inferno by dante alighieri, 6. the goose girl by shannon hale, 7. the wizard of oz by l frank baum, 8. the hunger games by suzanne collins, 9. to kill a mockingbird by harper lee, 10. where the mountain meets the moon by grace lin, 11. don quixote by miguel de cervantes, 12. the 5th wave by rick yancey, 13. beowulf, 14. siddhartha: an indian novel by hermann hesse, 15. a separate reality by carlos castaneda, 16. across the universe by beth revis, 17. american gods by neil gaiman, 18. little briar rose (sleeping beauty) by the brothers grimm, 19. jane eyre by charlotte bronte, 20. the pilgrim’s progress by john bunyan, 21. the hound of the baskervilles by arthur conan doyle, 22. treasure island by robert louis stevenson, 23. argonautica by apollonius, 24. the fault in our stars by john green, 25. holes by louis sachar, 26. interstellar by greg keyes, 27. divergent by veronica roth, 28. the buried giant by kazuo ishiguro, 29. alice in wonderland by lewis carroll, 30. the lion, the witch and the wardrobe by c.s. lewis, 31. fight club by chuck palahniuk.

This classic book by J.R.R. Tolkien has featured regularly on best-seller lists since its first publication in 1937 and is widely cited as one of the twentieth century’s most beloved and influential novels. It’s a classic hero’s journey genre tale, too – featuring an unlikely hero in the form of Bilbo Baggins.

This unassuming hobbit is swept off on an adventure when Gandalf the wizard and a company of dwarves appear on his doorstep. He finds himself part of a mission to reclaim a fabulous horde of treasure from under the very nose of the fearsome dragon Smaug the Magnificent. For more, check out our guide to the best fantasy authors. You can also check out our guide on hero’s journey archetypes .

“This is a story of how a Baggins had an adventure, and found himself doing and saying things altogether unexpected.” JRR Tolkien

• Tolkien, J.R.R. (Author)
• English (Publication Language)
• 320 Pages - 08/15/2002 (Publication Date) - Clarion Books (Publisher)

Homer’s story of Odysseus is one of the oldest surviving works of literature that’s still being read by audiences today. This epic story tells the tale of the wandering king, trying to get home to his wife Penelope following the end of the Trojan War . The tale features all the tropes of a hero’s journey story, from its opening.

Odysseus is portrayed in his ordinary life, through to the Crossing the Threshold section, where the Gods become enraged with the hero and his company, summoning a storm to throw their boat off course, to The Return, whereby after completing a final challenge, Odysseus is returned to his royal life with Penelope.

“A man who has been through bitter experiences and traveled far enjoys even his sufferings after a time.” Homer

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JK Rowling’s worldwide best-seller Harry Potter is a prime example of the hero’s journey tale. The book starts with Harry in the ordinary world before moving through all of the typical hero’s journey stages, as detailed by Joseph Campbell in his book The Hero with a Thousand Faces. Harry receives the invitation letter to Hogwarts (The Call to Adventure), struggles to accept this sudden turn of events (Refusal of the Call), and Meets the Mentor – in the first book, this is Hagrid.

The Crossing the Threshold stage is his literal passing through the wall to access Platform 9 3/4 at the station. The Ordeal is represented by the various challenges the young wizard encounters at his new school, culminating in his temporary triumph over Voldemort. At the end of the book, he returns to the world of the muggles for the summer vacation, happy that he’ll be returning to Hogwarts soon (The Return).

“A breeze ruffled the neat hedges of Privet Drive, which lay silent and tidy under an inky sky, the very last place you would expect astonishing things to happen.” JK Rowling

The hero’s journey takes many different forms: it’s not always about defeating villains or finding lost treasure. The genre can also be powerfully deployed in the service of a spiritual quest tale, as in this novel. While the young protagonist, who is a perfect example of the Innocent/Orphan hero archetype, might start his journey looking for real-world riches, what unfolds is a beautiful story of self-discovery. Ultimately, the book is about the importance of heeding our hearts and the transformative power of dreams.

“Remember that wherever your heart is, there you will find your treasure.” Paulo Coelho

• Note: Item has rough Cut edges(Edges are cut improperly intentionally by the manufacturer)
• A special 25th anniversary edition of the extraordinary international bestseller, including a new Foreword by Paulo Coelho.
• Combining magic, mysticism, wisdom and wonder into an inspiring tale of self-discovery,
• Coelho, Paulo (Author)

The first volume of The Divine Comedy is considered a literary masterpiece, following the hero’s journey on a quest through the various Circles of Hell. After meeting Virgil (the Mentor), our narrator progresses, facing numerous trials and tests, always seeking his beloved Beatrice. Although he sometimes has ‘weapons’ with which to face his adversaries, his most potent weapon is his faith in his journey, which is a blend of both a spiritual and a physical mission.

“Soon you will be where your own eyes will see the source and cause and give you their own answer to the mystery.” Dante Alighieri

• Alighieri, Dante (Author)
• 108 Pages - 05/30/2013 (Publication Date) - CreateSpace Independent Publishing Platform (Publisher)

New York Times bestselling author Shannon Hale has written a book that, although aimed at middle-schoolers, has become much loved by kids and adults alike. Drawing on the tradition of folktales, it’s a heroine’s journey story, recounting the tale of Ani, who’s uncomfortable around people but able to communicate easily with animals. She leaves her world behind. However, when she’s sent away to marry. Despite disaster striking, she finds herself in a job where she can use her unique talents and give voice to her inner self.

If we don’t tell strange stories, when something strange happens we won’t believe it.” Shannon Hale

• Hardcover Book
• Shannon Hale (Author)
• 400 Pages - 05/14/2024 (Publication Date) - Bloomsbury Childrens Books (Publisher)

A key element of the heroine’s journey is, while it maintains recognizable archetype qualities, there is an overcoming or subversion of society’s expectations regarding women. Rather than staying at home in Kanas, Dorothy has the adventure she longs for.

While the hero’s journey stories tend to move from the inner world to the outer (from the darkness to the light), the heroine’s journey is usually the inverse of this, with characters moving from the outer world to a deeper communion with their inner selves and desires.

“The true courage is in facing danger when you are afraid, and that kind of courage you have in plenty.’“ L Frank Baum

• Baum, L. Frank (Author)
• 160 Pages - 12/01/2016 (Publication Date) - Sweet Cherry Publishing (Publisher)

Envisioning a dystopian new world in which each District is compelled to send two children between the ages of twelve and sixteen to compete in the annual Hunger Games, Suzanne Collins’ novels are widely cited as examples of the hero’s journey genre. Now a Hollywood blockbuster series of movies, the story demonstrates how the tropes inherent in Homer’s tale of Odysseus, written nearly 3,000 years ago, are still alive and kicking today. For more, check out our guide to the best books for teenagers .

“I’m more than just a piece in their Games.” Suzanne Collins

Set in 1930s Alabama, Atticus Finch is a lawyer attempting to defend and prove the innocence of Tom Robinson, a black man wrongly accused of raping a white woman. Atticus’s hero’s journey is largely a psychological one, in which he faces his own innermost beliefs, and is forced to confront morality and prejudice in the south of the US, how this manifests, and its impact on the individual and society – as well as the delivery of justice.

“You never really understand a person until you consider things from his point of view. Until you climb inside of his skin and walk around in it.” Harper Lee

Another bestselling novel adored by adults and children alike, Where the Mountain Meets the Moon chronicles Minli’s quest as she journies to find the Old Man on the Moon. Drawing on Chinese folktales, this rich fantasy, accompanied by the author’s beautiful illustrations, follows Minli as she encounters a range of otherworldly characters in her quest to find the answers to some of life’s biggest questions.

“If you make happy those that are near, those that are far will come.” Grace Lin

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• Lin, Grace (Author)

The Spanish masterpiece, first published in 1605, begins in the ordinary world of Alonso Quijano, a middle-aged man who loves nothing more than reading stories about knights and their adventures. Deciding to leave behind his own life to become a knight errant himself, Alonso changes his name to Don Quixote and sets off on a series of heroic deeds – some more successful than others!

“It is by rugged paths like these they go that scale the heights of immortality, unreached by those that falter here below.” Miguel de Cervantes

• Miguel De Cervantes Saavedra (Author)
• English (Subtitle)
• 800 Pages - 09/04/1997 (Publication Date) - Wordsworth Editions Ltd (Publisher)

This Amazon bestseller by Rick Yancey received the Goodreads Choice award. The Fifth Wave focuses on Cassie and Evan, two of the last human survivors on Earth following an alien invasion, dreading the imminent fourth wave. As a hero’s journey tale, Cassie must tackle both a physical, dangerous quest and attempt to understand the truth of the terrifying new world she’s inhabiting.

“Some things you don’t have to promise, you just do.” Rick Yancey

The hero in this Old English epic poem from an unknown author follows precisely the steps outlined by Joseph Campbell in The Hero with a Thousand Faces. From the Call to Adventure and the Refusal of the Call and all the way through to The Return – otherwise known as The Elixir- in which the hero brings something back from his adventure to benefit society. In the case of Beowulf, it’s the insight he has gained, which will keep his people safe going forward, and his blessing of peace,

“In the time I was given I lived in my own land, ruling my people well, never turning to treachery, or swearing to oaths contrary to right.” Beowulf

• Unknown (Author)
• 142 Pages - 11/20/2020 (Publication Date) - East India Publishing Company (Publisher)

A much-loved novel published in 1951 that follows the classic hero’s journey template, Siddhartha concerns the titular character on his quest for self-discovery. Deciding to leave his home in the ancient Nepalese kingdom of Kapilavastu, Siddhartha sets out as a wandering beggar seeking spiritual enlightenment. Through his journeying, the hero learns the importance of loving the world in its entirety and that a single, fixed belief does not constitute truth.

“Knowledge can be communicated, but not wisdom. One can find it, live it, do wonders through it, but one cannot communicate and teach it.” Hermann Hesse

• Hesse, Hermann (Author)
• 224 Pages - 09/19/2023 (Publication Date) - Wellfleet Press (Publisher)

With its mind-bending perspectives and mythic structure, it’s unclear how much of this book is fictional and how much is based on reality. With its clear mentor character (the Yaqui Indian shaman, Don Juan) and the dangerous journey at its heart that the protagonist is compelled to undertake, it’s a clear example of the hero’s journey story – though possibly one that pushes the boundaries of the genre more than any you’ve come across!

“We are men and our lot in life is to learn and be hurled into inconceivable new worlds.” Carols Castaneda

• Carlos Castaneda (Author)
• 263 Pages - 10/01/1972 (Publication Date) - Pocket Books (Publisher)

Awakening fifty years too soon from cryosleep, Amy finds herself aboard the spaceship Godspeed and in a terrifying situation. Realizing that her awakening didn’t happen by accident (The Call to Action), Amy has to accept the truth that someone else on board wants her dead – and that her parents, still in cryosleep, could be the next victims if she doesn’t figure out what’s going on. But meeting Eldest, the future leader of the ship, changes everything.

“Even when you are silent, even when you block out all noise, your body is still a cacophony of life.” Beth Revis

• Beth Revis (Author)
• 416 Pages - 02/02/2011 (Publication Date) - New York: Razor Bill (Publisher)

Blending fantasy and world mythology (both old and new), this novel widely divides its audience: it falls into the love it or loathe it category. But whatever your views on the plot and the writing, it’s an innovative take on the hero’s journey trope that reimagines the genre. Even its archetype, Shadow, is a vivid and disturbing (yet recognizable) hero figure – although, in typical Neil Gaiman style, the name ‘Shadow’ is also one of the character archetypes set out by Christopher Vogler’s author of the influential book, The Writer’s Journey.

“Even nothing cannot last forever.” Nail Gaiman

Fairy tales are great places to look for the hero’s journey stories being themselves, born from ancient folktales, legends, and myths. There are many versions of this tale, many of which feature very dark and disturbing themes, but the Grimms’ version is relatively tame. While reading, consider the extent to which the story is a hero’s or a heroine’s journey tale – thinking about the journey from outer to inner (and vice versa) and how this relates to the narrative of both the prince and Briar Rose herself.

“The pigeons upon the roof pulled out their heads from under their wings, looked round, and flew into the open country; the flies on the wall crept again; the fire in the kitchen burned up and flickered and cooked the meat; the joint began to turn and fizzle again.” Brothers Grimm

• Brothers Grimm (Author)
• 05/14/2024 (Publication Date) - HarperCollins Publishers (Publisher)

In his writings, the renowned psychiatrist and psychoanalyst Carl Jung outlined his ideas about archetypes, including archetypal journies, contending that humans’ unconscious minds are remarkably similar. This is why the hero’s journey stories have always permeated literature and art and continue to do so.

At its heart, the journey of Jane Eyre is the same as that taken by Luke Skywalker in Star Wars, despite the time and genre divide between the two. Just as Luke’s quest is about discovering truth and recognizing potential, so Jane’s journey is concerned with growth and independence – and there’s a disturbing truth in the attic to confront along the way, too.

Just as with Skywalker, Jane emerges at the end of the tale as a strong, loyal, passionate character who has faced a devastating reality and emerged from the ordeal with even greater reserves of tenacity than before. For more, check out our guide to the best British authors .

“I am no bird; and no net ensnares me: I am a free human being with an independent will.” Charlotte Bronte

• Bronte, Charlotte (Author)
• 400 Pages - 06/01/2015 (Publication Date) - Digireads.com (Publisher)

A classic hero’s journey tale and the, at times, the most widely read book in the world, second only to The Bible, Bunyan’s book is concerned with the importance of learning and reading and the innate value of community. The hero, Christian, leaves his home and must face a series of trials – key to the genre. However, each tribulation or challenge must be thoroughly understood if a pilgrim is to progress. There’s even a final trial – a test of faith – which Christians must pass to access the Celestial City.

“The road of denial leads to the precipice of destruction.” John Bunyan

• Bunyan, John (Author)
• 400 Pages - 12/18/2003 (Publication Date) - Oxford University Press (Publisher)

The greatest literary detective of all time, Sherlock Holmes, is a hero archetype: The Researcher (the character of Indiana Jones also falls within this hero category). The Hound of the Baskervilles is one of the most well-known stories featuring Holmes and his trusty sidekick Dr. Watson. This is a great book for those interested in the hero’s journey genre, as the stages are so clearly delineated, from the Call to Action (Holmes’ enlistment to the case) through to The Return, whereby Watson files the case closed.

“The world is full of obvious things which nobody by any chance ever observes.” Arthur Conan Doyle

• Arthur Conan Doyle (Author)
• 174 Pages - 07/02/2007 (Publication Date) - Penguin Books (Publisher)

In this classic by a 19th century author , we meet Jim going about his daily life in the inn that his family owns. Following the Call to Action, where the boy becomes fascinated with the ‘black spot’ presented to the old captain, Billy Bones, who’s staying at the inn, Jim becomes embroiled in an epic adventure on the high seas in search of buried treasure.

“We are all travelers in the wilderness of this world, and the best we can find in our travels is an honest friend.” Robert Louis Stevenson

• Robert Louis Stevenson (author) (Author)
• 336 Pages - 09/14/2018 (Publication Date) - Wordsworth Editions Ltd (Publisher)

Testament to the power of myth is the enduring popularity of this story, which recounts the adventures of Jason and the Argonauts as they quest for the golden fleece. The epic, written – incredibly – in the third century BC, remains so widely read that there are not only multiple versions available on amazon, but you can listen to it as an audiobook, too! It features all the archetypal stages of the genre, including the Refusal of the Call, whereby Jason initially urges the heroes to elect another leader for the voyage. Once chosen, though, Heracles insists that Jason can take up the mantle, confident he can lead the band to victory.

“But friendly Juno shrouds/Her favorite heroes in a veil of clouds.” Apollonius

• Rhodius, Apollonius (Author)
• 129 Pages - 11/11/2022 (Publication Date) - Independently published (Publisher)

A bestseller that was also received extremely well by critics, this novel is a hero’s journey tale with a difference. Hazel, our protagonist, is sixteen years old and suffering from thyroid cancer that has spread to her lungs. Her parents insist she attends a support group (Crossing the Threshold) where she meets Augustus Walters, a seventeen-year-old osteosarcoma survivor. It’s now a Hollywood blockbuster movie that captures Amy’s journey into love.

“My name is Hazel. Augustus Waters was the great star-crossed love of my life.” John Green

When fourteen-year-old Stanley is wrongly convicted of stealing, he’s sent to a correctional camp where the inmates are forced by the warden to dig holes, seemingly at random. The story is comprised of three individual but interconnected tales. It makes for a fascinating take on the hero’s journey genre, the pattern of which can be seen both in the three stand-alone stories and in the overarching triptych.

“You’re responsible for yourself. You messed up your life, and it’s up to you to fix it.” Louis Sachar

• Sachar, Louis (Author)
• 240 Pages - 05/14/2024 (Publication Date) - Bloomsbury (Publisher)

This novelization of the Hollywood movie is an exciting account of a team of interstellar explorers sent through a newly-discovered wormhole – and what the ramifications of this mean for humanity. Despite being written thousands of years after Argonautica, the story shares a remarkably similar bone structure, as our hero literally navigates new worlds in a quest to return with the solution that will save the human race from extinction.

“We’ve always defined ourself by our ability to overcome the impossible.” Jonathan Nolan

• Keyes, Greg (Author)
• 288 Pages - 11/11/2014 (Publication Date) - Titan Books (Publisher)

Divergent by Veronica Roth offers a dystopian version of a future in which society is divided into five factions, each representing a certain virtue. Beatrice has been assigned the Abnegation faction but feels a Call to Action: in her heart, she knows she belongs to Dauntless. While set in a distant future, the tale follows the traditional archetypal hero’s journey; after the Call, Beatrice (now Tris) must resist several temptations, cross a threshold, and must survive a final ordeal to emerge at the novel’s finale, transformed and triumphant.

“I feel like someone breathed new air into my lungs. I am not Abnegation. I am not Dauntless. I am Divergent.” Veronica Roth

Beautiful and strange, this novel uses the mythic structure as both framework and plot. We follow a couple across a mystical, fiction, post-Arthurian landscape that is as shrouded in mist as their fast-disappearing memories. Both are convinced that they once had a son and so set out on a quest to find him. The author wrote the book as a meditation on collective memory, making it both an example and an interrogation of the hero’s journey tale.

“I’m wondering if without our memories, there’s nothing for it but for our love to fade and die.” Kazuo Ishiguro

• Ishiguro, Kazuo (Author)
• 384 Pages - 01/28/2016 (Publication Date) - Faber & Faber (Publisher)

Literally Crossing the Threshold via a fall down a rabbit hole, Alice arrives in Wonderland, where nothing is as it seems, and both adventure and danger lurk around every corner. But is the Caterpillar, The White Rabbit, or The Mad Hatter the Mentor? Just as with everything else in the story, it’s a riddle. But what’s for sure is that the story follows the classic monomyth template as set out by Joseph Campbell.

“‘I could tell you my adventures – beginning from this morning,’ said Alice a little timidly: ‘but it’s no use going back to yesterday because I was a different person then.’” Lewis Carroll

• Carroll, Lewis (Author)
• 101 Pages - 05/06/2021 (Publication Date) - Independently published (Publisher)

In some hero’s journey books, the stages are subtle – you can find them, but you may need to look closely. As in Alice in Wonderland, the phases are made obvious in this novel: the kids literally step over the threshold of the magical wardrobe and into the enchanted world of Narnia. The Refusal of the Call comes when the children initially turn back, fearful of their ability to navigate their way home. They return and take on the challenges set for them by one of literature’s ultimate Mentor figures, Aslan.

“All shall be done, but it may be harder than you think.” C.S. Lewis

• C.S. Lewis (Author)
• 171 Pages - 01/01/2009 (Publication Date) - HarperCollins Children's Books (Publisher)

Just because the hero’s journey genre is as old as time doesn’t mean it’s not subject to continual innovation – as in this novel, where the hero’s Mentor and biggest challenge to overcome is…literally himself. Fight Club is a cult phenomenon that’s made the leap to mainstream hit, helped along by the success of the great screenwriting featured in the Hollywood movie version of the book. Visionary, satirical, and a personal enlightenment journey like no other, Fight Club gleefully reimagines the hero’s journey genre to spectacular effect.

“If I could wake up in a different place, at a different time, could I wake up as a different person?” Chuck Palahniuk

• Palahniuk, Chuck (Author)
• 208 Pages - 10/02/1997 (Publication Date) - Vintage (Publisher)

Melanie Smith is a freelance content and creative writer from Gloucestershire, UK, where she lives with her daughter, long-suffering partner, and cat, The Magical Mr. Bobo. Her blog posts and articles feature regularly in magazines and websites around the world.

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Last updated on Aug 10, 2023

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

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

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

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Hero's Journey Template

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

What is the Hero’s Journey?

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

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

The 12 Steps of the Hero’s Journey

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

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

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

1. Ordinary World

In which we meet our Hero.

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

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

2. Call to Adventure

In which an adventure starts.

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

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

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

3. Refusal of the Call

In which the Hero digs in their feet.

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

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

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

4. Meeting the Mentor

In which the Hero acquires a personal trainer.

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

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

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

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5. Crossing the First Threshold

In which the Hero enters the other world in earnest.

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

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

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

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

Reedsy’s Character Profile Template

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

6. Tests, Allies, Enemies

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

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

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

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

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

7. Approach to the Inmost Cave

In which the Hero gets closer to his goal.

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

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

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

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

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

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

9. Reward (Seizing the Sword)

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

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

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

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

10. The Road Back

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

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

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

11. Resurrection

In which the last test is met.

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

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

12. Return with the Elixir

In which our Hero has a triumphant homecoming.

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

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

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

Examples of The Hero’s Journey in Action

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

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

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

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

The Martian 

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

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

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

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

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

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

When should writers use The Hero’s Journey?

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

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

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

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

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

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

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

Get our Book Development Template

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

When your focus is on a single protagonist

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

Which story structure is right for you?

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

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

6 responses

PJ Reece says:

25/07/2018 – 19:41

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

↪️ C.T. Cheek replied:

13/11/2019 – 21:01

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

Lexi Mize says:

25/07/2018 – 22:33

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

Bailey Koch says:

11/06/2019 – 02:16

This was totally lit fam!!!!

↪️ Bailey Koch replied:

11/09/2019 – 03:46

where is my dad?

Frank says:

12/04/2020 – 12:40

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

Comments are currently closed.

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Joseph Campbell & The Hero’s Journey

In 1949, scholar  joseph campbell published his 1st book, the hero with a thousand faces. in this book, campbell introduced us to his theory that myths from around the globe share a fundamental structure, the monomyth ..

C ampbell formulated this theory over 5 years, spending 9 hours a day reading mythology from around the world. The Monomyth structure is divided into 3 events with additional stages in between. The stories of Osiris, Prometheus, Buddha, Moses, Jesus, and many other tales from history use this structure. It has inspired many artists and storytellers, such as, Jim Morrison of The Doors, Bob Dylan, creator of Star Wars George Lucas, Bob Weir, and Jerry Garcia of the band, The Grateful Dead. While countless stories follow this Monomyth structure, we will use the original Star Wars Trilogy as an example for exploring this process.

The Seventeen Stages of the Monomyth

The Cycle of Mythology

Stage 1: Separation

I n the first stage of the hero’s journey, we find our protangonist living life in a typically mundane situation. The  Star Wars , Luke Skywalker lives as a talented yet lowly and pretty damn whiny moisture farmer on Tatooine.

Until…

1. Call to Adventure – By some chance the hero will become aware of information or actions that call for them to go on a quest. The lovable and recently acquired droid R2-D2 plays a holographic message of Princess Leia pleading for Luke’s soon to be mentor, Obi-Wan Kenobi’s assistance.

2. Refusal of the Call – Overwhelmed by the information, the hero refuses the call and makes excuses as to why they cannot answer it. Luke refuses Obi-Wan’s request to join him on his mission, stating that he has responsibilities at home.

Luke’s Supernatural Aid is in the form of a Lightsaber and newfound Knowledge of the Force

3. Supernatural Aid – Once a commitment to the quest is made by the hero, they are provided with a special weapon or power that will assist them along the way. Obi-Wan gifts Luke his fathers lightsaber and explains some Force 101.

4. Crossing the Threshold – The moment when the hero actually embarks upon the journey. After Luke discovers that his family has been murdered and that nothing is left for him at home, he decides to join Obi-Wan on the quest to save Princess Leia, cause that sounds way cooler than hanging at the farm where your entire family was just massacred.

5. Belly of the Whale – The final separation between the hero and their home. Luke and Kenobi bail out from Tatooine with their new bros Han Solo and Chewbacca.

Stage 2: Initiation

The Empire Strikes Back is nothing but a road of trials for our hero, Luke.

6. The Road of Trials – A series of usually 3 trials and tests, the hero often fails one or more of these test. In Luke’s journey the destruction of the Death Star is his first test and one that he passes. His second and third tests do not end so well. While training with Yoda on Dagobah, Luke fails in his truly mastering himself and the force. Thirdly, in the duel between himself and his newly revealed father, Darth Vader, he is defeated, injured, and almost killed.

7. The Meeting with the Goddess – Our hero experiences a love that has the power and significance to that of a mother. Luke begins to have strong feelings for Leia, his unbeknownst sister.

8. Woman as Temptress – The temptation to abandon the journey for material or other gain. Luke is close to being seduced to the dark side as the Emperor feeds his rage against his father and especially with the prospect that if he will not turn, perhaps his sister will.

9. Atonement with the Father – In this stage, the hero must confront and be initiated by whoever holds the ultimate power in their life. Luke battles Darth Vader and once again is on the losing side of the fight. Nearing death from the Emperor’s attacks, Luke begs his father to help save him from certain death.

Anakin & Luke Meet for the 1st Time

10. Apotheosis – The spiritual death and rebirth of the hero. Darth Vader hears his son’s cries for help and returns to the light, deciding to destroy the Emperor in a self sacrificial action. By bringing his father back to the light, Luke has finally become a true jedi.

11. The Ultimate Boon – The stage of achievement of the goal. Luke is a jedi, has defeated the Empire, the dark side, saved his father, and all his friends and family are safe.

12. Refusal of the Return – The hero basking in their newly found bliss, may not want to return to their previous life and share this bliss with his fellow man. Luke does the opposite of this, upon his reunification with his friends, he shares with Leia that they are siblings. He then goes on to train her and new jedi in the ways of the force.

Stage 3: Return

13. The Magic Flight – The daring escape made after obtaining the boon. Luke carries his fathers body onto a transport and flees the Death Star before its complete destruction.

The Millennium Falcon in Magical Flight

14. Rescue from Without – When powerful guides or mentors help bring the hero back to normal life. When Anniken, Obi-Wan, and Yoda appear from the ether to acknowledge Luke and his newfound jedi knighthood.

15. Crossing the Return Threshold – Retaining, integrating, and sharing wisdom learned on the quest. Luke shares his knowledge of the force with future jedi.

16. Master of Two Worlds – The hero has achieved a balance between the material and spiritual world. Luke has sorted all of his family issues, become a man and a jedi.

17. Freedom to Live – By becoming a master of the two worlds, the hero is free from regrets of the past and worries of the future, this leaves them to live in the moment. Luke has resolved all the  conflicts in his life, he is free to live at one with the force.

Each of Us are the Heroes in Our own Journey

The Monomyth is a method of story telling that is innate to humans. Cultures from around the world share it’s structure in their stories. Every human, whether they are aware of it or not, is on their own hero’s journey. By studying Joseph Campbell’s work we can better our own understanding of the tests, trials, and progress along our journey.

About Author

Tamlorn Chase

Tamlorn Chase hails from the coastal town of Santa Barbara, where he works as a wilderness guide, wildlife filmmaker, and environmental activist. Protecting the natural world is his profession and passion.

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The Hero’s Journey: Joseph Campbell on His Life and Work (The Collected Works of Joseph Campbell) Kindle Edition

Explore the life and work of joseph campbell.

• Part of series The Collected Works of Joseph Campbell
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About the author

Joseph campbell.

Joseph Campbell (1904–1987) was an American author and teacher best known for his work in the field of comparative mythology. He was born in New York City in 1904, and from early childhood he became interested in mythology. He loved to read books about American Indian cultures, and frequently visited the American Museum of Natural History in New York, where he was fascinated by the museum's collection of totem poles. Campbell was educated at Columbia University, where he specialized in medieval literature, and continued his studies at universities in Paris and Munich. While abroad he was influenced by the art of Pablo Picasso and Henri Matisse, the novels of James Joyce and Thomas Mann, and the psychological studies of Sigmund Freud and Carl Jung. These encounters led to Campbell's theory that all myths and epics are linked in the human psyche, and that they are cultural manifestations of the universal need to explain social, cosmological, and spiritual realities.

After a period in California, where he encountered John Steinbeck and the biologist Ed Ricketts, he taught at the Canterbury School, and then, in 1934, joined the literature department at Sarah Lawrence College, a post he retained for many years. During the 40s and '50s, he helped Swami Nikhilananda to translate the Upanishads and The Gospel of Sri Ramakrishna. He also edited works by the German scholar Heinrich Zimmer on Indian art, myths, and philosophy. In 1944, with Henry Morton Robinson, Campbell published A Skeleton Key to Finnegans Wake. His first original work, The Hero with a Thousand Faces, came out in 1949 and was immediately well received; in time, it became acclaimed as a classic. In this study of the "myth of the hero," Campbell asserted that there is a single pattern of heroic journey and that all cultures share this essential pattern in their various heroic myths. In his book he also outlined the basic conditions, stages, and results of the archetypal hero's journey.

Throughout his life, he traveled extensively and wrote prolifically, authoring many books, including the four-volume series The Masks of God, Myths to Live By, The Inner Reaches of Outer Space and The Historical Atlas of World Mythology. Joseph Campbell died in 1987. In 1988, a series of television interviews with Bill Moyers, The Power of Myth, introduced Campbell's views to millions of people.

For more on Joseph Campbell and his work, visit the web site of Joseph Campbell Foundation at JCF.org.

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

Dan Schriever

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

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

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

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

What Is the Hero’s Journey?

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

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

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

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

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

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

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

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

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

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

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

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

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

#1: The Ordinary World

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

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

The Ordinary World in The Matrix :

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

#2: The Call to Adventure

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

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

The Call to Adventure in The Matrix :

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

#3: Refusal of the Call

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

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

Refusal of the Call in The Matrix :

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

#4: Meeting the Mentor

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

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

Meeting the Mentor in The Matrix :

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

#5: Crossing the First Threshold

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

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

Crossing the First Threshold in The Matrix :

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

#6: Tests, Allies, and Enemies

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

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

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

Tests, Allies, and Enemies in The Matrix :

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

#7: Approach to the Inmost Cave

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

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

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

Approach to the Inmost Cave in The Matrix :

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

#8: The Ordeal

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

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

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

The Ordeal in The Matrix :

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

#9: Reward (Seizing the Sword)

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

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

Reward (Seizing the Sword) in The Matrix :

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

#10: The Road Back

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

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

The Road Back in The Matrix :

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

#11: Resurrection

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

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

Resurrection in The Matrix :

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

#12: Return with the Elixir

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

Return with the Elixir in The Matrix :

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

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

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

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

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

by David Safford | 0 comments

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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

Step 12: Return With the Elixir

The conclusion of your Hero's Journey necessitates some kind of return. This is a return to the original Ordinary World, or a return to the community of the world if it has had to relocate.

When they return, the Hero brings back gifts and blessings, an ultimate boon that usually takes physical form, like food, rain, or safety. However, it also takes spiritual form, as in hope, faith, and love. The Hero must  bring these gifts back and share them with their community. It is essential to your reader's experience of catharsis, and represents the apotheosis of the story's themes and values.

Learn more: Hero's Journey Step #12: Return With the Elixir

Inside the Steps: 5 Essential Hero's Journey Scenes

One final way to do this is by noting checkpoints as they outline and/or verify if and how the Hero's Journey works in their story.

To distill this lengthy structure into an easy checklist, writers need to learn how to plan and draft five scenes that are the building blocks of a well-written Hero's Journey. I cover each of these in their own individual post, which I highly recommend you check out:

Scene One: “Choice to Go” 

Two: “Initation” 

Scene Three: “Task” 

Four: “All Hope is Lost” 

Scene Five: “Hero Returns with the Ultimate Boon”

Structure is an extremely subjective matter to storytellers. It is the source of the schism between so-called “Planners” (those who write with a plan) and “Pantsers” (those who write by the seat of their pants ).

No matter where your preference lies, there are principles of storytelling that can benefit you on your mission to write a great story with a solid, timeless Hero's Journey at its core.

In order to help you apply the Hero's Journey Twelve Steps to your story, consider these three (practical!) principles of solid story structure:

1. Divide Your Story Into 3 Acts

How does Three-Act Structure overlap with a Twelve-Step Hero's Journey? It's actually not that complicated. Usually, the Three-Act Hero's Journey looks like this.

Act 1 = Steps 1 through 5

The Beginning of your story shows the reader the Hero's Ordinary World, their Call to Adventure and Refusal, the introduction and early work of the Mentor, and the Hero's “Choice to Go,” or Crossing of the Threshold.

Act 2 = Step 6

Yup. All of Act Two, the Middle Build, is a single Step: Trials, Allies, and Enemies. This is why it's essential to realize that this Step uses the entire twelve-step structure within itself, and must put the Hero to the test a number of times on their journey toward the final goal.

Act 3 = Steps 7 through 12

The Ending of the story begins when the Hero pauses to Approach the final Ordeal. It then proceeds to the major Ordeal, the Reward and consequential false ending, any Road Back that may be involved, the ultimate showdown resulting in Resurrection, and the Hero's triumphant Return with the Elixir.

2. Use Word Counts to Plan Your Drafting

There are benefits to generating an idea of how many words and chapters you should be writing. If that sounds like too much planning for you, consider this question: Do you like wasting time?

I don't. And I'd prefer to waste as little as possible. That's one of the great benefits of planning your writing with word counts in mind.

Knowing a rough estimate of how a Hero's Journey could break down by the numbers can help you plan, write, and edit a novel with a steady and strong pace. And simultaneously, it's likely that this road map will give you even more motivation to finish your story.

You might also consider devoting certain percentages of your time to the Beginning, Middle, and Ending of your book, which I'll cover more in a future post.

3. Specifically Plan Your Steps

Once you've made upon a rough word count estimate, you can plan your steps quite deliberately. As you complete this process, you can alter your estimate as well.

With this kind of plan in place, you can determine when it's time to move on to the next step as you draft. This isn't to “follow the rules,” but to stay attuned to the kind of stories that readers love and have loved for thousands of years.

With this in mind, you'll be able to use the Hero's Journey as a guide that provides a massive canvas for you to freely paint upon—and one that will come in extreme convenience as you study and apply the Twelve-Step Hero's Journey.

Hero's Journey Examples

Learning these concepts one-by-one is certainly useful, but might not help you see the power in a well-told, well-structured Hero's Journey story.

In order to really master the Hero's Journey, you can explore popular books and films that use these steps and archetypes with expert artistry.

These three examples were a turning point in my writing career while studying the Hero's Journey:

Example #1: Star Wars

Perhaps the most obvious Hero's Journey example, Star Wars  contains a feast of archetypes and structural choices that will help us see Campbell's work in action.

As an appetizer, I explore some Hero's Journey essentials in Star Wars in its own post. In it, I discuss topics like the ways Luke Skywalker is an ideal Hero,  and how on his journey, Luke faces the villainous Darth Vader, the story's Shadow . And who could forget the mysterious supernatural aid: Luke's Mentor , Obi-wan?

Whether you love or hate George Lucas's space opus (and/or what Disney has done with it since 2012), the films of the Star Wars  universe are excellent examples to study and learn from.

Learn more: Discover ALL the ways  Star Wars  uses archetypes here!

Example #2: Toy Story

Few Hollywood studios regularly utilize the Hero's Journey to incredible effect more than Pixar. In its first outing, Toy Story,  Pixar successfully told two  Hero's Journeys for both Sheriff Woody and Buzz Lightyear. In subsequent sequels, it would recapture the magic, taking its cowboy protagonist along a sequence of heroic steps that resonant with the human experience.

For example, Woody begins in an Ordinary World  in which he comfortably runs Andy's bedroom; he's Called to Adventure  when a new toy arrives and challenges him for the role of Andy's favorite toy; and he Refuses the Call  by choosing a crooked path, in which he attempts to have Buzz knocked into a corner where Andy won't find him.

As you can imagine, the story continues from there, with Woody and Buzz split between two worlds, and our heroes choices seem to perfectly follow the Hero's Journey as they attempt to reunite with Andy and forge a relationship that isn't purely antagonistic.

Beloved by generations of audiences, Toy Story  is an ideal work to focus on as we study Campbell's work.

I ‘ll breakdown the Hero's Journey Twelve Steps in this iconic film in a future post. 

Example #3: The Hunger Games

The dystopian genre is filled with unlucky heroes who realize that their worlds are broken, only to rise up against invincible forces. In one of the most popular of these stories, Suzanne Collins's The Hunger Games,  follows a dirt-poor girl on a quest to unseat a tyrant and bring justice to Panem. As you certainly expected, The Hunger Games  is a perfect case study of the power of myth to bring a fantastic world into stark reality.

For example, Katniss Everdeen, the story's hero, follows in the footsteps of many other protagonists by bearing a Magic Weapon,  or object that seems to heighten the hero's powers and reveal his/her greatness.

Once out of her comfort zone, she endures numerous Tests and Trials,  including the lengthy Task  of surviving the Hunger Games themselves. Along the way she enters a Belly of the Beast,  or cave, where she must nurse her partner Peta back to health. And in the story's gripping conclusion, Katniss must survive an onslaught of Creatures of Nightmare  as the “Mutts” swarm the Cornucopia where she and Peta must make their last stand.

These situations, symbols, and more appear all throughout the Hunger Games trilogy, and I'll share exactly how these Hero's Journey essentials apply in a future post. 

Additional Examples of The Hero's Journey

These three stories are by no means the only examples of the monomyth executed to perfection. Some other stories great for analyzing the Hero's Journey could include:

• The Lord of the Rings,  by J.R.R. Tolkien
• Harry Potter,  by J.K. Rowling
• Pixar's Ratatouille
• Pixar's WALL-E
• Back to the Future
• The Great Gatsby
• Pride and Prejudice,  by Jane Austen
• Alien and Aliens  (directed by Ridley Scott and James Cameron, respectively)

BONUS! Additional Hero's Journey Resources

Applying the Hero's Journey steps to your story will connect with readers on a human level. However, that's not the only insight you can learn from the Hero's Journey. If you're up for it, learn more about why the Hero's Journey touches readers with these bonus essentials.

Hero's Journey Character Archetypes

Every story begins with great characters, and the Hero's Journey is the study of recurring character types , known as archetypes.

A character archetype is a character type that serves a specific role in a story and tends to reoccur in myths, legends, and stories across genres, cultures, and time periods.

In order to be properly utilized, a character archetype must fulfill its set purpose while exhibiting new, innovative traits. There are several important character archetypes used in heroic storylines—especially these five: hero, shadow, loyal retainer, mentor, and threshold guardians.

Learn more: Hero's Journey Character archetypes that will make your story awesome

5 Hero's Journey Symbols to Use

A Hero's Journey Symbol, also known as a symbolic archetype , is an object, location, or image in a story that contains more than one functional meaning. It has both a physical meaning in the story world and a thematic meaning for the reader to interpret.

Within your Hero's Journey scenes and relationships, you can use objects and small events to add even more thematic significance to your story.

Read more about five effective Hero's Journey symbols here:

1. “Light vs. Darkness” Symbol

2. “Magic Weapon” Symbol

3. “Underworld” Symbol

4. “Castle” Symbol

5. “Unhealable Wound” Symbol

5 Hero's Journey Themes to Explore

A Hero's Journey Theme is a relationship between two opposite ideas or elements. Throughout the story, the pros and cons of each idea/element are explored, with the Hero making high stakes choices in the context of this conflict-filled relationship. The conclusions the reader comes to about this relationship are its themes.

Read about five favored Hero's Journey themes in these posts:

1.   “Good vs. Evil” Thematic Relationship

2. “ Have n vs. Wildnerness” Thematic Relationship

3. “Nature vs. Machine” Thematic Relationship

4. “Father vs. Son” Thematic Relationship

5. “Sibling vs. Sibling” Thematic Relationship

It's Time to Tell Your Hero's Journey

Star Wars, Toy Story,  and The Hunger Games  are just three members of a near-limitless collection of stories, new and old, that use the Hero's Journey structure and archetypes to thrill readers.

The next, I hope, will be written by you!

Use the Hero's Journey Twelve Steps to outline, write, and/or edit your book—and touch all your readers on a human level.

Have you applied the Hero's Journey to your stories  before? How did it go?  Let us know in the comments .

There's no way to write a full Hero's Journey novel in just fifteen minutes. But you  can plot out your next story according to the Hero's Journey, which is what I encourage you to do.

For today, spend fifteen minutes writing a story premise that (1) you're eager to write, and (2) you can use to outline the Hero's Journey. Then, if you're up for it, journal about how the twelve steps in the Hero's Journey could apply to this story idea.

Write your ideas in the Pro Practice Workshop here . When you're done, leave some feedback for your fellow writers, as well!

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

Table of Contents

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

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

Challenge . Growth . Triumph .

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

What is the Hero’s Journey?

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

What are the Origins of the Hero’s Journey?

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

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

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

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

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

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

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

Twelve Steps of the Hero’s Journey

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

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

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

Ye be warned: Spoilers ahead!

Act One: Departure

Step 1. the ordinary world.

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

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

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

Step 2. The Call to Adventure

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

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

Step 3. Refusal of the Call

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

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

Step 4. Meeting the Mentor

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

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

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

Act Two: Initiation

Step 5. crossing the threshold.

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

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

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

The game is afoot.

Step 6. Tests, Allies, Enemies

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

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

Step 7. Approach the Innermost Cave

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

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

Step 8. The Ordeal

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

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

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

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

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

Step 9. Reward

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

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

Act Three: Return

Step 10. the road back.

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

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

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

Step 11. Resurrection

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

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

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

Step 12. Return With the Elixir

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

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

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

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

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

Variations of the Hero's Journey

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

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

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

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

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

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

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

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

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

Ten-Step Hero's Journey

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

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

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

Twelve-Step Hero's Journey: Version Two

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

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

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

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

Seventeen-Step Hero's Journey

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

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

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

The Eight Hero’s Journey Archetypes

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

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

1. The Hero

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

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

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

2. The Mentor

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

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

3. The Ally

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

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

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

4. The Herald

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

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

5. The Trickster

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

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

6. The Shapeshifter

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

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

7. The Guardian

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

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

8. The Shadow

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

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

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

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

Stories that Use the Hero’s Journey

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

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

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

Will the Hero's Journey Work For You?

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

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

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

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

Hero's Journey Campfire Template

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

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

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

Lessons From the Hero’s Journey

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

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

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

Peter S. Beagle on his new novel, the hero's journey, and why villains talk so much

SCOTT SIMON, HOST:

Something big threatens the kingdom of Bellemontagne - many somethings, which prefer their humans roasted. The new novel "I'm Afraid You've Got Dragons" is about that threat and also about reluctant heroes and an evildoer who just can't keep his yap shut. It's by Peter S. Beagle, who celebrated for his 1968 novel "The Last Unicorn," which, of course, charmed generations of young and not-so-young readers. Peter S. Beagle joins us from Berkeley, Calif. Thanks so much for being with us.

PETER BEAGLE: It's a pleasure, truly, to be here.

SIMON: Tell us about the dragons in the kingdom and the surrounding kingdoms. Come in all shapes and sizes, don't they?

BEAGLE: Well, in the world of the heroes, dragons mostly have shrunk down. Only the forest folk vaguely remember the really big ones. Mostly, the hero himself is an eliminator of dragons. Dragons are like cockroaches, are like small animals you can't get rid of. And it's his job to clear them out. He hates doing it. He's always hated it.

SIMON: Yeah. We should explain your hero is - forgive me any mispronunciation - Gaius Aurelius Constantine Heliogabalus...

BEAGLE: Gabalus. Heliogabalus.

SIMON: ...Thrax. But we can call him Robert, right?

BEAGLE: He'd really prefer it.

SIMON: Does he feel a kinship with dragons?

BEAGLE: Yes, and he doesn't know why. Much of the time, he doesn't want to think about it. It's nothing that he wants to know. That's true for most of the characters in this book. The princess doesn't want to be a princess.

SIMON: Princess Cerise. Yeah.

BEAGLE: Prince Reginald doesn't particularly want to be a prince. What he mostly wants to do is go off somewhere where his father can't bother him and just lie in the grass and think about things and get drunk. That would be nice.

SIMON: (Laughter) What makes a hero? This is a subject you've returned to in your novels.

BEAGLE: Well, in my own experience, there are very few heroic deeds I've gotten through in my life. And each time, I didn't want to do it. I knew exactly what I had to do, and I did not want to do it. And so I understand Robert. I understand his position altogether too well.

SIMON: Let me ask you about the wizard in the book 'cause he can't keep his yap shut about what he's hellbent on doing. Why is that?

BEAGLE: Well, you can't possibly blame him. After all, he has been destroyed and come back. He has ridden with dragons. He knows so much about dragons, just not the important stuff. But because of his experience, he thinks he knows more than he does. And that's fatal. I know that myself.

SIMON: That's happened to you?

BEAGLE: It has. It has. Not with dragons, particularly.

SIMON: Yeah.

BEAGLE: But with everything from the English language to automobile engines. Yeah, it's happened.

SIMON: It's been 56 years since "The Last Unicorn."

BEAGLE: Boy, that was quick.

SIMON: How does that feel?

BEAGLE: Very strange some nights when I lie in bed and think about it. And at my age, I do think about those things. The main thing is, I don't know if I've done my best work yet. You always hope there's something beyond what you've done. What worries me about this book is that I like it. I never like books when I'm through with them. I always know what I've screwed up. And by the time I've figured that out, the book is already published. There's nothing to do, but go back and do the next one. With this one, "I'm Afraid You've Got Dragons," I actually like it. I've asked friends, will somebody please tell me how I've screwed this one up? So far, nobody has.

SIMON: I liked it. I don't think you screwed up anything.

BEAGLE: Maybe. Well, I'm old enough. Maybe I finally got away with it.

SIMON: (Laughter) Can fantasies help us get hold of the real world all around us?

BEAGLE: In a strange way, it's the only way I've ever gotten hold of the real world. In honesty, much of the time, I'm faking it. Maybe other people are. But mostly, that's what I do. I only know how to tell stories. Everything else I've just done the best I could. I raised children. I've held one or two jobs, but I've always known I'm supposed to tell stories. That's it. And the best I can do is tell them the best I can. Beyond that, at my age, I've gotten very good at pretending I know what I'm doing. Sometimes I even believe it myself.

SIMON: You're in your 80s, right?

BEAGLE: Eight-five as a week or so ago.

SIMON: Happy birthday.

BEAGLE: Thank you.

SIMON: You know, there are millions of readers all over the world who want to say thank you to you.

BEAGLE: I hope so. They write to me letters, and I'm very grateful. I always answer the letters.

SIMON: I must say this book has totally changed the way I think of dragons.

BEAGLE: Good, because it changed mine. Rather, I've always thought about dragons. Somebody did write to me wishing I had told more about dragons. Maybe I will another day. But right now, I'm glad I was able to say as much as I did.

SIMON: Peter S. Beagle, his new novel "I'm Afraid You've Got Dragons." Thank you so very much for being with us.

BEAGLE: It's been a great pleasure, more than I can tell you. Transcript provided by NPR, Copyright NPR.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

Peter S. Beagle on his new novel, the hero's journey, and why villains talk so much

SCOTT SIMON, HOST:

Something big threatens the kingdom of Bellemontagne - many somethings, which prefer their humans roasted. The new novel "I'm Afraid You've Got Dragons" is about that threat and also about reluctant heroes and an evildoer who just can't keep his yap shut. It's by Peter S. Beagle, who celebrated for his 1968 novel "The Last Unicorn," which, of course, charmed generations of young and not-so-young readers. Peter S. Beagle joins us from Berkeley, Calif. Thanks so much for being with us.

PETER BEAGLE: It's a pleasure, truly, to be here.

SIMON: Tell us about the dragons in the kingdom and the surrounding kingdoms. Come in all shapes and sizes, don't they?

BEAGLE: Well, in the world of the heroes, dragons mostly have shrunk down. Only the forest folk vaguely remember the really big ones. Mostly, the hero himself is an eliminator of dragons. Dragons are like cockroaches, are like small animals you can't get rid of. And it's his job to clear them out. He hates doing it. He's always hated it.

SIMON: Yeah. We should explain your hero is - forgive me any mispronunciation - Gaius Aurelius Constantine Heliogabalus...

BEAGLE: Gabalus. Heliogabalus.

SIMON: ...Thrax. But we can call him Robert, right?

BEAGLE: He'd really prefer it.

SIMON: Does he feel a kinship with dragons?

BEAGLE: Yes, and he doesn't know why. Much of the time, he doesn't want to think about it. It's nothing that he wants to know. That's true for most of the characters in this book. The princess doesn't want to be a princess.

SIMON: Princess Cerise. Yeah.

BEAGLE: Prince Reginald doesn't particularly want to be a prince. What he mostly wants to do is go off somewhere where his father can't bother him and just lie in the grass and think about things and get drunk. That would be nice.

SIMON: (Laughter) What makes a hero? This is a subject you've returned to in your novels.

BEAGLE: Well, in my own experience, there are very few heroic deeds I've gotten through in my life. And each time, I didn't want to do it. I knew exactly what I had to do, and I did not want to do it. And so I understand Robert. I understand his position altogether too well.

SIMON: Let me ask you about the wizard in the book 'cause he can't keep his yap shut about what he's hellbent on doing. Why is that?

BEAGLE: Well, you can't possibly blame him. After all, he has been destroyed and come back. He has ridden with dragons. He knows so much about dragons, just not the important stuff. But because of his experience, he thinks he knows more than he does. And that's fatal. I know that myself.

SIMON: That's happened to you?

BEAGLE: It has. It has. Not with dragons, particularly.

SIMON: Yeah.

BEAGLE: But with everything from the English language to automobile engines. Yeah, it's happened.

SIMON: It's been 56 years since "The Last Unicorn."

BEAGLE: Boy, that was quick.

SIMON: How does that feel?

BEAGLE: Very strange some nights when I lie in bed and think about it. And at my age, I do think about those things. The main thing is, I don't know if I've done my best work yet. You always hope there's something beyond what you've done. What worries me about this book is that I like it. I never like books when I'm through with them. I always know what I've screwed up. And by the time I've figured that out, the book is already published. There's nothing to do, but go back and do the next one. With this one, "I'm Afraid You've Got Dragons," I actually like it. I've asked friends, will somebody please tell me how I've screwed this one up? So far, nobody has.

SIMON: I liked it. I don't think you screwed up anything.

BEAGLE: Maybe. Well, I'm old enough. Maybe I finally got away with it.

SIMON: (Laughter) Can fantasies help us get hold of the real world all around us?

BEAGLE: In a strange way, it's the only way I've ever gotten hold of the real world. In honesty, much of the time, I'm faking it. Maybe other people are. But mostly, that's what I do. I only know how to tell stories. Everything else I've just done the best I could. I raised children. I've held one or two jobs, but I've always known I'm supposed to tell stories. That's it. And the best I can do is tell them the best I can. Beyond that, at my age, I've gotten very good at pretending I know what I'm doing. Sometimes I even believe it myself.

SIMON: You're in your 80s, right?

BEAGLE: Eight-five as a week or so ago.

SIMON: Happy birthday.

BEAGLE: Thank you.

SIMON: You know, there are millions of readers all over the world who want to say thank you to you.

BEAGLE: I hope so. They write to me letters, and I'm very grateful. I always answer the letters.

SIMON: I must say this book has totally changed the way I think of dragons.

BEAGLE: Good, because it changed mine. Rather, I've always thought about dragons. Somebody did write to me wishing I had told more about dragons. Maybe I will another day. But right now, I'm glad I was able to say as much as I did.

SIMON: Peter S. Beagle, his new novel "I'm Afraid You've Got Dragons." Thank you so very much for being with us.

BEAGLE: It's been a great pleasure, more than I can tell you. Transcript provided by NPR, Copyright NPR.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

Peter S. Beagle on his new novel, the hero's journey, and why villains talk so much

SCOTT SIMON, HOST:

Something big threatens the kingdom of Bellemontagne - many somethings, which prefer their humans roasted. The new novel "I'm Afraid You've Got Dragons" is about that threat and also about reluctant heroes and an evildoer who just can't keep his yap shut. It's by Peter S. Beagle, who celebrated for his 1968 novel "The Last Unicorn," which, of course, charmed generations of young and not-so-young readers. Peter S. Beagle joins us from Berkeley, Calif. Thanks so much for being with us.

PETER BEAGLE: It's a pleasure, truly, to be here.

SIMON: Tell us about the dragons in the kingdom and the surrounding kingdoms. Come in all shapes and sizes, don't they?

BEAGLE: Well, in the world of the heroes, dragons mostly have shrunk down. Only the forest folk vaguely remember the really big ones. Mostly, the hero himself is an eliminator of dragons. Dragons are like cockroaches, are like small animals you can't get rid of. And it's his job to clear them out. He hates doing it. He's always hated it.

SIMON: Yeah. We should explain your hero is - forgive me any mispronunciation - Gaius Aurelius Constantine Heliogabalus...

BEAGLE: Gabalus. Heliogabalus.

SIMON: ...Thrax. But we can call him Robert, right?

BEAGLE: He'd really prefer it.

SIMON: Does he feel a kinship with dragons?

BEAGLE: Yes, and he doesn't know why. Much of the time, he doesn't want to think about it. It's nothing that he wants to know. That's true for most of the characters in this book. The princess doesn't want to be a princess.

SIMON: Princess Cerise. Yeah.

BEAGLE: Prince Reginald doesn't particularly want to be a prince. What he mostly wants to do is go off somewhere where his father can't bother him and just lie in the grass and think about things and get drunk. That would be nice.

SIMON: (Laughter) What makes a hero? This is a subject you've returned to in your novels.

BEAGLE: Well, in my own experience, there are very few heroic deeds I've gotten through in my life. And each time, I didn't want to do it. I knew exactly what I had to do, and I did not want to do it. And so I understand Robert. I understand his position altogether too well.

SIMON: Let me ask you about the wizard in the book 'cause he can't keep his yap shut about what he's hellbent on doing. Why is that?

BEAGLE: Well, you can't possibly blame him. After all, he has been destroyed and come back. He has ridden with dragons. He knows so much about dragons, just not the important stuff. But because of his experience, he thinks he knows more than he does. And that's fatal. I know that myself.

SIMON: That's happened to you?

BEAGLE: It has. It has. Not with dragons, particularly.

SIMON: Yeah.

BEAGLE: But with everything from the English language to automobile engines. Yeah, it's happened.

SIMON: It's been 56 years since "The Last Unicorn."

BEAGLE: Boy, that was quick.

SIMON: How does that feel?

BEAGLE: Very strange some nights when I lie in bed and think about it. And at my age, I do think about those things. The main thing is, I don't know if I've done my best work yet. You always hope there's something beyond what you've done. What worries me about this book is that I like it. I never like books when I'm through with them. I always know what I've screwed up. And by the time I've figured that out, the book is already published. There's nothing to do, but go back and do the next one. With this one, "I'm Afraid You've Got Dragons," I actually like it. I've asked friends, will somebody please tell me how I've screwed this one up? So far, nobody has.

SIMON: I liked it. I don't think you screwed up anything.

BEAGLE: Maybe. Well, I'm old enough. Maybe I finally got away with it.

SIMON: (Laughter) Can fantasies help us get hold of the real world all around us?

BEAGLE: In a strange way, it's the only way I've ever gotten hold of the real world. In honesty, much of the time, I'm faking it. Maybe other people are. But mostly, that's what I do. I only know how to tell stories. Everything else I've just done the best I could. I raised children. I've held one or two jobs, but I've always known I'm supposed to tell stories. That's it. And the best I can do is tell them the best I can. Beyond that, at my age, I've gotten very good at pretending I know what I'm doing. Sometimes I even believe it myself.

SIMON: You're in your 80s, right?

BEAGLE: Eight-five as a week or so ago.

SIMON: Happy birthday.

BEAGLE: Thank you.

SIMON: You know, there are millions of readers all over the world who want to say thank you to you.

BEAGLE: I hope so. They write to me letters, and I'm very grateful. I always answer the letters.

SIMON: I must say this book has totally changed the way I think of dragons.

BEAGLE: Good, because it changed mine. Rather, I've always thought about dragons. Somebody did write to me wishing I had told more about dragons. Maybe I will another day. But right now, I'm glad I was able to say as much as I did.

SIMON: Peter S. Beagle, his new novel "I'm Afraid You've Got Dragons." Thank you so very much for being with us.

BEAGLE: It's been a great pleasure, more than I can tell you. Transcript provided by NPR, Copyright NPR.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

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Neon takes north american rights to mohammad rasoulof’s ‘the seed of the sacred fig’, filmsharks boards chinese animation ‘a hero’s journey to the west’ ahead of cannes.

By Sara Merican

Sara Merican

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EXCLUSIVE: Buenos Aires-based sales FilmSharks has taken international sales rights to the Chinese animated film A Hero’s Journey to the West .

Made with a budget of $26M, the film is directed by Phil Nibbelink ( The Fox and the Hound ) and written by James Felder ( Ultimate Spider-Man ). A Hero’s Journey to the West will have its world premiere on May 18 at the film market during the upcoming Cannes Film Festival .

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The first instalment will focus on Sun Wu Kong’s discovery of his extraordinary fate from birth as well as his fight with the gods. The second instalment will follow Wu Kong’s rise as he meets other heroes. They work together to retrieve a collection of ancient scrolls. In the third film, the heroes will resolve their differences as they complete their journey to the west.

The rights deal was negotiated between FilmSharks CEO and founder Guido Rud as well as producers Jon Chiew and Pham Thi Tam of Dongky King Pictures. Chiew produced Chinese comedies Hello Mr. Billionaire (2018) and Too Cool to Kill (2022).

“We are pleased to close a deal with FilmSharks as we feel that they are the right partner to bring a theatrical big-budget animation to the international arena,” Chiew said. “We have high expectations for our film to be welcomed by global cinema distributors.”

Rud added: “The animation market has reached a very competitive moment due to the increase in animation productions today. International theatrical distributors are more picky than ever, only choosing top-quality productions. A Hero’s Journey to the West has all the key artistic and production highlights to become an international box office hit.”

As previously reported, pre-pandemic this project was once set up with Endeavor Content but that iteration of the project did not take off and the elements have evolved since then.

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‘emilia pérez’ red carpet, review, ovation; langley talks biz; schrader’s next movie.

‘The Monkey’ Rights Pre-Sell to Neon; Focus Gets Lanthimos’ ‘Bugonia’

Sony & paramount sign nda ahead of talks, but it’s not a $26b bid anymore, breaking baz @ cannes: rothman on how movies endure, charles finch’s columbia soirée.

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Breaking news, family of slain nyc hero fights cop killer’s parole every two years: ‘we’re forever in our life sentence’.

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The state is poised to spring a cop killer from prison — the 42nd in the past seven years — as the officer’s family fights to keep the career criminal behind bars, The Post has learned. 

Police Officer James Whittington was off-duty in Brownsville, Brooklyn, on Oct. 30, 1982, when he encountered felon Mitchell Martin, who was armed and fighting with a woman.

Whittington chased after Martin while trying to arrest him before Martin fatally shot the police officer at close range.

Martin was sentenced to 25 years to life and has been in prison since August 1983.

The parole board is set to consider the 66-year-old’s release from Elmira in June.

The police officer’s daughter, Nicole Demby, plans to implore the release-happy parole board to keep Martin behind bars — a laborious chore the family endures every two years.

“You know, my father’s life sentence began 42 years ago,” the 48-year-old mom said.

“He’s in Green-Wood Cemetery and that’s his place. My mother’s life sentence began at that time too. She’s 83 and she never remarried.”

“We’re forever in our life sentence.”

Martin first came up for parole in 2014.

“We had peace of mind before that,” said Demby, who works for Amazon in Manhattan. “We thought life meant for life.”

Now, every two years “we’re reopening a wound that we’re constantly trying to mend.

“For a person to take the life of a police officer it means they not only have a disregard for human life, but they also have a disregard for society. Because of that, there really is no place for them in our society.”

The surge in freeing cop killers is due in large part to a revision in 2017 to the rules governing how the 17-member parole board weighs a prisoner’s release, in part because of lobbying by prison reformers and legal groups, a law enforcement source said.

The board gives more weight to an inmate’s age and record while in prison — and less to the crime they committed, the source said.

Board members are appointed by the governor and approved by the state Senate and have increasingly been left-leaning.

“If they let this vicious cop killer out of jail, it’s an insult to our hero police officer and his family,” Police Benevolent Association Patrick Hendry said. “He gave his life that day. This family lost everything and this vicious cop killer should stay behind bars where he belongs.” 

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Peter S. Beagle on his new novel, the hero's journey, and why villains talk so much

SCOTT SIMON, HOST:

Something big threatens the kingdom of Bellemontagne - many somethings, which prefer their humans roasted. The new novel "I'm Afraid You've Got Dragons" is about that threat and also about reluctant heroes and an evildoer who just can't keep his yap shut. It's by Peter S. Beagle, who celebrated for his 1968 novel "The Last Unicorn," which, of course, charmed generations of young and not-so-young readers. Peter S. Beagle joins us from Berkeley, Calif. Thanks so much for being with us.

PETER BEAGLE: It's a pleasure, truly, to be here.

SIMON: Tell us about the dragons in the kingdom and the surrounding kingdoms. Come in all shapes and sizes, don't they?

BEAGLE: Well, in the world of the heroes, dragons mostly have shrunk down. Only the forest folk vaguely remember the really big ones. Mostly, the hero himself is an eliminator of dragons. Dragons are like cockroaches, are like small animals you can't get rid of. And it's his job to clear them out. He hates doing it. He's always hated it.

SIMON: Yeah. We should explain your hero is - forgive me any mispronunciation - Gaius Aurelius Constantine Heliogabalus...

BEAGLE: Gabalus. Heliogabalus.

SIMON: ...Thrax. But we can call him Robert, right?

BEAGLE: He'd really prefer it.

SIMON: Does he feel a kinship with dragons?

BEAGLE: Yes, and he doesn't know why. Much of the time, he doesn't want to think about it. It's nothing that he wants to know. That's true for most of the characters in this book. The princess doesn't want to be a princess.

SIMON: Princess Cerise. Yeah.

BEAGLE: Prince Reginald doesn't particularly want to be a prince. What he mostly wants to do is go off somewhere where his father can't bother him and just lie in the grass and think about things and get drunk. That would be nice.

SIMON: (Laughter) What makes a hero? This is a subject you've returned to in your novels.

BEAGLE: Well, in my own experience, there are very few heroic deeds I've gotten through in my life. And each time, I didn't want to do it. I knew exactly what I had to do, and I did not want to do it. And so I understand Robert. I understand his position altogether too well.

SIMON: Let me ask you about the wizard in the book 'cause he can't keep his yap shut about what he's hellbent on doing. Why is that?

BEAGLE: Well, you can't possibly blame him. After all, he has been destroyed and come back. He has ridden with dragons. He knows so much about dragons, just not the important stuff. But because of his experience, he thinks he knows more than he does. And that's fatal. I know that myself.

SIMON: That's happened to you?

BEAGLE: It has. It has. Not with dragons, particularly.

SIMON: Yeah.

BEAGLE: But with everything from the English language to automobile engines. Yeah, it's happened.

SIMON: It's been 56 years since "The Last Unicorn."

BEAGLE: Boy, that was quick.

SIMON: How does that feel?

BEAGLE: Very strange some nights when I lie in bed and think about it. And at my age, I do think about those things. The main thing is, I don't know if I've done my best work yet. You always hope there's something beyond what you've done. What worries me about this book is that I like it. I never like books when I'm through with them. I always know what I've screwed up. And by the time I've figured that out, the book is already published. There's nothing to do, but go back and do the next one. With this one, "I'm Afraid You've Got Dragons," I actually like it. I've asked friends, will somebody please tell me how I've screwed this one up? So far, nobody has.

SIMON: I liked it. I don't think you screwed up anything.

BEAGLE: Maybe. Well, I'm old enough. Maybe I finally got away with it.

SIMON: (Laughter) Can fantasies help us get hold of the real world all around us?

BEAGLE: In a strange way, it's the only way I've ever gotten hold of the real world. In honesty, much of the time, I'm faking it. Maybe other people are. But mostly, that's what I do. I only know how to tell stories. Everything else I've just done the best I could. I raised children. I've held one or two jobs, but I've always known I'm supposed to tell stories. That's it. And the best I can do is tell them the best I can. Beyond that, at my age, I've gotten very good at pretending I know what I'm doing. Sometimes I even believe it myself.

SIMON: You're in your 80s, right?

BEAGLE: Eight-five as a week or so ago.

SIMON: Happy birthday.

BEAGLE: Thank you.

SIMON: You know, there are millions of readers all over the world who want to say thank you to you.

BEAGLE: I hope so. They write to me letters, and I'm very grateful. I always answer the letters.

SIMON: I must say this book has totally changed the way I think of dragons.

BEAGLE: Good, because it changed mine. Rather, I've always thought about dragons. Somebody did write to me wishing I had told more about dragons. Maybe I will another day. But right now, I'm glad I was able to say as much as I did.

SIMON: Peter S. Beagle, his new novel "I'm Afraid You've Got Dragons." Thank you so very much for being with us.

BEAGLE: It's been a great pleasure, more than I can tell you. Transcript provided by NPR, Copyright NPR.

NPR transcripts are created on a rush deadline by an NPR contractor. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.

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Adultery Gets Weird in Miranda July’s New Novel

An anxious artist’s road trip stops short for a torrid affair at a tired motel. In “All Fours,” the desire for change is familiar. How to satisfy it isn’t.

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ALL FOURS, by Miranda July

Erica Jong’s Isadora Wing feared flying , but womanned up to attend the first psychoanalytic conference in Vienna since the Holocaust. Fifty years later , the unnamed heroine of Miranda July’s new novel, “All Fours” — let’s call her Amanda Huggenkiss — can barely begin a cross-country road trip.

Huggenkiss — aah, never mind — the anonymous narrator is five years from 50 herself: a “semi-famous” artist with a desk that’s a little wobbly and a career to match. “I worked in so many mediums that I was able to debut many times,” she recounts. “I just kept emerging, like a bud opening over and over again.”

She’s married to a music producer, Harris, who divides people up not into hedgehogs and foxes but Drivers and Parkers. The former, like himself, are functional and content. The latter, like his wife, are bored by ordinary life but, craving applause, thrive in tight spots and emergencies.

One was the birth of their baby, Sam (a nonbinary “ theyby ”), after the kind of fetal-maternal hemorrhage that often results in stillbirth. Mrs. Harris is ecstatic about her child, now a second grader — taking weekly candlelit baths with them, she weeps with love — but she feels her parenting efforts, which include massaging kale for a five-part bento box lunch, go underrecognized or criticized. And her sex life, which is dependent on fantasy, a.k.a. “mind-rooted,” has suffered. Sometimes when she delays initiating, she can hear her body-rooted husband’s penis “whistling impatiently like a teakettle.”

After a whiskey company unexpectedly licenses one of her saucy sentences for $20,000, she decides to splurge for her birthday on a room at the Carlyle, the fancy-pants hotel on New York’s Upper East Side. But, starting from Los Angeles, she only makes it as far as a motel in the nearby suburb of Monrovia. And that’s when things get weird in that Miranda July way that some critics find the ne plus ultra of twee (Harris twee?) and I happen to enjoy very much, with a few caveats.

Angst about the change of life — what Jong would call “ Fear of Fifty ” — seems a family curse. At 55, the narrator’s paternal grandmother had fatally flung herself out the window, first considerately placing herself in a garbage bag; an Aunt Ruthie followed; and her own mother is cognitively impaired and hard of hearing (while her father perpetually occupies a “deathfield” of depression and panic). But she is most immediately concerned with losing her looks and libido: of falling off, what she sees on a graph of shifting hormones over a life span, the “estrogen cliff.”

She blows her windfall to redo Room 321 in lavish and idiosyncratic style, carpeted in New Zealand wool and scented with tonka beans, then begins a torrid and all-consuming romance with the decorator’s husband, a hip-hop hobbyist named Davey who works at Hertz and resembles Gilbert Blythe from the “Anne of Green Gables” series. (Blythe and a Grand Parterre Sarouk carpet are the kinds of allusions July drops for her cultivated audience without explanation.)

A few words about the sex in “All Fours,” which is titled for what the narrator’s best friend, a sculptor, calls “the most stable position. Like a table.” (Well, not a wobbly one.) It is gaspingly graphic, sometimes verging on gross (urine, tampons and a suspected polyp — “hopefully benign”— all come into play), and supplemented with masturbation galore. Compelled to read these definitely not twee-rated passages, I briefly considered filing a complaint with human resources. Then I remembered the protracted and messy sex scenes released with such fanfare into the culture by Philip Roth, Harold Brodkey, et al., and decided I was being discriminatory and prudish.

Jong popularized the idea of “zipless” intercourse (more snappily than that); July’s term is “bottomless.” Her perimenopausal protagonist’s desire is insatiable, unfathomable, roving across genders and generations: a kind of supernova of lust preceding what she anticipates will be the black hole of senescence.

Even more than this adulterous appetite, her casual ageism, in a milieu where preferred pronouns are sacred, can shock. “Nobody except the doctor knew — or could even conceive of — what was going on between her legs,” she thinks of a woman in her 70s glimpsed in the gynecologist’s office, imagining “gray labia, long and loose.” ( Paging Arnold Kegel !) And, buying a 1920s bedspread from a “free spirit” at an antique mall: “Sometimes my hatred of older women almost knocked me over, it came so abruptly.”

Hatred is fear-based, of course — and you come to understand that the main character’s real journey will not be on Route 66, but the path to self-acceptance. In order to ride shotgun comfortably, though, you have to accept her preoccupation with the reflection in the rearview mirror; her indifference to any current affairs but her own.

When this unnamed She spray-paints “CALL ME” on a chair for the now-estranged Davey, it’s like John Cusack’s boombox serenade in “Say Anything.” When she posts a wild dance on Instagram after firming her own body at the gym, frantically seeking his Like, it’s like the boombox turned up to arena volume.

Are the mental-health professionals back from Europe yet? One pops up late on Harris’s arm, as the marriage reconfigures, but otherwise they’re strangely absent from “All Fours,” whose woman on the verge of chronological maturity has the intense focus of an artist, sure — but also a yearning adolescent.

ALL FOURS | By Miranda July | Riverhead | 336 pp. | $29

Alexandra Jacobs is a Times book critic and occasional features writer. She joined The Times in 2010. More about Alexandra Jacobs

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