hero's journey vs 3 act structure

The Hero’s Journey Versus Three-Act Structure

By Michelle Barker

The hero’s journey is a narrative pattern that was recognized and coined by author and literature professor, Joseph Campbell. As he studied stories and myths, he noticed they all followed a distinct pattern, and he broke it down into twelve sections.

Sounds complicated? Actually, it isn’t. The hero’s journey (sometimes called the monomyth) is just another version of three-act structure :

Act One—Departure:  the hero receives a call to adventure, leaves their home and embarks on a quest.

Act Two—Initiation:  the hero enters a new world where they face challenges and learn new things until they conquer their adversary and gain the object of their quest (which might be an actual object or might simply be knowledge or wisdom).

Act Three—Return:  the hero returns home bringing something that will help the community, thanks to the experiences they had and the wisdom they gained.

So, what does the hero’s journey bring to the table that you don’t already know from three-act structure? It’s a slightly different way of looking at story and it introduces the concept of archetypes, which come from Carl Jung and his theory of the collective unconscious. Some of these include:

• The Hero/Heroine: the story’s protagonist
• The Shadow: this could be the antagonist, but it could also be a source of internal conflict within the hero/heroine. Rather than thinking of the Shadow as evil, it’s more instructive to think of it as the protagonist’s opposite
• The Herald: the person who announces information that starts the journey
• The Mentor: someone who appears to help the main character
• Shapeshifters: examples include wizards, vampire, and werewolves, or more simply, characters who change or deceive
• The Trickster: someone who challenges boundaries, causes trouble for the protagonist; the fool who is wise
• Allies: characters who help the protagonist in their quest.

If these concepts help you, great. If they don’t, feel free to set them aside.

The Hero’s Journey Cheat Sheet

The structure of the hero’s journey can be a bit daunting, but when we superimpose three-act-structure terms on it, it becomes a lot more familiar (and less scary).

DEPARTURE (Act One)

• The Hero in their Ordinary World: This is what three-act structure calls stasis . A view of the ordinary world often gives the reader a glimpse of what’s at stake if the hero doesn’t succeed in their quest. 
• The Call to Adventure: Something happens, or someone arrives— the inciting incident —to disrupt the hero’s usual life (stasis). It’s not necessarily a bad thing, just something that threatens to create change in some form. The archetype of the Herald might come into play here. 
• Refusal of the Call: This one sometimes gets mentioned in three-act structure as second thoughts . The hero considers the challenge or disruption and says, “Nah, not interested, too scary, I prefer my comfort zone.” 
• Meeting with the Mentor: This is someone who either enters the hero’s life or is already there (think: Gandalf) and provides the hero with either the tools, the wisdom, or the motivation that pushes them to accept the call to adventure. 
• Crossing the Threshold: The hero leaves their familiar world behind and sets off on their adventure or quest. Taken with the next step, this is what James Scott Bell calls  the doorway of no return: the moment in the story when the hero gets stuck and must see it through to the end.

INITIATION (Act Two)

• Tests, Allies, Enemies: In three-act structure, this would be called rising action —the series of obstacles the hero faces as they undergo change. As in all good stories, there should be a lot of failure here. Things should be getting worse rather than better. 
• Approach to the Inmost Cave: This is the look-in-the-mirror moment , when the hero must face their doubts and fears and realize if they’re going to achieve their goal they have to step up and become someone new. Whether the hero confronts him/herself or an actual figure of power, the important thing to recognize is that this moment is a turning point that involves personal transformation. In three-act structure, this might be the midpoint reversal . 
• The Supreme Ordeal: This part of the story combines a few key elements in three-act structure: the all-is-lost moment (or the dark night of the soul of Save the Cat! fame) and the epiphany . The hero comes close to failure and/or death, then faces their enemy to emerge victorious. 
• Seizing the Sword: The hero obtains the object of the quest—a sword, an elixir, a ring. Here is the story’s climax.

RETURN (Act Three)

• The Road Back: The hero doesn’t just get what they came for. Now, they must take it back to the community they left behind. These last three stages form the novel’s dénouement. 
• Resurrection: The hero is transformed by their adventures. In three-act structure we recognize this as the final stage of the character arc: a reflection on how the protagonist has changed. 
• Return with the Elixir. This brings the story full circle. The hero returns to the ordinary world they left behind at the beginning of the story. They are transformed, and they have brought back the object of their quest. Resolution has been achieved.

Critics of the hero’s journey say it’s too vague and trope-y to be useful, but that vagueness also leaves room for variation. There’s no reason why you can’t use elements of the hero’s journey and transform them for your own purposes.  How you envision a quest, the sword, a mentor, or any of the other archetypes, will give your story its own spice .

Michelle Barker is an award-winning author and poet. Her most recent publication, co-authored with David Brown, is Immersion and Emotion: The Two Pillars of Storytelling . Her fiction, non-fiction, and poetry have appeared in literary reviews worldwide. She has published three YA novels (one fantasy and two historical fiction), a historical picture book, and a chapbook of poetry. Michelle holds a BA in English literature (UBC) and an MFA in creative writing (UBC). Many of the writers she’s worked with have gone on to win publishing contracts and honours for their work. Michelle lives and writes in Vancouver, Canada.

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Mastering The Three Act Structure: A Comprehensive Guide For Writers

Table of Contents

Understanding the Three-Act Structure

Act one: setup, act two: confrontation, act three: resolution, three-act structure variations and flexibility, tips for implementing the three-act structure in your writing, frequently asked questions, further reading.

The Three-Act Structure is a model commonly used in storytelling, particularly in screenwriting and novel writing, to divide a narrative into three distinct parts or acts. Each act serves a specific function in the overall story and corresponds to a different stage in the protagonist's journey. This structure has its roots in Aristotle's Poetics , where he proposed that every story should have a beginning, middle, and end. Although the Three-Act Structure has evolved over time, its core principles remain the same.

In this section, we will provide an overview of each act, its purpose, and the key elements that define it:

• This act introduces the main characters, establishes the setting, and presents the central conflict. It typically takes up about 25% of the story's length.
• An inciting incident occurs early in the first act, setting the story in motion and propelling the protagonist into the main action.
• The act ends with a plot point known as the first turning point or first-act break, which marks a significant change in the protagonist's circumstances and leads them to embark on a new course of action.
• This act comprises the majority of the story (approximately 50%) and focuses on the protagonist's efforts to overcome obstacles and achieve their goal. It involves a series of increasingly challenging trials and tribulations.
• The midpoint of the story, which falls roughly in the middle of the second act, often features a turning point or significant revelation that affects the protagonist's journey.
• Act Two ends with another major plot point, known as the second turning point or second-act break, which leads to a crisis or low point for the protagonist and sets the stage for the final act.
• The final act, taking up about 25% of the story's length, centers on the climax and resolution of the main conflict. It shows the protagonist's final confrontation with the antagonist or the central obstacle, as well as the consequences of their actions.
• The climax is the story's most intense and emotionally charged moment, where the protagonist either succeeds or fails in achieving their goal.
• After the climax, the story moves towards its resolution, tying up loose ends and addressing any remaining subplots or character arcs. This part of the story provides a sense of closure and emotional satisfaction for the reader or viewer.

While the Three-Act Structure provides a useful framework for organizing and pacing a story, it is important to remember that it is not a rigid formula. Writers can adapt and modify the structure to suit their unique storytelling needs, ensuring that their narrative remains engaging and compelling throughout.

Act One, also known as the Setup, is the first part of the Three-Act Structure and serves as the foundation of the story. It typically takes up approximately 25% of the story's length and introduces the key elements necessary for the audience to understand and engage with the narrative. In this section, we will explore the crucial components of Act One, as well as strategies for effectively establishing your story.

• Act One begins with the inciting incident , a critical event or catalyst that disrupts the protagonist's world and sets the story in motion. This event often occurs within the first few scenes or chapters, compelling the protagonist to take action and face the central conflict.
• The inciting incident should be intriguing and raise questions for the audience, encouraging them to become invested in the story and its outcome. It can be an external event, such as a natural disaster or a personal tragedy, or an internal one, like a revelation or decision that alters the protagonist's perspective.
• Act One is also responsible for introducing the main characters, including the protagonist, antagonist, and supporting characters. Each character should be distinct and well-developed, with their own motivations, goals, and backgrounds that contribute to the story.
• Take the time to create engaging, multi-dimensional characters that evoke empathy and interest from the audience. This can be achieved through effective characterization techniques such as show, don't tell , where you reveal information about characters through their actions, dialogue, and interactions with others, rather than through direct exposition.
• Additionally, Act One establishes the story's setting, which includes the physical location, time period, and social context. The setting should be vividly described and serve as an integral part of the story, influencing the characters and the plot.
• As the first act progresses, it is essential to raise the stakes and build tension in order to maintain audience engagement. This can be achieved through the introduction of subplots, secondary conflicts, or obstacles that the protagonist must overcome on their journey.
• Make sure that the stakes are clear and meaningful to the characters, as this will help the audience understand their motivations and empathize with their struggles.
• Act One culminates with the first turning point or first-act break, a significant event or decision that marks a major shift in the protagonist's circumstances. This turning point propels the story into Act Two, the Confrontation, where the protagonist faces new challenges and obstacles.

Effectively executing Act One is crucial for setting the stage for the rest of the story, as it introduces the key elements and establishes the emotional and narrative foundation upon which the rest of the story is built. By creating compelling characters, a vivid setting, and raising the stakes, you can ensure that your audience remains invested and eager to see how the story unfolds.

The Inciting Incident

The inciting incident is a pivotal moment in the Three-Act Structure that occurs early in Act One. It serves as the catalyst for the entire story, disrupting the protagonist's ordinary world and setting them on a new path. The inciting incident sparks the central conflict and establishes the stakes, which are the consequences or rewards tied to the protagonist's goals. In this section, we will delve deeper into the nature and significance of the inciting incident, as well as offer guidance on crafting an effective and engaging inciting incident for your story.

• The inciting incident has several essential functions in a narrative, including:
• Introducing the central conflict: The inciting incident often reveals or foreshadows the main issue or challenge that the protagonist will face throughout the story. It sets the stage for the ensuing struggle and creates anticipation for the audience.
• Propelling the protagonist into action: The inciting incident forces the protagonist to react, prompting them to make choices and take actions that will ultimately drive the story forward.
• Engaging the audience: The inciting incident serves as a hook that captures the audience's attention and generates curiosity about the story's outcome. It should raise questions and create a sense of intrigue, compelling the audience to continue reading or watching.
• Inciting incidents can take many forms, ranging from small-scale personal events to large-scale societal upheavals. Some examples include:
• A chance encounter with a mysterious stranger (e.g., The Matrix )
• A sudden tragedy or loss (e.g., Harry Potter and the Philosopher's Stone )
• A life-altering discovery or revelation (e.g., The Hunger Games )
• An unexpected opportunity or challenge (e.g., The Lord of the Rings )
• To craft an effective inciting incident, consider the following tips:
• Ensure it is relevant to the story: The inciting incident should be directly connected to the central conflict and the protagonist's goals. It should serve as a natural starting point for the story and lay the groundwork for the protagonist's journey.
• Make it emotionally engaging: The inciting incident should evoke an emotional response from the audience, whether it's curiosity, fear, sympathy, or excitement. This emotional connection will help to draw the audience into the story and keep them invested in the protagonist's plight.
• Introduce it early in the story: While the inciting incident doesn't necessarily have to occur on the first page or in the opening scene, it should be introduced relatively early in Act One. This will help to quickly establish the story's direction and prevent the audience from losing interest due to a slow start.
• Ensure it is clear and impactful: The inciting incident should be easy for the audience to identify and understand, with a clear cause-and-effect relationship to the protagonist's actions and the story's central conflict. It should also have a significant impact on the protagonist's life, raising the stakes and increasing the urgency of their goal.

Establishing Characters and Setting

Act One of the Three-Act Structure is responsible for introducing the main characters and setting, which are integral components of any story. In this section, we will explore the importance of these elements and provide guidance on how to effectively establish characters and setting in your narrative.

• Characters are the heart of any story, and it is essential to create engaging, multi-dimensional characters that resonate with the audience. Act One should introduce the protagonist, antagonist, and key supporting characters, providing enough information to understand their motivations, goals, and backgrounds.
• Consider the following when introducing characters:
• Characterization : Use characterization techniques to reveal information about characters through their actions, dialogue, and interactions with others, rather than relying solely on direct exposition. This helps to create a more immersive and engaging experience for the audience.
• Character Arcs : Establish the potential for growth and change within your characters, particularly the protagonist. A well-developed character arc can create a satisfying and emotionally resonant story.
• Character Relationships : Develop the relationships between characters, as these connections can drive the story forward and add depth to your narrative. Explore the dynamics of friendships, family ties, romantic interests, and rivalries to enrich your characters and story.
• The setting of a story includes the physical location, time period, and social context in which the narrative takes place. A vivid and well-crafted setting can enhance the story by providing a backdrop that influences the characters and plot.
• Consider the following when creating your story's setting:
• World-Building : In fantasy or science fiction stories, world-building is a critical aspect of establishing the setting. Develop a coherent and immersive world with its own history, culture, rules, and geography. Keep in mind that even stories set in the real world can benefit from detailed and immersive world-building .
• Atmosphere and Tone : The setting can help to establish the atmosphere and tone of the story, influencing the mood and emotional landscape of the narrative. Consider how the setting can reflect or contrast with the story's themes and the emotions of the characters.
• Setting as a Character : In some stories, the setting can function as a character in its own right, with its own personality, history, and influence on the narrative. Consider how the setting can impact the story and its characters, and whether it can be used to add depth or complexity to the narrative.

In summary, establishing well-developed characters and a vivid setting is essential for creating a compelling and engaging story. By introducing multi-dimensional characters and immersing the audience in a rich and detailed setting, you can lay a strong foundation for your narrative and set the stage for a successful Act One.

Raising Stakes and Building Tension

Act One of the Three-Act Structure is not only responsible for establishing the characters and setting, but also for raising the stakes and building tension within the story. This is a crucial element in maintaining audience engagement and creating a sense of urgency within the narrative. In this section, we will discuss the importance of stakes and tension and provide strategies for effectively raising the stakes and building tension in your story.

• Stakes are the potential consequences or rewards tied to the protagonist's goals and actions. They serve as the driving force behind the story and provide a reason for the audience to care about the outcome. Stakes can be personal, professional, or even global in scope, depending on the nature of the story.
• Consider the following when establishing stakes:
• Make stakes clear and meaningful : Ensure the stakes are easily understood by the audience and have a significant impact on the protagonist and other characters. This will help the audience empathize with the characters and become invested in their struggles.
• Introduce stakes early in the story : Introduce the stakes as early as possible in Act One, ideally within the inciting incident or shortly thereafter. This will create a sense of urgency from the outset and propel the story forward.
• Adjust stakes as the story progresses : As the story unfolds, consider raising or altering the stakes to maintain tension and keep the audience engaged. This can be achieved by introducing new challenges, conflicts, or obstacles for the protagonist to overcome.
• Tension is the sense of anticipation, unease, or suspense that keeps the audience engaged in the story. It is created by establishing a sense of uncertainty or conflict, whether it is between characters, within the protagonist themselves, or between the protagonist and their environment.
• Consider the following when building tension:
• Introduce conflicts and obstacles : Create challenges and obstacles for the protagonist to overcome throughout Act One. These can be external (e.g., a physical barrier or an opposing force) or internal (e.g., a character flaw or personal struggle).
• Use pacing effectively : Control the pace of your story to create and maintain tension. Slower pacing can be used to build anticipation, while faster pacing can heighten suspense or convey a sense of urgency. Varying the pace can help maintain the audience's interest and create a more dynamic and engaging narrative.
• Employ foreshadowing and dramatic irony : Use literary techniques such as foreshadowing and dramatic irony to create a sense of impending danger or conflict. This can add depth to your narrative and keep the audience on edge as they anticipate the resolution of these conflicts.

Act Two, also known as the Confrontation, is the longest and most complex part of the Three-Act Structure. This act sees the protagonist facing numerous challenges and obstacles as they pursue their goal, ultimately leading to a significant turning point or crisis. In this section, we will explore the key components of Act Two and provide guidance on how to craft a compelling and engaging Confrontation for your story.

• Act Two comprises roughly 50% of the story and serves as the bridge between the Setup in Act One and the Resolution in Act Three. The primary function of Act Two is to develop the central conflict, build tension, and challenge the protagonist as they work towards their goal.
• The main components of Act Two include:
• Rising Action : The rising action is a series of events and complications that increase tension and raise the stakes for the protagonist. These challenges can be internal (e.g., character flaws, doubts) or external (e.g., antagonistic forces, obstacles).
• Midpoint : The midpoint is a significant turning point in the story that occurs approximately halfway through Act Two. It often marks a change in the protagonist's approach or a shift in the stakes, propelling the narrative in a new direction.
• Low Point : The low point, or crisis, is a moment of despair or failure for the protagonist, when all seems lost. This typically occurs towards the end of Act Two and serves as a catalyst for the protagonist's final push towards their goal in Act Three.
• Act Two is where the central conflict of the story truly takes shape, as the protagonist faces mounting challenges and setbacks. Consider the following when developing the central conflict:
• Introduce subplots : Introduce subplots to add depth and complexity to your narrative, as well as to explore the various dimensions of your characters and their relationships. Ensure that subplots are connected to the main story and contribute to the overall narrative.
• Develop character arcs : Continue to develop character arcs, particularly for the protagonist and key supporting characters. Act Two is an opportunity for characters to grow, change, and learn from their experiences, which can create a more satisfying and emotionally resonant story.
• Utilize reversals and surprises : Employ plot twists, reversals, and surprises to keep the audience engaged and maintain tension throughout Act Two. Ensure that these events are well-foreshadowed and grounded in the story's logic, so as not to feel contrived or arbitrary.
• As Act Two draws to a close, the stage must be set for the story's resolution in Act Three. Consider the following when transitioning from Act Two to Act Three:
• Resolve subplots : Begin to resolve or tie up any loose ends in the subplots, as they should contribute to the overall narrative and reach a satisfying conclusion by the end of Act Three.
• Prepare for the climax : Build tension and anticipation as the story moves towards the climax, which occurs in Act Three. This can involve raising the stakes, heightening the central conflict, or presenting the protagonist with a seemingly insurmountable obstacle.
• Low Point or Crisis : The low point or crisis serves as a critical turning point for the protagonist, forcing them to reevaluate their approach and make a decision that will ultimately determine the story's outcome. This moment should be emotionally charged and serve as a catalyst for the protagonist's final push towards their goal in Act Three.

First Half of Act Two: Challenges and Obstacles

The first half of Act Two is a critical stage in the Three-Act Structure, as it sees the protagonist facing a series of challenges and obstacles that test their resolve and push them towards growth. In this section, we will delve into the importance of challenges and obstacles in the first half of Act Two and provide guidance on how to create compelling and engaging situations for your protagonist to navigate.

• Challenges and obstacles serve several essential functions in the narrative, including:
• Character development : The protagonist's response to challenges and obstacles reveals their true nature, strengths, and weaknesses, allowing for growth and change over the course of the story.
• Plot progression : By overcoming challenges and obstacles, the protagonist moves closer to achieving their goal, driving the plot forward.
• Tension and conflict : Challenges and obstacles create tension and conflict within the story, keeping the audience engaged and invested in the protagonist's journey.
• Challenges and obstacles can take many forms, including:
• External : External challenges and obstacles are those that originate outside the protagonist, such as antagonistic forces, physical barriers, or difficult circumstances. Examples include a rival character, a natural disaster, or a societal constraint.
• Internal : Internal challenges and obstacles are those that originate within the protagonist, such as character flaws, personal fears, or emotional struggles. Examples include self-doubt, a tragic past, or a moral dilemma.
• Interpersonal : Interpersonal challenges and obstacles arise from the relationships and interactions between characters, such as conflicts of interest, misunderstandings, or betrayals. Examples include a love triangle, a rivalry, or a hidden secret.
• Consider the following when crafting challenges and obstacles for your protagonist:
• Align with character goals and motivations : Ensure that the challenges and obstacles presented to the protagonist are directly related to their goals and motivations, as this will heighten the stakes and increase audience investment.
• Vary the types and intensity : Use a mix of external, internal, and interpersonal challenges and obstacles to create a varied and engaging narrative. Additionally, consider varying the intensity of these challenges to maintain audience interest and create a dynamic story.
• Build towards the Midpoint : As the first half of Act Two progresses, gradually increase the complexity and difficulty of the challenges and obstacles faced by the protagonist, culminating in a significant turning point or revelation at the Midpoint.

The Midpoint: Reversals and Revelations

The Midpoint is a significant turning point in the Three-Act Structure that occurs approximately halfway through Act Two. It often marks a change in the protagonist's approach, a shift in the stakes, or a revelation that propels the narrative in a new direction. In this section, we will examine the importance of the Midpoint, its various forms, and how to create an impactful and engaging Midpoint for your story.

• The Midpoint is a critical juncture in the narrative that serves several key functions, including:
• Plot progression : The Midpoint often introduces new information or a significant event that changes the course of the story, pushing the protagonist closer to or further from their goal.
• Character development : The Midpoint can reveal previously unknown aspects of the protagonist's character or force them to confront their flaws and weaknesses, leading to growth and change.
• Tension and conflict : The Midpoint often heightens the central conflict, raises the stakes, or introduces new complications that create tension and maintain audience interest.
• Midpoints can take various forms, such as:
• Reversals : A reversal is an unexpected change in circumstances that alters the protagonist's situation, either for better or for worse. This can involve a victory that turns into a defeat, a betrayal by a trusted ally, or a sudden revelation that changes the protagonist's understanding of their goal.
• Revelations : A revelation is the unveiling of new information or a previously hidden truth that significantly impacts the protagonist and their journey. This can include the discovery of an enemy's true identity, the realization of a character's hidden motives, or the uncovering of a long-held secret.
• Decisions : A decision is a critical choice made by the protagonist that affects the outcome of the story. The Midpoint can serve as a moment of decision in which the protagonist commits to a particular course of action or makes a significant change in their approach.
• Consider the following when crafting your story's Midpoint:
• Align with the central conflict : Ensure that the Midpoint is directly related to the central conflict of the story, as this will heighten the stakes and reinforce the narrative's overall theme and message.
• Emphasize character growth : Use the Midpoint to showcase the protagonist's growth and development, whether through the choices they make, the revelations they uncover, or the obstacles they overcome.
• Surprise and engage the audience : The Midpoint should be unexpected and engaging, taking the audience by surprise and maintaining their interest as the story moves into the second half of Act Two.
• The Midpoint serves as a bridge between the first and second halves of Act Two, setting the stage for the escalating challenges and conflicts that will ultimately lead to the Climax in Act Three. Consider the following:
• Change the protagonist's approach : The Midpoint should push the protagonist to adapt their approach or strategy, often in response to the new information, revelations, or circumstances introduced at this point in the story.
• Escalate the stakes : The Midpoint can be used to raise the stakes of the central conflict, heightening the sense of tension and urgency as the protagonist moves towards their goal.
• Introduce new complications : Use the Midpoint as an opportunity to introduce new complications, obstacles, or antagonistic forces that will further challenge the protagonist and create additional layers of conflict in the story.

Second Half of Act Two: Escalation and Struggles

The second half of Act Two in the Three-Act Structure is characterized by escalating challenges, increased tension, and the protagonist's continued struggle to achieve their goal. In this section, we will discuss the importance of escalation and struggles in the second half of Act Two, along with tips for crafting a compelling narrative that leads to the story's Climax in Act Three.

• Escalation and struggles serve several crucial functions in the narrative, including:
• Plot progression : The intensifying challenges and obstacles faced by the protagonist drive the plot forward and set the stage for the Climax and resolution in Act Three.
• Character development : The protagonist's ongoing struggles reveal their resilience, resourcefulness, and determination, contributing to their growth and transformation over the course of the story.
• Tension and conflict : The escalating stakes and intensifying conflicts in the second half of Act Two heighten the sense of tension and drama, keeping the audience engaged and invested in the protagonist's journey.
• Consider the following elements when crafting the second half of Act Two:
• Increasing difficulty : The challenges and obstacles faced by the protagonist should become progressively more difficult, forcing them to adapt, grow, and develop new skills or strategies to overcome them.
• Heightening stakes : As the story progresses, the stakes of the central conflict should continue to rise, increasing the sense of urgency and tension surrounding the protagonist's goal.
• Deepening character relationships : The second half of Act Two provides an opportunity to explore and deepen the relationships between the protagonist and other characters, revealing new dimensions and complexities that add depth and richness to the story.
• The second half of Act Two should build towards a climactic confrontation or turning point that leads into Act Three. Consider the following:
• Prepare for the Climax : The challenges and struggles faced by the protagonist should culminate in a dramatic confrontation or turning point that sets the stage for the Climax in Act Three.
• Resolve subplots : Begin wrapping up any subplots that have been introduced in the story, ensuring they contribute to the overall narrative and reach a satisfying conclusion by the end of Act Three.
• Set up the final conflict : Half of Act Two should establish the groundwork for the final conflict between the protagonist and antagonist, clarifying the stakes and creating a sense of anticipation for the story's resolution.
• Keep the following tips in mind when crafting the second half of Act Two:
• Maintain pace and tension : Ensure that the story's pacing remains consistent and engaging, with the escalating stakes and conflicts maintaining a sense of tension and momentum.
• Emphasize character development : Use the protagonist's struggles and challenges as opportunities for growth, change, and self-discovery, showcasing their evolving character arc and emotional journey.
• Surprise and engage the audience : Incorporate unexpected twists, reversals, and revelations that keep the audience guessing and invested in the story's outcome.

Act Three of the Three-Act Structure is the final and climactic portion of the story, where the narrative reaches its peak, and the central conflict is resolved. In this section, we will explore the key components of Act Three, its importance in the overall narrative, and tips for crafting a satisfying and emotionally resonant conclusion to your story.

• Act Three serves several essential functions in the narrative, including:
• Conflict resolution : The central conflict of the story, which has been building throughout Acts One and Two, reaches its resolution during Act Three, bringing closure to the protagonist's journey.
• Character arc completion : Act Three is where the protagonist's character arc reaches its conclusion, demonstrating their growth and transformation as a result of their experiences and challenges throughout the story.
• Emotional payoff : Act Three delivers the emotional payoff for the audience, who have been engaged and invested in the protagonist's journey, providing a sense of satisfaction and fulfillment.
• Consider the following components when crafting Act Three of your story:
• The Climax : The Climax is the peak of the story's action and emotion, where the protagonist faces their final confrontation with the antagonist or the central conflict. This confrontation often tests the protagonist's growth and transformation, determining the ultimate outcome of the story.
• Falling Action : The Falling Action follows the Climax and begins to resolve any remaining conflicts or subplots, tying up loose ends and demonstrating the consequences of the Climax.
• Resolution/Dénouement : The Resolution or Dénouement is the final scene or sequence in which the story's remaining issues are resolved, and a sense of closure is provided for the protagonist and other characters.
• Keep the following tips in mind when crafting Act Three of your story:
• Maintain pace and tension : While Act Three typically moves at a faster pace than the previous acts, it's essential to maintain tension and momentum throughout, ensuring the audience remains engaged and invested in the story's outcome.
• Deliver on promises : Ensure that all narrative promises made throughout the story are fulfilled in Act Three, providing a satisfying and emotionally resonant conclusion for the audience.
• Show character growth : Highlight the protagonist's growth and transformation during Act Three, showcasing how their experiences and challenges have shaped them and ultimately determine the story's outcome.

The Climax: The Final Showdown

The Climax is the high point of the narrative, where the protagonist faces their ultimate challenge and the central conflict reaches its peak. In this section, we will explore the importance of the Climax, its key components, and tips for crafting a compelling and emotionally charged final showdown in your story.

• The Climax serves several crucial functions in the narrative, including:
• Action peak : The Climax is the most intense and dramatic moment in the story, where the action and tension reach their highest point, keeping the audience on the edge of their seat.
• Character arc culmination : The Climax serves as the ultimate test of the protagonist's growth and transformation, as they must confront the antagonist or central conflict and overcome their greatest challenges.
• Emotional impact : The Climax delivers the emotional payoff for the audience, who have been invested in the protagonist's journey and the story's outcome, providing a sense of catharsis and satisfaction.
• Consider the following components when crafting the Climax of your story:
• Final confrontation : The Climax typically involves a final showdown or confrontation between the protagonist and the antagonist or central conflict. This confrontation should be the most intense and dramatic moment in the story, with high stakes and significant consequences for the protagonist and other characters.
• Character growth : The Climax should showcase the protagonist's growth and transformation throughout the story, as they apply the lessons they have learned and overcome their internal and external challenges to achieve their goal.
• Resolution of the central conflict : The Climax should bring the story's central conflict to a head, with the protagonist either achieving their goal or facing the consequences of their failure.
• Keep the following tips in mind when crafting the Climax of your story:
• Build tension and suspense : Use pacing, dialogue, and description to create a sense of tension and suspense leading up to the Climax, heightening the audience's anticipation and emotional investment in the story's outcome.
• Emphasize stakes and consequences : Clearly establish the stakes and potential consequences of the Climax, ensuring the audience understands the significance and impact of the protagonist's actions and choices during the final showdown.
• Deliver emotional payoff : Ensure that the Climax delivers the emotional payoff the audience has been anticipating, providing a sense of catharsis and satisfaction as the protagonist faces their greatest challenge and the central conflict reaches its peak.

Falling Action and Resolution

Following the Climax, the Falling Action and Resolution serve to bring the narrative to a close, resolving any remaining conflicts and providing closure for the characters and the story as a whole. In this section, we will discuss the importance of the Falling Action and Resolution, their key components, and tips for crafting a satisfying and emotionally resonant conclusion to your story.

• Falling Action and Resolution serve several important functions in the narrative, including:
• Conflict resolution : The Falling Action and Resolution wrap up any remaining conflicts or subplots, demonstrating the consequences of the Climax and providing closure for the protagonist and other characters.
• Character arc completion : These narrative stages show the protagonist's growth and transformation as a result of their experiences and challenges, highlighting the story's themes and messages.
• Emotional satisfaction : The Falling Action and Resolution provide the emotional satisfaction and closure that the audience seeks, tying up loose ends and delivering a sense of fulfillment.
• Consider the following components when crafting the Falling Action and Resolution of your story:
• Falling Action : The Falling Action follows the Climax and begins to resolve any remaining conflicts or subplots. It also demonstrates the consequences of the Climax and sets the stage for the Resolution.
• Resolution/Dénouement : The Resolution or Dénouement is the final scene or sequence in which the story's remaining issues are resolved, and a sense of closure is provided for the protagonist and other characters. This stage brings the story to a satisfying close, tying up any remaining loose ends and reinforcing the story's themes and messages.
• Keep the following tips in mind when crafting the Falling Action and Resolution of your story:
• Maintain pace and tension : While the Falling Action and Resolution are typically less intense than the Climax, it's essential to maintain a sense of pace and tension that keeps the audience engaged and invested in the story's outcome.
• Resolve conflicts and subplots : Ensure that all remaining conflicts and subplots are resolved during the Falling Action and Resolution, providing a sense of closure and satisfaction for the audience.
• Show character growth and transformation : Highlight the protagonist's growth and transformation during the Falling Action and Resolution, demonstrating how their experiences and challenges have shaped them and contributed to the story's overall themes and messages.

In conclusion, the Falling Action and Resolution are essential components of the Three-Act Structure, providing the necessary closure and emotional satisfaction that bring the story to a satisfying end. By resolving conflicts, demonstrating character growth, and reinforcing the story's themes, you can craft a memorable and emotionally resonant conclusion that leaves a lasting impact on your audience.

As a writer, it is crucial to master the art of crafting a compelling Falling Action and Resolution to leave your readers with a sense of fulfillment and a lasting impression of your story. By paying close attention to pacing, conflict resolution, and character development, you can create a satisfying conclusion that ties up all loose ends and reinforces your story's overall message.

Tying Up Loose Ends and Emotional Impact

As a writer, one of your primary goals is to create a story that resonates with your audience and leaves a lasting emotional impact. An essential aspect of achieving this is effectively tying up loose ends, addressing any unresolved storylines, and ensuring that the emotional arcs of your characters come to a satisfying close. In this section, we will discuss the importance of tying up loose ends and delivering emotional impact, along with tips and strategies for achieving these goals in your writing.

• Effectively tying up loose ends and delivering emotional impact serves several key functions in a story, including:
• Satisfaction and closure : Resolving all remaining storylines and character arcs provides the audience with a sense of satisfaction and closure, ensuring that their emotional investment in the story is rewarded.
• Reinforcing themes and messages : Tying up loose ends and delivering emotional impact can help to reinforce the overall themes and messages of your story, creating a more profound and memorable experience for your audience.
• Building reader loyalty : A story that effectively ties up loose ends and delivers a powerful emotional impact is more likely to build reader loyalty, encouraging them to seek out more of your work in the future.
• Consider the following strategies when tying up loose ends in your story:
• Review your story's subplots : As you approach the conclusion of your story, take the time to review all of your subplots and identify any unresolved storylines that need to be addressed.
• Resolve character arcs : Ensure that each character's emotional arc is brought to a satisfying close, demonstrating their growth and transformation as a result of the story's events.
• Revisit earlier story elements : Review your story for any earlier elements, such as symbols, motifs, or foreshadowing, that can be revisited and resolved in the story's conclusion to create a sense of cohesion and closure.
• Consider the following tips for delivering a powerful emotional impact in your story:
• Create relatable characters : Develop characters that are relatable and emotionally engaging to your audience, encouraging them to become invested in their journeys and experiences.
• Build emotional stakes : Establish clear emotional stakes for your characters, highlighting the consequences of their actions and the challenges they face throughout the story.
• Use impactful language and imagery : Employ evocative language and imagery to convey the emotional intensity of your story, creating a vivid and immersive experience for your audience.

While the Three-Act Structure is a widely recognized and utilized framework for storytelling, it's important to recognize that it is not a rigid formula. As a writer, you have the flexibility to adapt and modify the structure to best suit your story and creative vision. In this section, we will explore some common variations of the Three-Act Structure, as well as ways to maintain flexibility within the framework to create a compelling and unique narrative.

• There are numerous variations of the Three-Act Structure that have been developed and adapted by different writers and storytellers. Some popular variations include:
• Four-Act Structure : The Four-Act Structure divides the traditional second act into two separate acts, resulting in a more balanced narrative with a clearer midpoint. This structure is particularly useful for longer works, such as novels and screenplays, where additional space is needed for character development and plot progression.
• Hero's Journey : The Hero's Journey , based on the work of Joseph Campbell, is a narrative template that incorporates elements of myth and archetype. While the Hero's Journey shares many similarities with the Three-Act Structure, it places a greater emphasis on the protagonist's transformation and includes additional stages that focus on the character's internal journey.
• Save the Cat! : The Save the Cat! method, developed by Blake Snyder, is a screenwriting approach that breaks down the Three-Act Structure into 15 distinct story beats. This method provides a more detailed roadmap for writers, allowing for greater control over pacing, character development, and plot progression.
• While the Three-Act Structure provides a useful framework for organizing your story, it's important to maintain flexibility and adapt the structure to fit your unique narrative. Consider the following tips:
• Adjust the structure to suit your story : Don't be afraid to deviate from the traditional Three-Act Structure if it doesn't suit your story. You may find that a different structure, such as the Four-Act Structure or the Hero's Journey, better serves your narrative and creative vision.
• Embrace experimentation : Experiment with different structural approaches and techniques to discover what works best for your story. You may find that combining elements from different structures or creating your own custom structure leads to a more engaging and compelling narrative.
• Focus on character and theme : Regardless of the structure you choose, always prioritize character development and thematic exploration. The most effective stories are those that resonate with readers on an emotional level and explore complex ideas and themes.
• Don't force the structure : While the Three-Act Structure can be a helpful tool for organizing your narrative, don't let it dictate your creative process. Remember that the structure should serve your story, not the other way around. Be willing to adapt and modify the structure as needed to best suit your narrative.

Now that you have a deeper understanding of the Three-Act Structure and its variations, it's time to consider how to implement this framework in your own writing. In this section, we will provide practical tips and advice for effectively incorporating the Three-Act Structure into your writing process and creating a compelling narrative that engages your readers.

• Before diving into the writing process, create a detailed outline of your story that follows the Three-Act Structure. This will help you identify key plot points, develop your characters and their arcs, and ensure that your story has a strong beginning, middle, and end.
• Consider using tools like index cards or a digital outlining software to organize your thoughts and visualize your story's structure. This can be particularly helpful in identifying gaps, inconsistencies, or areas that require further development.
• Strong, well-developed characters are the foundation of any compelling story. As you work within the Three-Act Structure, pay close attention to your characters' motivations, goals, and emotional arcs, ensuring that they evolve and grow over the course of the narrative.
• Remember that your protagonist should be the driving force behind your story's events. Ensure that their actions and decisions propel the plot forward and create the necessary tension and conflict within each act.
• Pacing is a critical aspect of storytelling and is closely tied to the Three-Act Structure. Be mindful of your story's pacing, ensuring that each act serves its intended purpose and moves the plot forward at an appropriate speed.
• Remember that the pacing may vary between acts and even within individual scenes. Be willing to adjust your pacing as needed to maintain reader engagement and create a satisfying narrative flow.
• As you work with the Three-Act Structure, be prepared to revise and refine your story as needed. This may involve reworking plot points, adjusting character arcs, or even reorganizing your story's structure to better serve your narrative.
• Don't be afraid to seek feedback from trusted peers, beta readers, or professional editors. Their insights can be invaluable in identifying areas for improvement and ensuring that your story is the best it can be.
• Finally, keep in mind that the Three-Act Structure is a tool to help you organize and shape your story, not a rigid formula that must be followed to the letter. Be willing to adapt and modify the structure as needed to best serve your unique narrative and creative vision.
• Embrace experimentation and be open to trying different structures or techniques. Ultimately, the most important aspect of storytelling is creating a compelling, emotionally resonant narrative that captivates your readers and leaves a lasting impact.

By following these tips and incorporating the Three-Act Structure into your writing process, you can create a well-structured, engaging story that resonates with your audience. Remember to remain flexible, prioritize character development and theme, and never be afraid to experiment and refine your approach to storytelling. With practice and persistence, you can master the Three-Act Structure and use it as a powerful tool to bring your unique stories to life.

Below are some frequently asked questions that will provide you with more information.

What is the Three-Act Structure and why is it important for storytelling?

The Three-Act Structure is a widely used storytelling framework that divides a narrative into three distinct sections: Setup (Act One), Confrontation (Act Two), and Resolution (Act Three). It provides a clear structure for organizing plot events, developing characters, and pacing the narrative. This structure is important for creating engaging, well-structured stories that resonate with readers and maintain their interest throughout the narrative.

How can I effectively implement the Three-Act Structure in my writing?

To effectively implement the Three-Act Structure, start by outlining your story, focusing on character development, ensuring proper pacing, revising and refining your narrative, and remaining flexible with the structure. Remember that the Three-Act Structure is a tool to help you organize and shape your story, not a rigid formula that must be followed to the letter.

Can the Three-Act Structure be adapted for different genres and storytelling styles?

Yes, the Three-Act Structure can be adapted and modified to suit a wide range of genres and storytelling styles. While the basic structure remains the same, the specific plot points, character arcs, and pacing can be tailored to fit your unique narrative and creative vision. Don't be afraid to experiment with the structure and make adjustments as needed to best serve your story.

What are some common variations of the Three-Act Structure?

Common variations of the Three-Act Structure include the Four-Act Structure, the Hero's Journey, and the Save the Cat! Beat Sheet. Each of these variations offers a different approach to organizing and pacing your story, with unique plot points and character arcs. Experimenting with different structures can help you find the best framework for your specific narrative and storytelling style.

For those interested in delving deeper into the art of storytelling and the Three-Act Structure, the following non-fiction books offer valuable insights and advice. These books provide a wealth of knowledge on various aspects of narrative structure, character development, and the craft of writing.

In this comprehensive guide, McKee shares his knowledge of screenwriting and storytelling, exploring the essential elements of a successful story. The book covers various aspects of storytelling, including plot structure, character development, and dialogue, making it a valuable resource for writers of all levels and genres.

Vogler's book delves into the Hero's Journey, a narrative structure based on the work of Joseph Campbell. By examining the universal patterns found in myths and stories from around the world, Vogler offers a practical guide for writers seeking to create engaging and meaningful narratives using this powerful storytelling framework.

In this popular book on screenwriting, Snyder presents his innovative Save the Cat! Beat Sheet, a 15-point guide to structuring a screenplay or novel. The book provides a clear, step-by-step approach to crafting a compelling story, offering valuable tips and advice on plot structure, character development, and genre conventions.

The Three-Act Structure is a powerful and versatile storytelling framework that can greatly enhance your writing process. By providing a clear structure for organizing plot events, developing characters, and pacing the narrative, it helps you create engaging, well-structured stories that resonate with readers. Whether you're writing a novel, screenplay, or short story, mastering the Three-Act Structure can provide invaluable guidance and support.

While it's important to familiarize yourself with the structure and its various elements, it's equally important to remember that it's not a rigid formula. The Three-Act Structure can be adapted and modified to suit your unique narrative and creative vision, so don't be afraid to experiment and make adjustments as needed. As you gain experience and refine your storytelling skills, you'll find that the Three-Act Structure becomes a valuable tool in your writer's toolbox.

To further your understanding and mastery of the Three-Act Structure, consider exploring other narrative structures, such as the Hero's Journey or the Four-Act Structure . Additionally, study the works of accomplished storytellers, as well as books and resources on the craft of writing, like the ones mentioned in the Further Reading section. The more you learn about the art of storytelling, the more equipped you'll be to create captivating, memorable stories that leave a lasting impact on your readers.

• Mastering The Five Act Structure
• What Is The 5 Part Structure Of A Story?
• What Are The 4 Structures Of A Story?
• What Is The Best Structure For A Novel?
• What Is The Basic Structure Of A Novel?
• The Importance Of Structure When Writing A Novel

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The Hero’s Journey Ultimate Writing Guide with Examples

by Alex Cabal

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

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

What is the Hero’s Journey?

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

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

Joseph Campbell and Christopher Vogler

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

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

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

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

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

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

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

Why is the Hero’s Journey so popular?

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

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

Hero’s Journey character archetypes

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

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

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

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

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

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

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

The Threshold Guardian

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

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

The Shape Shifter

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

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

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

The Trickster

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

Hero’s Journey themes and symbols

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

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

Situational archetypes

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

Death, rebirth, and transformation in the cycle of life

Nature vs. technology, and the evolution of humanity

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

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

Setting archetypes

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

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

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

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

Symbolic items

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

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

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

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

The three act structure of the Hero’s Journey

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

Act One: Departure (Steps 1—5)

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

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

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

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

Act Two: Initiation (Steps 6—9)

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

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

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

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

Act Three: Return (Steps 10—12)

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

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

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

The 12 steps of the Hero’s Journey

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

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

1. The Ordinary World

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

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

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

Step One example

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

2. Call to Adventure

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

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

Step Two example

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

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

3. Refusal of the Call

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

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

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

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

Step Three example

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

4. Meeting the Mentor

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

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

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

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

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

Step Four example

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

5. Crossing the Threshold

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

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

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

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

Step Five example

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

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

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

6. Tests, Allies, Enemies

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

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

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

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

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

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

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

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

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

Step Six example

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

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

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

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

7. Approach to the Inmost Cave

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

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

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

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

Step Seven example

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

8. The Ordeal

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

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

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

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

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

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

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

Step Eight example

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

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

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

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

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

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

Examples of rewards may include:

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

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

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

Reconciliation with another character, or with themselves.

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

Step Nine example

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

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

10. The Road Back

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

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

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

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

Step Ten example

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

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

11. Resurrection

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

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

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

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

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

Step Eleven example

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

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

12. Return with the Elixir

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

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

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

Step Twelve example

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

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

Books that follow the Hero’s Journey

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

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

The Harry Potter series by J. K. Rowling.

The Earthsea series by Ursula K. Le Guin.

The Odyssey by Homer.

Siddhartha by Herman Hesse.

Pride and Prejudice by Jane Austen.

Writing tips for the Hero’s Journey

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

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

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

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

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

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

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

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

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

Hero’s Journey templates

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

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

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

Use the downloadable template listed below for the following exercises:

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

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

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

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

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

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

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The Five-Act Structure: The Foundation of an Engaging Story

Three Act Structure

The three-act structure fulfills our instinct to organize stories around a clear beginning, middle, and end.

We’re born, we live, and we die.

We leave, we experience, and we return.

There’s a problem, we respond, and there’s a result.

We live by the rhythm of three. Odds are, your writing is already a little three-acty, even if you haven’t intended to make it that way. So then what’s the point of learning three-act story structure if it’s so instinctive?

Well, this is where you combine instinct and craft, creating something that is both artfully designed and uniquely your own.

You’re about to learn how to build a three-act story where each act shift is as convincing as it is compelling. We’ll cover:

• Where the three-act structure originates
• How the beats of this story structure work together
• An example of the three-act story structure in action
• How to decide whether this is the best storytelling method for your novel

Let’s get started.

Where Did the Three-Act Structure Originate?

The three-act structure doesn't exactly come from any one specific source. For one thing, human beings have never really needed a great literary mind to explain that a story needs a beginning, middle, and end.

For another, the three-act story shape shows up in structures that go by other names. The Hero’s Journey and Save the Cat! are both broken into three acts.

That said, it was Aristotle who first broke down the whole three-act concept. In Poetics , he explains that a strong story is composed of several cause-and-effect beats. Each beat is a direct result of the beat that came before. Nothing happens just to happen.

‍ Each act is connected to the next by a story beat that shifts the direction of the narrative.

‍ If you don’t quite know what that means, hang in there. You will soon.

What is the Three-Act Story Structure?

As I am sure you have worked out, the three-act structure is organized into three separate acts. Each act contains three story beats. A story beat is a notable event that moves the story forward.

‍ So why is it a three-act story structure instead of a nine-beat story structure? Because each act represents a new direction for the protagonist. In other words, the final beat of each act is an event that motivates your character to pivot dramatically. Bonus tip: it’s fun to teach yourself to identify act changes by yelling “PIVOT!” Ross-Geller-style every time you see it happen in books and movies.

Act One: The Setup

Act one typically accounts for about twenty-five percent of your story. It looks like this:

This is where you introduce your protagonist within their normal, everyday world . The reader learns who your character is , what they believe and value, what challenges they face in their current reality, and what they want.

Inciting Incident

The inciting incident is the event that sets the whole story in motion. If you’re familiar with the Hero’s Journey, you know this moment as the Call to Adventure.

This is Harry’s letter to Hogwarts . It’s Bilbo’s visit from Gandalf . It’s Nick inviting Rachel to the wedding in Singapore.

‍ The inciting incident presents your protagonist with the chance to chase down their goal or change their life. This is the catalyst that propels your character into action … though they might not act right away.

Plot Point One

Plot point one occurs when your protagonist makes the choice to embrace the opportunity presented by the inciting incident.

‍ These two events—the inciting incident and plot point one—might happen one right after the other. Sometimes the protagonist goes through a period of avoidance or deliberation before deciding to go all-in.

Either way, this story beat sends the protagonist and the story in an entirely new direction.

Act Two: Confrontation

Act two is the longest act, typically accounting for about fifty percent of the story.

This is where it gets good.

Rising Action

Your protagonist has now entered the world of the adventure, and they’ve got a lot of work to do to get to the midpoint.

They have to become familiar with the world, make new friends, encounter new enemies, and face unfamiliar obstacles. This is also where you as the author expand on the central conflict and reveal new information about the primary antagonist.

‍ During this story beat, your protagonist is mostly reactive. This doesn’t mean they’re passive —they still need to be making decisions and taking action. But for their most part, their choices are in response to new challenges and new information.

As you may have guessed, this story beat lands at the halfway point of your novel. Something huge happens here, and it’s not good. This beat points your character in the direction of greater danger. It probably also puts your protagonist’s dilemma in a new light, like when Dorothy finds out the Wizard won’t help her unless she kills the Wicked Witch.

Plot Point Two

Now that your midpoint has changed everything, your protagonist prepares to face a new and unexpected adventure. Preparation could involve personal reflection, a period of denial, training, or pep talks from the mentor or friend they found along the way. Ultimately, your character establishes a new mission and—now that they know this world well— they shift from reactive to proactive.

Act Three: Resolution

If you’ve been tracking the math, you already know act three takes up about twenty-five percent of your story.

Also known as the “Dark Night of the Soul,” the pre-climax is the beat where all seems to be lost. The protagonist has marched boldly towards their new challenge, and they appear to be losing.

We now see the full power of the antagonist, and the protagonist faces their deepest fears and most profound weaknesses . Your reader might still assume the hero will prevail, but right now, it’s really hard to imagine how they’ll get out of this.

While many of these story beats happen over the course of a few scenes, the climax is typically a single scene. Ideally, a thrilling one.

In this beat, your hero rises from the ashes and prevails . They achieve victory by combining their natural strengths with the lessons they’ve learned over the course of their adventure.

Time to release the tension and tie up all those ends! This means:

• Wrapping up the character arc by showing what the character has won, what they do with it, and how they’ve changed.
• Resolving subplots.
• Establishing how the protagonist has transformed.
• Clarifying or restating the theme.

Example of the Three-Act Structure Method

Ready to see three-act story structure in action?

Let’s take a look at The Hunger Games by Suzanne Collins . As we go, I’ll also show how you can use Dabble’s Plot Grid to design a three-act structure for your story.

We learn that Katniss Everdeen is loyal to her family, close to her best friend Gale, and lives in a dystopian nightmare. She is exceptionally skilled with a bow-and-arrow and her sole focus is on survival for herself and for those she loves.

Katniss’s little sister Prim is chosen for the Hunger Games, which means she’ll have to literally fight for her life in a booby-trapped arena while the nation watches for entertainment.

Katniss volunteers as tribute. Now she’ll be fighting for her life.

Katniss trains for and begins the Hunger Games. She meets her mentor, begins to identify her foes in the arena, and wrestles with the question of whether Peeta is an enemy. This is also when we get to know the rules of the game, the obstacles of the arena, and the cruel power of the Capitol.

Our heroine navigates all of this alone, until…

Katniss finds an ally in Rue and begins to wonder if Peeta has been on her side all along. But just as these relationships give her strength, Rue is killed.

Her hatred toward the Capitol stronger than ever, Katniss is determined to keep her promise to Rue that she’ll win for them both. When it’s announced that two tributes from the same district may win, Katniss sets out to find Peeta, united in a shared mission to not be the Capitol’s pawns.

Peeta is badly injured, forcing Katniss to be caretaker, protector, and fighter on her own.

The final showdown against their final opponent, Cato, also becomes a battle against vicious mutations released by the Capitol. So … that’s a lot. Then, when Katniss and Peeta have defeated all their foes, the Capitol announces that now only one tribute can win. The heroes claim the upper hand by threatening to poison themselves, leaving the Capitol with no victors.

Katniss and Peeta win as a team, and Katniss unwittingly becomes the leader of a rebellion.

Pros and Cons of Using Three-Act Story Structure

Let’s get to the real question at the heart of all of this:

Is three-act story structure a good structure?

It really depends on what you need a structure to do for you.

This particular plotting method is simple, flexible, and fairly intuitive, making it a strong option for pantsers. If you prefer to discover your story as you go, the three-act approach helps you establish a few loose guidelines while leaving a ton of space for playing around and changing your mind.

However, it may not be enough for more serious planners or for anyone who’s looking for help with that haunting question:

‍ What do I do with the middle?

‍ If you tend to get lost in the second act, it can help to consult a more specific story structure. You might try Save the Cat or the Hero’s Journey .

Just Use What Works

In all honesty, what all story structures do best is help you better understand what readers need from a story.

A protagonist who stirs empathy. Active choices. Rising tension. Huge stakes. A transformation.

‍ Any story structure has the ability to keep you on track or inspire the next step when you’re stuck. But you don’t have to think of these plotting devices as strict instructions. Story structure is more like a tool. You pick it up when you need it and use it however you want for each specific project. It depends on you, your story, and your unique process.

‍ Learn story structure. Understand story structure. Then……you do you.

‍ Pro tip: Dabble’s Plot Grid is a huge help when it comes to structuring your story, no matter which method you use. If you’re interested in trying it for yourself, you can start your free 14-day trial right here.

Abi Wurdeman is the author of Cross-Section of a Human Heart: A Memoir of Early Adulthood, as well as the novella, Holiday Gifts for Insufferable People. She also writes for film and television with her brother and writing partner, Phil Wurdeman. On occasion, Abi pretends to be a poet. One of her poems is (legally) stamped into a sidewalk in Santa Clarita, California. When she’s not writing, Abi is most likely hiking, reading, or texting her mother pictures of her houseplants to ask why they look like that.

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Last updated on Mar 18, 2021

The Three-Act Structure: The King of Story Structures

The three-act structure is perhaps the most common technique in the English-speaking world for plotting stories — widely used by screenwriters and novelists. It digs deep into the popular notion that a story must have a beginning, middle, and end and goes even further, defining specific plot events that must take place at each stage.

In this post, we dissect the three acts and each of their plot points — using three-act structure examples from popular culture to illustrate each point.

Let’s begin! In three, two, one...

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What is the three-act structure?

The three-act structure is a model used in narrative fiction that divides a story into three parts (or acts), often called the Setup, the Confrontation, and the Resolution. An old dramatic principle, the three-act structure can be traced back to Aristotle’s Poetics , in which he defines it as one of the five key elements of tragedy.

According to Aristotle, each act should be bridged by a beat that sends the narrative in a different direction. His belief was that stories must be a chain of cause-and-effect beats: each scene must lead into what happens next and not be a standalone "episode."

Now that we know the three-act structure, let’s dive into how it works.

Common story beats in the three-act structure

To help us better understand writers might use this structure to construct a story, we’ll need to dig deeper into what makes up each of the acts. Here is what you’ll find in the three-act structure:

• Act 1. Setup : Exposition, Inciting Incident, Plot Point One
• Act 2. Confrontation : Rising Action, Midpoint, Plot Point Two
• Act 3. Resolution : Pre-Climax, Climax, Denouement

To help you see this structure in action, we’ll use 1939’s The Wizard of Oz as an example as we unpack all nine story beats.

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Act One: The Setup

Despite being one of three sections in a plot, Act One typically lasts for the first quarter of the story.

The exposition is all about setting the stage. The reader (or audience) should get an idea of:

• who your protagonist is, 
• what their everyday life is like, 
• and what’s important to them. 

Of course, nobody’s life is perfect — so the exposition should give readers a sense of the main character's current desires and the challenges that prevent them from getting what they want in life

Example: Dorothy dreams of somewhere over the rainbow

In The Wizard of Oz , Dorothy’s home life in Kansas forms the bulk of the exposition. We see that her family are hard-working farmers and that she has a dog she cares for called Toto. We learn that Dorothy feels misunderstood and under-appreciated.

Inciting Incident

This is the catalyst that sets the protagonist’s adventure in motion. The inciting incident is a crucial beat in the three-act story structure: without it, the story in question wouldn’t exist. The inciting incident proposes a journey to the protagonist that could help them change their situation and achieve their goal.

Author and editor Kristen Kieffer suggests asking yourself the following questions to help you craft the inciting incident:

• How is my protagonist dissatisfied with their life?
• What would it take for my protagonist to find satisfaction? (This is their goal).
• What are my protagonist’s biggest fears and character flaws?
• How would the actions that my protagonist needs to take to find satisfaction force them to confront their fears and/or flaws?

The catalyst is often called the “call to adventure” and asks your protagonist to push themselves out of their comfort zone. This is where Luke Skywalker receives a distress call from Princess Leia, where Tony Stark is captured by terrorists at the start of Iron Man.

Will the protagonist rise to the challenge, or will they “resist the call” to adventure? After all, going on this journey will have consequences for themselves and those around them. What’s at stake if they fail?

Depending on the character, and their core fears and flaws, you may need to dedicate a few scenes to raise the stakes so that the character has no choice but to accept.

Not sure what those flaws and fears are yet? Don't worry! Our handy character profile template will help you find out.

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Example: A twister takes Dorothy on an adventure

Dorothy runs away from home and encounters a professor who encourages her to go home. Upon her return, a tornado causes Dorothy to be struck in the head by a window. Her home has been whisked off to the Land of Oz when she wakes up.

Plot Point One

It’s full speed ahead now! No more hemming and hawing for your character: the First Plot Point represents the protagonist’s decision to engage with whatever action the inciting incident has created. It’s when Bilbo Baggins decides to join Gandalf and the band of dwarves for an epic adventure in The Hobbit .

In some stories, the Inciting Incident and Plot Point One happen in the same scene. For instance, in The Hunger Games , Katniss Everdeen’s sister is selected as a ‘tribute’ in the titular games (inciting incident), and Katniss immediately volunteers to take her place (plot point one).

Think of the First Plot Point as the springboard that launches your character into Act Two. 

Example: Dorothy chooses to ease on down the road

Frightened and confused, Dorothy wants to go home and is told by Glinda the Good Witch that the only way is to follow the Yellow Brick Road to the Emerald City where The Wizard lives. Dorothy decides to follow the road, and it’s established the Wicked Witch will try to stop her.

Act Two: Confrontation

Typically the longest of all three sections: Act Two usually comprises the second and third quarters of the story.

Rising Action

Here’s the part where Dorothy waltzes down the Yellow Brick Road to meet Oz who sends her home without a hitch, right?

Nope. This is where the protagonist’s journey — or the pursuit of their goal — begins to take form and where they first encounter roadblocks. The protagonist learns their new surroundings and starts understanding the challenges that lay before them. This is the part of the story where you should better acquaint readers with the rest of the cast (both friends and foes) and the primary antagonist. You will also elaborate on the story’s overarching conflict (whether it’s a person or a thing).

As the protagonist learns more about the road ahead, they’ll change and adapt to have a better chance of achieving their goal. In this way, the main character is usually more reactionary than proactive in the Rising Action phase.

Example: Dorothy makes friends and discovers roadblocks

Dorothy meets the Scarecrow, the Tin Man, and Lion. They travel down the Yellow Brick Road, encountering obstacles such as apple-throwing trees and sleep-inducing poppies.

It’s no big surprise that the Midpoint takes place at… drumroll, please… the middle of the story! A significant event should occur here, usually involving something going horribly wrong.

Return to the protagonist’s main goal to establish what this Midpoint event should be. What must happen for them to feel that their goal is being directly threatened? What could make the character even more acutely aware of the stakes at hand?

Example: The Gang meets up with The Wizard

Dorothy finally reaches the Emerald City and meets with The Wizard, who is a big disappointment. He initially refuses to meet with them, and when he eventually does, he declines to help them until they bring him the Wicked Witch’s broomstick.

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Plot Point Two

Our poor protagonist has fallen on hard times. They thought they were making headway on their goal, and then the Midpoint came and threw them off their rhythm.

Give them some time to reflect on the story’s conflict here. The aftermath of the Midpoint crisis will force the protagonist to pivot from being a “passenger” to a more proactive force to be reckoned with. You might want to plan a sequence where the main character’s resolve is bolstered through productive progress on their journey’s goal. Think of Plot Point Two as the pep talk your character needs to stand up straight and get ready to meet their antagonist head-on. They’ll need this confidence to handle what comes next…

Example: The decision to face the Wicked Witch

Dorothy must decide whether to risk heading to the Wicked Witch’s castle or give up on her chance of going home. She and her companions decide to confront the witch.

Act Three: Resolution

The final act typically takes up a quarter of the story — often less.

Even the strongest knight has weak spots in their armor: their deep-rooted fears and flaws. As the protagonist has been gearing up to meet the antagonist head-on, their main foe has also been getting stronger and is now ready for battle.

Also called “The Dark Night of the Soul,” the pre-climax starts with the final clash between the protagonist and the antagonist. We’ve experienced the entire journey with the main character — but this is where we get our first glimpse of the antagonist’s true strength, which usually catches the main character off guard. Even though most readers know that the protagonist typically wins the day, we should have some doubt here about how the last act will play out and if the main character will be okay.

Example: All seems to be lost

While on the way to the Wicked Witch’s castle, Dorothy is captured. The Witch finds out that the ruby slippers can’t be taken against Dorothy’s will while she’s alive, so she sets an hourglass and threatens that Dorothy will die when it runs out.

The climax signifies the final moments of the story’s overarching conflict. Since the antagonist has just hit the protagonist where it hurts in the previous beat, the protagonist has to lick their wounds. Then they face off again, and the main character finally ends the conflict.

The climax itself is normally contained to a single scene, while the pre-climax typically lasts longer and might stretch over a sequence of events.

Example: “I’m melting!”

Dorothy throws a bucket of water on the Scarecrow, who has been set alight. She ends up accidentally dousing the Witch, who melts into a puddle. The guards hand the Witch’s broom to Dorothy.

Finally, the dust settles. If the protagonist’s goal is not immediately obtained during the Climax, the denouement is where this should be achieved (or redefined, if their goal changed during Act Three). Along with this, the denouement should also:

• Fulfill any promises made to the reader. Check out our post on Chekhov’s Gun to learn more about this,
• Tie up significant loose ends,
• Underscore the theme, and
• Release the tension built up during the climactic sequences of events.

If you want to learn more about nailing your story’s resolution, check out our post on how to end a story .

Example: Everyone gets what they need

The Scarecrow receives a diploma, the Tin Man receives a “heart,” and the Lion receives a medal of valor. The Good Witch explains that Dorothy has always had the power to go home; she just didn’t tell her earlier because she wouldn’t have believed it. Dorothy taps her ruby slippers and heads back to Kansas to greet her family lovingly.

When should you use it?

The three-act structure is just one way to think about a story, so writers shouldn’t feel limited. The benefit of using the three-act structure is that it will help ensure that every scene starts and end with a clear purpose and direction. Even if you don't start outlining your novel with it, if you find yourself struck by pacing issues, it's often useful to fit your story into the three-act structure to see why that might be.

No matter what type of novel you're writing, we've got resources for you! Check out the rest of this guide for more articles breaking down common story structures, and sign up for our ultimate novel writing course for even more tips to get you started.

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7 responses

Adron J. Smitley says:

02/07/2018 – 06:40

Excellent advice! I actually just published a book for writers and nanowrimos to help both Plotter and Pantser write their novels called, "Pen the sword: the universal plot skeleton of every story ever told" its free with kindle unlimited. walks you through every step of plotting your novel :-)

Lita Brooker says:

03/07/2018 – 19:59

Such a useful article. Thank you.

Ryan Monahan says:

04/07/2018 – 17:49

Very informative! Would you be able to make an article or two about alternatives to the 3-Act Structure (maybe even compare/contrast them) and how the various story structures are used for series?

↪️ Reedsy replied:

05/07/2018 – 14:52

We're definitely working on more structure articles like this to explore different structure options :)

Marie Robinson says:

08/07/2018 – 14:38

I've recently started thinking about structure in 4 acts instead of 3. It's actually exactly the same structure, but you break Act II up at the midpoint and make that second half a separate act. This had helped me think of that middle half of the story in more manageable 25% chunks, and it has greatly reduced that "muddy middle" problem that I know is not unique to me.

Svetlana Rosemond says:

08/05/2019 – 12:28

I'm planning on writing a series of blog posts and I was researching the 3AS and came across your blog. Would you mind if I quoted and linked back to it ? Here is my blog.

08/05/2019 – 12:29

Of course! We'd be delighted if you did :) Thanks so much!

Comments are currently closed.

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How To Use The 3 Act Structure With Ease

by emmadhesi | inspiration

3 Act Structure Guarantees A Fantastic Page Turner!

A bold statement, I know!

This blog post looks at the 3 Act Structure and in it I’m going to teach you what the 3 Act Structure is and why it’s the simplest way to guarantee you have a cause-and-effect plotline with conflict and action. 

Alongside having memorable characters, you need an intriguing story arc. There’s a lot of debate about whether a character or a story is more important. But to me, they are the yin and the yang of any good book. 

You need both if you’re going to write an excellent story.

What Is Structure?

Story structure is the framework used to ensure you hit all the right plot points and story beats.

There are many structures out there, including The Hero’s Journey, Save The Cat and, of course, the 3 Act Structure. 

It’s the tool you use to take your character [link to how to deepen your fictional characters] out of their existing imperfect life and into the storyline. 

Structure is the skeleton upon which you hang your story in the most logical, efficient and compelling way possible, so your reader doesn’t close your novel after the first chapter. 

I believe, especially for new writers, the 3 Act Structure is the best structure to use because it gives you enough structure to get your character from A to Z but is loose enough that you can play around and experiment. It gives you room for ‘magic’. 

‘Magic’ is what I call those epiphany moments when you suddenly realise how two seemingly disparate ideas you had are actually connected and where they fit in the story. Or, a character speaks to you and tells you what to write next, making your life so much easier! 

Let’s break the 3 Act Structure down.

Inciting Incident

At the start of your story, we see your protagonist in their normal day-to-day life. Depending on the type of story you’re telling, that life could be near perfect, or it could be a complete shambles!

Either way, you need to convey your character’s normal life within the first couple of scenes.

Side Note: A chapter comprises either one scene or multiple scenes. This will depend on you and your style of writing. There is no one size fits all. Have a look at other books in the genre in which you’re writing and go with the one that feels most natural to you.

Within those first few scenes, we see their day-to-day life, but very quickly something comes in to disrupt that normal day. That’s why you choose to start your story there; it’s as close as possible to the moment when your protagonist’s life is turned upside down.

That moment is the Inciting Incident. It’s what kick starts the plotline. Your protagonist has officially started the story.

This is where a lot of new writers fall down. Although a major disruption has occurred in their protagonist’s life, the writer backs off from giving them anything to do. Instead, the character might have a cup of tea and think about what to do. But not do it.

You must give your protagonists something to do at this point. They need to take action. It’s this action point that then propels them out of the first act and into the second.

Remember, the action they take doesn’t need to be the right thing to do. It might be entirely the wrong thing to do, but that’s okay. The important thing here is that they take action.

Let’s think about Anna in The Woman In The Window by AJ Finn. The Inciting Incident here is that she thinks she witnesses the murder of Jane Russell.

What does she do ? She phones the police, thus opening up a can of worms and the plotline begins!

From that moment on, your character comes face to face with a series of obstacles, each one more taxing difficult to overcome than the last.

This is what forms the Rising Action. Things get worse and worse until your protagonist is forced to face the very belief they are trying to hold on to but which isn’t serving them, i.e., their flaw.

I recommend you have at least three obstacles getting in your protagonist’s way. To ensure the cause-and-effect trajectory, keep in mind that the solution to first obstacle creates the second, and the solution to the second obstacle creates the third.

If we look again at The Woman In The Window, we see that when agoraphobic, and prescription-drug-addicted Anna phones the police, she has to let them into her house, something she desperately wants to avoid.

The police come and as she tries to explain what she thinks she saw; the police consider her flaky and unreliable as a witness. This is a problem for her if she’s going to persuade anyone that she witnessed Jane Russell’s murder.

Because nobody believes her, she has to prove she knew Jane Russell and did indeed see her bludgeoned to death. She’s proactive. She looks for witnesses who also knew Jane and may have seen them together, and clues that Jane came into her house.

What I want you to notice here is that one thing leads to another. You can do this in your stories. If your character’s husband says he’s leaving, what would she do to either make him stay or speed up the separation?

If your character is accused of a crime they didn’t commit, would they sit quietly and let the police build a case against them, or would they a) go on the run, or b) hire the best lawyer they could and prove their innocence?

If your character’s planet is being attacked, would they cry and wait for the invasion, or would they rally the troops and bring their best fight?

The trick is to make sure your character does something physical. You do not want them to head straight to a coffee shop to think on their own. If they go to a coffee shop, they are meeting someone to have a conversation about their situation and decide about what to do next.

This is how you create a cause-and-effect storyline whereby your character keeps making poor decisions that get them in hotter and hotter water!

​ Eventually, your character reaches the climax of the story, and this is when they face their biggest obstacle or hurdle. This is the one that forces your character to change in a fundamental way, or do something they never thought possible.

It’s the moment they accept that the way they’re living life isn’t all that great and that, in fact, if they want a better life, they need to shake things up.

Therefore, getting to grips with your character’s flaws before you write is so important. Only when you know what your protagonist’s flaw is can you have them reflect on why things were so bad in the beginning, notice the changes they’ve made over the storyline, and identify how they will do things differently from now on.

For Anna in The Woman In The Window , it was only as someone was attempting to murder her that she recognised her drug addiction and agoraphobia were not keeping her safe, but were in fact holding her back from living a real life, outside, with other people, which is what she secretly wanted.

As undramatic as it sounds, your climax and ending need to be ‘satisfactory’. What this means is that you tie up any loose ends and leave your reader feeling all is right with the world for now. We know real life is more complicated than that, but for the purposes of fiction, most readers want to feel safe when they close the book for the last time.

They can take a breath to reset before they delve into your next novel!

Final Thoughts: A Word From An Expert

A final rule of thumb when it comes to building your story’s tension, remember what Hitchcock taught us:

“Drama is real life with the dull bits cut out.”

This is what drama is at its heart. Your reader doesn’t want to know the minutiae of your character’s day to day routine. They don’t need to know what your character had for breakfast, or what shower gel they use, or how they travel from A to B.

Focus on the drama and you’ll write a compelling, page turner or a novel!

If you liked this post, you might like this…

If you write a novel with any kind of relationship between two or more people, there may well be an intimate moment or two in your story. USA Today bestselling author Danika Bloom guided me through how to write intimate scenes (and we’re not talking just bedroom scenes, but any scene where there is intimacy – between partners, friends, parents and children. These are delicate moments and Danika gives you 8 tips to write passionate prose !

You can also catch our YouTube conversation here .

“leave your reader feeling all is right with the world for now.” Gosh, darn it! There goes my “Great American Novel”! I want to show the reader all is NOT right with the world!

lol! Even if things are not right with the world at the moment, consider leaving them with the hope things could be in the future!

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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

It has been said that all plot lines are essentially the same seven stories told in different ways . Central to all of these seven stories is the concept of the archetypal hero embarking on a quest, also known as the monomyth. If you’re struggling to come up with ideas for your script, then thinking about archetypes and the hero’s journey steps by studying classic literary structures can be a great place to start.

What is the hero’s journey?

In 1871 anthropologist Edward Tyler analyzed the protagonists from fiction throughout history and concluded: all heroes and their adventures were essentially the same. His work has been built upon by literary philosophers such as Vladimir Propp and psychologists like Freud and Carl Young as well as Joseph Campbell.

In great myths from Homer’s The Iliad to Dickens’ Great Expectations , the hero's journey in every story begins in the ordinary world of their hometown. Often flawed and young, they are compelled by an external force - called to adventure - to leave their home and go out into the world.

During this process, known as the quest, they must overcome an obstacle, whether that’s slaying a dragon, leading an army into battle, or as in the Star Wars trilogy defeating Darth Vader. During their path to greatness, the hero grows psychologically and, when they return home, they have changed.

Often the hero will leave home as an adolescent and, the journey represents their ‘rite-of-passage into adulthood. In Star War Episode V: The Empire Strikes Back, we see Luke seek out the Jedi master Yoda , who helps him find it with himself to utilize the force in a reference to the narrative archetype of the elder teacher or father figure imparting wisdom.

Begin planning your script by thinking about the journey you want your hero to go on. What inner conflicts do you want your hero to have at the start of your script and how will they be resolved by the end? What is the threshold at which they breakdown? What are the steps along the way and, who are the people that will get them there? Once you've done this you will have a basic story structure to work with.

The three act structure

You can translate your hero’s journey steps into a three-act structure for your screenplay. In Screenplay: The Foundations of Screenplay Syd Field, calls the first act the setup, the second act the confrontation, and the third act the resolution. As you write you may witness the evolution of your story to deviate or subvert some aspects of the traditional structure. This is fine so long as you know what you're doing.

The first act is the events and circumstances leading up to your hero leaving home and embarking on their quest. It can be a practical problem, a seemingly supernatural force or an existential question. But it should take up approximately a quarter of your screen time.

The second act is your hero confronting the enemy, away from home. It should take up approximately two quarters or half of your screen time. They should face many hardships and often feel compelled to go it alone.

We can see this even in films such as Lion , about an Indian boy adopted by middle-class Australian parents looking for what happened to his birth family.

He begins a relationship with Lucy, an American and fellow student at university, where they are both studying hotel management. He soon becomes so consumed by the search and his inner guilt he feels he has to leave her and go it alone. It’s only when he overcomes his fear of revealing his search to his adoptive mother that he finally succeeds in his quest.

The final part of your hero’s journey is the resolution. The confrontation reaches a climax, the hero is changed and can return home.

For example, in Skyfall home are MI6 and London. We have an establishing shot of Bond looking out over a London skyline, bathed in light, before a conversation which reveals that Miss Moneypenny will now take a desk job and that MI6 has appointed a new M.

When the new Masks, "Are you ready to get back to work?" and Bond says "With pleasure," we know the cycle is going to start all over again in the next movie when Bond leaves home for another challenge.

Make sure when planning the resolution of your film that you leave the door open for the cycle to begin again in the sequel. If you can try to establish a rough plan of the sequel so that you leave clues as to where we might be going next.

If a three-act structure doesn’t work well for you then you could consider chopping up your story into a five-act structure instead. Consider which one is the best for your plot.

The hero’s journey in bildungsroman

The bildungsroman genre of coming of age tale is modeled around the idea of the hero’s journey.

Often a young child leaves home to be inducted into a different or mythical world where they grow older, often without parents, throughout several episodes or series.

In the film Goodnight Mister Tom , the advent of the Second World War and the decision to evacuate children from London away from their parents to different homes in the countryside is used to facilitate Willie" Beech’s hero’s journey where he has to learn to live with the lonely and embittered Tom Oakley.

The hero's journey illustrated: Harry Potter

A boarding school is a good excuse to send children away from their natural habitat. The most famous example in recent years is the Harry Potter series of films. At age 11, Harry Potter is taken away from his aunt and uncle by the giant Hagrid and to a magical wizarding school to learn about a secret world he currently knows nothing about.

He is told he has a talent and that he is special but he has to learn how to use the talent and overcome adversity. During his time at school in the first film the central obstacle, Harry must overcome throughout the whole series is established: the dark lord who murdered his parents when he was a baby.

"Not all wizards are good," Hagrid tells Harry, ominously over dinner at The Leaky Cauldron, establishing who Voldermort is in flashbacks.

Even before has been sorted or initiated into Hogwarts, Harry is already aware of the main obstacle he is going to have to overcome.

In the first book (and film), The Philosopher's Stone , there are a series of mini-challenges throughout the school year and each of these helps him grow stronger in time for the bigger climax at the end of the Philosopher's Stone where he must confront Voldermort, who is occupying Professor Quirrel’s body.

The first of these is on Halloween when Harry and Ron must save Hermionie from a troll . This is the classic " damsel in distress " trope when the hero must save a potential love interest from mortal danger to prove their bravery.

In this instance, the trope is slightly adjusted because Harry, Ron, and Hermionie are not yet ready to have romantic relationships or in a love triangle due to their age. But when Harry and Ron save Hermione, it repairs their friendship and cements them as the trio that will propel the narrative forward.

In the final climactic sequence of the film, Harry - the hero - must face Voldermort alone. Ron has been badly hurt after the Wizard’s chess game and Hermione needs to take him back to the hospital wing. The concept of being alone reminds us of our vulnerability as humans.

In the resolution of Philosopher's Stone , Harry symbolically returns home to the Dursleys, though he remarks, poignantly, "I’m not going home, not really." Hogwarts has given him a surrogate family and helped him realize that the Dursleys aren't a true family.

If you are sending a young character into a new world, whether that’s a school or an alternative universe, consider what characters will take on the roles of their parents, brothers, and sisters and how they will help them grow.

And essentially, all the books in the Harry Potter series follows the hero's journey structure.

Send your hero out into the world

Like any real person who goes traveling or leaves home for the first time, ensures your hero is well equipped for their journey. Do they have surrogate parents, perhaps teachers or mentors?

Do they have friends who can act like brothers and sisters? And if they are adolescents do they have love interests? And how do they prove this? Do they have big enough obstacles to overcome?

Finally, when your hero returns home, what will they have learned? What has changed in their life?

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Harry is a professional writer. His first novel The Talk Show was published in the U.S and the U.K by Bloodhound Books in 2021 and he is currently working on adapting it for screen using Arc Studio. He's also written for Media Magazine - a UK magazine for students of A-level Film, Media and Television Studies. His journalism has appeared in The Guardian, Readers' Digest and Newsweek, amongst many other publications. He has just finished his second novel for young adults, set in a boarding school. He holds a BA in English from Loughborough University.

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The Hero’s Journey: A 17 Step Story Structure Beat Sheet

The Hero’s Journey is a classic plot structure made up of 17 steps. Learn how to craft an epic story using the Hero’s Journey story beats.

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The Hero’s Journey is a story structure that tells how a hero starts in one place, goes on an adventure into an unknown world, and then returns to what they started with.

This blog post will explain the 17 steps of the Hero’s Journey and share how you can use this common plot structure to write your own story or novel.

What is the Hero’s Journey?

Joseph Campbell first introduced the Hero’s Journey in 1949. It is based on the idea that we can break down most stories into one basic story structure.

The plot structure of the Hero’s Journey is made up of 17 steps, all of which can be excellent guideposts for you when plotting your novel and planning your chapters.

To simplify the 17 steps of the Hero’s Journey, there are 3 main acts of the story: The Departure, The Initiation, and The Return.

Here’s an overview of all of the 17 steps of Joseph Campbell’s Hero’s Journey:

Act One: The Departure

The Call to Adventure

Refusal of the call, supernatural aid.

• The Crossing of the First Threshold

Belly of the Whale

Act 2: The Initiation :

The Road of Trials

The meeting with the goddess, woman as the temptress, atonement with the father/abyss, the ultimate boon.

Act 3: The Return:

Refusal of the Return

The magic flight, rescue from without, the crossing of the return threshold, master of the two worlds, freedom to live.

In this post, we will cover each step of the Hero’s Journey and what it includes. If you are writing a novel , think of this as the ultimate beat sheet to help you plan and plot your novel !

To understand the 17 steps of the hero’s journey, we will share with you exactly what happens in each step and what it should include. We’ve divided the 17 steps into the three main acts: The Departure, The Initiation, and the Return.

Let’s dive on in, shall we?

The Departure

The Departure (Act 1) of the Hero’s Journey is all about your novel’s main characters and their ordinary lives. You want to show how they live before something happens that throws them into a world outside of what was normal for them.

In a nutshell, The Departure is when we see our heroes start in their current environment and set out on an adventure where they leave their comfort zone.

There are 5 steps of the Departure, each of which can help you base your chapters for your novel. Let’s look at these 5 steps in detail.

In the first 1 or 2 chapters of our book, our character is introduced and is given the call to adventure. Of course, the call to adventure is what sets our character on their journey. There is a moment when our hero realizes something isn’t right, and it’s time for them to become the hero of their own story.

The Call to Adventure should introduce your main characters and what part of life they are living before things start changing for them. You want this to be a scene that you can use to give your reader an idea of who they are and what their life is like.

The call to adventure is sometimes also called the inciting incident because it often comes from another character or situation in which our hero feels compelled to do something. This could come in the form of a problem or something that they’ve always wanted to accomplish.

Once we understand the character’s life and why they must go on their journey, we move onto the next crucial element: Refusal of the Call.

The Refusal of the Call sounds like it’s a bad thing, but in reality, it can help the hero grow and become more self-sufficient. In this step of the Departure, we see that our character isn’t sure if they are ready for such an adventure.

The refusal of the call is often used as a way for your reader to get more insight into some of your character’s weaknesses. It can also open up the character to seeing what they are missing in their life and get them a little more excited about going after it.

When writing your story, you will show your readers why your hero is reluctant to go on the journey. Why don’t they want to change? What are their fears? This step helps build your character arc, as well as builds some suspense in the story.

You also want to make sure in this step that the refusal of the call is resolved in some way. This can be through another character encouraging your hero or by realizing what they are missing out on if they don’t go on the journey.

Either way, you need to ensure this scene or chapter ends with the hero deciding to accept the challenge.

After your main character decides whether or not they want to go on this journey, we move onto Supernatural Aid.

Supernatural aid is the hero’s first experience with a mentor or teacher. While we use the term supernatural here, it does not necessarily have to be some mystical being.

It could be a random stranger giving our hero advice or someone who has been to this magical place before and knows the path. The important thing is this character is someone who will help your protagonist in their journey.

Supernatural aid helps your audience understand there will be obstacles along the way. The hero will need help. You will need a strong supporting character willing to give our main character advice on how they should proceed through their journey.

In this scene, you want to show us why you chose these characters for mentors. What qualities do they possess? Do they have experience with adventures like this? Why can they help the hero, and more importantly, why do they want to help the hero?

Once this person is introduced, we are ready for the next stage of the Hero’s Journey: Crossing the First Threshold.

Crossing the First Threshold

Crossing the first threshold is where your hero commits to going on the journey. They may have made some attempts at it before, but now they are fully committed and ready to go, even if that means leaving their comfort zone behind.

Your character will be doing something different than what they’ve done in the past, or perhaps this act will lead them into a dark and dangerous place.

For example, your hero may leave their home for the first time to go on this journey, or they are finally ready to go and confront someone who has been standing in their way of happiness.

In this 4th step of the Hero’s Journey, you want to show your reader why this is such a big change for the character.

You want to show your character scared and uncertain of what lies ahead for them while still being brave enough to continue on their journey! You don’t need to make this scene too long or spend time explaining every little detail; just put us in the headspace of your hero so we can understand what unknown dangers and fears are ahead.

Once our hero takes their first steps towards danger, we find ourselves in the Belly of the Whale.

The Belly of the Whale is the last step before the hero breaks away from their normal existence and sense of self. When someone enters this stage, they are showing that they want to change.

A typical element of the Belly of the Whale Scene is displaying a small problem or threat. These problems aren’t the major conflict of the story, but it is enough of an obstacle that we see the hero absolutely cannot go back to where they used to be and must change.

In this scene, it’s common to show a “dark night of the soul.” This is where they feel like everything in their life has been turned upside down, and things seem hopeless. Yet, they must commit to making a change and continuing on their journey in this final step of the Departure stage.

Now that we’ve covered all the steps of the Departure state let’s move onto Act 2: The Initiation.

The Initiation

The second act of our story, the Initiation, is the part where things get interesting. The character is now deeper into their journey and facing new challenges that they must overcome.

Not only are we focusing on our hero’s personal development, but our protagonist’s character traits start to change. They will be showing how they’ve become different from who they were in Act One and developing the traits needed for a successful journey.

The first scene or chapter of the Initiation stage of the Hero’s Journey is The Road of Trials. The Road of Trials is where the protagonist faces a series of tests that your hero must pass to move onto the next stage.

These trials will continue until our hero has shown they are ready for whatever is waiting ahead on their journey and have discovered what lessons they needed to learn along the way.

Usually, there is a series of 3 tests, and your hero will not ace all of them immediately. Sometimes, we will revisit the person introduced as a mentor or guiding force from Act One in these scenes, as the hero will certainly need some support in going through these trials.

In this scene, you want to make sure your reader sees how the hero experiences growth and changes. You want your reader to appreciate how far our hero has come along their journey, but there are still more experiences ahead for them!

The next step of the Initiation stage is The Meeting with the Goddess/Saviour. This is where we are introduced to someone who will give our protagonist a sense of love, peace, safety, and unity.

This character is essential because they offer our protagonist something he didn’t have before and will be the support that helps them through whatever journey lies ahead. Sometimes they appear as a love interest, but not always.

The Goddess figure is often human but could also be an animal or nature spirit. They are someone who will help your hero become whole again. They are an equal opposite of your hero.

In this scene, we want our hero to feel everything is going to be okay now. They will learn that they don’t need to face their problems alone; someone here with them understands what they are going through.

Of course, this doesn’t last forever as we move into the next chapter: Woman as the Temptress.

In this next step, the hero faces physical temptations that might cause them to be distracted from their quest. Again, it’s important to understand this does not mean you need to introduce a female character in this scene – the woman is only a metaphorical symbol.

Many things can tempt our heroes to stray from their path. It might be money, power, or fame. It could even be something as simple as food and drink. But, of course, these temptations are not meant actually to distract the protagonist from their path. Our hero must resist them to gain a greater reward at the end of this stage.

Throughout this scene, they may face several such temptations until our hero learns how to resist them and stay focused on what they really want.

The word Atonement means “reparations for a wrong or injury,” and the Father is a symbol for an authority figure in the hero’s life. Finally, the Abyss represents death or darkness.

In this scene, the hero must confront whatever it is that holds the most power over them. This could be another character or it could even be internal conflict where the hero must come face-to-face with the dark side of their personality and be willing to embrace it.

The goal of this step in the Hero’s Journey is to make your protagonist question their entire being. Only when they confront the most powerful obstacle in their path and reconcile with it can they move forward on their journey.

As with most characters, the father does not have to be an actual father or even a male figure. The important thing is this figure is a person of power and authority over the hero.

There are many ways the hero can reconcile with the father figure – they can defeat this person, win this person’s approval, or reconcile with a part of themselves that is related to the father.

This step is important because it forces your protagonist to face their biggest fears and insecurities. It gives them the opportunity and confidence boost to overcome these obstacles once and for all.

Apotheosis is another word for “the highest point of a person’s spiritual, moral or intellectual development.” It is when the protagonist transcends their humanity and becomes something more than they were before.

In this step of The Hero’s Journey, your protagonist will undergo an important change that brings them closer to being the ideal self they set out to be at the beginning.

In this stage of the Hero’s Journey, our hero learns something new about themselves that prepares them for the hardest part of their journey. This revelation gives them the necessary knowledge to complete their quest.

This step is often referred to as “the answer.” The protagonist will usually gain this new insight from a character who embodies wisdom or spiritual power, such as their mentor figure.

Now that our character has finally grown to where they need to be to accomplish their quest, they are ready for The Ultimate Boon’s next step.

The ultimate boon is the fulfillment of the purpose of the journey. This is when the hero finally achieves what they set out to accomplish.

All of the previous steps of the journey worked to this point to help the hero finally reach their goal.

In mythology, the “boon” is often something otherworldly. It could be the fountain of youth, an ancient scroll with sacred information, or a magical potion.

There are many ways to play out this step of The Hero’s Journey, so your character’s end goal will determine what the boon is.

This step of The Hero’s Journey often includes a battle with something that opposes your protagonist, such as an enemy or villain.

Our heroes might have to face their own dark side to achieve this final prize and complete their journey successfully. This could cause them to question whether or not they even want what the boon is.

When your protagonist achieves this final goal, it marks a major change in their life. Now we are ready to proceed to Act 3: The Return.

Act 3: The Return

Act Three of the Hero’s Journey often moves faster than the other acts of our story. In The Return, we see how the protagonist’s newfound knowledge and achievement of their goal affect their life and world.

This step of The Hero’s Journey is crucial because it gives us a glimpse as to what our character has learned from this journey, which is the ultimate test of whether they have truly successfully achieved their quest or not.

Let’s dive into the remaining scenes of our story.

The Refusal of the Return is when our protagonist does not want to return home after achieving their goal. They may be too frightened of what awaits them, or they may not want to give up the new life and world they have found themselves in.

Just as they were hesitant to go on the adventure in the beginning, they are also hesitant to go back.

They may be concerned with how their “boon” might affect the world – such as a magic potion or secret power that could get into the wrong hands. They may worry about what consequences they may face when they go back, or they may be afraid nothing is left for them to return to.

In some cases, our hero doesn’t want to leave because they have become comfortable with their new world and who they have become.

However, to truly finish the quest, our hero must return home. This refusal of return helps build up the tension to the final resolution of the story. This is when the reader questions whether the hero will return home – and wonders with great anticipation of what might happen when it happens.

The Magic Flight is the final conflict to the story where our protagonist must escape danger, sometimes using their newfound knowledge or boon. This is a way of symbolically proving that they have truly learned from this journey and are ready to bring it back home with them.

This part of The Hero’s Journey often involves a chase scene or battle against an opposing force. However, this is the final push necessary push they need to realize they must make the journey home because it becomes apparent they cannot stay where they are.

The Rescue From Without step of the Hero’s Journey is when the protagonist is rescued from danger by an outside source.

This outside source may be an ordinary person, or it might resemble deus ex machina, or god-like intervention, where something rescues our hero from an impossible situation, such as lightning striking that saves the day for our hero.

When you are writing the rescue scene, the circumstances of the rescue must be believable. Most people do not like the deus ex machina in writing simply because it’s too easy.

Those of us who have lived life long enough all know that a magic fairy godmother isn’t going to swoop us in, wave her wand and make all our problems disappear.

After being rescued, the hero truly has no other choice except to return home.

The Crossing of the Return Threshold is when our protagonist finally returns home after completing their adventure and achieving their goal.

This is the part of The Hero’s Journey where we see what they have learned from this journey and how it affects them.

In this story scene, you will want to answer the following questions: How has the hero changed from their journey? How is their old world different from when they left? How do they acclimate to being back home? Finally, how do others react to their return?

This is the part of The Hero’s Journey where our protagonist has reached their full potential. They have overcome their fears and grown in ways they could never have imagined.

They are a new person and have been forever changed by what they’ve experienced. Yet, it allows them to go back into society with heightened wisdom, power, skills, or resources that will help others in need when called upon again.

In this scene, we see the hero apply their knowledge and share it with the world.

After our hero has conquered all of their fears and has put their wisdom to good use, the hero finally has the freedom to do anything they want.

This is the resolution of our story – we see our heroes accomplish their “happily ever after.” Their fears or concerns no longer control them, and nothing exists between them and what they want.

More often than not, this closing chapter of the story gives the reader some closure. We want some type of affirmation that the story is truly complete. We get a glimpse of what our protagonist will do with their life now that they are free to live it.

If you’re looking for a story structure that is proven and effective, the Hero’s Journey might be perfect for you. With 17 stages of development, it will help you create an engaging plot with your readers and develop strong characters .

And of course, while the Hero’s Journey is the classic beat sheet for writers, remember you don’t always have to dedicate one chapter to each step. Sometimes you can combine 2-3 steps in one scene, while other steps might take several chapters to cover.

The important thing is you now know the Hero’s Journey! We hope this is helpful for you – whether you are writing your own novel or studying the Hero’s Journey arc in literature. Most of all, we hope that by breaking down each step of the Hero’s Journey, you can better understand all of it.

Do you have any thoughts or questions on the Hero’s Journey? We’d love to hear from you in the comments section below!

Chelle Stein wrote her first embarrassingly bad novel at the age of 14 and hasn't stopped writing since. As the founder of ThinkWritten, she enjoys encouraging writers and creatives of all types.

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Origins of Hero’s Journey and Three Act Structure

Origins of hero’s journey.

The mythical hero has been the subject of many studies.  Psychologist Otto Rank   and anthropologist Fitzroy Richard Somerset  also known as Baron Raglan, laid the foundation for the hero’s journey with the Rank-Raglan mythotype .   They identified twelve traits that apply to mythical heroes.  These traits are in Oedipus and Perseus as well as the common traits that we find in stories in various cultures throughout history.  The word “hero” and_monomyth  comes from the Greek word that means protector or a defender who performs acts of bravery.  Examples of the mythological hero are Gilgamesh and Achilles.  Each hero follows a similar path; the tale is as old as time.

The path or journey that the hero goes on was popularized by theologian  Joseph Campbell .  He also studied myths throughout various cultures and time.  Much of Campbell’s influence came from  Carl Jung’s belief that myths are expressions of the collective unconscious.  Therein lie core ideas that are part of the human understanding built into the fabric of our collective psyches.  Campbell outlined his explorations in his book The Hero with a Thousand Faces , referring to the idea of a hero as the “monomyth.”   This is a term he borrowed from James Joyce to explain the “hero’s journey” as universal.  The hero’s journey, he proposed, represents the fundamental archetypal narrative structure that all mythical and classical stories have in common.

The Rite of Passage

The concept of a hero’s journey also originated from the rite-of-passage model of human development first identified by the early 20 th century ethnographer and folklorist Arnold van Gennep .  He identified three stages as: separation, initiation and return.  This outlines the universal experience of human development.  Campbell used mythic stories to expand the three stages to seventeen that eventually he came to call the hero’s journey.  Campbell found this same “story” in mythological and folkloric stories across different times and places.  A prime example of this, Campbell suggests, is the Gautama Buddha.  He summarized the journey as follows: “A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered, and a decisive victory is won: the hero comes back from the mysterious adventure with the power to bestow boons on his fellow man.”

Campbell’s model has inspired many writers, including George Lucas who wrote Star Wars .  Christopher Vogler adapted this model for screenwriters in his book The Writers Journey: Mythic Structures for Writers .  He condensed the stages to twelve and showed how it could fit within a three-act structure applying it mostly to film and TV.  As I discovered, Campbell’s work modifies well for use in any narrative structure that might include the journey of the everyday protagonist in a drama.  Although this model is typically most useful when we are writing in the fantasy genre, I will be using Vogler’s model, and with some modifications.  We will explore this to show how it can be very helpful as a foundation for finding and developing a story idea and writing a novel in other genres as well.

The Dramatic Arc

The three-act structure, protagonist and antagonist.

An archetypal (universal) story has a protagonist is the main character in a drama.  Substituting the word “protagonist” for the word “hero” makes it even more universal as an archetypal framework for story structure that does not necessarily involve a mythological tale.  The protagonist is a word that came from the Greek word for player of the first part or main character who moves the action and may also perform acts of bravery.  He can be an ordinary guy, that often has a wound or problem.  He has an important goal or desire that usually emerges after or because of the inciting incident that sets the story in motion.  Tensions arise from the interventions of the antagonist.  This term comes from the Greek word for competitor that results in a frustration of the protagonist’s goal or desire.

Our Hero Story Experience

The protagonist in the story is the main character and mover of the action with whom we identify.  He causes us to feel empathy and tension, or what Aristotle called pity and fear.  The brain is wired to respond to stories told in such a way as they drop or transport us into the experience of the protagonist.  Then, vicariously, we experience what the protagonist experiences as though we were right there.  By the end of the story the protagonist may or may not get what they want.  He or she could end up gaining some new insight or growth of character (the character ARC) brought about by the trials and tribulations faced.

These stories draw us in because they often reflect the human condition in how they deal with or resolved problems, and most importantly how the character changes.  It is a metaphor for life.  There will be problem(s); conflicts and challenges that stand in the way of the everyone.  In order to get what one wants, one must face and overcome these obstacles in our daily lives.

Thesis, Antithesis and Synthesis

Blake Snyder’s Save the Cat  presents Aristotle’s three-act structure as applied to screenplay writing.  The title of the book references the importance of engendering reader/viewer empathy by making the character likable in what he calls the ‘save the cat’ scene.  Snyder credits Syd Field’s  Screenplay as being the inspiration for the movie-making template he developed.  Snyder called the three-act structure: thesis, antithesis and synthesis.  He broke the story down into fifteen beats.  Screenwriters use this term to show moments or points of action that lead to a complete story.  I found that this way of looking at story easily adapts to novel writing.  It creates a masterful way to build on the hero’s journey model for the everyday protagonist in a well-told story.

A Story Model

In putting these models together, three-act structure, the rite-of-passage and the three theses, we can view it as one model as follows:

• First Act: Beginning: The Set-Up, Separation (Thesis)
• Second Act: Middle: Complications & Obstacles, Initiation (Anti-thesis)
• Third Act: End: Resolution, Return (Synthesis)

Stories are structured in a certain way to capture and hold our attention.  We get hooked by the story and want to know what will happen next.  While it may seem formulaic, these tenets or structure are the foundation to creating what I call an archetypal story.  Such is a story that engages your audience and reader.  They tap into how the psyche is wired to respond to story.  It can also help sow the seeds of creativity in storytelling.  These stories usually have both an outer and an inner quest that also results in what we call the character arc, or growth for the protagonist.  This is another way of saying what the hero’s journey is telling us.  An initiation that leads to transformation that precedes the return.  From this, the story of the journey comes to a satisfying ending.

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Chapter 2 Resources

Hero’s Journey inside the 3 Act Structure

1st dramatic phase

the incident that starts the change occurs

event must have profound effect

reader learns about character by watching reaction to event

reader sees effect of transforming incident

Chapter One ORDINARY WORLD

establish motivation/lay foundation

Chapter Two ORDINARY WORLD

Chapter Three CALL TO ADVENTURE

problem adventure

establishes what is at stake

makes goal clear and consequences

establish goal in concrete way

urgency – why now?

someone issues invitation

Chapter Four CALL TO ADVENTURE

Chapter Five REFUSE THE CALL

refusal heightens tension

character recognizes conflict and conflict will expand

Chapter Six RELUCTANT TO CALL

Chapter Seven MENTOR

mentor provides a kick in the butt

their responses make her question her view of the world

building motivation

expression of consequence of ignoring goal and also of accepting call

Chapter Eight MENTOR

Chapter Nine CROSS THE THRESOLD

point of no return

heroine is committed

there is no taking action back

a moment when the heroine is commits

motivation pushes character through

stakes increase

conflicts obvious

character begins emotional countdown

Chapter Ten CROSS THE THRESOLD

2nd dramatic phase

reader see the full effect of the transforming incident

character actions are an expression of what the character thinks and is struggling with

Chapter Eleven TESTS, ENEMIES, ALLIES

what is the heroine made of events expose what she has and what she lacks

tests skills and motivation

bonds build between characters; show what character must change

also test threshold guards

small goals will lead to large goals

show character development

and plot advancement

Chapter Twelve TESTS, ENEMIES, ALLIES

Chapter Thirteen APPROACH THE INMOST CAVE

perilous danger journey – bad place to be uncertainty

motivation must be strong enough to force action

prepare for foreseen conflict

character reassess motivation

practice skills to defeat conflict

shows weapons

Chapter Fourteen APPROACH THE INMOST CAVE

Chapter Fifteen ORDEAL

gray moment

reader is worried

on brink of battle

mortal jeopardy; life or death moment

stuck between two bad choices

concrete conflict will keep goal if make it through = clear progress

Chapter Sixteen ORDEAL

3 rd dramatic phase

contains another incident that defines the results of the transformation

contains a clarifying incident which represents the final stage of transformation

the character understands the true nature of his experience and how it has effected her

this is where true growth occurs

expectations are baffled

illusions are destroyed

reality overtakes fantasy

Chapter Seventeen REWARD

small moment of victory

character has a taste of reward/ success

reinforces or changes motivation

physically reward has emotional consequences

original but small goal achieved

Chapter Eighteen REWARD

Chapter Nineteen ROAD BACK

heroine tries to go back to ordinary world but is stopped because the problem still is not solved

battle isn’t won

conscious connection of external and internal goals

if goal is achieved hero learns that there is a more important goal

heroine reevaluates ordinary world and her place in it

Chapter Twenty ROAD BACK

Chapter Twenty-one RESSURECTION

black moment

last critical moment

character uses growth to act

choice between two bad choices; character applies lesson that has been learned

character must give up something precious to make choice and apply lessons learned

conflict must be dealt with in real and emotional way

clear loss of goal

give to get

black/white

heroine can’t stay the same only change can ensure success

external conflict revealed

emotional baggage

Chapter Twenty-two RESSURECTION

Chapter Twenty-three RETURN W/ ELIXIER

spread of effects, how story effected everything heroine returns to ordinary world with contrasts – she has more to offer than before

original goal satisfied or replaced

tag line learned

effects of struggle show

conflicts revisited and viewed in different light

Chapter Twenty-four RETURN W/ ELIXIER

comfortable in childhood

search for identity takes a person far into their psyche

also, people are changed by dramatic moments of transition

  ie timid person realizes violence is a must sometimes and as a result finds a piece of himself he didn’t know existed

Novel Writer's Handbook by Melissa Ford Lucken is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License , except where otherwise noted.

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The ten-step hero’s journey: act three, so far we’ve covered the first two acts of the hero’s journey. the hero starts at home, the the hero leaves, makes some friends, get what they wanted, and now must head home to face their ultimate challenge. if you've missed our previous posts, here is act i and act ii. chapter eight: the road back this part of the hero’s journey is similar to the approach in act ii. the hero prepares for their second and final ordeal. after learning and growing in the extraordinary world, the adventurer, mu.

Table of Contents

So far we’ve covered the first two acts of the Hero’s Journey. The hero starts at home, the the hero leaves, makes some friends, get what they wanted, and now must head home to face their ultimate challenge.

If you've missed our previous posts, here is Act I and Act II .

Chapter Eight: The Road Back

This part of the hero’s journey is similar to the Approach in Act II. The hero prepares for their second and final ordeal. After learning and growing in the extraordinary world, the Adventurer, must return to the ordinary world to slay the dragon.

While the story relaxed a bit during “Reward,” here it ramps back up again as the hero collects everything they need.

This step is also the crossing of the threshold back into the regular world. As the hero collects what they need, they also head back to the regular world. Note that this regular world isn’t always the same regular world as in Act I. Remember that we are dealing in metaphors here. This threshold represents the hero’s crossing into a new plane of existence after mastering the world of adventure.

In the Grand Budapest Hotel, Gustave and Zero head to the Alps to get more information from Serge. After they speak to him, they encounter another threshold guardian, Jopling. After a short chase scene and showdown with Jopling, they head back to the hotel and cross their final threshold in the hopes to retrieve Boy with Apple.

In Harry Potter, Harry and the gang search for more information about the Sorcerer’s Stone. They research at the library, speak to Hagrid and learn how to get past Fluffy, get detention with Hagrid, and then try to warn McGonagall.

They decide to go retrieve the stone themselves since McGonagall won’t heed their warning and encounter Fluffy, who is another prime example of a threshold guardian. After “defeating” Fluffy, the gang passes through the hatch on their way to the sorcerer’s stone.

In Alien, the remaining survivors form their plan to finally deal with the alien. They will self-destruct the Nostromo and take their chances on the ship’s shuttle. Unfortunately, in making their preparations, two of the crew members are killed. Ripley is the lone survivor, the master of the ordinary world, and is left to continue her adventure home.

Chapter Nine: Resurrection

In our video on Act II we discussed the Ordeal which is the Climax of Act II, or what I’ll call the little climax. It represents a win for the hero. Resurrection is the Climax of Act III and the entire story or what I’d like to call the BIG CLIMAX.

This is the ultimate showdown of the story and is the hero’s last test to prove themselves. This is probably the most recognizable step in the Journey. Protagonist fights the antagonist and the protagonist wins. Well… most of the time.

If you really want to tie things up neatly, the hero should use the skills they learned during Tests, Allies, and Enemies to conquer their last challenge.

For example, Harry Potter goes through various trials during this stage. The first requires him to lean on his Quidditch experience using a broomstick and then in the next scene he plays wizard chess like he did earlier in the movie. Leading all the way to his encounter with Professor Quirrell.

The things your protagonist learns earlier in the story are great fodder for obstacles later on. It gives them the perfect opportunity to prove what they’ve learned, but be careful. This can be too on the nose. Harry Potter can get away with it because it’s a children’s movie, but being too obvious can lose older audiences.

Harry succeeds at his ultimate challenge and proves that he is in fact a hero.

This step is named “Resurrection” because we often see another usually metaphorical death and resurrection moment in this section. This death and resurrection is fairly clear in Harry Potter as he “dies” when Voldemort’s spirit passes through him, only for him to be “resurrected” in the next scene when he wakes up.

Harry’s victory isn’t just a victory for himself or his school like we saw during the ordeal. This victory is a win on the road to defeating Voldemort who wants to take over the wizarding world.

In the Grand Budapest Hotel, this step is the heist scene where Gustav, Zero, and Agatha steal Boy with Apple from the hotel’s vault. The death and resurrection moment comes when Agatha and Zero fall out the window seemingly to their death, but the truck below saves them.

Zero gives up his life to save the person he loves most and is rewarded with not only the painting but also the secret second will that was tucked away behind it. Before, I said that this victory is usually a victory for the world at large but not in the Grand Budapest. Here it’s only a victory for Zero and Gustav and their wallets.

In Alien, this section is simple. Ripley blows up the Nostromo, has her showdown with the Alien aboard the shuttle, and then blasts it into space. Alien is a horror movie, so that’s all you need. This is a victory for the world at large because she keeps the alien out of the hands of the corporation that wants to weaponize it.

Chapter Ten: Return with the Elixir

It’s over. The story’s done! GO HOME. Just kidding, we have a post-credit scene to get to.

In reality, there is some story left after the big climax. If you ever learned about 3 Act structure before, this chapter is what they call the denouement which is somehow spelled like this. The French language is wild.

This is a time when the hero and their allies can unwind after their journey, and often the hero will share whatever it is they’ve won during their final encounter.

In Grand Budapest, Zero and Gustave get to revel in their newfound wealth.

In Harry Potter, Harry celebrates with Dumbledore, Ron, and Hermione. Dumbledore destroys the stone, so he doesn’t have a physical item to share like in Grand Budapest, but stories don’t need physical prizes. They all benefit from the victory over Voldemort.

In Alien, Ripley celebrates her victory with Jones the Cat before entering cryosleep.

This step is also a time to wrap up questions the audience may still have. Note that these wrap-ups can often be bittersweet. The hero can’t just win without paying a price.

In Grand Budapest, Zero’s VO tells us about what happened after the story and how Gustave and Agatha would later experience premature deaths.

In Harry Potter, Harry speaks with Dumbledore, who explains why his touch killed Quirrell. Dumbledore also wraps up the sorcerer’s stone arc by saying they have destroyed it. Unfortunately, its destruction will mean the death of Nicholas Flamel, who relies on the sorcerer’s stone for life. Every victory has its costs.

And in Alien, there aren’t really subplots to tie up here. The story is over and Ripley can head home.

And that’s it! That’s all the steps of the Hero’s Journey. I hope it helped you understand how it works. These videos are only a surface-level glance though. Each step has its own set of thoroughly documented tropes that you should learn more about.

The Hero’s Journey can be a marvelous writing tool, but Joseph Campbell would argue that it resonates with us so much because it shows how change happens in real life. Hero stories teach us how to cope with this change. Here’s how Campbell put it:

Leaving home and going into the unknown is a universal human experience. Whether it be moving to a different place or getting a new job, any new experience is an unexplored wilderness, and hero stories give us a path to follow.