Okay, I’ll admit it. I love the hero’s journey. No, I don’t use it to plot my books. No, I don’t make sure that I have every step of the journey in my revisions.
What I love is when I finish a book and can see the hero’s journey seamlessly laid out, the layering of journey upon journey, intersecting at key points in the story. If I can’t see the journey after I’m done, I know I have some work to do. Why? Because the hero’s journey is part of our storytelling heritage, the nexus that unites all of us from a time when stories were handed down by word, to when they were written down for all.
I’ve espoused numerous times my belief that STORY IS CHARACTER. This week I’m doing my Vogler workshop for the East Texas RWA Chapter and in my summary post I said:
It is their choices, their backstory, their fears, their weaknesses and strengths, that propel the story forward, that drives the pacing.
Or, as Robert Gregory Browne said so much more succinctly:
Story is all about character reaction and action. The fuller the characters, the more believable and satisfying their action/reactions.
Since story is character, it’s all about what the characters DO and DON’T DO that make the story. Action and reaction.
One of my favorite steps of the hero’s journey is CROSSING THE THRESHOLD. This is the point of no return, where the hero is fully committed to the journey, where he completely leaves his ordinary world behind and embarks on the Road of Trials. Crossing the Threshold blends the first act with the second, and if done well will seem both seamless and poignant. It is a time of action.
** When Luke Skywalker sees his dead aunt and uncle and leaves Tatooine . . .
** When Neo swallows the red pill . . .
** When Dorothy takes the first step down the yellow brick road . . .
Everything leading up to that crescendo point has set the character to make a choice. A or B. Yes or No. Right or . . . the point is that the character willingly or unwillingly makes a decision that forever alters the course of his journey. They are fully committed to the adventure, warts and all.
Their actions have consequences that they must deal with. Even not doing something is an action, right? Standing on the sidelines has consequences, too.
One of the fatal flaws of unpublished writers is forgeting that every character in their book is on a journey. You don’t need page after page of narrative explaining this to the reader. By showing key elements of secondary characters that the reader–as part of the human race–can see and extrapolate other characteristics, we have created a well-rounded character using few words.
Take Pirates of the Caribbean. I’m working on adding the movie to my hero’s journey workshop because I think it expertly shows multiple journey’s and how they intersect and clash. (And, it gives me another excuse to watch the DVD again 🙂 . . . but I digress.)
Yes, you have Elizabeth Swann and Will Turner and Jack Sparrow . . . each on their own journey that sometimes work together, and sometimes oppose each other. But then you have Barbarosa . . . the villain, the “shadow” who is seeking to reclaim his life. Remember his last words? “I . . . feel.”
You have the Commandore (okay, I know I spelled that wrong but I don’t write historicals) who at times is an enemy, and an ally, but is also on his own journey to protect the fleet and the fort and those under his colors. He takes his command seriously, has a strong sense of duty and honor, and while we know Elizabeth couldn’t possibly love him (I mean, over Orlando Bloom? I think not,) we see a strong noble streak at the end when he willingly lets her go to be with her true love.
But there’s nothing better than the point in the movie where you’ve fully commited YOURSELF to enjoying it. Ironically, it almost always comes at the same time the hero crosses the threshold. At the beginning, we watch, hoping to be entertained, but still a little reticient–we’ve been burned in the past by movies that have failed to deliver on their promises.
So we watch the beginning, a little distant from the action. We see the characters. Elizabeth Swann and Will Turner as children. The pirate’s medallion she takes from his neck. Okay, getting interesting . . . and Jack Sparrow arriving at the fort. Okay, getting better. It’s fun, it’s different, but you’re not fully commited . . . until when? When Elizabeth invokes the rule of parlay? When Will breaks Jack out of jail? When the Commandore goes after them? Aw . . . we have three crossings, three journeys all making irrevokable decisions.
What’s going to happen next?
And that is when you’re as committed to the journey as the hero and you can lose yourself in the movie . . . or a good book.
Allison Brennan is a New York Times and USA Today bestselling author of nearly three dozen romantic thrillers and mysteries, including the Lucy Kincaid series and the Max Revere series. She lives in Northern California with her husband, five children, and assorted pets.
Excellent post, Allison! Our Sisters in Crime chapter had a mini-workshop on the Hero’s Journey a few months ago. For anyone who hasn’t read this book (or the Heroine’s Journey), it really gets a writer thinking about her characters and plot. I agree that you don’t have to hit on every step in your book, but your story should at least touch on the major ones.
Good explaination of the journey. Another good, multi layered story is The Stand and Lord of the Rings (the books not the movies.)
The hero’s journey. It’s easy to forget about that, when you’re in the midst of a book and trying to do so many other things. (Like the forest for the trees.) I have to remind myself of that in every book, even though, instinctively, I do push Laura farther on in her journey.
It’s important to know what the journey is, because it underlies everything. It decides everything.
When you cross the threshold, when you willingly take up the mantle, you can’t go back.
Has anyone read the book “45 Master Characters”? In it, she lists the archetypes, but also, has a herione’s journey. I found that fascinating, comparing it to the hero’s journey.
Great post, Allison. And I needed it today, especially. Because I was ignoring that aspect.
Allison, this post is good timing for me! I’m at the beginning of my wip, and I’m paying careful attention to crossing the threshold. What you say about the characters’ backstory, fears, weaknesses, and so on, is so important at this time. If the crossing doesn’t spring from all this, then it isn’t authentic. I think that’s where a lot of writers lose their readers.
Hi Joyce, I didn’t know that there was a “heroine’s journey” book . . . I use hero the same way as Vogler, to be unisex. How does it differ from the “hero’s journey?” I wouldn’t think that there should be any difference because we’re all (men and women) on a journey.
Oh, Cele, you’re totally right! Unfortunately, not everyone has read those books (though they should!) which is why I use movies when I talk about the hero’s journey. It’s interesting about the LOTR trilogy . . . each book has a completed journey, but taken together they each represent a story “act” (I, II, and III).
Jake, I never consciously use the hero’s journey. Joseph Campbell exposed the pattern of the story (the hero’s journey) and it’s in every story, whether the author put it there or not. I do know some authors who plot mercilessly using the hero’s journey. I will think about it when I’m stuck (which is usually around the big decisions–crossing threshold, for example–because the choices made then effect the entire book.)
How is the heroine’s journey different than the hero’s? I’ll have to check out that book. Character archetypes aren’t new, Tami Cowden has a great class on it, and Vogler goes into some detail, but I’m always fascinated to read about different personality types.
Good point Edie! The choices made must be in character. But also remember that crossing the threshold takes the character into an area where they aren’t as sure about their place or as confident about the outcome. It’s a commitment to true something new and different and dangerous (physically or emotionally) where there are high stakes (loss of life or love or something of value) but also the potential for a great reward.
Yeah, yeah, I know. I just re-read Vogler so I’m talking like him now.
Allison, the heroine’s journey, starts with her being stripped to nothing. She must become stronger, and she picks up the tools she needs as she goes along. I highly recommend 45 Master Characters, by Victoria Lynn Schmidt. (Yes, I read Vogler a while ago.)
It goes like this: The illusion of the Perfect World, then betrayal and realization, awakening and preparing for the journey. Then transformation (descent to the gates of judgment, the eye of the storm, death) then emergence: support, rebirth, and return to the Perfect World.
I don’t consciously follow the hero’s journey, but as we write more and more, the more words we have under our belts, it just seems to be there, underneath. For instance, in TRICKSTER, Laura’s journey is obvious. The Murder Book concerning her parents comes into her hands. She’s a detective, but now she is called upon to look into her own parents’ deaths. The threshold is obvious. If she opens the book, she will see crime scene photos she has never seen before; she will read autopsy reports. All of it will be laid bare for her. Laura has always shut up the memory of her parents in a little box—their murder has even put a damper of her growing-up memories—so now she has to make a choice. Continue to ignore the past, or face it? I’m at the point in the book where she walks by the Murder Book several times a day, while she is working on the other case, the one she’s paid to do. I dont know when she’ll open it, or what she will find when she does.
Thoughtful post, Allison. So do you think you’ve internalized the concept of the hero’s journey and instinctively use what works for you as you write?
I related much better to Donald Maass’s WRITING THE BREAKOUT NOVEL, rather then following the hero’s journey, which makes me feel like I’m just connecting dots. See why it’s all so darned subjective? We all respond differently!
Loved this post, Allison. I’ve always said Character=Story, but a friend pointed out a deeper truth that has stood me in good stead: Character = the choice a person makes when everything is going badly. That’s when “real” character shows through, and not the polite version we show to society. Sometimes, the conflict between what they really are and what they “think” they are can be fascinating. Take, for example, Jack Sparrow. He thinks of himself as a cut-throat pirate (of course), but when it’s really a choice, he keeps choosing to help. He’d rather think of himself as self-serving (no good, self-respecting pirate would be willing to sacrifice his own needs for the good of others), and yet, his actions are in direct conflict with his perception of self. It’s what makes him so fascinating a character, because he doesn’t always come through — he is self-centered. But he comes through at the most important moments, which ultimately redeems him.
(I love this stuff!)
When I mentioned the Heroine’s journey I must have been thinking of the 45 Master Characters with the section on the heroine. There is a book called The Heroine’s Journey, but I don’t think the excerpt of what I read is from that. Sorry if I confused anyone!
Jake, I’m going to look up that book because I think the “hero’s” journey is really for everyone, and I’d like to see what additional/changed steps might considered more female. I don’t consciously follow the hero’s journey–in fact (truth be told) I resisted reading Vogler for TWO YEARS after I went to workshop that explained the journey. I was so sure the it meant a rigid structure of some sort. I didn’t read it until after I sold THE PREY and I was doing stress tests while pregnant with Brennan #5 and had a lot of time on my hands. I’d been going through a crisis (why did I sell when so many other good authors haven’t?) and I picked up Vogler and realized that I had instinctively used the hero’s journey even though I didn’t really know it existed. Now it helps to look at it when I’m struggling because it’s usually at a threshold that it’s my will (as God, the author) vs the character’s will.
Jen, I love Maass (not the workbook! OMG, I thought I’d hypervenalate when I saw that) . . . Maass is the only “craft” book I read (other than SELF-EDITING FOR FICTION WRITERS) before I sold. I learned a lot from that book and still flip through the checklists when I get stuck in case something jumps out at me.
Toni! You are so right about Jack Sparrow! He’s a great character because he’s flawed as well as mirrors human nature. People generally (not always) do the right thing even when it’s opposed to their goals.
No confusion, Joyce! I knew what you meant after Jake’s post 🙂
I like the “45 Master Characters” book too. The back half about plotting the feminine journey is worth the book all by itself. In addition, I think the author (is it Schmidt?) offers motivations for each of the types that give useful insights. I almost like it better than Vogler because sometimes I feel pinched by all the steps of the journey. I tend to try to make my story fit (okay so I’m obsessive). “45 Master Characters” is a looser construct.
“Writing the Breakout Novel” is just an awesome book.
I try not to pay to much attention to writer’s books. It’s too tempting to just read another one to find the “key” that’s going to make this writing thing as easy as – well – what do I say now? Pie? Pie is not easy. First there’s the crust which may or may not fall apart when you roll it out. If you bake it before you fill it, it will shrink and all that pretty fluting will just slide into the middle of the pan. If you bake it after you fill it, the damn thing will leak all over the oven and then you have another job on your hands. Whoever first said “easy as pie” was probably attacked by a crowd of angry housewives wielding rolling pins.
Where was I? Oh – not reading writing books – that’s where I was. I do read them but only after at least five people I trust tell me to. The ones I go back to are GMC, 45 Master Characters, and Writing the Breakout Novel.
But then I’m not published yet, so what do I know?
Mo
You know a lot, Mo. 🙂
Alison this is great! I love THJ……..will have to check out the book Jake mentioned. I don’t consciously think about it either, but I *do* think about it because character is critical.
I think that is very well put. I tried to explain to that to a non-writer friend and they just shook their head and walked away…
thanks!
I meant to say – in my way I tried to explain, he’d understand it your way – all the dang coffee has worn off, sorry! 😉
Thanks Cece! I love the hero’s journey, too. If I plotted, I’d use it, but I can’t plot. Which I don’t mind, really, because I like surprises 🙂
LOL, Dennie! One of the things about people being different is that we all learn in different ways. Deb Dixon’s GMC book is essentially the Hero’s Journey in a more graphical way–she uses more charts and explains things more linearly (IMO). But it’s the same stuff and they use a lot of the same movies. Some people LOVE Deb Dixon’s explanation–that’s where they “got it.” Others love Vogler. It’s why kids learn in different environments, where Montessori (for example) is perfect for one child but not for another.
I keep the hero’s journey – the basics – like crossing the threshold, facing death, coming back with a gift – in mind as I write, but I don’t do anything more than that. I think the time to bring out what hero’s journey you have, is in the rewrite. That’s when I sharpen everything and bring stuff out that’s already there. 🙂