Developing the Journey of Your Main Character

If you’ve read or listened to much "how-to-write" advice in the past fifty years, you’ve probably been exposed to “The Hero’s Journey,” which is supposed to be the fundamental template or structure that lies underneath all great stories. 

I've mentioned on my own blog, the evolution of ideas originally presented by psychiatrist Carl Jung. In the 1950s Joseph Campbell’s The Hero With A Thousand Faces, in which he laid out what he called the monomyth, a detailed version of “hero wants something; hero tries to get it and fails; hero tries at last and succeeds; rewards and/or weddings follow” gained traction in the writing circle as students left his classes.

The general idea garnered even more attention in the late 1970s, when Star Wars became a huge smash hit, and George Lucas said he’d based its structure on Campbell’s hero’s journey. Roughly ten years later, a series of interviews with Campbell was broadcast in prime time. 

A few years after that, Christopher Vogler took Campbell’s monomyth, cut it from seventeen stages to twelve and published his own version in The Hero's Journey. Vogler based his work on his own version of this ideology and subsequently garnered a lot of success for companies in Hollywood, including Disney. 

In 1990, Maureen Murdock wrote The Heroine’s Journey: Woman’s Quest for Wholeness as a response to Joseph Campbell’s model. Murdock, a student of Campbell’s work, felt his model failed to address the specific psycho-spiritual journey of contemporary women. She developed a model describing the cyclical nature of the female experience.

Fast forward to the early 2000's when I met Vogler at SXSW in Austin, Texas. I then took a few classes from him which fueled my excitement for both storytelling and teaching in a way that it had not been for some time.

However, while I feel Jung, Campbell, and Vogler's versions have become common knowledge, Murdock's version does not seem to be as well known. So, I thought I would share.

The heroine's journey more closely examines the inner journey of discovery; specifically from a feminist lens. Originally created by Murdock, a therapist working with women, its use as a writing tool is debated. While written with a specific gender in mind, many of the stages share common goals with the hero's journey and are reflections of an inward journey. 

Her Steps:

1) SEPARATION FROM THE FEMININE - 

The Heroine seeks to separate from the mother or other older woman, who represents the old order and the status quo. Often she feels guilt at surpassing this figure. 

2) IDENTIFICATION WITH THE MASCULINE: THE GATHERING OF ALLIES -

The search for a woman's role through acceptance by male norms-- leadership, success, and power in the workplace. She often chooses her own path instead of the one set before her. 

3) THE ROAD OF TRIALS: MEETING OGRES AND DRAGONS - 

Many of the trials that the heroine must face are of her own making-- self-doubt, fear, etc. She must overcome both outward adversity from the men and other people in her life, but ultimately must overcome herself. 

4) EXPERIENCING THE BOON OF SUCCESS - 

After achieving the power, recognition, and/or success that she sought, the Heroine will drive herself to a state of unrest. She has no true satisfaction in anything that she does, but yet cannot say no to using up more of her time. She must find the courage to be herself; limited. 

5) SPIRITUAL ARIDITY: DEATH - 

Weary, the heroine looks for meaning, and yet, she fears becoming invisible, like the women before her. Her success was temporary or has been unsatisfactory. The way of success she has been traveling is no longer enough.

6) INITIATION AND THE DESCENT TO THE GODDESS - 

Usually this occurs as a role ends, often a life changing loss. The heroine is confused, sad, alone, angry, and often raw. But by looking inward she can reclaim and rebuild herself. She is facing a crisis and fallen into despair. 

7) URGENT YEARNING TO RECONNECT WITH THE FEMININE -

Accepting the loss of the relationship with the older female, she often begins to focus on community. The heroine cannot go back, but if she faces her fear she can continue to move forward. 

8) HEALING THE MOTHER/DAUGHTER SPLIT -

The heroine finds a new strategy and reclaims her own value. With a new perspective she is able to continue forward. 

9) HEALING THE WOUNDED MASCULINE -

By accepting the self and letting go of the power, money, and success she sought she can make peace with herself. The heroine must accept both sides of her nature. 

10) INTEGRATION OF THE MASCULINE AND FEMININE - 

By accepting both sides of her nature she has gained a new understanding of herself. 

How about you? Are you familiar with these theories and concepts? Do you use them in your own writing? Do you have a favorite version?