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• Story Writing Guides

12 Hero’s Journey Stages Explained (+ Free Templates)

From zero to hero, the hero’s journey is a popular character development arc used in many stories. In today’s post, we will explain the 12 hero’s journey stages, along with the simple example of Cinderella.

The Hero’s Journey was originally formulated by American writer Joseph Campbell to describe the typical character arc of many classic stories, particularly in the context of mythology and folklore. The original hero’s journey contained 17 steps. Although the hero’s journey has been adapted since then for use in modern fiction, the concept is not limited to literature. It can be applied to any story, video game, film or even music that features an archetypal hero who undergoes a transformation. Common examples of the hero’s journey in popular works include Star Wars, Lord of the Rings, The Hunger Games and Harry Potter and the Philosopher’s Stone.

• What is the hero's journey?

Stage 1: The Ordinary World

Stage 2: call of adventure, stage 3: refusal of the call, stage 4: meeting the mentor, stage 5: crossing the threshold, stage 6: tests, allies, enemies, stage 7: the approach, stage 8: the ordeal, stage 9: reward, stage 10: the road back, stage 11: resurrection, stage 12: return with the elixir, cinderella example, campbell’s 17-step journey, leeming’s 8-step journey, cousineau’s 8-step journey.

• Free Hero's Journey Templates

What is the hero’s journey?

The hero’s journey, also known as the monomyth, is a character arc used in many stories. The idea behind it is that heroes undergo a journey that leads them to find their true selves. This is often represented in a series of stages. There are typically 12 stages to the hero’s journey. Each stage represents a change in the hero’s mindset or attitude, which is triggered by an external or internal event. These events cause the hero to overcome a challenge, reach a threshold, and then return to a normal life.

The hero’s journey is a powerful tool for understanding your characters. It can help you decide who they are, what they want, where they came from, and how they will change over time. It can be used to

• Understand the challenges your characters will face
• Understand how your characters react to those challenges
• Help develop your characters’ traits and relationships

In this post, we will explain each stage of the hero’s journey, using the example of Cinderella.

You might also be interested in our post on the story mountain or this guide on how to outline a book .

12 Hero’s Journey Stages

The archetypal hero’s journey contains 12 stages and was created by Christopher Vogler. These steps take your main character through an epic struggle that leads to their ultimate triumph or demise. While these steps may seem formulaic at first glance, they actually form a very flexible structure. The hero’s journey is about transformation, not perfection.

Your hero starts out in the ordinary world. He or she is just like every other person in their environment, doing things that are normal for them and experiencing the same struggles and challenges as everyone else. In the ordinary world, the hero feels stuck and confused, so he or she goes on a quest to find a way out of this predicament.

Example: Cinderella’s father passes away and she is now stuck doing chores and taking abuse from her stepsisters and stepmother.

The hero gets his or her first taste of adventure when the call comes. This could be in the form of an encounter with a stranger or someone they know who encourages them to take a leap of faith. This encounter is typically an accident, a series of coincidences that put the hero in the right place at the right time.

Example: An invite arrives inviting the family to a royal ball where the Prince will choose a wife.

Some people will refuse to leave their safe surroundings and live by their own rules. The hero has to overcome the negative influences in order to hear the call again. They also have to deal with any personal doubts that arise from thinking too much about the potential dangers involved in the quest. It is common for the hero to deny their own abilities in this stage and to lack confidence in themselves.

Example: Cinderella accepts the call by making her own dress for the ball. However, her stepmother refuses the call for her by not letting her go to the ball. And her step-sisters ruin her dress, so she can not go.

After hearing the call, the hero begins a relationship with a mentor who helps them learn about themselves and the world. In some cases, the mentor may be someone the hero already knows. The mentor is usually someone who is well-versed in the knowledge that the hero needs to acquire, but who does not judge the hero for their lack of experience.

Example: Cinderella meets her fairy godmother who equips her with everything she needs for the ball, including a dress and a carriage.

The hero leaves their old life behind and enters the unfamiliar new world. The crossing of the threshold symbolises leaving their old self behind and becoming a new person. Sometimes this can include learning a new skill or changing their physical appearance. It can also include a time of wandering, which is an essential part of the hero’s journey.

Example: Cinderella hops into the carriage and heads off to the ball. She has transformed from a servant into an elegant young lady. 

As the hero goes on this journey, they will meet both allies (people who help the hero) and enemies (people who try to stop the hero). There will also be tests, where the hero is tempted to quit, turn back, or become discouraged. The hero must be persistent and resilient to overcome challenges.

Example: At the ball, Cinderella meets the prince, and even see’s her stepmother and stepsister. She dances with Prince all night long making her step-sisters extremely jealous.

The hero now reaches the destination of their journey, in some cases, this is a literal location, such as a cave or castle. It could also be metaphorical, such as the hero having an internal conflict or having to make a difficult decision. In either case, the hero has to confront their deepest fears in this stage with bravery. In some ways, this stage can mark the end of the hero’s journey because the hero must now face their darkest fears and bring them under control. If they do not do this, the hero could be defeated in the final battle and will fail the story.

Example: Cinderella is having a great time at the ball and nearly forgets about the midnight rule. As she runs away in a hurry, her glass slipper falls off outside the palace.

The hero has made it to the final challenge of their journey and now must face all odds and defeat their greatest adversary. Consider this the climax of the story. This could be in the form of a physical battle, a moral dilemma or even an emotional challenge. The hero will look to their allies or mentor for further support and guidance in this ordeal. Whatever happens in this stage could change the rest of the story, either for good or bad. 

Example: Prince Charming looks all over the kingdom for the mysterious girl he met at the ball. He finally visits Cinderella’s house and tries the slippers on the step-sisters. The prince is about to leave and then he sees Cinderella in the corner cleaning.

When the hero has defeated the most powerful and dangerous of adversaries, they will receive their reward. This reward could be an object, a new relationship or even a new piece of knowledge. The reward, which typically comes as a result of the hero’s perseverance and hard work, signifies the end of their journey. Given that the hero has accomplished their goal and served their purpose, it is a time of great success and accomplishment.

Example: The prince tries the glass slipper on Cinderella. The glass slipper fits Cinderella perfectly, and they fall in love.

The journey is now complete, and the hero is now heading back home. As the hero considers their journey and reflects on the lessons they learned along the way, the road back is sometimes marked by a sense of nostalgia or even regret. As they must find their way back to the normal world and reintegrate into their former life, the hero may encounter additional difficulties or tests along the way. It is common for the hero to run into previous adversaries or challenges they believed they had overcome.

Example: Cinderella and Prince Charming head back to the Prince’s castle to get married.

The hero has one final battle to face. At this stage, the hero might have to fight to the death against a much more powerful foe. The hero might even be confronted with their own mortality or their greatest fear. This is usually when the hero’s true personality emerges. This stage is normally symbolised by the hero rising from the dark place and fighting back. This dark place could again be a physical location, such as the underground or a dark cave. It might even be a dark, mental state, such as depression. As the hero rises again, they might change physically or even experience an emotional transformation. 

Example: Cinderella is reborn as a princess. She once again feels the love and happiness that she felt when she was a little girl living with her father.

At the end of the story, the hero returns to the ordinary world and shares the knowledge gained in their journey with their fellow man. This can be done by imparting some form of wisdom, an object of great value or by bringing about a social revolution. In all cases, the hero returns changed and often wiser.

Example: Cinderella and Prince Charming live happily ever after. She uses her new role to punish her stepmother and stepsisters and to revitalise the kingdom.

We have used the example of Cinderella in Vogler’s hero’s journey model below:

Below we have briefly explained the other variations of the hero’s journey arc.

The very first hero’s journey arc was created by Joseph Campbell in 1949. It contained the following 17 steps:

• The Call to Adventure: The hero receives a call or a reason to go on a journey.
• Refusal of the Call: The hero does not accept the quest. They worry about their own abilities or fear the journey itself.
• Supernatural Aid: Someone (the mentor) comes to help the hero and they have supernatural powers, which are usually magical.
• The Crossing of the First Threshold: A symbolic boundary is crossed by the hero, often after a test. 
• Belly of the Whale: The point where the hero has the most difficulty making it through.
• The Road of Trials: In this step, the hero will be tempted and tested by the outside world, with a number of negative experiences.
• The Meeting with the Goddess: The hero meets someone who can give them the knowledge, power or even items for the journey ahead.
• Woman as the Temptress: The hero is tempted to go back home or return to their old ways.
• Atonement with the Father: The hero has to make amends for any wrongdoings they may have done in the past. They need to confront whatever holds them back.
• Apotheosis: The hero gains some powerful knowledge or grows to a higher level. 
• The Ultimate Boon: The ultimate boon is the reward for completing all the trials of the quest. The hero achieves their ultimate goal and feels powerful.
• Refusal of the Return: After collecting their reward, the hero refuses to return to normal life. They want to continue living like gods. 
• The Magic Flight: The hero escapes with the reward in hand.
• Rescue from Without: The hero has been hurt and needs help from their allies or guides.
• The Crossing of the Return Threshold: The hero must come back and learn to integrate with the ordinary world once again.
• Master of the Two Worlds: The hero shares their wisdom or gifts with the ordinary world. Learning to live in both worlds.
• Freedom to Live: The hero accepts the new version of themselves and lives happily without fear.

David Adams Leeming later adapted the hero’s journey based on his research of legendary heroes found in mythology. He noted the following steps as a pattern that all heroes in stories follow:

• Miraculous conception and birth: This is the first trauma that the hero has to deal with. The Hero is often an orphan or abandoned child and therefore faces many hardships early on in life. 
• Initiation of the hero-child: The child faces their first major challenge. At this point, the challenge is normally won with assistance from someone else.
• Withdrawal from family or community: The hero runs away and is tempted by negative forces.
• Trial and quest: A quest finds the hero giving them an opportunity to prove themselves.
• Death: The hero fails and is left near death or actually does die.
• Descent into the underworld: The hero rises again from death or their near-death experience.
• Resurrection and rebirth: The hero learns from the errors of their way and is reborn into a better, wiser being.
• Ascension, apotheosis, and atonement: The hero gains some powerful knowledge or grows to a higher level (sometimes a god-like level). 

In 1990, Phil Cousineau further adapted the hero’s journey by simplifying the steps from Campbell’s model and rearranging them slightly to suit his own findings of heroes in literature. Again Cousineau’s hero’s journey included 8 steps:

• The call to adventure: The hero must have a reason to go on an adventure.
• The road of trials: The hero undergoes a number of tests that help them to transform.
• The vision quest: Through the quest, the hero learns the errors of their ways and has a realisation of something.
• The meeting with the goddess: To help the hero someone helps them by giving them some knowledge, power or even items for the journey ahead.
• The boon: This is the reward for completing the journey.
• The magic flight: The hero must escape, as the reward is attached to something terrible.
• The return threshold: The hero must learn to live back in the ordinary world.
• The master of two worlds: The hero shares their knowledge with the ordinary world and learns to live in both worlds.

As you can see, every version of the hero’s journey is about the main character showing great levels of transformation. Their journey may start and end at the same location, but they have personally evolved as a character in your story. Once a weakling, they now possess the knowledge and skill set to protect their world if needed.

Free Hero’s Journey Templates

Use the free Hero’s journey templates below to practice the skills you learned in this guide! You can either draw or write notes in each of the scene boxes. Once the template is complete, you will have a better idea of how your main character or the hero of your story develops over time:

The storyboard template below is a great way to develop your main character and organise your story:

Did you find this guide on the hero’s journey stages useful? Let us know in the comments below.

Marty the wizard is the master of Imagine Forest. When he's not reading a ton of books or writing some of his own tales, he loves to be surrounded by the magical creatures that live in Imagine Forest. While living in his tree house he has devoted his time to helping children around the world with their writing skills and creativity.

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Joseph Campbell: The Hero's Journey

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Joseph Campbell and the Myth of the Hero’s Journey

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The following is a transcript of this video.

In the 20th century a number of thinkers studying comparative mythology and religion noticed something peculiar about the myths of different cultures throughout history. Many of them shared fundamental similarities in theme, structure, and symbolism.

This led to the question as to how such similarities could arise in cultures separated by both space and time. Carl Jung and Joseph Campbell, two of the more prominent thinkers studying this problem, proposed that the reason for such similarities was due to the fact that many mythological themes and symbols emerge from an area of the mind called the collective unconscious.

In addition to the mind consisting of a personal unconscious, which is composed of elements drawn from an individual’s life experience, the collective unconscious contains elements or cognitive structures which evolved over human history, and are therefore common to all.

These evolved cognitive structures, which Jung called archetypes, cannot be observed directly, but manifest various images or symbolic patterns which form the basis of many myths – explaining how similar myths can arise in cultures separated by hundreds or thousands of years.

As Joseph Campbell, the 20th century’s foremost expert on world mythology, noted:

“The symbols of mythology are not manufactured; they cannot be ordered, invented, or permanently suppressed. They are spontaneous productions of the psyche.” ( The Hero with a Thousand Faces, Joseph Campbell )

As manifestations of the deepest layers of the unconscious, myths are thought to reveal timeless truths about the yearnings, fears, and aspirations common to every individual.

In the words of Jung:

“Myths are first and foremost psychic phenomena that reveal the nature of the soul.” (Carl Jung)

Myths have served various functions in different cultures across time. One of the more common of these functions has been to provide individuals with a template or model to assist in their psychological maturation and development.

Psychological development via what Jung called the individuation process, occurs when unconscious contents of the psyche are integrated into one’s conscious personality, resulting in the formation of what Jung called the “true personality”.

There are various ways in which unconscious content can be made conscious – becoming aware of one’s dream life is the most well known. Exploring mythological symbolism is a lesser known, but equally effective, way to bring unconscious content into the light of consciousness.

As Campbell explained:

“These [mythological] symbols stem from the psyche; they speak from and to the spirit. And they are in fact the vehicles of communication between the deeper depths of our spiritual life and this relatively thin layer of consciousness by which we govern our daylight existences.” ( Pathways to Bliss, Joseph Campbell )

Activating unconscious content is important because the unconscious contains unrealized potentials, which if discovered and integrated into one’s consciousness, can result in a personal transformation. To discover and nourish these potentials within Campbell called the “pathway to bliss”.

Myths of individuals undergoing heroic adventures as they attempt to actualize their higher potentials and find their own unique pathway to bliss are  abundant in many cultures throughout history.

While these myths vary in detail depending on their time and place of origin, they share a common pattern which Joseph Campbell coined the “myth of the hero’s journey”.

In myths which follow the pattern of the hero’s journey, the hero ventures forth from a familiar world into strange and sometimes threatening lands – be it a passage into the desert, a plunge into the ocean, or getting lost in a dark forest.

Campbell proposed we view this as symbolic of the individual’s departure from their conscious personality, into the unexplored regions of their unconscious in search of the “ultimate boon” – the unrealized potentials hidden within.

For the remainder of the video we’ll briefly trace the pattern of the hero’s journey, noting its relevancy to those who, feeling lost and disoriented in life, could benefit from venturing forth into their unexplored unconscious psyche.

The hero’s journey always begins with a “call to adventure”. In myths this call is often personified as an animal the hero encounters, symbolic of one’s instincts, or gut feelings, which are insightful but too often ignored. In the words of Campbell:

“Often in actual life, and not infrequently in the myths and popular tales, we encounter the dull case of the call unanswered; for it is always possible to turn the ear to other interests. Refusal of the summons converts the adventure into its negative. Walled in boredom, hard work, or “culture,” the subject loses the power of significant affirmative action and becomes a victim to be saved.” ( The Hero with a Thousand Faces, Joseph Campbell )

While the call is often initially refused, “not all who hesitate are lost.” (Campbell). There are forces within which understand the importance of the adventure, and act to ensure the call does not remain unanswered forever. In myths these forces are often personified as supernatural helpers.

“In fairy lore it may be some little fellow of the wood, some wizard, hermit, shepherd, or smith, who appears, to supply the amulets and advice that the hero will require. The higher mythologies develop the role in the great figure of the guide, the teacher, the ferryman, the conductor of souls to the afterworld.” ( The Hero with a Thousand Faces, Joseph Campbell )

Assisted by internal forces, the hero eventually answers the call to adventure, and ventures off into unknown territory.

At the boundary of the familiar and unexplored regions, the hero encounters the “threshold guardian”. In myths this guardian is often a menacing being, or Mephistophelean figure, which represents one’s shadow – the portion of one’s personality which has been rejected over time and thus relegated to the surface layers of the unconscious.

In myths the threshold guardian instills panic among those unprepared to meet him; just as in real life confronting one’s rejected personality can be difficult and distressing.

Yet if one finds a way to accept their rejected personality, one gains access to an inner strength which will be of assistance as one descends into the deeper, and sometimes threatening, layers of the unconscious.

“And so it happens that if anyone…undertakes for himself the perilous journey into the darkness by descending, either intentionally or unintentionally, into the crooked lanes of his own spiritual labyrinth, he soon finds himself in a landscape of symbolical figures (any one of which may swallow him).” ( The Hero with a Thousand Faces, Joseph Campbell )

Descending deeper and deeper into the psyche, overcoming trials and experiencing moments of ecstatic insight, eventually one’s previous self begins to disintegrate, and a new, more impressive self begins to form.

In myths this stage is symbolized as a death and rebirth, in which the hero enters a dark area such as the belly of a whale, a tomb or dark cave, and after a period of time emerges from it reborn.

Reborn with a new sense of strength and purpose, the ultimate boon – or unrealized potential within – is discovered soon after.

Finding the ultimate boon is described in different myths in a variety of ways, yet it is always meant to signify “an expansion of consciousness and therewith of being (illumination, transfiguration, freedom)” ( The Hero with a Thousand Faces, Joseph Campbell ).

While the discovery of the unrealized potentials within is a highly significant moment, it is not the end of the journey. One still must determine how to nourish these potentials, and bring them forth in the world. This, can be exceedingly difficult, as Campbell explained:

“The whole idea is that you’ve got to bring out again that which you went to recover, the unrealized, unutilized potential in yourself. The whole point of this journey is the reintroduction of this potential into the world…It goes without saying, this is very difficult. Bringing the boon back can be even more difficult than going down into your own depths in the first place.” ( Pathways to Bliss, Joseph Campbell )

As you attempt to bring forth your potential into the world there is the possibility that nobody will care or pay attention. There is also the possibility that the applause of others will divert you from your authentic path, leading to a life of mimicry or enslavement to the opinions of others.

The optimal possibility is to carve out your own corner of the world, where you can nourish your potential, and offer your work to others without concern of applause or fear of rejection.

In doing so, you will have found your own unique pathway to bliss, and your life will have followed the thread of the hero’s journey:

“What I think is that a good life is one hero journey after another. Over and over again, you are called to the realm of adventure, you are called to new horizons. Each time, there is the same problem: do I dare? And then if you do dare, the dangers are there, and the help also, in the fulfillment or the fiasco. There’s always the possibility of a fiasco. But there’s also the possibility of bliss.” ( Pathways to Bliss, Joseph Campbell )

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