Tuesday, May 26, 2020

Does “Follow Me: Tattered Veils” Fit into the Hero’s Journey?

image from a google search




Notes: I’m using Vogler’s 12 steps of the Hero’s Journey and there will be some spoilers for my novel in this post.  As both Campbell and Vogler state that not every step on the journey needs to happen in every story, it's hard to judge if one’s story is a hero’s journey.  For this post I’m looking for my book “Follow Me: Tattered Veils” to have 7 of the 12 steps or over half.  

1. The Ordinary World—a snapshot of the world our characters live/work in day to day.  It establishes a status quo before something comes and tears it to pieces.  First chapter of “Follow Me: Tattered Veils” is an establishing shot, but it’s not an idyllic world I’m trying to start the book off kilter with something already wrong out and about in the world.  And readers don’t meet my hero they meet the villain. 0 points.

2. The Call to Adventure—this is about pushing the hero out of their comfort zone.  Could be a quest or an attack or something else.  The definition is so vague, I think all books have something we could identify as the “call.”  “Follow Me: Tattered Veils” has 2 “calls to adventure”, one for my hero and the other for my villain.  The first call happens to Gerry in chapter 3 where he thinks, “If she noticed him once, how hard will it be to get the right kind of attention a second time?”  Gerry’s entire year focuses on capturing Roxi.  For Roxi her “call” happens in Chapter 4 and is less quotable, but she’s given a message from her god.  1 point.  

3. Refusal of the Call—where the main character denies the invite and attempts to stay in their safe, ordinary world.  This is a re-occurring and boring trope.  As readers we already know the hero will go do the thing, let’s just skip the pouty whining and get into it shall we?  Neither protagonist nor antagonist in “Follow Me: Tattered Veils” fight their mission.  0 points.

4. Meeting the Mentor—The hero agrees to the journey, but they lack the skills or resources to succeed.  Enter the mentor could be a person or item (like a map or a powerful sword).  I don’t like fetch quests and I think the whole “mysterious old man” is played out.  In my head whenever I hear the term mentor I think of Phil, the centaur from Disney’s Hercules and yeah that guy won’t be in any of my stories.  No special items or advisors in my story! 0 points.

5. Crossing the Threshold—This is the part where the adventure kicks off, where we see our hero go forth with commitment to their new goal.  Gerry works to his new goal in Chapter 6, though we only learn about his involvement in chapter 9.  He tries again in chapters 11 and chapters 20 with mounting tension.  Roxi’s goal is more nebulous and harder to achieve, but she strikes out on her path in chapter 7.  1 point.  

6. Tests, Allies, and Enemies—Here the hero gets acclimated with their new world, goes through tests, and gains friends/assets for their final showdown.  Since Roxi’s entire mission within “Follow Me: Tattered Veils” is to gain friends/allies, she technically does this.  The series of social interactions that bond her to the girls and Roxi’s eventual lover aren’t battle hardened action pieces, but they show Roxi floundering, fighting with herself, and doing something she considered scary.  Gerry sets up trials until he realizes what he’s doing wrong and moves to alter it.  Not sure either do what this step intends so 1/2 point?

7. Approach the Inner Most Cave—Where the hero reaches the most dangerous part of their journey “Follow Me: Tattered Veils” has this, it’s when Roxi and Gerry have their face-to-face meeting. 1 point.  

8. Ordeal—The hero faces a test.  Roxi and Gerry make a wager and it sends Roxi on a dangerous quest to reclaim her friends before time runs out.  1 point.

9. Reward—The end is in sight and the hero can see everything they’ve worked for coming together.  Roxi enjoys a moment of this in chapter 28 and so does Gerry.  1 point.  

10. The Road Back—So the hero has the prize and must return the ordinary world.  The journey should be harrowing.  Um, “Follow Me: Tattered Veils” goes way off the rails here.  Both for Gerry and Roxi.  Neither achieves what they want.  Roxi creates a plan to get some of what she wants, and there is a literal flight from faeryworld, but it just doesn’t seem to match this phase to me… besides which all of this happens in pages not a 3rd act.  0 points.  

11. Resurrection—Where the villain gets one last chance to conquer the hero.  The hero may get to use the reward at this point in the story to defeat the villain.  Roxi and Gerry have a final face off. 1 point.

12. Return with the Elixir— Hero returns home older and wiser.  They may have gained knowledge or an item.  Roxi does returns to her home, and she is changed by her journey through faeryworld.  While Roxi’s return is not complete, I believe her goal to reconnect with the world around her and to become more social and connected with her feeling is a success.  1 point.

Out of 12 points, I have 7and 1/2.  I am surprised to say that “Follow Me: Tattered Veils” happens align with the hero’s journey.  I feel like I forced a few plot points to fit these descriptions, and I don’t think calling my book a hero’s journey tells readers much about the content.  Still, this was an interesting exercise.  

Talk to me!  Does your story also follow this sequence?  What do you think of the twelve steps? Are you like me and despise some suggested stops, or do you think each is crucial?   

Tuesday, May 19, 2020

Is The Hero's Journey Problematic? My Thoughts



The short answer is yes, I find Joseph Campbell and his work to be littered with problems.  Some that strike me off the top of my head include: 

-The idea of a monomyth implies that there is only one plot or story structure to explore.  This IS NOT true.  The hero's journey is one of may ways to structure characters and plot and while it's interesting, sometime presenters get overzealous and promote is as a singular lens to view all literature.

-A nonhistoric and nonliterary approach to mythology seems like nonsense or an excuse to distort the intended meaning or the current applicable meaning of the work.  I had a very hard time reading his theories because if we aren’t exploring a myth in the historic period and the literary devices of the time or comparing the work to modern work—then just what are we doing?  There were several times I took offense and had to stop reading and think about what I felt, why I felt it and how to articulate those issues.  

-Freud and Jung’s work may be the foundations of modern psychology but a lot has changed.  The theories used to craft the hero’s journey have a shaky foundation.

-While religions and their myths hold similarities, reducing them down to just these common elements often is overlooking their core meanings and messages.  The end goals of these faiths are different and their ways of showing compassion, honor, ect is different.  For more deconstructing the concept of monomyths and how it hurts our society today, I recommend “God Is Not One” by Stephen Prothero.  His work is clear, and it was very easy to read. 

-Campbell was raised Catholic, and when reviewing his interpretations of myths and structures some of his Christian bias shows.  Though to be fair, I’ve also read where he seems to have misrepresented the Christian point of view too, so maybe he is deliberately obtuse.

-The same way Campbell reduces religions down into one meaningless mass so he can conclude “all is one,” I’ve watched readers and writers hack and chop at a story so it will fit the hero’s journey structure.  All does not have to be one and sometimes reducing something down too far eliminates subtle flavors and notes that made a dish worthwhile. 

-Campbell believes the only heros in ancient texts are male and that only men go through this journey and there is some other gender specific journey women go on.  He expounds on this in his book “Goddesses” which is a rage inducing read.

So if Joseph Campbell isn't for you, I understand.  However, I do think he's a crucial place to start exploring plot and character from because his work has deeply influenced writers for years.  If we don't explore what is good and bad within his work, it will hard to incorporate the good or avoid the bad.   

Tuesday, May 12, 2020

Joseph Campbell: A Writer's Introduction

Joseph Campbell available via google search


Who is Joseph Campbell? 

Joseph Campbell was born on March 26th 1904 and died on October 30th, 1987.  He was born Roman Catholic but fascinated by Native American myth and culture.  Over his life, this interest in one culture’s stories and way of life extended to other ancient societies.  Campbell was struck by how similar the myths of unique cultures were.  He held a belief that there was a singular origin for all religions, beliefs, and stories.  Today we know his theory as the “monomyth.”

What is the Monomyth?  

The monomyth is a nonhistoric, nonliterary interpretation of ancient cultures (and “modern” Christian) myths and legends that asserts all the stories are the same sort and all the key players are the same being.

Campbell builds on Freud and Jung’s phycological work to help build a case of his large-scale interpretation of religion and myth.  He asserted that these stories told us something core about what it means to be human, and if we understood this relationship, we could be happy/more at peace/health.

This monomyth is exemplified in “the hero’s journey.”  Campbell goes int detail in his most famous book: “Hero With A Thousand Faces.”

Why Does Any of this Matter to Writers?  

While the hero’s journey was created by Campbell in 1949 as an archetype that all men (yes specifically men, Campbell has a whole separate series for women based on goddesses) experienced over the course of their life, it is currently used as a storytelling device that many writers use today.  

Christopher Vogler brought the 17 steps down to 12 steps and suggested that all stories have at least some of these elements (see his book for details).  The hero’s journey is a device taught and used often in creative writing workshops.  While a writer does not have to agree with the concept of the monomyth or that all stories are the hero’s journey, we can still examine this model as one way to form both a character and plot.  The biggest reason to study the hero’s journey is because it interweaves character and plot when often creative writing courses don’t adequately explore how these two elements of a story need to interact if a writer wants to make a compelling story.  

It can be a great place to develop an idea for a story and for understanding how all the pieces would work together.

Did you want to explore the hero's Journey on your own?



Thanks for following me through this "lesson" and set up and stay tuned for more personal thoughts on the hero's journey and Campbell's works as they relate to literature.

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