How Joseph Campbell and Christopher Vogler Changed Storytelling

Joseph Campbell and Christopher Vogler’s theories of storytelling have been major influences in the world of art, film, literature, and media. Their works have helped shape the way stories are told today by outlining universal patterns that audiences can connect with emotionally.

Understanding The Hero’s Journey.

Perhaps the most influential contribution of these two theorists has been their explanation of The Hero’s Journey.

Campbell and Vogler argued that all stories follow a hero monomyth based on a universal story that can be found in all cultures around the world, in which protagonists begin in their Ordinary World, receive a Call to Adventure (which they refuse), Meet a Mentor, Cross a Threshold into the Special World, experience Tests, Allies, and Enemies, continue to the Approach, experience and grow through the Ordeal, Death, and Rebirth, to pursue the Reward, return to the Ordinary World on The Road back, experience a Resurrection, and finally Return with the Elixer.

This pattern has become popularized by many iconic films like Star Wars, The Lord of the Rings, The Matrix, and others.

Campbell’s Influence on Pop Culture.

Joseph Campbell’s idea of a common mythic structure was hugely popularized in modern media culture, influencing many filmmakers and writers.

The success of George Lucas’s Star Wars franchise is often attributed to its strict adherence to the hero’s journey framework.

Similarly, the complex character arcs featured in HBO’s Game of Thrones are direct reflections of both Campbell and Vogler’s work. Consequently, aspects of their theories have become integral to our understanding of storytelling, providing future content creators with an invaluable tool for crafting meaningful stories.

Vogler’s 12-Stage Approach to Narrative Structures.

Christopher Vogler’s approach to narrative structures is based on Campbell’s theory.

He supplemented the monomyth structure with his own 12-Stage Process. This breaks down story arc into twelve distinct parts:

1.) The hero is introduced in his/her ORDINARY WORLD.

Most stories ultimately take us to a special world, a world that is new and alien to its hero. If you’re going to tell a story about a fish out of his customary element, you first have to create a contrast by showing him in his mundane, ordinary world. In WITNESS you see both the Amish boy and the policeman in their ordinary worlds before they are thrust into alien worlds – the farm boy into the city, and the city cop into the unfamiliar countryside. In STAR WARS you see Luke Skywalker being bored to death as a farm boy before he tackles the universe.

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2.) The CALL TO ADVENTURE. The hero is presented with a problem, challenge or adventure.

Maybe the land is dying, as in the King Arthur stories about the search for the Grail. In STAR WARS, it’s Princess Leia’s holographic message to Obi Wan Kenobi, who then asks Luke to join the quest. In detective stories, it’s the hero being offered a new case. In romantic comedies it could be the first sight of that special but annoying someone the hero or heroine will be pursuing/sparring with.

3.) The hero is reluctant at first. (REFUSAL OF THE CALL.)

Often at this point the hero balks at the threshold of adventure. After all, he or she is facing the greatest of all fears – fear of the unknown. At this point Luke refuses Obi Wan’s call to adventure, and returns to his aunt and uncle’s farmhouse, only to find they have been barbecued by the Emperor’s stormtroopers. Suddenly Luke is no longer reluctant, and is eager to undertake the adventure. He is motivated.

4.) The hero is encouraged by the Wise Old Man or Woman. (MEETING WITH THE MENTOR.)

By this time many stories will have introduced a Merlin-like character who is the hero’s mentor. In JAWS it’s the crusty Robert Shaw character who knows all about sharks; in the mythology of the Mary Tyler Moore Show, it’s Lou Grant. The mentor gives advice and sometimes magical weapons. This is Obi Wan giving Luke his father’s light saber. The mentor can go so far with the hero. Eventually the hero must face the unknown by himself. Sometimes the Wise Old Man/Woman is required to give the hero a swift kick in the pants to get the adventure going.

5.) The hero passes the first threshold. (CROSSING THE THRESHOLD.) The hero fully enters the special world of the story for the first time.

This is the moment at which the story takes off and the adventure gets going. The balloon goes up, the romance begins, the spaceship blasts off, the wagon train gets rolling. Dorothy sets out on the Yellow Brick Road. The hero is now committed to his/her journey and there’s no turning back.

6.) The hero encounters tests and helpers. (TESTS, ALLIES, ENEMIES.) The hero is forced to make allies and enemies in the special world, and to pass certain tests and challenges that are part of his/her training.

In STAR WARS the cantina is the setting for the forging of an important alliance with Han Solo and the start of an important enmity with Jabba the Hutt. In CASABLANCA Rick’s Café is the setting for the “alliances and enmities” phase and in many Westerns it’s the saloon where these relationships are tested.

7.) The hero reaches the innermost cave. (APPROACH TO THE INMOST CAVE.) The hero comes at last to a dangerous place, often deep underground, where the object of the quest is hidden.

In the Arthurian stories the Chapel Perilous is the dangerous chamber where the seeker finds the Grail. In many myths the hero has to descend into hell to retrieve a loved one, or into a cave to fight a dragon and gain a treasure. It’s Theseus going to the Labyrinth to face the Minotaur. In STAR WARS it’s Luke and company being sucked into the Death Star where they will rescue Princess Leia. Sometimes it’s just the hero going into his/her own dream world to confront fears and overcome them.

8.) The hero endures the supreme ORDEAL. This is the moment at which the hero touches bottom.

He/she faces the possibility of death, brought to the brink in a fight with a mythical beast. For us, the audience standing outside the cave waiting for the victor to emerge, it’s a black moment. In STAR WARS, it’s the harrowing moment in the bowels of the Death Star, where Luke, Leia and company are trapped in the giant trash-masher. Luke is pulled under by the tentacled monster that lives in the sewage and is held down so long that the audience begins to wonder if he’s dead. IN E.T., THE EXTRATERRESTRIAL, E. T. momentarily appears to die on the operating table.

This is a critical moment in any story, an ordeal in which the hero appears to die and be born again. It’s a major source of the magic of the hero myth. What happens is that the audience has been led to identify with the hero. We are encouraged to experience the brink-of-death feeling with the hero. We are temporarily depressed, and then we are revived by the hero’s return from death.

This is the magic of any well-designed amusement park thrill ride. Space Mountain or the Great Whiteknuckler make the passengers feel like they’re going to die, and there’s a great thrill that comes with surviving a moment like that. This is also the trick of rites of passage and rites of initiation into fraternities and secret societies. The initiate is forced to taste death and experience resurrection. You’re never more alive than when you think you’re going to die.

9.) The hero seizes the sword. (SEIZING THE SWORD, REWARD) Having survived death, beaten the dragon, slain the Minotaur, her hero now takes possession of the treasure he’s come seeking.

Sometimes it’s a special weapon like a magic sword or it may be a token like the Grail or some elixir which can heal the wounded land.

The hero may settle a conflict with his father or with his shadowy nemesis. In RETURN OF THE JEDI, Luke is reconciled with both, as he discovers that the dying Darth Vader is his father, and not such a bad guy after all.

The hero may also be reconciled with a woman. Often she is the treasure he’s come to win or rescue, and there is often a love scene or sacred marriage at this point. Women in these stories (or men if the hero is female) tend to be shape-shifters. They appear to change in form or age, reflecting the confusing and constantly changing aspects of the opposite sex as seen from the hero’s point of view. The hero’s supreme ordeal may grant him a better understanding of women, leading to a reconciliation with the opposite sex.

10.) THE ROAD BACK. The hero’s not out of the woods yet.

Some of the best chase scenes come at this point, as the hero is pursued by the vengeful forces from whom he has stolen the elixir or the treasure.. This is the chase as Luke and friends are escaping from the Death Star, with Princess Leia and the plans that will bring down Darth Vader.

If the hero has not yet managed to reconcile with his father or the gods, they may come raging after him at this point. This is the moonlight bicycle flight of Elliott and E. T. as they escape from “Keys” (Peter Coyote), a force representing governmental authority. By the end of the movie Keys and Elliott have been reconciled and it even looks like Keys will end up as Elliott’s stepfather.

11.) RESURRECTION. The hero emerges from the special world, transformed by his/her experience.

There is often a replay here of the mock death-and-rebirth of Stage 8, as the hero once again faces death and survives. The Star Wars movies play with this theme constantly – all three of the films to date feature a final battle scene in which Luke is almost killed, appears to be dead for a moment, and then miraculously survives. He is transformed into a new being by his experience.

12.) RETURN WITH THE ELIXIR The hero comes back to the ordinary world, but the adventure would be meaningless unless he/she brought back the elixir, treasure, or some lesson from the special world.

Sometimes it’s just knowledge or experience, but unless he comes back with the elixir or some boon to mankind, he’s doomed to repeat the adventure until he does. Many comedies use this ending, as a foolish character refuses to learn his lesson and embarks on the same folly that got him in trouble in the first place.

By stringing these moments together in a logical succession, Vogler created a comprehensive narrative structure for storytellers to use as a foundation for all types of narratives.

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Christopher Vogler also contributed to story when he wrote “The Memo That Started It All” [See Christopher Vogler’s Memo in a new tab]

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“The Writer’s Journey” – Applying the Monomyth to Screenwriting and Novels

The publication of Vogler’s book, The Writer’s Journey: Mythic Structure for Writers, allowed him to explain and expand the format of Joseph Campbell’s monomyth archetype.

His examples from movies such as Star Wars and The Godfather became a huge influence on contemporary screenwriting and novel writing techniques. Vogler utilized the twelve steps from Campbell’s Hero’s Journey to create “The Writer’s Journey,” a comprehensive guide for all authors trying to master practical aspects of storytelling. This book encouraged authors to apply classic mythology in order to make their stories more powerful and impactful.

How Campbell and Vogler Changed Storytelling for Good

Joseph Campbell and Christopher Vogler have permanently changed the world of storytelling.

Before them, authors struggled to make sense of the difficult task of story creation; after them, several great stories became possible due to their revolutionary 12-step structure.

By understanding the Hero’s Journey, authors can now create larger-than-life characters and even interpolate their own writing techniques along with those specified by Campbell and Vogler.

This is a milestone achievement in the storytelling world that made it easier for authors to build complex and interesting stories.