The world of fairy tales and myth is peopled with recurring character types and relationships. Heroes on a quest, heralds and wise old men or women who provide them with “gifts”, shady fellow-travelers—threshold guardians—who may “block” the path, tricksters who confuse and complicate things and evil villains who simply want to destroy our hero. Joseph Campbell called them archetypes. In psychology, an archetype is a model of a person, personality or behavior. For instance, a mother-figure is an archetype. Archetypes are found in nearly all forms of literature, with their motifs being predominantly rooted in folklore.

Assigning an archetype to a character allows you to clarify that character’s role in the story as well as to determine the overall theme of the story itself. Archetypes are therefore an important tool in the universal language of storytelling, just as myth serves the overall purpose of supplying “the symbols that carry the human spirit forward.” (Joseph Campbell). Campbell even described the archetype as something expressed biologically and wired into every human being.

An archetype need not be fixed; that is, a particular character may evolve and function through several archetypes. This makes characters more real, interesting and less allegorical. The seven most useful archetypes for the writer according to Christopher Vogler (author of A Writer’s Journey) are:

· Hero
· Mentor
· Herald
· Threshold guardian
· Shape shifter
· Shadow
· Trickster

The Hero

A hero is someone willing to sacrifice his own needs for others. Vogler says that the hero archetype “represents the ego’s search for identity and wholeness.” The hero provides a character for us to identify with. She is usually the principal POV character in a story and has qualities most readers can (or want to) identify with. This means someone with flaws like you and me (not a cardboard cutout of infinite virtue). The function of the hero is to grow and change through her journey as she encounters other archetypes. Every hero is on a quest, a mission, or a journey, whether it is an actual physical journey or (and usually combined with) a psychological journey toward “home” (salvation or redemption) through sacrifice. “The true mark of the hero, says Vogler, is in the act of sacrifice, “the hero’s willingness to give up something of value, perhaps even her own life, on behalf of an ideal or a group,” and ultimately for the greater good. A hero is a true altruist.

Heroes may be willing or unwilling. Some can be described as anti-heroes, who are usually notably flawed characters that must grow significantly to achieve the status of true hero. Often the anti-hero starts off behaving more like a villain, like the character Crais in Farscape. The wounded anti-hero may be a “heroic knight in tarnished armor, a loner who has rejected society or been rejected by it,” according to Vogler. Examples include Jim Stark in Rebel Without a Cause or Aragorn in Lord of the Rings. The catalyst hero provides an exception to the rule of hero undergoing the most change. This type of hero shows less of a character arc but precipitates significant change or transformation in other protagonists. A good example is the character, David Adams, in Ben Bova’s Colony.

The Mentor

The mentor is usually a positive figure who aids or trains the hero. The mentor often possesses divine wisdom and has faith in the hero and shows great enthusiasm, as a result. The word “enthusiasm” itself means god-inspired or having a god in you. The mentor represents the “Self”, the god within us, says Vogler; a higher Self that is wiser, nobler and more godlike.

The mentor often gives the hero a “gift”—once the hero has earned it, that is. The gift is usually something important for the hero’s use on his journey; either a weapon to destroy a “monster” or a “talisman” to enlighten the hero in deciding the path of her journey. A good example of this is in Star Wars, when Luke’s mentor, Obi Wan, provides him with his father’s light saber (Luke’s magic talisman).

The mentor also serves as inventor, the hero’s conscience, as motivator, or information-provider. In love stories the mentor may function in the role of initiation. Vogler describes many types of mentor from fallen mentors to dark mentors, shamans, and comics.

The Herald

Heralds announce the coming of significant change, whether the hero likes it or not (and usually they don’t). In Act One, we usually find the hero struggling, getting by in her Ordinary World; yearning, like Luke Skywalker on Tatooine, for “more”. Often not even realizing it. The herald is a new energy that enters the story and makes it impossible for the hero to remain in status quo. The herald tips the scales. This could be in the form of a person, an event, a condition or just information that shifts the hero’s balance and changes her world, as a result. Nothing will ever be the same.

The herald delivers the call to adventure. In Star Wars, Ben Kenobi, who also serves as Luke Skywalker’s mentor, issues the call when he invites Luke to join him on his mission to Alderaan. The herald also provides the hero with motivation.

The Threshold Guardian

As his title aptly describes, this archetype guards the threshold of “Separation from the Ordinary World” on the hero’s journey to attain his “prize” and achieve his destiny. Threshold guardians are usually not the main antagonist. In the Harry Potter series, this role may be fulfilled by Malfoy, Snape or Filch, even; while the main antagonist is provided, of course, by the character of Voldemort.

Threshold guardians spice up the story by providing obstacles the hero must overcome. They help to round-out the hero’s journey and develop his character arc. In many cases, they may even be more interesting than the main villain. In rare cases, the threshold guardian may, in fact, be a secret helper, placed in the hero’s path to test his ability and commitment to his journey. Ultimately, this is the role of the threshold guardian: to test the hero on her path.

A hero succeeds when she recognizes a threshold guardian as providing an opportunity to strengthen her powers, or resolve her will. Threshold guardians aren’t defeated so much as incorporated by the hero, as she learns their tricks, absorbs them and goes on. “Ultimately”, says Vogler, “fully evolved heroes feel compassion for their apparent enemies and transcend rather than destroy them.”

The Shape Shifter

The shape shifter archetype adds dramatic tension to the story and provides the hero with a puzzle to solve. This archetype serves as “a catalyst for change and a symbol of the psychological urge to transform”, according to Vogler. The shape shifter can seem one thing and in fact be another. They are often mendacious and crafty.

The shape shifter brings doubt and suspense to the story and tests the hero’s abilities to discern her path. The hero often evolves through her interactions with this slippery character. The character of the Palpatine in Star Wars appears good and is really evil. Even the character Yoda in Star Wars, is a shape shifter, initially masking his ancient wisdom with a foolish childlike appearance when Luke first encounters him.

The Shadow
The monster under the bed, repressed feelings, deep trauma, a festering guilt; these all possess the dark energy of the shadow. This is the dark force of the unexpressed, unrealized, rejected, feared aspects of the hero and represented by the main antagonist or villain. The shadow challenges the hero in ways far more powerful than the threshold guardian. Voldermort in the Harry Potter series; Darth Vader in Star Wars; the aliens in War of the Worlds. These are all shadows and worthy opponents for the hero, bringing out the best in her and usually demanding the ultimate in self-sacrifice (the hero’s destiny).

The Trickster

Practically every Shakespearian play contains a jester or fool, who not only serves as comic relief but as commentator. This is because tricksters are often witty and clever. The comedy of most successful comedians touches upon the pulse of a culture by offering commentary that is truism.

This article is an excerpt from The Fiction Writer: Get Published, Write Now!” Starfire World Syndicate), May 2009 (Chapter J).

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“Midway upon the journey of our life I found myself within a forest dark, For the straightforward pathway had been lost.” — Dante Alighieri (Divine Comedy)

“Summoned or not, the god will come.” — Motto over the door of Carl Jung’s house

According to Christopher Vogler (author of The Writer’s Journey: Mythic Structure for Writers) “all stories consist of a few common structural elements found universally in myths, fairy tales, dreams, and movies. They are known collectively as The Hero’s Journey.”

The Hero’s Journey is essentially the three-act structure of the ancient Greek play, handed down to us thousands of years ago and consisting of Beginning, Middle, and End (also known as Opening, Development, Conclusion or “the decision to act”, “the action”, and “the consequences of the action”).

Dating from before history, the Hero’s Journey duplicates the steps of the “Rite of Passage” and is a process of self-discovery and self-integration. The Hero’s Journey is a concept drawn from the depth psychology of Swiss psychologist Carl Jung and the scholar and mythologist Joseph Campbell, author of The Hero with a Thousand Faces. Jung proposed that symbols appear to us when there is a need to express what thought cannot think or what is only divined or felt. Jung discovered reoccurring symbols among differing peoples and cultures, unaffected by time and space. He described these shared symbols as archetypes which are irrepressible, unconscious, pre-existing forms of the inherited structure of the psyche and manifested themselves spontaneously anywhere, anytime. Campbell suggested that these mythic images lay at the depth of the unconscious where humans are no longer distinct individuals, where our minds widen and merge into the mind of humankind. Where we are all the same.

Campbell articulated the life principles embedded in the structure of stories. He recognized that myths weren’t just abstract theories or quaint ancient beliefs but practical models for understanding how to live. Ultimately, the hero’s journey is the soul’s search for home. It is a long and tortuous journey of the soul seeking enlightenment-redemption-salvation only to find it by returning “home” (though, often not the home they’d previously envisioned). It is a journey we all take, in some form.

Heroes are agents of change. In The Hero with a Thousand Faces, Joseph Campbell defines the hero as “the champion not of things to become but of things becoming; the dragon to be slain by him is precisely the monster of the status quo.” The hero’s task has always been to bring new life to an ailing culture, says Carol S. Pearson, author of The Hero Within. Julia Cameron reiterates this in her book, The Artist’s Way, when she describes the concept of art as a healing journey (not just for the individual but for a culture). This is because the writer/artist changes society by changing themselves.

In The Writer’s Journey: Mythic Structure for Writers, Christopher Vogler tells writers that we are “storytellers.” He says that “the best of them have utilized the principles of myth to create masterful stories that are dramatic, entertaining, and psychologically true.” Vogler goes on to say that “the Hero’s Journey is not an invention, but an observation. Vogler suggests “that the Hero’s Journey is nothing less than a handbook for life, a complete instruction manual in the art of being human.” This is why the Hero’s Journey model for writing is so relevant; because it appeals to all readers. We are all on a journey.

In some versions of the Holy Grail story, relates Pearson, the hero reaches a huge chasm with no apparent way to get across to the Grail castle. The space is too great for him to jump across. Then he remembers the Grail teaching that instructs him to step out in faith. As he puts one foot out into the abyss, a bridge magically appears and he is saved.

Anyone who has left a job, school, or a relationship has stepped out into that abyss, separating them from the familiar world they’ve known.

Just as “the knights of King Arthur’s Round Table set off to seek the Holy Grail,” says Mary Henderson, author of Star Wars: The Magic of Myth, “the great figures of every major religion have each gone on a ‘vision quest’, from Moses’ journey to the mountain, to Jesus’ time in the desert, Muhammad’s mediations in the mountain cave, and Buddha’s search for enlightenment that ended under the Bodhi tree.”

The journey, and the abyss, is often not a physical adventure, adds Henderson, but a spiritual one, “as the hero moves from ignorance and innocence to experience and enlightenment.”

This article is an excerpt from Nina Munteanu’s The Fiction Writer: Get Published, Write Now! (Starfire World Syndicate)

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