8 Archetypes of The Hero's Journey

Today we are covering the eight character archetypes of The Hero's Journey.

Archetypes are recurring patterns and figures in storytelling (well, to put in simplified terms). Often a story won't feel "complete" without the proper archetypes.

But keep in mind that archetypes don't have to manifest exactly like this in your manuscript--it's not necessarily a character-for-character thing. In fact, these work more as functions, especially today. You can mix and match and combine them in your cast of characters. Or sometimes the functions may be like masks that different characters wear at different times.

Hero

Obviously this is the protagonist, but we'll go a little deeper into the Hero archetype, than that, of course.

Vogler, who has a whole book on The Hero's Journey specifically for writers, says, "The word hero is Greek, from a root that means 'to protect and to serve.' A Hero is someone who is willing to sacrifice his own needs on behalf of others. . . . At the root the idea of Hero is connected with self-sacrifice."

The Hero is the main person the audience will identify with. He or she provides a context for them to view the rest of the story. In order for this archetype to be effective the Hero needs to be both universal and original--universal enough that the audience can relate to him, but original enough to feel distinct, like a real person.

Another important function is that the Hero shows growth, and usually, he or she grows the most out of all the characters. She is typically the person who takes the most action, or at least, the most significant actions in the story. Through The Hero's Journey, she will face death, real or figurative.

Mentor

This archetype is almost as familiar as the Hero. The Mentor is often seen as a wise old man or woman, but it doesn't have to be. Traditionally, the Mentor is a positive figure who trains the Hero. Both Dramatica and The Hero's Journey touch on the idea that this archetype is similar to God or the conscience or a higher self, in the sense that it encourages the Hero to do what is right. This figure often functions like a parent.

In addition to teaching, the Mentor often gives gifts, maybe a magic pendant that lights up the darkest places, for example. Sometimes these gifts need to be earned by the Hero--he may need to prove he is worthy of them--and almost always they are required to finish the story. The Mentor may drop information that will be important later. She may also provide motivation when the Hero has difficulty moving forward.

Threshold Guardian

Just as the Hero will likely need to prove herself to the Mentor, she will likely also need to prove herself to a Threshold Guardian. As she faces obstacles on her adventure, she may need to get past a guard, rival, or unfriendly creature--not necessarily the antagonist, but someone in the way of the goal. Vogler writes, "At each gateway to a new world there are powerful guardians at the threshold, placed to keep the unworthy from entering."

The Threshold Guardian's purpose is to test the Hero before she can continue. Not all Guardians are defeated--some may be bypassed or turned into an ally. In life, the Threshold Guardian represents the resistance we face when we make up our minds to go a certain direction. This resistance may not be ill-intended--it can come from a best friend who doesn't want us to move away, for example. The friend's resistance tests our resolve--are we willing to still move even when begged not to?

Herald

The Hero starts out in his Ordinary World, until the Call to Adventure arrives. Often that Call to Adventure comes from a Herald.

The Herald announces "the need for a change." Like the Mentor, the Herald will work as a motivator for the Hero. Maybe the Hero knows a change is coming, but it's not validated until the Herald appears.

Other than Act I, a Herald can surface at almost any point in the story, announcing and encouraging the need for change.

Shapeshifter

By nature, this archetype is shifting and unstable. The Hero will meet the Shapeshifter, get one impression, only to discover they are truly something else later. Or their very nature may change several times throughout the Journey. "Shapeshifters change appearance or mood, and are difficult for the Hero and the audience to pin down."

Typically, traditionally, the Shapeshifter is the opposite gender of the Hero, perhaps a love interest. The Hero's Journey borrows heavily from the studies of Carl Jung, and this pattern connects to his concept of the "animus" or "anima"--an archetype representing the male elements in the female unconscious or vice versa. Of course, the Shapeshifter can also work well as the same gender, such as in a buddy comedy or adventure story.

In the narrative, the Shapeshifter functions by bringing in doubt into the Adventure. Because we can't pin down the Shapeshifter, we will feel unsure and ask questions.

Shadow

The Shadow is the antagonistic force. It "represents the energy of the dark side, the unexpressed, unrealized, or rejected aspects of something." It can be the main antagonist but also other villains, enemies, or inner demons of the self.

The Shadow challenges the Hero as a worthy opponent. If the story includes a main villain, that Shadow may illustrate characteristics the Hero rejects within himself, so in a sense it mirrors the Hero while also being the direct opposite of the Hero. Often the best Shadows are humanized in some way.

Shadows are not always negatively rooted. They can also be things unobtained, such as unexplored potential, forgotten dreams, or unexpressed love.

It's the stuff we try to push away into the unconscious. And sometimes that stuff is personified into a character.

Ally

Many heroes need a buddy or a sidekick to help them on their journey. This can be a best friend, a pet, a training partner, a servant, a classmate, or a variety of other things. Having an Ally gives the Hero a comrade to interact with--to bring out human feelings, thematic discussions, and possible problem-solving methods. An Ally will help illuminate aspects of the Hero that the other archetypes cannot.

Allies may ask questions the audience needs to hear but that the Hero would not ask, such as Watson when paired with Sherlock Holmes.

In mythology, it's not uncommon for the Hero to have a spiritual protector, like a guardian angel or the ghost of an ancestor.

The Ally "might represent the unexpressed or un-used parts of the personality that must be brought into action to do their jobs."

Trickster

This archetype exemplifies mischief and the desire to change. The Trickster is typically the comic relief. In the human experience, the Trickster humbles those with big egos and brings others down to earth. They may highlight follies and hypocrisies. "Above all, they bring about healthy change and transformation, often by drawing attention to the imbalance or absurdity of a stagnant psychological situation." They are rebels of social or political conventions--or at least, their actions bring such things into question.

A great Trickster can help balance out long, tense moments in a story. In order to feel suspense most powerfully, you need to contrast it with relief and laughter.

Remember, often today we don't use characters that fit archetypes exactly, but rather these are different character functions to bring into the story. Feel free to mix them up or bring something new to your character. 

Why does this matter? Well, there is a reason these figures appear and reappear throughout human history. They represent different parts of the human experience: encouragement to do right, feelings of doubt, resistance, motivation, imbalance, repressed or unrealized desires. . . . 

Including the different parts, makes a story feel more complete or whole, because it mimics life.

To learn more about this or other archetypes, check out and compare The Hero's Journey's list to Dramatica's list. 

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Dramatica's Character Archetypes

Some of you may have heard of Dramatica, but for those unfamiliar with it, Dramatica is a (rather comprehensive) theory about storytelling--what a story needs, to be most successful. One of the things that sets Dramatica apart from other approaches, is that Dramatica looks at the story as a representation of an argument within the human mind. The story itself represents how our minds solve problems.

Might sound a little strange when you first hear the concept, but it's rather impressive. In order for a story to feel satisfyingly "complete," it must include all points and parts that we would naturally consider when trying to solve a problem.

When it comes to characters, these parts are divided into several archetypes.

Archetypes (in this context) are recurring characters that you can trace way back into myths, and many of them are instantly recognizable to audiences (such as, say, the wise, old mentor figure). Dramatica has its own categories, but each perspective needs to be included for the story's argument to feel complete. If one of these character functions is missing from your story, the book may feel . . . unfulfilling.

So with that said, I'd like to share these with you today, along with some methods to help take them to the next level in your story.

The first two listed are the most recognizable. The others you've probably seen many times, even if you didn't realize it.

Protagonist

The protagonist is the primary driver of the story, the person who is putting in the most effort to reach the story's goal or reconcile the story problem.

Action Characteristic: Pursues the goal. The traditional Protagonist is the driver of the story: the one who forces the action.

Decision Characteristic: Urges the other characters to consider the necessity of achieving the goal.

Antagonist

The antagonist is directly opposed to the protagonist's efforts. It may be that the protagonist has a goal and plan, and the antagonist comes along and tries to thwart it, but it can also work the other way, and start with the antagonist. The antagonist has a goal and plan, and the protagonist comes along and tries to thwart it. Whatever the case, their goals are direct opposites, so they are in a sort of tug-of-war.

Action Characteristic: The Antagonist physically tries to prevent or avoid the successful achievement of the goal by the Protagonist.

Decision Characteristic: The Antagonist urges the other characters to reconsider the attempt to achieve the goal.

Reason

The reason character is "calm, collected, and cool, perhaps even cold." In the overall story argument, this character makes decisions based only on logic. They are very organized and calculated. In fact, maybe so much so that they seem to lack humanity. As a result, they may hurt others unknowingly and have difficulty finding support for their well-thought plans. This leads to their logic sometimes being wasted.

Action Characteristic: This character is very calm or controlled in its actions.

Decision Characteristic: It makes its decisions on the basis of logic, never letting emotion get in the way of a rational course.

Emotion

Just as the protagonist and antagonist counterbalance each other, the emotion character counterbalances the reason character. They aren't enemies necessarily, or good vs. evil necessarily, but just opposites, with neither actually being "better" than the other (though they will likely be in conflict). In real life, we need both reason and emotion to make smart decisions, which is why we need both in the story--it mimics what happens in our own minds.

The emotion character is quick to show and act on emotion. They may get angry or sad easily, but they are also empathetic. They make choices based on the heart. Typically, they will be frenetic and disorganized, and sometimes lash out. Because of this, they may waste their energy by going in "so many directions that [they end] up running in circles and getting nowhere."

Action Characteristic: The Emotional character is frenzied or uncontrolled in its actions.

Decision Characteristic: It responds with its feelings with disregard for practicality.

Sidekick

The sidekick character represents confidence. They are very loyal and supportive, usually to the protagonist, but they may be paired with someone else, like the antagonist, or even just be attached to an idea. The point is that they represent those qualities in the story argument or in our own minds. They are completely faithful to who or what they believe in.

Action Characteristic: The Sidekick supports, playing a kind of cheering section.

Decision Characteristic: It is almost gullible in the extent of its faith—in the goal, in the Protagonist, in success, etc.

Skeptic

Opposing that, we have the skeptic, who is just what it sounds. The skeptic's job is to question and cast doubt. "Where the Sidekick has faith, the Skeptic disbelieves; where the Sidekick supports, the Skeptic opposes." Whatever is presented in the story, they will probably be against it. In our own minds, skepticism helps us foresee potential failures, while in contrast, confidence helps us see potential successes.

Action Characteristic: The Skeptic opposes—everything.

Decision Characteristic: It disbelieves everything, doubting courses of action, sincerity, truth—whatever.

Guardian

This is a very familiar archetype. The guardian character is the mentor character. This character offers wisdom and direction. They help the protagonist overcome the obstacles in their path and guide them towards the proper way to success (the moral way). In our story arguments and in our own minds, the guardian represents the conscience.

Action Characteristic: The Guardian is a helper who aids the efforts to achieve the story goal.

Decision Characteristic: It represents conscience in the mind, based upon the Author’s view of morality.

Contagonist

This is a term coined by Dramatica for the character opposite of the guardian. Where the guardian seeks to morally guide the protagonist toward success, the contagonist seeks to tempt them by luring them away from it. The guardian speeds up the journey to success, but the contagonist slows it. This might be done by placing obstacles in the protagonist's way and/or heckling them. Or it might be done by enticing them toward a different path.

The contagonist functions a little differently than the antagonist though. The antagonist seeks to completely defeat the protagonist in the overall problem, but the contagonist intends to delay or divert the protagonist.

Contagonists are usually attached to the antagonist, but they can also be attached to other people or ideas. Together, the guardian and the contagonist represent the conflict in our own minds between our conscience for doing what is right and our temptations for instant gratification.

Action Characteristic: The Contagonist hinders the efforts to achieve the story goal.

Decision Characteristic: It represents temptation to take the wrong course or approach.

***

Including each of these archetypes means fully representing the arguments in our own minds; it means having a "complete" argument in the story. We have all aspects of that human experience and their oppositions.

Protagonist vs. Antagonist

Reason vs. Emotion

Sidekick vs. Skeptic

Guardian vs. Contagonist

Keep in mind that you can mix and match who these characters are connected to. Typically we think of a sidekick being connected to the protagonist, but you can attach them to someone else. The contagonist is usually the antagonist's second-in-command, but you can attach them to the protagonist--maybe as a younger sibling or a lover.

Creating Complex Characters

With all that said, if you have a cast of characters who match all the archetypes exactly, you can run into simplistic or flat characters. Dramatica explains that one way to make characters complex is to mix and match their functions. The point of the archetypal characters isn't that you need a separate character for each function, but rather, you want to make sure each function is manifested in the cast.

Complex characters often come from contradictions and inconsistencies (thank you for validating my opinions on that Dramatica). A character who is a skeptic sidekick is complex--how can someone be both faithful and faithless? Well, exploring that gap is where complexity resides. Maybe they have always been the sidekick, but are now becoming skeptical of their friend's plans. Smashing together opposite functions also increases conflict within the character. A character who is functioning as both a sidekick and skeptic is going to be having some inner turmoil. Likewise, a guardian who is a skeptic is interesting. Or a protagonist who is driven primarily by emotion, and therefore makes rash decisions or illogical ones (something they may need to work on in their character arc) is interesting. Or maybe a guardian turns out to be the antagonist.

You can also play around with the action and decision elements to an extent. You can have a character who makes decisions based on feelings but is still very calm and controlled, for example.

When you understand the archetypal functions, you can make meaningful decisions on how to distribute them into your cast of characters, while also making sure every aspect of the argument is met.

Drivers and Passengers

To take this a step further, Dramatica explains that some archetypes are drivers of the story and others are passengers, or rather, like back-seat drivers, influencing and telling the drivers what to do.

Drivers

Protagonist vs. Antagonist
Guardian vs. Contagonist

The drivers' interactions thrust the plot directly forward, in major ways. "Whatever the object of their efforts, Protagonist will be trying to achieve it, Antagonist will be trying to prevent its achievement, Guardian will act to aid the achievement, and Contagonist will act to hinder (although Guardian and Contagonist may not be directly concerned with the goal itself or even each other)."

Remember, this is not based on how these characters see themselves and the story, but rather how the audience sees them affecting the story.

Passengers

Reason vs. Emotion
Sidekick vs. Skeptic

The passengers influence their drivers. This is Hermione and Ron influencing Harry. Peeta and Gale influencing Katniss. They aren't the main drivers, but they are the back-seat drivers shouting directions. "If not for the Drivers, the Passengers would not even be involved with the problem."

The Four Dimensions 

Above, you'll notice I included the "actions" and "decisions" each archetype has. This makes up their motivations.

But this is only one character dimension. Dramatica breaks each archetype into four dimensions:

- Motivation
- Purpose
- Evaluation
- Methodology

You can also create complex characters by mixing and matching these dimensions. For example, you may have a guardian who is motivated to help, but his methodology is inaction. How do you help by being inactive? You might wonder. But perhaps it's helpful because the guardian was being an enabler, and by being inactive, he ensures he is not. Or perhaps by getting involved, he will create more problems--draw in more opposing forces. Therefore not acting is actually helping.

The protagonist is usually proactive, but perhaps instead her methodology is protection. Maybe she doesn't necessarily want to overthrow the antagonist, she just wants to survive and protect her loved ones. This is exactly Katniss Everdeen. Sure, she changes as the story progresses, but that is part of her character arc. For most of the series, her method is survival.

This can all get more complex, and surprisingly, you can actually read the entire Dramatica book online for free.

Here is the chapter on characters, if you want to study these concepts in more depth. Otherwise, just remember this: Include all the archetypal functions to create a balanced cast and story.

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