![]() A new character-driven Hero’s Emotional Journey I prefer to delay this transformation because flawed characters tend to be more interesting (and funnier), and postponing the change leads to much greater conflict and emotion in that confrontation scene. The hero doesn’t address their fundamental character flaw until they’re forced to at Step 8 The Ordeal – around the midpoint of Act 2. In summary, Chris says that the character should be evolving from the beginning of the story, whereas in most of the films I love this doesn’t happen. In that last post, I detailed why I disagree with Vogler on character arc. I think it’s preferable to delay addressing the flaw until Step 8 The Ordeal. He advocates the protagonist changes from the beginning. ![]() This is Chris Vogler’s view of the character arc in the Hero’s Journey. Where I disagree with Vogler on character arc However, if you were put off by the terminology, it’s easy to understand why you might walk away thinking that the Hero’s Journey valued plot over character. And the emotional power of a film depends almost entirely on the size (and the credibility) of that transformation. If you understand the Hero’s Journey, and apply its principles, it’s impossible not to have your hero altered by their odyssey. One of the reasons I’ve always loved the Hero’s Journey is that the transformation of the protagonist is bound into the paradigm. However, it’s easy to see why these warrior metaphors might lead people to believe the paradigm would only be appropriate for testosterone-addled protagonists on a quest to find the Holy Grail (or a misplaced groom). Vogler stands on the shoulders of mythological guru, Joseph Campbell, so it’s not surprising that he uses terms like “Call to adventure”, “Supreme Ordeal” and “Approach to the Inmost Cave” to define the 12 steps of his Hero’s Journey. The Hero’s Journey is just as applicable to female protagonists like Juno as it is to “warriors” like Luke Skywalker or Indiana Jones. I’ve never laboured under either of these misconceptions – hell, I write romantic comedies – but it’s not hard to see why people might form these opinions. The other is that it might work if you’re developing a Star Wars sequel but not if you’re writing an intimate drama. One is that is only applies to male protagonists. There are a couple of complaints I commonly hear about the Hero’s Journey. However, there is some resistance to the Hero’s Journey and I can understand why misconceptions have arisen. It totally transformed my understanding of story and I think every screenwriter should read it. The Hero’s Journey outlined in Chris Vogler’s book The Writer’s Journey is the single most important thing I’ve learned as a screenwriter. Here I outline a new character-driven Hero’s Emotional Journey that might help dispel notions that this amazing paradigm doesn’t apply to female protagonists, intimate dramas or romantic comedies. In my last post, I revealed my debt to Chris Vogler and where I diverge from him on Character Arc.
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