The Hero’s Journey Part 9 – Reward

The hero has survived death.  He is forever changed.  Luckily, it’s time he was allowed to breathe.

As I stated last time, the ordeal occurs about midway through the story.  It often represents the hero’s opportunity to obtain the thing he has been seeking in the special world.  Perhaps he came seeking a restorative elixir, or a magical sword.  The ordeal represents a test for the hero.  Now that he has survived the test, he receives his reward.

The Reward stage of the Hero’s Journey allows the hero and audience a temporary reprieve from the relentless pace of the journey.  The reward phase of the story can serve numerous purposes.


Surviving death and seizing a prize is a major achievement. It’s not inconceivable that there would be a celebration.  Such a scene could be used to cement certain relationships, or secure a character’s position within their social group.  Perhaps the prize here allows for the hero to finalise a rite of passage.

Recap and Reflection

The hero and his allies may gather around a campfire, or in a restaurant.  They could recap their experiences so far, perhaps giving some important insight into what the events meant to them.  This could also be used to introduce themes that will play an important role during the Road Back phase.


Until the reward stage, the hero has struggled.  Chances are he hasn’t proved himself worthy of his heart’s desire until this point.  More likely, there’s been little time for love during the height of the quest.  Now that there is a moment to breathe, the hero might look to finally give himself to love.

New Knowledge

Surviving death can change how you perceive things.  The hero might gain new insight.  With this, he might

  • See through characters who have been deceiving him
  • Realise his true destiny and/or heritage (son of a god etc.)
  • Have a moment of clarity to see new paths for his quest

Downfalls of the Reward

People are far from perfect.  Having survived a great ordeal, the hero might become over-confident.  He might see himself as being stronger, smarter, or more valuable than he really is.  This can lead to a great downfall, perhaps setting up the conflicts that will carry through to the end of the story.

The Short and Long of it

The reward stage is about action.  Not the edge of your seat questioning-if-anyone-will-survive type of action, but the action of taking.  The hero must seize this moment.  He must take the elixir, draw the magic sword, take hold of his love, embrace his destiny or all of the above.  The hero has spent much time reacting and doubting.  Through conquering the ordeal, he has earned this moment to take the action he has desired since answering the call.

Next, our hero begins traveling the long road back.

The Hero’s Journey Part 8 – The Ordeal

Our hero has been through a lot.  Now, he faces the greatest and darkest of moments, The Ordeal.

The ordeal is about change.  When this is over, our hero will never be the same.  Often, the ordeal results in a symbolic death for our hero who is then reborn. Once the rebirth has occurred, he will begin the long journey home.

The ordeal should not be confused with being the climax of the story.  Instead, it is the mid point.  All roads travelled thus far have lead to this point, and all roads away will be forever altered because of it.

Consider the recent movie, How to Train Your Dragon.  The ordeal occurs when Hiccup first rides Toothless high into the sky and becomes separated from the dragon.  The two plummet toward the earth, their doom certain.  At the last moment, Hiccup grabs hold of Toothless and the two are in perfect sync, performing maneuvers impossible to this point.  The fireball Toothless shoots backfires and singes Hiccup.  This is symbolic of all his old fears and misconceptions being burned away.  After this point, he truly realises that the vikings are wrong about the dragons and he needs to show them.

Speaking of near midpoint ordeals, consider Harry Potter’s experiences at the end of Goblet of Fire.  He literally goes to a realm of death, is witness to the physical death of a classmate, and then conjures the spirits of the dead in order to flee.  From this point, Harry is changed.  So too are the books.  Both Harry and the audience know that nothing will ever be the same.  The horror of the possible consequences if Harry fails in his quest are far more clear.

The ordeal can take several forms as to the type of “death and rebirth”

  • The hero can face the main villain and nearly lose his life – the villain may live or die
  • The hero might face the main henchman of the villain, saving the villain for the final act
  • The hero might face a great fear and have to conquer it
  • The hero will have to face up to a parental figure
  • The hero will have to let some of his ego or pride go
  • The hero will have to learn how to work with others
  • The hero will give himself completely to a relationship

These are only a few permutations.  The simple fact is, the ordeal transforms the hero.  That transformation will inform every decision that he makes from this point forward.  Remember, while it seems we’ve come a long way, this isn’t the climax, we’re only halfway to the end.

Next, we finally cut our hero a break and he gets a Reward.  Have no fear, it’ll get sucky for him again before it’s all over!

The Hero’s Journey Part 7 – Approach to the Inmost Cave

Our hero has crossed over into the special world and faced tests, made new allies and enemies.  Through the various facets of the previous stage, he has grown and developed.  The central goal of his quest must now be approached.  He will need to cross the second major threshold, into the darkest and most dangerous realm.  We will refer to this as the Inmost Cave.

The Inmost Cave is where the ultimate goal lies for the hero.  It is the castle where the princess is hidden, the resting place of the Holy Grail, etc., etc.  However, this stage is not about being in the Inmost Cave.  Instead, this stage is about the approach to it.

Why treat this separately?  In much the same way as the hero had to prepare to cross the first threshold into the special world, this stage represents the hero preparing to cross the second threshold.  This is a time to regroup, makes plans and outwit the guardians that stand guard over the antagonist’s domain.

This particular stage could also be used to strengthen existing relationships.  For instance, this is often where the hero commits to a romantic interest.  It might also be the point where some of the allies that appeared along the way will now gather, or perhaps flee, for the major confrontation.

Take this time to strengthen your hero.  His resolve should show little weakening.  After all, next he faces The Ordeal.

Formulating a Plot

If you happen to follow the “Current Work In Progress” meter to the right, you might notice a drastic change.  It’s not an illusion or a joke, my work in progress has fallen from 25% done at 15,000+ words to just above 10,000 words.  Maybe you’re scratching your head wondering, why?  Today I chronicle the tough decision I felt forced to make, and what I have been spending the last few days doing about it.

First off, why chop a third of my work in progress?  The simple answer is, I had painted myself into a corner.  I hated it.  When I first started The Veil, I had a vision of it focusing very closely on the main character.  The cast would only expand  if the story became a series.  I already had characters in mind and how they fit into what would become a team setting.  The first book, however, was about finding yourself.  Where I had taken the story, characters appeared far quicker than I had anticipated.  My story about a young man finding himself turned into more of a super-team book.  Not what I wanted.  So I retraced my steps and asked where I went wrong.  The point I decided on meant a third of the work got intimate with the delete button.

So where do I go now?

As discussed in previous posts, writing wildly ahead without a plan or direction is the wrong approach for me.  Like a stubborn fool, I continued to do just that and got myself into trouble.  So I decided to make a plan.

I asked the Twitter gods if there was some sort of form for a plot outline.  I enjoy filling in forms.  Having some structure gives me security.  Unfortunately, the Twitter gods decided to ignore me that day.  Or perhaps were too busy preparing for the Lost finale.  Regardless, I was on my own.

First thing I did was look at Martina Boone’s Plotting Made Easy – The Complications Worksheet.  This gave me some idea of what I should accomplish in each section of the story.

Secondly, I thought long and hard about the Hero’s Journey.  My character’s arc fit the hero journey, so I gave close consideration to the various components.

Third, I allowed my idea to run free.  I said, “If this is the world I’ve created, what’s possible?”  The more I asked what could happen, the more did happen.  I started having some pretty wild ideas.  They worked.  They fit together.  My story excited me again.

With these new ideas, I wrote a synopsis of the story.  It was dirty.  It had holes in it.  I would never give it to anyone if I wanted them to read my book.  But it gave me a framework to pin things on.

Then, I created a space that I called Themes & Ideas.  I used this space just to write words and random sentences.  Some were about mood, others about deeper themes and meanings.  I used it as a space to brainstorm with no restrictions.

Out of those random thoughts, I was able to return to my synopsis and start plugging holes and touching up the paint.

Last night, I started putting together scenes.  For each scene I asked;

  • Scene – [Title]
  • What’s the Purpose of the Scene:
  • What Action Happens:
  • What Do We Learn That’s New:

Making sure that every scene answered these points fleshed out the story.  It was more cohesive.  No scene could be a throw-away, I forced myself to justify their existence.  I didn’t worry about order, I just wrote scenes. As their number expanded, I saw where they fit together.  When I have more, I will create a new file and copy the scenes in their proper order.  When that’s complete, I’ll have my plot map.  Then the fun starts!

While it was hard to kill a lot of work, this new direction is far more exciting and satisfying.  It stays truer to the original vision I had while still managing to provide surprises.

This process is frustrating to a “I want it done now” kind of person.  Which I confess, I am.  Truth, though, cannot be denied.  This is the only way this book is getting written.

The Hero’s Journey Part 6 – Tests, Allies, Enemies

Now that our hero has crossed the first threshold, he has fully entered the other world.

Set the Ground Rules

This is the other world.  We need to very quickly show the differences between the ordinary world our hero has left and the special world he has entered.  There will be new rules here, new emotional experiences.  How the hero interacts with the world, and how it interacts with him, will be different.  The tone and voice used might differ.  This place will be more difficult for the hero, failure will carry more dire consequences.

Trials and Tribulations

Stories in general are about conflict.  The myth structure usually revolves around a quest.  Quests are never easy.  The hero finds himself tested, often thwarted, until he learns new lessons and overcomes.  Just as in crossing the first threshold, in this stage there will be other tasks to complete, more threshold guardians to defeat.  These tests will contribute to the hero’s growth for the ultimate battle that will need to be waged at the climax of the story.


During the hero’s trials, he may find help in the form of allies.  It can be one of the hero’s tests to find out who can be trusted in this new world.  While allies could be those who travel with the hero, it could also be characters that the hero helps along the way who repay him later on.  If your goal is to build a team around the hero, this would be the place to do it.

A special subclass of ally is the sidekick.  The sidekick is usually far more devoted to the hero and will follow him through most, if not all, of the quest.  The sidekick can act as a foil for the hero, providing comic relief, a voice of conscience, they could even fill the role of mentor if your initial mentor character has parted ways with the hero.  The best sidekicks are the ones that are given a character as deep and meaningful as the hero’s.  Remember too, there needs to be a plausible reason that this person would choose to follow the hero.  After all, the hero does not walk an easy road.


The hero has stormed a foreign domain.  Often these domains are controlled by a powerful person that is not going to welcome the hero’s meddling.  It is very easy at this stage for the hero to develop enemies.  These could be the main antagonist, the antagonist’s minions, or other types of threshold guardians.  Consider a situation where the hero must defend his life.  In order to survive, he slays his opponent.  What if that opponent has a brother, sister, mother, or father?  This person has now become the enemy of the hero.

The hero might also encounter rivals.  These are people that aren’t interested in destroying or killing the hero, they are merely in competition with the hero for a common goal.  For instance, Jacob and Edward in Twilight both have commendable qualities and though there is bitterness between them due to competition over Bella, they still unite for the common good.

This stage could form the bulk of your narrative.  This is the ground for numerous conflicts, the building of relationships, both good and bad, and for the hero to grow.  Soon the hero will need all the skills, allies and courage he can muster as he faces his greatest challenge ahead.

The Hero’s Journey Part 5 – Crossing The First Threshold

To recap: Our hero started in his ordinary world.  He received a call to adventure.  Initially, he refused the call.  Then, a mentor approached and provided the hero with tools and insight he needed.  It is time for the hero to fully commit to the other realm.  In order to do so, the hero must cross the first threshold.

Approaching the Threshold

Our hero has had much of his fear and doubt alleviated by the intervention of his mentor.  This doesn’t mean he is going to readily accept all of it and plunge head first into action.  The adventure might not be personal enough for the hero to journey forth.  This is the final precipice.  What will finally push the hero onward?  That’s up to you, but it could be the kidnapping of a loved one, or a force of nature might force the hero forward.  In the end, at this point the hero needs a shove.

Threshold Guardians

Making the cross to the world of adventure is not going to be easy.  Often the path is blocked by a Threshold Guardian.

Guardians are not always obstacles that need to be tackled.  Often, they are only emotional blockades to the hero that need to be acknowledged.  Defeating the challenge they represent can deliver important insight to the hero that will aid in later steps of his quest.  They can present physical, mental or morality types of challenges.  A threshold guardian could be as simple as the hero’s father telling them they are not allowed to go out.

The Leap of Faith

The hero has defeated the guardian.  Now, they stand with one foot in their ordinary world and the other dangles over the cliff into the next.  They must now make a leap of faith and plunge into the other world.  By finally crossing the threshold the hero commits himself entirely to the quest.  There is no turning back.

Charting the hero’s transition could be as simple as climbing out a window, or as treacherous as crossing a desert.  In either case, the hero has finally accepted his destiny and made his move into the realm of adventure.

Entering the Other World

The hero’s entrance to the other world does not have to be a smooth one.  Maybe he falls out the window, or perhaps his initial thoughts of the other world are shattered by its realities.  In either case, he is now here, and the adventure truly begins.

Next, our hero is put to the test, meets new allies and new enemies.

Searching for my voice

Ugh.  So I’m 16,000+ words into The Veil.

I watched Donnie Darko three nights ago and it resonated with me.  Which now has me contemplating tossing half of what I’ve written.

Where I was with The Veil had it turning into a group hero piece.  That wasn’t working.  Deep down, I wanted the story to be more introspective, more a tale of identity and learning who you want to be.

Donnie Darko had this dreamlike quality to it.  The events of the movie seemed random until the very end, when you realise that the purpose of them all was to drive the hero to his destiny.  The story tied into questions of existence, love and being alone.

That’s the voice I’ve been searching for.  Now, I need to plot.  This time, for real.  No writing until I have a rough plot drafted out.  This write and find out approach is a big fail for me.