hero journey - a stranger comes to town

7/21/2019 Hero Journey - A Stranger Comes to Town

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A STRANGER COMES TO TOWN

The 13 essential steps for plotting your novel

By

Adron J. Smitley

Introduction

A STRANGER COMES TO TOWN is a guide for writers to help them flesh out their stories in the proper way with the proper functions of plot. Every great story hasplot, whether the writer does so knowingly or subconsciously. The "plot skeleton" within this guide may feel familiar and yet unfamiliar. I have studied plot structure for years, and have taken everything I've learned and combined them intoa logical flowing process which all great stories follow.Every story has a beginning, a middle, and an end, but to tell this simple truis

m to an aspiring writer is akin to teaching someone how to drive by telling themyou press the gas pedal to go and you steer with the driving wheel. True, yes,but there's a lot left out.There are many guides on how to write a novel, and I've read a lot of them. Butfor the most part I've come away with knowing little more than what I brought inwith me. Most writers know of The Hero's Journey, and most that do can tell youhow annoying it is when they dive in for help but come up asking, "What in thehell does that mean?"The Hero's Journey and other such plot "guides" have a way of explaining what logical thing your main character should do at a certain point in your story withcomplicated metaphors that leave you scratching your head in confusion, and thatis the exact opposite goal I had in writing this guide.Here I have tried to simplify the necessary stages of plot in a logical, flowing

manner as best I could. I have made this guide as simple and concise as possible for easy use and reference. It is not a guide on how to write, it is a guide on how to plot. It will not write your story for you, but if applied properly itwill help you plot your yarn in the logical fashion all great stories possess.

1. THE ORDINARY WORLD

Hero is living his normal, everyday life, dealing with something he's used to dealing with.

Hero is engaged in his normal life, doing the things he ordinarily does, interac

ting with the people he ordinarily does. Introduce Hero in action so Reader canget a feel for Hero's skills and personality, strengths and weaknesses. "In action" doesn't necessarily mean having Hero involved in some kind of physical conflict (though that is a great place to start) but "in action" can also be some important decision Hero is pondering over when the story begins, or perhaps an important conversation/argument Hero is having with someone.However you introduce Hero to Reader, something must be happening to show Hero as the person they are, what they want, and why they want it. We all have problems in our daily lives, and this is where you show Reader the daily life of your Hero.


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There are four types of beginnings for Hero regardless of whatever story you arewriting:

A. Hero is happy with his or her life but still dreams of adventure.B. Hero is not happy with his or her life and dreams of adventure.C. Hero is happy with his or her life and not looking for any adventure.D. Hero is not happy with his or her life but not looking for any adventure.

As soon as possible establish Hero's two strongest desires that drive the story: his OUTER WANT and his INNER NEED. The simplest way to think of these is that his outer want is what Hero thinks he wants, and his inner need is what he really needs. Often Hero will state out loud what he thinks he wants, while someone other than Hero will make an off-handed comment to or about Hero that represents what Hero really needs, only Hero doesn't realize at this stage what he really needs.

2. THE "TELEGRAM" ARRIVES

Something happens to Hero that has never happened before.

While Hero is living their ordinary life, something happens that brings a major

change to Hero's ordinary world. This stage is that catalyst. Whatever happens needs to change Hero's ordinary world so that he cannot comfortably go back to reality and ignore the problem.Hero is "separated" from his ordinary life. This separation may be due to some outside influence (Hero may witness something horrible) or it may be due to innercircumstances (an inner unhappiness that has built up over time).I like the metaphor THE "TELEGRAM" ARRIVES because this event could be either good or bad for Hero, an opportunity or a problem. For example, a telegram could literally arrive for Hero with news of a large inheritance (good) or a loved one's death (bad).I don't remember who first said this, but it sums up exactly how much impact this catalyst should have on Hero: Failing a driver's test is not a catalyst; failing a driver's test because Hero drove over an old lady is.

Remember this:

1. From the moment this event happens, things for Hero can never be the same.

2. The catalyst must look great to Hero's outer want, and terrible to his innerneed, or vice versa.

One example would be a rich, greedy business man buys an apartment complex he intends to tear down and turn into a money-making mall (outer want), only he falls in love with a poor woman who lives there that teaches him money isn't everything (inner need).

3. "WHAT SHOULD I DO?"

Hero reflects back upon the catalyst and debates what, if anything, he can do about it.

Because the catalyst looks great to Hero's outer want and terrible to his inner need (or vice versa) this is the main reason for Hero to ask himself, "What should I do?"


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There are two types of Hero in the beginning: Seeker-Hero, and Victim-Hero. Heromay or may not at first attempt to deal with their new problem, depending on how much is personally at stake for him.Seeker-Hero chooses to adopt the cause for the sole purpose of furthering his own motives. Victim-Hero is forced by circumstances to "leave home."Knowing which personality type (Seeker or Victim) dominates your Hero is especially important, for it helps in creating the beginning of your story, the eventsthat happen to Hero throughout his journey, and how Hero reacts to them.Seeker-Hero chooses to act, while Victim-Hero is forced to act. If Hero is a Seeker-Hero, this moment of debate is generally shorterbefore he chooses to act. If Hero is a Victim-Hero, this moment of debate is generally longer with Hero struggling to ignore the problem while his circumstances worsen until he is forced to act.

4. THE JOURNEY BEGINS

Hero gathers "tools" for the journey ahead and, after making a logical plan, heads out to solve his problem.

This stage is Hero literally or figuratively "leaving home" and beginning theirjourney toward some place they have never been before, and problems arise as they struggle to adjust to their "new world." This stage is Hero's first actions af

ter choosing or being forced to do something about his problem.Hero may leave home alone, or he may take allies/helpers/friends along with him.Those Hero interacts with normally may try to stop him from leaving, or they may encourage him to act.The "tools" Hero gathers in preparation for his journey may be actual physical objects such as clothes for travel and weapons for protection, or the "tools" maybe literal people such as friends he asks to travel with him or those who insist on traveling along. Often this is where Hero brings along some seemingly insignificant object which holds precious meaning to the Hero alone that later proves to be significant in Hero achieving his end goal.This "object" may be something as simple as a ring left to Hero by a deceased loved one that later inspires Hero to recommit and continue toward his end goal, o

r perhaps the best friend of Hero who later is severely injured or killed whichmakes Hero recommit wholly toward his end goal.

5. "WHO'S WITH ME?"

Hero meets an important secondary character as he travels.

While traveling and struggling to adjust to his "new world," Hero inevitably meets an important secondary character who is experienced with the new unfamiliar world Hero is now in. They may meet and agree to travel together, or are forced together by circumstances.

This stage is dependant upon your particular story, though logically it is bestplaced somewhere in the beginning of or before stage 6 so Hero and his new allycan be put through the trials and tests together and their relationship deepenseither for better (learning to work together) or worse (struggling to work together).I have listed this stage before stage 6 although it can take place at any time before stage 7 but not before stage 2. Often, during stage 2 the messenger who delivers the "telegram" is this secondary character. More often, this stage takesplace either between the first two events of stage 6, or is combined with eventsone or two of stage 6.


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Hero and Ally (Team) struggle together as they travel, Ally offering a differingviewpoint to that of Hero's own. This important secondary character may help mentor Hero, helping Hero grow and test Hero's developing skills as they travel. Very often, this character pushes Hero toward realizing what he needs is more important than what he wants, helping to change Hero's main desire. Love is the key word here, though "love" can mean several things: Hero may literally fall in love with this secondary character, or they may cause Hero to grow tolove the commitment Hero makes against Bad Guy.

6. THE FIRST THREE TRIALS - Two Steps Forward, One Step Back: Successes > Failures

Hero and allies are tested as they travel toward their goal, and their relationship(s) deepen.

Hero and Team endure three separate obstacles/tests as they travel, each more troublesome than the last. Why three? Because two events are not enough build-up for the big double-event that happens at stage 7, and four are too many, boggingdown the progress of the main story.Logically, Hero needs testing several times to allow personal growth and development of his skills, but too many tests will have Reader getting bored and wanting the main story to move along more quickly than it is, and the last thing you w

ant is Reader getting bored with Hero stumbling around and closing your book forsomething more exciting to read.

The three separate events of stage 6:

1. Hero/Team endures a small physical and/or emotional test with a minor set-back but also achieves an equal amount of success.

2. Hero/Team endures a medium physical and/or emotional test with a minor set-back but also achieves an equal amount of success.

3. Hero/Team endures a large physical and/or emotional test with a minor set-back but also achieves an equal amount of success.

Whatever particulars happen to Hero, there must be some success that comes out from each event. One example is Hero and Team are attacked by one of Bad Guy's Minions and Hero's ally is injured (1 step back). But working together Hero and Team defeat Minion, and with his dying breath Minion reveals some important clue to Hero and Team that will help them get closer to their end goal (2 steps forward).

The Lester Dent "formula" comes in handy here, applying it to each of the threeevents that make up stage 6:

1. Give Hero a problem.2. Hero struggles to solve the problem.

3. Hero is put into a physical (or less usual an emotional) conflict.4. Hero "survives" and the event ends with some kind of unexpected "twist."

*note* the "twists" at the end of each of THESE three events are positive, whilethe "twists" at the end of the three events making up stage 8 are negative.

Do this three times, once for each of the three events that make up THE FIRST THREE TRIALS stage of your story. This part of your story is Hero making mistakesbut learning from them, being tested while the relationship(s) of the Team are tested and their bonds grow stronger.


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These three events are Hero getting closer and closer to achieving his outer want.

7. THE POINT OF NO RETURN (1. Everything seems perfect now/2. The stakes are raised)

Everything is going great for Hero, and his end goal appears clear and in sight.Hero believes he can achieve the goal now that they've come this far . . . until something bad happens.

This stage is comprised of 2 events, and they are opposite to each other:

1. (GOOD) Everything seems to be going great for Hero and Team. They have survived their first three trials and, after learning to work together, face one moreevent that shows Team working in perfect tandem. Once this happens, Hero and Team are at their happiest because they believe they can and will achieve their endgoal.

2. (BAD) The stakes are raised. Just as Hero and Team are "celebrating" and looking onward toward their bright future, someone comes along and yanks the proverbial carpet out from underneath their feet, letting all involved know that now things are definitely serious and the road ahead that once looked smooth is now go

ing to be rocky at best.

This double-event which makes up stage 7 is called "the point of no return" fora reason. That is because after this double-event Hero states in some form or another that, "I'm not giving up because now it's personal." A prime example of this double-event are murder mysteries: Hero feels like he's got the case all solved (good), then his prime suspect turns up dead(bad). This is also the point where Hero first realizes his inner need, which is in direct conflict with his outer want. He can have one or the other, butnot both, though at this stage Hero now desires both and believes he can have both.

8. THREE MORE TRIALS - One Step Forward, Two Steps Back: Failures > Successes

Hero and team suffer both internal and external problems, each more troublesomethan the last (this is the "reverse" of the three events of stage 6).

Hero and Team suffer three separate obstacles/tests in a kind of "reverse" of stage 6. Before, they endured minor set-backs but also achieved equal successes that brought them closer toward their end goal and closer as a Team. Now, dissention sets in as they suffer set-backs with less than equal successes that take them further from their end goal and further apart as a Team. Each set-back they suffer must be worse than the previous one, building up more and more tension in t

he story.Before (stage 6), they were metaphorically climbing up stairs and getting closerto the top, while now (stage 8) they are falling down the stairs and getting closer to the bottom.An example would be Hero discovers a clue to help them defeat Bad Guy (1 step forward), but this clue also reveals Hero has a traitor in his Team but he doesn'tyet know who it is (2 steps back).

The three separate events of stage 8:


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1. Hero/Team suffers a small physical and/or emotional test with a minor set-back but also achieves a less than equal amount of success.

2. Hero/Team suffers a medium physical and/or emotional test with a minor set-back but also achieves a less than equal amount of success.

3. Hero/Team suffers a large physical and/or emotional test with a minor set-back but also achieves a less than equal amount of success.

Again, the Lester Dent "formula" comes in handy here, applying it to each of thethree events that make up stage 8:

1. Give Hero a problem.2. Hero struggles to solve the problem.3. Hero is put into a physical (or less usual an emotional) conflict.4. Hero "survives" and the event ends with some kind of unexpected "twist."

*note* the "twists" at the end of each of THESE three events are negative, whilethe "twists" at the end of the three events making up stage 6 are positive.

You must remember that during the three events of stage 6 each success is equalto or greater than the set-back endured, while here in the three events of stage8 each set-back suffered is greater than the successes achieved:

-Stage 6 = Successes > Failures-Stage 8 = Failures > Successes

Because Hero's outer want and inner need are in direct conflict, hestruggles through these events trying to have both though learning he can only have one or the other.

. . . These 3 separate events lead up to the worst failure/event that Hero couldpossibly imagine happening.

9. SOMEONE OR SOMETHING "DIES"

Someone or something very precious to Hero "dies."

After having suffered through the three previous events of stage 8, this stage is just before Hero hits rock-bottom and is usually an ACTION event.This is the worst thing imaginable to Hero actually happening to him. Usually it's someone very precious to Hero being killed or murdered by Bad Guy in some way, and sometimes through Hero's own fault. Hero's personal life collapses, payingthe price for the struggle. Hero may be betrayed by an important/necessary Allyand now Bad Guy gains a powerful new ally, or perhaps Hero is severely injuredwhile losing a very important battle with Bad Guy.This is where that something precious to Hero isn't just taken or stolen but des

troyed, where someone precious to Hero isn't just injured but killed. Sometimesthis is where that "seemingly insignificant object" Hero takes with him in stage4 comes into play and is destroyed. At this stage Hero realizes his inner need is more important to himthan his outer want. His main desire has shifted from outer want to inner need,but it's too late because this event has put his inner need into dire jeopardy.

10. "I GIVE UP . . ."


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Hero at his lowest point contemplates giving up after losing that precious something.

This stage is Hero's REACTION to the worst thing imaginable in the previous stage, and everything around him tells him to just give up, including his inner self. Hero has hit rock-bottom, and this stage should be long and in-depth on a personal level of reflection for him.Hero goes through all of the following stages of grief when debating what to doabout their problem, depending on your story, what Hero's particular problem is,and just how much it affects them, which should be VERY much:

1. Denial: "This isn't happening to me."2. Anger: "Why is this happening to me?"3. Bargaining: "I promise I'll be a better person if . . ."4. Depression: "I don't care anymore."

The fifth stage of grief is 5. Acceptance: "I'm ready for whatever comes." The fifth stage of grief is a necessary step Hero must make, so begin the next stagewith it.Stage 10 is where Hero actually considers completely giving up his end goal, then makes some new discovery or receives some new inspiration that has him continue toward his end goal after all in stage 11.

11. ". . . I MUST GO ON!"

Hero is inspired to continue with a new plan.

This is where Hero, at his absolute lowest point (stage 10), is inspired to continue and forge ahead. Someone or something gives Hero new inspiration, and he recommits to his end goal with total dedication. Hero may reevaluate a clue he hashad all along and discover it holds the solution to the problem, or someone maygive Hero advice that pushes him to continue.Sometimes this is where that "seemingly insignificant object" Hero takes with him in stage 4 comes into play and provides the needed inspiration for Hero to con

tinue. And sometimes this is where an ally of Bad Guy turns traitor and aligns with Hero for revenge, giving Hero that extra needed support. This stage is an "epiphany" stage. Before, Hero desired his outer want. Then, after realizing his inner need (stage 7) and desiring to achieve bothbut failing (stage 8), Hero loses his inner need because of his outer want (stage 9). Now Hero completely abandons his outer want for his inner need. He will risk everything despite knowing he may end up with nothing.

***THE FINAL PUSH***

This is a series of logical events that must happen, in their proper order, for

Hero and Team to achieve success over their end goal.In stage 6 Hero and Team endured obstacles/tests that brought them closer together as a working unit, learning things about each other and themselves along theway. In stage 8 Hero and Team suffered obstacles/tests that tore them apart.Now they must reconcile in some way, come together once more as a working unit,and attempt to defeat the Bad Guy in an "all-or-nothing" plan of attack. Basically, if this plan doesn't work they believe nothing will. Usually the following final stages of this "plot skeleton" are shorter in length than the previous stages because such a "faster pace" adds to the tension of the story, building up to the "final showdown" that is the climax.


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If it hasn't been instituted before, a time-clock is now placed on the characters here. The Bad Guy is coming for them whether they like it or not, and there are only two actions they can make: plan an attack, or prepare an ambush.

12. NEW PLAN

Hero and his allies make final preparations and clear up any relationship problems to once more work together as a New Team. Hero may need a moment alone to prepare mentally because now he is totally recommitted.

Reconciliations are made as Team is reformed. Hero and Team develop a new plan they HOPE will have them achieve their final success, though some may think thisnew plan is crazy and just won't work. They gather more "tools" they believe they will need and form a plan they will implement in the next stage.Depending on your story, Hero may have to go in alone because perhaps his Ally/Allies are now dead or have been captured. Either way, a new plan of attack mustbe developed here.

13. THE TRIPLE WHAMMY Two Steps Forward, Three Steps Back, One Giant Leap of Fai

th . . .

Hero and Team close in on their end goal, then something totally unexpected happens, forcing Hero to win or die trying.

This stage is comprised of 3 separate events:

1. (ATTACK) This is where Hero and Team put their new plan into ACTION. Hero andTeam head out in one last "attack" upon the Bad Guy, disposing of his remainingMinions along the way while also losing members of their own Team. Here is where they physically implement their NEW PLAN.

2. (ATTACKED) Hero's new plan falls apart as something completely, unexpectedly

bad happens. Hero is put back into a place where everything seems horrible oncemore, but now Hero cannot give up because he knows he will "die" if he does. Hero's options are running out as a personal time-clock is placed on his own life.

3. (THE FINAL CHOICE) Hero is given an impossible dilemma as his options have been narrowed down to this one final choice. He is looking death in the face and is forced to make a decision that will either save him or kill him because ALL OTHER OPTIONS have been exhausted.Hero knows he will "die" if he fails in this last-ditch effort, but because hisinner need is the most important thing to him he is willing to sacrifice everything (even himself) to have it.

This is THE MOST IMPORTANT part to remember about the third event in this stage:

This choice Hero makes is something he would never do when the story began if put in the same situation.

Hero puts his final choice into action in a "leap of faith" moment, having absolutely no idea if it will work, and either wins or dies trying. He achieves either complete VICTORY (gaining his inner need) over Bad Guy, or total DEFEAT.

The End . . . because your story is now over.


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A Few Additional Tips:

-Write first-Edit last: If you spend countless hours writing then rewriting thesame few paragraphs over and over, trying to make each sentence, each word, as beautifully elegant as you possibly can, you'll never get your entire story downon paper. Start writing and don't look back until you're done. If you can't remember what color your Hero's shirt was two chapters previous--screw it!--pick thefirst color that comes to your mind then move on. Remember, there's always timeto edit AFTER you're done writing your story.

-The rule of three: If it's important, mention it three times. No more, no less.Some writers worry that Reader might forget something they deem is important, and so they make the mistake of mentioning it over and over . . . and over again.But nobody likes getting beaten over the head with a stick, so assume Reader isjust as smart as you.

-Keep your words simple: Don't use words that make Reader pause, reach for a dictionary and look them up. These extravagantly long yet little-used in everyday life words may make you feel like a genius, but they only serve to make you comeoff as pompous and annoying.

-Shorter chapters = longer reading: Imagine Reader lying in bed and enjoying your novel. They yawn (hopefully from fatigue and NOT your story!), look at the clock, then decide what to do next: close the book and go to sleep because they know it'll take another 20 minutes to finish the next chapter, OR read that next chapter before going to bed because your chapters are shorter and will only take them another 5 or so minutes.

-Paragraph often: No one enjoys opening a book and seeing page after page full of words with little to no paragraph breaks. This makes the reading seem more like work and less like fun. It's only a mental trick, I know, but you can take theexact same amount of text, break it up into smaller chunks, and visually it won't seem such a task to read.

How to productively apply this plot skeleton to your story:

Day 1. Take out a deck of index cards and apply one to each of the 20 events (there are 13 stages, yes, but several stages are made up of several separate events). On each card describe in a few sentences what happens in your story for eachevent. You will have at least 20 cards, but as you do this you will undoubtedlyfind yourself creating more possible events depending on your particular story.This is good. Take out more cards as needed and write those events down.When finished, lay your cards out in order of the plot skeleton and stick in those extra events where you deem fit. Go over the whole thing several times, making notes as needed, then stack up your cards in order and set them aside becauseyou're done for the day.Now, let your mind rest. Take a walk. Go fishing. Clean your gun. Do whatever yo

u feel like, but let your mind rest while your subconscious continues working.

Day 2. Sit down at your desk with your stack of cards beside you. Look at the top card, which should be labeled something like "The Ordinary World." Read over the sentences you used to describe this event, let it play over in your mind forawhile, then start writing.You will sit at your desk and write this event until it is done. It may take youtwenty minutes or it may take you all day long, but you will sit there until the event is done.Remember the number one rule for writing productivity: write first, edit last. H


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ere you are writing, so forget about making every single word perfect and just let it all flow out from you as it comes.Once the event is done, so are you. Stand up, give a stretch, then let your mindrest. Ride your bike. Make dinner. Play with the dog. Whatever.

Day 3. Today, and the following days, are just like day 2. Sit down, flip over the top card to reveal the next unwritten event, read it over, play with it in your mind, then start writing.Again, when you are done writing the event, you are done writing for the day. Dolaundry. Start a gang fight. Go grocery shopping. But let your mind rest.

On and on this process goes, event after event and day after day until you are finished with the final event of your story. Only this time when you're done, letyour mind rest for about one week. Take a vacation. Build a cabin. Start a trendy heroin habit. Just let your mind rest.Why so long? Because after this week has passed, the real work begins.There will be changes needed, just as Ernest Hemingway is known for saying, "Thefirst draft of anything is shit."Now that your week of rest is over, print out your entire finished first draft,sit down with your trusty little red editor's pen, and read your story from beginning to end while marking up the pages.Make the margins one inch of white space so there's enough room for making smallnotes as you read. Circle grammatical mistakes or correct them as you go. Don'tlike a descriptive word you used and want a better one? Underline it so you'll

know to replace it. At this point you are reading and enjoying your story, though you are no longer writing but editing.And remember: be hard on yourself. If something reads like crap then make a noteof it in the margin beside it. If something sticks out as brilliant, put a starnext to it and pat yourself on the back.After you are finished editing your entire first draft in one sitting, set it aside and let your mind rest for a few days. Play basketball. Paint the garage. Start a forest fire. Just let your mind rest while all of the subtleties of your story sink in to your subconscious mind.After a few days (but don't wait too long) you're going to start over at day 1.But instead of the stack of index cards beside you, place your newly edited first draft there. Read over the first event, let it play in your mind a few times,then start rewriting. Make the corrections and changes you noted while editing,

and when the first event is rewritten you are now done for the day. Tomorrow will be event two, the day after is event three. And so on and so forth until you have rewritten your entire story.Depending on your story you may have to go through this process several more times, or you might find yourself lucky and after your first rewrite stand holdingyour finished novel to your utmost satisfaction. It is different for every writer. Remember: Writing is 10% writing, and 90% rewriting.

*AUTHOR'S NOTE*

I have tried to keep this writing guide as concise as possible, andhave created it purely to aid my fellow writers in developing their stories. Despite how you may feel about plot, every great story contains it. And if after reading all of this you still say, "But I just don't have time to write every day," then I say this to you: find another hobby, go camping, or play video games instead. Cancel your cable and toss out your television. Unplug your phone and turn off your cell. Tell everyone you know to leave you alone, and leave a note on your door for strangers to go away.No one isolates themselves from their family and friends, instead spending count


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less hours hunched over a desk chain-smoking and consuming mass amounts of coffee while trying to get the fantasy world out from their creative mind and down onpaper because there is a gun held to their head. They willingly make these sacrifices because a writer's inner need is to write. Writers don't write because we have to, we write because we need to. And if you don't understand what that means, then go fishing instead.

***A Special Thanks to Piers Anthony. I've been a reader of his for years, and Icannot thank him enough not only for the great stories he's given me to read but reminding me that there's still genuinely nice people in this world. It is myhopes that someone will read the above and it will help them along their way toachieve their writing dreams. If i can help in that for even one person then I know my life has been well spent =-)

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