Greetings from the Cave! 

While I have been deep in the throes of editing TWR, the major thing that is getting fixed is my plot. As many of you already know, plotting is my weakness as a writer. Characters and world building, I have down pat. Plot? Ehh, it's loose at best. 

As part of the solution to this problem, my editor suggested that I use the Hero's Journey model. I'll only give a brief view of the steps, as this model is extremely well-known in literary circles: 

1. The Ordinary World

2. The Call to Adventure

3. Refusal of the Call

4. Meeting with the Mentor

5. Crossing the Threshold

6. Tests, Allies and Enemies

7. Approach to the Innermost Cave

8. The Supreme Ordeal

9. The Reward/Seizing the Sword

10. The Road Back

11. Resurrection

12. Return with the Elixir

In recent weeks, I have attempting (or re-attempting, I should say) to replot my character arcs along this form. I have three primary character arcs that I'm currently dealing with: two protagonists and one antagonist. I found that for one protagonist (Ealdread) and my antagonist (Magda), the Hero's Journey gave a really nice framework for which I can then improve the pacing of those two arcs. 

While researching the Hero's Journey, I also came across the concept of the Heroine's Journey. It was branded as an alternative to the Hero's Journey, supposedly to better reflect a more feminine point of view and the actual growth process of a feminine protagonist. 

The Heroine's Journey model is relatively new - for many traditional stories, the female leads follow the Hero's Journey model. In fact, the Hero's Journey model modeled for villians worked the best for Magda's plotline. 

As Janina's journey was MUCH different that Ealdread's or Magda's, I decided that the Heroine's Journey was worth investigating. And right away, I found that the Heroine's Journey was a little more *nuanced* than it's male counterpart. For one thing, there are different models of the Heroine's Journey. I'm only going to focus on the two most common: The Murdock model and the Schmidt model. 

Murdock's model is the most common, and the most likely model you will see when conducting a Google search for Heroine's Journey. The stages are as follows: 

1. Heroine Separates from the Feminine. 

2. Identification with the Masculine/Gathering of Allies

3. Road/Trials and Meeting Ogres/Dragons

4. The Boon of Success

5. Spiritual Arridity/Death

6. Initiation/Descent to Goddess

7. Yearns to Reconnect with Feminine

8. Heals Mother/Daughter Split

9. Heals Wounded Masculine Within. 

10. Integrates Masculine/Feminine Perspectives

For a more detailed analysis of this model, please see this post HERE. 

Right away, I notice that Murdock's model has a major problem with it. It limits it's effectiveness to ultra-feminist leads. A main part of the model is the protagonist basically adopting "male" characteristics in order to move the story along. It does show a return to the feminine, which is rather appreciated. Because really, women are hard-wired to be feminine and fighting against nature only gets one so far *cough*. Reading the comments to that previous blog post, it is clear that this model is only useful when women are attempting to break free from an "oppressed" society, and leaves no room for a traditional feminine interpretation. 

However, what if you have a Heroine who never rejects the feminine?? As my alpha/beta readers already know, Janina never throws a punch nor does she act all tough. Rather, part of her story is growing in her femininity. Clearly, the Murdock model doesn't fit Janina's journey, but neither does the Hero's Journey. 

Enter the Schmidt model of the Heroine's Journey. 

One ESSAY I read said that feminine stories didn't focus so much on the conflict as it did the connections. I see this really reflected in the Schmidt model, especially as it connects to women's psyche's. 

How is this shown? Well, let's take a look at the individual steps in the Heroine's Journey. 

(Please note: if you wish to view a more detailed, and more specific, outline of these steps, please see this blog post HERE). 

1. Illusion of the Perfect World. 

        This lines up with the "Ordinary World" stage in the Hero's Journey, but with a twist. It's the inclusion of the a plot device called the Character Lie. The Character Lie is very often used in fiction in general, but it is extremely effective for a feminine character arc. Why? Because women's psyche is based on the concept of being cherished. Because of this, harmony with either persons or concepts is a common goal for women. Schmidt's examples in this stage often deal with so-called "coping" strategies, such as people pleasing, being protected, exceptionalism, etc. 

2. Betrayal/Disillusionment

        This is somewhat similar to the Call to Action, but it specifically exposes the Character Lie. It is a break with the normal, to the point in no return for the Heroine. Some may call this the "inciting incident" (gosh, how many plot structures can we fit into one post here?). 

3. The Awakening/Preparing for the Journey

        This lines up directly with the Refusal of the Call step in the Hero's Journey. The major difference, however, is that the pressure to change is more interior (harmony/disharmony) than exterior. Schmidt calls it an "entire change in life direction" for the Heroine. 

4. The Descent/Passing the Gates of Judgment

        The Heroine is in the most conflict about abandoning her old ways and taking up the new ones. This really brings out the connectiveness of women, and their psychological need to be cherished. 

5. The Eye of the Storm

       The Heroine has minor successes, but which are not sustained. The Character Lie may reassert itself in a new form. Schmidt compares it to Murdock's Boon of Success step. Quickly, however, the conflict becomes intensified.

6. Death/All is Lost

        This is the darkest moment of the plot. The Heroine knows her old ways don't work, and the new ways are very often only a short-term fix. With no relief from the conflict in sight, the Heroine reaches her breaking point. Schmidt compares this to Murdock's Spiritual Arridity/Death step.

7. Support. 

        This is when the Heroine's "pieces are picked up" either by friends or a spiritual force. While this does bring "Meeting the Mentor" vibes, the context is much different here. This idea of women being supported is actually reflective of how women solve problems. Men tend to think things out by themselves. Women, on the other hand, go and talk about them (usually to other women or their spouses).  

8. Rebirth/Moment of Truth

        Strengthened by support, the Heroine mentally prepares herself for the final psychological battle. They see the "truth" at last, which can extend to seeing themselves, their role, and the world in a different light. 

9. Return to a World Seen Through New Eyes

        Lining up somewhat with the Return with the Elixir step in the Hero's Journey, the internal journey of the Heroine is complete. With deeper introspectiveness, the Heroine's worldview is profoundly changed. The external conflict may or may not be resolved completely, but the Heroine is a better person because of the Journey. 

Looking at these examples, it's easy to see how Schmidt's model could easily be used for more traditional feminine character arcs. But what are some other reasons to adopt Schmidt's model? 

1. Schmidt's model shows Woman's true enemy

Man's true enemy is very often external forces, the dragon. Woman's true enemy, however, is....herself. At the end of the day, the strong internal presence of women must be reckoned with, even before the external conflict does. 

2. Schmidt's model provides a much better outline for internal conflicts

This is not to say that the Hero's Journey model could not be used for internal conflicts with a degree of success. However, Schmidt's model has a stronger outline of plot points that are more easily converted into easy-to-understand stages. 

3. Better reflection of reality 

By this, I don't just mean the biological and psychological elements. The nice part of Schmidt's model is just as the Hero's Journey can be adapted for women characters with appropriate storylines, so too can this model be used for male characters with strong interior conflicts. So, in this case, it's a much more worthy counterpart than it's more popular doppelganger. 

In short, I highly recommend using the Schmidt's model of the Heroine's Journey over the Murdock model, especially for those women writers who wish to write more traditional storylines. Let's reclaim true heroines away from the feminists, shall we? 

Scribbingly yours, 

Catherine