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The Dan Harmon Story Circle: The Ultimate Guide in 8 Steps

One of the most recently appreciated and widely-used story structures is the Dan Harmon Story Circle.

While the model draws heavily on the hero's journey and other similar models, it also tends to simplify things in a way that makes crafting a story easy.

But what exactly is Dan Harmon's Story Circle? Well, that is what I am here to unpack.

• What the Story Circle is
• A detailed breakdown of all eight steps in the Story Circle
• Examples of the Story Circle in use
• How you can use the Story Circle in your writing

Table of contents

• What Is the Dan Harmon Story Circle?
• Who Is Dan Harmon?
• How Does the Dan Harmon Story Circle Work?
• 1. You: the character is in a comfort zone
• 2. Need: The Character Must Want Something
• 3. Go: The Protagonist Enters an Unfamiliar Setting
• 4. Search: The Character Must Adapt To the Unfamiliar World
• 5. Find: The Character Finds What They Wanted
• 6. Take: The Character Must Pay the Price of What They Found
• 7. Return: The Hero Returns to Where They Started
• 8. Change: The Character Is Able to Shift the World around Them
• Harry Potter
• While You Were Sleeping
• How to Use the Dan Harmon Story Circle

Side note: I recommend Plottr as a storytelling software to help you outline your book. With it, you can follow the Story Circle, or a wide variety of other story structures , as you are plotting your books. If you use the links in this article, I do get a small affiliate commission, but it costs you nothing extra and goes straight to the coffee fund. More on Plottr later.

The Story Circle is a narrative structure, first coined by screenwriter and creator Dan Harmon, which is modeled off of the hero's journey , first popularized by Joseph Campbell.

Like the hero's journey, the Story Circle can be found, in one form or another, in almost every story ever told. You will find it in myths from all over the world, you will find in modern storytelling, you may even find it when you hear your neighbor telling you what happened to them last week.

That said, it is not exactly like the hero's journey. The Story Circle has eight stages:

• You – Where the character is in a zone of comfort
• Need – And they want something
• Go – So they enter an unfamiliar situation
• Search – Adapt to it
• Find – They find what they wanted
• Take – Pay the price of taking it
• Return –  They go back to where they started
• Change – And is now changed

I’ll discuss each of these in more depth further down, but notice how this compares to the 12 steps of the hero's journey, as outlined by Christopher Vogler:

• Ordinary world
• Call to adventure
• Refusal of the call
• Meeting the mentor
• Crossing the threshold
• Tests, allies, enemies
• Approach to the innermost cave
• The road back
• Resurrection

What Dan Harmon has done in his Story Circle is to boil these 12 steps down to eight, focusing specifically on the character arc, motivations, actions, as well as consequences.

And by making the Story Circle even more simple, Dan Harmon has also managed to make it more universal.

In fact, because the Dan Harmon Story Circle focuses so much on character, it can be used in far more situations than the hero's journey.

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Dan Harmon is a celebrated screenwriter, best known for Community and the animated show Rick and Morty, though he has been screenwriting since the mid-1990s.

Earlier in his career, Dan Harmon thoroughly researched the hero's journey, as presented by Joseph Campbell, as well as Christopher Vogler who popularized the hero's journey in the world of screenwriting.

Harmon took this concept and simplified it in such a way that screenwriters could easily use in their day-to-day writing. What he came up with is now known as the Story Circle.

The top part of the circle, i.e. the first three steps and the last step, represents order. During these four steps, everything is in a state of equilibrium, and all is right with the world.

The bottom half, i.e. steps four through seven, represent chaos. It is during these times that the world brings unknown temptations and trials, and our character has to deal with situations that are uncomfortable.

It is through these trials that the characters are able to gain strength, overcome weaknesses, and ultimately return to the place of order, this time a changed character.

So as the character progresses through these eight stages, they manage to go from order, to chaos, and back to order again.

The 8 Stages of Dan Harmon's Story Circle

Now it's time to dive straight into all eight stages of Dan Harmon's Story Circle. I'll give you the basic information about each, as well as breakdown approximately how this should fit your story overall.

Step 1 takes place at the very beginning of your story, when you are introduced to your main character , understand the world that your character lives in, and demonstrate that they are in a familiar situation of some kind (whether that is emotional, physical, etc.).

Quick tips to make step one shine:

• Find a way to help the reader care about your protagonist (i.e. save the cat), as readers will not care what happens to your protagonist if the don't have a reason to.
• Allow the protagonist sometime to interact with the world around them so that we understand that they are in the comfort zone, and why that comfort zone is important to them.
• Keep the exposition to a minimum. Add just enough that the reader understands the location that the protagonist is in, and anything that is immediately important to know for that character. Remember that a lot can be picked up by context alone.

Chronology note: this step takes place during Act I, and should take up approximately 12% of your story.

Right from the beginning, you should make it clear that all is not right in the protagonist's world. While they are operating from a place of comfort, they have some internal or external need.

Often, it is this need, or something related to it, that creates the inciting incident of the plot. So it is important that you get this part right.

Quick tips to make step two shine:

• For plot-driven stories, use external needs, where the protagonists wants to change or achieve something. This can be anything from a physical object to the love of someone, to respect of their peers.
• For character-driven stories, go with an internal need, which can be something like humility if they are prideful characters, courage if they are a timid character, etc.
• Many stories have external and internal motivations.
• During this section, you should introduce the inciting incident, ideally related to their need.
• Ideally, this needs should be so great that it propels the character outside of their comfort zone.

Chronology note: this step should be introduced early on within Act I of the three act structure , ideally on or before the 15% mark of your book.

It is at this point that the characters are thrust into worlds unknown, completely outside of their comfort zone, whether that be literally or emotionally.

This section introduces the core conflict of a good story, conflict that will be with the protagonist until near the end of the story. This is where the character starts working towards their goals, but encounters resistance along the way.

Quick tips to make step three shine:

• Make the conflict of the story readily apparent, as this can increase the tension and get readers excited to read more.
• The character should have their first encounter with a real challenge at this point.
• While the character is firmly outside of their comfort zone, they should still be willing to take action to get what they need.

Chronology note: step three ventures into Act II of a three act structure, roughly around the 25% mark. At this point we have left Act I behind and should be firmly entrenched in the main narrative.

It is at this point that the character realizes that they may have bitten off more than they can chew. Suddenly, the journey to get what they need has become much more complicated.

So in order to get what they need, they must search for solutions to their challenges, which can lead to more challenges, and more crises, all leading to the ultimate climax of the story.

Quick tips to make step four shine:

• Start adding additional conflict to make yours a better story. Show the protagonist continuing to try and overcome the conflict, only to fail and try again.
• If you have not already, introduce allies that are there to help your protagonist along the way.
• You can increase the stakes by ensuring that something or someone is lost along the way.

Chronology note: by now, we are firmly in Act II of a three act structure, and the stakes are beginning to rise. Nevertheless, don't spend too much time in this section, and let it take you to approximately the 30% mark of your story.

Now we come to a pivotal turning point, roughly at the midpoint of your book, where the protagonist finds what they need, and they are awarded a brief moment of victory.

What we don't know, however, is that finding the solution brings new problems with it. The character may discover that what they wanted was not what they actually needed, or looks considerably different from what they thought.

Quick tips to make step five shine:

• Start by showing a victory, a.k.a. the protagonist finds something that appears to be the correct solution.
• Take a moment to celebrate, allow the reader to think there is hope, then use this as an opportunity for a plot twist and raise the stakes once again.
• For external motivations, this can be a physical item or achievement. For internal motivations, the thing that the hero finds is often a revelatory piece of information about themselves.

Chronology note: this step takes place roughly at the middle of the story, around the 50% mark.

At this point in the story, the character must face a hefty price for the thing that they thought they wanted, and that they achieved in the last step.

This huge price tag should bring the character to a new low, building up to the final climax of the story. This new low will create a new need, one that is a little more fitting of the character. 

It is what the character truly needed, despite the fact that it probably conflicts with what the character wanted.

Quick tips to make step six shine:

• Make it clear that the character’s actions have huge consequences, sometimes catastrophic.
• Have the character face new challenges as a result of finding what they think they wanted.
• You should have the character face a significant loss, the nature of which will depend on the genre and the type of story you want to tell.

Chronology note: This takes place towards the end of Act II, right around the 65-75% mark.

This is a figurative or literal return to where the hero started, complete with new knowledge, skills, items, etc. that they found along the journey. It is these things that the character finds that prepares them to confront the final conflict of the story.

While this is not the same type of return talked about in Joseph Campbell's hero's journey, as the climax has not happened yet, it is a return to more familiar grounds. You will often see stories returning to where they started, often literally, but also thematically.

Quick tips to make step seven shine:

• This is a moment to pause and show how the character is returning to their normal world.
• This is also an opportunity to show how the character has changed.
• Remember we are still in the stage of chaos. Not all is set right with the world yet, but by returning to the comfort zone armed with new power, the character is building towards that climax.

Chronology note: this is the start of Act III, roughly 75% of the way through the story.

At last we get the final climax of the story. This is where we see the character use all that they have gained/learned in order to achieve their goal or defeat the antagonist.

This is where the main conflict and the hero come head-to-head, and we see what the characters' discoveries are truly worth. And they change a lot.

Not only has the character changed, but they are able to change the world around them.

Quick tips to make step eight shine:

• Don't hold back. Make this the biggest showdown of your story, whether that be a physical battle, an emotional punch, a huge triumph over inner demons, etc.
• Remember this is a circle. We want to show that the protagonist is returning to their place of comfort, but this time a changed person. The more you can thematically tie the ending to your beginning, the better it will read.

Chronology note: this climax takes place roughly between the 85 to 87% mark of your story. Bear in mind that there is still room for falling action once this section is done. You will still need to tie up any loose ends.

Examples of Dan Harmon's Story Circle

Let's take a look at some better-known stories, and see how they implement Dan Harmon's Story Circle. While none of these were specifically intended to use this circle, you will start to see it pop up in almost every story you ever hear.

• You: Harry starts out in the familiar (albeit distressing) situation as an orphan living with his aunt and uncle who wants nothing to do with him.
• Need: Harry learns that he is a wizard and that he has untold possibilities ahead in his future.
• Go: Harry goes to Hogwarts, completely immersed in an unfamiliar world.
• Search: Harry learns various spells, gains friends and mentors, and learns to fly.
• Find: Harry finds what he thinks he wants when he learns that he has natural talent at Quidditch.
• Take: slightly overconfident, Harry believes that there is a conspiracy going on involving Professor Snape. He is thrown closer to an encounter with Lord Voldemort.
• Return: Harry defeats Voldemort and eventually returns to his home.
• Change: he is no longer the shy boy living under the stairs. He has changed, and his aunt and uncle know it.
• You: Lucy lives alone, working a tedious, boring job at a ticket booth.
• Need: she wants to have a family, and specifically wants to marry a man that she sees every day at her job.
• Go: Lucy saves the man she is infatuated with from an oncoming train.
• Search: she lies to Peter's family and tells them that she is his fiancée.
• Find: Lucy gains the family she always wanted, but finds that she is falling for Peter's brother Jack.
• Take: it is revealed that she was not Peter's girlfriend, and it seems like her relationship with the family is over.
• Return: instead, Lucy marries Jack before returning to her work at the train station.
• Change: even though she is back in her familiar world, she is changed. She enjoys her life more now that she has Jack.
• You: Bryan, Liam Neeson's character, lives a comfortable life as a retired government operative.
• Need: Bryan wants to be a little more involved in the life of his daughter.
• Go: his daughter is kidnapped in Paris, and Bryan must go after her to save her.
• Search: Bryan searches for his daughter, using his past skill and expertise to lay waste to the opposition.
• Find: Bryan finds his daughter, but is not able to rescue her yet.
• Take: Bryan is forced to kill the head of the human-trafficking organization in order to save his daughter from them.
• Return : Bryan brings his daughter back from Paris, gaining more respect from her and her mother.
• Change: Bryan is able to go back to his familiar life, but this time with a new connection to his daughter.

The Story Circle is a great framework to make your story better. It is likely that you are already doing some of these things instinctively, as they have been ingrained in us through pop culture.

In fact, you will find that the Story Circle is applicable to almost anything. Even while telling a personal story to a friend, there is a good chance that you have unconsciously used this story structure.

For example, imagine telling someone about that time you got food poisoning:

• You: You were at home
• Need: You were hungry
• Go: You went out to eat
• Search: Spent a while looking at the menu
• Find: Ate your food
• Take: Got horribly sick
• Return: You went home
• Change: And never went back to that restaurant again

That is, essentially, the Story Circle. It is easy to incorporate into your storytelling process as well.

That said, I highly recommend Plottr as the perfect software to help you track and outline your story according to the Story Circle or any other number of story structures. It easily walks you through your outline, with pre-built templates to help you along.

I love it because it works very similar to using notecards on a wall, and it is very easy to switch things around and mix things up. 

But by far the most useful feature is the ability to follow a template. And yes, they have Dan Harmon's Story Circle as one of them.

Jason Hamilton

When I’m not sipping tea with princesses or lightsaber dueling with little Jedi, I’m a book marketing nut. Having consulted multiple publishing companies and NYT best-selling authors, I created Kindlepreneur to help authors sell more books. I’ve even been called “The Kindlepreneur” by Amazon publicly, and I’m here to help you with your author journey.

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Storytelling 101: The Dan Harmon Story Circle

The Story Circle by Dan Harmon is a basic narrative structure that writers can use to structure and test their story ideas. Telling stories is an inherently human thing, but how we structure the narrative separates a good story from a truly great one.

Because of Dan Harmon’s background in screenwriting, the Story Circle is popular among filmmakers and writers on TV shows and TV series, but any storyteller can benefit from using it. Let’s look at this narrative structure more closely, examine the eight steps, and discuss its use in story and character development!

What is the Dan Harmon Story Circle?

The Dan Harmon Story Circle describes the structure of a story in three acts and with eight plot points, which are called steps. When you have a protagonist who will progress through these, you have a basic character arc and the bare minimum of a story—the story embryo or plot embryo, if you will.

The Story Circle as a narrative structure is descriptive, not prescriptive, meaning it doesn’t tell you what to write, but how to tell the story. The steps outline when the plot points occur and the order in which your hero completes their character development. These eight steps are:

1. You A character in their zone of comfort

2. Need wants something

3. Go! so they enter an unfamiliar situation

4. Struggle to which they have to adapt

5. Find in order to get what they want

6. Suffer yet they have to make a sacrifice

7. Return before they return to their familiar situation

8. Change having changed fundamentally

The hero completes these steps in a circle in a clockwise direction, going from noon to midnight. The top half of the circle and its two-quarters of the whole make up act one and act three, while the bottom half comprises the longer second act. In their consecutive order, the Story Circle describes the three acts:

Working with the Story Circle enables you to think about your main character and to plot from their emotional state. The steps will automatically make your hero proactive as you focus on their motivation, their actions and the respective consequences.

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The Story Circle in story structure theory

Why is this narrative structure a circle? A classic graph of the three-act structure charts the rising and falling action with its plot points as a line with peaks, so why can't your hero complete the eight steps in a linear fashion from the beginning to the end?

The Hero’s Journey

Dan Harmon hardly invented the circular narrative structure or traced the cyclical nature of stories in the three-act structure. He merely simplified the Hero’s Journey and adapted it to his own screenwriting needs. The hero’s journey is a template of stories that describes the stages of a hero embarking on a quest or adventure, who has to go through crisis before victory to emerge transformed. Though the hero often brings back an “elixir”, the solution to their initial “problem”, it’s their inner change that enables them to prevail in the “new order” at home.

The monomyth

The return as expressed in the circle is essential to the monomyth , which is a concept of mythology described by the American writer Joseph Campbell in The Hero with a Thousand Faces . The monomyth sees common narrative structures in all great myths. Campbell names the three acts Departure , Initiation , and Return , and charts the Hero's Journey over 17 stages. Hollywood executive and Disney screenwriter, Christopher Vogler, reduced the number to 12 steps in The Writer's Journey: Mythic Structure For Writers .

Simplification of steps in the circle

Interestingly, American philologist David Adams Leeming in 1981 and American screenwriter and filmmaker Phil Cousineau in 1990 both used only eight steps for their adaptation of the Hero’s Journey. Dan Harmon developed his Story Circle in the late 1990s when he was stuck on a project. He cites Christopher Vogler and the screenwriting author Syd Field as influences.

The Hero’s Journey in screenwriting

The Hero's Journey, the monomyth and Joseph Campbell are popular in Hollywood filmmaking. George Lucas used the template for Star Wars , you can read The Matrix trilogy by the Wachowskis as an extensive study in mythological storytelling, and Pixar movies such as Finding Nemo exhibit monomyth story structure.

Save the Cat

Screenwriter and author Blake Snyder omitted the circular structure in his work, but his book Save the Cat! The Last Book on Screenwriting You'll Ever Need also takes the Hero’s Journey and breaks it down into 15 essential story beats or plot points.

What else is Dan Harmon known for?

Daniel James Harmon (born 1973) is an American writer, producer , and actor known for the sitcom Community and the animated series, Rick and Morty . In episode S4E6 “Never Ricking Morty” the two characters find themselves aboard the circular Story Train and the episode pokes meta-fictional fun at the narrative structure. Dan Harmon also created and hosted the comedy podcast Harmontown . In 2013, Harmon published the book, You'll Be Perfect When You're Dead .

The 8 steps of the story circle

You. Need. Go. Struggle. Find. Take. Return. Change. The way the story circle works is that your main character, much like Campbell’s hero, moves from a zone of comfort towards a want, and with that, into the chaos of the second act, from where they’ll return changed. The top half of the circle represents order and the bottom half chaos. The right side of the circle represents the hero resisting their transformation, the left side represents the hero moving towards their transformation.

In this cyclical nature of storytelling, you can see the main character gain and lose: they gain their want, but lose stability; they lose in the struggle, but ultimately find what they want; they pay a heavy price for it, but can bring it back home; the old order cannot be again, but they have changed to exist in the new order.

1. A zone of comfort

The first step establishes the hero of your story in their familiar surroundings. Think of it as a 'before' picture. Note that "zone of comfort" doesn't mean things are perfect. Your main character exists in a status quo in which they have arranged for themselves to fit into their current conditions.

The 'before' picture is important for the character arc so that viewers can recognize the significance of the change later. Interesting main characters are not perfect, either, but exhibit human flaws the audience can understand and sympathize with.

For the second step, you dangle something in front of your main character: desire is something they want as a thing to obtain or a problem they want to go away.

The desire becomes the main goal of the protagonist, but their next actions are decided in a "push" or "pull" fashion: if the desire is pulling them out of the status quo, then they might prepare for the journey (think: Harry Potter getting his supplies). If they're being pulled out of their comfort zone and would rather stay where it's nice and warm, then they debate how they can avoid having to go.

"Desire" can take the form of a problem or an adversary in the sense that the hero would very much like for the antagonist to disappear so they could return to the status quo right away.

3. Entering an unfamiliar situation

In step three, you kick off the action: green means go! Your hero is proactive: even when they've been debating and their desire is of a "pull" nature, they still make a conscious decision and take the first step themselves. This step also signifies the crossing of the threshold from order into chaos, from the first into the second act.

Their new surroundings are unknown and they find themselves in an unfamiliar situation, which can be hostile, or simply something they’ve never experienced before: it’s the figurative (or, with Stranger Things , literal) upside-down of their initial surroundings.

4. Adaptation

Your hero may or may not like the chaos in their new world, but the only way out is through. As a storyteller you throw increasingly bigger obstacles in their way and put them through many trials and tribulations, forcing them to adapt as they struggle to overcome the hurdles.

What's important: the way back is barred, because the old home is so much worse (up to where return signifies death), or because there is another insurmountable concrete or abstract obstacle.

5. Attaining the object of desire

At the halfway point, you let your hero have what they desire. Reading the Story Circle like a clock, it's now 6 PM and high time to return home. Step five, as the crucial finding step, raises the stakes of the story.

Your main character has completed the search, found what they wanted, and is holding the (metaphorical) key in their hands — but the lock which it turns is half a world away! Can they make it back, and in time? To increase tension, many stories introduce time constraints here, such as a countdown of any sort, a sick or wounded companion, or the environment turning on the main character.

6. A heavy price to pay

Your hero takes what they want, but something is taken from them. Before they can go on, they must leave something behind. This loss can take many forms: a temporary, albeit despairing setback which leaves the hero stranded; the death or sacrifice of a companion character; losing "innocence"; having to give up any integral part of themselves, from limb to memories.

This step marks the absolute low point in the journey of your hero. The heavy price is so hefty that they seriously doubt if carrying on is even worth it. There are many names to describe this moment, from figurative death (of the old hero) to the “dark night of the soul” or the darkest hour.

7. Return to the familiar situation

Your hero finds it within themselves to complete the journey and return home to their familiar situation. However, within themselves is key here! Note that with step seven, your main character crosses back into the upper half of the circle, leaving the chaos of the second act behind. Yet this threshold doesn’t come without a trial of its own.

In ancient myths, when the protagonist returns, they often face a gatekeeper, a riddle to solve, or proof that they are who they say they are. Although they surely have changed externally, it’s their internal transformation that allows them to pass this test. Even when the magic “key” is a concrete object, such as an “elixir”, only they can wield or apply it.

The familiar situation is often only seemingly familiar and externally changed as well, because the hero has been presumed dead, their old surroundings have been transformed or old friends have moved on with their lives.

8. Fundamental change

The application of the “solution” by your hero to establish the “new order” brings with it the realization that they are not the same person anymore: they have changed from the beginning. This is where you do a second snapshot and show the ‘after’ picture.

Change can be for the good and your main character is now wiser, better, more mature, no longer alone, or richer in some sense; but the ending can also be tragic, and though they have brought better circumstances for someone else, they are now morally corrupt, filled with despair, utterly alone, or at the end of their life.

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How to use Dan Harmon’s Story Circle

In conclusion, let’s note again that Dan Harmon’s Story Circle, like all story structures, is best understood as primarily descriptive; approaching screenwriting with such a ‘template’ seems formulaic, but the structure doesn’t prescribe to you as a writer the story to tell, only how. You can take Snyder’s beats or the Dan Harmon Story Circle and overlay the structure over any existing film (with a story in the traditional sense): from Harry Potter to anime movies to early cinema, you’ll be able to match the steps to the action or the script.

As a screenwriter working on a feature film, TV series or TV show, you can begin plotting the character arc of your hero with the eight steps we’ve outlined above. Gather your ideas and see what sticks, or test an existing story idea with the eight steps: are your stages ‘strong’ enough? Pay attention to the three quarters, or noon, 3 pm, 6 pm, and 9 pm, when you read the Story Circle like a clock. They’re essential to moving your story forward in a believable way.

If your story doesn’t seem to pick up any momentum and you struggle to progress your main character through the steps, you might need to work on your hero more. Are they proactive enough? Is their desire big enough? Are the upper and lower half of the circle opposites, and are the left and right half contrasting enough?

For more theoretical background, you can read up on the Hero’s Journey by Joseph Campbell, and for a fun, practical exercise, watch a favorite movie and plot the steps of Dan Harmon’s Story Circle for it!

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T   he act of storytelling has always been with us. Anthropologist Joseph Campbell took stories from around the world and found they all shared the same basic structure. Campbell’s Hero’s Journey laid out each of the fundamental steps in this story structure. A few decades later, Dan Harmon took this same idea and created the Story Circle. In Dan Harmon’s Story Circle, there are 8 essential steps that can guide almost any story from Fade In to Fade Out. Let’s walk through each step with examples so you can apply this foolproof structure to your next great idea.

Watch: The Dan Harmon Story Circle Explained

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JOSEPH CAMPBELL STORY STRUCTURE

The universal language of storytelling.

There are two universal languages. One is math ...the other is story . Storytelling is built into the human experience. It's how we pass on our history, where we can learn how to live, and answer questions about "right" and "wrong." 

It doesn't take a PhD in English Lit to understand what makes a story good or bad. We all know what a story should do, even if we can't articulate it. Perhaps the most common storytelling element that "makes or breaks" a story is structure.

Our goal for today is to lay out one such narrative formula: the Dan Harmon Story Circle. Let's start with a quick definition.

STORY CIRCLE DEFINITION

What's dan harmon's story circle.

The Dan Harmon Story Circle is a story structure divided into eight distinct parts following a protagonist's journey. Also called "The Story Embryo" or "Plot Embryo," these 8 steps follow a character's pursuit of a goal outside of their normal world. Their inevitable return finds them changed, whether or not they achieved their goal.

Writer and director Dan Harmon is most known for his work on Community  and  Rick and Morty . 

8 STEPS IN THE DAN HARMON STORY CIRCLE:

• You — A character is in a zone of comfort,
• Need — But they want something.
• Go — They enter an unfamiliar situation,
• Search — Adapt to it,
• Find — Get what they wanted, 
• Take — Pay a heavy price for it, 
• Return — Then return to their familiar situation, 
• Change — Having changed.

Granted, the eight steps of the Story Circle above are extremely simplified. We will cover each of these in more depth but you should already have a general idea of how the Story Circle works. Here's a diagram that shows both the ordering and the shape of this structure. 

The Dan Harmon Story Circle

Why is the Story Circle a circle? Why not a straight line from Step 1 to Step 8? The circle provides an intangible momentum to the story, almost like a rollercoaster.

A protagonist begins at the top must descend figuratively in the story and literally in the circle. At the bottom of the circle, they are at their literal and figurative "low point," and their rise to success in the end is likewise represented visually on the Story Circle. 

The first thing you'll notice about Harmon's circle is that it is completely relatable. The stories we tell all the time often (yet naturally) follow Dan Harmon’s Story Circle. Here's the man himself describing the Story Circle and how it works in an episode of Rick and Morty .

The Dan Harmon Story Circle Explained

You. Need. Go. Search. Find. Take. Return. Change. Those are the eight steps to Dan Harmon’s Story Circle. Because narrative is how we make sense of the world around us. You could also think of the Story Circle as the CliffsNotes to Joseph Campbell's Hero's Journey . Blake Snyder's Save the Cat! is another three-act structure that follows a similar path.

Campbell's work was a big influence for George Lucas while he created the biggest film franchise of all time, Star Wars . You can also see echoes of Campbell's work in  The Matrix ,  Harry Potter , and  Lord of the Rings .

Now that we have a general idea of how the Story Circle works, let's dive into each of the eight steps in more detail. Along the way, we'll use Toy Story , Inception , and Star Wars: A New Hope as our case studies.

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DAN HARMON STORY CIRCLE

Step one: you.

The essence of the "You" step is to establish the protagonist of the story. It doesn't always need to be a single person. It could be a family or a team. This is our introduction to our main character(s), an opportunity to see them before the story truly begins. 

This is important in creating a compelling character arc. A huge part of storytelling is the "change" the protagonist makes during their journey. In this stage, we firmly establish their starting point so we can assess this change at the end. This is also the time to understand the context around the character — their world, its rules, and how they fit inside it.

If we look at our case studies, we can see what the "You" step looks like.

• Toy Story — We meet Woody and see the joy he receives from being Andy's favorite toy.
• Inception — We meet Cobb and are introduced to his work as a contractor stealing information from people's subconscious.
• Star Wars — We meet Luke, stuck working on his uncle's farm, yearning to explore the outside world.

Harmon Story Circle

Step two: need .

Once we've been introduced to the protagonist and their world, the next step is to figure out what they "need." Something happens to our character that presents a problem or a question. This is when the story starts to take shape — if "You" is the who  of the story, "Need" is the  what . 

This is where we learn the main goal of the protagonist, the pursuit of which will guide the rest of the story.

• Toy Story — With the arrival of Buzz Lightyear, Woody needs to figure out how to once again become Andy's favorite.
• Inception — Cobb needs to decide whether to take Saito's assignment, which could allow him to return home to his kids.
• Star Wars — As R2-D2 delivers Princess Leia's message, Obi-wan invites Luke to join him in delivering the Death Star plans.

Plot Embryo

Step three: go.

Needs drive us into  action . The "Go" step marks the protagonist's first steps across the threshold in pursuit of the need. This is why you always hear "we need an active protagonist." If there is a "Need" but not a "Go," the story ends. When writing your own script, make your need so vital that it's impossible not to go.

Crossing this 3rd step is also when the protagonist enters the bottom half of the Story Circle. Leaving their normal world behind and officially entering the unknown.

• Toy Story — After Woody knocks Buzz out through the window, the rest of the toys turn on him. Andy takes Woody to Pizza Planet.
• Inception — Cobb sets out to assemble his team for Saito's assignment, including a new architect, forger and chemist.
• Star Wars — When Luke returns home to find his aunt and uncle murdered, he leaves with Obi-wan on their quest to Alderaan.

Story Circle

Step four: search.

Search is where things begin getting more complicated. Both concerning the story you are telling AND in terms of the process. The character can address the need by searching for an answer. Great stories don't always do this so literally. For Harmon's Story Circle, it works to keep it active and straightforward. 

In a big epic feature film drama or a novel, the "search" is going to require more than a physical search. That means it's a series of obstacles the hero must overcome. It's where the rubber meets the road regarding that need.

• Toy Story — Woody finds Buzz but they get trapped at Sid's house where they endure imminent destruction.
• Inception — Cobb's team is ambushed, Saito is shot, they have no choice but to proceed with the plan.
• Star Wars — Alderaan is destroyed by the Death Star while the Millenium Falcon gets caught in its tractor beam.

Harmon Circle

Step five: find.

Eureka! The hero has searched and searched, and now he's found the Need that sent them on this journey. But is the story over? Nope. Because in a good story, the hero doesn't find what he needs.

He might have found what he wanted, but it turns out he needs something else. Something bigger. This is where plot and character development often collide.

• Toy Story — Woody plans their escape from Sid's house and bonds with Buzz over why it's so great to be a toy.
• Inception — Cobb enlists his target, Fischer, to help break into his own subconscious but Robert is killed and sent to limbo.
• Star Wars — While planning their escape from the Death Star, Luke and Han rescue Princess Leia from the detention block.

Dan Harmon's Story Circle

Step six: take.

Take whatever you found! And escape with it! Campbell might call this part of the story circle the magic flight. Even though the hero successfully acquires their Need, it comes at a price. Even after their initial success, the protagonist(s) suffer heavily losses.

Depending on the genre, these "losses" could be anything from a temporary setback to the death of a major character.

• Toy Story — As Woody and Buzz attempt to make it back to the moving truck, RC's battery dies, leaving them stranded.
• Inception — Cobb and Ariadne risk entering limbo to rescue Fischer and Saito, Cobb finally lets go of his guilt over Mal's death.
• Star Wars — During their escape from the Death Star, Obi-wan sacrifices himself so that they can get away.

Story Circle Examples

Step seven: return.

The return stage is coming into the home stretch. The character has brought back into the normal realm whatever they found and took. Be it a magical item, a person, a lesson...and as a result of this they...change.

• Toy Story — Woody and Buzz make return safely to Andy.
• Inception — Cobb emerges from limbo with Saito and awake on the plane, their mission a success.
• Star Wars — The Rebels launch an attack on the Death Star and Luke is able to destroy it.

Step Eight: Change

The change could be a personal one; it can be change to the world around them. In the instance of a movie or long story, it would be both.

Sometimes the change has opposite effects too. The world has changed for the better, but maybe the protagonist has changed for the worst. Playing with the change step can be interesting. 

• Toy Story — Woody learns to co-exist with Buzz.
• Inception — Cobb returns to his children having let go of his guilt.
• Star Wars — Luke has evolved from farm boy to Rebel pilot.

Closing up the Story Circle

Change is what makes it a good story . Change is the key to any story. The 8 steps built into the Dan Harmon Story Circle are designed to facilitate that change.

What do we do when we tell stories? In a basic, primal way, we try to grasp the changes around us. The changes that we can't control. Why do people die? Why does the sun rise each day? 

Our stories are how we better understand the world around us. In a way, stories are how we help ourselves cope with change. Reminding ourselves over and again that change will happen, and life goes on.

Related Posts

• How to Become a Writer →
• Write the Best Character Arc →
• How to Write a Treatment [Free Template] →

How the Save the Cat structure works

If you found the Dan Harmon Story Circle to be a valuable tool, it's time to get writing! If you're looking for a different story formula that breaks the major beats down into more specifics, we've got another option. Blake Snyder's Save the Cat! is another system that takes a simple three-act structure and breaks it into 17 beats instead of 8. Understanding these various story formulas and how they work will get you thinking in concrete terms on how to bring your next script to life.

Up Next: Time to Save the Cat! →

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The story circle in 8 steps with tons of examples.

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Dan Harmon’s Story Circle Is a Modern Take on the Hero’s Journey

Article by Colette Nichol, Story Strategist, SEO Expert, and Solo Filmmaker

What Is Dan Harmon’s Story Circle with Examples?

The story circle is a story structure guide created by Dan Harmon based on Joseph Campbell’s analysis of the Hero’s Journey.

The story circle consists of the eight main plot points that create a story’s foundational structure, which Dan Harmon has labelled: you, need, go, search, find, take, return, changed.

• You – A character with a problem.
• Need – Has a need.
• Go – And crosses the threshold in the world of adventure.
• Search – To find the answer to their problem.
• Find – They find that things are not what they seem.
• Take – They get what they want but it was not as they expected.
• Return – They return to the ordinary world.
• Changed – And they are transformed by their journey.

For a ton of extensive examples with videos, read through this entire post where I cover each important turning point in a story in details with examples. But first, some background!

Who Is Dan Harmon?

Dan Harmon is a TV writer known for writing and creating Community.

He also co-created Rick and Morty and is credited with writing 61 episodes.

To get the juices flowing in the writer’s room and guide the writing of new episodes, he simplified the hero’s journey into eight key concepts that make it easy to assess or build a story idea quickly.

It’s brilliant. It’s simple. And dammit, it’s delicious!

I got obsessed with Dan Harmon’s story circle a few years ago, hunting down every time Harmon wrote about or spoke about his method of breaking down stories. If he talked about it on the internet, I found it and ate it up.

It’s not that Harmon is saying anything new.

But the way he’s broken down the Hero’s Journey is so practical and, frankly, beautiful that it’s worth knowing and using. If you’re a writer, storyteller, director, producer, or even business owner, you need to know how to pull apart and put together a story.

So let’s discuss and dissect this beautiful tool. Onward!

Table of Contents

• How Dan Harmon’s Story Circle Works
• Part 1: The 8 Stages of Dan Harmon’s Story Circle

YOU, NEED: A Protagonist Needs Something

Go: the hero crosses the threshold into the world of adventure, search: the hero is on the road of trials, find: reckonings, meeting the goddess, vulnerability, bliss, take: the face off, meet your maker, facing the father, return: the flight home, change: the hero is transformed and shares their wisdom, the universal structure of storytelling, top and bottom half of the story circle, part 2: the world of adventure vs. the regular world, crossing the threshold, part 3: starting value or idea and ending value or idea, watch: the dan harmon story circle explained by dan harmon.

• Common Story Circle Questions

How Dan Harmon’s Story Circle Works

First, let me be clear that I’m explaining the story circle in the way that I use it.

I’m not Dan Harmon, and I’m not trying to explain this concept verbatim. So take what you want from this analysis, and don’t hold it against me if I don’t explain this exactly the way Dan Harmon does.

That said, I’m probably the only person on the internet who has hunted down every single thing Mr. Harmon has written about the story circle, put it in a Google doc, printed it, highlighted it, and then practiced it…over and over again!

Anyway, at the end of the day, what matters is HOW you use this information, not whether it was delivered to you in some perfect authoritative package. Now, let’s get to it!

There are three main parts to the story circle:

• The 8 Stages
• The World of Adventure vs. The Regular World
• The Starting Value/Idea vs. The Ending Value/Idea

Part 1: The 8 Stages of Dan Harmon’s Story Circle

There are eight basic stages in the structure of Dan Harmon’s story circle.

It’s no different from the eight stages in the Hero’s Journey. But the way he describes these stages, with a punchy one-word descriptor, makes this tool easy to use.

• Stage 1: YOU
• Stage 2: NEED
• Stage 3: GO
• Stage 4: SEARCH
• Stage 5: FIND
• Stage 6: TAKE
• Stage 7: RETURN
• Stage 8: CHANGE

Before I describe how to interpret and use these stages, look at that list yourself. What do you think each stage means?

Think of a story in your life, and run it through those stages.

You: The Main Character Is in the Comfort Zone

Before anything crazy happens, it’s just you and your regular everyday life.

Things aren’t great. You’re dissatisfied. But you’re not willing to make massive changes. You’re just living life in a quasi-apathetic state, aka normal.

Every story needs a hero—ideally, one, not ten. Even multi-character dramas or action movies like Oceans 11 have one main character who drives the story forward.

Need: The Character Wants Something, Desire Blooms

You want something. You’re not satisfied with just the status quo. Either this desire comes internally and is there before the inciting incident. Or something or someone comes along and awakens the desire within you.

Story Circle Examples

Wizard of oz story structure example:.

Dorothy is in the black-and-white world, moaning and groaning (in song) about how she’d like to be somewhere over the rainbow rather than hanging in Kansas. She needs something to happen so she can escape from her humdrum lands.

Beauty and the Beast Story Structure Example:

Belle reads her fantasy adventure book and longs to be in the middle of a great adventure.

STAGE 1 & 2 – STORY CIRCLE MOVIE EXAMPLE

Go: The Hero Takes Action, Crosses the Threshold and Enters an Unfamiliar World

Your bags are packed, and you’re not just ready to go; you’re going !

This is the part of the story where you exit the ordinary world and enter the world of adventure.

If you’re writing a fish-out-of-water tale about an entitled starlet whose private plane crashes in the Ecuadorian paramo and has to find her way home against all odds, then THIS is the moment her plane crashes, and she’s in the paramo.

Before, she was in her cozy privileged life of plush seats, white leather, and multi-million-dollar movie deals. And now, she’s in an alien landscape where nobody speaks English, and nobody knows who she is.

Dorothy’s little house gets dumped in a colourful town square. She’s no longer in the black-and-white world. She’s now entered a land of technicolour.

Watch the video below and pay attention to how the sound design indicates that she’s entered a world of adventure.

STAGE 3 – STORY CIRCLE MOVIE EXAMPLE

Search: The Hero Begins the Journey and Must Adapt to the Unfamiliar World

You land in a new country without any language skills or understanding of the culture, and now it’s time to fake it ‘til you make it.

Will you survive?

Or will you fall apart?

According to Dan Harmon, “the point of this part of the circle is, our protagonist has been thrown into the water, and now it’s sink or swim.”

Joseph Campbell, the original story circle creator, i.e. the man behind the hero’s journey analysis, calls this phase in a story the Road of Trials. (+)

This is the phase in a story where your main character tries to get the lay of the land. They may meet new friends and mentors. They may be given a helpful aid critical to their future. They may learn new skills.

But most of all, they get beaten up emotionally—and sometimes physically too.

Yellow bricks are everywhere, and adorable human beings with odd singing voices greet her! Hurrah, she’s in the Land of Oz! But wait, now she has to figure out how to get back home. She needs to follow the yellow brick road. Just her and Toto on a road towards the great unknown. Dorothy begins her adventure.

STAGE 4 – STORY CIRCLE MOVIE EXAMPLE

Find: The Hero Gets What They Wanted, But It’s Not How They Expected

Mother, womb, emergence, transcendence, bliss, reckonings, vulnerability, bliss.

For months, maybe years, you’ve wanted something, and finally, you have a taste.

Let’s say you’ve always wanted to be rich. You’ve been scraping by for years. You graduate from university, and boom! Suddenly, you get a job that pays you 10x what you’ve been earning.

You’re working on Wall Street, making so much money you don’t know what to do with it.

But it doesn’t feel the way you thought it would. Instead of floating through life in blissful happiness, you’re grinding your teeth while you sleep and waking up with headaches. This is not what you bargained for, and you’re not sure what to do about it.

In this part of the story, the hero finds part of what they were looking for, but it’s not how they expected it to be.

This part of the story, as per the hero’s journey, is also the transcendent or “meeting the mother” stage. There is feminine energy at the bottom of the story circle.

In a romantic comedy, this is where the two lovers finally really fall in love or realize what love is all about.

In an action-packed drama, the hero would likely have a moment of rest and romance with a woman who represents his deepest desires.

According to Mr. Harmon, this part of the story circle is where our character is the most vulnerable. The following six concepts are all potentially part of the mix when you reach the bottom of the story circle.

• MEETING WITH THE GODDESS
• CONFESSIONS
• VULNERABILITY
• INTO THE PSYCHE

This part of the story is a major turning point.

It’s another threshold that the character must cross— as they do, the story takes an entirely new turn. The hero is now on the road HOME. They have come this far, and now they have to “screw their courage to the sticking place” and do everything within their power to fight their way home.

Fun fact: this stage in the story circle often involves water.

Pay attention to the next few movies you watch and see if there’s water involved in Stage 5! In the example below, it’s frozen water that’s used to create the moment of bliss.

Dorothy and her friends are near the end of their journey. The Emerald City is finally in sight. But the Wicked Witch of the West has placed a field of magical sleep-inducing poppies on the outskirts of the city, and Dorothy and Toto fall into a deep slumber. This heroine reference hints at the darkness that creeps within us all, particularly as we’re about to make our dreams come true.

This scene is a beautiful example of the fifth stage of the story circle.

As Glenda enchants the field with snow and the white flurries fall upon the field, Dorothy and Toto are revived.

STAGE 5 – STORY CIRCLE MOVIE EXAMPLE

Take: Meet Your Maker, Facing the Father, the Vader Face Off

The hero battles to the next stage, paying a price for what they have won.

It’s time to meet your metaphorical (or real) maker.

This is the moment in the story where you face off with the villain and come close to real or metaphorical death. This climax is the culmination of everything the hero has been fighting for throughout the story.

If they make it through this face-off, they’ll be transformed.

Story Structure Examples:

• Luke Skywalker faces Darth Vader.
• Peter faces Hook as he frees Wendy and the boys.
• The Titanic is sinking— Jack and Rose face a wall of water that could eat them alive.
• Dorothy faces the Wicked Witch of the West.

STAGE 6 – STORY CIRCLE MOVIE EXAMPLES

Return: The Flight Home

You’ve gotten what you needed, defeated the villain, learned something about yourself, and now you’re ready to return home with your new knowledge. But not so fast!

This is the part in a romantic comedy where the hero chases after the one he (or she) loves. He races to the airport to make sure his soul mate doesn’t get on that flight.

In an action movie, the hero has just defeated the villain and must head home, sometimes chased by more attacking gremlins.

Dorothy discovers the wizard is a fake. But luckily, it turns out there’s still a way to get home. It turns out that the pathway to getting home had been on Dorothy’s feet the entire time. She clicks her heels three times and repeats, “There’s no place like home.”

Titanic Story Structure Example:

Rose lies on the wooden board, the night is cold, and she’s nearly frozen. Then flashlights pierce the darkness. A boat has arrived. She and Jack can go home. She turns to Jack to wake him up, but he’s cold to the touch. Jack has died. But Rose can still go home. Broken-hearted, she nearly gives up. But at the last minute, as the boat is gliding away, Rose calls out. She leaves her raft and swims towards the boat and the possibility of going home.

STAGE 7 – STORY CIRCLE MOVIE EXAMPLES

Change: The Hero Has Transformed and Brings New Gifts to their World

You’re home now after your 300-day trip around the world.

You’re no longer the same. You’ve learned things about yourself and the world you can never unlearn. You’ve tested your strength and courage. You have wisdom to share and are happy to be back in the ordinary world. This transformation you’ve undergone in your journey into the unknown and back is irreversible.

Dorothy finally realizes that her home and family are the most valuable treasures on earth. She’s no longer the dreamy girl who wishes to be far away. She’s grateful for what she has and sees treasure in the simple things. She is transformed.

STEP 8 – STORY CIRCLE MOVIE EXAMPLE

There is a basic universal structure to a good story.

The hero starts out in their regular world. Things are normal. Perhaps they are unfulfilled.

Early in the story, the hero develops a burning need.

They want something, but there are obstacles in the way. To get into the meat of the story, the hero has to answer the call and race across the threshold into the World of Adventure.

There are two slices to the story circle.

You can cut your story circle in half vertically and horizontally. On the top is the regular world, and on the bottom is the world of adventure.

Meanwhile, when you cut your story circle in half vertically, the left side is the starting idea or value, and the right side is the ending idea or value i.e. the transformation.

Can you see how if you use the story circle, you can quickly test your story and see if it works?

The horizontal slice represents the moment the hero crosses the threshold into a new world, out of her comfort zone, and into the mud.

And near the end of the story, it represents her return to the familiar world again. The top half of the story circle is the Regular World. The bottom half of the story circle represents the World of Adventure.

It wouldn’t be a story if you didn’t end up in The World of Adventure.

The reason we love stories so much is that they transport us. They take us out of the everyday grind. They show us who we can become if we take a leap of faith and follow our dreams, passions, and inner guidance.

When you split your story circle in half horizontally, you see how the hero must cross the threshold, passing from the regular world into the world of adventure.

For the story to get going, the hero must enter a quagmire of challenges.

The character enters an unfamiliar situation.

They are now in the World of Adventure. They are no longer stuck or stagnant. They are NOT in their comfort zone any longer. They’ve stepped out onto the rickety bridge and are moving forward, one foot in front of the next, creeping over the abyss.

They adapt to the situation.

This is the part in the story where the hero meets friends and foes and gains tools and tricks that they can use to defeat their enemy in the future.

You could think of this as the training stage.

In your own life, when you embark on a new adventure, there’s a stage where you’ve landed in the new world, and you have to learn the ropes.

You start a new job, and you have no idea what the hell you’re doing.

You meet new co-workers, figure out who the crazy people are, and learn how to use the weird 1980s coffee maker they inexplicably have in the break room.

Joseph Campbell called this stage of the Hero’s Journey the Road of Trials.

The final part of the story circle is the vertical cut.

On the left, you have the idea or value that drives the character and the story from the beginning. On the right, you have the idea or value that takes over after the character lives through the moment of reckoning or meeting with the goddess.

If you begin the love story guarded, unwilling to trust your heart with anyone, after you experience a true-love kiss, you change.

You begin to act out of love instead of fear.

You’re no longer guarded; you’re driven by a desire to love and be loved.

If you begin a coming of age story as a selfish, bratty, spineless child, you will cross the threshold at the bottom of the story circle and move into adulthood. You are no longer in it for yourself alone; you fight for others and give of yourself selflessly.

If your story can’t be split into two opposing values, it will lack tension.

Common Story Circle Questions:

When you’re writing a story or coming up with the plot points for a screenplay or video, it’s common to get lost or stuck.

Although storytelling is a natural part of how we share the moments in our lives with friends and family, when doing it formally, things can go sideways fast.

So, let’s answer some of your pressing story circle questions!

When should you use Dan Harmon’s story circle?

You should use Dan Harmon’s story circle and the Hero’s Journey structure whenever you’re crafting a story.

Before you start writing a story or script, create an outline of the structure and use Dan Harmon’s story circle to test your idea. Make sure that you have all the basic structural elements before you start writing.

What is a story circle?

A story circle is a way of breaking down your story’s structure to identify if your story works.

The story circle is based on Joseph Campbell’s Hero’s Journey. It is Dan Harmon’s simplified version of the hero’s journey and is a simple structural analysis tool for storytellers.

What is the concept of the story circle?

The basic concept of the story circle is that every story follows a universal pattern.

Every story starts with a main character that has a need, goes on a journey into a world of adventure and is changed through facing challenges.

How many steps are in a story circle? And what are the steps?

There are eight steps in the story circle.

• You – A main character in the ordinary world
• Need – Has a need and a desire to take action
• Go – They leave their ordinary world and take decisive action
• Search – The hero searches for what they need, facing obstacles
• Find – They find what they were looking for, but it’s not what they expected
• Take – They pay the price and face their mortality as they take what they need
• Return – Finally, the hero can return home
• Change – Transformed and ready to share their wisdom

Where did the story circle come from?

The story circle came from Dan Harmon’s obsession with storytelling and his need for a simple story structure tool that could help him while writing hundreds of television episodes.

Did Dan Harmon create the story circle?

Dan Harmon created the story circle based on Joseph Campbell’s analysis of the hero’s journey.

Become a Confident Storyteller

Hi, I’m Colette Nichol! I’m a video producer, story strategist, and solo filmmaker based out of Vancouver, Canada.

If you’re interested in becoming a confident storyteller, check out my online storytelling course Story Guru .

Or read more of the storytelling articles on the blog:

📖 Top 10 Elements of a Story

📖 How to Tell a Captivating Story

📖 What Story Should I Write?

📖 How to Write a Logline for a Movie

About the Author

Hi! I’m Colette Nichol . I’m a solo filmmaker and story strategist based out of rainy Vancouver, Canada. I’ve been making videos and micro films for small businesses and global brands since 2014.

Plus, I LOVE to help aspiring filmmakers pursue their dreams and start making films. This blog is designed to help you gain the knowledge you need to become a filmmaker.

If you want more, get on the waitlist for the Story Envelope Academy Solo Filmmaking Mentorship Program. It opens up one time per year and is the best way to become a filmmaking or video pro fast!

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The Art of Narrative

Learn to write.

How to Use Dan Harmon’s Story Circle

Learn how to use Dan Harmon’s Story Circle to craft your own plot. Plus, see how the story circle used in the pilot of Rick and Morty.

You’ve probably heard of Dan Harmon, the creator of hit shows  Rick and Morty , as well as  Community . Today we’re talking about Dan Harmon’s Story Circle. The Story Circle is an eight-stage story structure that Harmon developed, and it is a simple and proven way to develop engaging plots! Dan Harmon’s Story Structure is a fantastic guide for any author, but it’s especially beneficial for the novice writer. If that’s you, read on, and let’s talk about how to create a plot using Dan Harmon’s Story Circle! 

“REAL structure of any good story is simply circular – a descent into the unknown and eventual return” – Dan Harmon. 

Dan Harmon’s Story Circle explained:

Harmon bases his story structure on the straightforward premise: all stories are circular. A character begins in a zone of comfort. The character discovers a need and moves out of their comfort zone; exciting things happen to them, they fulfill their need and arrive back at their comfort zone. It’s more complicated than that, but not by much! 

Visualize the Story Circle by drawing a circle on a sheet of paper or in your mind. Then draw a vertical and horizontal line that intersect in the middle of the circle. 

Then number the circle starting at the top of the vertical line with the number one. Place a five at the bottom of the circle, across from the one. Number the right-hand side of the horizontal lined with a three and the left side with a seven. 

Number the quarters you’ve just created in order with numbers 2, 4, 6, 8. Your end product should look like the image at the top of this article.  

Each of these numbers represents a stage in your story. Here’s how Harmon labels each step: 

• The Eight Stages of the Story Circle:
• 1. A character is in a zone of comfort – YOU
• 2. But they want something – NEED
• 3. They enter an unfamiliar situation, – GO
• 4. Adapt to it, – SEARCH
• 5. Get what they wanted, – FIND
• 6. Pay a heavy price for it, – TAKE
• 7. Then return to their situation, – RETURN
• 8. Having changed. – CHANGE

We’ll cover all eight stages of this story structure in-depth, but if you want a deep dive from the man himself, Harmon wrote a six-part series on the Story Circle for his Channel 101 blog. You can find the archived post over at the Channel 101 Fandom page, and I’ll link the article at the bottom of this page.  

Watch Dan Harmon explain his Story Circle:

The Eight Stages of Dan Harmon’s Story Circle:

Stage 1: a character is in their zone of comfort- you.

In stage one, your job as a writer is to establish your protagonist. In other words, you want to tell the audience who they are- YOU. 

Harmon claims that the best way to do this is to show your audience a character. It’s essential to do this early because if your reader is not in a character’s point of view, then they are not in the story. 

More on character point of view:

Read more about first-person POV here. 

Or read about second-person POV here.

An easy way to make your audience identify with your protagonist is to make us feel sorry for that character. Harmon uses the example of  Die Hard.  When we meet John McClain, he presents as a man on a plane afraid of flying. We can all identify with McClain’s anxiety, so we will naturally put ourselves in his shoes. 

The first character you show may not be your protagonist, and that’s fine. However, Harmon warns about shifting from character to character: 

“Lots of modern stories bounce us from character to character in the beginning until we finally settle in some comfortable shoes. The bouncing can be effective, but if it’s going on for more than 25% of your total story, you’re going to lose the audience.” 

Guiding Questions: 

• Who is your protagonist? 
• How will you make the audience feel for/ identify them? (hint: use pity) 
• What is your character’s zone of comfort? 

Stage 2: But they want something- NEED 

At this stage, you will show that not all is right in your character’s life. There is a need, something missing from your protagonist that they will spend most of the story trying to fulfill. This need could be literal. Maybe your hero is lost in the wilderness like in  Castaway  or  The Edge. 

Your character’s needs can also be internal. In  Die Hard,  John McClain’s need is to repair his broken marriage. You can also give your character an internal and external need. In  Castaway,  Tom Hanks’ external need is to escape the desert island. His inner need is to return to his fiance and overcome the hopelessness of his situation. 

Harmon compares this “need” section to the “call to adventure” in the Hero’s Journey. In the Hero’s Journey, the hero will often refuse the call. In Harmon’s circle, the protagonist doesn’t need to reject the call. The refusal is just a way of increasing tension in your story. 

If your character’s need is internal, Harmon mentions that the character can voice their need during this stage. If their inner need is to be independent, they might say, “I wish my family would disappear.” Your character will fulfill their needs, but not in the way they’re is expecting.

Example- our character wished his family away wakes up the following morning to find that his family went on vacation and forgot to take him along.

Harmon places this stage in straightforward terms: 

“This is where we demonstrate that something is off balance in the universe, no matter how large or small that universe is.” 

• What is your character’s external need? 
• What is your character’s internal need? 
• What thing(s) is/are missing from your character’s life? 
• How will this need be fulfilled? (in a way that surprises your character/ reader)

Stage 3: They enter an unfamiliar situation- GO 

Here comes the conflict.

What is your story about? Because this is the stage that you’re going to introduce that  thing.  Harmon equates this stage to a movie poster. What would you put on the movie poster if you were trying to sell your story? 

The movie poster for  Jaws  features a shark, and it’s about a shark terrorizing a beach community. The movie poster for The   Notebook  is an image of a young couple kissing in the rain.  The Notebook  is about two teenagers from different sides of town who fall in love. 

You can’t just start with action. The first part of your story, the YOU, was the setup. We have to get to know the character before we can introduce a conflict. The shark can cruise into the surf and chow down on a little boy now that we have the setup. This works because now we care about the characters

From this point forward, your story enters the Special World. It doesn’t matter how special this world is, but what does matter is that it dramatically contrasts from your character’s Ordinary World. Your hero will get the opportunity to fulfill their need, but they’ll go through hell to do it. 

• Describe your story’s movie poster.
• What is the conflict of your story? 
• How will that conflict enter your story? 
• How does your story’s “special world” contrast from your “ordinary world?” 

Stage 4: Adapt to it- SEARCH

At this point, your hero must shed ALL of their baggage. You, as the writer, are creating a scenario that will strip them down to their core being. 

Harmon gives an example from  Die Hard.  At this moment in the story, we see John McClain gun down one of the terrorists in cold blood. McClain is shedding his outer self- New York cop and embracing his true self- Gunslinging Cowboy. The cowboy persona is the part of him that can take down a dozen terrorists. 

Here’s what Harmon has to say about this phase, “We are headed for the deepest level of the unconscious mind, and we cannot reach it encumbered by all that crap we used to think was important.”  

There’s no more room for your character’s b.s. Take away your characters’ cell phone, their insecurities, their fancy clothes, and their silly ideas about who they are. By the end credits of  Castaway,  Tom Hanks isn’t a time-crunched, overweight middle manager.

He’s a survivor. 

• What is your character’s “outer self?” 
• What is your character’s “inner self?” 
• What will your character need to shed to get to that inner self? 

Stage 5: Get what they wanted- FIND

Harmon mentions that Joseph Campbell called this stage “Meeting with the Goddess.” In symbolic terms, your hero was leaving their dysfunctional mother at stage one, and at stage five, they find a new form of the mother. That all seems needlessly Freudian, but use it as a way to frame and compare these stages in your mind. 

Here your hero will find the one thing that they need to be a hero. The thing your character finds could be good, it could be great, but it’s probably an even mixture of both. This step is a discovery stage where your hero makes revelations, consummates a love affair, or in mysteries and thrillers, the plot may twist hard. Here are some plot points that could take place at this stage: 

• A stunning discovery 
• A sex scene 
• A major plot twist 
• A confession 
• A self-relilatizaton 
• A meeting with a powerful Oz-like character 

The point of this stage is to change the direction of your story. From steps one through four, your character has been tumbling downward. Now, after the meeting, your protagonist will be moving upward. From here onward, your hero is moving on their own volition. 

Harmon says that the goddess would be the undoing of a non-hero, but like Odysseus, your hero will move beyond the siren call, a changed person. If they started stage one a nerd, they leave stage five a calm, confident, sunglass-wearing dude.  

Stage 6- Pay a heavy price for it- TAKE 

Harmon also calls this stage “Meet your Maker.” Harmon compares it to the scene in  Robocop  when Murphy meets his literal maker, the company’s CEO that transformed him into a do-gooder cyborg. 

This stage, typically, does not go well for the hero. Robocop gets his butt kicked. Why? Because this stage is opposite stage two, which is also called the “road of trials.” While stage two prepares your hero for their meeting with the goddess, stage six readies them for a return to the ordinary world. 

At the Take stage, we strip away the last vestiges of your hero’s ego. Harmon frequently compares his story circle to a journey into the unconscious mind. We travel down through the mind to find who we truly are at the core- the goddess. On the way back up, we must change into our authentic selves. Lasting change, authentic change, can only take place through adversity. 

Let’s go back to  Castaway.  Our hero meets his goddess at stage five- the discarded shell of a portapotty washes up on his beach. Our hero realizes he can use this trash as a sail and finally escape his island—with the help of his goddess; he sets off into the vast sea- stage six. 

What’s the price our hero pays? We all know it, the saddest scene in movie history, he loses Wilson. But, what is Wilson? On the surface level, Wilson is just a volleyball, but to our hero, he is much more. Wilson is a crucial part of our hero’s psyche. 

Throughout the movie, our hero talks to Wilson, really talking to himself. Wilson questions the hero’s actions and motives, and he wonders if his plan with the port-a-potty will work. Wilson doubts that they have enough rope. Wilson reminds our hero of his failed suicide attempt.

When Wilson finally departs, our hero mourns for the last tiny piece of his ego as it floats off into the sea. Wilson, the ego, is no longer needed. Our hero is stripped bare, and he now must rely on fate, the universe, whatever, to do with him what it wills. 

• What will your hero have to sacrifice to achieve their goal? 
• Who is your hero’s “maker,” and how will they meet? 

Stage 7: Then Return to their situation- RETURN

Returns can be as easy as clicking your ruby slippers together and exclaiming your love for home. But, returns can also be complicated. Look at our boy from  Castaway;  once Wilson leaves him, he’s adrift in the ocean for days. 

In this section, Harmon talks again about the separations between the conscious and unconscious mind: 

“The natives of the conscious and unconscious worlds justify their actions however they want, but in the grand scheme, their goal is to keep the two worlds separate, which includes keeping people from seeing one and living to tell about it.”

Some ideas for the Return section: 

•  Chase scene 
•  “Catch your love interest before they board a plane” scene
• Ticking clock scene (think “which wire do I cut?!”) 
• How will your hero return to their ordinary world?
• What challenges might get in their way?

Stage 8: Having changed- Change

Your hero returns to the ordinary world, having learned the lessons of the special world. The protagonist is now a master of both worlds. But, there’s still some trouble at this stage that the hero will face. 

Although the hero has escaped the world of the unconscious mind, something might have followed them back. As Harmon puts it, “Sometimes Boss Hogg doesn’t stop at the county line. Sometimes the alien sneaks aboard your escape pod, or the T-Rex starts walking through people’s back yards. [ sic ]” 

But, the hero isn’t the same person they were at stage one. They have learned the lessons of the special world, and they have shed their ego. Symmetry will guide your writing during the Story Circle. Unsure what to do at a particular stage? For guidance, look to the stage across from it. 

Stage 8 is across from stage 4, and what did our hero do in that stage? Well, that was the road of trials. At stage 4, your character learned what it would take to become a hero. At stage 8, they will demonstrate the lessons learned during the road of trials. 

Harmon mentions that this is an excellent time to bring back some elements you introduced in stage four. Was there a broken weapon that your hero couldn’t repair? Maybe now reveal that your hero has fixed the gun, or sword, or whatever, and wields it with expert skill. Or, was there a group of disenfranchised people your hero helped? In stage eight, that same group could be the cavalry coming in to save your hero’s butt. 

This stage is the showdown, the final battle, or the long-awaited confession of love in a love story. Your hero has gone through hell and back for this very moment. Show that your character has become egoless, a true hero who knows exactly what to do and what to say. 

Guiding Questions:

• What has your hero learned during their journey? 
• What bad qualities did your hero have to shed to get to this point? 
• What will be the showdown of your story? 

Dan Harmon’s Story Circle used in Rick and Morty 

Here is a quick and simple breakdown of how the pilot episode of Rick and Morty demonstrates Harmon’s Story Circle.

Rick wakes Morty up in the middle of the night. Rick is drunk, and he tells Morty he wants to show him something. The two take off in Rick’s homemade spaceship and eventually crash. The viewer immediately identifies with Morty as the victim of Rick’s erratic behavior.

The next day at school, Morty daydreams about Jessica, a girl in his class. He doesn’t have the confidence to approach her, though.

Rick pulls Morty from school and takes him to an exotic planet to find and collect mega tree seeds. 

A monster chases Rick and Morty towards a cliff. The two evade the monster, and find the mega trees, but they are at the bottom of the cliff. Rick gives Morty a futuristic pair of boots that allow him to walk down the side of the cliff. Morty fails to turn the boots on and falls down the cliff shattering his legs. 

At the bottom of the cliff, they collect the mega tree seeds after Rick cures Morty by traveling into the future and retrieving a broken leg serum. 

Rick’s trip to the future drains the battery on his inter-dimensional portal device. To get home, Rick explains, they’ll have to go through inter-dimensional customs. Morty will have to hide the giant, mega tree seeds in his butt to get through customs. 

Custom agents search Morty. Rick and Morty run for it, and the customs agents take off after them. Rick and Morty run into a dead end, but Morty remembers the boots they are wearing. He turns them on this time, and the two walk up the wall and onto a roof to escape. This beat is an example of an element from stage four returning to save the day in stage eight!

Rick hijacks a portal while Morty fends off the guards with a gun. They travel through the doorway and land in Morty’s school cafeteria. Jessica seems impressed by Morty’s dramatic entrance. Morty’s parents confront Rick, and they are upset that Rick has pulled Morty out of school. However, the mega tree seeds in Morty’s butt give him temporary super-intelligence. He rambles off a few facts and convinces his parents that Rick’s influence is good for him.  

Dan Harmon’s Story Circle Worksheet

Continued reading on the Story Circle:

Dan Harmon Story Circle blog post: Channel 101

Published by John

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3 comments on “How to Use Dan Harmon’s Story Circle”

I’ve never seen DMAIC used this way before, which might be my ignorance of the industry, but really? Such standardisation processes are usually a rallying cry for the death of individual creativity and used – it had to be said – lucratively on the build up to fascism in 1930.

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Learning Dan Harmon's Story Circle with Episodes of Community and Rick & Morty

Learn the cycle of storytelling with dan harmon's story circle. explore the 8 steps through episodes of community and rick & morty..

Do you watch Community ? Or Rick and Morty ? I do. Love 'em. Community has been off the air for a while, but I still rewatch it.

I think Dan Harmon is a master of storytelling. That's part of what makes his shows so compelling.

You may have heard of Harmon's Story Circle —or maybe you haven't. It's a storytelling technique that's like a streamlined Hero's Journey, with 8 steps . It's a circle because life moves in cyclical phases: an important part of our personal journeys is the return .

As Harmon says, "If our heroes just climbed beanstalks and never came down, we wouldn't have survived our first ice age.”

So, what is the Story Circle?

Let's go over it, step by step:

You —Your protagonist is in their comfort zone .

Need —The inciting incident occurs, revealing the protagonist's need.

Go —Protagonist goes on a journey to find what they need.

Search —Protagonist encounters obstacles during the journey.

Find—Success ! Protagonist finds what they need.

Take —Protagonist obtains what they need, but pays a price .

Return —Protagonist returns home .

Change —Protagonist is forever changed .

Let's examine these steps through episodes of Community and Rick and Morty .

Episode: " Abed's Uncontrollable Christmas ," S2E11 Community

You —Abed is at college, excited for Christmas because his mother is coming to visit.

Need —Outer need: Abed needs to find out what's making him see the world as stop motion. Inner need: Abed needs to find out the meaning of Christmas.

Go —Abed and his friends go on a mental journey.

Search —Abed's friends drop out, one by one, of the mental journey.

Find —Abed is confronted by the card that his mother left him, saying she won't be visiting for Christmas.

Take —Abed's friends return and show him the meaning of Christmas. His relationship with his mother, however, is forever changed.

Return —Abed stops seeing the world in stop motion. He resolves himself to be alone that Christmas.

Change —Abed's friends turn up, showing him that he isn't alone.

I couldn't find a GIF of the episode, so this is what you get. Sorry. Blame GIPHY.

Episode: " Rickternal Friendshine of the Spotless Mort ," S5E8 Rick and Morty

You —Rick is left at home by himself while the family goes on a cruise.

Need —Rick needs his best friend, Birdperson, back.

Go —Rick goes into Birdperson's unconscious mind to rescue his conscious mind.

Search —Rick searches for Birdperson, navigating various mind obstacles. He is aided by a memory version of himself.

Find —Rick finds Birdperson.

Take —Rick convinces Birdperson to come home with him but has to give up a secret to do so.

Return —Rick and Birdperson make it back, with Birdperson's conscious mind restored and Rick back in his own body.

Change —Birdperson is colder with Rick, realizing that Rick only told his secret because he had no other choice.

Birdperson.

When you break it down like that, a story is pretty simple. It's a journey you take your readers on.

This is, of course, just one way to plan or outline a story. There are many. As always, find what works for you .

Thanks for reading The Bleeding Typewriter! Subscribe for free to receive new posts and support my work.

Ready for more?

Dan Harmon Story Circle: The Definitive Guide

Dan Harmon is an American writer and producer best known for the NBC comedy Community. He also created the animated series Rick and Morty, which debuted on Adult Swim in 2013.

If you’ve ever seen Community or watched one of his interviews, you know that Dan Harmon has some pretty unique views on storytelling. He came up with a very original way of organizing narratives called the Story Circle.

In this guide, we’re going to go over what exactly the Story Circle is and who should use it.

We’ll also discuss how a similar technique called the Hero’s Journey can be useful when writing screenplays or novels.

dan harmon story circle

What is dan harmon’s story circle.

The Dan Harmon Story Circle is a way to visualize character arcs . It’s a basic model for storytelling, one that’s been used for thousands of years and by everyone from Homer to Shakespeare to Pixar.

The idea is that there are eight steps to a story. You can use it creatively, as a way to brainstorm or outline your own stories.

Or you can use it analytically, breaking down the stories you love into their component parts and finding ways to incorporate them into your own work.

Ever wondered how hit shows like “Community” and “Rick and Morty” keep us hooked?

It’s all thanks to the Dan Harmon Story Circle, a revolutionary approach to storytelling that’s reshaping how we think about narratives.

In this article, we’ll jump into the eight steps of this storytelling framework that’s become a game-changer for writers and creators.

We’re about to unlock the secrets that make stories resonate so deeply with audiences, so let’s get started.

Step 1: The Setup

In the realm of storytelling, the initial step of the Dan Harmon Story Circle is fundamental – introducing the status quo .

It plants the audience in the protagonist’s everyday life before the adventure begins.

We see this in movies like The Matrix , where Neo’s mundane existence is established, cementing our understanding of his need for change.

This step does more than just show routine; it establishes empathy.

We’re given a lens through which to view the character’s desires, fears, and world.

Think of Sarah Connor’s normal life before the chaos in Terminator or Frodo’s tranquil existence in The Shire in The Lord of the Rings .

We identify key elements to weave into the setup:

• The protagonist’s current situation,
• The environment or world they inhabit,
• The impending change or conflict hint.

Aligning the audience with the character’s perspective is crucial.

We aim to create a bond that carries viewers seamlessly into the ensuing journey.

By mastering this phase, we set the stage for a compelling narrative, ensuring our audience is hooked and ready for the ride.

In essence, the setup is our foundation – we build a relatable and vivid world without which the story lacks depth and engagement.

Crafting this effectively primes the narrative for the transformation that lies ahead.

Step 2: The Trigger

After setting the stage with an engaging setup, we reach the crucial second step of the Dan Harmon Story Circle – the Trigger.

In this phase, something new occurs that sets the character into motion, propelling them from their comfort zone into the unknown.

The Trigger, or inciting incident , acts as a catalyst that disrupts the status quo and ignites the story’s momentum.

We often witness this moment as a significant event or decision that challenges the protagonist’s everyday life.

In Finding Nemo , it’s Marlin’s son Nemo being captured, which launches Marlin’s ocean-spanning quest.

For Neo in The Matrix , it’s choosing to take the red pill, leading him down the rabbit hole of revelations.

These triggers create a curiosity that hooks viewers into the narrative, eager to discover what happens next.

The Trigger should:

• Present a clear challenge or opportunity for the protagonist,
• Evoke emotional investment in the character’s journey.

Its role is pivotal in transforming the protagonist’s path from static to dynamic.

Recognizing the importance of this turning point ensures that the audience remains engaged with the character’s unfolding adventure.

The effectiveness of the Trigger lies in its ability to seamlessly shift the narrative towards the upcoming quest while maintaining the initial empathy established in the setup.

Crafting a compelling Trigger requires careful consideration of timing and impact.

It’s more than just an event – it’s a doorway that, once crossed, pushes the protagonist into uncharted territories and towards personal growth.

This second step is both a disruption and an invitation, asking the character and the audience alike to brace for the transformative odyssey that lies ahead.

Step 3: The Quest

After the protagonist encounters the Trigger, we witness them embark on what we know as The Quest.

This is when the journey truly begins and the character takes their first, often hesitant, steps into the new world.

The Quest opens up an array of conflicts and challenges that our hero must confront.

It’s not just about the external voyage but also about the internal struggles they face along the way.

In the world of filmmaking, it’s crucial that The Quest is engaging – it’s the meat of the story where audiences become fully invested.

Think of The Lord of the Rings where the fellowship sets out on their perilous journey to Mount Doom.

The stakes are high and the path is fraught with danger, yet it’s the choices and actions of the characters during The Quest that keep viewers glued to their screens.

The Quest should incorporate several key elements:

• A clear goal or desire for the protagonist,
• Multiple obstacles that test the protagonist’s resolve,
• Opportunities for character development and relationship dynamics.

Consider how The Matrix elevates Neo’s journey with each progressive challenge he faces.

The Quest is where we see the transformation gears beginning to turn – it’s exhilarating, it’s revealing, and it sets the pace for the entire narrative.

We understand that it’s not just about reaching the end but about the transformation that occurs throughout the journey.

It’s these transformative experiences that resonate with audiences and leave them yearning for more.

Step 4: The Surprise

After the hero embarks on The Quest, they encounter an unexpected Step 4 – The Surprise.

This critical turning point deviates from the planned journey, throwing the character into a state of shock and causing them to re-evaluate everything they thought they knew.

The Surprise involves two critical elements:

• A shift in the story direction – The narrative deviates, leading to new possibilities.
• An emotional response – The protagonist and the audience experience heightened emotions.

The function of The Surprise is multifaceted.

It elevates the stakes and shapes the hero in profound ways.

Films like Star Wars and The Lion King showcase how such twists create unforgettable moments.

Here’s what The Surprise achieves:

• It introduces new layers to character arcs.
• It heightens the audience’s investment.

The Surprise isn’t just about shocking the audience; it provides an opportunity for the protagonist to display resilience.

They might stumble and falter, yet it’s their reaction to The Surprise that reveals their true character.

Consider Neo’s encounter with Oracle in The Matrix , illustrating the unplanned revelations that propel the character forward.

Besides, The Surprise serves as a catalyst for the story, ensuring that the audience remains intrigued.

Pacing is key here, as the twist should occur at the right moment to maintain a gripping narrative.

It’s not only about the shock value but also about how it seamlessly integrates into the plot without disrupting the story flow.

Our challenge as filmmakers is to weave The Surprise into our narratives elegantly.

We aim to balance the unexpected with our story’s established direction, creating a coherent yet startling midpoint that transforms the protagonist’s path.

Step 5: The Critical Choice

After the protagonist is hit with The Surprise, they’re faced with Step 5 – The Critical Choice.

This is where the hero must decide how to deal with the events that have just unfolded.

Often, this decision is difficult and fraught with moral implications, setting the stage for significant character development.

The Critical Choice is a defining moment in any narrative.

It tests the protagonist’s resolve and pushes the story toward a new direction.

For filmmakers, constructing this moment requires a deep understanding of the character’s motivations to ensure that their decision is both impactful and believable.

In creating The Critical Choice, we consider the following elements:

• The protagonist’s goals and fears,
• The stakes if they succeed or fail,
• Potential sacrifices or consequences.

This choice fundamentally alters the protagonist’s journey.

In The Matrix , Neo’s decision to take the red pill is a prime example.

It embodies a critical choice that irrevocably changes his reality and propels the story forward.

The audience’s connection to the character is strengthened at this juncture.

We witness the hero’s values and the extent they are willing to go to achieve their goals.

It’s not just about the choice itself, but its ripple effect on the narrative.

By making The Critical Choice credible, we ensure that the audience remains invested.

The character’s path becomes more complex, and we pave the way for even greater challenges ahead.

These decisions often Help the transition into the next phase of the Dan Harmon Story Circle, leading to growth and eventually to a transformed protagonist.

Step 6: The Climax

The Climax is where tensions peak and the protagonist’s efforts culminate in a pivotal moment.

It’s the thrilling result of the groundwork laid throughout the Story Circle, pushed forward by the Critical Choice made by the protagonist.

Here, all the stakes are highest, and the audience is on the edge of their seats, eager to see the outcome of the protagonist’s journey.

In The Matrix , Neo’s realization that he is indeed ‘The One’ defies the odds in an extraordinary display of power.

In filmmaking, orchestrating such a moment demands careful planning to ensure the payoff is both emotionally satisfying and narratively consistent.

Key Aspects of a Powerful Climax

• High stakes,
• Ultimate test of character’s resolve,
• Significant confrontation or revelation.

Maintaining engagement through to the Climax requires a series of escalating events that intensify the protagonist’s challenges.

We build tension not just through the plot but also through the character’s internal conflicts.

This is where we see whether our hero has truly transformed or if old habits die hard.

Visual storytelling plays a crucial role here as well.

Through cinematic techniques such as close-ups and pacing that mirrors the protagonist’s heartbeat, we communicate the depth of the moment.

Consider the gripping duel in Star Wars: A New Hope , where the visual storytelling amplifies the tension as Luke Skywalker confronts Darth Vader.

Crafting the Climax is as much about timing as it is about the narrative punch.

It’s the crescendo of music that we’ve been orchestrating, and when done right, it can leave the audience breathless.

We focus on delivering that captivating experience, where every element of the filmmaking process aligns to create an unforgettable peak in the protagonist’s journey.

Step 7: The Reversal

As our protagonists encounter “The Reversal”, they are thrust into an upside-down world.

It’s a transformative stage where the rewards or consequences of the Climax begin to unfurl.

The hero’s world has changed, often inverting previously held beliefs or circumstances.

In crafting “The Reversal,” we ensure that it reflects a deep change, whether it’s internal or external.

The audience should witness a significant transformation that directly contrasts the protagonist’s initial state.

Films like The Matrix and The Godfather exemplify powerful reversals that reframe the entire narrative.

At this point, the hero begins to piece together the journey’s lessons.

They carry their new understanding forward, which often leads to resolving loose ends.

We emphasize visual storytelling to underscore the changes.

Key elements to focus on include:

• Dramatic shifts in character relationships,
• Visual contrasts to previous scenes,
• Altered character motivations.

Films like Eternal Sunshine of the Spotless Mind employ these techniques artfully, showcasing the protagonist’s transformation through altered memories and settings.

Our goal is to leave the audience reflective about the journey and the evolution that has taken place.

As we align the various filmmaking components – screenplay, cinematography, sound design , and performance – “The Reversal” becomes a poignant moment.

It’s where audiences can truly see the growth and resolve of the characters emerge.

Let’s not forget that “The Reversal” sets the stage for the final act.

It’s here that we tee up the ultimate resolution, preparing the audience for what is yet to come.

Step 8: The Resolution

In the final step of the Dan Harmon Story Circle, we find The Resolution.

It’s here that the protagonist returns to their familiar situation, now transformed by the journey they’ve embarked upon.

This ultimate step showcases a return to the world but with a fresh perspective or change indicative of the experiences faced and lessons learned throughout the narrative arc.

Although the protagonists return to a familiar setting, it’s never quite the same.

We see a resolved narrative that aligns with the transformed characters, tying up loose ends and providing a clear contrast to the beginning.

Films like The Lion King effectively demonstrate this, where Simba returns to Pride Rock, now ready to be king after coming full circle.

Critical elements of the resolution may include:

• Protagonists applying their newfound knowledge or skills,
• Secondary characters acknowledging the growth or change of the protagonist.

Resolution in film is not simply about returning home or achieving goals.

It’s about illustrating growth and conveying a satisfying sense of closure to the audience.

Yet, it’s also where we leave room for potential continuations, which is particularly significant in the world of filmmaking.

Certain franchises, such as Star Wars , leverage The Resolution not as an absolute end but as a bridge to the next cycle or sequel.

The visual components of this step are vital.

Subtle or dramatic changes in the setting or costume indicate the protagonist’s transformation.

In The Matrix , Neo’s final scene uplifts the audience with a sense of triumph and a transformed reality that stems from the protagonist’s journey.

Our journey through the Story Circle has illuminated the path that characters traverse.

Audiences can trace the character’s footsteps back to where they started but can clearly perceive the profound evolution they’ve undergone.

The Resolution seals the narrative loop but also leaves an imprint of change that resonates beyond the screen.

Dan Harmon Story Circle – Wrap Up

We’ve explored the transformative power of the Dan Harmon Story Circle, delving into how the final step, “The Resolution,” brings characters full circle.

It’s this mastery of storytelling that not only completes the journey but also leaves us with characters who’ve evolved, offering a satisfying sense of closure.

As writers and creators, we understand that the art of a good story lies in its ability to reflect change and impact viewers long after the tale has been told.

By embracing this narrative tool, we can craft stories that resonate deeply with audiences, ensuring our characters’ adventures leave a lasting impression.

Frequently Asked Questions

What is the dan harmon story circle.

The Dan Harmon Story Circle is a narrative structure that outlines a protagonist’s journey in eight distinct steps, designed to guide story development and character growth within a compelling and relatable arc.

What Is The Eighth Step Of The Story Circle Known As?

The eighth step of the Story Circle is known as “The Resolution.

” It signifies the conclusion of the protagonist’s journey.

What Does “the Resolution” Step Represent?

“The Resolution” step represents the protagonist’s return to their normal situation, now equipped with new insights or transformations gathered from their adventures and challenges faced throughout the story.

How Does “the Resolution” Showcase Character Growth?

Character growth is showcased through changes in the protagonist’s outlook, behavior, or circumstances that reflect the experiences and lessons learned during their journey, emphasizing personal development.

What Is The Purpose Of Visual Components In “the Resolution”?

Visual components, such as alterations in setting or costume, are used to visibly indicate the protagonist’s transformation and to highlight the impact of their journey on both the character and their world.

Does “the Resolution” Provide Closure For The Story?

Yes, “The Resolution” ties up loose ends and provides closure, while also contrasting the protagonist’s new state with the beginning of the story, illustrating their growth.

Can The Story Circle’s “the Resolution” Lead To A Continuation Of The Story?

Yes, although “The Resolution” seals the narrative loop and concludes the story, it leaves an imprint of change that can resonate beyond the current narrative, potentially allowing for future continuations.

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How to Harness Dan Harmon's Story Circle to Tell Better Stories

June 13, 2023.

Loosely based on / inspired by the Hero's Journey story structure, Dan Harmon's Story Circle has gained a sizable following in recent years, particularly among writers of episodic television. But even feature script writers can benefit from using this simplified approach.

Before delving into the specifics of Harmon's method, it's probably helpful to provide some background info, for those starting from scratch:

Who is Dan Harmon?

Television series writer and producer Dan Harmon is best known for co-writing the Oscar-nominated feature Monster House, creating the TV sitcom Community  and co-creating the hit Adult Swim animated series Rick and Morty .

In his early years as a comedy writer for The Sarah Silverman Program and other projects, he desired to create a story template for episodic TV that was easy to understand and structure. 

He turned to the Hero's Journey paradigm derived from mythology by Joseph Campbell, and developed into its modern incarnation by Chris Vogler. Harmon considerably simplified, streamlined and modernized this ancient storytelling design for half-hour series TV, and voila: the Story Circle was born.

Read More: The 12 Stages of the Screenwriter's Journey

The Hero's Journey

The two major approaches to creating a story for the screen are both derived from methods that stretch back centuries (if not millennia): the traditional 3-Act Structure adapted from the stage, and the Hero's Journey, a blend of patterns that literature professor Joseph Campbell identified in myth and folklore, interpreted through a lens of Jungian psychological theories and archetypes. (Side-note: Campbell never called his theory "the Hero's Journey," he called it "the Monomyth." Quiz question!)

Where the 3-Act Structure is generally linear, and often mapped as occurring on a straight line from beginning to end, the Hero's Journey is cyclical, usually mapped as a circle, where the story moves clockwise around the circle through certain beats from beginning to end.

This is why Harmon's Story Circle is, well, a circle — it's more Hero's Journey-derived. (I've seen a story structure expressed as a triangle once. And I've never been able to find it, but I swear I encountered someone using a parallelogram in the late '90s. It was a different time, children. Let's not go there.)

Read More: How Long Should Your Feature Script Be (and Why)?

Pie. Delicious, Delicious Pie.

Harmon eschewed a lot of the extraneous in his adaptation — because, let's face it, epic monomythic characters and life-and-death level beats aren't going to work in a half-hour sitcom script, and that's mostly what the Story Circle was created to empower.

Dan Harmon's Story Circle is basically…a trivial pursuit pie. (Officially, I think Hasbro calls the "pie" a "playing piece" and the "slices" are "wedges," but I feel that was a hugely missed opportunity. They paid $80 million for the game so they can call it whatever they want but…pie. PIE .)

Gathers thoughts…

Drumroll, please, here it is:

While the generally accepted Campbell/Vogler Hero's Journey has 12 steps, Harmon has broken it down into 8 simpler steps:

• Slice #1: A Character is in a Zone of Comfort and Familiarity. The protagonist has become accustomed to a normal life where they feel like they're in control. I would add: but they aren't. There's something off about this life.
• Slice #2: They Desire Something. The protagonist comes to want something they think will make their life better — but to get it, they have to leave their zone of comfort and familiarity.
• Slice #3: They Enter an Unfamiliar Situation. To get what they want, the hero or heroine must enter into a situation where they are no longer in control. They're a "fish out of water."
• Slice #4: They Adapt to That Situation. The protagonist does what we'd all do in this scenario: they try to make it work. They're in a new world but they try to master it, but there are pressures on them to get it, master it, figure it out.
• Slice #5 They Get That Which They Wanted. At the midpoint of the story, the protagonist seemingly gets the thing they wanted, but not so much. They won — but did they, really?
• Slice #6: They Pay a Heavy Price for It. Getting what they wanted extracts a painful toll on the protagonist in some way — they may have won, but they've also lost in some way that's significant.
• Slice #7: They Return to Their Familiar Situation. Returning to that zone of comfort and familiarity from the beginning of the story, they try to reestablish that status quo from the beginning. They're retreating to safety.
• Slice #8: They Have Changed as a Result of the Journey. Problem is: they've changed too much as a result of this journey. That may result in their life being reestablished in a better way or, in a tragic story, things are better in some ways but worse in others.

TV vs. Movies

This method is widely regarded as being more TV episode-oriented, and that's not wrong: Dan Harmon developed it originally as a way to structure comedic TV episodes. His track record would suggest that it works extraordinarily well, feuds with Chevy Chase notwithstanding (Google it, the problem is…uh, not the Story Circle).

Here's the thing, though. I am a feature script 8-Sequence Approach teacher in my regular, non-blogging life. And Dan Harmon's Story Circle aligns pretty much exactly with the 8 sequences.

• Act I (Sequences A & B) = Slices 1 & 2.
• Act II Part One (Sequences C & D) = Slices 3 & 4.
• Act II Part Two (Sequences E & F) - Slices 5 & 6.
• Act III (Sequences G & H) = Slices 7 & 8.

Read More: 8 Sequence Structure: The Best Kept Screenwriting Secret

We could do the same thing with "Save the Cat" and any number of other storytelling approaches here. Why? Because they're all really the same thing.

Hero's Journey? 3 Acts? Linear? Circular? Triangular (okay not that one). All pretty much the same.

Where to find it in Final Draft

Dan Harmon's Story Circle is incorporated into the Final Draft software. That means you can use this model to sketch things out before you start writing your script. Final Draft 12 also has structures for Chris Vogler's The Writer's Journey, "Save the Cat" and one for "Acts & Sequences." You can find them by going to File > New from Template > Structure. 

The principles of telling a story are universal and apply no matter what approach you're taking. The bad news? They're kind of all the same. The good news? They're kind of all the same. Dan Harmon's Story Circle works. So does the Hero's Journey, from which it was birthed, except in an easier-to-digest form. So do 3 Acts. So do 8 Sequences. If you've got the fundamentals down and a super-compelling story, they're all going to work. And if you don't? Next time!

Wait. What? 

Oh my God, this story circle / pie could also be a pizza. A pizza is technically an open-faced pie. MIND. BLOWN. Send help. Or pizza. (I like a deluxe with anchovies, well-done, square-cut. And I raised a Hawaiian pizza lover . Because we're from Hollyweird. Deal with it .)

Written by: Karl Williams

• Screenwriting

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Dan Harmon’s Story Circle

• Post author By Punit Thakkar
• Post date September 29, 2023

There are numerous ways you can write your screenplay. Some writers prefer to directly write the screenplay, some like to outline first, while some prefer a method that combines the two. While there is no one gold standard method for writing a screenplay, there are different approaches you can borrow from especially when you’re first starting out or staring the blank page for longer than you’d like or if you simply like to think things through structurally.

Out of the multiple templates and frameworks to choose from, eg. Blake Snyder’s Save the Cat beat sheet , one of the most popular ones is the Story Circle by writer Dan Harmon. It is especially useful for those writers who create plot via character. 

Who is Dan Harmon?

While most screenwriting books and template apohorisms are written by educators or consultants, Story Circle is written by Dan Harmon, a successful writer, most notably known for co-creating the animated sitcom, Rick and Morty. 

Origin of the Story Circle

Harmon’s inspiration for the Story Circle primarily stemmed from his own experiences as a writer. He has cited Joseph Campbell’s monomyth, also known as the Hero’s Journey, as a significant influence on his work. 

Harmon’s contribution was to simplify and adapt these ideas into a more accessible and flexible framework that could be applied to a wide range of storytelling formats, including TV shows and screenplays.

What is the Story Circle

Now, let’s try and understand what the Story Circle actually is and how can you make use of it. 

Dan Harmon has simplified story beats and character development in 8 broad beats. 

Step 1: The You (Establishing the Protagonist)

In this initial stage, you’re not merely introducing your protagonist; you’re painting a detailed portrait of their ordinary life. You’re creating a character that the audience can relate to, empathize with, and invest in emotionally. You delve into their background, personality, values, quirks, and innermost desires. You’re essentially laying the groundwork for a strong emotional connection between the audience and the character.

Step 2: Need (Establishing Desire and Discontent)

The “need” stage isn’t just about showing what the character lacks; it’s about delving deep into their emotional state. You’re not just highlighting a superficial desire but rather exploring the underlying discontent, longing, or even pain that drives them. This discontent becomes a powerful motivator, and the audience should feel the character’s yearning for change on a profound level. Motivation is the key that drives the character’s actions; everything else is texture.

Step 3: Go (Inciting Incident and Point of No Return)

In this stage, the inciting incident is not just any random event that propels the character into action, it’s a pivotal moment that fundamentally alters the character’s trajectory. It’s the point of no return, where the character makes a conscious choice to step out of their comfort zone and into the unknown. This choice is often a reflection of their need and is laden with uncertainty, fear, or excitement.

Step 4: Search (The Hero’s Journey Begins)

The “search” phase is not merely a series of random challenges; it’s the hero’s journey in its truest sense. The challenges and obstacles the character faces are not just hurdles to overcome; they are tests of the character’s values, beliefs, and resolve. Each challenge is a crucible that forges the character’s growth, and the audience should witness their transformation with each trial.

Step 5: Find (Discovery and Revelation)

When your character finds something, it’s not a mere plot device but a profound moment of discovery or revelation. It’s a turning point in the story where the character gains insight, knowledge, or an object of significance. This discovery isn’t just a random occurrence; it’s the result of the character’s choices, actions, and evolving perspective.

Step 6: Take (Climax and Decision)

The “take” stage is not just about a dramatic climax; it’s the culmination of the character’s development arc. The decision the character makes is not just a matter of plot convenience but a reflection of their growth and transformation. It’s a pivotal moment where the character confronts their inner demons, faces their fears, and demonstrates the lessons they’ve learned on their journey.

Step 7: Return (Reintegration and Reflection)

As your character returns to their ordinary world, it’s not a simple return to the status quo; it’s a complex process of reintegration. The character must grapple with how they’ve changed and how their ordinary world has changed in their absence. This stage isn’t just an epilogue; it’s an opportunity for reflection, reconciliation, and, at times, further challenges.

Step 8: Change (Transformation and Resolution)

The “change” stage isn’t a mere footnote; it’s the heart of your story’s emotional impact. The character’s transformation isn’t superficial but a deep, meaningful evolution of their character. It’s not just about resolving their initial need; it’s about the profound shift in their perspective, values, or identity. This transformation is what gives your story lasting resonance with the audience.

In essence, the Dan Harmon Story Circle is not a rigid template but a flexible framework that enables you to craft narratives of profound depth and emotional resonance. Keep in mind, though, that this is not a one-size-fits-all and this technique may not apply to all kinds of stories, especially those that involve multiple plot lines or non linear telling. 

Example of the Story Circle

To understand how the Story Circle works, let’s see its application to the popular Sci Fi Adventure movie, Interstellar , by Christopher Nolan.

More: Detailed breakdown of the plot of Interstellar

Why is it a Story “Circle”?

The use of circle as a shape is not arbitary; it is used to symbolize the cyclical and transformative nature of storytelling and human experiences. Stories often follow a pattern where characters begin in one state, undergo challenges and growth, and return to a different state, having changed. This circular structure reinforces the idea of continuous character development, reflecting the recurring themes and challenges found in life.

That brings us to the end of this blogpost! You can outline your story and screenplay using your own method or some of the popular storytelling formats using Scrite .

• Tags 8 beats story circle , dan harmon , dan harmon story circle , interstellar , interstellar movie story , interstellar plot , screenwriting template , story circle , story structure

Dan Harmon's Story Circle Explained: 8 Steps to a Better Screenplay

Are you stuck for ideas with your screenplay? Or worried that you are rambling all over the place? Then you might want to consider Dan Harmon's Story Circle technique as a helpful frame for writing your screenplay. Story-building doesn't have to be hard!

By following it, you can divide your screenplay into eight manageable chunks that move your story on and give your audience a satisfying beginning, middle, and end.

Who is Dan Harmon?

Dan Harmon is a prolific American screenwriter whose career began in the mid-1990s, but his first major show was the sitcom Community , based on his own experiences . Before moving to Yahoo! Online TV streaming service, this initially aired on NBC.

He is also credited with creating the animated comedy Rick and Morty , now approaching its sixth season.

Where did this screenwriting framework originate?

At the start of his career, Harmon was stuck on a script. He couldn't find his way through the plot, so he decided to go back to basics. Instead, he wanted to create a universal structure to ensure he could always plot his screenplays without getting bogged down.

Harmon researched the work of writer and academic Joseph Campbell (1904 - 1987), who had studied the Hero's Journey narrative, suggesting that by and large, all narratives tell a similar story of an archetypical hero, merely "cloaked" in contemporary culture but which are ultimately timeless.

Harmon wanted to simplify this into a less academic process that screenwriters working in the industry could use in their day-to-day writing. Thus, he came up with his version, now known as Dan Harmon's Story Circle.

Dan Harmon's Story Circle explained in 8 steps

The circle represents your narrative's cyclical nature and opens the pathway to potential sequels.

Story Circle is broken down into 8 basic components:

1. The character is in their comfort zone

2. Character desires something

3. Character enters an unfamiliar situation

4. Character adapts to the situation

5. Character gets what they want

6. They pay a heavy price for it

7. Character returns to their familiar situation

8. They have changed as a result of their journey

Now that you have a basic understanding of this story framework, let's dive into each section in detail.

1. The character is in a comfort zone

In this part of your narrative, your hero is generally at home or in familiar surroundings and somewhat stuck in the pedestrian nature of their life. In the five-act structure , this part of the narrative is the exposition.

Consider Harry Potter in his cupboard under the stairs at the start of the Sorcerer's Stone , or Seong Gi-hun in Squid Game , at his mother's home, gambling all his money away and divorced from his daughter's mother. What is humdrum for your character? What makes their life dull and unsatisfying?

2.Your character desires something

Your main character should want to change the life they are living. Perhaps they are unhappy at college and desire to be popular.

In the case of Harry Potter, he desires to be away from his aunt and uncle and wants to know what happened to his parents.

In Squid Game , Seong Gi-hun desires excitement, a way out of his gambling debts, and the ability to see his daughter more frequently.

To understand your character's desires, you need to consider what they don't currently have at the start of the narrative and what drives them. Is it money, social status, power, companionship, a greater understanding of the world? Consider what could fulfill them both materialistically and spiritually. This is the basis of their journey.

3. Your character enters an unfamiliar situation

Your characters will need to enter an unfamiliar situation to get what they desire. Whether they enter this situation voluntarily or by circumstances outside their control is irrelevant.

Harry Potter is "rescued" by Hagrid from the Dursleys in the Sorcerer's Stone and is subsequently inducted into the Wizarding World and eventually Hogwarts, which is entirely unfamiliar to him. This makes him an outsider and puts him in a completely new environment.

Seong Gi-hun joins other gamblers on the island to compete for a vast sum of money. In stepping into this world, the financial inequality he experienced in the outside world is dispensed with. He receives the same meals and has the same chance of winning the money as the other players. The capitalist society's rules that have been so unkind to him are all but removed.

4. Your character adapts to the situation

In real life, significant change is often hard to stomach. Lottery winners often spend all their winnings within a few years and go back to everyday life.

In fiction, your characters have to adapt to their situation as part of their journey and undergo fundamental change by the end of the plot. This is timeless; consider the tribesmen sending their teenage sons out into the wilderness to fight tigers and ultimately "become a man."

Harry Potter embraces his new magical powers, making friends at Hogwarts and participating in activities like Quidditch.

Seong Gi-hun begins to enjoy the games he participates in, forming a little gang with other members and realizing that he is pretty skillful at winning the games.

How does your protagonist adapt to their newfound situation? How do you show this on screen? What friends do they make?

5. Your characters ultimately get what they want

Harry Potter's status as the only person to survive a killing curse and defeat Lord Voldermort as a child gives him newfound popularity at Hogwarts. Harry now has significant social standing instead of being a loner that no one cares about, continuously overshadowed by his cousin.

Rather than living like a poor person, he now also has money and the ability to buy things for himself after Hagrid takes him to his vault at Gringotts Bank to receive his parent's fortune.

In Squid Game, Seong Gi-hun first becomes an equal with the other players - as money is no longer an object while the games are being played. In contrast, previously, he was viewed as being at the bottom of society for having gambled all his money away.

What are the life goals and ambitions of your main character? This is part of the story where your audience thinks they will get a happily-ever-after.

But the point of having your protagonist succeed in their ambitions and goals is to showcase that what they want has unexpected consequences that could be disastrous for them.  

The price of Harry Potter's introduction into the wizarding world is that he has to face the dark wizard who murdered his parents - Voldermort - where his anonymity would have otherwise protected him in the muggle world.

Seong Gi-hun faces having to watch and actively participate in the death of his fellow players to win the prize money.

7. The return to their familiar situation

Great narratives are cyclical; they take us back to the beginning.

Harry Potter and the Sorcerer's Stone concludes with Harry getting on the Hogwarts Express to return to his aunt and uncle in the muggle world.

Seong Gi-hun leaves the island and the world of the games behind him to return to everyday life.

8. They have changed as a result of the journey

Although your characters have returned physically to where they began the story, they should have changed due to the narrative.

Harry Potter has an array of friends and supportive adults to help him navigate his abusive relationship with his aunt and uncle, and he now fits into the world, understanding why his parents were killed.

Seong Gi-hun has a fortune but also understands the sacrifices he has made for the money and, to some extent, realizes that it wasn't worth it and money itself is not that important. He now values his relationships with his daughter and ex-wife.

Consider what changes your character will go through when they reach the end of their journey and the end of your screenplay.

Story-building with Arc Studio Pro

If you are using Arc Studio Pro , we have made sticking to a story structure, like this one, easy with pre-set story structures! Choose from a variety of the most popular structures and simply fill in the blanks to help you get started, and stay on track. Learn more here .

Use Story Circle in your screenplay

Use Dan Harmon's Story Circle in your work to help you navigate the structure of your story. For example, consider the journey your hero goes on and the eight stages that will get them to where they will go.

If you are struggling, remember that character and plot are interrelated: by working on your characters' motivations and their wants, desires, fears, and anxieties, you can get a better sense of how their story circle might play out.

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With Arc Studio, you stay focused while writing your screenplay, craft better stories, and collaborate with ease.

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Harry is a professional writer. His first novel The Talk Show was published in the U.S and the U.K by Bloodhound Books in 2021 and he is currently working on adapting it for screen using Arc Studio. He's also written for Media Magazine - a UK magazine for students of A-level Film, Media and Television Studies. His journalism has appeared in The Guardian, Readers' Digest and Newsweek, amongst many other publications. He has just finished his second novel for young adults, set in a boarding school. He holds a BA in English from Loughborough University.

Arc Studio is the new standard in screenwriting software: stay focused, craft better stories, and collaborate with ease.

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Dan Harmon's Story Circle

Dan Harmon’s Story Circle is a storytelling structure that has gained popularity for its masterful simplicity. Also known as the “Plot Embryo” or “Story Embryo,” this method of story design comes from Dan Harmon, creator of the television shows Community and Rick and Morty .

Focusing on character arcs , Harmon built his now-iconic Story Circle from the philosophy that human beings are drawn towards cyclical stories. More than that, we gravitate towards cyclical living . As he puts it:

• have a need
• you go somewhere,
• search for it,
• then return
• and change things.

In short, we use the victories we achieve or the lessons we learn to transform the world we call home … or at least change who we are within that world.

Logic follows that the characters who resonate with us do the same.

So, how do we apply this natural cycle to novel plotting? That’s what we’re going to cover right now. You’re about to:

• Learn the eight story beats of the Dan Harmon Story Circle.
• See the Story Circle at work in Harry Potter and the Sorcerer’s Stone.
• Decide whether this particular story structure is right for you.

Let’s get to it.

What are the 8 Steps in Dan Harmon’s Story Circle?

Dan Harmon’s Story Circle consists of eight major story beats. To really grasp how these beats work together to form a narrative that resonates, you need to get to know them as part of the circle.

Now, if you’re familiar with The Hero’s Journey , you may recognize shadows of that story structure in this one. The Story Circle is a simplified, character-focused adaptation of The Hero’s Journey.

This is what the Story Circle looks like:

Your story begins at the top and moves clockwise from beat to beat, ultimately bringing the protagonist back to where they began, now changed in some way. The circle shape also shows us where the low point lands; the low point of the circle is also the low point for the character. Notice anything about where all those odd-numbered beats land? That’s where the circle—and the protagonist—begins moving in a new direction.

Let’s take a closer look at these eight story beats.

1. You: A Protagonist in a Zone of Comfort

This is where you establish who your protagonist is and what “normal” is.

2. Need: The Protagonist Wants Something

Something happens that sparks a powerful need or want within your protagonist. The desire to achieve this goal must be strong enough to justify step three:

3. Go: They Enter an Unfamiliar Situation

Driven by the need established in step two, the protagonist crosses the threshold into the unfamiliar.

4. Search: They Adapt to the Unfamiliar Situation

This is where your protagonist searches for whatever it is they’re chasing while navigating the challenges of an unfamiliar world.

5. Find: The Protagonist Finds What They Wanted

Your protagonist gets what they wanted!

So why are we at the bottom of the circle? The literal and figurative low point?

Because the protagonist must pay a price for achieving their objective. That’s why we often think of this mid-story victory as the false win .

That’s how we get to...

6. Take: They Pay a Price for Achieving Their Goal

This is the part where the protagonist takes what they found and attempts to flee with it...

...only to run into major drama.

There will be losses for your protagonist, as well as challenges that force them to re-evaluate their beliefs or priorities.

They will get through the obstacles of step six, but they won’t be the same person they used to be.

7. Return: The Protagonist Goes Back to Where They Started

The protagonist returns to the place they began, bringing their hard-won victory with them. It’s worth noting that “place” doesn’t have to be an actual physical location—just a familiar community or routine.

Bridget Jones returns to New Year’s diary writing (normal) with a boyfriend (goal). Harry Potter returns to Privet Drive with a sense of empowerment . Katniss Everdeen returns to District 12 with, well... her life .

8. Change: The Protagonist is Now Capable of Change

This is the super important part.

The final beat is not the victory. It’s what the character does with the victory.

This is where we see how steps 1-7 worked together to transform your protagonist, and we see the choices this character now makes because they have evolved.

What is a Good Example of Dan Harmon’s Story Circle?

Not every story is built using Dan Harmon’s Story Circle.

But pretty much any story can be plugged into the Story Circle.

To understand how this structure plays out in an actual book, let’s take a look at Harry Potter and the Sorcerer’s Stone .

1. You: Harry in a Zone of Comfort

Harry Potter is a friendless orphan who lives with relatives who want nothing to do with him.(I know this does not sound like he’s in “a zone of comfort.” Sometimes “comfort” just means “familiar.” Harry is miserable, yes. But he knows this world. He knows how to navigate its challenges, and the same cannot be said for where he’s headed next.)

2. Need: Harry Wants Something

Harry learns he is a wizard and is now old enough to attend Hogwarts. The possibility of this whole other existence taps into his deepest need: to be free and empowered.

3. Go: He Enters an Unfamiliar Situation

Harry goes to Hogwarts, crossing the threshold into the wizarding world.

4. Search: He Adapts to the Unfamiliar Situation

Awkward as it sometimes is, Harry finds his way in the wizarding world—learning the rules of magic, finding his friends, finding a mentor, and learning to fly a broomstick.

5. Find: Harry Finds What He Wanted

Harry discovers the epitome of empowerment and freedom when he finds himself to be a natural on a broomstick. He is immediately invited to join the Quidditch team, earning major social status as a star athlete.

6. Take: He Pays a Price for Achieving His Goal

The now free-and-empowered Harry follows his curiosities and desires wherever they lead, from tangling with magical creatures to spying on Snape. As he gets deeper into the magical world, he creeps closer to his greatest danger: Voldemort.

Soon, he’s face-to-weird-face with the villain himself.

7. Return: Harry Goes Back to Where He Started

Having escaped Voldemort, Harry closes out the school year and takes the Hogwarts Express back to King’s Cross Station where the Dursleys will retrieve him for the summer.

8. Change: Harry is Now Capable of Change

Even though the Dursleys are awful, Harry returns to them with an almost giddy anticipation of what it will be like to finally hold the power in their household.

When Should You Use Dan Harmon’s Story Circle?

Now that you know what Dan Harmon’s Story Circle is , how do you know when to use it? The beauty of the Story Circle is that it reveals the skeleton of all human storytelling. These eight beats appear in nearly every story we tell, even the casual ones.

Remember when your (1) friend told you they (2) decided they were sick of being single, (3) joined a dating app, (4) sent a few messages and (5) secured a date, only to (6) have a terrible time and (7) return home (8) with a deeper appreciation for single life?

That’s a Story Circle.

This story structure works for everything from personal essay to fantasy epic. So it’s less a question of when you can use this method and more a question of whether there is a different structure that better fits your story or process .

Action-adventure writers might prefer the non-stop thrill ride that is the Fichtean Curve . Or planners might skip the pants-friendly Story Circle in favor of the Snowflake Method.

To get a sense of which one is best for you, check out our rundown of all the different story structures.

In Conclusion, the Story Circle Rocks

Even if you choose never to use Dan Harmon’s Story Circle to write a novel , it’s worth understanding. This structure trains your mind to develop a character arc that speaks to a shared human instinct to build something better.

You see, the story is never really about the victory. If it were, The Hunger Games would end when Katniss and Peeta win. It’s what the protagonist does with their victory that creates the satisfying ending. Incidentally, it’s also what creates a satisfying life. But I’m not qualified to advise you on that.

So let’s stick to writing.

‍ Pssst . Want a great tool to help lay out your story structure visually? Check out the plot grid feature in Dabble . This tool helps you track your character’s inner journey as you lay out your story scene by scene. Try it for free with Dabble’s 14-day free trial .

Abi Wurdeman is the author of Cross-Section of a Human Heart: A Memoir of Early Adulthood, as well as the novella, Holiday Gifts for Insufferable People. She also writes for film and television with her brother and writing partner, Phil Wurdeman. On occasion, Abi pretends to be a poet. One of her poems is (legally) stamped into a sidewalk in Santa Clarita, California. When she’s not writing, Abi is most likely hiking, reading, or texting her mother pictures of her houseplants to ask why they look like that.

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What is Dan Harmon’s Story Circle? And How to Use It (with Examples)

The art of telling a story is ultimately narrowed down to its basic structure. And Dan Harmon’s Story Circle is an example of one of many story structures. These different structures can be fantastic, invaluable guides for writing a screenplay. And so in this article, we’ll break down Dan Harmon’s Story Circle, showing how it can help you in your screenplay and demonstrating how it looks in action, using some examples.

Table of Contents

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American writer, Dan Harmon, most known for the popular comedy series, Rick & Morty , created a simplified version of The Hero’s Journey by Joseph Campbell. The Hero’s Journey was first depicted in Campbell’s book, The Hero With A Thousand Faces in the mid-20 th century.

The structure of The Hero’s Journey consists of twelve steps, where the hero delves out of their ordinary world into a special world and is faced with tests and obstacles, meeting allies and enemies on the way with multiple turning points.

Dan Harmon’s Story Circle depicts eight steps for the protagonist to travel into this special world. The Story Circle is also known as The Story Embryo as each step represents a new change in the story.

The Circle is split into two halves horizontally and vertically.

• The vertical line down the middle represents the character’s internal change.
• The horizontal line across the middle represents the character’s external change.

The right side of the vertical line represents a balance of order or a state of equilibrium, where the character is stuck in the normal world and has yet to face the change. The left side of the vertical line represents a character’s changing transformation. Entering out of the normal world into the special world.

The top half of the horizontal line represents a state of order, where everything is in control within the hands of the protagonist . The bottom half of the horizontal line represents a state of chaos, where the extraordinary world brings unknown trials that will challenge the protagonist and test their strengths and weaknesses.

Crossing the bottom half of the circle represents the character change, where the protagonist leaves their special world in a completely different position and state to when they entered that new world. They face new revelations and observe their new selves.

When the first threshold is crossed the character loses. When the second threshold is crossed, they will have learnt enough to beat the antagonist .

Dan Harmon’s Story Circle has 8 steps. Each step changes the direction and course of the protagonist ‘s journey.

The Story Circle’s 8 Steps :

• In A Zone of Comfort
• They Desire Something
• Enter An Unfamiliar Situation
• Adapt to The Situation
• Get What They Desired
• Pay a Heavy Price for Winning
• A Return to Their Familiar Situation
• They Have Overall Changed

The Steps Explained

In the first step, the protagonist is surrounded by a world known to them, where they are in control of their situation. This world is unchallenging and the protagonist lives a relatively mundane everyday.

The protagonist really wants something. They want to achieve this goal so bad they will go to great lengths to achieve it. However, this desire is out of their reach and throws them out of their comfort zone.

In order to achieve this goal or desire the protagonist has to enter unknown territory. They are thrown into a world beyond their control.

The protagonist combines their already established skills with their newly acquired skills to fully adapt to their new surroundings. However, this takes time which can lead to trouble as time is never on their side.

The one thing they truly wanted is gained but other obstacles follow close behind.

When things go too well bad things start to happen. The protagonist wins something but loses another thing. Something important or meaningful to the protagonist has been lost.

The protagonist returns to their normal world. As a result, they ease back into their zone of comfort, where everything is familiar again.

However, after entering back into their familiar world, the protagonist does not return as the same person. A deep-rooted trait has changed inside them, whether that be a fear they have overcome or a character flaw that they have changed. Although, by the end of the journey the character’s everyday life has been enriched by their experience.

The character can start the circle again and follow the same process. For example, in The Harry Potter franchise, Harry wants something and enters a new world and has to overcome his obstacles in each of the movies, whilst meeting allies and enemies along the journey.

Character arcs in TV Show characters will follow this story circle more in each episode. The character will find themselves in an unfamiliar place or situation and The Story Circle process will start up again in each episode.

The beginning and ending of The Story Circle are the shortest stages, with the lower half of the circle containing the most important steps on the journey.

Dan Harmon’s Story Circle tends to be symmetrical. As opposite sides of the circle correspond with the steps.

• For example, Step 2 – where the character desires something is directly opposite to Step 6 – where the character has to pay a heavy price for gaining what they desperately desired.

The Story Circle can be applied to other areas of development too – from sub-plot development to side-characters, not just the protagonist ’s story. All characters in the story can have a story circle in their journey arc, from main characters to minor characters. The story always changes direction when the character crosses the first and second thresholds.

Movie Examples Using Dan Harmon’s Story Circle

Dan Harmon’s Story Circle can be applied to stories in different genres. Below we will look at three examples of movies from different genres – romance, family and action – using the Story Circle as analysis.

Movie Analysis Example 1 – While You Were Sleeping (1995)

Genre: Romantic Comedy

Movie Logline: A hopelessly romantic Chicago Transit Authority token collector is mistaken for the fiancée of a coma patient.

Protagonist : Lucy Eleanor Moderatz

Dan Harmon’s Story Circle Analysis:

1. Lucy is in a zone of comfort where she lives a mundane life, working at a ticket booth in a train station. She lives alone in an apartment and doesn’t have many people in her life.

2. Lucy really likes the man who goes through the ticket barrier every day. She wishes she could marry him. She overall has three main desires – to have a supportive family to spend time with, to get a better job which she enjoys and to be with the man of her dreams.

3. One day, the man Lucy fantasises about, Peter, is physically assaulted on the platform and hits his head on the railway tracks. Lucy helps him survive an oncoming train.

4. Lucy visits Peter in the hospital. After a misunderstanding, Peter’s whole family comes to believe Lucy is Peter’s fiancé. Lucy goes with it and adapts to this big lie as her new life.

5. Lucy gains a family-orientated life. As she doesn’t have any family members alive, the Callaghan family invite her in as one of their own. Lucy enjoys Christmas with them and is given a present along with a stocking on their mantelpiece, as a visual take on her newly-found status as a family member.

However, Lucy finds similar ground with Peter’s brother, Jack and she is said to be more his type. Her desire somewhat changes naturally, as Peter is in a coma, Jack and Lucy develop a stronger bond based on the situation and their things in common.

6. Lucy pays a heavy price as she is torn between the brothers. She thought she knew what she wanted all along and that was Peter. Until Jack changes the direction of the wheel. And slowly Lucy’s big secret is becoming less and less plausible. Attempt after attempt, Lucy tries to tell the family but there is never a perfect moment.

7. Lucy objects to marrying Peter and the secret is out. Lucy is back in her apartment, alone again. Just like at the beginning as if nothing has changed. She goes back to working at the train station. Until Jack proposes.

8. Lucy marries Jack and they travel into the distance on the train together. The train ironically leaves the same platform where Lucy’s ordeal begun. The story begins and ends in the same place. Lucy’s personality has not changed but over the course of her journey, her career status and relationship status have changed considerably.

She goes from working in a job she hates and wishes to be with the man she likes to ending up quitting her job and marrying the one she should really be with. A fairy-tale happy ending for the protagonist .

Movie Analysis Example 2 – The Cat in the Hat (2003)

Genre: Family Comedy-Adventure.

Movie Logline: Two bored children have their lives turned upside down when a talking cat comes to visit them.

Protagonists: Sally and Conrad Walden

1. The characters begin in an area of familiarity where, Conrad is a troublemaker and Sally is the goody-two-shoes. The mother, Joan, works for a highly agitated germaphobe boss.

2. The two main protagonists, Sally and Conrad, both desire different things that result in the same ending. They both want more fun where it’s raining outside. So they have to stay inside and there is nothing in the house for them to do. Sally wants to be more spontaneous. Conrad wants an adventure.

However, their mother, Jean, is hosting a party for her colleagues but her boss threatens to fire her if the house is messy. She desires her house to be clean, to keep her job and for her kids to behave. She states one rule, for the children to “not step foot in the living room or else”.

3. Characters enter an unfamiliar situation – “The Cat” turns up in their house. They try to hide. And then go against their mother’s rules and wishes by going in the living room, ruining the house and making it messy for the party.

4. Conrad and Sally sign a contract to go on the adventure. They follow the Cat’s lead.

5. Conrad and Sally go on an adventure to find the lock to ‘The Mother of All Messes’ box.

6. Thing 1 and Thing 2 ruin the house. The Mother of All Messes box is opened. The house is a huge mess. And Sally and Conrad contemplate telling their mother the truth.

7. The Cat cleans the house, reversing his mess. The house goes back to normal. Everything is the same again when mum Joan returns home.

8. Sally and Conrad change. They are more fun and enjoy things more. Also, they have formed a tighter bond as siblings and with their mother. Joan returns home, pleased with the look of the house and her boss approves.

The last shot shows the family jumping on the sofa in the living room, suggesting they have all learnt to become more carefree. The Mum, Joan, reverses her own rules and becomes more free herself. She also comes to realise that Larry, her next-door neighbour who likes her, but dislikes the children, is a fraud and she eventually comes to her senses.

All three characters change and have their own transformation arc, particularly, the children as the Cat has taught them to have more fun among the mundane and everyday.

Movie Analysis Example 3 – Taken (2008)

Genre: Action Crime-Thriller

Movie Logline: A retired CIA agent travels across Europe and relies on his old skills to save his estranged daughter, who has been kidnapped while on a trip to Paris.

Protagonist : Bryan Mills

1. Familiarity – The film opens with the protagonist , Bryan, buying a present for his daughter, Kim’s seventeenth birthday party. Bryan knows she wants to be a singer and buys her a karaoke machine. Her stepfather competes with him and buys her a pony.

Bryan has a strained relationship with Kim’s mother and stepfather. He lives a life of solitude as a retired Government Operative. The audience learns his ways as he prefers to know background information on people he meets and is always careful. However, his daughter, Kim is the exact opposite. She is oblivious to the real world and is carefree in her nature.

2. Bryan wants to be closer to his daughter and wishes to see her more often. He was away from Kim’s life for a long time because of his job and is finally trying to reconnect with her. As a favour for his friends, Bryan takes on a Security Job for a popular singer, whom his daughter is a fan of.

Bryan proves his skills and can clearly handle himself when a concert situation gets out of hand. He earns the trust of the singer.

3. Kim goes to Paris with her friend. It’s out of Bryan’s control. His rules and conditions are thrown out the window. Bryan has tried to always know Kim’s whereabouts. He is thrown into an unknown world, where he fears the unknown.

He’s left in the dark and knows less information than he wishes to know. Kim is taken. Bryan’s new goal is to find his daughter within an underworld of drug lords and trafficking.

4. Bryan adapts back to his old ways of investigating and uses his knowledge to enter into their new world.

5. Bryan edges closer to what he wants. But each step is only one small step in a big place. He’s so near yet so far when he finally sees his daughter at a bidding war amongst high-paying clientele.

6. But in order to get there, he has to go through a series of fights and dangerous challenges. This displays the size and power of the organization from the sheer volume of men, Bryan has to get past in order to find Kim.

7. Bryan finally gets to the head of the organization. He gets his daughter back and the family dynamic has slightly changed. The mother and her new husband seem to warm to Bryan more and have a newfound respect for him.

8. Bryan has fully connected with his daughter. And particularly, after suffering this whole ordeal together has strengthened their bond. Especially, because Kim and Bryan were the only two to see the horror of the trafficking business and have both learnt the dangers.

They have connected on a whole new level and shared an experience together that Kim is unable to share with anyone else.

Movies in different genres can follow Dan Harmon’s Story Circle structure, as the above examples demonstrate. Genres from Comedy Romance Drama in While You Were Sleeping to Comedy Family Adventure in The Cat in the Hat and Crime, Thriller and Action in Taken . These are just a few examples of genre-specific movies that can fit the steps within the circle.

Ultimately, the protagonist is taken on this journey because something in their life needs to change. Their goal spurns them on in this change and they learn from the experience, using their journey as a way to transform the mundane familiar world into a world they can better understand.

Dan Harmon’s Story Circle lays this out in very clear terms. It’s all about taking the protagonist on a clear journey and the steps in that journey being discernible. By framing these steps in a circle, the pattern becomes obvious. Journeys are typically circular after all, ebbing and flowing rather than following a strict linear line. And the story circle is a helpful visualisation of this.

In terms of structural techniques to follow, there are many different ways to skin a cat. And all can be helpful in clarifying a path for you to follow writing your screenplay. Adhering to the rules without any wriggle room isn’t necessarily the point. But having clear beats to follow is always a surefire way to give your story solidity.

Enjoyed reading about Dan Harmon’s Story Circle? Check out some more of his wisdom in 15 Awesome Dan Harmon Quotes for screenwriters.

Dan Harmon’s Story Circle is a narrative structure to follow for writing a screenplay. There are 8 steps, broken down into different stages of the protagonist ‘s journey through the story and the extent of the change enacted upon them throughout.

• There are 8 Steps in Dan Harmon’s Story Circle. These include:

– What did you think of this article?  Share It ,  Like It , give it a rating, and let us know your thoughts in the comments box further down… – Struggling with a script or book? Story analysis is what we do, all day, every day… check out our range of  script coverage  services for writers &  filmmakers .

This article was written by Hannah Taylor and edited by IS Staff.

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3 thoughts on “What is Dan Harmon’s Story Circle? And How to Use It (with Examples)”

TrUly Gold. How Can I Access The Article And Download It For Futhere Exploration.!

girl wtf r talking about this is the goddamn heros journey, so ridiculous to portray this “story circle” of dan harmons as something unique

How would the would the circle be for the movie Inception?

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Dan Harmon’s Story Circle Explained: The Ultimate Guide

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An avid reader and a life-long lover of blue skies,…

While there are a great number of elements that go into making a film, creating a story structure is undoubtedly the stepping stone. A good story that progresses in a convincing, logical manner is the fundamental requirement of any film. It sets the direction for character development and plot progression, and defines the film. Of course, most films and narratives follow archetypal structures that have repeated themselves in various forms since stories were invented. Joseph Campbell, an important figure in comparative mythology termed this the monomyth, and highlighted the presence of similar motivations in every kind of story. Dan Harmon’s Story Circle takes this deconstructionist approach forward. Let’s take a look at how we can break down narratives to their simplest forms through the Story Circle. 

What is the Story Circle?

The Story Circle is a simple approach to narrative forms that looks at stories as a journey: the protagonist leaves a familiar setting to gain something, and then returns, having undergone a change. This is a simplification of The Hero’s Journey, formulated by Joseph Campbell. It emphasizes the cyclical nature of storytelling by using an archetypal structure found in stories across the world.

It is crucial to know how to break down the parts of a narrative using the Story Circle, as it grants screenwriters and filmmakers greater control over the progression of the plot . By adhering to a familiar structure, the story becomes relatable and timeless. The journey of the character encompasses the developments in the plot, and it helps artists tell a fully developed story. 

Some of the most universal forms of stories – mythologies – are driven by the archetypes that the Story Circle presents. Desire, the journey for the object of desire, and inner change are all mainstays. This attests to the universal nature of the Story Circle, and the commonalities between different forms of storytelling that have influenced each other. 

Who is Dan Harmon: Origin of the Story Circle

An American writer and producer, Dan Harmon has created and written for several productions like Community and Rick and Morty . The latter is particularly known for its rich and detailed plotlines that are resolved within the format of a 30-minute episode. Something of a wunderkind when it comes to screenplays and storytelling, Harmon began working on a method adapted from The Hero’s Journey in the ‘90s. He wanted to break a story into its most basic components, and then find similarities in these parts, across stories. 

I wanted to find some symmetry to this.

In doing so, he was able to define an eight-step structure into which narratives of all kinds could successfully fit. Simply put, the Story Circle aims to introduce, develop and successfully resolve all kinds of plots in a series of familiar steps, instead of endlessly agonizing over plot details and progression. It treats the central character’s wants and desires as a driving force for a satisfying conclusion. 

Before moving on to the eight steps of the Story Cycle, let’s take a look at The Hero’s Journey, and how it influenced Story Circle. 

Note that the usage of the term “hero” is not according to the dichotomy of hero/villain. It refers to the central position of a character in their story, regardless of whether they are an antihero, antagonist, or a morally grey character.

The Hero’s Journey, or monomyth, is used in the field of comparative mythology to define a fundamental template for stories. It breaks down the finer details of narratives into common themes across stories . Thus, it becomes a way to study and define any story through the stages of the central character’s journey – the hero leaves a familiar situation to get something they want, obtains it at a price, and returns, having changed through the journey. Although, we must note that Campbell’s monomyth contained over 17 stages within the three prominent steps of Departure, Initiation, and Return. 

Joseph Campbell, a professor of comparative studies at Sarah Larence, popularized the concept in his book The Hero with A Thousand Faces (1949). While the concept was originally used to study and deconstruct myth and religion, it was popularized in Hollywood circles when George Lucas credited the Hero’s Journey with influencing the now-iconic Star Wars trilogy.

It must be noted that due to its origin, the Hero’s Journey served more as a thematic and spiritual guide for stories and folktales. Regardless, its influence over how we decipher art and narratives continues to be profound. Harmon’s Story Circle adapts and simplifies the Hero’s journey so that it is demystified: stories of all kinds can be decoded and structured accordingly. 

8 Steps of The Story Circle

Desire is the driving factor behind the Story Circle. The central character is prompted into action due to wanting something. Harmon breaks down the cycle into eight simple stages. It can be approached as:

The first stage familiarizes the central character by establishing them in any given setting, or their comfort zone. It could be their family, job, anything at all. This is the first stage from which the action proceeds. 

The second step identifies a desire in the character. They want something and their need to obtain it will drive the story forward. 

To obtain what they want, the character enters an unfamiliar situation. This is crucial to building conflict and presenting the character with obstacles to overcome on their journey. 

The search for the object of desire allows the character to adapt and improvise under unfamiliar conditions. 

As the character finds what they were seeking, this stage highlights the self-knowledge that they have gained so far. It also resolves the desire that has driven the story so far.

This stage is full of urgency, as the character must obtain what they were after and fulfill their journey. There is usually a twist to this, as the object of desire is accompanied by a heavy price or loss that the character must incur. 

The character now returns to where they started, having completed their journey. 

The final stage is when the character is back to stage one, but they have undergone a change. The journey has affected them and the difference between who they were when they started and who they are now serves as the emotional climax of the narrative. 

Now that we have a basic understanding of each stage of the Story Circle, let’s use an example to demonstrate how these fundamental stages can be fleshed out into a nuanced plot. For the purpose of discussing a narrative in detail, I shall use Martin Scorsese ’s Taxi Driver (1976).

1. Taxi Driver begins by introducing us to the protagonist of the story, Travis Bickle . Travis is an ex-Marine and Vietnam War veteran who now works as a taxi driver. The story initially shows him going about his day in the rough, grim parts of New York, looking for customers. As he remarks on the harshness of life in the city, the viewer is able to place him in his milieu. Through his day-to-day interactions with his colleagues and his loneliness, we are told that he struggles with PTSD. His unsatisfying existence and lack of purpose sets him up to seek something out. 

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2. As Travis drives around the city, he repeatedly drives by a campaign office for presidential candidate Charles Palantine . This is where he sees a volunteer, Betsy . Fed up and lost in the gritty and dark parts of life in the city, Travis idolizes Betsy as a vision of purity. He places her on a pedestal as a paragon of virtue. Through his efforts to get to know her, Travis tries to find a purpose, and assimilate with society. It is made clear to the viewer that according to Travis , Betsy represents an object of desire through which he wishes to effect change in himself. Throughout his infatuation with her, we witness him writing empty self-help slogans in his notebook, so as to emphasize his desire to escape his loneliness. 

3. As Travis ventures out of his familiar routine and approaches Betsy , the two get off to a rocky start. His awkwardness and lack of social skills reminds the audience of his discomfort in venturing into unfamiliar territory . He convinces Betsy to go on a date with him, and for a while, it seems as if he has found what he was seeking. Getting to know Betsy manages to temporarily halt his disillusionment with his life and society.

4. The stage of the search is marked by Travis attempting to get to know Betsy , and actively trying to avoid his existential crisis. Conflict is introduced when he takes her to see a pornographic film on their second date and Betsy leaves, disgusted. This rejection by Betsy exposes her in Travis’ mind as a false object of desire, or ideal. Hence, his search begins again when he encounters the child prostitute Iris on the roads of New York. As his disillusionment at the ugliness of life returns, he fantasizes about saving Iris . Throughout this, he witnesses senseless acts of violence like muggings, and his resentment solidifies in a manner that he fancies himself a vigilante. 

5. Travis finds a purpose to life in actively stoking his resentment against society. He begins to train hard to improve his physical strength and acquires firearms. Travis sees himself as a man on a mission, planning to rid the city of its ugliness. He begins going to Palantine’s rallies and shaves his hair in a mohawk. His aim is to assassinate Palantine , as he views him as a symbol of what’s wrong in society. The film makes the viewer realize that Travis is really just looking for an outlet for his anger, loneliness and bitterness in life by these actions. Throughout these events, he also forms a tenuous bond with Iris and convinces himself that only he can save her from her life of sexual debasement.

6. When Travis fails at assassinating Palantine , it becomes clear to both him and the audience that the transference of his desires is now towards Iris , or saving her, particularly. As he heads towards her, he shoots her pimp, Sport , the bouncer at her building, and her customer so as to “free” her, In the skirmish, he is shot in the neck, and lies bleeding in her flat before he is taken away to the hospital. In saving Iris , he feels he has successfully taken what he sought , and is ready to die in peace. He attempts to shoot himself, but is out of bullets. 

7. As Travis recovers, he receives letters from Iris’ parents who are thankful to him for bringing their daughter back to them, and the story reveals that he is proclaimed as a vigilante hero by the city. While he returns to his old job of driving cabs, he has been changed by his experience, and appears somewhat at peace. 

8. The change in Travis  is explored in the story through one last encounter with Betsy . While Betsy had previously been disgusted with him and rebuffed his advances, she now appears to admire him for his actions, and see him in a new light. As Travis drops her off and drives off, it is as if Betsy’s acceptance has signaled a change for him. He is, more or less, in the same circumstances where he started the story. But the journey has irrevocably changed him , for better or worse. 

Does the Story Circle apply to all stories?

According to Harmon himself, the structure does apply to all kinds of stories. Let us try and see why. Due to the fundamental and cyclical nature of the narrative, it would be easy to decode stories in a way that fit into the eight stages as discussed above. However, the main reason it works is because it treats the desire of the characters as their primary motivation. Regardless of whether the central character is a hero, villain, agent of chaos or just an average Joe, everybody is driven by certain wants and needs, in fiction and in real life. It is only logical that longing lies at the heart of every story. 

This is where I return to Scorsese’s film; to demonstrate how the structure lends itself to all kinds of stories, no matter how unconventional it may be. The film’s ending is subject to some debate, with many viewing it as Travis ’ wish fulfillment. However, it does not really matter if it’s reality or fiction. His desire to find a purpose to life has finally been answered, albeit in a destructive way. Even if it’s his own projection of a conclusion, what matters is that the change in him is affected through his journey and search. Moralistic issues of whether he is a hero or villain cease to matter, because Travis is the central character. His central subjectivity in the narrative drives the plot, whether or not he’s a traditional hero figure. For better or worse, his desire drives his personal narrative, as it does for all others.

An avid reader and a life-long lover of blue skies, I like to spend my time with obscure poetry and dissecting films. Currently besotted with Maupassant, art history and all things Nolan, you can find me spacing out to Queen while I look for new things to obsess with.

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How Screenwriters Can Use Dan Harmon's "Circle Theory of Story"

If Joseph Campbell's 17 Stages of the Monolyth story structure is too complicated for screenwriters, Dan Harmon (creator and writer behind Community and Rick and Morty) and his Circle Theory of Story is an easier option that you can apply to the development of your stories and characters.

Joseph Campbell's breakdown of mythology storytelling has captivated writers within the literary, television, and film platforms for decades, offering a proverbial map to the journey that a character embarks on — and the many stages of challenges and conflicts that they are tasked with overcoming.

Chris Vogler later simplified those seventeen stages into twelve with his book,  The Writer's Journey: Mythic Structure for Writers .

His breakdowns compacted Campbell's monomyth stages to better fit the narrative process of writing novels and screenplays.

• The Ordinary World —   The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma.  The hero is shown against a background of environment, heredity, and personal history.  Some kind of polarity in the hero’s life is pulling in different directions and causing stress.
• The Call to Adventure —    Something shakes up the situation, either from external pressures or from something rising up from deep within, so the hero must face the beginnings of change.
• Refusal of the Call —    The hero feels the fear of the unknown and tries to turn away from the adventure, however briefly.  Alternately, another character may express the uncertainty and danger ahead.
• Meeting with the Mentor —   The hero comes across a seasoned traveler of the worlds who gives him or her training, equipment, or advice that will help on the journey.  Or the hero reaches within to a source of courage and wisdom.
• Crossing the Threshold —    At the end of Act One, the hero commits to leaving the Ordinary World and entering a new region or condition with unfamiliar rules and values.
• Tests, Allies, and Enemies —   The hero is tested and sorts out allegiances in the Special World.
• Approach —    The hero and newfound allies prepare for the major challenge in the Special World.
• The Ordeal —    Near the middle of the story, the hero enters a central space in the Special World and confronts death or faces his or her greatest fear.  Out of the moment of death comes a new life.
• The Reward —   The hero takes possession of the treasure won by facing death.  There may be celebration, but there is also danger of losing the treasure again.
• The Road Back —   About three-fourths of the way through the story, the hero is driven to complete the adventure, leaving the Special World to be sure the treasure is brought home.  Often a chase scene signals the urgency and danger of the mission.
• The Resurrection —   At the climax, the hero is severely tested once more on the threshold of home.  He or she is purified by a last sacrifice, another moment of death and rebirth, but on a higher and more complete level.  By the hero’s action, the polarities that were in conflict at the beginning are finally resolved.
• Return with the Elixir —   The hero returns home or continues the journey, bearing some element of the treasure that has the power to transform the world as the hero has been transformed.

Dan Harmon took that compaction even further. In the late 1990s, he was struggling with a screenplay and began to draw circles, searching for a way to break the code of the storytelling process.

 "I was thinking, there must be some symmetry to this," he told Wired , referring to how stories are told. "Some simplicity."

He came up with an algorithm of sorts that compacts a story's narrative into an eight-stage circle theory — similar to what Campbell and Vogler developed in their own writings, but a bit more accessible and broad.

Harmon began to use this theory in all of his writing jobs and the eventual writers' rooms of Community and Rick and Morty . Drawings of his circle theory are a common decoration in those rooms.

Harmon later began to share his theory on a blog :

Storytelling comes naturally to humans, but since we live in an unnatural world, we sometimes need a little help doing what we'd naturally do. Draw a circle and divide it in half vertically. Divide the circle again horizontally. Starting from the 12 o'clock position and going clockwise, number the 4 points where the lines cross the circle: 1, 3, 5 and 7. Number the quarter-sections themselves 2, 4, 6 and 8. Here we go, down and dirty: A character is in a zone of comfort, But they want something. They enter an unfamiliar situation, Adapt to it, Get what they wanted, Pay a heavy price for it, Then return to their familiar situation, Having changed. Start thinking of as many of your favorite movies as you can, and see if they apply to this pattern. Now think of your favorite party anecdotes, your most vivid dreams, fairy tales, and listen to a popular song (the music, not necessarily the lyrics). Get used to the idea that stories follow that pattern of descent and return — diving and emerging. Demystify it. See it everywhere. Realize that it's hardwired into your nervous system, and trust that in a vacuum, raised by wolves, your stories would follow this pattern.

According to the Wired article, Harmon refers to each circle that he creates — which can easily be deciphered as each story he tells in each episode of each show he works on — as embryos. Each of his embryos contains the necessary elements to tell a satisfying story.

When he's working on an episode, either by himself or with his writers, each embryo has to contain these elements — otherwise, they are invalid and must be worked on and figured out.

Even now, when he watches movies or television, his algorithm appears.

"I can’t not see that circle," he says. "It’s tattooed on my brain."

In subsequent blog posts, he quickly states that his theory is not full proof like many other gurus will say.

"There are some exceptions to everything, but that's called style, not structure."

So while you can apply a certain structure to any given story, the exceptions that are made on your part portrays the style that you develop for yourself in your own writing, whether that is present from script-to-script or through everything you work on.

Harmon then goes into detail on what each stage means, which we've summarized below. He also attributes a single word to each stage to simplify things even more for writers.

1. YOU — A Character Is in a Zone of Comfort

This is simply where you establish the protagonist in their world. Harmon states that in order for the audience to better place themselves in that character's shoes, it's best to show that character in a setting that they can identify with.

In Die Hard , we don't open with John McClane battling bad guys. We see him on a plane and learn that he's afraid of flying. We can identify with that.

2. NEED — But They Want Something

This is where the character's "perfect" world is revealed to be nothing of the sort. This could be referred to as the Call to Adventure, but Harmon points out that "calls to adventure" don't have to be delivered by some messenger, as usually implied in Campbell's and Vogler's breakdowns.

This stage is where you showcase a need that your protagonist desires. It can be a physical item, often found in adventure movies like the Indiana Jones trilogy or through MacGuffins found in spy thrillers like the James Bond or Mission Impossible franchises. It can also be a state of mind, metaphor, or piece of knowledge that the protagonist seeks, desires, or needs.

In Die Hard , we learn that McClane's marriage is in jeopardy. He loves his wife and his wife loves him, but they've found themselves at a crossroads and neither of them knows where to go. Harmon quips, "If you could read the [McClane's] mind, you might find him wishing there was something he could do to save his marriage."

3. GO —They Enter an Unfamiliar Situation

This is where the concept of your screenplay comes into play — the core situation and conflict. They're challenged by something. Their comfortable world is rocked.

In Jaws , it's when Brody realizes that a shark is ravaging his island.

In The 40-Year-Old Virgin , it's when Andy is forced by his co-workers to go out and meet women.

In Die Hard , it's when the terrorists take over the Nakatomi Tower.

4. SEARCH — Adapt to It

Harmon says, "Christopher Vogler calls this phase of a feature script 'friends, enemies and allies.' Hack producers call it the 'training phase.' I prefer to stick with Joseph Campbell's title, 'The Road of Trials,' because it's less specific. I've seen too many movies where our time is wasted watching a hero literally 'train' in a forest clearing because someone got the idea it was a necessary ingredient. The point of this part of the circle is, our protagonist has been thrown into the water and now it's sink or swim."

In Die Hard , McClane adapts to his situation after he initially hesitates to kill a terrorist. He almost dies in the process. When the terrorist tells him that next time he shouldn't hesitate to kill someone, McClane shoots him full of bullets and thanks him for the advice. From that point on, McClane has adapted to his predicament and never hesitates again.

5. FIND — Get What They Wanted

This may seem to denote a positive part of the character's story, but it's far from that.

This is the turning point of the script. Despite getting something that they've been searching or yearning for, they realize that in order to enjoy this newfound thing, they're going to need to survive the conflict at hand.

Harmon makes note that this stage is directly opposite of the first stage, where the character was comfortable. Now it's time to put that character in the most uncomfortable position they've been in.

In Die Hard , McClane has just suffered a horrible blow. Hans ordered his right-hand mind to join him in shooting the glass. Now, barefoot McClane is forced to run to safety through a floor full of broken glass. The result is a hero that is bloodied and hurting. He crawls into a bathroom to nurse his wound. Al, his policeman friend on the radio communicating from outside of the building, senses that McClane is in a bad place. McClane then begins to reflect upon his life, realizing that he may not make it. It is in this moment that he realizes everything he did wrong in his marriage.

So in essence, he has gotten what he wanted. He has learned that in order to save his marriage, he must be less stubborn. He shares this with Al in hopes that he'll pass on a special message.  "She's heard me say 'I love you' a thousand times... but she's never heard me say I'm sorry."

The thing the character receives at this stage can be metaphorical, physical, or a piece of knowledge or realization that will help get them what they want.

6. TAKE — Pay a Heavy Price for It

This is the second turning point — sometimes it's a twist or a realization of the character. They've gotten what they wanted, but now they have to survive, figuratively or literally, to tell the tale.

This is also where the protagonist will face their toughest conflicts.

In Die Hard , McClane has survived the glass attack. He's still alive and he's finally acquired the epiphany he needs to save his marriage. But there's something looming. McClane wonders why Hans was so obsessed with finding the detonators — and what was he doing on that roof when he first met him in person?

He then discovers that the roof is rigged with C4 explosives. He knows that Hans doesn't plan on letting the hostages go alive. When he rushes to contact Al on the radio to let the police and FBI know that it's a double-cross, Hans's right-hand man appears.

This leads to a no holds barred fight, which in of itself leads to McClane's greatest challenge of killing the rest of the terrorists, getting the hostages off of the rigged roof, and evading the helicopter gunfire of the FBI. Not to mention surviving a leap from the building as the explosives go off.

7. RETURN — Then Return to the Familiar Situation 

This is where the protagonist ascends towards their familiar situation that they left in the opening couple of stages. The conflict isn't over just yet, but they have overcome their most difficult challenges. Now they are rushing towards the goal.

If it's a romantic comedy, it's the rush to the airport where the love interest is about to board the plane.

If it's an action flick, it's where the final car chase ensues leading the hero to saving the world.

In Crocodile Dundee , it's where she rushes into the subway to find Mick and profess her love.

In Die Hard , it's where McClane has survived the explosion and is now rushing to find his wife, only to see that Hans has taken her hostage and McClane only has two bullets left to save her. He no longer has the machine guns he acquired, the explosives he stole, or the anonymity he had when Hans didn't know who he was and who Holly was married to. He's back in the familiar place of being a cop with a gun, trying to save his marriage.

8. CHANGE — Having Changed 

This is where the protagonist applies the changes they've made, the physical item they've finally found, or the awakening they've undergone — and now must finally put an end to the conflict at hand.

In Liar Liar , Fletcher pleads his case in the court of law after learning the error of his ways in using lies to cover for the mistakes he's made, or for the mistakes of others in the context of his clients. Instead, he uses the truth to win his case. And in turn, wins over his son's love once again.

In Die Hard , McClane is back to a familiar situation, face-to-face with his wife, but with Hans and an underling in his way. But he's learned a few things. He's learned to be inventive to survive. He's also learned to never hesitate to kill someone.

Just when we think he's forgotten that last part as he surrenders his empty machine gun, we see that he has his trusted Police-issue sidearm taped to his back. He doesn't hesitate. Instead, only waiting for the right moment to make his move. And when he does, he's killed the remaining threats (or so we think) and he has his wife back.

Now he's a changed man. But the change isn't over yet.

When Hans's right-hand man has somehow survived, he takes aim at McClane with eyes of vengeance — until he's shot down by Al, who had been struggling with the regret of drawing his weapon and shooting an unarmed kid. Through McClane's actions, Al learned not to hesitate as well.

Read ScreenCraft's  5 Lessons “Die Hard” Can Teach Screenwriters !

This Circle Theory of Story from Dan Harmon is like any story structure, it works great in hindsight but doesn't always prove to be true in the end — or during the writing process.

The point for utilizing such structures and theories is to get you thinking about your stories and characters in more detail — through more levels of depth.

Harmon admits that no structure is the end-all-be-all. However, among his, Campbell's, and Vogler's, Harmon's is clearly a more simple approach that applies to so many more stories.

It's simple. And you can apply your own changes to create your own structure and style.

Read Dan Harmon's Full Breakdown Here!

Ken Miyamoto has worked in the film industry for nearly two decades, most notably as a studio liaison for Sony Studios and then as a script reader and story analyst for Sony Pictures.

He has many studio meetings under his belt as a produced screenwriter, meeting with the likes of Sony, Dreamworks, Universal, Disney, Warner Brothers, as well as many production and management companies. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries  Blackout , starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner. Follow Ken on Twitter  @KenMovies

For all the latest ScreenCraft news and updates, follow us on  Twitter,   Facebook , and  Instagram .

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Home » Blog » What is Dan Harmon’s Story Circle?

What is Dan Harmon’s Story Circle?

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Dan Harmon is a writer, producer, and show-runner who has worked on some of the most popular television comedies in recent history. He was one of the creators and writers for NBC’s ‘Community,’ co-creator and executive producer to Adult Swim’s ‘Rick & Morty,’ and currently writes for CBS’ ‘Young Sheldon.

Dan Harmon’s Story Circle is a narrative structure that has been used for centuries to create compelling stories. It was first introduced by the Greek philosopher Aristotle, and it has been used by storytellers ever since.

The article will go over what Dan Harmon’s Story Circle is, how Story Circle works, and some examples from popular media on why it works so well.

What is Dan Harmon’s Story Circle?

Dan Harmon ‘s Story Circle has eight parts that follow the journey of the protagonist. This circle is also called the Plot Embryo or the Story Embryo. The eight steps show the main character goes into the outside world with a goal.

The story starts with the protagonist at their lowest point. They face a seemingly impossible challenge, and they must fight to overcome it to reach the next stage of development.

Slowly, the character changes its mindset and comes back to a different person.

The eight steps of the story circle are –

• You: The main character is in the zone of comfort
• Need: However, they have certain requirements
• Go: The main character enters an unfamiliar situation
• Search: They adapt to the new situation
• Find: They receive what they needed
• Take: The character has to give a heavy price for getting it
• Return: They come back to the familiar situation
• Change: The character sees a change during the character arc

This is the simplified version of the circle. However, we will touch on each of these steps in detail in the below section.

Why Is The Story Circle A Circle?

The circle is a natural, common shape when it comes to storytelling. We can see its influence in many different stories, such as Circe from Homer’s Odyssey and the story of Pinocchio.

Dan Harmon takes this idea to heart, using his version of the Story Circle, which works for him and Rick and Morty (we will talk more about R&M later). The circle shows a proper flow to the story, and it looks like a rollercoaster.

The protagonist starts from the top and slowly comes to a low point, after which it again starts to build up. This is how every story is supposed to flow, according to Harmon. These Story Circle examples are quite common. It can be seen as a part of  ‘The Hero’s Journey’ or  monomyth of Joseph Campbell.

Another example of this would be ‘Save the Cat’ by Blake Snyder. This is a three-act structure that takes into consideration the same story circle. George Lucas has taken great inspiration from the story circle while making the Star Wars franchise.

Other inspired plot points from the story circle would include The Dark Knight, The Matrix, Harry Potter, etc.

The Story Structure in Rick and Morty

Harmon has applied the story circle to the famous TV show,  Rick and Morty . The first episode is the most important because it sets up all of the groundwork for what’s to come. The next episodes can be seen as either a subplot or an alternate plotline.

As Rick and Morty continue their journey, they eventually reach another low point, after which more adventures follow on from this moment in time until the series finale. This structure has been applied throughout Dan Harmon’s TV show Community too.

Let us now take a look at how the story circle influences Rick and Morty.

You – Zone of Comfort

The story goes on at a normal level, where Rick and Morty go through different adventures. However, the zone of comfort is disturbed when Morty discovers that Rick engages in arms dealing. This leads to the next stage.

Need – Want Something

Morty falls into an ethical quandary and experiences guilt. He needs to cross a boundary and undo what he sees as ethical damage done by Rick.

Go – Unfamiliar Situation

Morty falls into an unfamiliar situation by defying the orders of his grandfather for the first time. He chases the assassin and kills him accidentally.

Search – Adapt To Situation

Fart, the actual target of the assassin, which is an alien gas compound, is discovered by Morty. He ignores Rick’s instructions and opens the space jail to free Fart.

Find – Receive What Is Needed

Morty makes an ethical choice and saves a life. He feels that he has taken the right step.

Take – Heavy Price

The choice made by Morty has serious consequences. Fart kills several space cops, but Rick and Morty can escape.

Return – Familiar Situation

Rick and Morty return to their familiar situation. Morty realizes that Fart is, in fact, a negative entity that is set out to destroy every carbon-based life form.

Change – Having Changed

Morty changes into someone who will kill. He eradicated Fart and saves the world. Therefore, there is a huge change in his character from what he started.

The Eight Different Stages of the Dan Harmon Story Circle

Here each of the stages has been explained in detail. Moreover, each stage contains an example from the Star Wars movie for better understanding.

The first stage, which is ‘You,’ establishes the story’s main character or protagonist. This stage may have a single character or even a team. Here, the true personality of the character(s) is highlighted to get a better understanding.

Without the base stage, it would be hard to create a proper story circle. This is because storytelling is majorly based on this change of character over the whole story. It is from this stage that the viewer will assess the change.

Every person can begin this stage and establish the story circle differently. Christopher Vogler, a  screenwriter , uses the theme of the story circle to create his plot lines.

For example, Luke is established who wishes to see the world but is stuck on his uncle’s farm.

After the character has been established, you need to find out what their need is. In this stage, the character may face a dilemma, question, or problem. It is this problem that will form the basis and journey of the protagonist.

For example, at the same time that R2-D2 is delivering Princess Leia’s note, Luke is being invited by Obi-wan to execute the Death Star plans.

Go is the action stage where the protagonist understands his/her needs and works upon them. In every storyline, the protagonist needs to be active. This means that if the character has a need but not a go, the storyline will fail.

During screenwriting, the story must have this step. This is what makes a good story. It is at this stage that the protagonist will venture into a world that is unknown to them.

For example, Luke’s uncle and aunt are murdered, prompting him to leave for Alderaan with Obi-wan.

The search is a complicated stage, and this requires a very clear execution. In any feature film, the search will be more of physical activity. This means the hero would search for a particular thing, and he has to overcome different obstacles.

Great stories generally do not use this range, but you can find this used in different TV series. In the search stage, the screenwriter will show the hero as an unfamiliar world and be thrown into an adventure.

For example, Death Star destroys Alderaan, and Millennium Falcon is stuck in the tractor beam.

The find stage comes with a lot of suspense, tension, and excitement for the viewers. It could also be called ‘the climax’ because it builds up until there are no more obstacles left, leading to the success or failure of the protagonist’s goal.

In this part, all reliefs have disappeared, so you can’t turn back anymore. This may occur in one day or over many years but what matters is how well constructed it was by the writer.

However, it is not always that the character gets what he needs in this stage. However, this is a major area for character and plot development collision.

For example, Princess Leia was rescued by Han and Luke while escaping from Death Star.

At this stage, you need to escape, and you take anything that you get. Even if the hero needs to use the help of an ally, they should take their help and escape. There will also be a heavy loss at this stage for the hero.

Based on the genre of the film, the loss would vary. Moreover, this loss could also be a momentary setback for the main character.

For example, Obi-wan have to sacrifice his life to ensure that the others escape from Death Star.

Return is coming back to the home ground. Here the main character returns to their comfort zone. However, this is the stage that initiates the stage. Here the hero will look back at the journey and go through the change.

For example, Luke eradicates the Death Star with the planned attack of the Rebels.

The last stage of the story circle is the change. Here, the hero has gone through the change as a result of the journey. This change could be both personal and for the world.

The change may not always be a positive one for the protagonist. However, there will be some positive aspects depending on what the journey was.

For example, Luke started his journey as a farm boy and ended up being a Rebel pilot.

Wrapping Up

Overall, Dan Harmon’s story circle comprises four stages: initiation, struggle, death, and change. A screenwriter can apply these steps to many different stories, such as Rick and Morty or Star Wars.

The main goal for narrative story structures should be for the hero to go through an emotional journey that will have both personal changes and world-changing effects. Change is necessary for a story to be interesting, as well.

There are many different ways to tell a story. Still, Dan Harmon’s Story Circle is one of them in which change is an integral part of storytelling while also following some traditional aspects such as initiation and struggle.

You can use the Squibler platform to write your idea.

When Did Dan Harmon Create The Story Circle?

In 2009, Dan Harmon created a video outlining his theory of the story circle. It was published in 2011 and has been seen by over one million people as of late 2017. He first came up with it when he was writing for Emmy Awards on NBC back in 2006.

What Influenced The Story Circle?

The influence behind this narrative structure is Walt Disney’s 16-point guide to storytelling. This guide features a triangle with three parts: an introduction, rising action, climax or turning point, and then resolution (the opposite corners). These elements are essentially two overlapping triangles, creating a unique shape when viewed from above. This approach ensures character development and effectively transitions from the normal world to the climax and resolution.

For example, in a story where Lucy marries Jack, the structure guides the progression from their normal world, through the complexities of their relationship, to their eventual union, and finally to the resolution. Not necessarily the lyrics, but the narrative flow follows this comprehensive framework.

Does Dan Harmon’s Story Circle Apply To All Stories?

Yes and no. Dan Harmon created the story circle as a means to build up great stories. According to him, no story would be complete without the proper journey of the main character.

Without change, no plot structure would be attractive enough to the audience. That is why the story circle is used in many different movies, irrespective of the genre.

What Does the Story Circle Help People Do?

The Story Circle helps people design and creates stories. This story circle does not deal with the specifics of what a person should do to produce an attractive story, but it focuses on making sure that their story is complete by using narratives as its foundation.

It also distinguishes between beginnings, middle, and end because these three parts are essential for every good story. There should be plot points keeping in mind the story circle.

How Does The Story Circle Work?

The Story Circle is made up of four parts:

• The protagonist
• Their goal (objective)
• A series of events is necessary for the story to be complete and satisfying. Here each event triggers a new change in both their internal life and the world around them. These changes can be either positive or negative, but they must ultimately lead to an emotional transformation within the protagonist. Furthermore, it should bring about conflict between desires at the beginning versus the achievement at its end.
• Finally, there needs to be a consequence that is brought on because of this final change. It is needed to provide closure for those who have read it. This does not necessarily mean something bad is happening; it just needs to be a proper send-off.

The protagonist of Dan Harmon’s story circle is usually the person who is put into a certain situation that forces them to evolve in some way, whether it’s for better or worse.

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How the 'Rick and Morty' Story Circle Remixes the Hero's Journey

It's all about search and change.

Fans of Ricky and Morty have known for awhile that the philosophical bones of the show’s stories are more than just cheap laughs and references to other sci-fi and fantasy properties. There’s some deep pathos to these madcap adventures, which can partially be explained by Rick and Morty creator Dan Harmon’s implementation of what he calls “the Story Circle.”

On August 26, Harmon appeared in a video in which he describes his method for breaking most stories that become episodes of Rick and Morty. And for those interested in Joseph Campbell’s ideas of the Hero’s Journey, or the notion of a monomyth in general, this process will look very familiar.

With the second episode of Rick and Morty’s second season as his guide, Harmon says that his story circle consists of a person going on a journey, looking for something, crossing a threshold, finding the thing they were looking for, and returning totally changed. By the end of “Mortynight Run,” Harmon contends “that Morty makes the decision to turn into someone who is willing to kill just because. ” But the notion of crossing a threshold in search of something and returning changed can be more literal in Rick and Morty , too. Harmon jokes that Jerry’s return from Jerry Daycare in the same episode is a change, too, since Jerry may have literally changed places with a duplicate of himself.

In the video, Harmon jokes that Rick and Morty is a “bad show for kids,” which might have something to do with why he calls this structure the “Story Circle” and not “The Hero’s Journey,” since Rick, Morty and Jerry are hardly heroes.

Joseph Campbell

The less-than-heroic status of the characters on Rick and Morty also seems to recall an origin of the Hero’s Journey that predates the concept itself. Famously, Campbell based his Hero With a Thousand Faces from a variety of readings of various ancient texts, including fairy tales, myths, and used Jungian psychology to make sense of it all. Hardcore Star Wars fans are also aware that George Lucas was obessed enough with Campbell to pattern much of the plot strucutre of the first film with the Hero’s Journey as a blueprint. What Campbell and Lucas tend to miss, however, is the perhaps the intended audience for the monomyth. In his book Breaking the Magic Spell , Jack Zipes argues that folk tales were largely stolen from the lower class, and re-appropriated by aristocrats in Europe, starting in the 16th century. Zipes believes that this movement had a permanently “bourgeois effect” on folk tales, and specifically cites The Brothers Grimm among those who effectively watered down folk tales and turned them into what we more conventionally think of as fairy tales.

Zipes’s big takeaway is that a lot of fairy tales become moralizing or patronizing once they were taken away from “the folk” who originally told the stories out loud. If the audience weren’t a bunch of regular people sitting around telling stories to each other, then suddenly, the “heroes” of any given story couldn’t be normal or flawed. After the oral tradition of the folk tales was turned into a mass-produced product, heroes became more conventionally “heroic” and notions of morality became black and white.

But, what Zipes points out is something Harmon and co-writer Justin Roiland seems to understand in crafting the stories Rick and Morty. In July 2017, Roiland told Inverse “I think people sometimes mistake that for pure nihilism or toxic, dark comedy , but there’s a way to do it with a purpose.”

So, just because the structure of the monomyth exists, doesn’t mean the characters traveling through it are inherently good people. It doesn’t mean they’re bad either, but unlike some other more traditional heroes out there, Rick and Morty are at least allowed be characterized with various shades of amorality, all while going on a variety of satisfying, exciting, and fun journeys.

The third season of Rick and Morty* is airing on Adult Swim Sunday evenings at 11pm EST.

• Rick and Morty

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Last updated on Aug 10, 2023

The Hero's Journey: 12 Steps to a Classic Story Structure

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About Dario Villirilli

Editor-in-Chief of the Reedsy blog, Dario is a graduate of Mälardalen University. As a freelance writer, he has written for many esteemed outlets aimed at writers. A traveler at heart, he can be found roaming the world and working from his laptop.

The Hero's Journey is a timeless story structure which follows a protagonist on an unforeseen quest, where they face challenges, gain insights, and return home transformed. From Theseus and the Minotaur to The Lion King , so many narratives follow this pattern that it’s become ingrained into our cultural DNA. 

In this post, we'll show you how to make this classic plot structure work for you — and if you’re pressed for time, download our cheat sheet below for everything you need to know.

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What is the Hero’s Journey?

The Hero's Journey, also known as the monomyth, is a story structure where a hero goes on a quest or adventure to achieve a goal, and has to overcome obstacles and fears, before ultimately returning home transformed.

This narrative arc has been present in various forms across cultures for centuries, if not longer, but gained popularity through Joseph Campbell's mythology book, The Hero with a Thousand Faces . While Campbell identified 17 story beats in his monomyth definition, this post will concentrate on a 12-step framework popularized in 2007 by screenwriter Christopher Vogler in his book The Writer’s Journey .

The 12 Steps of the Hero’s Journey

The Hero's Journey is a model for both plot points and character arc development: as the Hero traverses the world, they'll undergo inner and outer transformation at each stage of the journey. The 12 steps of the hero's journey are: 

• The Ordinary World: We meet our hero.
• Call to Adventure:  Will they meet the challenge?
• Refusal of the Call: They resist the adventure.
• Meeting the Mentor: A teacher arrives.
• Crossing the First Threshold: The hero leaves their comfort zone.
• Tests, Allies, Enemies: Making friends and facing roadblocks.
• Approach to the Inmost Cave: Getting closer to our goal.
• Ordeal: The hero’s biggest test yet!
• Reward (Seizing the Sword):  Light at the end of the tunnel
• The Road Back: We aren’t safe yet.
• Resurrection:  The final hurdle is reached.
• Return with the Elixir:  The hero heads home, triumphant.

Believe it or not, this story structure also applies across mediums and genres. Let's dive into it!

1. Ordinary World

In which we meet our Hero.

The journey has yet to start. Before our Hero discovers a strange new world, we must first understand the status quo: their ordinary, mundane reality.

It’s up to this opening leg to set the stage, introducing the Hero to readers. Importantly, it lets readers identify with the Hero as a “normal” person in a “normal” setting, before the journey begins.

2. Call to Adventure

In which an adventure starts.

The call to adventure is all about booting the Hero out of their comfort zone. In this stage, they are generally confronted with a problem or challenge they can't ignore. This catalyst can take many forms, as Campbell points out in Hero with a Thousand Faces . The Hero can, for instance:

• Decide to go forth of their own volition;
• Theseus upon arriving in Athens.
• Be sent abroad by a benign or malignant agent;
• Odysseus setting off on his ship in The Odyssey .
• Stumble upon the adventure as a result of a mere blunder;
• Dorothy when she’s swept up in a tornado in The Wizard of Oz .
• Be casually strolling when some passing phenomenon catches the wandering eye and lures one away from the frequented paths of man.
• Elliot in E.T. upon discovering a lost alien in the tool shed.

The stakes of the adventure and the Hero's goals become clear. The only question: will he rise to the challenge?

3. Refusal of the Call

In which the Hero digs in their feet.

Great, so the Hero’s received their summons. Now they’re all set to be whisked off to defeat evil, right?

Not so fast. The Hero might first refuse the call to action. It’s risky and there are perils — like spiders, trolls, or perhaps a creepy uncle waiting back at Pride Rock . It’s enough to give anyone pause.

In Star Wars , for instance, Luke Skywalker initially refuses to join Obi-Wan on his mission to rescue the princess. It’s only when he discovers that his aunt and uncle have been killed by stormtroopers that he changes his mind.

4. Meeting the Mentor

In which the Hero acquires a personal trainer.

The Hero's decided to go on the adventure — but they’re not ready to spread their wings yet. They're much too inexperienced at this point and we don't want them to do a fabulous belly-flop off the cliff.

Enter the mentor: someone who helps the Hero, so that they don't make a total fool of themselves (or get themselves killed). The mentor provides practical training, profound wisdom, a kick up the posterior, or something abstract like grit and self-confidence.

Wise old wizards seem to like being mentors. But mentors take many forms, from witches to hermits and suburban karate instructors. They might literally give weapons to prepare for the trials ahead, like Q in the James Bond series. Or perhaps the mentor is an object, such as a map. In all cases, they prepare the Hero for the next step.

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5. Crossing the First Threshold

In which the Hero enters the other world in earnest.

Now the Hero is ready — and committed — to the journey. This marks the end of the Departure stage and is when the adventure really kicks into the next gear. As Vogler writes: “This is the moment that the balloon goes up, the ship sails, the romance begins, the wagon gets rolling.”

From this point on, there’s no turning back.

Like our Hero, you should think of this stage as a checkpoint for your story. Pause and re-assess your bearings before you continue into unfamiliar territory. Have you:

• Launched the central conflict? If not, here’s a post on types of conflict to help you out.
• Established the theme of your book? If not, check out this post that’s all about creating theme and motifs.
• Made headway into your character development? If not, this author-approved template may be useful:

Reedsy’s Character Profile Template

A story is only as strong as its characters. Fill this out to develop yours.

6. Tests, Allies, Enemies

In which the Hero faces new challenges and gets a squad.

When we step into the Special World, we notice a definite shift. The Hero might be discombobulated by this unfamiliar reality and its new rules. This is generally one of the longest stages in the story , as our protagonist gets to grips with this new world.

This makes a prime hunting ground for the series of tests to pass! Luckily, there are many ways for the Hero to get into trouble:

• In Jumanji: Welcome to the Jungle , Spencer, Bethany, “Fridge,” and Martha get off to a bad start when they bump into a herd of bloodthirsty hippos.
• In his first few months at Hogwarts, Harry Potter manages to fight a troll, almost fall from a broomstick and die, and get horribly lost in the Forbidden Forest.
• Marlin and Dory encounter three “reformed” sharks, get shocked by jellyfish, and are swallowed by a blue whale en route to finding Nemo.

This stage often expands the cast of characters. Once the protagonist is in the Special World, he will meet allies and enemies — or foes that turn out to be friends and vice versa. He will learn a new set of rules from them. Saloons and seedy bars are popular places for these transactions, as Vogler points out (so long as the Hero survives them).

7. Approach to the Inmost Cave

In which the Hero gets closer to his goal.

This isn’t a physical cave. Instead, the “inmost cave” refers to the most dangerous spot in the other realm — whether that’s the villain’s chambers, the lair of the fearsome dragon, or the Death Star. Almost always, it is where the ultimate goal of the quest is located.

Note that the protagonist hasn’t entered the Inmost Cave just yet. This stage is all about the approach to it. It covers all the prep work that's needed in order to defeat the villain.

In which the Hero faces his biggest test of all thus far.

Of all the tests the Hero has faced, none have made them hit rock bottom — until now. Vogler describes this phase as a “black moment.” Campbell refers to it as the “belly of the whale.” Both indicate some grim news for the Hero.

The protagonist must now confront their greatest fear. If they survive it, they will emerge transformed. This is a critical moment in the story, as Vogler explains that it will “inform every decision that the Hero makes from this point forward.”

The Ordeal is sometimes not the climax of the story. There’s more to come. But you can think of it as the main event of the second act — the one in which the Hero actually earns the title of “Hero.”

9. Reward (Seizing the Sword)

In which the Hero sees light at the end of the tunnel.

Our Hero’s been through a lot. However, the fruits of their labor are now at hand — if they can just reach out and grab them! The “reward” is the object or knowledge the Hero has fought throughout the entire journey to hold.

Once the protagonist has it in their possession, it generally has greater ramifications for the story. Vogler offers a few examples of it in action:

• Luke rescues Princess Leia and captures the plans of the Death Star — keys to defeating Darth Vader.
• Dorothy escapes from the Wicked Witch’s castle with the broomstick and the ruby slippers — keys to getting back home.

10. The Road Back

In which the light at the end of the tunnel might be a little further than the Hero thought.

The story's not over just yet, as this phase marks the beginning of Act Three. Now that he's seized the reward, the Hero tries to return to the Ordinary World, but more dangers (inconveniently) arise on the road back from the Inmost Cave.

More precisely, the Hero must deal with the consequences and aftermath of the previous act: the dragon, enraged by the Hero who’s just stolen a treasure from under his nose, starts the hunt. Or perhaps the opposing army gathers to pursue the Hero across a crowded battlefield. All further obstacles for the Hero, who must face them down before they can return home.

11. Resurrection

In which the last test is met.

Here is the true climax of the story. Everything that happened prior to this stage culminates in a crowning test for the Hero, as the Dark Side gets one last chance to triumph over the Hero.

Vogler refers to this as a “final exam” for the Hero — they must be “tested once more to see if they have really learned the lessons of the Ordeal.” It’s in this Final Battle that the protagonist goes through one more “resurrection.” As a result, this is where you’ll get most of your miraculous near-death escapes, à la James Bond's dashing deliverances. If the Hero survives, they can start looking forward to a sweet ending.

12. Return with the Elixir

In which our Hero has a triumphant homecoming.

Finally, the Hero gets to return home. However, they go back a different person than when they started out: they’ve grown and matured as a result of the journey they’ve taken.

But we’ve got to see them bring home the bacon, right? That’s why the protagonist must return with the “Elixir,” or the prize won during the journey, whether that’s an object or knowledge and insight gained.

Of course, it’s possible for a story to end on an Elixir-less note — but then the Hero would be doomed to repeat the entire adventure.

Examples of The Hero’s Journey in Action

To better understand this story template beyond the typical sword-and-sorcery genre, let's analyze three examples, from both screenplay and literature, and examine how they implement each of the twelve steps. 

The 1976 film Rocky is acclaimed as one of the most iconic sports films because of Stallone’s performance and the heroic journey his character embarks on.

• Ordinary World. Rocky Balboa is a mediocre boxer and loan collector — just doing his best to live day-to-day in a poor part of Philadelphia.
• Call to Adventure. Heavyweight champ Apollo Creed decides to make a big fight interesting by giving a no-name loser a chance to challenge him. That loser: Rocky Balboa.
• Refusal of the Call. Rocky says, “Thanks, but no thanks,” given that he has no trainer and is incredibly out of shape.
• Meeting the Mentor. In steps former boxer Mickey “Mighty Mick” Goldmill, who sees potential in Rocky and starts training him physically and mentally for the fight.
• Crossing the First Threshold. Rocky crosses the threshold of no return when he accepts the fight on live TV, and 一 in parallel 一 when he crosses the threshold into his love interest Adrian’s house and asks her out on a date.
• Tests, Allies, Enemies. Rocky continues to try and win Adrian over and maintains a dubious friendship with her brother, Paulie, who provides him with raw meat to train with.
• Approach to the Inmost Cave. The Inmost Cave in Rocky is Rocky’s own mind. He fears that he’ll never amount to anything — something that he reveals when he butts heads with his trainer, Mickey, in his apartment.
• Ordeal. The start of the training montage marks the beginning of Rocky’s Ordeal. He pushes through it until he glimpses hope ahead while running up the museum steps.
• Reward (Seizing the Sword). Rocky's reward is the restoration of his self-belief, as he recognizes he can try to “go the distance” with Apollo Creed and prove he's more than "just another bum from the neighborhood."
• The Road Back. On New Year's Day, the fight takes place. Rocky capitalizes on Creed's overconfidence to start strong, yet Apollo makes a comeback, resulting in a balanced match.
• Resurrection. The fight inflicts multiple injuries and pushes both men to the brink of exhaustion, with Rocky being knocked down numerous times. But he consistently rises to his feet, enduring through 15 grueling rounds.
• Return with the Elixir. Rocky loses the fight — but it doesn’t matter. He’s won back his confidence and he’s got Adrian, who tells him that she loves him.

Moving outside of the ring, let’s see how this story structure holds on a completely different planet and with a character in complete isolation. 

The Martian 

In Andy Weir’s bestselling novel (better known for its big screen adaptation) we follow astronaut Mark Watney as he endures the challenges of surviving on Mars and working out a way to get back home.

• The Ordinary World. Botanist Mark and other astronauts are on a mission on Mars to study the planet and gather samples. They live harmoniously in a structure known as "the Hab.”
• Call to Adventure. The mission is scrapped due to a violent dust storm. As they rush to launch, Mark is flung out of sight and the team believes him to be dead. He is, however, very much alive — stranded on Mars with no way of communicating with anyone back home.
• Refusal of the Call. With limited supplies and grim odds of survival, Mark concludes that he will likely perish on the desolate planet.
• Meeting the Mentor. Thanks to his resourcefulness and scientific knowledge he starts to figure out how to survive until the next Mars mission arrives.
• Crossing the First Threshold. Mark crosses the mental threshold of even trying to survive 一 he successfully creates a greenhouse to cultivate a potato crop, creating a food supply that will last long enough.
• Tests, Allies, Enemies. Loneliness and other difficulties test his spirit, pushing him to establish contact with Earth and the people at NASA, who devise a plan to help.  
• Approach to the Inmost Cave. Mark faces starvation once again after an explosion destroys his potato crop.
• Ordeal. A NASA rocket destined to deliver supplies to Mark disintegrates after liftoff and all hope seems lost.
• Reward (Seizing the Sword). Mark’s efforts to survive are rewarded with a new possibility to leave the planet. His team 一 now aware that he’s alive 一 defies orders from NASA and heads back to Mars to rescue their comrade.
• The Road Back. Executing the new plan is immensely difficult 一 Mark has to travel far to locate the spaceship for his escape, and almost dies along the way.
• Resurrection. Mark is unable to get close enough to his teammates' ship but finds a way to propel himself in empty space towards them, and gets aboard safely.
• Return with the Elixir. Now a survival instructor for aspiring astronauts, Mark teaches students that space is indifferent and that survival hinges on solving one problem after another, as well as the importance of other people’s help.

Coming back to Earth, let’s now examine a heroine’s journey through the wilderness of the Pacific Crest Trail and her… humanity. 

The memoir Wild narrates the three-month-long hiking adventure of Cheryl Strayed across the Pacific coast, as she grapples with her turbulent past and rediscovers her inner strength.

• The Ordinary World. Cheryl shares her strong bond with her mother who was her strength during a tough childhood with an abusive father.
• Call to Adventure. As her mother succumbs to lung cancer, Cheryl faces the heart-wrenching reality to confront life's challenges on her own.
• Refusal of the Call. Cheryl spirals down into a destructive path of substance abuse and infidelity, which leads to hit rock bottom with a divorce and unwanted pregnancy. 
• Meeting the Mentor. Her best friend Lisa supports her during her darkest time. One day she notices the Pacific Trail guidebook, which gives her hope to find her way back to her inner strength.
• Crossing the First Threshold. She quits her job, sells her belongings, and visits her mother’s grave before traveling to Mojave, where the trek begins.
• Tests, Allies, Enemies. Cheryl is tested by her heavy bag, blisters, rattlesnakes, and exhaustion, but many strangers help her along the trail with a warm meal or hiking tips. 
• Approach to the Inmost Cave. As Cheryl goes through particularly tough and snowy parts of the trail her emotional baggage starts to catch up with her.  
• Ordeal. She inadvertently drops one of her shoes off a cliff, and the incident unearths the helplessness she's been evading since her mother's passing.
• Reward (Seizing the Sword). Cheryl soldiers on, trekking an impressive 50 miles in duct-taped sandals before finally securing a new pair of shoes. This small victory amplifies her self-confidence.
• The Road Back. On the last stretch, she battles thirst, sketchy hunters, and a storm, but more importantly, she revisits her most poignant and painful memories.
• Resurrection. Cheryl forgives herself for damaging her marriage and her sense of worth, owning up to her mistakes. A pivotal moment happens at Crater Lake, where she lets go of her frustration at her mother for passing away.
• Return with the Elixir. Cheryl reaches the Bridge of the Gods and completes the trail. She has found her inner strength and determination for life's next steps.

There are countless other stories that could align with this template, but it's not always the perfect fit. So, let's look into when authors should consider it or not.

When should writers use The Hero’s Journey?

The Hero’s Journey is just one way to outline a novel and dissect a plot. For more longstanding theories on the topic, you can go here to read about the ever-popular Three-Act Structure, here to discover Dan Harmon's Story Circle, and here to learn about three more prevalent structures.

So when is it best to use the Hero’s Journey? There are a couple of circumstances which might make this a good choice.

When you need more specific story guidance than simple structures can offer

Simply put, the Hero’s Journey structure is far more detailed and closely defined than other story structure theories. If you want a fairly specific framework for your work than a thee-act structure, the Hero’s Journey can be a great place to start.

Of course, rules are made to be broken . There’s plenty of room to play within the confines of the Hero’s Journey, despite it appearing fairly prescriptive at first glance. Do you want to experiment with an abbreviated “Resurrection” stage, as J.K. Rowling did in Harry Potter and the Sorcerer’s Stone? Are you more interested in exploring the journey of an anti-hero? It’s all possible.

Once you understand the basics of this universal story structure, you can use and bend it in ways that disrupt reader expectations.

Need more help developing your book? Try this template on for size:

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When your focus is on a single protagonist

No matter how sprawling or epic the world you’re writing is, if your story is, at its core, focused on a single character’s journey, then this is a good story structure for you. It’s kind of in the name! If you’re dealing with an entire ensemble, the Hero’s Journey may not give you the scope to explore all of your characters’ plots and subplot — a broader three-act structure may give you more freedom to weave a greater number story threads. ​​

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Take this quiz and we'll match your story to a structure in minutes!

Whether you're a reader or writer, we hope our guide has helped you understand this universal story arc. Want to know more about story structure? We explain 6 more in our guide — read on!

6 responses

PJ Reece says:

25/07/2018 – 19:41

Nice vid, good intro to story structure. Typically, though, the 'hero's journey' misses the all-important point of the Act II crisis. There, where the hero faces his/her/its existential crisis, they must DIE. The old character is largely destroyed -- which is the absolute pre-condition to 'waking up' to what must be done. It's not more clever thinking; it's not thinking at all. Its SEEING. So many writing texts miss this point. It's tantamount to a religions experience, and nobody grows up without it. STORY STRUCTURE TO DIE FOR examines this dramatic necessity.

↪️ C.T. Cheek replied:

13/11/2019 – 21:01

Okay, but wouldn't the Act II crisis find itself in the Ordeal? The Hero is tested and arguably looses his/her/its past-self for the new one. Typically, the Hero is not fully "reborn" until the Resurrection, in which they defeat the hypothetical dragon and overcome the conflict of the story. It's kind of this process of rebirth beginning in the earlier sections of the Hero's Journey and ending in the Resurrection and affirmed in the Return with the Elixir.

Lexi Mize says:

25/07/2018 – 22:33

Great article. Odd how one can take nearly every story and somewhat plug it into such a pattern.

Bailey Koch says:

11/06/2019 – 02:16

This was totally lit fam!!!!

↪️ Bailey Koch replied:

11/09/2019 – 03:46

where is my dad?

Frank says:

12/04/2020 – 12:40

Great article, thanks! :) But Vogler didn't expand Campbell's theory. Campbell had seventeen stages, not twelve.

Comments are currently closed.

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The 17 Best Movies That Follow the Hero's Journey

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Everyone who's interested in how stories are made is bound to have heard the term "the Hero's Journey." Also known as the monomyth, it's a story archetype coined and popularized by Joseph Campbell in the mid-1900s when he noticed that heroes in myths typically go through the same 17 stages in their journey, from the call to adventure that gets the character out of their comfort zone, to the freedom to live found at the end of the ordeals in their adventure.

This narrative template has served as the basis and inspiration of countless stories throughout history – including numerous outstanding films. From a grand fantastical story like Star Wars , to something more grounded in reality like O Brother, Where Art Thou? , these movies don't always follow every single one of the steps outlined by Campbell, but they stick to more than enough to call each of them a hero's journey . A tried-and-true way of telling successful stories that resonate with audiences of all ages and nationalities, movies that follow the Hero's Journey, if well-written, are always a delight like no other.

17 'Men in Black' (1997)

Directed by barry sonnenfeld.

One of the most iconic movies you may not know is based on Marvel comics , Men in Black is the story of a cop ( Will Smith ) who, after a chase with an otherworldly being, is recruited by an organization that monitors and polices alien activity on Earth. There's something for every sci-fi fan to enjoy in this movie, from visually stunning special effects to mind-blowing action and just the right amount of humor.

Men in Black follows the Hero's Journey nearly to a tee , from Agent J getting the call to join the mission of protecting the planet from alien threats and initially refusing the call, to him finally learning to master his two worlds and become the hero he was meant to be. The result is a thrilling sci-fi action adventure that doesn't get nearly enough praise nowadays, with a heroic protagonist who's a joy to follow through his journey.

Men In Black

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16 'Kingsman: The Secret Service' (2014)

Directed by matthew vaughn.

Kingsman: The Secret Service , one of the funniest action movies of the 21st century so far , is based on the popular comic books of the same title. It's about a super-secret spy organization that recruits a promising but rough-around-the-edges street kid into their training program, while a twisted tech genius emerges as a global threat. With a star-studded cast and Matthew Vaughn 's colorful direction, it's a delightfully entertaining film with a traditional Hero's Journey narrative.

As traditional and monomythical as protagonist Eggsy's journey toward heroism is, Vaughn and his co-screenwriter Jane Goldman still find ways to make the story feel fresh, exciting, and unpredictable. By the time the explosive third act comes around, audiences are delighted to see how far Eggsy has come and how badass the movie's action sequences can be.

Kingsman: The Secret Service

15 'o brother, where art thou' (2000), directed by joel and ethan coen.

The Coen brothers are masters of making some of the most entertaining crime movies, and O Brother, Where Art Thou? is definitely one of their best. Loosely based on Homer 's The Odyssey , it's about three fugitives roaming the southern U.S. in search of treasure with the law hot on their heels. Unlike the Greek classic, however, the Coens' crime film has great Southern American music, traditional Western tropes, and stars George Clooney , Tim Blake Nelson , and John Turturro .

The characters in O Brother, Where Art Thou? encounter mentors, face challenges, and go through profound transformations , just like the heroes in the monomyth do. The ensuing adventure is as humorous as it is exciting, an offbeat adaptation of a massively important and influential classic. You can't go wrong with a well-written and well-directed Coen brothers movie, so O Brother should easily please all cinephiles' palates.

O Brother, Where Art Thou?

14 'batman begins' (2005), directed by christopher nolan.

Movies with Hero's Journey archetypes are fun enough as they are, but mix those elements with a superhero origin story, and you get one of the best entries in the superhero genre . That's what Batman Begins is, as it reinvents the story of Bruce Wayne's ( Christian Bale ) origins as the vigilante hero Batman, by placing the character on a journey to become the guardian that his beloved Gotham City deserves.

Christopher Nolan's first installment in his Dark Knight Trilogy feels more like a character-driven thriller than a traditional superhero film, in the best sense possible. The director cleverly fits Bruce's process of becoming the Dark Knight into Campbell's monomyth , showing audiences how the hero is eventually able to master his new identity to save his city.

Batman Begins

13 'the northman' (2022), directed by robert eggers.

With his 2015 folk horror gem The Witch , Robert Eggers emerged as one of the most outstanding and exciting new voices in Hollywood. With his third outing, he departed from the horror genre to instead make one of the most barbaric action dramas of the 2020s so far: The Northman , the Hamlet-like tale of an exiled Viking prince on a quest to avenge his father's murder.

The Northman is one of the best R-rated fantasy movies , employing Eggers's unparalleled eye for visual and narrative details to tell a riveting story led by Alexander Skarsgård 's surprisingly nuanced lead performance. As a story inspired by classic tales of old, The Northman sticks close to Hero's Journey tropes, but always elevating them with nail-biting action and thrilling character work.

The Northman

12 'iron man' (2008), directed by jon favreau.

As one of the most famous superheroes in existence and the Marvel Cinematic Universe's anchor being, Iron Man (played by a perfectly cast Robert Downey Jr. ) is now a household name. Back in 2008, however, only hardcore Marvel fans knew who he was. That all changed with Jon Favreau 's Iron Man , the movie that birthed the MCU, about a billionaire who engineers a unique weaponized suit of armor to fight crime.

Whereas the franchise that it spawned would go on to have a sprawling structure spanning many media, Iron Man wisely falls into a traditional heroic journey as it follows Tony Stark into the cave where he meets his mentor and creates his armor, and into his entailing odyssey of self-discovery and heroism. To this day, the result is remembered as one of the MCU's greatest films.

11 'The Matrix' (1999)

Directed by lana and lilly wachowski.

When the Wachowskis released The Matrix before the turn of the century, the world was taken by storm, and the sci-fi genre in films would never be the same again. In the movie that cemented him as an action star, Keanu Reeves plays Neo, a man who joins a group of insurgents in their fight against the powerful computers who rule Earth. To this day, The Matrix still receives praise as one of the best sci-fi movies ever .

With its visual innovations, clever cinematography, and unique philosophical themes that have been endlessly analyzed throughout the years, The Matrix was unlike anything audiences had seen before at the time of its release . Perhaps one of the main reasons why its story clicked so well with viewers around the world was because it closely follows the stages of the Hero's Journey, as Neo goes from an average Joe to an all-powerful hero.

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10 'Kung Fu Panda' (2008)

Directed by mark osborne and john stevenson.

For those that think that family animated movies are exclusively for children, Kung Fu Panda is the perfect mind-changing watch. It follows Po ( Jack Black ), a lazy panda who dreams of being a kung fu hero, as he's thrust into a journey of discovering his destiny as the Chosen One. There are many examples of the Hero's Journey in movies that logically follow the same structure, but the creative things that Kung Fu Panda does with the archetype are entirely its own .

Just like all the compelling heroes of Campbell's model, Po is called to action, goes through several life-threatening ordeals with help from friends and allies, and finds that the power to be the guardian of the Valley of Peace comes from within. Sprinkled with hilarious humor, outstanding voice acting, and some of the best action in any animated film , it's undoubtedly one of DreamWorks Animation's best efforts.

Kung Fu Panda

9 'finding nemo' (2003), directed by andrew stanton.

Hero's Journey movies are usually action-focused epics, and not often family-friendly stories about fish. That only makes Finding Nemo even more special. It's the story of Marlin ( Albert Brooks ), a timid clownfish who, after his son Nemo ( Alexander Gould in one of the best child voice performances in animated cinema) is kidnapped, sets out to find him against all the threats that the deep blue sea has to offer.

Though Finding Nemo isn't your typical kind of hero's journey, where the story is much more intimate and the biggest threats that the characters face are mostly internal, it very much follows the formula . What finds itself transformed in the end is the relationship between Marlin and Nemo, in one of the most touching endings of Pixar's filmography.

Finding Nemo

8 'the truman show' (1998), directed by peter weir.

One of the most creative, smart, subversive, and philosophically profound comedies ever put to film, The Truman Show stars Jim Carrey (in one of the most inspired casting decisions of the '90s) as the titular Truman Burbank, an insurance salesman oblivious to the fact that his entire life is a reality TV show and every single person in his town — including his family and friends — are actors.

The Truman Show proves that any story can follow the Hero's Journey, not only genre action flicks . As he starts uncovering the truth, goes through an existential crisis, and eventually decides to escape his manufactured reality, the story of Truman sticks close to Campbell's stages of a narrative. The result is a fascinating movie that finds the perfect balance between smart humor and poignant drama.

The Truman Show

7 'the wizard of oz' (1939), directed by victor fleming.

An exciting adventure that uses both black-and-white and beautiful color , through a fantastical land that any movie fan would love to live in, The Wizard of Oz follows Dorothy ( Judy Garland ) in her journey through the magical land of Oz, searching for a mysterious wizard who can send her back home.

The movie was an absolute sensation when it came out, and even after more than three-quarters of a century, it's still remembered as one of the greatest American movie masterpieces. The stages of the monomyth are clear in The Wizard of Oz : the ordinary world is Kansas, Dorothy crosses a very literal threshold to a vastly different world, and her journey of transformation is full of faces both friendly and menacing.

The Wizard of Oz

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6 'The Lion King' (1994)

Directed by roger allers and rob minkoff.

1994's The Lion King is a movie that needs no introduction. Many would say that it's the best animated movie to ever come out of Disney, and it's fully understandable, thanks to its timeless songs and the animated film's brilliant depiction of grief . It's the grand and epic story of Simba ( Matthew Broderick ), a lion cub prince who's tricked into exile by his uncle Scar ( Jeremy Irons ), who wishes to have the throne for himself.

The animation is majestic, with some really charming character designs, and the story is compelling from beginning to end. Its philosophical themes of identity and self-discovery are beautiful, and the way they're conveyed through a classic hero's journey structure in The Lion King is simply perfect . The film is in certain ways an adaptation of William Shakespeare 's Hamlet , but its fidelity to Campbell's monomyth is much more interesting to dissect.

The Lion King (1994)

5 'harry potter' saga (2001 - 2011), directed by chris columbus, alfonso cuarón, mike newell, and david yates.

The Harry Potter series features not just one, but eight of the movies that best follow the Hero's Journey. From Chris Columbus 's Sorcerer's Stone to David Yates 's Deathly Hallows — Part 2 , the franchise follows the coming-of-age story of the titular character ( Daniel Radcliffe ) and his two best friends, as they grow to become key players in a war against an evil wizard.

Everyone has a different favorite installment in the series, but every Harry Potter movie plays an equally crucial role in the overarching narrative of the story, which very closely follows the monomyth . Not only that, but each film follows a smaller version of the general model as well. It's probably what makes these movies so easy to enjoy, since they so faithfully walk along the lines laid out by Campbell and so many filmmakers from before 2001.

Harry Potter and the Sorcerer's Stone

4 'seven samurai' (1954), directed by akira kurosawa.

Master Japanese filmmaker Akira Kurosawa is one of the best to ever do it, having inspired and influenced countless directors that came after him. He made many of the best films of all time throughout his career, but his most acclaimed is usually agreed to be Seven Samurai , a 3-and-a-half-hour-long action epic about seven samurai being hired for protection by a village of farmers exploited by bandits.

With Seven Samurai , Kurosawa pretty much invented the cinematic version of the Hero's Journey, which would be imitated and followed by a myriad of filmmakers in the future. Easily the best and most influential samurai film ever made, Seven Samurai expands on Campbell's monomyth and shows the range of enthralling stories that it's able to give a foundation to.

Seven Samurai

3 'the lord of the rings' trilogy (2001 - 2003), directed by peter jackson.

There are countless things that make Peter Jackson 's The Lord of the Rings trilogy one of the best fantasy film franchises of all time, and one of the most important is the fact that all three installments in the trilogy truly feel like part of a greater whole, as they collaborate in telling the story of Frodo ( Elijah Wood ), the Fellowship of the Ring, and their efforts to destroy the greatest tool of an evil tyrant terrorizing Middle-earth.

Of course, the monomyth-following template was already there, set in stone by the legendary J.R.R. Tolkien when he wrote what's undoubtedly one of the best series of fantasy books in history. Even yet, the way Jackson and company built on top of that, telling a story that feels undeniably cinematic, is admirable beyond measure.

The Lord of the Rings: The Fellowship of the Ring

2 'citizen kane' (1941), directed by orson welles.

When Orson Welles made his passion project Citizen Kane , he probably had no idea that he was making what would in the future be referred to as the single greatest film of all time by thousands of people, as well as one of the most essential movies of the '40s . Inspired by magnate William Randolph Hearst , it's a character study about a group of reporters trying to decipher the last words of Charles Foster Kane (Welles), a powerful newspaper tycoon.

Citizen Kane is an entirely unique picture, and the way it's structured is just as well. Citizen Kane follows Campbell's monomyth formula in a very non-traditional way , which only makes it more of a groundbreaking story. There are plenty of good reasons for its fame, and that's certainly one of the biggest.

Citizen Kane

1 'star wars' (1977), directed by george lucas.

Perhaps no movie more famously follows the Hero's Journey archetype than Star Wars , with George Lucas having taken direct inspiration from Campbell . The hero in this particular story is Luke Skywalker ( Mark Hamill ), a young farm boy who's thrown into an adventure far greater than anything he'd encountered before, joining the Rebellion against the dictatorial Galactic Empire.

One of the best space operas of all time, Star Wars showcases what makes the monomyth such an effective way of telling stories and celebrating the art of storytelling itself. Luke is a deeply compelling hero, his journey is incredibly entertaining, and all the allies and villains that he encounters along the way are equally iconic. As far as modern myths go, Star Wars is certainly one of the best.

Star Wars: Episode IV - A New Hope

NEXT: Movies You Didn't Realize Were Based on Greek Mythology