how to be a great hero essay

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What makes a hero, we all have an inner hero, argues philip zimbardo . here's how to find it..

This month, Greater Good features videos of a presentation by Philip Zimbardo, the world-renowned psychologist perhaps best known for his infamous Stanford Prison Experiment. In his talk, Zimbardo discusses the psychology of evil and of heroism, exploring why good people sometimes turn bad and how we can encourage more people to perform heroic acts. In this excerpt from his talk, he zeroes in on his research and educational program designed to foster the “heroic imagination.”

More on Heroism

Watch the video of Philip Zimbardo's Greater Good talk on heroism.

Read his essay on " The Banality of Heroism ," which further explores the conditions that can promote heroism vs. evil.

Read this Greater Good essay on the "psychology of the bystander."

Learn more about Zimbardo's Heroic Imagination Project.

What makes us good? What makes us evil?

Research has uncovered many answers to the second question: Evil can be fostered by dehumanization, diffusion of responsibility, obedience to authority, unjust systems, group pressure, moral disengagement, and anonymity, to name a few.

But when we ask why people become heroic, research doesn’t yet have an answer. It could be that heroes have more compassion or empathy; maybe there’s a hero gene; maybe it’s because of their levels of oxytocin—research by neuroeconomist Paul Zak has shown that this “love hormone” in the brain increases the likelihood you’ll demonstrate altruism. We don’t know for sure.

I believe that heroism is different than altruism and compassion. For the last five years, my colleagues and I have been exploring the nature and roots of heroism, studying exemplary cases of heroism and surveying thousands of people about their choices to act (or not act) heroically. In that time, we’ve come to define heroism as an activity with several parts.

First, it’s performed in service to others in need—whether that’s a person, group, or community—or in defense of certain ideals. Second, it’s engaged in voluntarily, even in military contexts, as heroism remains an act that goes beyond something required by military duty. Third, a heroic act is one performed with recognition of possible risks and costs, be they to one’s physical health or personal reputation, in which the actor is willing to accept anticipated sacrifice. Finally, it is performed without external gain anticipated at the time of the act.

Simply put, then, the key to heroism is a concern for other people in need—a concern to defend a moral cause, knowing there is a personal risk, done without expectation of reward.

By that definition, then, altruism is heroism light—it doesn’t always involve a serious risk. Compassion is a virtue that may lead to heroism, but we don’t know that it does. We’re just now starting to scientifically distinguish heroism from these other concepts and zero in on what makes a hero.

My work on heroism follows 35 years of research in which I studied the psychology of evil, including my work on the infamous Stanford Prison Experiment . The two lines of research aren’t as different as they might seem; they’re actually two sides of the same coin.

A key insight from research on heroism so far is that the very same situations that inflame the hostile imagination in some people, making them villains, can also instill the heroic imagination in other people, prompting them to perform heroic deeds.

Take the Holocaust. Christians who helped Jews were in the same situation as other civilians who helped imprison or kill Jews, or ignored their suffering. The situation provided the impetus to act heroically or malevolently. Why did some people choose one path or the other?

Another key insight from my research has been that there’s no clear line between good and evil. Instead, the line is permeable; people can cross back and forth between it.

This is an idea wonderfully represented in an illusion by M. C. Escher, at left. When you squint and focus on the white as the figures and the black as the background, you see a world full of angels and tutus dancing around happily. But now focus on the black as the figures and the white as the background: Now it’s a world full of demons.

What Escher’s telling us is that the world is filled with angels and devils, goodness and badness, and these dark and light aspects of human nature are our basic yin and yang. That is, we all are born with the capacity to be anything. Because of our incredible brains, anything that is imaginable becomes possible, anything that becomes possible can get transformed into action, for better or for worse. 

Some people argue humans are born good or born bad; I think that’s nonsense. We are all born with this tremendous capacity to be anything, and we get shaped by our circumstances—by the family or the culture or the time period in which we happen to grow up, which are accidents of birth; whether we grow up in a war zone versus peace; if we grow up in poverty rather than prosperity.

George Bernard Shaw captured this point in the preface to his great play “Major Barbara”: “Every reasonable man and woman is a potential scoundrel and a potential good citizen. What a man is depends upon his character what’s inside. What he does and what we think of what he does depends on upon his circumstances.”

So each of us may possess the capacity to do terrible things. But we also posses an inner hero; if stirred to action, that inner hero is capable of performing tremendous goodness for others.

Another conclusion from my research is that few people do evil and fewer act heroically. Between these extremes in the bell curve of humanity are the masses—the general population who do nothing, who I call the “reluctant heroes”—those who refuse the call to action and, by doing nothing, often implicitly support the perpetrators of evil.

So on this bell curve of humanity, villains and heroes are the outliers. The reluctant heroes are the rest. What we need to discover is how to give a call to service to this general population. How do we make them aware of the evil that exists? How do we prevent them from getting seduced to the dark side?

We don’t yet have a recipe for creating heroes, but we have some clues, based on the stories of some inspiring heroes.

I love the story of a wonderful nine-year-old Chinese boy, who I call a dutiful hero. In 2008, there was a massive earthquake in China’s Szechuan province. The ceiling fell down on a school, killing almost all the kids in it. This kid escaped, and as he was running away he noticed two other kids struggling to get out. He ran back and saved them. He was later asked, “Why did you do that?” He replied, “I was the hall monitor! It was my duty, it was my job to look after my classmates!”

This perfectly illustrates what I call the “heroic imagination,” a focus on one’s duty to help and protect others. For him, it was cultivated by being assigned this role of hall monitor.

Another story: Irena Sendler was a Polish hero, a Catholic woman who saved at least 2,500 Jewish kids who were holed up in the Warsaw ghetto that the Nazis had erected. She was able to convince the parents of these kids to allow her to smuggle them out of the ghetto to safety. To do this, she organized a network.

That is a key principle of heroism: Heroes are most effective not alone but in a network. It’s through forming a network that people have the resources to bring their heroic impulses to life.

What these stories suggest is that every one of us can be a hero. Through my work on heroism, I’ve become even more convinced that acts of heroism don’t just arrive from truly exceptional people but from people placed in the right circumstance, given the necessary tools to transform compassion into heroic action.

Building on these insights, I have helped to start a program designed to learn more of heroism and to create the heroes of tomorrow.

The Heroic Imagination Project (HIP) is amplifying the voice of the world’s quiet heroes, using research and education networks to promote a heroic imagination in everyone, and then empower ordinary people of all ages and nations to engage in extraordinary acts of heroism. We want to democratize the notion of heroism, to emphasize that most heroes are ordinary people; it’s the act that’s extraordinary.

There are already a lot of great heroes projects out there, such as the Giraffe Heroes Project . The HIP is unique in that it’s the only one encouraging research into heroism, because there’s very little.

Here are a few key insights from research we’ve done surveying 4,000 Americans from across the country. Each of these statements is valid after controlling for all demographic variables, such as education and socioeconomic status.

Heroes surround us. One in five—20 percent—qualify as heroes, based on the definition of heroism I provide above. Seventy-two percent report helping another person in a dangerous emergency. Sixteen percent report whistle blowing on an injustice. Six percent report sacrificing for a non-relative or stranger. Fifteen percent report defying an unjust authority. And not one of these people has been formally recognized as a hero.

Opportunity matters. Most acts of heroism occur in urban areas, where there are more people and more people in need. You’re not going to be a hero if you live in the suburbs. No shit happens in the suburbs!

Education matters. The more educated you are, the more likely you are to be a hero, I think because you are more aware of situations.

Volunteering matters. One third of all the sample who were heroes also had volunteered significantly, up to 59 hours a week.

Gender matters. Males reported performing acts of heroism more than females. I think this is because women tend not to regard a lot of their heroic actions as heroic. It’s just what they think they’re supposed to do for their family or a friend.

Race matters. Blacks were eight times more likely than whites to qualify as heroes. We think that’s in part due to the rate of opportunity. (In our next survey, we’re going to track responses by area code to see if in fact these heroes are coming from inner cities.

Personal history matters. Having survived a disaster or personal trauma makes you three times more likely to be a hero and a volunteer.

Based on these insights into heroism, we’ve put together a toolkit for potential heroes, especially young heroes in training, who already have opportunities to act heroically when they’re kids, such as by opposing bullying.

A first step is to take the “hero pledge,” a public declaration on our website that says you’re willing to be a hero in waiting. It’s a pledge “to act when confronted with a situation where I feel something is wrong,” “to develop my heroic abilities,” and “to believe in the heroic capacities within myself and others, so I can build and refine them.”

You can also take our four-week “Hero Challenge” mini-course online to help you develop your heroic muscles. The challenge may not require you to do anything heroic, but it’s training you to be heroic. And we offer more rigorous, research-based education and training programs for middle and high schools, corporations, and the millitary that make people aware of the social factors that produce passivity, inspire them to take positive civic action, and encourage the skills needed to consistently translate heroic impulses into action.

We’re also in the process of creating an Encyclopedia of Heroes, a collection of hero stories from all over the world. Not just all the classic ones and fictional ones, but ones that people from around the world are going to send in, so they can nominate ordinary heroes with a picture and a story. It will be searchable, so you can find heroes by age, gender, city and country. These are the unsung, quiet heroes—they do their own thing, put themselves in danger, defend a moral cause, help someone in need. And we want to highlight them. We want them to be inspirational to other people just like them.

Essentially, we’re trying to build the social habits of heroes, to build a focus on the other, shifting away from the “me” and toward the “we.” As the poet John Donne wrote: “No man [or woman] is an island entire of itself; every man is a piece of the continent, a part of the main; … any man’s death diminishes me, because I am involved in mankind. And therefore never send to know for whom the bell tolls; it tolls for thee.”

So every person is part of humanity. Each person’s pulse is part of humanity’s heartbeat. Heroes circulate the life force of goodness in our veins. And what the world needs now is more heroes—you. It’s time to take action against evil.

About the Author

Philip Zimbardo

Philip Zimbardo, Ph.D. , is a professor emeritus of psychology at Stanford University, a professor at Palo Alto University, a two-time past president of the Western Psychological Association, and a past president of the American Psychological Association. He is also the author of the best-selling book The Lucifer Effect and the president of the Heroic Imagination Project .

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Very nice information. In this world this is the very difficult question that what makes people good or evil. This post has helped a lot to understand the difference. Actually in my point of it depends upon the individual that what he/she thinks. If he/she thinks negative all the time them they became evil and thinking vice versa makes them good.

Andrew | 2:31 am, January 19, 2011 | Link

I really like reading this article because there are many individuals in the world that are heroes but are not recognized.  Heroes that have help humanity progress and prosper have fought with the greatest weapons which are love, respect, sincerity, and peace.  The governments that have had the greatest fear of seeing people free have always use war for colonization, genocide, and false treaties.  However, love is much stronger than war, and thanks to the modern forms of communication and exchange of information, more people are united for peace and do not support or participate in colonization or human genocide.  Since the start of humanity most people have use peace to progress, few have participated in war and few are participating. May peace prevail on earth!

Victor | 7:48 pm, January 29, 2011 | Link

A son raising up against an evil father. A brother standing up to a bully attacking his sibling. A stranger rallying to the side of a woman being assaulted in the street.

My sons are my strength. My reason to help others, that they may find the help they need in their lives.

pops | 9:39 am, February 3, 2011 | Link

Of course religion and eduction has a big impact on a child. But once a child is trying to live a good life (earning good karma or call it whatever you want) good things will happen to that child and he or she will recognize this.

So I think you can definitely change from evil to good.. maybe you _can be changed_ from good to evil.

Massud Hosseini | 7:28 am, September 17, 2011 | Link

Actually in my point of it depends upon the individual that what he/she thinks

asalah | 9:41 pm, September 24, 2011 | Link

“Research has uncovered many answers to the second question: Evil can be fostered by dehumanization, diffusion of responsibility, obedience to authority, unjust systems, group pressure, moral disengagement, and anonymity, to name a few.”  <—What I find amazing about this statement is that anything is being branded “evil” at all.  Well, maybe not.  Relativism seems to be something that’s employed when convenient, disregarded when it’s not.

Kukri | 6:58 pm, November 6, 2011 | Link

This is a very comprehensive discussion on heroism. Victor makes a great point in his comment about how most heroes go unnoticed by the vast majority of people. I think that lack of notoriety is part of what it means to be a hero: doing that which is unexpected without the need for a pat on the back. quotes for facebook status

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When a sniper’s bullet hits one soldier and misses the person next to him, that alone does not make the wounded soldier more heroic.

brokesteves | 6:10 am, April 24, 2012 | Link

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If you are writing a hero essay, you have to describe a particular person who did something great. This can be a story about brave heroes of the World War II that were fighting with an enemy to save other people. You may write about a smart scientist who invented something significant to simplify our life. Maybe you even have your own hero? Your main task here is to write about personal qualities to explain to your readers why this certain person is a great hero. It's important to find strong words to describe this particular man or woman, there are a lot of things to write about. This type of paper requires good skills in writing and a lot of time. We have created this detailed instruction to help people in writing a strong hero essay. Read all pages of our article, it will help to figure out how to make a successful story that will attract many readers. Follow our simple hints, don't forget to plan your time beforehand! In case you lack time or ideas, remember that StudyCrumb can help you with any academic essay. Just say " Write my essay cheap " and our professionals will create a wonderful paper on any topic. 

4 Steps of Creating a Brilliant Story About Your Hero

These are the main steps that will help people to make a good essay.

• Brainstorm your ideas to choose your hero. You are free to write about anyone: from a heroic person that saves people and their lives to a fictional character from a cartoon for children. The most important thing is to mention the qualities of the chosen person to show your readers their power and strength. Find a character analysis example to base on.
• Make a clear outline for your future work. You may think it's not necessary to do it at all, but creating an outline is an important step in writing; if you are traveling in the unknown place, you definitely have a map, don't you? The same is with creating your paper. An outline is your map to guide you through the process of writing, that's why you shouldn't neglect this step.
• Write a draft of your essay. Here everything is simple: just follow your outline, don't try to pay attention to grammar and punctuation. You will have a chance to fix all errors later. Try to be concentrated on your writing.
• Revise your hero essay to correct all mistakes and misprints. We suggest taking some time for rest after you have finished your paper and then start editing your work. It's more effective to check the paper with refreshed eyes. We suggest using various online programs to run online spell check and correct grammar mistakes.

How to Make a Good Outline for My Hero Essay?

As we already mentioned, an essay outline is an important part of writing your story about heroes; here is how you should build it:

• Introduction Here it's important to introduce your hero to readers: explain why this person is very important to you. Don't forget to provide your audience with a short background.
• The main part Here you should describe all qualities and characteristics of your hero to people. Provide heroic acts in details, don't forget about examples to support your argument. For instance, don't just write that a person was very brave. Provide a story that will prove it: tell your readers how your courage and character saved someone's life or did something significant for others.
• Conclusion This is a part of your paper where you have to rephrase the main idea of your writing to finish your essay logically. Don't make it too big, never try to put anything new here. A good ending should be a short accord in your work.

Ideas for Writing an Interesting Paper About a Hero

If you feel stuck with your writing, we have a bunch of interesting ideas you can choose from:

• Make a story about a real hero from books or newspapers. This can be an essay about a brave soldier who fought in the war, this may be a work about a fireman with courage who saved a lot of people and children from fire.
• Write about a fictional hero. Many people read a lot of stories about Superman or Batman - they are big heroes. It's possible to create a bright and interesting paper about such characters. Keep in mind you should describe their feats and achievement and explain to your readers why they have to admire them.
• Famous people : actors, politicians, scientists, etc. can be your heroes easily. You can make an exciting story about a movie star; it's possible to write about a great scientist you admire a lot. Maybe you even have figured out your future profession thanks to these people? This is a great idea to create your hero story about!
• Sometimes even ordinary people can become heroes. Maybe your best friend saved a little puppy fighting with a couple of angry dogs? Your uncle seems to be a brave hero because he is a zoologist who fights with poachers to make this world better? Feel free to write about such heroes too. They are very important for all us.

5 Tips to Create a Perfect and Bright Work About a Hero

Follow these effective hints to write an exciting hero paper and get a high grade:

• Write about someone your audience doesn't expect to hear. When people hear a word "hero", they have brave knights with courage in their mind. Try to catch people attention with a story about a homeless man who saved a kitten from cars or about a neighbor's son who helps the old people of your district (buys food for them every day).
• Usually, people expect reading from hero essays about such qualities as bravery, fame, and courage. It's possible to make an exciting story about a character who is very kind or extremely optimistic even in a bad situation. Surprise your readers with something they don't expect! This is a very effective thing when you're making a hero essay.
• Think out of the box - feel free to write about anything that comes to your mind. Keep in mind that you should support your argument with examples. Describe actions, not just how the chosen person looks! A huge smile plus nice face cannot convince readers you are writing about a kind character. If you will mention that a young man helped old woman to cross the street, then it proves this is an act of kindness.
• Whether you're making a story about a real person or write about a hero from cartoons, movies, or comics, write about the facts you are familiar with. There is no reason to use your fantasy, trying to provide readers with a fairy tale.
• Make a bright introduction to grab the attention of your readers. People won't read a boring story, your main task here is to motivate them to read the entire work. There are several ways of creating an interesting beginning. Try to start your essay with a quote, put a question, or provide the audience with an anecdote. Just try to be non-ordinary to write a creative essay !

Why Is It Important to Read Hero Essay Examples?

Needless to say, it's quite useful to read hero essay examples to create your own interesting story. Reading helps to refine writing skills, we suggest searching for essay samples, no matter what kind of paper you're working on. Here we want to share our successful sample of an interesting hero essay that may be helpful to read:  

My dad is a great hero to me. Even if he doesn't do anything special in his everyday job, I admire him a lot. He is a lawyer who helps to make equitable justice. My dad taught me that it's quite important to be an honest person. My dad is a great hero to me. Even if he doesn't do anything special in his everyday job, I admire him a lot. He is a lawyer who helps to make equitable justice. My dad taught me that it's quite important to be an honest person. At the start, that cruel man tried to defame my father's client - he wanted to make him guilty in everything; my dad already had evidence against the man so he suggested him staying quiet. It didn't work, the next day someone offered my father a bribe. I can't write the sum here - this money would be enough for all us to live without working anymore. In addition, my mother was fighting cancer, we needed a lot of money. My father didn't accept that: he rejected the deal and he found a man who offered a bribe. Nowadays, that man with his sly partner are in jail. The father's client was acquitted in the court from a criminal charge. I already have chosen my future profession - I want to be a lawyer like my dad. I admire this person because he is a strong hero for me because he is the most honest man I know.

Daniel Howard is an Essay Writing guru. He helps students create essays that will strike a chord with the readers.

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The Hero’s Journey Ultimate Writing Guide with Examples

by Alex Cabal

What do Star Wars , The Hobbit , and Harry Potter have in common? They’re all examples of a story archetype as old as time. You’ll see this universal narrative structure in books, films, and even video games.

This ultimate Hero’s Journey writing guide will define and explore all quintessential elements of the Hero’s Journey—character archetypes, themes, symbolism, the three act structure, as well as 12 stages of the Hero’s Journey. We’ll even provide a downloadable plot template, tips for writing the Hero’s Journey, and writing prompts to get the creative juices flowing.

What is the Hero’s Journey?

The Hero’s Journey is a universal story structure that follows the personal metamorphosis and psychological development of a protagonist on a heroic adventure. The protagonist goes through a series of stages to overcome adversity and complete a quest to attain an ultimate reward—whether that’s something tangible, like the holy grail, or something internal, like self confidence.

In the process of self-discovery, the archetypal Hero’s Journey is typically cyclical; it begins and ends in the same place (Think Frodo leaving and then returning to the Shire). After the epic quest or adventure has been completed by overcoming adversity and conflict—both physical and mental—the hero arrives where they once began, changed in some as they rose to meet the ultimate conflict or ordeal of the quest.

Joseph Campbell and Christopher Vogler

The Hero’s Journey has a long history of conversation around the form and its uses, with notable contributors including Joseph Campbell and the screenwriter Christopher Vogler , who later revised the steps of the Hero’s Journey.

Joseph Campbell’s “monomyth” framework is the traditional story structure of the Hero’s Journey archetype. Campbell developed it through analysis of ancient myths, folktales, and religious stories. It generally follows three acts in a cyclical, rather than a linear, way: a hero embarks on a journey, faces a crisis, and then returns home transformed and victorious.

Campbell’s ideation of the monomyth in his book The Hero With a Thousand Faces was influenced by Carl Jung’s perspective of psychology and models of self-transformation , where the Hero’s Journey is a path of transformation to a higher self, psychological healing, and spiritual growth.

While Campbell’s original take on the monomyth included 17 steps within the three acts, Christopher Vogler, in his book The Writer’s Journey , refined those 17 steps into 12 stages—the common formula for the modern structure many writers use today.

It’s also worth checking out Maureen Murdock’s work on the archetype, “The Heroine’s Journey.” This takes a look at the female Hero’s Journey, which examines the traditionally masculine journey through a feminist lens.

Hero’s Journey diagram: acts, steps, and stages

Below, you can see the way Volger’s Hero’s Journey is broken into twelve story beats across three acts.

Why is the Hero’s Journey so popular?

The structure of the Hero’s Journey appears in many of our most beloved classic stories, and it continues to resonate over time because it explores the concept of personal transformation and growth through both physical and mental trials and tribulations. In some sense, every individual in this mythic structure experiences rites of passage, the search for home and the true authentic self, which is mirrored in a protagonist’s journey of overcoming obstacles while seeking to fulfill a goal.

Additionally, the Hero’s Journey typically includes commonly shared symbols and aspects of the human psyche—the trickster, the mother, the child, etc. These archetypes play a role in creating a story that the reader can recognize from similar dynamics in their own relationships, experiences, and familiar world. Archetypes allow the writer to use these “metaphorical truths”—a playful deceiver, a maternal bond, a person of innocence and purity—to deeply and empathetically connect with the reader through symbolism. That’s why they continue to appear in countless stories all around the world.

Hero’s Journey character archetypes

Character archetypes are literary devices based on a set of qualities that are easy for a reader to identify, empathize with, and understand, as these qualities and traits are common to the human experience.

It should be noted that character archetypes are not stereotypes . While stereotypes are oversimplifications of demographics or personality traits, an archetype is a symbol of a universal type of character that can be recognized either in one’s self or in others in real life.

The following archetypes are commonly used in a Hero’s Journey:

The hero is typically the protagonist or principal point-of-view character within a story. The hero transforms—internally, externally, often both—while on their journey as they experience tests and trials and are aided or hindered by the other archetypes they encounter. In general, the hero must rise to the challenge and at some point make an act of sacrifice for the ultimate greater good. In this way, the Hero’s Journey represents the reader’s own everyday battles and their power to overcome them.

Heroes may be willing or unwilling. Some can be downright unheroic to begin with. Antiheroes are notably flawed characters that must grow significantly before they achieve the status of true hero.

The mentor often possesses divine wisdom or direct experience with the special world, and has faith in the hero. They often give the hero a gift or supernatural aid, which is usually something important for the quest: either a weapon to destroy a monster, or a talisman to enlighten the hero. The mentor may also directly aid the hero or present challenges to them that force internal or external growth. After their meeting, the hero leaves stronger and better prepared for the road ahead.

The herald is the “call to adventure.” They announce the coming of significant change and become the reason the hero ventures out onto a mysterious adventure. The herald is a catalyst that enters the story and makes it impossible for the hero to remain in status quo. Existing in the form of a person or an event, or sometimes just as information, they shift the hero’s balance and change their world.

The Threshold Guardian

This archetype guards the first threshold—the major turning point of the story where the hero must make the true commitment of the journey and embark on their quest to achieve their destiny. Threshold guardians spice up the story by providing obstacles the hero must overcome, but they’re usually not the main antagonist.

The role of the threshold guardian is to help round out the hero along their journey. The threshold guardian will test the hero’s determination and commitment and will drive them forward as the hero enters the next stage of their journey, assisting the development of the hero’s character arc within the plot. The threshold guardian can be a friend who doesn’t believe in the hero’s quest, or a foe that makes the hero question themselves, their desires, or motives in an attempt to deter the hero from their journey. Ultimately, the role of the threshold guardian is to test the hero’s resolve on their quest.

The Shape Shifter

The shape shifter adds dramatic tension to the story and provides the hero with a puzzle to solve. They can seem to be one thing, but in fact be something else. They bring doubt and suspense to the story and test the hero’s ability to discern their path. The shape shifter may be a lover, friend, ally, or enemy that somehow reveals their true self from the hero’s preconceived notion. This often causes the hero internal turmoil, or creates additional challenges and tests to overcome.

The shadow is the “monster under the bed,” and could be repressed feelings, deep trauma, or festering guilt. These all possess the dark energy of the shadow. It is the dark force of the unexpressed, unrealized, rejected, feared aspects of the hero and is often, but not necessarily, represented by the main antagonist or villain.

However, other characters may take the form of the shadow at different stages of the story as “foil characters” that contrast against the hero. They might also represent what could happen if the hero fails to learn, transform, and grow to complete their quest. At times, a hero may even succumb to the shadow, from which they will need to make sacrifices to be redeemed to continue on their overall quest.

The Trickster

The trickster is the jester or fool of the story that not only provides comic relief, but may also act as a commentator as the events of the plot unfold. Tricksters are typically witty, clever, spontaneous, and sometimes even ridiculous. The trickster within a story can bring a light-hearted element to a challenge, or find a clever way to overcome an obstacle.

Hero’s Journey themes and symbols

Alongside character archetypes, there are also archetypes for settings, situations, and symbolic items that can offer meaning to the world within the story or support your story’s theme.

Archetypes of themes, symbols, and situations represent shared patterns of human existence. This familiarity can provide the reader insight into the deeper meaning of a story without the writer needing to explicitly tell them. There are a great number of archetypes and symbols that can be used to reinforce a theme. Some that are common to the Hero’s Journey include:

Situational archetypes

Light vs. dark and the battle of good vs. evil

Death, rebirth, and transformation in the cycle of life

Nature vs. technology, and the evolution of humanity

Rags to riches or vice versa, as commentary on the material world and social status

Wisdom vs. knowledge and innocence vs. experience, in the understanding of intuition and learned experience

Setting archetypes

Gardens may represent the taming of nature, or living in harmony with nature.

Forests may represent reconnection with nature or wildness, or the fear of the unknown.

Cities or small towns may represent humanity at its best and at its worst. A small town may offer comfort and rest, while simultaneously offering judgment; a city may represent danger while simultaneously championing diversity of ideas, beings, and cultures.

Water and fire within a landscape may represent danger, change, purification, and cleansing.

Symbolic items

Items of the past self. These items are generally tokens from home that remind the hero of where they came from and who or what they’re fighting for.

Gifts to the hero. These items may be given to the hero from a mentor, ally, or even a minor character they meet along the way. These items are typically hero talismans, and may or may not be magical, but will aid the hero on their journey.

Found items. These items are typically found along the journey and represent some sort of growth or change within the hero. After all, the hero would never have found the item had they not left their everyday life behind. These items may immediately seem unimportant, but often carry great significance.

Earned rewards. These items are generally earned by overcoming a test or trial, and often represent growth, or give aid in future trials, tests, and conflicts.

The three act structure of the Hero’s Journey

The structure of the Hero’s Journey, including all 12 steps, can be grouped into three stages that encompass each phase of the journey. These acts follow the the external and internal arc of the hero—the beginning, the initiation and transformation, and the return home.

Act One: Departure (Steps 1—5)

The first act introduces the hero within the ordinary world, as they are—original and untransformed. The first act will typically include the first five steps of the Hero’s Journey.

This section allows the writer to set the stage with details that show who the hero is before their metamorphosis—what is the environment of the ordinary world? What’s important to the hero? Why do they first refuse the call, and then, why do they ultimately accept and embark on the journey to meet with the conflict?

This stage introduces the first major plot point of the story, explores the conflict the hero confronts, and provides the opportunity for characterization for the hero and their companions.

The end of the first act generally occurs when the hero has fully committed to the journey and crossed the threshold of the ordinary world—where there is no turning back.

Act Two: Initiation (Steps 6—9)

Once the hero begins their journey, the second act marks the beginning of their true initiation into the unfamiliar world—they have crossed the threshold, and through this choice, have undergone their first transformation.

The second act is generally the longest of the three and includes steps six through nine.

In this act, the hero meets most of the characters that will be pivotal to the plot, including friends, enemies, and allies. It offers the rising action and other minor plot points related to the overarching conflict. The hero will overcome various trials, grow and transform, and navigate subplots—the additional and unforeseen complexity of the conflict.

This act generally ends when the hero has risen to the challenge to overcome the ordeal and receives their reward. At the end of this act, it’s common for the theme and moral of the story to be fully unveiled.

Act Three: Return (Steps 10—12)

The final stage typically includes steps 10—12, generally beginning with the road back—the point in the story where the hero must recommit to the journey and use all of the growth, transformation, gifts and tools acquired along the journey to bring a decisive victory against their final conflict.

From this event, the hero will also be “reborn,” either literally or metaphorically, and then beginning anew as a self-actualized being, equipped with internal knowledge about themselves, external knowledge about the world, and experience.

At the end of the third act, the hero returns home to the ordinary world, bringing back the gifts they earned on their journey. In the final passages, both the hero and their perception of the ordinary world are compared with what they once were.

The 12 steps of the Hero’s Journey

The following guide outlines the 12 steps of the Hero’s Journey and represents a framework for the creation of a Hero’s Journey story template. You don’t necessarily need to follow the explicit cadence of these steps in your own writing, but they should act as checkpoints to the overall story.

We’ll also use JRR Tolkien’s The Hobbit as a literary example for each of these steps. The Hobbit does an exemplary job of following the Hero’s Journey, and it’s also an example of how checkpoints can exist in more than one place in a story, or how they may deviate from the typical 12-step process of the Hero’s Journey.

1. The Ordinary World

This stage in the Hero’s Journey is all about exposition. This introduces the hero’s backstory—who the hero is, where they come from, their worldview, culture, and so on. This offers the reader a chance to relate to the character in their untransformed form.

As the story and character arc develop, the reader is brought along the journey of transformation. By starting at the beginning, a reader has a basic understanding of what drives the hero, so they can understand why the hero makes the choices they do. The ordinary world shows the protagonist in their comfort zone, with their worldview being limited to the perspective of their everyday life.

Characters in the ordinary world may or may not be fully comfortable or satisfied, but they don’t have a point of reference to compare—they have yet to leave the ordinary world to gain the knowledge to do so.

Step One example

The Hobbit begins by introducing Bilbo in the Shire as a respectable and well-to-do member of the community. His ordinary world is utopian and comfortable. Yet, even within a village that is largely uninterested in the concerns of the world outside, the reader is provided a backstory: even though Bilbo buys into the comforts and normalcy of the Shire, he still yearns for adventure—something his neighbors frown upon. This ordinary world of the Shire is disrupted with the introduction of Gandalf—the “mentor”—who is somewhat uncomfortably invited to tea.

2. Call to Adventure

The call to adventure in the Hero’s Journey structure is the initial internal conflict that the protagonist hero faces, that drives them to the true conflict that they must overcome by the end of their journey.

The call occurs within the known world of the character. Here the writer can build on the characterization of the protagonist by detailing how they respond to the initial call. Are they hesitant, eager, excited, refusing, or willing to take a risk?

Step Two example

Bilbo’s call to adventure takes place at tea as the dwarves leisurely enter his home, followed by Gandalf, who identifies Bilbo as the group’s missing element—the burglar, and the lucky 14th member.

Bilbo and his ordinary world are emphasized by his discomfort with his rambunctious and careless guests. Yet as the dwarves sing stories of old adventures, caverns, and lineages, which introduce and foreshadow the conflict to come, a yearning for adventure is stirred. Though he still clings to his ordinary world and his life in the Shire, he’s conflicted. Should he leave the shire and experience the world, or stay in his comfortable home? Bilbo continues to refuse the call, but with mixed feelings.

3. Refusal of the Call

The refusal of the call in the Hero’s Journey showcases a “clinging” to one’s original self or world view. The initial refusal of the call represents a fear of change, as well as a resistance to the internal transformation that will occur after the adventure has begun.

The refusal reveals the risks that the protagonist faces if they were to answer the call, and shows what they’ll leave behind in the ordinary world once they accept.

The refusal of the call creates tension in the story, and should show the personal reasons why the hero is refusing—inner conflict, fear of change, hesitation, insecurity, etc. This helps make their character clearer for the reader.

These are all emotions a reader can relate to, and in presenting them through the hero, the writer deepens the reader’s relationship with them and helps the reader sympathize with the hero’s internal plight as they take the first step of transformation.

Step Three example

Bilbo refuses the call in his first encounter with Gandalf, and in his reaction to the dwarves during tea. Even though Bilbo’s “Tookish” tendencies make him yearn for adventure, he goes to bed that night still refusing the call. The next morning, as Bilbo awakes to an empty and almost fully clean hobbit home, he feels a slight disappointment for not joining the party, but quickly soothes his concerns by enjoying the comfort of his home—i.e. the ordinary world. Bilbo explores his hesitation to disembark from the ordinary world, questioning why a hobbit would become mixed up in the adventures of others, and choosing not to meet the dwarves at the designated location.

4. Meeting the Mentor

Meeting the mentor in the Hero’s Journey is the stage that provides the hero protagonist with a guide, relationship, and/or informational asset that has experience outside the ordinary world. The mentor offers confidence, advice, wisdom, training, insight, tools, items, or gifts of supernatural wonder that the hero will use along the journey and in overcoming the ultimate conflict.

The mentor often represents someone who has attempted to overcome, or actually has overcome, an obstacle, and encourages the hero to pursue their calling, regardless of the hero’s weaknesses or insecurities. The mentor may also explicitly point out the hero’s weaknesses, forcing them to reckon with and accept them, which is the first step to their personal transformation.

Note that not all mentors need to be a character . They can also be objects or knowledge that has been instilled in the hero somehow—cultural ethics, spiritual guidance, training of a particular skill, a map, book, diary, or object that illuminates the path forward, etc. In essence, the mentor character or object has a role in offering the protagonist outside help and guidance along the Hero’s Journey, and plays a key role in the protagonist’s transition from normalcy to heroism.

The mentor figure also offers the writer the opportunity to incorporate new information by expanding upon the story, plot, or backstory in unique ways. They do this by giving the hero information that would otherwise be difficult for the writer to convey naturally.

The mentor may accompany the hero throughout most of the story, or they may only periodically be included to facilitate changes and transformation within them.

Step Four example

The mentor, Gandalf, is introduced almost immediately. Gandalf is shown to be the mentor, firstly through his arrival from—and wisdom of—the outside world; and secondly, through his selection of Bilbo for the dwarven party by identifying the unique characteristics Bilbo has that are essential to overcoming the challenges in the journey. Gandalf doesn’t accompany Bilbo and the company through all of the trials and tribulations of the plot, but he does play a key role in offering guidance and assistance, and saves the group in times of dire peril.

5. Crossing the Threshold

As the hero crosses the first threshold, they begin their personal quest toward self-transformation. Crossing the threshold means that the character has committed to the journey, and has stepped outside of the ordinary world in the pursuit of their goal. This typically marks the conclusion of the first act.

The threshold lies between the ordinary world and the special world, and marks the point of the story where the hero fully commits to the road ahead. It’s a crucial stage in the Hero’s Journey, as the hero wouldn’t be able to grow and transform by staying in the ordinary world where they’re comfortable and their world view can’t change.

The threshold isn’t necessarily a specific place within the world of the story, though a place can symbolize the threshold—for example a border, gateway, or crossroads that separate what is safe and “known” from what is potentially dangerous. It can also be a moment or experience that causes the hero to recognize that the comforts and routine of their world no longer apply—like the loss of someone or something close to the hero, for example. The purpose of the threshold is to take the hero out of their element and force them, and the reader, to adapt from the known to the unknown.

This moment is crucial to the story’s tension. It marks the first true shift in the character arc and the moment the adventure has truly begun. The threshold commonly forces the hero into a situation where there’s no turning back. This is sometimes called the initiation stage or the departure stage.

Step Five example

The threshold moment in The Hobbit occurs when the party experiences true danger as a group for the first time. Bilbo, voted as scout by the party and eager to prove his burglar abilities, sneaks upon a lone fire in the forest where he finds three large trolls. Rather than turn back empty-handed—as he initially wants to—Bilbo chooses to prove himself, plucking up the courage to pickpocket the trolls—but is caught in the process. The dwarves are also captured and fortunately, Gandalf, the mentor, comes to save the party.

Bilbo’s character arc is solidified in this threshold moment. He experiences his first transformation when he casts aside fear and seeks to prove himself as a burglar, and as an official member of the party. This moment also provides further characterization of the party as a whole, proving the loyalty of the group in seeking out their captured member.

Gandalf’s position as the mentor is also firmly established as he returns to ultimately save all of the members of the party from being eaten by trolls. The chapter ends with Bilbo taking ownership of his first hero talisman—the sword that will accompany him through the rest of the adventure.

6. Tests, Allies, Enemies

Once the hero has crossed the threshold, they must now encounter tests of courage, make allies, and inevitably confront enemies. All these elements force the hero to learn the new ways of the special world and how it differs from the hero’s ordinary world—i.e. how the rules have changed, the conditions of the special world vs. the ordinary world, and the various beings and places within it.

All these elements spark stages of transformation within the hero—learning who they can trust and who they can’t, learning new skills, seeking training from the mentor, and overcoming challenges that force and drive them to grow and transform.

The hero may both succeed and fail at various points of this stage, which will test their commitment to the journey. The writer can create tension by making it clear that the hero may or may not succeed at the critical moment of crisis. These crises can be external or internal.

External conflicts are issues that the character must face and overcome within the plot—e.g. the enemy has a sword drawn and the hero must fight to survive.

Internal conflicts occur inside the hero. For example, the hero has reached safety, but their ally is in peril; will they step outside their comfort zone and rise to the occasion and save their friend? Or will they return home to their old life and the safety of the ordinary world?

Tests are conflicts and threats that the hero must face before they reach the true conflict, or ordeal, of the story. These tests set the stage and prime the hero to meet and achieve the ultimate goal. They provide the writer the opportunity to further the character development of the hero through their actions, inactions, and reactions to what they encounter. The various challenges they face will teach them valuable lessons, as well as keep the story compelling and the reader engaged.

Allies represent the characters that offer support to the protagonist along the journey. Some allies may be introduced from the beginning, while others may be gained along the journey. Secondary characters and allies provide additional nuance for the hero, through interactions, events, and relationships that further show who the hero is at heart, what they believe in, and what they’re willing to fight for. The role of the allies is to bring hope, inspiration, and further drive the hero to do what needs to be done.

Enemies represent a foil to the allies. While allies bring hope and inspiration, enemies will provide challenges, conflicts, tests, and challenges. Both allies and enemies may instigate transformative growth, but enemies do so in a way that fosters conflict and struggle.

Characterization of enemies can also enhance the development of the hero through how they interact and the lessons learned through those interactions. Is the hero easily duped, forgiving, empathetic, merciful? Do they hold a grudge and seek revenge? Who is the hero now that they have been harmed, faced an enemy, and lost pieces of their innocent worldview? To answer that, the hero is still transforming and gestating with every lesson, test, and enemy faced along the way.

Step Six example

As the plot of The Hobbit carries on, Bilbo encounters many tests, allies, and enemies that all drive complexity in the story. A few examples include:

The first major obstacle that Bilbo faces occurs within the dark and damp cave hidden in the goblin town. All alone, Bilbo must pluck up the wit and courage to outriddle a creature named Gollum. In doing so, Bilbo discovers the secret power of a golden ring (another hero talisman) that will aid him and the party through the rest of the journey.

The elves encountered after Bilbo “crosses the threshold” are presented as allies in the story. The hero receives gifts of food, a safe place to rest, and insight and guidance that allows the party to continue on their journey. While the party doesn’t dwell long with the elves, the elves also provide further character development for the party at large: the serious dwarf personalities are juxtaposed against the playful elvish ones, and the elves offer valuable historical insight with backstory to the weapons the party gathered from the troll encounter.

Goblins are a recurring enemy within the story that the hero and party must continue to face, fight, and run from. The goblins present consistent challenges that force Bilbo to face fear and learn and adapt, not only to survive but to save his friends.

7. Approach to the Inmost Cave

The approach to the inmost cave of the Hero’s Journey is the tense quiet before the storm; it’s the part of the story right before the hero faces their greatest fear, and it can be positioned in a few different ways. By now, the hero has overcome obstacles, setbacks, and tests, gained and lost allies and enemies, and has transformed in some way from the original protagonist first introduced in the ordinary world.

The moment when the hero approaches the inmost cave can be a moment of reflection, reorganization, and rekindling of morale. It presents an opportunity for the main characters of the story to come together in a moment of empathy for losses along the journey; a moment of planning and plotting next steps; an opportunity for the mentor to teach a final lesson to the hero; or a moment for the hero to sit quietly and reflect upon surmounting the challenge they have been journeying toward for the length of their adventure.

The “cave” may or may not be a physical place where the ultimate ordeal and conflict will occur. The approach represents the momentary period where the hero assumes their final preparation for the overall challenge that must be overcome. It’s a time for the hero and their allies, as well as the reader, to pause and reflect on the events of the story that have already occurred, and to consider the internal and external growth and transformation of the hero.

Having gained physical and/or emotional strength and fortitude through their trials and tests, learned more rules about the special world, found and lost allies and friends, is the hero prepared to face danger and their ultimate foe? Reflection, tension, and anticipation are the key elements of crafting the approach to the cave.

Step Seven example

The approach to the cave in The Hobbit occurs as the party enters the tunnel of the Lonely Mountain. The tunnel is the access point to the ultimate goal—Thorin’s familial treasure, as well as the ultimate test—the formidable dragon Smaug. During this part of the story, the party must hide, plot, and plan their approach to the final conflict. It’s at this time that Bilbo realizes he must go alone to scout out and face the dragon.

8. The Ordeal

The ordeal is the foreshadowed conflict that the hero must face, and represents the midpoint of the story. While the ordeal is the ultimate conflict that the hero knows they must overcome, it’s a false climax to the complete story—there’s still much ground to cover in the journey, and the hero will still be tested after completing this, the greatest challenge. In writing the ordeal phase of the Hero’s Journey, the writer should craft this as if it actually were the climax to the tale, even though it isn’t.

The first act, and the beginning of the second act, have built up to the ordeal with characterization and the transformation of the hero through their overcoming tests and trials. This growth—both internal and external—has all occurred to set the hero up to handle this major ordeal.

As this stage commences, the hero is typically faced with fresh challenges to make the ordeal even more difficult than they previously conceived. This may include additional setbacks for the hero, the hero’s realization that they were misinformed about the gravity of the situation, or additional conflicts that make the ordeal seem insurmountable.

These setbacks cause the hero to confront their greatest fears and build tension for both the hero and the reader, as they both question if the hero will ultimately succeed or fail. In an epic fantasy tale, this may mean a life-or-death moment for the hero, or experiencing death through the loss of an important ally or the mentor. In a romance, it may be the moment of crisis where a relationship ends or a partner reveals their dark side or true self, causing the hero great strife.

This is the rock-bottom moment for the hero, where they lose hope, courage, and faith. At this point, even though the hero has already crossed the threshold, this part of the story shows how the hero has changed in such a way that they can never return to their original self: even if they return to the ordinary world, they’ll never be the same; their perception of the world has been modified forever.

Choosing to endure against all odds and costs to face the ordeal represents the loss of the hero’s original self from the ordinary world, and a huge internal transformation occurs within the hero as they must rise and continue forth to complete their journey and do what they set out to do from the beginning.

The ordeal may also be positioned as an introduction to the greater villain through a trial with a shadow villain, where the hero realizes that the greatest conflict is unveiled as something else, still yet to come. In these instances, the hero may fail, or barely succeed, but must learn a crucial lesson and be metaphorically resurrected through their failure to rise again and overcome the greater challenge.

Step Eight example

Bilbo must now face his ultimate challenge: burgle the treasure from the dragon. This is the challenge that was set forth from the beginning, as it’s his purpose as the party’s 14th member, the burglar, anointed by Gandalf, the mentor. Additional conflicts arise as Bilbo realizes that he must face the dragon alone, and in doing so, must rely on all of the skills and gifts in the form of talismans and tokens he has gained throughout the adventure.

During the ordeal, Bilbo uses the courage he has gained by surmounting the story’s previous trials; he’s bolstered by his loyalty to the group and relies upon the skills and tools he has earned in previous trials. Much as he outwitted Gollum in the cave, Bilbo now uses his wit as well as his magical ring to defeat Smaug in a game of riddles, which ultimately leads Smaug out of the lair so that Bilbo can complete what he was set out to do—steal the treasure.

The reward of the Hero’s Journey is a moment of triumph, celebration, or change as the hero achieves their first major victory. This is a moment of reflection for both the reader and the hero, to take a breath to contemplate and acknowledge the growth, development, and transformation that has occurred so far.

The reward is the boon that the hero learns, is granted, or steals, that will be crucial to facing the true climax of the story that is yet to come. The reward may be a physical object, special knowledge, or reconciliation of some sort, but it’s always a thing that allows for some form of celebration or replenishment and provides the drive to succeed before the journey continues.

Note that the reward may not always be overtly positive—it may also be a double-edged sword that could harm them physically or spiritually. This type of reward typically triggers yet another internal transformation within the hero, one that grants them the knowledge and personal drive to complete the journey and face their remaining challenges.

From the reward, the hero is no longer externally driven to complete the journey, but has evolved to take on the onus of doing so.

Examples of rewards may include:

A weapon, elixir, or object that will be necessary to complete the quest.

Special knowledge, or a personal transformation to use against a foe.

An eye-opening experience that provides deep insight and fundamentally changes the hero and their position within the story and world.

Reconciliation with another character, or with themselves.

No matter what the reward is, the hero should experience some emotional or spiritual revelation and a semblance of inner peace or personal resolve to continue the journey. Even if the reward is not overtly positive, the hero and the reader deserve a moment of celebration for facing the great challenge they set out to overcome.

Step Nine example

Bilbo defeats the dragon at a battle of wits and riddles, and now receives his reward. He keeps the gifts he has earned, both the dagger and the gold ring. He is also granted his slice of the treasure, and the Lonely Mountain is returned to Thorin. The party at large is rewarded for completing the quest and challenge they set out to do.

However, Tolkien writes the reward to be more complex than it first appears. The party remains trapped and hungry within the Mountain as events unfold outside of it. Laketown has been attacked by Smaug, and the defenders will want compensation for the damage to their homes and for their having to kill the dragon. Bilbo discovers, and then hides, the Arkenstone (a symbolic double edged reward) to protect it from Thorin’s selfishness and greed.

10. The Road Back

The road back in the Hero’s Journey is the beginning of the third act, and represents a turning point within the story. The hero must recommit to the journey, alongside the new stakes and challenges that have arisen from the completion of the original goal.

The road back presents roadblocks—new and unforeseen challenges to the hero that they must now face on their journey back to the ordinary world. The trials aren’t over yet, and the stakes are raised just enough to keep the story compelling before the final and ultimate conflict—the hero’s resurrection—is revealed in the middle of the third act.

The hero has overcome their greatest challenge in the Ordeal and they aren’t the same person they were when they started. This stage of the story often sees the hero making a choice, or reflecting on their transformed state compared to their state at the start of the journey.

The writer’s purpose in the third act is not to eclipse the upcoming and final conflict, but to up the stakes, show the true risk of the final climax, and to reflect on what it will take for the hero to ultimately prevail. The road back should offer a glimmer of hope—the light at the end of the tunnel—and should let the reader know the dramatic finale is about to arrive.

Step Ten example

What was once a journey to steal treasure and slay a dragon has developed new complications. Our hero, Bilbo, must now use all of the powers granted in his personal transformation, as well as the gifts and rewards he earned on the quest, to complete the final stages of the journey.

This is the crisis moment of The Hobbit ; the armies of Laketown are prepared for battle to claim their reward for killing Smaug; the fearless leader of their party, Thorin, has lost reason and succumbed to greed; and Bilbo makes a crucial choice based his personal growth: he gives the Arkenstone to the king as a bargaining chip for peace. Bilbo also briefly reconnects with the mentor, Gandalf, who warns him of the unpleasant times ahead, but comforts Bilbo by saying that things may yet turn out for the best. Bilbo then loyally returns to his friends, the party of dwarves, to stand alongside them in the final battle.

11. Resurrection

The resurrection stage of the Hero’s Journey is the final climax of the story, and the heart of the third act. By now the hero has experienced internal and external transformation and a loss of innocence, coming out with newfound knowledge. They’re fully rooted in the special world, know its rules, and have made choices that underline this new understanding.

The hero must now overcome the final crisis of their external quest. In an epic fantasy tale, this may be the last battle of light versus darkness, good versus evil, a cumulation of fabulous forces. In a thriller, the hero might ultimately face their own morality as they approach the killer. In a drama or romance, the final and pivotal encounter in a relationship occurs and the hero puts their morality ahead of their immediate desires.

The stakes are the highest they’ve ever been, and the hero must often choose to make a sacrifice. The sacrifice may occur as a metaphoric or symbolic death of the self in some way; letting go of a relationship, title, or mental/emotional image of the self that a hero once used as a critical aspect of their identity, or perhaps even a metaphoric physical death—getting knocked out or incapacitated, losing a limb, etc.

Through whatever the great sacrifice is, be it loss or a metaphoric death, the hero will experience a form of resurrection, purification, or internal cleansing that is their final internal transformation.

In this stage, the hero’s character arc comes to an end, and balance is restored to the world. The theme of the story is fully fleshed out and the hero, having reached some form of self-actualization, is forever changed. Both the reader and the hero experience catharsis—the relief, insight, peace, closure, and purging of fear that had once held the hero back from their final transformation.

Step Eleven example

All the armies have gathered, and the final battle takes place. Just before the battle commences, Bilbo tells Thorin that it was he who gave the Arkenstone to the city of men and offers to sacrifice his reward of gold for taking the stone. Gandalf, the mentor, arrives, standing beside Bilbo and his decision. Bilbo is shunned by Thorin and is asked to leave the party for his betrayal.

Bilbo experiences a symbolic death when he’s knocked out by a stone. Upon awakening, Bilbo is brought to a dying Thorin, who forgives him of his betrayal, and acknowledges that Bilbo’s actions were truly the right thing to do. The theme of the story is fully unveiled: that bravery and courage comes in all sizes and forms, and that greed and gold are less worthy than a life rich in experiences and relationships.

12. Return with the Elixir

The elixir in the Hero’s Journey is the final reward the hero brings with them on their return, bridging their two worlds. It’s a reward hard earned through the various relationships, tests, and growth the hero has experienced along their journey. The “elixir” can be a magical potion, treasure, or object, but it can also be intangible—love, wisdom, knowledge, or experience.

The return is key to the circular nature of the Hero’s Journey. It offers a resolution to both the reader and the hero, and a comparison of their growth from when the journey began.

Without the return, the story would have a linear nature, a beginning and an end. In bringing the self-actualized hero home to the ordinary world, the character arc is completed, and the changes they’ve undergone through the journey are solidified. They’ve overcome the unknown, and though they’re returning home, they can no longer resume their old life because of their new insight and experiences.

Step Twelve example

The small yet mighty hero Bilbo is accompanied on his journey home by his mentor Gandalf, as well as the allies he gathered along his journey. He returns with many rewards—his dagger, his golden ring, and his 1/14th split of the treasure—yet his greatest rewards are his experience and the friends he has made along the way. Upon entering the Shire Bilbo sings a song of adventure, and the mentor Gandalf remarks, “My dear Bilbo! Something is the matter with you, you are not the hobbit you were.”

The final pages of The Hobbit explore Bilbo’s new self in the Shire, and how the community now sees him as a changed hobbit—no longer quite as respectable as he once was, with odd guests who visit from time to time. Bilbo also composes his story “There and Back Again,” a tale of his experiences, underlining his greatest reward—stepping outside of the Shire and into the unknown, then returning home, a changed hobbit.

Books that follow the Hero’s Journey

One of the best ways to become familiar with the plot structure of the Hero’s Journey is to read stories and books that successfully use it to tell a powerful tale. Maybe they’ll inspire you to use the hero’s journey in your own writing!

The Lord of the Rings trilogy by J. R. R. Tolkien.

The Harry Potter series by J. K. Rowling.

The Earthsea series by Ursula K. Le Guin.

The Odyssey by Homer.

Siddhartha by Herman Hesse.

Pride and Prejudice by Jane Austen.

Writing tips for the Hero’s Journey

Writing a Hero’s Journey story often requires planning beforehand to organize the plot, structure, and events of the story. Here are some tips to use the hero’s journey archetype in a story:

Use a template or note cards to organize and store your ideas. This can assist in ensuring that you tie up any loose ends in the plot, and that the cadence of your story is already outlined before you begin writing.

Use word count goals for writing different sections of your story. This can help you keep pace while you plan and write the first draft. You can always revise, edit, and add in detail at later stages of development, but getting the ideas written without bogging them down with details can assist in preparing your outline, and may perhaps provide additional inspiration and guidance along the way.

Lean into creativity and be flexible with the 12 steps. They don’t need to occur in the exact order we’ve listed above, but that ordering can offer great checkpoint moments for your story.

Invest in characterization and ensure that your main character is balanced with credible strengths and weaknesses. A perfect, pure hero has no room to grow. A one-dimensional villain who relies on the trope of “pure evil” without any motivations for their actions is boring and predictable.

Ensure tension and urgency is woven into the story. An epic tale to the grocery store for baby formula may still be fraught with danger, and the price of failure is a hungry child. Without urgency, tension, and risk, a Hero’s Journey will fall flat.

Be hard on your characters. Give them deep conflicts that truly test their nature, and their mental, physical, and spiritual selves. An easy journey isn’t a memorable one.

Have a balance of scenes that play on both positive and negative emotions and outcomes for the hero to create a compelling plot line that continues to engage your reader. A story that’s relentlessly positive doesn’t provide a pathway for the hero to transform. Likewise, a story that’s nothing but doom, strife, and turmoil, without a light at the end of the tunnel or an opportunity for growth, can make a story feel stagnant and unengaging.

Reward your characters and your reader. Personal transformation and the road to the authentic self may be grueling, but there’s peace or joy at the end of the tunnel. Even if your character doesn’t fully saved the world, they—and the reader—should be rewarded with catharsis, a new perspective, or personal insight at the end of the tale.

Hero’s Journey templates

Download these free templates to help you plan out your Hero’s Journey:

Download the Hero’s Journey template template (docx) Download the Hero’s Journey template template (pdf)

Prompts and practices to help you write your own Hero’s Journey

Use the downloadable template listed below for the following exercises:

Read a book or watch a movie that follows the Hero’s Journey. Use the template to fill in when each step occurs or is completed. Make note of themes and symbols, character arcs, the main plot, and the subplots that drive complexity in the story.

When writing, use a timer set to 2—5 minutes per section to facilitate bursts of creativity. Brainstorm ideas for cadence, plot, and characters within the story. The outline you create can always be modified, but the timer ensures you can get ideas on paper without a commitment; you’re simply jotting down ideas as quickly as you can.

Use the downloadable template above to generate outlines based on the following prompts.

A woman’s estranged mother has died. A friend of the mother arrives at the woman’s home to tell her that her mother has left all her belongings to her daughter, and hands her a letter. The letter details the mother’s life, and the daughter must visit certain places and people to find her mother’s house and all the belongings in it—learning more about her mother’s life, and herself, along the way.

The last tree on earth has fallen, and technology can no longer sustain human life on Earth. An engineer, having long ago received alien radio signals from a tower in their backyard, has dedicated their life to building a spaceship in their garage. The time has come to launch, and the engineer must select a group of allies to bring with them to the stars, on a search for a new life, a new home, and “the others” out there in the universe.

A detective is given a new case: to find a much-talked-about murderer. The twist is, the murderer has sent a letter to the detective agency, quietly outing a homicidal politician who is up for re-election and is a major financial contributor to the police. In the letter, the murderer states that if the politician doesn’t come clean about their crimes, the murderer will kill the politician on the night of the election. The detective must solve the case before the election, and come to terms with their own feelings of justice and morality.

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What Makes a Person Heroic?

Characteristics of a hero.

Kendra Cherry, MS, is a psychosocial rehabilitation specialist, psychology educator, and author of the "Everything Psychology Book."

Shereen Lehman, MS, is a healthcare journalist and fact checker. She has co-authored two books for the popular Dummies Series (as Shereen Jegtvig).

• Definitions
• Characteristics

What makes a person heroic? Is there a hero gene, naturally giving someone the characteristics of a hero? According to one study, the answer might rest in the type of heroism we are addressing.

In a paper published in 2010, researchers reported that people who engaged in one-time acts of bravery (like rushing into a burning building or rescuing someone from the path of an oncoming train) are not necessarily that much different from control groups of non-heroes.

By contrast, people who engage in lifelong heroism (such as professional nurses who regularly comfort the sick and dying) do share a number of important personality traits such as empathy , nurturance, and a need to live by a moral code.

Definitions of Heroism

The scientific study of heroism is a relatively recent topic of interest within the field of psychology.

Researchers have offered different definitions of exactly what makes a hero, but most suggest that heroism involves prosocial, altruistic actions that involve an element of personal risk or sacrifice. 

Researchers Franco, Blau, and Zimbardo suggest that heroism involves more than just this, however. In their definition, a heroic person is someone who:

• Acts voluntarily for the service of others who are in need, whether it is for an individual, a group, or a community
• Performs actions without any expectation of reward or external gain
• Recognizes and accepts the potential risk or sacrifice made by taking heroic actions

Researchers also do not necessarily agree about the central characteristics that make up heroism. One study published in 2015 in the Journal of Personality and Social Psychology suggested that heroes have 12 central traits, which are:

• Determination
• Inspirational
• Moral integrity
• Self-sacrifice
• Selflessness

The psychology of heroism might not be well understood, but many experts do believe that it is possible for people to learn to be heroes . The following are just a few of the major characteristics that researchers have ascribed to heroes.

Concern for the Well-Being of Others

According to researchers, empathy, and compassion for others are key variables that contribute to heroic behavior.   People who rush in to help others in the face of danger and adversity do so because they genuinely care about the safety and well-being of other people.

One study published in 2009 found that people who have heroic tendencies also have a much higher degree of empathy.  

People who engage in acts of heroism have concern and care for the people around them and they are able to feel what those in need of help are feeling.

Understanding Other Perspectives

Researchers suggest that heroes aren't just compassionate and caring; they have a knack for being able to see things from the perspective of others.   They can "walk a mile in another man's shoes," so to speak.

When they encounter a situation where an individual is in need, they are immediately able to see themselves in that same situation and see what needs to be done to help.

Heroes Have Useful Skills and Strengths

Clearly, having the training or physical ability to deal with a crisis can also play a major role in whether or not people become heroes.

In situations where would-be rescuers lack the know-how or sheer physical strength to make a difference, people are less likely to help or are more likely to find less direct ways to take action. And in many cases, this approach is probably best; after all, people senselessly rushing into a dangerous situation can pose even more difficulties for rescue workers.

People who are trained and capable, such as those with first aid training and experience, are more ready and able to step up when their skills are needed.

Heroes Have a Strong Moral Compass

According to heroism researchers Zimbardo and Franco, heroes have two essential qualities that set them apart from non-heroes: they live by their values and they are willing to endure personal risk to protect those values.  

Their values and personal beliefs give them the courage and resolve to endure risk and even danger in order to adhere to those principles.

Heroes Are Competent and Confident

It takes both skill and self-confidence to rush into where others fear to tread. Researchers suggest that people who perform heroic acts tend to feel confident in themselves and their abilities.

When faced with a crisis , they have an intrinsic belief that they are capable of handling the challenge and achieving success no matter what the odds are. Part of this confidence might stem from above-average coping skills and abilities to manage stress.

Heroes Aren't Afraid to Face Fear

A person who rushes into a burning building to save another person is not just extraordinarily brave; he or she also possesses an ability to overcome fear. Researchers suggest that heroic individuals are positive thinkers by nature, which contributes to their ability to look past the immediate danger of a situation and see a more optimistic outcome.  

In many cases, these individuals may also have a higher tolerance for risk. Plenty of caring and kind people might shrink back in the face of danger. Those who do leap into action are typically more likely to take greater risks in multiple aspects of their lives.

Heroes keep working on their goals, even after multiple setbacks. Persistence is another quality commonly shared by heroes.

In one 2010 study, researchers found that people identified as heroes were more likely to put a positive spin on negative events.  

When faced with a potentially life-threatening illness, people with heroic tendencies might focus on the good that might come from the situation such as a renewed appreciation for life or an increased closeness with loved ones.  

"The decision to act heroically is a choice that many of us will be called upon to make at some point in time. By conceiving of heroism as a universal attribute of human nature, not as a rare feature of the few 'heroic elect,' heroism becomes something that seems in the range of possibilities for every person, perhaps inspiring more of us to answer that call," write heroism researchers, Zeno Franco, and Philip Zimbardo .  

A Word From Verywell

Researchers have found that in a lot of ways, heroes are not all that different from most people. However, there are a number of skills you can build that can boost your hero characteristics.

Building empathy, becoming competent and skilled, and being persistent in the face of obstacles are all abilities you can work on over time. By doing so, you can improve your ability to help others and come through in times of need.

Walker LJ, Frimer JA, Dunlop WL. Varieties of moral personality: beyond the banality of heroism .  J Pers . 2010;78(3):907‐942. doi:10.1111/j.1467-6494.2010.00637.x

Franco ZE, Blau K, Zimbardo PG. Heroism: A Conceptual Analysis and Differentiation between Heroic Action and Altruism .  Review of General Psychology . 2011;15(2):99-113. doi:10.1037/a0022672.

Kinsella EL, Ritchie TD, Igou ER. Zeroing in on heroes: a prototype analysis of hero features . J Pers Soc Psychol. 2015;108(1):114-27. doi:10.1037/a0038463

Staats S, Wallace H, Anderson T, Gresley J, Hupp JM, Weiss E. The hero concept: self, family, and friends who are brave, honest, and hopeful . Psychol Rep. 2009;104(3):820-32. doi:10.2466/PR0.104.3.820-832

By Kendra Cherry, MSEd Kendra Cherry, MS, is a psychosocial rehabilitation specialist, psychology educator, and author of the "Everything Psychology Book."

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How to Be a Hero in Real Life

Last Updated: March 22, 2024 Approved

Heroic Thoughts

Heroic acts, heroic growth.

This article was co-authored by Dan Bodner . Dan Bodner is a Transitional Shelter & Homelessness Expert and the CEO & Founder of QuickHaven Transitional Shelters. With over 20 years of experience, he specializes in executive leadership, product development, and innovation, which have helped him develop modular tiny homes to improve the lives of those affected by homelessness. Dan earned a BA from Vassar College and an MS from the University of Texas at Austin. wikiHow marks an article as reader-approved once it receives enough positive feedback. In this case, several readers have written to tell us that this article was helpful to them, earning it our reader-approved status. This article has been viewed 390,663 times.

You do not have to wear a cape or be a crime fighter to be a hero. The key to being a real-life hero is having the attitude of one: humility, assertiveness, and kindness are all key traits to live by. Being a hero in real life also involves taking action, like standing up for others, offering assistance, and promoting good causes and principles.

• Find joy in seeing the smiles on other people’s faces.
• Think about how you would feel having a good deed done for you. That will help you connect to the joy or change you create in another person’s life.

• For example, if you are passionate about the environment, don’t just preach to people that they should recycle. Try to start an environmental club at your school or get your friends to help you build a compost bin in your backyard.
• If you're passionate about helping the homeless in your area, you could organize your neighborhood and advocate for positive change with city administrators, city council members, and county supervisors.

• Remember that everyone thinks differently. What seems comfortable or easy for you might not seem that way to other people. You might feel really confident going to a karaoke night with a bunch of strangers, but your friend or date might not. Consider what others want in addition to what makes you happy.

• Stick up for a friend, classmate, or coworker you feel is being treated unfairly. Buy a meal for the homeless person everyone keeps walking by on the street. Notice the underdog or the less fortunate and give them a helping hand.
• You can also focus on creating safe spaces for individuals who suffer from injustice or prejudice. This could be advocating for a space on your campus for LGBTQ students, or a club for women of color to network and connect.

Live empathetically and help others to the best of your ability "We have a responsibility to be aware of others. We need to make justice the norm, not the exception."

• Raking your neighbor's leaves for them.
• Helping to pay a student's tuition.
• Buying lunch for the office.
• Washing a friend's car for them.
• Buying groceries for someone in need.
• Taking an elderly neighbor to an appointment.

• Help build houses for low-income families.
• Join a community garden.
• Get involved with your neighborhood watch.
• You don’t always have to volunteer in such an official way. You can offer to help a friend move or give up some time to listen when a family member is in need of emotional support.

• Perhaps you are a great public speaker, or maybe you have a talent for craft projects or building furniture. Perhaps you are a great listener and can be an empathetic ear for an elderly neighbor.
• You can also use your professional skills and knowledge to help others. If you are a teacher, you might volunteer some time to help tutor students who are having trouble in school. If you are an artist, you might volunteer at a senior center to help teach senior citizens how to paint or sketch.

• Think about what you had a hard time with when you started your job. Offer to assist new employees with working the copy machine, getting to know certain procedures, or setting up their email.

• Even offering someone kind words can help you grow as a hero. Say thank you to service workers. Tell a friend you appreciate them.
• Give a friend a hug.
• Write your teacher a thank you note.
• Wave to the driver, who stopped to let you cross the road, even if it is at a crosswalk.
• Send a family member a surprise email or text telling them you love them.

• Think about things in terms of “Pro” instead of “Anti”. Be pro-peace instead of antiwar. Be pro-environment instead of just antipollution. [7] X Research source
• Be a good leader. If you are a teacher or in charge of a team at work, know that you have people that look up to you. Lead them by example. If they see you thanking people for their hard work, highlighting the achievements of others, and going out of your way to make the classroom or work place safe, they are more likely to do the same.

• If you are in line at the grocery store and the person behind you seems like they are in a hurry, let them go through in front of you.
• If you recognize that a fellow classmate is struggling in a class you excel at, offer to study with them after school.
• Watch for people on the subway who may need your seat. The elderly, a pregnant woman, someone on crutches.

• You can ask some of your own heroes for advice. Ask them how they are able to put others before themselves.
• Don’t be afraid to imitate. [11] X Research source Chances are that the way someone helped you will work for other people as well. If a friend helped you by being a good listener, you can do the same for someone else.

Community Q&A

Tips from our Readers

• Letting go of ego is key. A true hero acts to help others, not for praise. Intervene without seeking recognition, focusing instead on the positive impact you create.
• Draw inspiration from your heroes and role models. Reflect on which of their actions made them heroic to you, then demonstrate those behaviors to pay it forward.
• Put others' needs first in decisions. Consider how your actions may help or hurt those around you before acting. A hero is thoughtful of others.
• Speak up directly and decisively against injustice and wrongdoing. When others are passive, a hero acts even in confrontation.
• Take initiative to drive change, helping one person or tackling societal issues. A hero goes beyond talk to take action.
• Perform random acts of kindness when possible. Do good deeds just to brighten someone’s day, without expectation.

You Might Also Like

• ↑ https://blog.richmond.edu/heroes/2010/10/18/phil-zimbardo-and-the-heroic-imagination-project/
• ↑ https://www.linkedin.com/pulse/how-become-hero-others-larry-wang
• ↑ https://blog.richmond.edu/heroes/2013/05/11/10-ways-you-can-become-a-hero-in-2013/
• ↑ https://www.huffingtonpost.com/grace-de-rond/how-to-be-a-hero_1_b_9245914.html

About This Article

To be a hero in real life, you have to act selflessly and put others before yourself, even if your actions are not noticed or rewarded. More importantly, you have to find ways to actually help people. For example, you can be a hero by helping in a soup kitchen or by tutoring struggling children. Don’t limit yourself to set hours, though. You have to be willing to do random acts of kindness at every opportunity. For example, you could rake an elderly neighbor’s leaves for them or buy groceries for someone in need. Keep reading if you want to learn how to find other heroes to look up to for inspiration! Did this summary help you? Yes No

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How to Write an Essay About My Hero

Writing an essay is difficult, but if it is about your favourite hero, it becomes even more challenging. You have to describe the main character, their heroic actions, and the unique skills that set them apart. A lot depends on the hero you have chosen to write an essay on. The first question that comes to your mind is who is your hero and why? It could be heroes or fighting soldiers from the war or a hero from a fictional story or your favourite cartoon movie. Once you have decided on the central figure of your essay, you can now describe and narrate all relevant details regarding your hero. The resilience, the character, and the personal traits that distinguish a common person from a hero can be elaborately discussed in the essay. If you are still in a fix and are wondering how to write an essay about my hero, then you have landed on the right page as we are about to give clear instructions on how to pen down a great compelling hero essay on your own. All you have to do is follow these simple guidelines and hints:

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Importance of Hero Essays

Catchy titles for an essay about my hero, how to get the best hero essay, how to start a hero essay, tips concerning writing a hero essay introduction, how to write body paragraphs, how to write conclusion for a hero essay, short example of a college essay about my hero.

Heroes or heroic figures have a great impact on the minds of young souls. Children who view cartoons and watch heroic actions of their favourite characters like to adopt their traits. That is why when writing a heroism essay, it becomes imperative to reflect on the qualities these heroes exhibit truly. This helps narrate how heroes transform the lives of ordinary people through their special attributes, chivalry, and characteristics. Some superheroes like Spiderman and Ironman depict special powers and are most children’s favourite. Children also consider authority figures like their father to be a superhero who can solve all kinds of problems and always help them.

Writing such kind of essays instil a sense of love and pride for their superheroes. Since students love their superheroes and look up to them for guidance, they would like to describe all the good qualities of their heroes. Writing an essay about my hero helps them use describing words and good writing skills, which will, in turn, help them excel in their life.

There are plenty of hero essay ideas you can choose from. If you are wondering how to write a title and heading for your hero essay, these shortlisted titles will surely help you.

• My Father: My Hero
• Heroes of the Second World War
• What Makes Superman a Superhero?
• Traits that Distinguish an Ordinary Man from a Hero
• Top Qualities of a Hero
• True Legends of Time
• Heroes for a Cause
• Life of Nelson Mandela
• Who is my Role Model?
• Finding Your Hero

Wondering how to write my hero essay outline? Here is a simple guideline that will help you organize your content professionally. Writing an essay outline, you must go through a proper format to convey all the points in an easy, coherent manner. You should be able to put it in the following way:

Introduction

In the heroes essay introduction, there should be a statement describing a hero's life and the attributes that make a hero. In the introductory paragraph, you should describe your hero briefly and what makes your hero different from other superheroes.

The other element important in the outline is background. Inform the reader about the heroic acts and details set against the background. If it is the entire life history you wish to explain, then mention it in the background.

Attributes of a Hero

Once you have explained the background information and the setting, you should now mention the characteristics and attributes of the hero. In this part of the essay, the positive and negative aspects of the hero should be properly explained.

Acts of Heroism

What are the different heroic acts or special powers that set your hero apart from other superheroes? When writing the heroes definition essay, you should put together the acts of heroism.

The concluding paragraph should sum up the details about your hero.

When writing an introduction, you should keep in mind the special powers of your hero. Don’t write down everything in the introduction. Here are some tips you should keep in mind:

• Keep it simple
• Choose your superhero
• Write it in a statement form
• Mention the key points that differentiate your hero from others

It should have the suggested length. The body paragraphs can comprise 3-4 paragraphs depending upon your content. It should have complete details and mention the special features and attributes of the hero you selected. You can break down the body paragraph into different points. In one paragraph, you can explain the setting, background, life history of the superhero. In the other consecutive paragraphs, you should explain the special features and attributes.

For a compelling who’s your hero essay conclusion, you must sum up the essay. Write down all the points that tie the essay together. From the beginning to the end, everything in the essay should be conveyed in a gist. A good conclusion leaves a great impact on the mind of the reader.

Finalizing Essay

Once you have written down everything, now is the time to finalize your essay. Make sure to edit, proofread, revise and provide citations where necessary.

Essay Revision

Revise your essay. Read it out loud. When you read the essay, you will be able to find mistakes.

Essay Proofreading

Proofread the essay. Keep a check on the grammatical errors and typos. There should be no mistakes. Students who have tight deadlines tend to miss this part and are in a hurry to submit their work. This might show serious issues in the essay, which will reflect badly on your work.

Make Citations

Write down the references. While writing down the essay, if you have taken from different sources, then you should mention it. These citations and references show varied sources from where you have taken material for your essay. It also reflects your researching skills.

An essay on my hero example is as follows:

For instance, your topic is ‘My father, my hero!’ Here is how you should begin writing your essay.

My father is a gem of a person. He knows how to take care of his family in times of distress. Apart from this, he is a great teacher, impacting the lives of millions of people. His noble ways of teaching and sharing knowledge make him a superhero not only for me but for all those people whose lives he touched.

My father had a small family. He was the only son of his parents. His parents loved him but were very strict. His childhood days were carefree, but he was a responsible kid, aware of his duty towards his parents. He would never disobey them. His love was unconditional for his parents, and he would go out of his way to serve them. Since he did not have his siblings to support him, he led quite a lonely life. He was a self-made man who struggled in his early years to make a name of himself. His teachers loved him for his honesty and intelligence.

As he grew up to be a man, he was loyal to his job and family. He left no stone unturned in serving his aging parents. He got married and had kids. His love continued to grow for his family. For the sake of our happiness, he would sacrifice his little acts of happiness. He would feel happy when we were happy. The students he taught learned acts of graciousness and nobility from him. They would yearn to be like him, striving in little ways to become a personality he would cherish. Simple acts of kindness made him a superhero. He became a hero in my eyes and in the lives of all those people he affected in one way or the other.

From the milkman to the newspaperman, every person would greet him with great respect. The respect he earned showed how loved and revered he was. His altruism, chivalry, and bravery were exhibited in daily activities. He was a man of integrity, values, and principles. All these things and a lot more made him different from other superheroes. He was neither a celebrity nor an action hero, but he was a great man of spirit who lived in people's hearts.

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What Makes A Hero (Essay Sample)

What makes a hero.

A hero is a person who is admired or idealized for courage, outstanding achievements, or noble qualities. A hero can also be defined as someone who contributes meaningfully to a community. So, their deeds must be in the context of community and they should be for a bigger good than the individual. Children have different perceptions of a hero, they commonly derive their heroes from fictional literature like movies and stories. As they grow older, this perception changes to reflect their maturity and appreciation of the iconic individuals in the society who directly or indirectly contributed significantly to the well-being of the community. Therefore, my argument will overlook the childish definition of a hero and focus on what defining qualities and actions that make a hero.

A hero is highly subjective label because it is a contextual term. A definition of a hero to an old grandparent is different to that of a teen member of a gang. Each one of them have diverse perspective about life and what a heroic deed entails. A hero can be as a result of one or more heroic deeds that leaves a lasting impression to the society. Paradoxically, some heroic deeds in one community can be overlooked and cannot warrant the label of a hero in another. The circumstances and definition of heroic deeds is therefore subject to the culture and the conditions which surround an event that births a hero.

Since heroism is a matter of perspective, what are heroic deeds? Heroic deeds are actions that contribute to the well-being or livelihood of a community, as viewed by that community. These deeds are highly subjective as mentioned above. Some heroes stumble their heroic deeds in the course of their normal work and do not necessarily do anything out of the norm. They step in for action like any sane sentient being would have done and they are labelled as heroes. Other people such as firemen and military rescuers are trained to take risks in their jobs to save life or property yet every call of duty their community showers them with labels of heroes. These people are just doing their work and they have been trained and equipped to face any imminent danger. Other heroic deeds do not necessarily add any significant value to our lives yet many people consider them heroic. For example, the first people to climb Mt. Everest have been accorded heroic honors yet their achievement does not add any significant value to the society. All these mountain climbers did was push their determination to go higher the mountain and come down to prove it is possible of to view the world from the top. They engineered desire and inspiration to many other people to go up against the mountain. Unfortunately, many people have since lost their lives attempting to reach the summit which begs the question, was their accomplishment heroic if it inspired people to go on suicide missions?

Therefore, like mentioned above, a heroic deed is a matter of perspective. And what makes heroes is heroic deeds which some heroes stumble by chance. Other heroic deeds are a result of training and preparation to face imminent danger. Other people who go high and beyond their abilities to achieve a monumental accomplishment are also heroes though we overlook some of the negative unintended results of their achievements. Succinctly, heroism is just a matter of perspective and it is a label attached to people who do one or more heroic deeds as per the community.

Importantly, the term hero used in this article refers also to heroines and in their context thereof, the author used ‘hero’ with total regard to gender impartiality and any unintended perception portrayed by the term is apologized.

Home — Essay Samples — Literature — Odysseus — How Odysseus Proves to be a Hero in The Odyssey

How Odysseus Proves to Be a Hero in The Odyssey

• Categories: Odysseus The Odyssey

About this sample

Words: 1112 |

Published: Apr 29, 2022

Words: 1112 | Pages: 2 | 6 min read

Prompt Examples for "The Odysseus" Essay

• Epic Heroic Qualities: Analyze the epic hero qualities exhibited by Odysseus in "The Odyssey," discussing traits such as courage, intelligence, leadership, and resilience.
• Heroic Journey: Examine Odysseus's hero's journey throughout the epic, and discuss the challenges he faces, his growth as a character, and the lessons he learns along the way.
• Moral and Ethical Heroism: Discuss how Odysseus demonstrates moral and ethical heroism by adhering to values and principles, and analyze the ethical dilemmas he encounters and his choices in resolving them.
• Heroic Deeds and Accomplishments: Explore the heroic deeds and accomplishments of Odysseus, including his triumphs over monsters, his clever strategies, and his ultimate return to Ithaca.
• Legacy and Impact: Analyze the lasting legacy and impact of Odysseus as a hero, both within the narrative of "The Odyssey" and in the broader context of Greek mythology and literature.

"The Odysseus" Essay Example

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Breaking news, hero nypd cop jonathan diller came from ‘real-life blue bloods family,’ as heartbreaking post shows him in happier times with baby, kin.

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Slain hero city cop Jonathan Diller came from a “real-life ‘Blue Bloods’ family” — which posted a heartbreaking message online Tuesday to add to photos from happier times showing him at his wedding and with his baby.

“Jon, there are no words to describe how devastated we are that you are gone,’’ wrote Diller’s brother-in-law, Jonathan McAuley, also an NYPD cop.

“You were a good man and a great father whose shoes can never be filled,’’ said the grieving McAuley, who is married to the dead 31-year-old cop’s sister. “I swear to you that I will look after your son as if he were my own.

“For the rest of my life.’’

A high-ranking police source told The Post on Tuesday that the family is akin to the cop dynasty featured on CBS TV’s long-running classic “Blue Bloods” series.

“This is the real-life ‘Blue Bloods’ family — there are a tremendous number of cops in the family,” the source said.

In addition to his brother-in-law, Diller also had a female cousin who is an NYPD officer, a police source said.

Diller was fatally gunned down around 5:50 p.m. Monday during a routine traffic stop in Far Rockaway, Queens, when the suspected killer refused to get out of an illegally parked car and pumped a bullet into the hero officer’s stomach under his protective vest.

Touching Facebook photos depict Diller — who had participated in more than 70 busts in his three short years on the force — as a family man and doting dad.

How Post Readers Can Help

You can help Officer Jonathan Diller’s 1-year-old son via the Silver Shield Foundation, which will help fund his future education. Diller, 31, was shot and killed during a traffic stop in Queens, leaving behind his wife, Stephanie, and baby Ryan.

The Silver Shield Foundation was launched in 1982 by late New York Yankees owner George Steinbrenner for the families of NYPD officers and FDNY firefighters who lose their lives in the line of duty

You can make a contribution at  silvershieldfoundation.org/donate  or send it to: Silver Shield Foundation, 870 UN Plaza, 1st Floor, New York, NY 10017

He cut a dapper figure in a black tuxedo when he walked down the aisle with his new bride, Stephanie McAuley, in November 2019, snapshots show.

In one joyful photo, the newlyweds lift their joined hands in the air as they leave the church surrounded by loved ones.

This past July, Diller was pictured proudly posing alongside his baby son Ryan — who turned 1 in January — as he served as a groomsman at his sister’s Long Island nuptials, another photo shows.

Diller, of Massapequa Park on Long Island, was allegedly shot by Guy Rivera, 34, authorities say.

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“What started out as an everyday car stop, instantly became a moment where so many lives would be turned upside down,” McAuley wrote.

“Jon leaves behind a wife and a one-year-old son who will now grow up without his father.

“To those of you out there in the streets, it can be so easy to become wrapped in the moment,’’ said the cop, who has worked in the NYPD’s Aviation Unit.

“To think horrible events like this can’t happen to you. To become focused on making that next arrest or racing to the action.

“Remember those who love you in the moment,’’ the brother-in-law said.

What to know about the fatal shooting of NYPD Officer Jonathan Diller:

• Diller, 31, was shot and killed during a routine traffic stop in Far Rockaway, Queens, on March 25, 2024.
• Suspect Guy Rivera allegedly opened fire on Diller on Monday evening after the cop approached the vehicle Rivera was in for parking in front of a bus stop.
• Diller was shot once in the stomach below his bulletproof vest. The married father of a 1-year-old boy was rushed to Jamaica Hospital, where he was later pronounced dead.
• Rivera was wounded when Diller’s partner returned fire. The suspect has 21 prior arrests and was found to have a shiv stored in his rectum during the shooting — in apparent anticipation of being sent to jail again.
• Lindy Jones, the ex-con behind the wheel of the car during the shooting, was also arrested after a second gun was found in his car.
• Mayor Eric Adams has renewed his calls for Albany to address criminal recidivism following the shooting involving two suspects with lengthy criminal records.

Follow The Post’s complete coverage of fallen NYPD Officer Diller’s wake

The grieving relative also shared photos of Diller smiling alongside his wife and son in a rescue helicopter. McAuley was pictured in his own NYPD uniform.

A short time later, McAuley shared a photo of a young boy appearing to be Diller’s son wearing a “thin blue line” t-shirt emblazoned with the words “My Daddy’s life matters.”

The thin blue line – meant to represent the separation of society and chaos – is a symbol of support for police around the country.

The area where Diller was shot is a known hotbed for gang activity, law-enforcement sources said.

Despite his injuries, the cop was able to get the gun away from the shooter after it fell to the pavement, NYPD Chief of Detectives Joseph Kenny said during a press briefing a few hours after the incident.

Rivera was eventually shot in the back by Diller’s partner.

Both Diller and Rivera were taken to Jamaica Hospital, where the police officer — a former SUNY Maritime College student — was pronounced dead.

“Jonathan Diller represented everything that is good about public service,” NYPD Commissioner Eddie Caban wrote in an emotional internal letter to the force Tuesday.

“Yesterday, he was taken from us in a sudden, senseless act of violence. It is a tragedy that leaves us hurting, angry, and with many more questions than answers. But even in this tremendous grief, always know that you are not alone,” the top cop wrote.

Caban urged other officers to seek support if they find themselves struggling under “the eyes of the world” in the wake of Diller’s death.

Visitation with Diller’s family will be held at the Massapequa Funeral Home at 4980 Merrick Road between 2 to 4 p.m. and 7 to 9 p.m. Thursday, followed by the same schedule Friday.

The officer’s funeral is set for Saturday at 10:30 a.m. at St. Rose of Lima R.C. Church, also in Massapequa.

Diller will be buried at St. Charles Cemetery in Farmingdale immediately after the service.

One of Diller’s neighbors, Nancy Ferranoia, spent Tuesday afternoon tying blue ribbons to every nearby house.

The ribbons were donated by a local florist, she told The Post.

“They’ve only lived on this block for five or six years … They’re just the nicest people,” she said of the cop and his family. “A nice loving family, a beautiful wife, a gorgeous baby.

“We are all in shock. This entire community is in shock. This is just heart-wrenching,” she said.

Another neighbor, James Bonilla, held back tears as he tied a blue ribbon around his door.

“My son’s in the police force, too, so I think of all cops as family,” Bonilla, 73, told The Post. “And we got the blue ribbon to show our support for police officers.

“It’s sad that the suspects were caught in other crimes with weapons, and they got let loose, and this is the result of it,” he said.

Bonilla said he has not spoken to his own 31-year-old son, who joined the police four years ago, since Diller was killed.

“He works nights. He’s sleeping right now. They work long hours,” he explained.

Though Bonilla said he did not know Diller or his family, he said the loss is “going to be a sad moment in the neighborhood.

“It’ll be one less person in the block party next year,” he said. 

Massapequa Park Mayor Daniel Pearl said the cop’s murder “just breaks my heart. It’s a tremendous loss.”

Pearl said there may be “logistical issues” with the funeral but added that the city is “going to do whatever [it] can to help the family at this time.”

A GoFundMe for the family was started by a retired member of the NYPD scuba team and racked up more than $157,000 by Tuesday evening.

As of Tuesday, charges against Rivera and the driver, 41-year-old Lindy Jones, were pending, with Rivera, who was shot in the spine, coming out of surgery Tuesday, police sources said.

Both Rivera and Jones were well-known in that part of Queens, sources said.

Rivera’s lengthy rap sheet included 21 prior arrests and a five-year stint in prison for possession of a controlled substance.

He had shared associates with Jones, who was also a known recidivist with a history of 14 narcotics, assault, and domestic violence-related arrests, records showed.

He was convicted of attempted murder in 2003, records show, though no further details were immediately available.

Last April, Jones was charged with second-degree criminal possession of a weapon and other related charges after he was found with a loaded .25-caliber gun.

He was released on $75,000 bail after court proceedings in May.

Jones was set to appear at a hearing in that case Monday.

“I can’t not say it any clearer: It is the good guys against the bad guys and these bad guys are violent,” Mayor Eric Adams said Monday night, calling the shooting a “senseless act of violence.”

-Additional reporting by Larry Celona

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From Bonnie Tyler to Marge Simpson: 10 solar eclipse moments in pop culture history

When the moon totally blocks the sun on April 8, who knows how the phenomenon could inspire artists and entertainers?

Solar eclipses like the one arriving April 8 to Michigan have been featured prominently in past movies, TV shows, novels and songs. Thus the primeval power of sudden darkness in the daytime could lead to some future hit tunes, action film sequences or fantasy novels.

With Detroit expecting about 99% coverage of the sun, we’re 100% ready to cover every aspect of eclipse mania, including with this top 10 list of best-known uses of eclipses in popular culture.

1. 'You're So Vain'

The 1972 break-up anthem “You’re So Vain,” written and performed by Carly Simon, depicts men who’d rather stare into a mirror than evaluate their own behavior. The third verse perfectly captures their obsession with status: “Well, I hear you went up to Saratoga/ And your horse naturally won/ Then you flew your Lear jet up to Nova Scotia/ To see the total eclipse of the sun.” In 2015, Simon told People that the second verse is about Warren Beatty, but the third verse remains a mystery. Hmm, anyone have flight information for Canada timed to the 1970 eclipse?

2. '2001: A Space Odyssey'

The opening of Stanley Kubrick’s 1968 sci-fi masterpiece “2001: A Space Odyssey” begins with the sun emerging from a total eclipse as the majestic notes of “Also Sprach Zarathustra” (aka the “2001”theme) play. But the shot is even more epic than it seems at first glance. As Lisa Yaszek, a former president of the Science Fiction Research Association, told Vox in 2017 (the last time the United States experienced a total solar eclipse): “You see the sun and the moon and the Earth in alignment, but you realize very quickly that you’re not actually seeing that eclipse from the Earth. You’re at some vantage point beyond the Earth, and presumably it’s from the vantage point of the aliens who plant the monolith.” Whoa, our brain just broke!

3. 'Total Eclipse of the Heart'

The 1983 hit “Total Eclipse of the Heart” was a career high for singer Bonnie Tyler and doubtless will land on various playlists for the upcoming eclipse. Moody, intense and filled with the pain of an unhealthy romance, it casts a long, emotional shadow: “Once upon a time I was falling in love/ Now I’m only falling apart/ There’s nothing I can do/ A total eclipse of the heart.” During last year’s 40th anniversary of the pop classic, Tyler told the Guardian that songwriter Jim Steinman originally began work on it for a possible musical about Nosferatu. Well, Dracula does have bright eyes.

4. 'A Connecticut Yankee in King Arthur's Court'

Mark Twain’s 1889 novel “A Connecticut Yankee in King Arthur’s Court” follows the adventures of a man who’s magically transported back to medieval England. Sentenced to burn at the stake for his strange modern ways, the time traveler uses his knowledge of an eclipse from the year 528 (conveniently timed to his execution) to convince King Arthur to save his life. The inventive tale has been adapted into a 1949 cinematic musical starring Bing Crosby, a Bugs Bunny special and a two-episode story arc on the original “MacGyver” TV series. Can a Netflix miniseries be far behind?

5. 'Star Trek: Voyager'

The opening credits of a slightly more humble space opera, the “Star Trek: Voyager” TV series (1995-2001), concludes with Capt. Katherine Janeway’s (Kate Mulgrew) state-of-the-art ship zipping through outer space as a solar eclipse occurs in the background. That particular “Voyager” sequence is among the fan favorites of the various openings for "Star Trek” TV shows. What makes it special is the CGI depiction of the Intrepid-class U.S.S. Voyager, circa 2371 (thanks, Wikipedia!) as it explores the nooks and crannies of the galaxies.

6. 'The Simpsons'

In 2009, “The Simpsons” had a storyline in “Gone Maggie Gone” that doubled as a public service announcement on eclipse hazards. In it, Homer, Lisa and Bart view the eclipse indirectly by using homemade "camera obscura" pinhole boxes, while Marge —who has given hers to Homer after he broke his — can’t resist looking straight at the sun with unprotected eyes. Bad move, because Marge’s injured eyes must then be covered with bandages for a couple of weeks, during which time baby Maggie goes missing. Optical warning received! (And here's a Freep article on how to view the eclipse safely).

7. 'Little Shop of Horrors'

The 1986 movie musical “Little Shop of Horrors,” adapted from the off-Broadway version, hinges on the geeky hero, Seymour (Rick Moranis), bringing an exotic plant he names Audrey II to the flower shop where he works. As is explained in the song “Da-Doo,” Seymour purchased the plant during a solar eclipse. Soon, the identity of Audrey II (voiced by Motown great Levi Stubbs of the Four Tops) is revealed to be that of an extraterrestrial being that craves human blood and wants to take over the world. The moral of the story: Maybe don’t make an impulse buy on April 8?

8. 'Heroes'

BC’s 2006-10 series “Heroes” depicted an eclipse on its logo and employed the astronomical event as a recurring theme. The pilot episode involved an eclipse that seemingly triggers the superpowers of the show's characters. In the third season, a two-part episode follows how an eclipse makes all of those special abilities vanish. As Gizmodo noted in 2017 , the mysteries of the eclipses were never fully examined. Instead, they “never amounted to being much more than a nifty visual effect used to create a sense of import” in the plot.

9. 'Mad Men'

A real-life 1963 solar eclipse popped up in AMC’s “Mad Men” in the 2009 episode titled “Seven Twenty Three,” where ad executive Don Draper (Jon Hamm) accompanies his daughter, Sally (Kiernan Shipka), to an eclipse party in order to flirt with her attractive teacher (Abigail Spencer). Too suave for precautions, Don winds up looking briefly at the eclipse through his sunglasses, which serve as a mirror to the celestial event. Great image for an iconic series, awful choice for a fictional self-destructive leading man.

10. 'Barabbas'

The 1961 religious saga “Barabbas,” filmed in Italy, starred Anthony Quinn in the title role of the prisoner who is released instead of Jesus by Pontius Pilate at a crowd’s request. The film’s crucifixion scene employed actual footage from the 1961 eclipse, a rare intersection of real life and movie magic.

Contact Detroit Free Press pop culture critic Julie Hinds at [email protected].

Unsung North Dakota State transfer leads Alabama past North Carolina and into the Elite 8

LOS ANGELES – Alabama basketball coach Nate Oats looked down at a box score.

His fourth-seeded Crimson Tide had just upset No. 1 seed North Carolina in the Sweet 16, and next to the name of Alabama forward Grant Nelson were statistics as startling as the game’s outcome.

He had 24 points, 12 rounds and five blocked shots Thursday night during an epic NCAA Tournament performance at Crypto.com Arena.

“I couldn't be happier for Grant,” Oats said. “But did I expect 24, 12 and five?”

Another question begged to be asked. Who is Grant Nelson?

FOLLOW THE MADNESS: NCAA basketball bracket, scores, schedules, teams and more.

Until Thursday, he was a guy who'd scored six points in the first two games of the NCAA Tournament. Now he's Alabama's Sweet 16 hero, the 6-11 senior who put the Crimson Tide on his lanky shoulders.

“I'm from a small town, Devils Lake,’’ Nelson said. “Shout-out to all those guys. ...

“Really grew up with everything I could ask for. Playing basketball at the park every day. Had a good high school team.  We didn't go very far many years, but, I mean, they got me to North Dakota State where I stayed three years and entered the (transfer) portal."

Last year he was First Team All-Summit League. Now he's headed to the Elite Eight with the coach who lured him to Alabama. 

“I liked Coach Oats a little bit,'' he said with a grin, "and I gave Alabama a chance and I think it's paying off.’’

Grant Nelson golfs -- sort of

So who is Grant Nelson?

“We're both bad golfers trying to get better,’’ offered Oats, sitting next to Nelson during the postgame press conference. “We've golfed a little bit.  He's trying to teach me how to drive.  Neither one of us are very good.’’

Recently, Nelson was playing basketball about as well as he apparently plays golf.

He's started all 35 games for the Crimson Tide and was the team's third-leading scorer with 11.8 points per game and leading rebounder with 5.6 per game. But during the NCAA Tournament, he managed only three points in Alabama's 109-96 victory over No. 12 seed Charleston and three points in Alabama's 72-61 victory over No. 11 seed Grand Canyon .

But on Thursday, matched up against North Carolina’s 6-11 standout Armando Bacot, Nelson delivered the game of his life.

“I thought he could be this good,’’ Oats said. “Do I say, I thought he would be this good going into the game today?  No because he had been struggling, but I knew what he was capable of when we got him ... 

“He's 6'11", can handle it on pick-and-rolls.  He shot the one 3 when we took the lead (against North Carolina) and that thing was all net.  He's been shooting it really well the last -- we had voluntary shooting two nights ago.’’

Three guys went. Yes, the kid from North Dakota was one of them.

On Thursday, he was 6-for-9 from the floor, made both of his 3-pointer attempts and was 10-for-13 from the free throw line.

The dramatic finish

Who is Grant Nelson?

This is who: The guy stepped to the free throw line with less than a second left. With Alabama clinging to a two-point lead and a chance to seal the victory.

He missed both free throws.

Did he sulk?

Get distracted?

Leave things up to fate?

After the second missed free throw, the ball ended up in the hands of North Carolina’s Harrison Ingram, who tried to heave a miracle, game-winning shot. But it was blocked.

By Nelson, of course. He wore a huge grin as the Alabama faithful roared their delight.

“We've been working for this all season,’’ he said. “But this wasn't our end goal.’’

The Crimson Tide are one victory away from reaching the Final Four for the first time in school history.

For Grant Nelson, the next golf outing with coach Oats can wait.

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Biden Is Breaking Campaign Rule No. 1. And It Just Might Work.

By Felicia Wong

Ms. Wong is the president and chief executive of Roosevelt Forward, a progressive advocacy organization.

Should we have trillionaires? Should we even have billionaires? According to at least one recent analysis , the economy is on track to mint its first trillionaire — that is 1,000 billion — within a decade. Such staggering accumulations of wealth are made possible in large part by the fact that America’s federal tax burden is so comparatively light. After a long period of seeming to venerate the 1 percent, or the 1 percent of 1 percent of 1 percent, American sentiment is swinging hard against this imbalance.

Now President Biden, behind in many polls and with an economy that is objectively strong but politically unpopular, is hoping to boost his re-election bid with a policy idea that would once have been almost unthinkable: For this portion of the population, at least, he is vowing — almost gleefully — to raise taxes.

Even for a popular president, this would seem like a huge risk. For a Democrat with low job approval ratings and precarious poll numbers on his handling of the economy, it’s a shocking rebuke to conventional wisdom — and practically an invitation to critics to call him a tax-and-spend liberal. But on the politics as well as the policy, Mr. Biden is making the right call. Economic ideas that were once dead on arrival are now gaining traction on both the left and the right. The moment has arrived for changes in the tax code — and maybe beyond.

For at least the past half-century, raising taxes has been the third rail of American politics. Ronald Reagan rode the wave of the late-1970s tax revolt into the Oval Office. I was a kid in California then, and I remember how fierce the anti-tax sentiment was. Howard Jarvis and his followers, mostly older white property owners, pushed for the ballot initiative known as Proposition 13 because they were, in their words, mad as hell that their rising taxes would help educate immigrant families. The anti-taxers won by a nearly two-to-one ratio.

Time magazine put Mr. Jarvis on its cover and called Prop. 13 the “most radical slash in property taxes since Depression days.” The movement devastated schools and social services. But it was political gold and spread nationwide.

During his first year as president, Mr. Reagan cut the highest personal income tax rate from 70 percent to 50 percent. He cut taxes for low-income Americans, too, decreased the maximum capital gains rate from 28 percent to 20 percent and cut corporate taxes. These tax cuts caused such deficits that Mr. Reagan had to reverse some of them during the rest of his time in office, but that is not how history remembers his presidency. By the end of his second term, the top individual rate was only 33 percent.

Anti-tax activists made cutting taxes an explicit political litmus test . In 1988, George H.W. Bush famously pledged, “Read my lips: no new taxes.” Twenty-five years later, Barack Obama modestly raised taxes on the highest-earning Americans, but he kept quiet about it, instead touting middle-class tax cuts that, he said, left middle-income families with a lower tax rate than at “almost any other period in the last 60 years.”

Fast-forward to Mr. Biden, who is making $5 trillion in tax increases central to his re-election campaign. During his State of the Union speech this month, he even made fun of Republicans for favoring cuts. Getting the rich to pay their share is right up there with getting greedy companies to stop charging you junk fees and, he said, shrinking your Snickers bars .

What explains the pivot? The president is following the money. Over the past decade and even more since the pandemic, wealth concentration has shot up astonishingly. Elon Musk was worth about $25 billion in 2020 and at the end of 2023 was worth almost 10 times that. In 1990 there were nearly 70 American billionaires . Today there are nearly 700. To what earthly end are we encouraging trillionaires?

The trend toward extreme inequality has fueled tremendous populist outrage, like the tax revolt in reverse. It may have been the Bernie Sanders left that started the “billionaires are a policy failure” meme, but poll after poll shows that two-thirds to three-quarters of Americans want higher taxes on the wealthy and corporations.

It isn’t all outrage, though. A lot of it is common sense. As one of the wealthy nations with the lowest tax rates, the United States has put off investing in our families and children. This deferred maintenance is costly: Our child care, health care, family leave and higher education systems are, as a result, among the most expensive and least accessible in the world. Making these arenas a priority is affordable and effective, and they have waited far too long.

Raising high-end taxes can be good for business, too. In the 1960s, George Romney, Mitt’s father, regularly turned down his bonuses from his auto executive job, perhaps in part because his marginal tax rate would have been about 90 percent. It made more sense for companies then to invest excess profits back into their businesses rather than in C.E.O. pay packages. Today, C.E.O. pay at the largest companies has skyrocketed while businesses have invested less in research , physical plant and other capital assets.

“Tax and spend” wasn’t always an epithet. Reagan Republicans and 1970s-era right-wing populists weaponized the label every chance they got. “You could be talking about the Mets versus the Dodgers,” the former U.S. Representative Steve Israel of New York recalled , “and good Republican operatives would be able to weave in tax-and-spend.”

But the term, as Mr. Biden and his team clearly know, no longer stings in quite the same way, especially not if taxes are linked to a vision that would make Americans’ lives less anxiety-ridden and more stable. Donald Trump’s hallmark legislative achievement, the 2017 Tax Cuts and Jobs Act, which cut more than $1 trillion in taxes — mostly for the wealthy and corporations — has major provisions that are set to expire next year. A partisan battle will ensue. Mr. Biden’s 2024 push on taxes is a shot across that bow. Can we imagine an even bigger shift on taxation than the one Mr. Biden is making?

Could we get past the sense that taxes are what the government takes and toward an idea of taxes as a means of patriotism, a kitty we all pay into to build something for community use: a school, a library, a road, a college, a hospital? What if taxation could bring us all together? It’s not that wild an idea. As the political scientist Vanessa Williamson notes, both liberal and conservative Americans view paying taxes as a moral duty. Just think of the pride with which people refer to themselves as taxpayers.

Of course, taxes are a civic good only if the tax rules are perceived as being fair. Which is why Mr. Biden’s calculated risk could pay many dividends come November.

Felicia Wong is the president and chief executive of Roosevelt Forward, the advocacy partner of the progressive think tank the Roosevelt Institute.

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