The People

Meet the thinkers behind the vocabulary, and the different questions their models ask.

Psychology, myth and screenwriting

These three figures are connected by influence, but their projects are not interchangeable. Jung’s psychology, Campbell’s comparative mythology and Vogler’s craft vocabulary need different kinds of evidence.

  • Carl Gustav Jung

    Jung supplied a psychological vocabulary for patterns, symbols and the divided self. Storytelling later borrowed that vocabulary for different purposes.

  • Joseph Campbell

    Campbell made the hero’s departure, initiation and return a widely shared language for myth and modern storytelling. His influence and his universal claims deserve separate evaluation.

  • Christopher Vogler

    Vogler adapted Campbell’s mythic journey into a practical vocabulary for writers: twelve stages, eight dramatic functions, and room for variation.

Other models and critical responses

  • Vladimir Propp

    Propp studied what characters do in a defined body of folktales, separating recurring actions from the people who perform them.

  • Aristotle

    The Poetics asks how arranged action produces a dramatic whole. Its account of tragedy is a starting point for discussion, not a manual for every medium.

  • Gustav Freytag

    Freytag’s dramatic arc describes rising and falling action around a central turning point. Its original context is nineteenth-century analysis of drama.

  • Syd Field

    Field’s screenplay paradigm gives writers a language for setup, confrontation and resolution, with turning points that redirect the action.

  • Blake Snyder

    Snyder’s Save the Cat! offers a fifteen-beat vocabulary for commercial storytelling. Its specificity makes it useful for comparison and risky as a compulsory formula.

  • Dan Harmon

    Harmon’s Story Circle compresses a journey into eight movements of desire, unfamiliarity, cost and change.

  • Maureen Murdock

    Murdock asks what happens when outward success requires a person to reject parts of themselves. Her heroine’s journey centers integration rather than a gender-swapped conquest.