Written by Nancer Ballard; ed. assistance by Savannah Jackson.
Today we are going to describe a new narrative arc that focuses on non-mythic human experience and the embodiment of human possibility. The Journey of Integrity differs from the mythic Hero’s Journey and Heroine’s Journey in several important ways. First, the limits on a human being’s ability to control or impact the world is central to the journey rather than being an obstacle to overcome. The Journey of Integrity draws its power from the protagonist being an ordinary person, not an unusually talented hero or superhuman. Second, the protagonist in a Journey of Integrity recognizes that the world is a complex non-linear system that may continue to ramify geographically and in time beyond the story. Moreover, the success of the journey is not defined by changes in the external world. Third, the journey often comes as an interruption to the protagonist’s goals and life journey rather than as a call to adventure or invitation for personal transformation. The journey tracks a deepening of conviction rather than the protagonist’s transformation. Also, witnesses or readers play an integral role in the story which affirms the ability of ordinary people to speak out or act in a way that elevates our belief in human possibility.
A post-mythic journey for ordinary people affirming the best of humanity.
Stage One: Protagonist sets out on their own journey, goal or path.
At the beginning of the story, the protagonist, and their dreams and goals are identified. Unlike the hero’s journey, and often the heroine’s journey, the integrity-driven story usually doesn’t start by focusing on the journey that ultimately defines the story. The moment that lies at the center of the Journey of Integrity requires a veering away from pursuing what the protagonist thought was her goal.
Stage Two: A concerning situation presents itself as a background event.
The protagonist learns about a concerning situation. The situation is often the sort of abstract concern we hear of half a dozen times a day—an act of corruption, a fire set in another county, someone has been accused of a crime, a group of people are being dismissed or ignored, a medical crisis has arisen in another country, etc. The protagonist is following their own journey and the situation may have nothing directly to do with the protagonist’s goals or those close to the protagonist. Stage Two emphasizes a real potential concern, the ordinariness of real concerns, and our tendency to screen out concerns that have no immediate effect on us.
Stage Three: Protagonist continues on their path as they observe or become increasingly aware of the unfolding of a concerning situation.
The protagonist experiences growing awareness of the unfolding of the concerning situation. Consciously or unconsciously, the protagonist begins to track developments. The protagonist may hope that they have overestimated the seriousness of the situation, or that the situation will be resolved through the natural course of events, or that someone else who is closer to the situation, or whose job is to respond to such situations, will take action.
Stage Four: The Protagonist grows more concerned about the unfolding situation.
As previously described, the unfolding situation often presents an interruption to the protagonist’s intended journey, goals, or plans rather than a manifestation of them. Stage Four addresses the central conflict of whether the protagonist will choose to interrupt (and potentially derail) their own plans and goals in order to respond to the concerning situation. The protagonist weighs difficult (e.g. worthy, but competing) feelings, priorities, values, and actions. This stage focuses on the problem of weighing alternative positive values rather than eschewing negative temptations or meeting the increasingly difficult tests of skill.
Stage Five: The concerning situation isn’t resolving. Protagonist is convinced someone needs to take action.
In Stage Five of the Journey of Integrity, “need,” “agency,” and “urgency” converge. The concerning situation may be deteriorating. Or time may be running out to fix the problem before it causes far-reaching or irreparable consequences. Or the protagonist may realize that the concerning situation is only the tip of the iceberg. The protagonist feels the need for action but may believe that there are others in a better position to make change or avert disaster. The protagonist is likely to tell a confidante that they feel someone needs to take action or speak out. They may try to gather support for group action, hoping that they can provide support and honor their prior commitments by not taking a lead role. Others may either agree that action needs to be taken or contend that action is useless. In Stage Five, the protagonist often begins to differentiate themself from others either by the intensity of their convictions or because they start to daydream or actively plan how action might proceed. Although the protagonist hasn’t yet committed to action, their mind turns over possibilities and strategies.
Stage Six: Others may try to dissuade protagonist from taking action.
The protagonist actively mulls over the “what ifs” of taking action and focuses on how to take action or speak out rather than whether to do so. Others may be alarmed at this change of focus and try to dissuade the protagonist from taking action. They warn that action could lead to adverse personal consequences (such as being dismissed, denigrated, fired, or being denied a long-sought opportunity). Action could also derail the protagonist from achieving their own goals by taking up too much time or attention, causing them to miss opportunities, or overtaxing them in an area unrelated to their personal goals. Moreover, taking action could be useless and a waste of time, or lead to disappointment and cynicism. Those trying to dissuade the protagonist may be justifying their own inaction, or they may have seen similar situations and realize that adverse consequences are real, and that the protagonist will not avoid them by acting out of good purpose.
Colleagues, friends, and/or family offer logic or reason to try to dissuade the protagonist from taking action. However, because the protagonist is often deeply empathic or emotionally attuned to those affected by the unfolding situation, logic is not enough to dissuade the protagonist. There may be differences in scale between the consequences to the protagonist and the consequences of not taking action. (What is losing a job compared to a child losing their parent?) On the other hand, the protagonist is not naive. They understand that they may suffer as a consequence of taking action and that the outcome is beyond their control and perhaps beyond the ability of anyone’s control. Stage Six of the Journey of Integrity differs from many mythic/epic journeys in that the protagonist consciously grapples with how to act given the limits of human control, time beyond the moment of reckoning, and the nonlinear complexity of cause and effect.
Stage Seven: The Protagonist decides they must act or speak out regardless of the consequences.
The Journey of Integrity protagonist’s decision to act arises from a deep conviction that the action must be taken, and must be taken now, or at a particular time regardless of the personal consequences. Stage Seven of the Journey of Integrity is akin to the existentialist moment. In existentialism, authentic existence means one has to envision or “create oneself” and act in accordance with this self rather than in accordance with one’s role, or societal demands, or personal history. In the Integrity Journey, the protagonist may begin to mentally and/or physically prepare for possible adverse reactions or ramifications of their decision on their own life or journey. They may confirm that they do not want to act, but realize that they have the ability to act in this time and in this place, and others cannot, or will not. They often feel like they have no choice, because not acting would be a betrayal of who they are what they stand for or how they want to live their life.
Like Søren Kierkegaard, who is widely considered to be the first existentialist philosopher, the Journey of Integrity protagonist recognizes, at least implicitly, that it is up to the individual—not society, or religion, or the state—to give meaning to life and to live authentically. The protagonist in a Journey of Integrity, like existentialist writers such as Sartre and Simone de Beauvoir, focus on the power of an individual to act out of conscience (rather than for specific outcomes) and are acutely aware of their own and others’ vulnerability and the randomness of individual fates.
Stage Eight: Action is taken. In the moment that action is taken, the protagonist’s self and values are one.
At the moment of action, the protagonist’s values, beliefs, knowledge, experience, hesitancies, trauma, and abilities come together in the decision to act and also fuel the action. The protagonist sees that the world has more moving pieces, forces, and people than any one person, including the most powerful of people, have the ability to control. A mythic hero’s limitations may serve to make the hero appear humble or increase plot suspense, but viewers and readers are never really afraid that the hero won’t succeed. However, in a Journey of Integrity, the protagonist is profoundly aware of their and others’ human limitations and accepts those limits. In speaking out or acting, the protagonist simultaneously affirms who she or he is, and the kind of world that they want to live in. Because the protagonist has chosen to act from non-logical, non-strategic values regardless of outcome and others’ reactions, the protagonist often experiences a moment of profound freedom or power that may feel ironic or surprising in the context of taking significant personal risk in a high stakes situation they cannot control.
Stage Nine: The chips fall where they may. The result is important to the story but is not the measure of the protagonist’s worth.
The protagonist’s original journey may be helped or thwarted by their action of integrity. The protagonist’s action may have important, slight or no apparent consequences in the external world. If the teller wants the story to be a hero’s journey, then the protagonist will be rewarded for their bravery even if that outcome is somewhat unrealistic, or the focus of the story will shift to the positive results achieved by the action. Unlike a hero’s journey story, real world results are important in a Journey of Integrity story, but they are not viewed as a measure of the protagonist’s worth or the value of having taken action. In a Heroine’s Journey, the heroine’s action is likely to bring about an experience of community within a larger world. In the Journey of Integrity, the protagonist’s action is implicitly for the benefit of a larger community, but the protagonist may or may not experience a greater sense of community as a result of taking action.
Stage Ten: The protagonist continues life in the ordinary world. The world may or may not be changed.
The protagonist is changed as a result of their action, but this change is a deepening awareness and affirmation of who they are, rather than being transformed into a new person. Once the moment of integrity is over, the protagonist returns to their ordinary world as an ordinary person (albeit a person who, for a moment, has acted in a remarkable way). Sometimes the protagonist is hampered in returning to their ordinary life by those who would want to make the protagonist into a hero or use the event for their own purposes. The protagonist understands that the power of their action lies in it being available to an ordinary human being rather than associated with a god-like being. They may be declared a hero or heroine or may become a leader, at least momentarily, but the heroic status is likely to be short-lived, and it is not the protagonist’s destination. In a Journey of Integrity, the protagonist’s leadership is based on inspiration rather than extraordinary talent, intellect, or power over others. Such inspiration may flare for a moment, but its subliminal impacts can linger for years.
Stage 11—Those who witness the moment of integrity reflect on the nature of the world (or their new understanding of it) in light of others’ reactions to the action. Regardless of the world’s response, the protagonist’s act stands apart from the reaction as an act that affirms humanity’s capacity for good.
A story of integrity often ends with a depiction or narration on the ramifications of the protagonist’s action in the world. The ramifications can be major or minuscule. Whether the act was successful in fulfilling its mission and how long the change lasts will affect witness’ view of the goodness or fairness or cruelty of life, but the protagonist’s act cannot be denigrated by other characters’ reactions. The response to the protagonist’s action can give witnesses a sense of hope, confirm cynicism, bring relief, or evoke other feelings about the witness’s place in the world or view of humanity. However, regardless of the world’s response, the protagonist’s act stands apart from a cruel, or receptive, or crazy, or indifferent world. Their action affirms the possibility of good people, good works, or good results and demonstrates the power of the individual to represent the best of humanity for its own sake.
Unlike mythic tales, the witness never forgets that the protagonist is a human being, who–like the witness, viewer, or reader– suffers and tires, and can feel humiliated or elated, relieved or betrayed. Indeed, it is the protagonist’s human-ness that gives the Journey of Integrity story meaning. In the moment of speaking out or taking action, a palpably human protagonist enacts our best values and by doing so, elevates the reader or witness’s sense of positive possibility for humanity.