I will be writing a female knight protagonist, and I realized that traditional Joseph Campbell hero stories are from a male perspective. What traits would a female version of this monomyth have - would it simply be gender-flipped (she wants to defeat/be accepted by her mother figure?), or would there be issues that are not present in the male monomyth at all?
From an author's perspective, the Campbell monomyth is just a framework for selecting tropes with which to populate your story. While these tropes can resonate with the reader, just as often they're clumsy and predictable. The difference is in whether the events emerge from the characters and circumstances and just
happen to also be tropes, or whether the tropes are picked from an academic's menu and barely fit the story.
Ancient fantasy story-tellers didn't have Campbell's framework, yet they told great stories anyway. To my mind, the best place to start with a fantasy story is good character design. I've told many stories of knights over the years -- including female knights. Here's my suggestion for things to put into your female knightly character:
- A main character who is competent at what she does (even if what she does is not knighthood)
- Make your MC honourable according to some code or other (even if it's not the regular social code)
- Make her somehow outside regular social norms
- Make her marriageable or desireable somehow
- Make her wounded
- Whatever she's noted for, make it an extreme -- e.g. Most Compassionate Knight, Worst-Tempered Knight, Most Humble Knight.
(If this looks like a list for a romance story -- it is. Stories of knighthood -- e.g. those told in Mallory
are romance stories!)
Give your story a villain. This villain should not be something abstract and impersonal (like the environment), but can be a human, something fae, or a monster. In other words - it needs a face. Whether it speaks or not, treat it as a person. In particular, make it:
- Motivated by a human foible such as pride, envy, wrath etc...
- Resourceful, regardless of whether it is intelligent or not
- Elusive, difficult to find, difficult to recognise or else operating through a third party who looks benign
- Driven to do evil and bring harm
- An extreme of whatever type it is, e.g. Sneakiest Vizier, Evillest Witch, Biggest Dragon, Most Wrathful Faerie, Ugliest Giant.
- Have a history of previous knights who have failed to defeat it
Now add a dependent to the story. This is someone who will suffer if the evil is not defeated. For example it might be:
- A village
- A monastery
- A King, Queen or local lord
- A wounded knight
- A damosel in distress
- A child of omen
- A fabulous creature that happens to act like a person
- A relative, or the knight's lord/lady, or a subject of the knight's realm
Your dependent may like your MC or not. It may be noble and honourable or quirky and grey, but should not be wholly evil. It should also be sympathetic from the outset. It may help or hinder the knight along the way. By the end of the story, the dependent should clearly be safe -- and if it is quirky or of dubious morality, it should be transformed by conflict with your knight.
Fantasy knightly stories are clashes of passion and morality, not reason and not pure physical. It's critical that your knight has a
ruling passion -- one that will drag it through the story whatever happens. The ruling passion somehow connects to the knight's wound.
The simplest knightly stories have five distinct phases or Acts:
Act I: Agreeing to face the evil
Act II: Being tested until the knight's heroism is proven
Act III: Hunting the evil to its lair
Act IV: Trapping the evil
Act V: Happy ever after - where each of the major players get a consequence according to their merit
Obviously, you can complicate things further with subplots etc... You can also break part of Act II say, and salt it among Acts III and IV.
Knightly stories are stories of virtue leading to action. Passage from one Act to the next should require a moral dilemma followed by a difficult, dangerous action that comes at sacrifice to the knight. In the villain's history where previous knights have failed, they will either have chosen the wrong fork of the dilemma, or failed to sacrifice enough. You can salt the story with evidence of these failures and even have failed knights survive to talk about it.
Testing in a knightly story is always about wisdom, wit and purity of spirit. Even if it
looks like a physical conflict, it should be symbolic of virtues and vices.
Along the way, the knight may gain help or hindrance from other characters. In particular:
- Wise Lords, Weak Lords, Mad Lords
- Maidens, Matrons, Crones and Whores
- Wizards, Priests, Fools
- Faeries, Ghosts, Monsters and Fabulous creatures
This largely happens in Act II, though the full consequences may not be seen until Acts III-IV. Because knightly stories are about passions and morals, the help will normally be something to fortify or heal the knight's spirit -- or to let the knight's spirit somehow affect the world. (e.g. if the knight is notably truthful, then give her a mirror that reflects truth back upon the one who beholds it).
By the same token, hindrances consist of penances, curses or additional conditions that must be met while the evil is being vanquished -- these often arise from the knight having failed some sort of test. (E.g. a knight who is overly proud must thereafter ride everywhere backwards). Those hindrances are normally lifted once the knight has succeeded, and the knight should generally gain as much as she lost to validate her heroism.
At the end, the knight's wound may or may not be healed. If you leave it unhealed, then you create a recurrent character. If you heal it then you're effectively writing the character out at the end of the story.
Any evil effects that
can be reversed should be visibly reversed by the end of the story. If the dragon has blighted the land, then the land should be in bloom again. If a giant slew a wise king, then have the king's grave in flower so that readers can see that the king's spirit has returned to the land.
The format above can work equally well for male or female knights.
If you want a very feminine-slanted story for example, give the female knight very feminine virtues, and a very feminine honour code. Make the tests very feminine tests. Give the boons feminine symbols (e.g. mirrors, girdles, spindles, pails for examples), and make the hindrances oppose traditionally feminine elements (e.g. ugliness vs beauty, clumsiness vs grace, unlikeability vs likeability). Or you can give your story masculine elements and it will also work just fine.
Do all the above and you should have written a very satisfying knightly story, ZF!
Hope this helps.