Helping Writers Become Authors
Jun 1, 2026 · 26 min · 11 segments
What makes a story feel truly mythic? Many writers assume mythic fiction comes from borrowing archetypes, retelling old myths, or layering symbolic imagery into a story. While there is immense value…
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K.M. WeilandHost
But what do those words really even mean, and why are they important? Many contemporary writers are interested in writing mythic fiction.

Partly this is because we associate the idea with a transformative resonance that feels powerful and important.

Mythic fiction can often seem like fiction for people who want to write something important.

And don't we all at some level? But I feel there can be a sort of fogginess around what exactly defines mythic fiction.

Even as the hero's journey has arguably lost some of the obsessive luster from decades past, storytellers and audiences alike are ever more entranced by myth, fairy tale, cultural symbolism, and psychological archetypes.

Yet, in some ways, I feel like we're also in a time in which we have somewhat lost touch with the underlying touchstones of why these forms are meaningful.

For the most part, we understand the idea of mythic fiction through a few specific lenses.

On the one hand, we might think of the old tales, fairy and folk tales, for example, Beauty and the Beast, Bluebeard's Wives, The Girl with No Hands, Vasilisa the Beautiful, etc., or mythological stories that largely arose from interpretations of the supernatural.

For example, Kronos and the Titans, Isis, Osiris, and Horus, Eros, Psyche, and Aphrodite, Thor and Odin, etc.

We also experience all these stories through the more anthropological perspective found in the works of Joseph Campbell, Clarissa Pinkola Estes, and others like them, who not only collected the old stories, but studied their underlying similarities, patterns, and symbolic messages.

From here, we might also think of the influence of archetypal psychological approaches, such as Carl Jung's, in which the symbolism becomes increasingly internalized.

These explorations are what gave birth to the fascination for modernizing such arguably ancient forms as the hero's journey.

Increasingly, contemporary storytellers and audiences also understand myth and archetypes specifically through popular culture's reinterpretation of these myths and their underlying structures, most famously with Star Wars, but since then through an ever-increasing number of stories that seek to understand and tap the deep power and resonance of these old story forms.

Sometimes these stories explicitly retell or call out their mythic inspiration, as in retellings of such ancient stories as Hades and Persephone, which is always popular in romance, or Perseus, for example, the perennially popular modernized tale of Percy Jackson.

The trope has become so widespread that it is not uncommon for such quote-unquote mythic stories to actually have very little to do with the deeper symbolism of the original stories and characters.

I would not automatically categorize these retellings of the old myths as inherently mythic.

Indeed, I would argue that many of our most powerful modern myths are entirely original.

They're new and generative and speak to and from the equally mysterious workings of our contemporary subconscious.

As modern storytellers, whatever our genre, we are often on the hunt for the symbolism and beats of mythic structure.

But what do those words really even mean, and why are they important? Many contemporary writers are interested in writing mythic fiction.

Partly this is because we associate the idea with a transformative resonance that feels powerful and important.

Mythic fiction can often seem like fiction for people who want to write something important.

And don't we all at some level? But I feel there can be a sort of fogginess around what exactly defines mythic fiction.

Even as the hero's journey has arguably lost some of the obsessive luster from decades past, storytellers and audiences alike are ever more entranced by myth, fairy tale, cultural symbolism, and psychological archetypes.

Yet, in some ways, I feel like we're also in a time in which we have somewhat lost touch with the underlying touchstones of why these forms are meaningful.

For the most part, we understand the idea of mythic fiction through a few specific lenses.

On the one hand, we might think of the old tales, fairy and folk tales, for example, Beauty and the Beast, Bluebeard's Wives, The Girl with No Hands, Vasilisa the Beautiful, etc., or mythological stories that largely arose from interpretations of the supernatural.

For example, Kronos and the Titans, Isis, Osiris, and Horus, Eros, Psyche, and Aphrodite, Thor and Odin, etc.

We also experience all these stories through the more anthropological perspective found in the works of Joseph Campbell, Clarissa Pinkola Estes, and others like them, who not only collected the old stories, but studied their underlying similarities, patterns, and symbolic messages.

From here, we might also think of the influence of archetypal psychological approaches, such as Carl Jung's, in which the symbolism becomes increasingly internalized.

These explorations are what gave birth to the fascination for modernizing such arguably ancient forms as the hero's journey.

Increasingly, contemporary storytellers and audiences also understand myth and archetypes specifically through popular culture's reinterpretation of these myths and their underlying structures, most famously with Star Wars, but since then through an ever-increasing number of stories that seek to understand and tap the deep power and resonance of these old story forms.

Sometimes these stories explicitly retell or call out their mythic inspiration, as in retellings of such ancient stories as Hades and Persephone, which is always popular in romance, or Perseus, for example, the perennially popular modernized tale of Percy Jackson.

The trope has become so widespread that it is not uncommon for such quote-unquote mythic stories to actually have very little to do with the deeper symbolism of the original stories and characters.

I would not automatically categorize these retellings of the old myths as inherently mythic.

Indeed, I would argue that many of our most powerful modern myths are entirely original.

They're new and generative and speak to and from the equally mysterious workings of our contemporary subconscious.

As modern storytellers, whatever our genre, we are often on the hunt for the symbolism and beats of mythic structure.
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