Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. Third
Edition. The Ordinary World. Call to Adventure. Studio City, CA. Michael
Weise Productions. 2007.
Summary
The Ordinary World and the Call to Adventure are stages of the Hero’s Journey. The Ordinary World to the Call of Adventure is a transition stage . The Hero lives in the Ordinary World where he gets by, “trying to adjust to unhealthy conditions by using various coping mechanisms or crutches such as emotional or chemical dependencies” (Vogler 96). The writer needs to establish certain things before the story begins. The writer needs a title, an opening image and a prologue that will include a backstory. In the next stage of the Ordinary World, contrast needs to be made between the Ordinary World and other worlds. The differences should be noted. Foreshadowing is another tool that is commonly used in describing what is to come in further stages of the Hero’s Journey. Questions about the hero also need to be posed. A hero needs to have inner and outer problems, which adds depth to the character. The hero needs to make an entrance that will build a relationship with the audience. When introducing the hero it is important to identify the hero, show what the hero is lacking, note the tragic flaws, and look at the wounds, whether they are physical or emotional, that the Hero has. The writer needs to establish what is at stake and this is best done by providing the audience with the hero’s history. The story needs to get rolling. Synchronicity needs to occur. Temptations are placed during the Call to Adventure to divert the Hero. Disorientation or discomfort of the Hero will most likely occur. The Hero is apprehensive about his adventure. The Hero usually needs to be pushed into the adventure. When a hero is in denial of the need for change the next stage of the Hero’s Journey comes about, the Refusal of the Call.
Reflection
I. Stage One: The Ordinary World
A. A Guide to the Journey
B. Before the Beginning
1. Title
a. metaphoric title and imagery allow many interpretations and help to make the story a coherent design
2. Opening Image
a. visual metaphor
3. Prologue
a. precedes the main body of the story
b. backstory, cue or start the story
C. The Ordinary World
1. Contrast
2. Foreshadowing
3. Raising the Dramatic Question
a. every good story poses a series of questions about the hero
4. Inner and Outer Problems
5. Making an Entrance
a. important part of building a character’s relationship with the audience
D. Introducing the Hero
1. Identification
a. audience and hero are equals
b. give heroes universal goals, drives, desires or needs
2. Hero’s Lack
a. lacking something or something has been taken from them
b. searching for completeness and striving for wholeness
c. often a subtraction of a family member that sets the story in motion
3. Tragic Flaws
a. hubris
4. Wounded Heroes
a. old pain
b. physical injury or emotional wound
E. Establishing What’s At Stake
1. Backstory and Exposition
a. Backstory- is all the relevant information about a character’s history and background
b. Exposition- the art of gracefully revealing the backstory and any other pertinent information about the plot: social class, upbringing, habits, experiences
2. Theme
a. underlying statement of assumption about an aspect of life
II. Stage Two: The Call to Adventure
A. Get the Story Rolling
1. change can be introduced in a number of ways
B. Synchronicity
1. the coincidental occurrence of words, ideas or events that take on meaning and draw attention to the need for action and change
C. Temptation
D. Heralds of Change
E. Reconnaissance
1. information-gathering
F. Disorientation and Discomfort
G. Lack or Need
H. No More Options
I. Warnings for Tragic Heroes
1. Call to Adventure could be dire warnings of doom for tragic heroes
J. More than one Call: Call Waiting
K. Summation
1. a process of selection
2. take responsibility
3. most heroes must be pushed into the adventure
Questions
1. What warnings are given to tragic heroes and what are some examples?
2.
3.
Sunday, September 28, 2008
Monday, September 22, 2008
Vogler Annotated Bib 3
Vogler, Christopher. The Writer’s Journey: Mythic Structure for Writers. Third
Edition. Threshold Guardian. Herald. Shapeshifter. Shadow. Ally. Trickster.
Studio City. Michael Weise Productions. 2007.
Annotation
The Archetypes in a Hero’s journey serve many purposes in a story. There are Archetype characters that fulfill needs, desires and requirements within the story. The Threshold Guardian Archetype is a character that is used to test the hero. The Guardian will present the hero with obstacles. The Herald Archetype announces the coming of change. The Herald “gets the story rolling.” The Shapeshifter is a character whose loyalty and sincerity are constantly being called into question. Usually the Shapeshifter in a story is the opposite sex of the hero but not always. A Shadow can be a character or inside the hero such as repressed emotions. The Shadow is usually seen as a dark side. Allies are companions of a hero. They serve a variety of functions that aid the Hero. Tricksters embody mischief. They bring about healthy change or transformation. All of these Archetypes have to do with change. That is the constant string that weaves the Archetypes all together. They are all there for the purpose of change in a Hero’s journey.
Reflection
I. Threshold Guardian
A. Function
1. placed to keep the unworthy from entering or advancing
2. symbiotic relationship between villain and a Threshold Guardian
3. temporarily blocks the way of the hero and tests his/her powers
4. can be a character, prop, architectural feature, animal, or force of nature
B. Psychological Function
1. Neuroses
2. may represent the ordinary obstacles we all face in the world around us
3. they stand for our internal demons
C. Dramatic Function
1. testing the hero
II. Herald
A. Function
1. issues challenges and announces the coming of significant change
2. may be a person or a force
3. may be a positive, negative, or neutral figure
B. Psychological Function
1. announcing the need for change
C. Dramatic Function
1. provide motivation, offer the hero a challenge, and get the story rolling
III. Shapeshifter
A. Function
1. nature is unstable
2. change constantly
3. usually the opposite sex
4. loyalty and sincerity are often in question
5. catalyst for change
6. a symbol of the psychological urge to transform
B. Psychological Function
1. Animus
a. the male element in the female unconscious
b. the positive and negative images of masculinity in a woman’s dreams and fantasies
2. Anima
a. the female element in the male unconscious
3. manifested in dreams
4. Projection
a. projection of desire
C. Dramatic Function
1. to bring doubt and suspense into a story
2. “femme fatale”
3. “hommes fatales”
E. Mask
1. sometimes a hero must become a Shapeshifter to escape a trap or get past a Threshold Guardian
2. Shapeshifting is also a natural attribute of other archetypes such as Mentors and Tricksters
IV. Shadow
A. Function
1. represents the energy of the dark side, the unexpressed, unrealized or rejected aspects of something
2. negative face is projected as villains, antagonists or enemies
3. may be a character or force external to the hero, or it may be a deeply repressed part of the hero
B. Psychological Function
1. can represent the power of repressed feelings
2. stands for psychoses that not only hamper us, but threaten to destroy us
C. Mask of the Shadow
D. Humanizing the Shadow
V. Ally
A. Functions
1. companion, partner, conscience, comic relief
2. humanize the heroes, adding extra dimensions to their personalities or challenging them to be more open and balanced
3. explain the unfamiliar or unknown
4. suggest alternate paths for problem-solving and help to round out the personalities of the hero
B. Multiple Allies
C. Introduction to Special World
D. Western Allies: Sidekicks
E. Non-Human Allies
F. Animal Allies
G. Allies From Beyond the Grave
H. Helpful Servants
I. Psychological Function
1. might represent the unexpressed or unused parts of the personality that must be brought into action to do their jobs
VI. Trickster
A. Function
1. embodies the energies of mischief and desire for change
2. (T Heroes) often catalyst characters who affect the lives of other but are unchanged themselves
B. Psychological Function
1. bring heroes and audiences down to earth
2. bring about healthy change and transformation
3. natural enemies of the status quo
C. Dramatic Function
1. comic relief
D. Trickster Heroes
Questions
1. Explain the Animus and Anima more clearly and cite specific examples.
2. The word ‘Trickster’ has a negative connotation. Is that the original context of the word?
3. Are Shapeshifters always “bad”?
Edition. Threshold Guardian. Herald. Shapeshifter. Shadow. Ally. Trickster.
Studio City. Michael Weise Productions. 2007.
Annotation
The Archetypes in a Hero’s journey serve many purposes in a story. There are Archetype characters that fulfill needs, desires and requirements within the story. The Threshold Guardian Archetype is a character that is used to test the hero. The Guardian will present the hero with obstacles. The Herald Archetype announces the coming of change. The Herald “gets the story rolling.” The Shapeshifter is a character whose loyalty and sincerity are constantly being called into question. Usually the Shapeshifter in a story is the opposite sex of the hero but not always. A Shadow can be a character or inside the hero such as repressed emotions. The Shadow is usually seen as a dark side. Allies are companions of a hero. They serve a variety of functions that aid the Hero. Tricksters embody mischief. They bring about healthy change or transformation. All of these Archetypes have to do with change. That is the constant string that weaves the Archetypes all together. They are all there for the purpose of change in a Hero’s journey.
Reflection
I. Threshold Guardian
A. Function
1. placed to keep the unworthy from entering or advancing
2. symbiotic relationship between villain and a Threshold Guardian
3. temporarily blocks the way of the hero and tests his/her powers
4. can be a character, prop, architectural feature, animal, or force of nature
B. Psychological Function
1. Neuroses
2. may represent the ordinary obstacles we all face in the world around us
3. they stand for our internal demons
C. Dramatic Function
1. testing the hero
II. Herald
A. Function
1. issues challenges and announces the coming of significant change
2. may be a person or a force
3. may be a positive, negative, or neutral figure
B. Psychological Function
1. announcing the need for change
C. Dramatic Function
1. provide motivation, offer the hero a challenge, and get the story rolling
III. Shapeshifter
A. Function
1. nature is unstable
2. change constantly
3. usually the opposite sex
4. loyalty and sincerity are often in question
5. catalyst for change
6. a symbol of the psychological urge to transform
B. Psychological Function
1. Animus
a. the male element in the female unconscious
b. the positive and negative images of masculinity in a woman’s dreams and fantasies
2. Anima
a. the female element in the male unconscious
3. manifested in dreams
4. Projection
a. projection of desire
C. Dramatic Function
1. to bring doubt and suspense into a story
2. “femme fatale”
3. “hommes fatales”
E. Mask
1. sometimes a hero must become a Shapeshifter to escape a trap or get past a Threshold Guardian
2. Shapeshifting is also a natural attribute of other archetypes such as Mentors and Tricksters
IV. Shadow
A. Function
1. represents the energy of the dark side, the unexpressed, unrealized or rejected aspects of something
2. negative face is projected as villains, antagonists or enemies
3. may be a character or force external to the hero, or it may be a deeply repressed part of the hero
B. Psychological Function
1. can represent the power of repressed feelings
2. stands for psychoses that not only hamper us, but threaten to destroy us
C. Mask of the Shadow
D. Humanizing the Shadow
V. Ally
A. Functions
1. companion, partner, conscience, comic relief
2. humanize the heroes, adding extra dimensions to their personalities or challenging them to be more open and balanced
3. explain the unfamiliar or unknown
4. suggest alternate paths for problem-solving and help to round out the personalities of the hero
B. Multiple Allies
C. Introduction to Special World
D. Western Allies: Sidekicks
E. Non-Human Allies
F. Animal Allies
G. Allies From Beyond the Grave
H. Helpful Servants
I. Psychological Function
1. might represent the unexpressed or unused parts of the personality that must be brought into action to do their jobs
VI. Trickster
A. Function
1. embodies the energies of mischief and desire for change
2. (T Heroes) often catalyst characters who affect the lives of other but are unchanged themselves
B. Psychological Function
1. bring heroes and audiences down to earth
2. bring about healthy change and transformation
3. natural enemies of the status quo
C. Dramatic Function
1. comic relief
D. Trickster Heroes
Questions
1. Explain the Animus and Anima more clearly and cite specific examples.
2. The word ‘Trickster’ has a negative connotation. Is that the original context of the word?
3. Are Shapeshifters always “bad”?
Monday, September 8, 2008
Disney Character
Supercalifragilisticexpialidocious! As far as Disney movies go, I think that I can compare myself to none other than Mary Poppins. Mary Poppins is a nanny. I am not a nanny but I see myself as a caretaker. Mary Poppins is fun but firm when she needs to be. She is in complete control of herself and tries to lead by example. She also relies on herself. She takes care of herself and doesn’t need a man around to take care of her. I also relate to her and her bag full of everything! I always carry a bag or purse around with me with all the things I need. I am usually prepared for any situation that comes at me. If your hands are dirty, I have Purell. If you’re covered in lint, I have a lint roller. If you don’t feel well, I have medicine. I spend a lot of my time in the real world but I do tend to daydream and be creative and imaginative… like being in another world. Mary Poppins is centered in the real world but she sometimes goes off on adventures.
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