Vogler Annotated Bib 4

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.