Credit at Last

For my last extra credit I read an article on web of language about a ten year old boy in England who had a yorkshire accent before he had brain surgery because of a case of meningitis, and had a posh upper-class accent similar to Patrick Stewart after his surgery.

More Credit

Get Out of Jail Free instead of week 11's submit a piece of writing to eckerd review, Week 8's email an author of a source, and week 5's watch two youtube videos.

I showed up for halloween as a soccer coach/spy that fills the roles of hero, shadow, villain, ally, threshold guardian, and mentor.

I voted using an absentee ballot for Oregon.

Annotated Bibliography 11

Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 293-312.

Summary
This last reading from Vogler's book is basically a commentary on his book and the Writer's journey in the appendices section titled "Stories are Alive." Vogler uses this section as an opportunity to relate the extensive Hero's Journey and relate it to writing this book as other authors relate it to their books. He claims that the Hero's Journey and the Writer's Journey are one and the same and relates writers to the shamans of old, transcending to other worlds and bringing back information to the tribe. He expresses his faith in the power of words and their ability to heal people among other things. The following section is used to explore his claim that stories are alive and respond to human emotion. Writing allows us to build upon the knowledge, wisdom, and accomplishments to achieve more and avoid the old mistakes. One reason that he likes stories is because of the hard questions these plots, characters, and adventures make us ask ourselves. This leads Vogler into an analysis of Disney fairy tales and uses the story of rumpelstiltskin which he gives an overview of and uses as an extended example. Then Vogler goes on to talk about the power of wishing in getting the audience involved and oriented in the direction of the story. This leads his discussion into wants vs. needs in stories which are a great way to show character development and are set up to continuethe story after the wish phase.Usually the hero makes the wish, then through the adventure that follows they face tests and ordeals that make them grow, mature and prioritize, and the desire is changed from something they want to something they need.

Reaction
I must agree with the power of writing and learning from the past through writing, but I'm not sure if I agree with the analogy of writing healing. The power is in the writer to control the words, not just the writing itself to control the words. A great example of this is the spin doctors in political campaigns.

Questions
1. Is there a story where the want from the beginning of the story is granted over the need?
2. Is there a story with a happy ending where neither the want or the need is granted in the end?
3. Does this book end by satisfying a want or a need?

Reflection and Planning

In looking at the four modes I came up with for project three. This exercise was very fun to find the ways that you could change the meaning of something and how easy it was to change the meaning of something to fit your needs to illustrate your point through different sources of media.

I am going to interview someone from the Eckerd soccer team about a bad experience with cheating in soccer by thanksgiving break.

I was trying to volunteer at USL Soccerfest tournament which involves youth teams from around the world, but I don't have transportation available as it is during thanksgiving weekend. So instead I will be going to volunteer at the boys and girls club if I can't find some way to get to Tampa during that weekend which is very unlikely.

Four Modes Revised

Song: Tubthumping by The Hit Crew

This song is a representation of football's attitude towards it's reputation that is brought on by the controversy and cheating in recent years. The chorus states " I get knocked down, but I get up again. You're never gonna keep me down" which is the attitude of fans especially of the british football leagues. The British are very hardy and will fight for something until the end and if something knocks them over they get back up and keep fighting. The album that this song is from is even called "Sports Cheers(Star Sports Jams)" showing the relevance to sports before you even start to look at the song itself. THen as you look deeper into the song, the first verse is all about drinking whatever drink reminds you of the good times and sing the songs that reminds you of the better times. This is demonstrative of the attitude of nostalgic elderly fans reminiscing of the times before high paid superstars, dives, and fears of refs being bribed. The last thing about this song is that it has an positive optimistic beat and tempo telling the audience that things are going to get better again.

Movie: Goal

This movie is almost completely in tune with the themes of my project, which makes it a perfect example of someone who could cheat to advance his career, but he doesn't. He continues to play with passion and integrity, keeping himself and the game he loves as pure and beautiful as he possibly can. This movie is a good example because it show that it is possible for soccer to be played honorably and fairly, but people can choose to cheat, slack off, and showboat which turns the game into a circus show instead of the wonderful sport that it is. This movie also shows that athletes don't have to become omplete jerks just because they make lots of money and the main character actually changes the rich, showboating superstar and turns him into a better person as a result of their relationship.

Visual Image: The Scream by Edvard Munch

In this picture you have a person holding their hands to their face which for me is a great representation of fans and coaches reactions to a call that goes against their team either for flopping or because the ref doesn't see the flop. The bright colors swirling show the amount of passion and emotion involved at the moment that the great scream of despair or disbelief at the ref's decision is perfectly captured in this painting even though it probably wasn't the original inspiration for the picture. THe river could symbolize the flow of the normal course in a game of soccer and the bridge where the screamer is standing symbolizes the disruption of the flow and the path of the bridge apparently heading for the hills could mean the long uphill climb it will be for the screamer's team to get back even in the game after the controversial call, a journey which may not be completed in time to salvage the game.

Book: Ender's Game by Orson Scott Card

Focusing on chapter 11: Vini Vidi Vici. Ender has been given command of an army in the war games league of battle school, which is in orbit around earth. He is the youngest commander in the school's history and hasn't had his army for a full month before he is called for his first battle as a commander, while the usual time is three months, and he has to fight eight battles in seven days while the usual is one battle every two weeks. In one battle his opponent gets 5 minutes to set up his army before he gets to enter the zero g arena and later he has to fight against two armies at once. But despite having an inexperienced team and no days off he continues to fight and win against the odds even after the head of battle school continues to stack the odds against him. This is like the situation that several teams faced in Serie A in Italy while facing teams that bribed the refs to throw the game.

Annotated Bibliography 10

Vogler, Christopher. “Epilogue: Looking Back on the Journey.” The Writer’s
Journey: Mythic Structure for Writers. Third Edition. Studio City, CA. Michael
Weise Productions. 2007.

Summary
In this section Vogler gave an overview of the Hero's Journey and illustrates the different stages. For this purpose he uses four different movies: Titanic, The Lion King, Pulp Fiction, and The Full Monty. Vogler also talks about the Star Wars saga and it's relation to the Journey. Then Vogler gives us some warnings and guidelines for the use of the Hero's Journey storyline. First he warns against using the Journey as an exact blueprint, he explains that there is no exact formula for writing a story about a Hero's journey and the ultimate goal is to touch the "universal human emotions." This is especially true in the example of Pulp Fiction where the stages are jumbled showing that the model is just a guideline, that the needs of the story dictate the structure, and that any stage of the Journey can appear at any time. Another point that he makes is that you should have only one plot, but many subplots in your story. Titanic is a great example of this because it has the main plot which is the story of the ship and it's crash and sinking, but then there are the subplots of all the passengers on the boat which are what make the story so good because they touch on all of the universal human emotions and appeal to all audiences through familiarity of socioeconomic status and age. In all of the film examples that Vogler uses in this section he identifies each of the stages in the Journey to demonstrate the variety of order while still using the stages.

Reaction
Although this was by far the longest reading in the book, it also left me with the least to talk about. I have seen all of the movies that he talked about besides pulp fiction which made it very easy for me to understand his analysis of the movies. The book threw some light on the writing of scripts for me and showed how much thought there is actually involved in the writing of screenplays for movies.

Questions
1. Is there a particular stage in the Journey that carries particular importance to the making of a good movie?
2. What type of film is the most successful in using the Hero's Journey?
3. Do you think that the Hero's Journey model makes movies to generic in today's Hollywood?

vogler Annotated Bibliography 11/2/08

Vogler, Christopher. “Resurrection and Return with the Elixir” The Writer’s Journey: Mythic Structures For Writers 3rd Ed. Studio City, CA: Michael Wiese Productions, 2007. 197-228.

Summary
In these sections Vogler enters the third act of the Hero’s Journey. First he discusses the Resurrection stage of the journey that opens the third act. The dramatic purpose of this stage is to fulfill the audience’s need for another death/rebirth moment of climax that is needed at that point in the story, while the last stage dealt with the need for a crisis. The Hero needs to undergo a transformation before he returns to the Ordinary World, making that change visible to the audience and make it visible to the audience without just telling them that it happened is the writer’s dilemma during this stage. A new personality or physical “cleansing of death” from the Hero’s body are some of the ways to demonstrate the change. Vogler talks about the curious need for two ordeals, or a crisis and climax. The demonstration of the Hero acquiring knowledge and bringing it back to the Ordinary World is in itself a feat. Often there is a “showdown” inserted here, a final battle with death in which the Hero will exhaust all of his abilities and resources to survive. Very often the Hero’s survives the showdown except in the case of the tragic heroes, which Vogler addresses on pages 200-201. Sometimes there is a “quiet climax” where a “crest of emotion” tells the audience that the conflicts are resolved. There can also be a “rolling climax” where multiple problems are resolved with attention paid to each of them, but the audience needs to recognize a moment of “emotional breakthrough” according to Vogler. He also tells us that Catharsis is the final culmination of the character arc, the gradual of the characters change throughout the story has Catharsis as the climax.

In the next chapter Vogler discusses the Return with the Elixir stage of the journey. The main function of this stage is to implement the change in the daily life and use the lessons learned to heal the wounds of the Hero. There are two approaches to this stage, the circular and the open-ended; the circular tends to have a sense of closure and the open-ended leaves unanswered questions or conflicts. Another difference between the Return and the other stages that are similar to it is that the Return must finish your story so that it satisfies or provokes your audience as you intend. The Return can also be a good time to throw in a surprise, as the audience won’t be expecting it. Vogler goes on to describe how authors can conclude the story and some of the pitfalls that may be encountered. Heroes are often sadder but wiser or sadder but not wiser when reflecting on the elixir as a representation of the cumulative journey or lesson that must untimely be shared. Too many endings, abrupt endings, or unfocused endings are often found to contain pitfalls. Vogler also mentions that epilogues are needed to wrap up the story when there is a story that doesn’t allow for a traditional wrap up in the Return.

Reaction
In this reading Vogler pays attention to the role of the discussed stages as a part of the overall journey as opposed to his usual discussion of stages as individual entities. He uses a good variety of film examples and wraps it up with the Wizard of Oz, which while it is repetitious, also shows the whole journey very well.
Questions
1. Can you think of any films that don’t have a second crisis in the Resurrection stage?
2. Are there any examples of movies in a series that has a circular ending despite having a sequel?
3. Can you think of a stand alone story with an open-ended ending?

Inside the bell jar

"The Bell Jar" by Sylvia Plath in chapters 19 and 20 is about a woman named Esther who has been depressed and considered mentally unstable and is a resident in long term psychiatric ward. The first section gives you some background of the story and introduces you to Joan who is the main character's best friend at the ward and has aspirations of becoming a psychologist after leaving the ward. Then the story cuts to the scene on the steps of the library where a man asks Esther for the time even though he has a watch, which leads to introductions and some beers and wine as courtship. At one point a lady tries to visit the man who's name is irwin, but he tells the lady that he is working. Then they proceed to the bed and have sex, she tells him that she is a virgin but he doesn't believe her until they finish. After they are done she starts to bleed badly and wants to be taken to the hospital, but all Irwin will do is drop her off at Joan's apartment and she is taken to the hospital from there. After she recovers and leaves the hospital she returns to the ward only to find that Joan is missing and chapter 20 ends with the recovery of Joan's body and Esther's departure from the ward after passing an interview of the doctor's panel.

Vogler Annotated Bibliography 10/28/08

Vogler, Christopher. The Writer’s Journey: Mythic Structure For Writers. 3rd ed.
Studio City, CA: Michael Wiese, 1998. 175-194.

Summary
In the next chapter Vogler discusses the Reward stage of the hero's journey. In this stage, which often occurs after the hero has faced death and survived, it is very common for there to be a celebration often reminiscent of recounting the adventure with their friends and allies around the campfire. The next situation presented in this stage is the chance at a love affair or sacred marriage. The last and most importance purpose of this stage is the " seizing of the sword" where the hero gets his reward after surviving the ordeal. Although the reward is usually achieved through death or the willingness of the hero to risk his own life, sometimes the hero will steal the elixir Surviving the ordeal also raises the hero to a new status and initiates the hero to a new elite group that can be shown by knighting or battlefield promotions.Heroes may find that surviving death grants them new powers or better perceptions and these may prove to be the elixir that the hero gained from defying death. There are several different names given for becoming demystified and seeing clearly, however Vogler also warns of the danger of the hero traveling to the dark side of whatever he has faced in the ordeal and the danger of an inflated ego or the hero's arrogance. Next Vogler moves into a chapter on the Road Back stage of the journey which serves the purpose of rededicating the hero to his journey and restoring the energy of the story after the story was slowed down and recapped following the survival of the ordeal. This section should inflame the pace of the story and keep arousing the audience until the finish. One important aspect of this stage is the popular chase scene often involving a retaliatory villain and Vogler finishes the chapter by by describing the different variances in the chase scene from some movies and literature.

Reaction
In these chapter Vogler returns to using a wide array of films as examples that were very effective in keeping me involved in the reading. He focused mainly on action films and a few references to old romances that wouldn't be very effective with today's audience, but I think it would be more effective if he used examples from a variety of genres. Although the wizard of oz is still a good example of every stage of the story it is becoming tedious through the repetition.

Questions.
1. What are some examples of the hero chasing instead of being chased during the Reward stage of the story
2. Are there times where to survive the journey the hero must give up his physical reward while gaining him a new moral reward.
3. What are some ways besides the chase scene that you can speed the story up during the road back stage.

give credit where it is due

youtube extra credit: 1st a joga bonito video of divers, then a video of some of the worst dives in soccer history http://www.youtube.com/watch?v=Ioyt2zzm530 , and finally a video of the top ten dives of the 2006 world cup including the italy vs. australia dive i talk about in my paper http://www.youtube.com/watch?v=M_NU2G7A5k8&feature=related.
good deed: switched somebody's laundry and started the dryer for them.

Strengths and weaknesses

Strengths: Interesting topic,different perspectives, world view. Weaknesses: show how cheating occurs and examples of cheating in big games, show the rules being broken, how cheating effects view of soccer, make thesis easier for a non soccer person to understand

I'M THE HAMBURGLAR!!!

SO I'M GONNA GET OUT OF JAIL FREE!!!!!!!!!!!!!!!!!!!!!

Annotated Bibliography 6

Vogler, Christopher. “Crossing the First Threshold and Tests, Allies, and Enemies” The Writer’s Journey: Mythic Structures For Writers 3rd Ed. Studio City, CA: Michael Wiese Productions, 2007. 127-141.
Summary
In this chapter Vogler explains the Crossing of the First Threshold stage of the Hero’s Journey story. You are told that the final stage of Act One is the Crossing of the First Threshold. After the Hero gets his advice and/or items from the mentor, usually he hesitates until either an inner or outer force pressure the Hero until he is pushed over the threshold and into the adventure. Threshold Guardians can appear in any part of the story, but they usually block a narrow passage forcing the Hero to confront the aspect that the Guardian represents. The Crossing, we are told is the passage between the two worlds often resulting in a crash landing into the new world.
The Tests, Allies, and Enemies stage of the story must occur in the special world and appear in stark contrast to the ordinary world, even if the Hero doesn’t physically leave the ordinary world. This new world is always more dangerous and has higher stakes. An important function of this stage is to challenge the Hero to a lesser degree than the life or death situations that he will face later. How the Hero escapes trap, their ability to judge character, their own character under pressure, and their ability to adapt to the new rules are all tested in this part. This is also a time for the Hero to establish a sidekick or team and gaining knowledge of their enemy. Watering holes, bars, and cantinas are very common in this stage as natural congregation place, which allows the Hero to recuperate, hear the latest gossip, make friends and enemies, observe, and confront. The places of congregation are also hotspots for sexual intrigue and gambling, which are very common tests of character.
Reaction
In the first section Vogler’s examples are less common examples and harder to understand, this makes the archetype of the Threshold Guardian more vague and harder to understand. In the second chapter the examples were very mainstream, and were actually the first two movies I thought of in relation to bars and cantinas for allies and enemies.
Questions.
1. What are some other places besides bars and cantinas that the allies and enemies can be found during this stage
2. Do you need a Threshold Guardian in the First Threshold stage
3. Can you think of any examples of the Tests, Allies, and Enemies stage happening before the First Threshold stage

Vogler Annotated Bibliography 10/6/08

Vogler, Christopher. “Refusal of the Call and Meeting with the Mentor” The Writer’s Journey: Mythic Structures For Writers 3rd Ed. Studio City, CA: Michael Wiese Productions, 2007. 49-80.
Summary
In the first chapter Vogler discusses the Refusal of the Call stage of the Hero’s Journey. The importance of this stage is showing the danger of the journey and the Hero sanding at the threshold of fear and the understandable reaction would be fear and hesitation. This stage shows the audience the risk of the adventure and that the journey is a danger filled high stakes gamble where the hero could lose his life or fortune and not just a frivolous adventure. The first way that Vogler talks about refusing the call is avoidance by the hero. They do this by hesitating, showing reluctance, or flat out refusing the call. Often the refusal is brought on by past experience and the protests continue until the Hero’s Refusal is overcome either by some stronger motivation that raises the stakes such as the death or kidnapping of a friend, or the Hero’s inbred taste for adventure or his sense of honor and pride. Also the stronger the Refusal, the more the audience enjoys seeing it overcome. The most common Refusal of the Call is the Hero listing several weak excuses that are temporary roadblocks that are removed by the urgency of the quest. Another important fact is that persistent Refusal leads to disaster. Continued Refusal is a mark of the tragic hero. If he continues to refuse the Call they will suffer the fate of a tragic hero. Only if the Hero finally accepts the Call to Adventure will they avoid the tragic hero fate. Occasionally there is also a conflicting set of Calls and the Hero will have to choose which path to travel down. Refusal of the Call is usually a negative stage in the Journey, but there are times when the Call is a temptation from a villain to get the Hero into a dangerous situation, when this happens the Refusal is a positive stage in the story. Another case of a positive Refusal of the Call is when the Hero is an artist than it is sometimes necessary for the artist to refuse the Call of the outside world to answer an inner Call. A twist on the Refusal stage is when there is a willing hero who accepts the Call without question, when this happens the Refusal is shown through the fate of other characters that represent the Refusal and show the dangers of the Journey. Once the Hero accepts the Call it is common for the Hero to encounter a Threshold Guardian who’s role is to block the Hero’s adventure to test the Hero’s commitment. A mentor can become a Threshold Guardian to try and block the Hero from going down a path to actions that society doesn’t approve of. The last thing mentioned in this chapter is the secret door phase where the Hero inevitably does something he is told not to do because of human’s inexorable curiosity.
In the next chapter Vogler discusses the Meeting with the Mentor stage of the Journey. Sometimes refusing the call can be a good choice if the Hero hasn’t had time to prepare for the unknown that the Hero is about to venture to. It is often necessary for a Mentor to appear and teach the Hero what the Hero needs to survive his adventure. The mentor can supply the items, knowledge, and confidence needed by the Hero. The majority of stories are constantly elaborating on the relationship between the Hero and the Mentor. Even if there is no contact with a physical Mentor the Hero always encounters some source of wisdom before committing to an adventure. Mentors in myth and folklore are often characters with some connection to the supernatural such as witches, wizards, witch doctors, shamans, spirits, magical creatures like centaurs, or the gods themselves. The original prototype for the Mentor archetype is Chiron the centaur from Greek mythology; unlike other centaurs who are wild and savage Chiron was a gentle and thoughtful creature, but not without a savage streak. He serves as a link between humans and the supernatural powers of nature and the gods. He taught his heroes-in-training the skills that the heroes would need as they went on adventures. The Mentor archetype is so commonly used that the writer must be careful not to fall into the stereotypes of the role and surprise the audience by defying the archetype while still representing it within the story because of the audience’s familiarity with the role. The audience doesn’t mind being mislead about the Mentor as life is often filled with surprises, so it can be acceptable to have a Hero led into a life of crime and sin; You can make the audience think that they are seeing a kind, helpful Mentor and then reveal the Mentor to be something quite different. The Hero-Mentor relationship can take a deadly or tragic turn if the Hero has violent or ungrateful tendencies, or if the Mentor changes into Villain or betrays the Hero. Another tragic ending to the relationship can be if the Mentor is overprotective of the Hero that the Mentor trained. Some stories are Mentor-driven and end with the succession of the mentor by the trainee of the Mentor. Mentors can be considered Heroes who have been down the Path of the Hero and have knowledge and experience to pass down to the next Generation of Hero. The Mentor is a role that will appear multiple times in the story and appears very frequently because of their usefulness to storytellers. No matter how the archetype is personified in the story, the Mentor’s energy is always present to advance the story and give the Hero the knowledge and tool he needs to survive his Journey.
Reaction
I found this section very engaging as it made me think about the different ways to make stories more interesting by varying these early stages and the archetypes contained in these sections. The different variations of these two stages also brought movies to my mind for each of the variations, which kept me involved in the reading and kept me engaged. Most of the examples worked for me, but might not work as examples to a large portion of the younger generation using this book. The only complaint is the constant use of the wizard of oz as an example, it would be nice to see some more variety in the main examples in the chapters, although I understand wanting to have a single constant example it becomes tempting to just skip the section when I see the headline.
Questions
1. What are some instances of the Mentor convincing the Hero to Refuse the Call?
2. What are some reasons for not having the Meeting with the Mentor until later in the story?
3. Are there times when the Hero is a mentor to a member of the younger generation and through teaching gains the knowledge and power to complete his own Journey?

i-search

1. What are some of the larger themes in my memoir? (Themes such as: compassion, knowledge, economics, race, class, gender, politics, etc) Think about what your story ultimately deals with. Have fun and select some topics that you WANT to explore?

Sports

2. Now select one of those themes and brainstorm for a bit about the theme and how it appears in the cultural environment. For instance, if you choose compassion, then you may list ideas such as the Peace Movement, Humane treatment of animals, or issues related to Human Rights such as torture, genocide, etc.

Olympic regulations, history of sport, sport and immigration, soccer and society, soccer leagues and international soccer differences, history of the rise and decline of racquetball, controversy, cheating and corruption in sports.

3. Here is where you write one or two paragraphs, discussing what knowledge, experience, or background you already have about your topic, BEFORE having done any research on it. Explore your positions in regards to the topic.

There has always been large amounts of rule bending by participants to increase their position in the sport they compete in going all the way back to some of the first Olympics in ancient Greece and Rome. But in recent years (20th century- present) cheating has taken on increased levels of usage. From refs being bribed by bookies, most recently Tim Donaghy in the NBA and the ever constant fixing and investigation of lower league officials in the lower leagues of the Italian soccer leagues or trading fixed events with other refs in the Olympics, most noticeably the French and Russian skating judges in salt lake city 2002, to the use of banned substances to increase the athletes performance, like the many athletes named in the Mitchell report where it was self inflicted or like the athletes from west Germany and Russia during the cold war times and beyond where the trainers drugged the athletes with steroids in their food, and the most common of rule breaking, but least important to the sports themselves, flopping and acting to get calls.

4. Here is where you put down one or two paragraphs' worth of questions about your topic, questions you want badly, even desperately, to have answered. These questions will lead you to those sources that will answer your questions. These questions are the passionate, fiery fuel that guide you through the morass of library work, interviews, etc.

How does flopping and diving change the way that people play the games and ref the games. what does all of the cheating and corruption in individual sports change the way that the public looks at sports in general. Does the cheating and controversy lead to more people watching because they want to see for themselves if thy think the cheating happened or does it lead to more people not watching and boycotting the sport. Does the use of steroids lead to people not using steroids getting more injuries as a result of having to push themselves harder.

Revision plan

Edit: Better use of fanboys after commas.
Replace its thats and things with descriptions
More focus and attention to sentences

Revise: Transition better between paragraphs
Use the paragraphs to guide the reader better
Unpack the end of the conclusion

Vogler Annotated Bibliography 9/29/08

Vogler, Christopher. “Ordinary World and Call to Adventure” The Writer’s Journey: Mythic Structures For Writers 3rd Ed. Studio City, CA: Michael Wiese Productions, 2007. 49-80.

Summary

In this chapter Vogler discusses the Ordinary World stage of the Hero’s Journey and describes the types and uses of descriptions, as well as what can come before the Ordinary World. This section tells you that this stage is about creating an initial impression on the audience, which starts prior to the Ordinary World stage with the title can be a clue to the nature of the story and the writer’s attitude, the opening image can create a mood and hint where the story is going. And lastly he talks about prologues, which can give an essential piece of back-story, cue the audience as to what kind of story it is going to be, or it can start the story off with a bang and get the audience settled in their seats. Then he goes on to talk about the ordinary world stage itself and how it’s main purpose is to create a contrast that the Hero will be entering. It can also foreshadow the battles or moral dilemmas that the Hero will face in the story, or raise a dramatic question for the Hero. It is also important to establish both inner and outer problems; if the Hero only has outer problems the hero will seem flat and listless. The first stage of the story also creates an entrance for the Hero, introduces them to the audience, allows the audience to identify with the Hero, and allows the audience to discover the hero’s flaws. The flaws may be simple flaws with their character, they might be tragic flaws that will lead to the fall of the tragic Hero, or they could be the deep psychic wounds of the Wounded Hero. Another use of this stage is to establish what’s at stake and to give the audience for the hero’s back-story and for the storyline of events leading up to the start of the story so that the audience isn’t confused by the story, and finally it gives you a chance to create and establish a theme for the story.

In the next section he discusses the second stage, the Call to Adventure. He talks about its use and the different types of this stage. The use of the Call is to get the story going and chase the Hero out of the ordinary world. It might be a string of events or messages to the Hero that coincide to attention to the need for action or change. You can also use temptation as the Call, whether it is treasure, adventure or love and sex. Another Call is the use of a herald to inform the Hero of the need for change, whether it is a person, Ally, Mentor, or Villain, or an inanimate object like a letter from an old friend or a treasure map. One Call to Adventure is the reconnaissance of the Hero’s Ordinary World by the Villain or his Minions. The Call to Adventure can be unsettling or disconcerting to the Hero and the Herald can get into the confidence of the Hero before leading them into their journey. The Call can come in the form of the Hero losing something of value or discovering something important that he is lacking. In some stories the Call is just the Hero running out of options and being forced to leave. Not all Calls take a positive form, sometimes they come in the form of a warning that foretells a disaster if the Hero doesn’t act. It is also possible for the Hero to receive more than one Call during his Journey.



Reaction

In these sections he began to tell us more about how to start putting together the pieces of our story and create an effective opening to your story. In the first chapter he teaches us about the different parts of the opening section of a story and before the story, then he tells us how to use that as a grabber to keep the audience involved in the story. In the second chapter he introduces us to the different ways to start the Journey and the different devices you can use for that purpose. His examples showed a little more variety and kept me thinking, while he still kept to big time movies most people would recognize.

Questions

1. How does the type of Herald change the dynamic of the Call to Adventure section of the story?

2. What examples are there of the Ordinary World not being the first part of the story?

3. Are there times where you would want the Hero to only have inner problems or only have outer problems? What are some examples?

3 stooges

Logos: Paper Planes by M.I.A.

Statistical graph in research paper

Ethos: Hey There Delilah by Plain White T's

picture of president kissing baby

Pathos: American Pie by Don Mclean

Flag Raising on Iwo Jima by Jim Rosenthal

Vogler Annotated Bibliography 9/22/08

extra credit 1&2

In the first extra credit I donated 1000 grains of rice by defining complex words. it expanded my vocabulary, which is also the reason that other people should do it.

In the second extra credit I wrote a six word biography. I didn't learn much of anything, but it is interesting to think about how you would describe yourself, which is why other people should do this.

A goofy character

I think that the Disney character I am most like is goofy. There are several very distinctive similarities that can't be mistaken.

The first and most physically noticeable similarity is his body proportions. I, like goofy, am tall and skinny, have long dangly arms and long legs. Until sophomore year of high school I was very awkward in my movements and did not have much body awareness. These features were mine up until a couple of years ago which shows a very strong connection between us.

Another similarity between me and goofy is our attitude. Enjoying life and taking it as it comes, laid back and not getting upset over the little problems of life. We both have a good sense of humor, don't mind being the butt of the joke. We also want to have fun, no matter what we are doing, whether it is housework, homework or hanging out with friends we are always looking for ways to enjoy ourselves fully.