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.