Annotated bibliography #4

Andrew Biersack
9/28/08
Robinson
Annotated bib #4

Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 83-105.

Summary
In book two of the Vogler text, he switches focus from the archetypes found in characters throughout stories and begins to focus on the stages of the Hero’s Journey; specifically that of the Ordinary World and the Call to Adventure. It comments that the beginning of the story is actually the most complicated piece because of the many multi-lateral functions the Ordinary World must satisfy. Its purpose is to hook the reader, set the tone and direction, and portray background information about the hero critical to the audience’s ability to relate to the hero, all without slowing the pace. Vogler discusses how many of these elements are effected/ portrayed to the audience even before the first line or opening scene. He is of course referring to the affect that a Title, opening image and/or prologue can do for setting the scene of what is to come. The importance of making the Ordinary World as different as possible from the Special World is stressed here, as doing so will allow the reader to experience the most dramatic effect. For example Vogler cites The Wizard of Oz and its transformation from black and white to stunning Technicolor as Dorothy transitions worlds. Foreshadowing presents an interesting method to presenting the Ordinary World, while still keeping the audience involved. According to Vogler, this section should raise the dramatic questions about the hero’s emotions that hook the audience into the hero’s story and keeps them interested. He also describes the need for hero’s to both Inner and Outer problems to be complete, interesting heroes. The hero needs to not only complete his physical action (bring loved one back home), but he needs to learn something in the process as well to appeal to the universal archetypes. Next he discussed the Hero’s Entrance and introduction to the audience and the unique opportunity it presents to get a wealth of information across about the hero’s “attitude, emotional state, background, strength, and problems,” subtly without losing audience interest. These should display the “universal goals, drives or needs” of the hero that allow connection to the hero. Another important method to have the audience connect with the hero is the element of the hero’s lack of an important human element or character trait keeping him/her from being whole or similarly a fatal flaw or wound. Another important factor in ensuring the audiences continued interest in the story established in the Ordinary World stage is clearly stating what is at stake; the higher the stakes the better, always. This is also a key place to state the theme of the story, “the underlying statement about an aspect of life.” He also reviews the call to adventure and the countless ways in which it is introduced from a telegram to synchronization of accidents/coincidences, that all serve to get the action rolling. Some heroes are tempted out by the promise of lust, love or fortune and glory. Often times a Mentor will wear the mask of the Herald to get the hero to rise to action, sometime in an uncomfortable way. Other characters are motivated by a lack or need, when something is taken from the hero and balance must be restored by action.
Reaction
This section of the Vogler text was clear and engaging. He uses several examples to explain his points, though some of them may be unfamiliar to persons outside the entertainment industry, the manner in which he presents them allows comprehension. It seems as though Vogler intends this part of the story to be rather lengthy in order to accomplish the many tasks, in a creative manner, which should be established in the beginning.

Questions
1. Does the Ordinary World always have to be boring? Thus presenting a challenge to the writer to keep the audience interested.
2. How much background information about a hero is appropriate?
3. Do we have real life Calls to Adventure? If so, what are some examples of such. What motivates our contemporary hero’s?