Annotated bibliography #7

Andrew Biersack
10/18/08
Robinson
Annotated bib #7

Vogler, Christopher. The Writer’s Journey Mythic Structure For Writers. Studio City, CA: Michael
Wiese, 1998. 143-173.

Summary
In this particular passage, Vogler discusses The Approach to the Inmost Cave and The Ordeal, some of the most important stages of the journey. The functions of this stage include but are not limited to, making plans, reconnaissance on the enemy, organizing, arming etc. basic preparations for the battle to come. For most adventurers they sneak in a quick love scene in this section. Some heroes, though rare, take the bold approach and stride in openly to face danger, but for others this is a time for preparation. Another set of obstacles await the hero(s) and their allies as they are fully in the Special World now and subject to the Shadows games/attacks. Threshold Guardians accost the hero and past experience may be required to gain passage or a “befriending” (finding humane connection) with the Guardian is necessary. This serves to demonstrate that not even the magical hero is exempt from the rules/ traditions etc. of the Special World. In the preparation for the Ordeal, its important, says Vogler that the characters leave with a sense of balance excitement and fear. He describes dramatic complications which are setbacks experienced in this section that seem to divide but are truly just another test of willingness. Another function is to up the stakes and re-dedicate the band of hero(s) and allies. Reorganizing of the group of heroes itself may occur here, some characters may switch masks. Finally the “no exit” piece of the stage, the final capture of the hero into an inescapable corner where the ultimate confrontation with death must be faced. The next stage, The Ordeal, deals with this confrontation with death that the hero faces. Vogler distinguishes between the Ordeal or the crisis as different from the climax of the story. The former is the main event of the story or at least the second act and the latter the main moment of act three. He describes the different ordeal delivery structures like the central crisis, providing symmetry and demonstrating the consequences. Another style, the delayed crisis allows the building up until the last minute and closely mirrors the Golden Mean (3:5). Often times a witness to the heroes’ “death” so the audience experiences it with the witness to then later find out he survived “the rebirth”. He then elaborates in the various methods in which characters of different genres “face death” and are forever changed being “reborn”. In some stories it has more to do with love and relationships rather than actual hand-to-hand combats involving real death, but the author structures the story so that the ordeal involves the death of a character, perhaps a personality or lifestyle. Obviously he explains the importance and functions of the Villain or Shadow archetype, which is critical in this stage as they give the hero someone to battle and give balance. Heroes must face their greatest fear, which just often happens to be death.
Reaction
In the first section, the Approach to the Inmost Cave, Vogler switches his writing style somewhat from statement to explanation to embedded “messages” he spells out in the text. Also, he changes from using several, varied examples crossing all the genres of literature and film to only using the example of the Wizard of Oz to exemplify his point. While it is an accurate depiction, it limits the ability of the reader to fully grasp the stage, as was easier in the previous sections. In the next section, The Ordeal, I had a rather visceral reaction to the first line of his paragraph in claiming that the main focus of the section is “Heroes must die so that they can be reborn” This is ridiculously cliché and very inaccurate. Most heroes do not literally die; it is a stupid description that rarely fits transposed onto this scenario because it fits with his description of the hero always facing life-or-death Ordeals. I simply feel he could have found a much more accurate depiction of the dramatic function of this archetype.
Questions
1. Do characters/allies ever abandon the hero at these newer, more terrifying tests of the approach to the inmost cave?
2. Do you, as a reader, prefer Vogler’s former style of multiple examples or do you prefer his long one example of the Wizard of Oz?
3. Is there any story where the Ordeal or Crisis occurs at the beginning or in Act One?