Vogler, Christopher. “Reward,” “The Road Back.” The Writer’s Journey:Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,2007. 175-194.
Summary
In the "Reward" section of The Writer's Journey, Vogler explains a reward happens most often after a hero experiences living through a crisis such as near death. A reward can consist of a celebration such as a barbeque which refuels the hero and his men. Similarly, campfire scenes could be another way to celebrate with reflection upon the ordeal. Other rewards consist of love scenes, taking possession and seizing the sword, elixer theft, initiation, new perceptions, seeing through deception, clairvoyance, self-realization, and distortions. Epiphanies may happen as a reward in cases where the hero becomes a god and realizes his immortality. Gods connect to all things, including the people around him.
After the hero realizes the reward, its time for him and his men to make the journey back to the starting point, or to continue on the journey. Sometimes a hero decides to stay in the Special World, but most times he leaves. Their motivation to stay in the Special World is usually lost, and the hero wants to return home. If the hero had not completely finished off the villain, the villain may return more powerful on the hero's road back. The situation could lead to a hard fought battle and chase scenes. Chases could involve a magic flight, pursuit by admirers, or an escape by a villain. There are also many setbacks on the hero's journey home which could change his good fortune.
Reflection
A reward symbolizes a gift from one that is saved, such as love or a sword. It can also be a realization and epiphany of life. The reward is celebrated and reflected upon, and then the hero sets back to his journey home. While on the road back, the hero can run into villains that were not finished off. Also, the hero can run into obstacles that would keep him on his toes for the rest of the way.
Questions
1. What is an example of a hero that stays in the Special World, instead of returning home?
2. What ways would the road back be interesting if there is not a villain or other obstacle to get in his way after receiving the reward?
3. Does the hero necessarily have to use the road back, or can a story skip and go straight to the resurrection?
Wednesday, October 29, 2008
Monday, October 13, 2008
Annotated #6
Vogler, Christopher. “Crossing the First Threshold- Tests, Allies, Enemies.” The Writer'sJourney: Mythic Structure for Writers. Third. Studio City, CA: Michael WieseProductions, 2007.
Summary
Crossing the First Threshold is at the end of part 1 of the story. The first threshold is compared to the when a plane's wheels take off to get the journey started. The hero is committing fully to the adventure, and there is no turning back after the threshold. Some thresholds are externally imposed such as in North by Northwest, or they can be internal events such as in Ordinary People. Not only are they just external or internal, the events leading to the crossing of the first threshold could be a combination of both. The hero also reaches a threshold guardian who occupies the entrance of the threshold as a test.
After passing the first threshold and heading into the Special World there must be a contrast between the Ordinary World and the Special World. There has to be a "different feel, a different rythm, different prioties and values, and different rules." Then the hero runs into tests. These tests are meant to prepare the hero. Along with tests, allies and enemies are introduced. The allies will help with advice along the journey. Many allies are sidekicks to the hero, and they normally give the story a humorous side as the hero stays serious in the adventure. Then, enemies happen through a chain of events and are usually underlings of the villain. Enemies can also perform functions of other archetypes.
Reaction
To me, crossing the first threshold takes a will within the hero to want to move forward out of the ordinary world. He has to be able to get through his first test, which he may not be in control of such as a loss to a family member. The threshold guardian could have forced the threshold upon the hero, or he could be waiting for the hero. Each test after the threshold involves an enemy. These tests build the character and makes him grow. Allies are found between the tests as well as during. They help guide the hero.
Questions
1. Is there an instance in a movie where an ally or sidekick shapeshifts into the enemy?
2. Is there a certain number of tests that make for a good story?
3. How do we know when the hero is ready and has begun to face the villian and not his underlings?
Summary
Crossing the First Threshold is at the end of part 1 of the story. The first threshold is compared to the when a plane's wheels take off to get the journey started. The hero is committing fully to the adventure, and there is no turning back after the threshold. Some thresholds are externally imposed such as in North by Northwest, or they can be internal events such as in Ordinary People. Not only are they just external or internal, the events leading to the crossing of the first threshold could be a combination of both. The hero also reaches a threshold guardian who occupies the entrance of the threshold as a test.
After passing the first threshold and heading into the Special World there must be a contrast between the Ordinary World and the Special World. There has to be a "different feel, a different rythm, different prioties and values, and different rules." Then the hero runs into tests. These tests are meant to prepare the hero. Along with tests, allies and enemies are introduced. The allies will help with advice along the journey. Many allies are sidekicks to the hero, and they normally give the story a humorous side as the hero stays serious in the adventure. Then, enemies happen through a chain of events and are usually underlings of the villain. Enemies can also perform functions of other archetypes.
Reaction
To me, crossing the first threshold takes a will within the hero to want to move forward out of the ordinary world. He has to be able to get through his first test, which he may not be in control of such as a loss to a family member. The threshold guardian could have forced the threshold upon the hero, or he could be waiting for the hero. Each test after the threshold involves an enemy. These tests build the character and makes him grow. Allies are found between the tests as well as during. They help guide the hero.
Questions
1. Is there an instance in a movie where an ally or sidekick shapeshifts into the enemy?
2. Is there a certain number of tests that make for a good story?
3. How do we know when the hero is ready and has begun to face the villian and not his underlings?
Monday, September 29, 2008
Rhetorical Appeals
Songs :
Pathos: "Where Were You" Alan Jackson
Ethos: "Ole Red" Blake Shelton
Logos: "Something to Be Proud Of" Montgomery Gentry
Images:
Pathos:
Ethos:
Logos:
Pathos: "Where Were You" Alan Jackson
Ethos: "Ole Red" Blake Shelton
Logos: "Something to Be Proud Of" Montgomery Gentry
Images:
Pathos:
Ethos:
Logos:
Annotated Bibliography 4
Vogler, Christopher. “The Ordinary World” “The Call to Adventure” The Writer’s Journey:Mythic Structure for Writers. 3rd Edition. Studio City, California: Michael Wiese Productions,2007. 83-105.
Summary
Vogler discusses the Ordinary World and what ideas should be described within this part of the story. The Ordinary World creates the character and his/her surroundings. He describes each stage starting with "Before the Beginning". This stage is where the author asks questions of what the first thing the audience will experience and the first image. The next stages include Title, Opening Image, Prologue, and then the Ordinary World which is the home base and background of the hero. Crossing the first threshold includes going in Contrast to the Ordinary World. Other stages are Foreshadowing, Raising the Dramatic Question, Inner and Outer Problems, and then Making an Entrance for the hero. Making an Entrance is a start to the relationship between the hero and the audience. The hero then goes through stages where he is Introduced to the Audience, Identification, the Hero's Lack, Tragic Flaws, and Wounded Heroes. After introducing the hero, the story will then go into Establishing What's At Stake, the Backstory and Exposition, and then the Theme of the story. Themes could be love, trust, betrayal, vanity, greed, ambition, or a combination of many things.
The next chapter begins the Call to Adventure. This is where the story gets rolling by setting off a trigger or incident because of a message or a messenger. Also, the hero could be upset with the way things are and wants to do something to change the world around him. The incidents in a story need a synchronicity which calls the heroes of temptation. Temptation could be a potential lover or siren song of ambition. The call to ambition is often done by a Herald of Change, which in some cases could be a mentor. Another way there is a call to adventure is Reconnaissance by the vilian. This could alert the audience and the hero that something is not right. The call to adventure could also be summoned by Disorientation and Discomfort, or a Lack or Need. Also, the hero could experience No More Options, Warngings to Tragic heroes, and have More than One Call:Call Waiting.
Reaction
Introducing the character is an important part of a story. It gives the audience a reason to relate to the hero and understand his ordinary world.
Questions:
1. Can a description of the hero be explained throughout the story, or does it necessarily have to be put together with the rest of the ordinary world near the beginning?
2. What are some examples of stories with More Than One Call?
3. How is Raising the Dramatic Question implemented through your memoir? Or is it?
Summary
Vogler discusses the Ordinary World and what ideas should be described within this part of the story. The Ordinary World creates the character and his/her surroundings. He describes each stage starting with "Before the Beginning". This stage is where the author asks questions of what the first thing the audience will experience and the first image. The next stages include Title, Opening Image, Prologue, and then the Ordinary World which is the home base and background of the hero. Crossing the first threshold includes going in Contrast to the Ordinary World. Other stages are Foreshadowing, Raising the Dramatic Question, Inner and Outer Problems, and then Making an Entrance for the hero. Making an Entrance is a start to the relationship between the hero and the audience. The hero then goes through stages where he is Introduced to the Audience, Identification, the Hero's Lack, Tragic Flaws, and Wounded Heroes. After introducing the hero, the story will then go into Establishing What's At Stake, the Backstory and Exposition, and then the Theme of the story. Themes could be love, trust, betrayal, vanity, greed, ambition, or a combination of many things.
The next chapter begins the Call to Adventure. This is where the story gets rolling by setting off a trigger or incident because of a message or a messenger. Also, the hero could be upset with the way things are and wants to do something to change the world around him. The incidents in a story need a synchronicity which calls the heroes of temptation. Temptation could be a potential lover or siren song of ambition. The call to ambition is often done by a Herald of Change, which in some cases could be a mentor. Another way there is a call to adventure is Reconnaissance by the vilian. This could alert the audience and the hero that something is not right. The call to adventure could also be summoned by Disorientation and Discomfort, or a Lack or Need. Also, the hero could experience No More Options, Warngings to Tragic heroes, and have More than One Call:Call Waiting.
Reaction
Introducing the character is an important part of a story. It gives the audience a reason to relate to the hero and understand his ordinary world.
Questions:
1. Can a description of the hero be explained throughout the story, or does it necessarily have to be put together with the rest of the ordinary world near the beginning?
2. What are some examples of stories with More Than One Call?
3. How is Raising the Dramatic Question implemented through your memoir? Or is it?
Tuesday, September 2, 2008
The Disney character I would be...
Strength. Courage. Power. Leadership. These define Mufasa, from the Lion King, who I would compare myself most to. Mufasa shows his power through fending off the hyenas and Scarface. He stands proudly in front of Scar to protect Simba. When Mufasa takes Simba for a walk, he tells him about the other animals and the circle of life. He explains that one day he will not be around, and his son would have to take over the leadership of the pack. To show his courage and strength, Mufasa saved Simba from a herd of stampeding wildebeest, upon which Mufasa died.
My leadership and strength is shown on and off the baseball field. I work hard to prove myself each and every day. I have courage through every day life. I keep myself as happy as I can, or atleast show that I am happy. And even when I am hurt, I go out and perform to the best that I can. I do not let a pack of hyenas or an evil lion stop me from what I need to get done in life. I protect my friends and family and stand up for them, even if they can not always be there for me.
My leadership and strength is shown on and off the baseball field. I work hard to prove myself each and every day. I have courage through every day life. I keep myself as happy as I can, or atleast show that I am happy. And even when I am hurt, I go out and perform to the best that I can. I do not let a pack of hyenas or an evil lion stop me from what I need to get done in life. I protect my friends and family and stand up for them, even if they can not always be there for me.
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