Annotated Bibliography: pg. 83-105

Vogler, Christopher. The Writers Journey. Studio City, CA: Michael Wiese Productions, 2007.

Summary: We start to read Book Two, a section which further illustrates the "Stages of The Journey". Pages 83-105 covers "Stage One: The Ordinary World" and "Stage Two: The Call To Adventure". Vogler explains the Ordinary World as being in all essence the beginning of the hero's journey, he goes on to explain that the beginning "must hook the reader or viewer, set the tone of the story, suggest where it's going, and get across a mass of information without slowing the pace." (Vogler pg.83) There are several components of the Ordinary World that need to be considered when writing a story, the firs being "Before The Beginning", or the first thing experienced by the audience, this includes title, atmosphere, imagery, and dialogue and their parts that play into your audience's state of mind before your story even begins. Then there is the title, which not only cues the audience to the writer's state of mind but also perhaps the tone of the story. Also the opening image is an effective means to get the message/mood of the story as well as were the story is headed. Prologues are sometimes used as well in order  to provide the audience with maybe a pice of the character's backstory or maybe even introduce the main villain. Contrast between the new "Special World", which the adventure takes place in, and the "Ordinary World" is very important to establish so not only the hero but also the audience can experience a shared dramatic change. Sometimes the Ordinary World is also used to help foreshadow trials and difficulties the hero will face in the new Special World they travel to. Or maybe the Ordinary World is being used to pose one of the "dramatic question(s)" of the story, which Vogler says every good story needs to have about it's Hero. This may also be a good time to identify either the inner or outer problem of the hero or both, a hero with both inner and outer problems becomes more realistic to the audience and is more able to evolve. Whatever the hero's problems may be the beginning of a story has one of the most important roles of introducing the character and that character's entrance into the story, the entrance sets the baseline of the audiences' interpretations and feelings towards the hero.  "The Hero's Lack" or something that they never had to begin with or may have been taken away from them, is another important aspect for that what drives the hero to achieving their task/quest and in most cases that journey helps make them whole again. "The Hero's Lack" can also attribute to them becoming a "Wounded Hero", be it physical or emotional giving a hero a wound they must carry around with them and strive to over come allows the audience to sympathize and connect with the hero. Yet it is most essential that the writer establishes what exactly is at stake for the readers/viewers to become involved in the story, and whither that has anything to do with the Hero's wound is totally up to the writer. Along the same line, the Ordinary World is a great time in the story to introduce the theme, or the overall message of the story, what it really boils down to.

  Yet in order for any of that which can be introduced in the Ordinary World to matter later on in the story the hero must get their "Call To Adventure", once the character is introduced and some important information is leaked the call to adventure can be seen as what really kicks off our story. However there may have been a series of prior events that finally leads to the summoning of our main character, this is known as Synchronicity. Although that may not be enough for the hero to get off their lazy asses and get going so temptation may be part of the call to adventure to bribe the character. The one person whom usually is stuck with being the messager fits into the Herald archetype being either negative, positive, or neutral to the situation. They can also play the role of either Mentor or Enemy for the hero, without the hero necessarily being able to tell if they are good or bad. However the hero doesn't always have to be comfortable with the idea of their action-packed destiny , but it is usually necessary for the hero's growth. Temptation is not the only thing that drives a hero to their journey, it may come from a loss of something to the hero or perhaps the hero has run out of further options and is stuck with completing their journey. There can even be more then just one call for the hero to come to action.

Reflection: I thought the many different components and thought that go into just the atmosphere and beginning of a story was incredible. Like the concept behind the design for the title of The Godfather, and just how important a title can be; the very first impression the audience gets of the story. The amount of detail and variables that need to be controlled are so overwhelming, yet without really knowing about them I have over looked them in the past. Vogler's implication on the importance of the beginning and atmosphere of the Ordinary World has brought to my eyes something I never really gave a second thought to, and I find that awesome!

Questions: (1.) If you had to give the story of your life so far a title what would it be? Would it be something from your past, present, or future? Why?

              

              (2.)"Sometimes writers neglect to give the characters a compelling inner problem to solve as well." (Vogler pg.88) Identify a character from a book or movie you have viewed that fits this instance and create an inner flaw you think would most suit them. What is it and why did you chose it?

               (3.) How would you like to make your dramatic entrance in your own story?