Annotative Bibliography #4

Vogler, Christopher. “The Ordinary World and The Call to Adventure.” The Writer's Journey : Mythic Structure for Writers. 3rd ed. Studio City, CA: Michael Wiese Productions, 2007.

Book two is titled “Stages of the Journey”. The first stage is called “The Ordinary World”. The second stage is called “The Call to Adventure”. In the ordinary world, we as the readers are introduced to “the world of the common day”. This is often the setting at the beginning of the story and often is required to hook the audience’s attention. Before the story even begins to be written, there are several very important decisions a writer must make: such as beginning lines, the title, and the dialogue. The title gives the audience a clue to the nature of the story as well as a hint of the writer’s attitude. The first thing the audience see’s, or the opening image, most suggests where the story will go. A prologue is something that happens before the introduction of the ordinary world, and often before the introduction of the main character. The ordinary world is a base line for what the special world, where the story often takes place, will be compared. They often differ greatly form one another. When the audience is first introduced to the Hero is called the entrance. Things that are going on around him, his attitudes, and even what he is wearing can dramatically affect our first opinion of the character, and our relationship to him. Identification between the audience and the hero are very important. We need to feel like we can connect with the hero in some way. Heroes often are lacking something. The next stage of the journey is the call to adventure. This is when the hero is presented with something they need to help change, or something they need to do. This is when they are forced with a decision that often leads to them leaving their ordinary world. This is what “gets the story rolling”. Sometimes the call to adventure happens when the hero simply runs out of other choices, and is forced to change.

Vogler says that the title greatly affects the audience’s opinion on the story from the get go. I don’t agree with this. I think a title is simply a title. To me it isn’t a multi-level metaphor. In my mind a title is simply what the author decided to name his or her work. I think a good example is the movie Grease. When I think of Grease I think of someone’s hand’s who has been working on cars. I don’t think the writer of Grease intended the title to be interpreted, it was simply the name of the movie because it was catchy and it was what they used to style their hair.

1. In the movie Grease, the opening scene is comic figures waking up and getting ready for their first day of school, what kind of first impression does this give you?

2. What do you think the call to adventure in the movie 27 dresses is?

3. Why is it necessary for the hero to be lacking something in order for the audience to identify with him or her?

Annotative Bib. #3

Vogler, Christopher. “Threshold Guardian, Herald, Shapeshifter, Shadow, Ally, and Trickster, .” The Writer's Journey : Mythic Structure for Writers. 3rd ed. Studio City, CA: Michael Wiese Productions, 2007.

In the next chapter, Vogler talks all about threshold guardians. Threshold guardians are usually not the main villain of the story line. Threshold guardians can be one of several things, a villain’s assistant, a neutral figure, or a lesser thug. Threshold guardians can represent the Hero’s inner demon, and often are used to test the hero. One of the ways to defeat the threshold guardian is to “get into the skin” of them. After that, Vogler goes on to talk about Heralds. Herald figures can either announce the coming of a significant change, or issue challenges. Herald’s call for change and often times motivate the hero. Heralds can themselves be the villain; they can be good, or simply a neutral figure. Next, we read about shapeshifters. Most of the time, a shapeshifter is a romantic partner or in love with the hero. Shapeshifters are capable of changing the hero’s moods, as well as they are very misleading to the audience and the hero. Shapeshifters often are the ones who bring doubt and suspense into a story. The femme fatale is a female shapeshifter that is related to adultery. Following that, Vogler talks about the archetype of shadow. Shadow is anything representing dark energy. Our dark inner emotions often times are portrayed in shadow. Villains and enemies usually have many characteristics of a dark, gloomy shadow. Next Vogler teaches us about Ally’s. An ally is always a good thing to have. Allys always help the hero and lighten the mood. In many stories there are several allys. Lastly in book one Vogler talks about Tricksters. They add comic relief, they are very mischievous, and often times they help heroes come down to earth.

I agree with Vogler, I think threshold guardians can be either a positive or a negative thing. Sometimes they are there to help the villain, and other times they become a great help to the hero. I think a good example of a Herald would be Glenda, the good witch in The Wizard of Oz, she tells Dorthy that things will be different than she is used to in Oz on her quest to find the Wizard. Another example would be in Wayne’s World 2, when John Morrison tells Wayne “if you book them, they will come”. A good example of a shapeshifter in the Epic of Gilgamesh is Gilgamesh’s best buddy Enkidu. Enkidu helps Gilgamesh make some not so wise decisions.

1. In the movie The Wizard of Oz, who could be considered a threshold guardian?

2. In your opinion do you think a Herald is usually helpful, or hurtful?

3. Do villains and enemies that represent the shadow archetype always have to be considered such a negative thing, or can they sometimes be very helpful to the hero.

What Disney character am I?

I believe that out of all the Disney movies I have seen, I am most similar to the character Dory. Dory is the blue fish from Finding Nemo. Dory and I share many characteristics. Dory is scatterbrained, forgetful, and a little kooky. At the same time however, Dory is easy going, persistent, and she is everybody’s friend.

Dory is introduced into the movie by crossing paths with Marlin (Nemo’s Dad), and about thirty seconds later she forgets they ever met. I am not as bad as her when it comes to my memory, but I do have an extreme problem with remembering people’s names. Dory is very kooky throughout the whole movie. I think she is kooky in a good way though. For example, when she tries to become friends with sharks. This is not something an average fish would do, but it is something Dory would do.

The first adventure Marlin and Dory get sucked into is an “AA” meeting with a group of sharks. The shark’s motto is “fish are friends, not food”, most fish are expected to be terrified of sharks, but Dory just wants to be their friend. Marlin keeps coming up with different excuses to get away, but Dory is having a good time. This shows that she is willing to be friends with everyone. Dory’s “just keep swimming” approach to life, is basically the same theory I have about life. In my mind it means just do what you can to get by, and do not focus on what you can not control.