Annotations 1-7

Vogler, Christopher “A Practical Guide”
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA
Michael Wiese Productions, 2007. 1-20

Summary
In “A Practical Guide” Vogler outlined the Classic Hero’s Journey and told of its impact on storytelling. He included charts in the text that serve to better our understanding of how the Hero’s Journey works. Vogler makes a huge comparison to film and references movies that exploit the Hero’s Journey in the remainder of “A Practical Guide”. The charts and tables that outlined the remainder of the book were nice to look over. Vogler did say the stages of the journey can be rearranged and do not have to follow the outlined guide. Certain stages can also be left out because they do not add nor subtract to the story.

Reaction
After reading the first sentence I thought to myself that Vogler himself would try to outdo his reference that wrote “The Hero with a Thousand Faces”. The second sentence was proof for my assumption, along with the rest of the text in the first chapter and the length of the book, there is no other explanation for Vogler’s purpose in the writing. Now that I think of it, the title “A Practical Guide” means just that, a guide to help our understanding, it gives us background knowledge of the topic before we get thrown headfirst into the rest of the book. I have faith in Christopher Vogler as we as readers embark on our own journey through this novel.

Questions
1. Did the way that Vogler referred to the hero often times as “she” stand out to you as well?
2. Do the movie references that Vogler makes act as evidence to support the Hero’s Journey or are they overwhelming sentences that are there to take up space?
3. What movies to you stand out that are missing certain stages of the journey?

Vogler, Christopher. “Archetypes”.“Hero”.”Mentor”.
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA
Michael Wiese Productions, 2007. 23-47

Summary
Here Vogler explains the archetypes in the story, these are other characters that affect the hero along his journey and have some impact in his decisions. These archetypes can serve as obstacles for the hero. That does not faze the hero it is his job to prevail over the fights and triumph over evil. In doing this the hero develops as a character and changes for the better. His emotions must be strengthened early in the story in order to ensure the hero can be ready for the physical task to come. Typically the hero has a flaw which hinders his ability and causes setbacks in the story. Again the hero is able to handle the setbacks and learn from them so that he can further mature as a hero. We are introduced to the mentor, this is the main archetype in the story. In most cases the mentor is alongside the hero throughout the story and watches as the hero changes. Vogler went on to analyze the archetype and described various types of mentors. Of the different mentors Vogler mentioned there was a dark mentor, this one at times leads the hero in the wrong direction. Dealing with death is mentioned as a necessary part to the journey for the hero. These few chapters analyzed the two archetypes hero, and mentor in great detail.

Reaction
Until now I was unaware of the different types of mentors. I did not know of all the ones that Vogler listed. It was also odd to me how deeply analyzed the stages of the Hero’s Journey are in the novel. This simply served the purpose of taking us step by step through each and every part of the Hero’s Journey. Vogler makes an attachment with the reader and is able to guide us through the rest of the book.

Questions
1. Which movies, if any stand out to you as having a dark mentor? How does this affect the Hero differently?
2. How well do you understand all the archetypes listed?
3. Do any obstacles or bumps in the road affect the hero negatively or does the hero develop for the better

Vogler, Christopher. “Threshold Guardian”, “Herald”, “Shapeshifter”, “Shadow”, “Ally”.
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA
Michael Wiese Productions, 2007. 49-80

Summary
These several chapters described other archetypes that are found in the Hero’s Journey; some help the hero, while others linger in the shadows to block the hero’s path at the worst moments. Vogler states that most of the archetypes are functions or masks that can be worn by any character during the story. This means that the archetypes are interchangeable, for example Axel Foley in “Beverly Hills Cop” acted as the Trickster to stir up the story. This can also be noticed with the shadow archetype, in “An Officer and a Gentleman”, the drill sergeant displays aspects of the mentor and shadow. The diversity of the Herald is discussed as well, it’s said the herald does not have to take human form, in “Harry Potter” it can be seen as the owl. The Herald does help the hero along his journey, serving as the driving force that pulls the hero out of bad situations. The Shadow serves to bring out the human nature and emotions that the hero must not ignore, instead overcome in order for him to achieve his goals. The Ally archetype goes hand in hand with a sidekick role. Any helpful character that guides the hero and works alongside him/her can be considered an Ally

Reaction
This reading was very educational, I did not know about the archetypes he discussed. This portion of the book was able to expand my vocabulary and educate me about the personality found in certain archetypes. I couldn’t help thinking of the different ways archetypes can change and be placed in different roles. The interchangeability of the characters led me to think about recent movies I have seen and I would apply what Vogler said to my own references.

Questions
1. Does the Ally ever abandon the Hero?
2. What difference do you see between the trickster and shadow?
3. Who decides whether the hero lives or dies?

Vogler, Christopher. “The Ordinary World”, “The Call to Adventure”
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA
Michael Wiese Productions, 2007. 83-105

Summary
Here Vogler examines the early stages of the hero’s journey, the ordinary world is considered the “world of common day”. The ordinary world is the reason for the Hero’s quirks and flaws. It is a place of comfort and familiarity. Vogler breaks down the beginning of novels as well he educates us about the importance of the title, opening image, and prologue. He analyzes these three things to help us look at them differently when reading in the future. Vogler says it is the writers’ job to make the Ordinary World as different from the Special World as humanly possible. He references “The Wizard of Oz” to make his point. Vogler also discusses foreshadowing and how it relates to what happens in the Special World. Vogler says the Ordinary World is the best part to give the hero “backstory” or “exposition”. He also makes it apparent that the hero’s typically have character flaws because of their particular Ordinary World.
The “Call to Adventure” serves the purpose of setting the story in motion, for the Hero there is a sense of temptation and disorientation. Vogler then examines how the call is displayed in certain movies and labels them into groups. There is another Wizard of Oz reference. Vogler says at the end of the reading that most hero’s are not excited about the call to adventure, they approach it with reluctance and aren’t “Gung-Ho” about the proposition.

Reaction
Vogler states, “The needs of the story will always dictate the best approach to structure.” This I think is good information, it goes along with, if the needs of the story aren’t satisfied there will be emptiness to the reader. We all like the ordinary world, it is familiar to us. When change knocks on our door we are reluctant, if change is normally a good thing, why the reluctance?

Questions
1. How have you once been “Called to Adventure”?
2. Does the Hero stand out among others in his ordinary world, or does he blend in as one of the rest?
3. Can the call to adventure be given to another potential hero or is there one chosen Hero?

Vogler, Christopher “Refusal of the Call” “Meeting with the Mentor”
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA
Michael Wiese Productions, 2007. 107-125

Summary
The hero is now placed in a position where he must make a decision. The task that lies ahead overwhelms the hero and he becomes reluctant to accept the journey. The refusal of the call serves the purpose of a pause; it slows down the pace to let the danger sink in. Vogler states, “This halt in the road before the journey has really started serves and important dramatic function of signaling the audience that the adventure is risky”. In this stage many Treshold Guardians are encountered, these archetypes serve to hinder the hero’s thinking. The hero in some cases must find a “secret door” in order to embark on the journey. The mentor is another large part of the journey, he has the knowledge necessary to guide the hero on his journey. In most cases the mentor is familiar with the special world. The mentor can be looked at as the hero’s guide, teacher, and friend. The mentor makes it his duty to help the hero succeed.

Reaction
I got to thinking about the refusal of the call, I can say that this is the last part where the hero appears human. Once in the special world he must battle dragons, or overcome great obstacles that you and I would never consider attempting. This is the reason for the immediate reluctance; the hero is reassured from the mentor that he will prevail so he crosses into the special world to save the day. There is a point where the mentor is not needed for the hero to continue on his journey. The hero begins to figure things out for himself, the teaching from the mentor linger in the hero’s head and remind him of the right decision when the time is right.

Questions
1. Can the mentor be a reluctant mentor who lazily assists the hero?
2. How is the story affected when the hero refuses the call?
3. Can the hero be dragged into the journey, or is it always by choice?

Vogler, Christopher.“Crossing the First Threshold”, “Tests, Allies, Enemies”
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA
Michael Wiese Productions, 2007. 127-141

Summary
This is the very beginning of the hero’s journey, crossing the first threshold is the hero’s first step into the special world, he is a newcomer who is still reluctant and scared. Vogler states the hero must “take a leap of faith into the unknown”. The first threshold is where most threshold guardians can be seen, they test the hero and determine whether he is qualified to pass. Once he bridges this gap the hero makes new acquaintances these people either become allies or enemies. Vogler states, “The most important function of this period of adjustment to the special world is testing”. Vogler also discusses sidekicks; the sidekick provides guidance and support along the way with the hero. There is also mention of teams and rivals. Watering Hole is a term Vogler gives to a common meeting place for the hero, here he can gather information or find shelter. In the special world there are new rules, the hero must grow accustomed to these rules before he can survive the unknown.

Reaction
This part of the story is in most cases the most interesting part of the story. The hero makes the transition into the special world, this special world is supposed to be mysterious and intriguing therefore it would make sense that this part of the story is just as intriguing. Vogler earlier said it is the writers job to make the special world as different from the ordinary world as possible, this would also help the reader pay attention to the change of scenery. Because the special world is hard for us to imagine we are drawn in to the story because of the unknown danger.

Questions
1. What tests, allies, and enemies do you notice in your everyday life?
2. Can the tests in the journey be skipped; does each test serve a purpose?
3. What do the allies do that the enemies of the story do not?

Vogler, Christopher. “Approach to the Innermost Cave”
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA
Michael Wiese Productions, 2007. 143-173

Summary
The approach to the innermost cave is the point of no return, here the hero isn’t able to undo what is already done. This is the most stressful part for the hero, what is inside the innermost cave is going to be the hero’s main competitor, thus making the approach the most gut wrenching stage. Vogler states “Approach may be a time of further reconnaissance or information gathering, or a time of dressing and arming for the ordeal.” This mean the approach is also the final preparation stage, the hero must pull together everything he has learned thus far and put it into action. In some cases the mentor, ally, or whomever is on the hero’s side may leave the hero to fend for himself. This innermost cave also serves the purpose of the final threshold. In order for the hero to survive the approach he must do some deep soul searching.

Reaction
This part of the story is still part of the build up to the climax, the reader’s anticipation keeps building thus making the story more exciting for the reader. There is a lot that happens in this stage, the hero learns of the danger, gets a small taste, matures, and crosses the final threshold. The hero is on an emotional rollercoaster during the journey, in the approach you could imagine the thought process of the hero, and it must be chaotic. He as well is abandoned by his mentor, this only complicates his stressful situation.

Questions
1. Considering this is the more important stage, along with what Vogler said about the rearrangement and exemption of stages; can the approach be left out?
2. Is there any case where the hero is unprepared for what’s to come in the Ordeal
3. If so, will the hero fail or use his knowledge to prevail over evil?