Vogler, Christopher. “The Writer‘s Journey,” “Stories are Alive” . The Writer's Journey : Mythic Structure for Writers Third Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary
In “The Writer’s Journey” Vogler relates the hero’s journey to real life, specifically the journey of a writer. The elixer would be a good story. A judgmental editor could be the threshold guardian, and things like accidents and computer problems could be considered tricksters. Distractions could be called the shapeshifter during the writer’s journey. Vogler also compares a writer to the shaman saying they could play that role over the course of the journey.
In “Stories are Alive”, Vogler talks about how stories can help because they can relate to the characters. He examines the story of Rumplestiltskin, broadening on the different aspects of the story. He points out the wishing is an important part in stories, and that done at the beginning of a story is a good way to orientate an audience to the story. He explains the concept of “Not Only…But Alas”, how you can know the truth on something but that there is another side to that truth that you may not know. He goes on to state that a good story will have the audience interacting with it, wishing with the hero and getting upset is not all goes well. He also explains the concept of a hero willing.
Reaction
Once again I found the first section pointless. He was just restating everything that he has said in the last couple of chapters, and seemed to be giving himself his own little praise. The second section was interesting and provided new, pertinent information. I did not realize everything that he mentioned surrounding the use of wishing and willing with characters.
Questions
1)Do you think Ruplestiltskin could have been the father of the baby?
2)Do you think it is important for a villain to get his “justice” for a story to be good?
3)Do you think every story teaches a lesson?
Sunday, November 16, 2008
ann. bib. #10
Vogler, Christopher. “Looking Back on the Journey” . The Writer's Journey : Mythic Structure for Writers Third Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary
In this section of Vogler, he talks about the role the different sections should play in creating the story. He states that a person should not follow the structure rigidly and that the story turns out better if it is not followed closely. He emphasizes the importance of following the needs of the story and the needs of the audience to determine the structure of this story. He goes on to make his point shown by explaining the structures of such movies like Titanic and Lion King.
Reaction
I did not like this section of the story; it was pointless. Vogler was reiterating what he has previously mentioned in the stories, he was not teaching anything significantly new. While he used well known movies to get his point across, he could have gone just as easily without this section.
Questions
1)Are you a fan of Titanic, do you think it makes a good story?
2)Do you think the symbolism in the Titanic is significant to the movie?
3)Do you consider the first three starwars films more cheerful then the most recent three?
Summary
In this section of Vogler, he talks about the role the different sections should play in creating the story. He states that a person should not follow the structure rigidly and that the story turns out better if it is not followed closely. He emphasizes the importance of following the needs of the story and the needs of the audience to determine the structure of this story. He goes on to make his point shown by explaining the structures of such movies like Titanic and Lion King.
Reaction
I did not like this section of the story; it was pointless. Vogler was reiterating what he has previously mentioned in the stories, he was not teaching anything significantly new. While he used well known movies to get his point across, he could have gone just as easily without this section.
Questions
1)Are you a fan of Titanic, do you think it makes a good story?
2)Do you think the symbolism in the Titanic is significant to the movie?
3)Do you consider the first three starwars films more cheerful then the most recent three?
Tuesday, November 4, 2008
Monday, November 3, 2008
ann. bib. # 9
Vogler, Christopher. “The Resurrection”, “Return with the Elixir”. The Writer's Journey : Mythic Structure for Writers Third Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary
This is the stage where the hero has their last encounter with death, and it is also suppose to be the most dangerous encounter. The hero must once again change and go through a “rebirth” before reentering the ordinary world. This “new” hero should have all the good characteristics of their old self, as well as, their lessons they have learned throughout their journey. This also serves as a function of “cleansing the hero of the smell of death”. In this stage, the trouble is usually not directed just at the hero, but there is some threat to the entire world. It is the best scenario when the hero acts alone in this challenge, and does not have to be rescued by an ally. In Westerns, this is generally represented by a shootout. In some cases the hero dies at this stage (known as the tragic hero), but in the majority of cases it is the villain. Another challenge is the hero having to choose between choices to see if the hero sticks to their values. There are two different classifications for the climax, the rolling climax and the quiet climax. This stage is ultimately the last chance for the character to change their ways.
The return with the elixir stage is the stage where the heroes return to the place they were at at the beginning of their journey. During this stage all the loose ends are wrapped up. There are two story forms, the circular form and the open-ended form. The circular style is also known as the closed form, and it is the most popular story form. This story lets you see how far the hero has come. Happy endings are very popular in Hollywood movies. In the open-ended form, questions are intentionally left at the end of the hero’s journey for the audience to decide for themselves. This is the part of the story that many writers mess up. It shares many similarities with the Reward stage. A good version of the return stage should connect all the plot lines but also have some aspects of surprise. Another function of this stage is to dish out the last rewards and punishments to the characters. Tragedy, responsibility, and love are all examples of common elixirs the hero brings back from their journey. There are many different pitfalls during this stage of the story. Unresolved subplots, too many endings, abrupt endings, and an out of focus end are all common pitfalls the befall this stage.
Reaction
Overall these sections of the book were good. He explained the different aspects well, and did not write about a lot of common knowledge. I did not agree with his stance on how the hero should not be rescued in the road back stage; I think in some instances a hero coming to the aid helps.
Questions
1)What is an example of a movie where the hero was rescued by an ally in the road back and it worked well?
2)Do you prefer an open-ended ending or a circular format in a story and why?
3)Do you think a tragic hero is effective at teaching the audience a lesson?
Summary
This is the stage where the hero has their last encounter with death, and it is also suppose to be the most dangerous encounter. The hero must once again change and go through a “rebirth” before reentering the ordinary world. This “new” hero should have all the good characteristics of their old self, as well as, their lessons they have learned throughout their journey. This also serves as a function of “cleansing the hero of the smell of death”. In this stage, the trouble is usually not directed just at the hero, but there is some threat to the entire world. It is the best scenario when the hero acts alone in this challenge, and does not have to be rescued by an ally. In Westerns, this is generally represented by a shootout. In some cases the hero dies at this stage (known as the tragic hero), but in the majority of cases it is the villain. Another challenge is the hero having to choose between choices to see if the hero sticks to their values. There are two different classifications for the climax, the rolling climax and the quiet climax. This stage is ultimately the last chance for the character to change their ways.
The return with the elixir stage is the stage where the heroes return to the place they were at at the beginning of their journey. During this stage all the loose ends are wrapped up. There are two story forms, the circular form and the open-ended form. The circular style is also known as the closed form, and it is the most popular story form. This story lets you see how far the hero has come. Happy endings are very popular in Hollywood movies. In the open-ended form, questions are intentionally left at the end of the hero’s journey for the audience to decide for themselves. This is the part of the story that many writers mess up. It shares many similarities with the Reward stage. A good version of the return stage should connect all the plot lines but also have some aspects of surprise. Another function of this stage is to dish out the last rewards and punishments to the characters. Tragedy, responsibility, and love are all examples of common elixirs the hero brings back from their journey. There are many different pitfalls during this stage of the story. Unresolved subplots, too many endings, abrupt endings, and an out of focus end are all common pitfalls the befall this stage.
Reaction
Overall these sections of the book were good. He explained the different aspects well, and did not write about a lot of common knowledge. I did not agree with his stance on how the hero should not be rescued in the road back stage; I think in some instances a hero coming to the aid helps.
Questions
1)What is an example of a movie where the hero was rescued by an ally in the road back and it worked well?
2)Do you prefer an open-ended ending or a circular format in a story and why?
3)Do you think a tragic hero is effective at teaching the audience a lesson?
Subscribe to:
Comments (Atom)