Wednesday, February 18, 2009
Peer Review
The peer review was helpful because it allowed me to see what someone else thought of my work and what might still need clarification. When you are writing it is easy to not go into enough detail or make things clear enough, so having someone else critique your work is always a good idea. Everyone has different view points and ideas about what makes a piece of writing good and it can only make it better to form these into one.
The Ordinary World & Call to Adventure
Summary:
In this section of the reading Vogler takes us into the first stage of the Hero’s Journey, the Ordinary World, and begins discussing each part of this process in detail. Even before beginning the story there are certain things that can give the reader a certain mind-set or impression, like the title or prologue. It’s important that these things give the reader the right sense of the story and make it intriguing and grabbing. Once you move into the story the first obstacle you must tackle is usually creating an “Ordinary World” that includes the “seeds of excitement and challenge” within it. The hero must have both an inner and outer problem that they face sometime in the story; each of these problems builds up to the hero learning something throughout their journey. The author must then determine how they want their hero to be introduced to the reader or audience in terms of what they will be doing, acting, behaving, wearing etc… The opening act is especially important because it allows for the reader to find similarities and relatable qualities with the hero which creates a bond between them. Also in the Ordinary World the theme of the story is revealed and the appropriate backstory and exposition is provided. Moving into stage two of a story, The Call to Adventure, is when the hero is faced with a challenge that will transfer them from their normal, comfortable setting into an unknown world. The call may be brought along by the Herald archetype or another form of messenger, or it may be brought on by something within the hero. Often the hero has to be called into action more than once because the unknown world is not appealing to them and they are happy to stay in their current situation.
Reaction:
How the hero makes their entrance into the story seems especially important because it is the first chance for the reader to see what kind of a person the main character is. You can tell so much from the beginning scene with the hero based on what they are wearing, where they are, what they’re doing, speaking like, talking to etc… It is much like meeting someone for the first time, often we judge and stereotype a person right off the bat so having a strong opening scene where the hero is portrayed in the way that you want is key. The idea that the reader must identify with and feel equal to the hero is one that I am not sure I agree with. I do think that a character must be relatable in one way or another but I would not say that there needs to be a feeling of “equality” in any way. The idea that much can be seen by what characters don’t do or say, in a way what they hide, is one that’s extremely true. Often what people are trying to hide or keep inside their unconscious is the heart of their inner-problem.
Reflection:
The main thing that I was thinking about while reading this section was how each part connected to my story, or didn’t, and how I could use the different sections to better my writing. It made me think about things like my title, the first time my character is introduced, and the possible need of more/less backstory. Vogler also makes a point that audiences enjoy watching characters learn which was what the main goal of our personal memoir was. The idea of a hero “lacking” something is one that is very real and true even in each of our lives today. It is often the lack of something in our lives that drives us forward in our ambitions and pushes us forward into the unknown world. It shall be interesting to see how learning about each of the stages of the hero journey, broken down into detailed descriptions, transforms future memoirs into better pieces of writing.
Questions:
1) What exactly is the reconnaissance? Is this seen mostly in mystery stories?
2) What kinds of problems were evident in your “Ordinary World” in the beginning of your life story? How were they activated?
3) How exactly can “getting the audience a little off-base and upsetting their normal perceptions” make them more receptive? p.86
Summary:
In this section of the reading Vogler takes us into the first stage of the Hero’s Journey, the Ordinary World, and begins discussing each part of this process in detail. Even before beginning the story there are certain things that can give the reader a certain mind-set or impression, like the title or prologue. It’s important that these things give the reader the right sense of the story and make it intriguing and grabbing. Once you move into the story the first obstacle you must tackle is usually creating an “Ordinary World” that includes the “seeds of excitement and challenge” within it. The hero must have both an inner and outer problem that they face sometime in the story; each of these problems builds up to the hero learning something throughout their journey. The author must then determine how they want their hero to be introduced to the reader or audience in terms of what they will be doing, acting, behaving, wearing etc… The opening act is especially important because it allows for the reader to find similarities and relatable qualities with the hero which creates a bond between them. Also in the Ordinary World the theme of the story is revealed and the appropriate backstory and exposition is provided. Moving into stage two of a story, The Call to Adventure, is when the hero is faced with a challenge that will transfer them from their normal, comfortable setting into an unknown world. The call may be brought along by the Herald archetype or another form of messenger, or it may be brought on by something within the hero. Often the hero has to be called into action more than once because the unknown world is not appealing to them and they are happy to stay in their current situation.
Reaction:
How the hero makes their entrance into the story seems especially important because it is the first chance for the reader to see what kind of a person the main character is. You can tell so much from the beginning scene with the hero based on what they are wearing, where they are, what they’re doing, speaking like, talking to etc… It is much like meeting someone for the first time, often we judge and stereotype a person right off the bat so having a strong opening scene where the hero is portrayed in the way that you want is key. The idea that the reader must identify with and feel equal to the hero is one that I am not sure I agree with. I do think that a character must be relatable in one way or another but I would not say that there needs to be a feeling of “equality” in any way. The idea that much can be seen by what characters don’t do or say, in a way what they hide, is one that’s extremely true. Often what people are trying to hide or keep inside their unconscious is the heart of their inner-problem.
Reflection:
The main thing that I was thinking about while reading this section was how each part connected to my story, or didn’t, and how I could use the different sections to better my writing. It made me think about things like my title, the first time my character is introduced, and the possible need of more/less backstory. Vogler also makes a point that audiences enjoy watching characters learn which was what the main goal of our personal memoir was. The idea of a hero “lacking” something is one that is very real and true even in each of our lives today. It is often the lack of something in our lives that drives us forward in our ambitions and pushes us forward into the unknown world. It shall be interesting to see how learning about each of the stages of the hero journey, broken down into detailed descriptions, transforms future memoirs into better pieces of writing.
Questions:
1) What exactly is the reconnaissance? Is this seen mostly in mystery stories?
2) What kinds of problems were evident in your “Ordinary World” in the beginning of your life story? How were they activated?
3) How exactly can “getting the audience a little off-base and upsetting their normal perceptions” make them more receptive? p.86
Revision Plan:
1) I think the part of the story that is still in the "known" world is at a good state with quite a bit of detail. My mentor's advice is something that has really helped me is at the heart of the story.
2) I really need to focus on the progression of the story and showing, not explaining, what I have learned throughout the story. I also need to focus more on developing the different archetypes throughout and include what actually happened and not a totally watered down version.
a) I will try to include more conversations and interactions with people that will give the story a more "real" feel.
b) In doing this I will simply have to overcome the idea of someone reading my draft and also figure out how to say what I want the reader to understand.
1) I think the part of the story that is still in the "known" world is at a good state with quite a bit of detail. My mentor's advice is something that has really helped me is at the heart of the story.
2) I really need to focus on the progression of the story and showing, not explaining, what I have learned throughout the story. I also need to focus more on developing the different archetypes throughout and include what actually happened and not a totally watered down version.
a) I will try to include more conversations and interactions with people that will give the story a more "real" feel.
b) In doing this I will simply have to overcome the idea of someone reading my draft and also figure out how to say what I want the reader to understand.
Sunday, February 15, 2009
Vogler Archetypes Part Two
Summary:
This section of the reading continues with detailed descriptions of each archetype including the Threshold Guardian, Herald, Shapeshifter, Shadow, Ally and Trickster. When looking at the Threshold Guardian from a psychological perspective it is often that they symbolize a sort of internal barrier that is meant to hold the hero back. It is overcoming this and moving forward that shows the hero worthy of moving forward in his expedition. The Herald archetype signifies the coming of change in a story and is often the motivation for progression in the story. The Shapeshifter in a story is the character that can never be definitely trusted and is constantly changing form, either physically or mentally. Often the Shapeshifter in a story is the opposite sex of the hero and signifies the balance between masculine and feminine qualities that the hero needs to survive. The archetype of the Shadow represents the dark, looming uneasiness that is usually conjured from within the hero, like guilt, and must be dealt with head on in order for the hero to overcome and move forward. The Ally is a character who provides the hero with humanizing qualities and brings out parts of the hero that wouldn’t otherwise be seen by the audience. Lastly, the Trickster archetype is a character that provides lightness to some stories and keeps the hero in check. All of these archetypes help to progress the story along and advance the hero’s journey both physically and mentally.
Reaction:
I fully agree with the Shadow representing suppressed memories, emotions, or feelings, and that not bringing these into your conscious frame of mind will always come back to bite you. Many movies and stories lead to the hero having to confront suppressed feelings that could have been dealt with earlier and saved the hero a whole lot of suffering. I’m not sure that I fully understand the connection between the Shapeshifter and the need for masculine and feminine balance in a hero’s life. I can see how having both sets of qualities would aid a person but I don’t see how it fits in with the idea of a character transforming their physical and mental appearance. The book says that encountering an opposite-sex person to help the hero balance themselves is “an important step in psychological growth,” which I don’t really understand. The further exploration of archetypes has added to my knowledge of the components in a story and all of the elements that come together to progress and make sense of a hero’s journey.
Reflection:
In each of the areas that discuss a certain archetype there are many different directions that the archetype can take on. It would be interesting to break them down into even more specific groups and look at each one in more detail in regards to what they provide for the hero and the story in general. The idea that the Threshold Guardian is merely resistance that the hero must take into their body, learn from and then use in their future endeavors is one of great interest. It seems as though this could be a metaphor for life and the obstacles that we face every day and must embrace as knowledge and not a barrier in order to overcome them. Everything can be learned from and seen as just another experience in life and it is only when you get stuck on one that you will run into problems. Another thing that I found interesting in this section was the idea of projection, meaning forcing someone into taking on a personality or physical look that matches what we want them to be. Is this not what society does to us through media and propaganda every day?
Questions:
1) Do you agree with the saying “Make ‘em cry a lot; let ‘em laugh a little,” in regards to the dramatic and humorous sides to a story?
2) Does anyone feel that they have had a moment when they were struck by a Herald or realized that there was need for change in their life? What did you do about it?
3) Could the image of men (powerful, strong, assertive) and women (submissive, quiet, weak) have all started from storytelling and passing on these stereotypes?
Summary:
This section of the reading continues with detailed descriptions of each archetype including the Threshold Guardian, Herald, Shapeshifter, Shadow, Ally and Trickster. When looking at the Threshold Guardian from a psychological perspective it is often that they symbolize a sort of internal barrier that is meant to hold the hero back. It is overcoming this and moving forward that shows the hero worthy of moving forward in his expedition. The Herald archetype signifies the coming of change in a story and is often the motivation for progression in the story. The Shapeshifter in a story is the character that can never be definitely trusted and is constantly changing form, either physically or mentally. Often the Shapeshifter in a story is the opposite sex of the hero and signifies the balance between masculine and feminine qualities that the hero needs to survive. The archetype of the Shadow represents the dark, looming uneasiness that is usually conjured from within the hero, like guilt, and must be dealt with head on in order for the hero to overcome and move forward. The Ally is a character who provides the hero with humanizing qualities and brings out parts of the hero that wouldn’t otherwise be seen by the audience. Lastly, the Trickster archetype is a character that provides lightness to some stories and keeps the hero in check. All of these archetypes help to progress the story along and advance the hero’s journey both physically and mentally.
Reaction:
I fully agree with the Shadow representing suppressed memories, emotions, or feelings, and that not bringing these into your conscious frame of mind will always come back to bite you. Many movies and stories lead to the hero having to confront suppressed feelings that could have been dealt with earlier and saved the hero a whole lot of suffering. I’m not sure that I fully understand the connection between the Shapeshifter and the need for masculine and feminine balance in a hero’s life. I can see how having both sets of qualities would aid a person but I don’t see how it fits in with the idea of a character transforming their physical and mental appearance. The book says that encountering an opposite-sex person to help the hero balance themselves is “an important step in psychological growth,” which I don’t really understand. The further exploration of archetypes has added to my knowledge of the components in a story and all of the elements that come together to progress and make sense of a hero’s journey.
Reflection:
In each of the areas that discuss a certain archetype there are many different directions that the archetype can take on. It would be interesting to break them down into even more specific groups and look at each one in more detail in regards to what they provide for the hero and the story in general. The idea that the Threshold Guardian is merely resistance that the hero must take into their body, learn from and then use in their future endeavors is one of great interest. It seems as though this could be a metaphor for life and the obstacles that we face every day and must embrace as knowledge and not a barrier in order to overcome them. Everything can be learned from and seen as just another experience in life and it is only when you get stuck on one that you will run into problems. Another thing that I found interesting in this section was the idea of projection, meaning forcing someone into taking on a personality or physical look that matches what we want them to be. Is this not what society does to us through media and propaganda every day?
Questions:
1) Do you agree with the saying “Make ‘em cry a lot; let ‘em laugh a little,” in regards to the dramatic and humorous sides to a story?
2) Does anyone feel that they have had a moment when they were struck by a Herald or realized that there was need for change in their life? What did you do about it?
3) Could the image of men (powerful, strong, assertive) and women (submissive, quiet, weak) have all started from storytelling and passing on these stereotypes?
Sunday, February 8, 2009
Vogler Reading: Archetypes
Vogler Reading: Archetypes
Summary:
It is in this section of the reading that Vogler delves deeper into the Hero’s Journey in regards to people that influence his journey and what significance each of them have. The archetypes that we see in every fairytale, screen play, novel, etc… are all extremely similar to one another despite each stories differences and uniqueness. Carl G. Jung describes archetypes as “ancient patterns of personality that are the shared heritage of the human race.” It is important to not think of archetypes as definite roles in a story but instead of characters that are put in place to try to achieve a certain outcome. Through the universality of archetypes it is able for everyone to connect with and relate to these roles that can be seen in all cultures. There are many archetypes that appear in stories, however, the basic and most common are the Hero, Mentor, Shadow, Herald, Shapeshifter, and Threshold Guardian. It is by meeting and interacting with each different archetype in a story that the hero learns, grows, and creates a “complete human being.”
Reaction:
The idea that heroes teach us how to deal with death is an idea that I’m not sure I fully agree with. It is possible that in a very elementary and farfetched way a hero in a story could give some insight into death; however, death is not something that can be understood that easily. The three ways that the book explains death, by surviving it, being reborn afterwards, or dying, didn’t provide me with enough reasoning as to how heroes show us how to deal with death. I thought it was extremely interesting that the Mentor is often symbolic of a parent and could be filling in for the absence of a parent in the hero’s life. It is evident that someone with advice and answers is needed to help guide us at certain points throughout our lives, and parent or not, without them we would find ourselves lost at many moments. I am not completely sure that I understand exactly how an anti-hero comes to be. In the introduction Vogler talks about how the reader must identify and sympathize with the hero, and it seems unlikely that many people could identify with a villain.
Reflection:
This section of reading brought me to thinking about the short story we read last week, “A Good Man is Hard to Find.” I thought about each character and what archetype they might fit into and whether or not the Misfit could really be called a hero. By the end of the story the reader begins to feel a little sympathy for the Misfit but I am unsure if he holds all of the necessary qualities to be considered a hero in the story. The Grandma could be said to fill the role of the Mentor as she is talking with the Misfit and trying to guide him into doing the right thing and not kill them. I was also brainstorming about my own personal narrative as I was reading about the different archetypes and all of the possible places you could go with them. It was fun to try and match things like a Mentor’s gift with something in my story that I had to earn and that helped me move forward in my journey.
Questions:
-How exactly does the anti-hero theory work? Can someone who has committed a crime or performed an atrocious act really become a hero in the eyes of the reader?
-I thought the whole idea of a Hero’s Journey was for them to learn and grow… how can there be catalyst heroes then?
-How can a hero already have an inner mentor? Does everyone and it’s merely a matter of finding it within ourselves?
Summary:
It is in this section of the reading that Vogler delves deeper into the Hero’s Journey in regards to people that influence his journey and what significance each of them have. The archetypes that we see in every fairytale, screen play, novel, etc… are all extremely similar to one another despite each stories differences and uniqueness. Carl G. Jung describes archetypes as “ancient patterns of personality that are the shared heritage of the human race.” It is important to not think of archetypes as definite roles in a story but instead of characters that are put in place to try to achieve a certain outcome. Through the universality of archetypes it is able for everyone to connect with and relate to these roles that can be seen in all cultures. There are many archetypes that appear in stories, however, the basic and most common are the Hero, Mentor, Shadow, Herald, Shapeshifter, and Threshold Guardian. It is by meeting and interacting with each different archetype in a story that the hero learns, grows, and creates a “complete human being.”
Reaction:
The idea that heroes teach us how to deal with death is an idea that I’m not sure I fully agree with. It is possible that in a very elementary and farfetched way a hero in a story could give some insight into death; however, death is not something that can be understood that easily. The three ways that the book explains death, by surviving it, being reborn afterwards, or dying, didn’t provide me with enough reasoning as to how heroes show us how to deal with death. I thought it was extremely interesting that the Mentor is often symbolic of a parent and could be filling in for the absence of a parent in the hero’s life. It is evident that someone with advice and answers is needed to help guide us at certain points throughout our lives, and parent or not, without them we would find ourselves lost at many moments. I am not completely sure that I understand exactly how an anti-hero comes to be. In the introduction Vogler talks about how the reader must identify and sympathize with the hero, and it seems unlikely that many people could identify with a villain.
Reflection:
This section of reading brought me to thinking about the short story we read last week, “A Good Man is Hard to Find.” I thought about each character and what archetype they might fit into and whether or not the Misfit could really be called a hero. By the end of the story the reader begins to feel a little sympathy for the Misfit but I am unsure if he holds all of the necessary qualities to be considered a hero in the story. The Grandma could be said to fill the role of the Mentor as she is talking with the Misfit and trying to guide him into doing the right thing and not kill them. I was also brainstorming about my own personal narrative as I was reading about the different archetypes and all of the possible places you could go with them. It was fun to try and match things like a Mentor’s gift with something in my story that I had to earn and that helped me move forward in my journey.
Questions:
-How exactly does the anti-hero theory work? Can someone who has committed a crime or performed an atrocious act really become a hero in the eyes of the reader?
-I thought the whole idea of a Hero’s Journey was for them to learn and grow… how can there be catalyst heroes then?
-How can a hero already have an inner mentor? Does everyone and it’s merely a matter of finding it within ourselves?
Sunday, February 1, 2009
I was quite a fan of the “The Boxcar Children” series when I was young and although I cannot remember exactly which of the four children I identified with most I think it was more of them as a group that I enjoyed. The four siblings had spent a while living in a boxcar after their parents died and it was only when their grandfather found them that they moved into his luxurious house. The idea of living with little supervision was always appealing to me as was the idea of living a life of secrecy in a fort-like house. After the children move in with their grandfather they travel around and somehow always come upon crimes and mysteries that they work together to solve. The characters in the books were my age and it allowed me to dream about solving mysteries of my own. The books were always resolved perfectly by the end and I saw this as a major difference between the children’s lives and mine. The children had lived on their own for so long that they were able to pretty much take care of themselves while they solved mysteries that no one else could, making them all heroes in my young eyes.
“A Practical Guide”-Summary
In this first section of reading Vogler speaks about the universal pattern in all stories, no matter the culture or time period, and the process it takes to create the journey of a hero. All stories that follow the Hero’s Cycle have similarities in their set-up and yet they can be altered and made unique to a certain culture or to fit the author’s intentions. The hero’s journey was described beginning with his state in the “ordinary world”, continuing into the heart of the adventure and ending with the hero having gained something either physically or mentally, or both. Throughout the journey the hero has to overcome certain obstacles that interfere with their goal; in doing this they gain some sort of knowledge or insight and are changed people when they return to the ordinary world. There are certain symbols throughout the journey that are representative of “universal life experiences” and can be altered and adapted to fit any story. Vogler stresses the importance that the outline for the Hero’s Journey is not set in stone and there are endless possibilities as to where the story can go and the details that can be added throughout the piece.
Reaction-
I thought it was interesting and helpful that Vogler included examples of current films and television shows to illustrate his ideas and points. I liked that the steps and process of the hero’s journey were showed through diagrams and charts and were also broken down into twelve sections and then explained in great detail. A roller coaster was used as a comparison to the Hero’s Journey and I felt this was appropriate in describing the unknown path and fear that a hero must face in order to be successful. I was a little unsure about the idea of the hero becoming more attractive after they have completed their journey and what exactly this meant. A hero may seem to be more attractive because of their accomplishments but it is unlikely that they actually are and I would argue that it is more in the eyes of those who observed them before and after the journey. I also thought it was important to make clear that the set-up of the Hero’s Journey was merely an outline and could be altered and reworked to fit any idea, which Vogler did well.
Reflection-
This section of reading relates directly to what we talked about in class on Friday, meaning fairytale stories and childhood classics that involve some sort of hero. It was interesting that we discussed both male and female heroes and there is a special note about including women as heroes as well, and Vogler refers to “her” as he talks about heroes. The book is written in a fashion that makes reading it enjoyable even though there is a lot of information and examples packed into each page. I am beginning to see why we might have to pick a hero that relates to us in some way for an upcoming project. Perhaps the hero we choose and the journey that they experienced says something about who we are as individuals. This book seems extremely relevant to each of us at this point in our lives, not merely because the Hero Journey is all around us in films, books, etc… but because we are living our own epic journey. This universal system also links all cultures together creating a certain degree of understanding and civility between them.
Questions:
What exactly is meant by the hero becoming more attractive after the journey?
Is it really plausible to say that the Hero Journey will “outlive us all”?
Are there any heroic stories that follow a completely different outline?
In this first section of reading Vogler speaks about the universal pattern in all stories, no matter the culture or time period, and the process it takes to create the journey of a hero. All stories that follow the Hero’s Cycle have similarities in their set-up and yet they can be altered and made unique to a certain culture or to fit the author’s intentions. The hero’s journey was described beginning with his state in the “ordinary world”, continuing into the heart of the adventure and ending with the hero having gained something either physically or mentally, or both. Throughout the journey the hero has to overcome certain obstacles that interfere with their goal; in doing this they gain some sort of knowledge or insight and are changed people when they return to the ordinary world. There are certain symbols throughout the journey that are representative of “universal life experiences” and can be altered and adapted to fit any story. Vogler stresses the importance that the outline for the Hero’s Journey is not set in stone and there are endless possibilities as to where the story can go and the details that can be added throughout the piece.
Reaction-
I thought it was interesting and helpful that Vogler included examples of current films and television shows to illustrate his ideas and points. I liked that the steps and process of the hero’s journey were showed through diagrams and charts and were also broken down into twelve sections and then explained in great detail. A roller coaster was used as a comparison to the Hero’s Journey and I felt this was appropriate in describing the unknown path and fear that a hero must face in order to be successful. I was a little unsure about the idea of the hero becoming more attractive after they have completed their journey and what exactly this meant. A hero may seem to be more attractive because of their accomplishments but it is unlikely that they actually are and I would argue that it is more in the eyes of those who observed them before and after the journey. I also thought it was important to make clear that the set-up of the Hero’s Journey was merely an outline and could be altered and reworked to fit any idea, which Vogler did well.
Reflection-
This section of reading relates directly to what we talked about in class on Friday, meaning fairytale stories and childhood classics that involve some sort of hero. It was interesting that we discussed both male and female heroes and there is a special note about including women as heroes as well, and Vogler refers to “her” as he talks about heroes. The book is written in a fashion that makes reading it enjoyable even though there is a lot of information and examples packed into each page. I am beginning to see why we might have to pick a hero that relates to us in some way for an upcoming project. Perhaps the hero we choose and the journey that they experienced says something about who we are as individuals. This book seems extremely relevant to each of us at this point in our lives, not merely because the Hero Journey is all around us in films, books, etc… but because we are living our own epic journey. This universal system also links all cultures together creating a certain degree of understanding and civility between them.
Questions:
What exactly is meant by the hero becoming more attractive after the journey?
Is it really plausible to say that the Hero Journey will “outlive us all”?
Are there any heroic stories that follow a completely different outline?
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