Have done:
Plan of Action:
Get to work. Focus.
The plan is there, I have a clear understanding of what i want to do, now it is simply time to get to work.
Friday, November 21, 2008
Tuesday, November 18, 2008
Vogler, Christopher. “Epilogue: The Writer's Journey and Appendices: Stories Are Alive”. The Writers Journey. Studio City, CA: Michael Wiese Productions, 1998. 293-312.
Vogler begins the chapter "A Writers Journey" by acknowledging that it is no different then the hero's journey described over the course of the book. He speaks in length regarding the importance of writing within various cultures, as due to the power of words writers have the ability t act as healers similiar to that of Shamans or medicine men. Vogler then continues to find various similarities between Shamans and Writers, as both seek to travel to other worlds and bring them back in the forms of stories to share.
Vogler also makes a clear connection between the abilities for stories to respond to human emotions, as well as possess their own life and conscious. To Vogler stories possess a healing power which give help to the individual through dealing with difficult emotional situations through giving examples of Human behavior. Additionally Vogler notes his belief on stories possessing two journeys, an inner, and an outer "an outer journey in which the hero tries to do something difficult or get something, and an inner journey in which the hero faces some crisis of the spirit or test of character that leads to transformation.
Reaction: It is important to stress the relationship between the Hero's journey, and the Writer's Journey as they both share similiar challenges as well as criteria. Throughout the text, Vogler has done a fine job in presenting the material in a clear and understandable manner, and concludes in a similiar fashion.
Questions:
Were you satisfied with Voglers description of the Hero's and Writer's journey? What were the strengths and weaknesses in your opinion.
Do you agree with Vogler that the Heoo's journey and the Writers journey are one of the same?
How important of role do "Wishing" and "Willing" play in telling a story.
Vogler begins the chapter "A Writers Journey" by acknowledging that it is no different then the hero's journey described over the course of the book. He speaks in length regarding the importance of writing within various cultures, as due to the power of words writers have the ability t act as healers similiar to that of Shamans or medicine men. Vogler then continues to find various similarities between Shamans and Writers, as both seek to travel to other worlds and bring them back in the forms of stories to share.
Vogler also makes a clear connection between the abilities for stories to respond to human emotions, as well as possess their own life and conscious. To Vogler stories possess a healing power which give help to the individual through dealing with difficult emotional situations through giving examples of Human behavior. Additionally Vogler notes his belief on stories possessing two journeys, an inner, and an outer "an outer journey in which the hero tries to do something difficult or get something, and an inner journey in which the hero faces some crisis of the spirit or test of character that leads to transformation.
Reaction: It is important to stress the relationship between the Hero's journey, and the Writer's Journey as they both share similiar challenges as well as criteria. Throughout the text, Vogler has done a fine job in presenting the material in a clear and understandable manner, and concludes in a similiar fashion.
Questions:
Were you satisfied with Voglers description of the Hero's and Writer's journey? What were the strengths and weaknesses in your opinion.
Do you agree with Vogler that the Heoo's journey and the Writers journey are one of the same?
How important of role do "Wishing" and "Willing" play in telling a story.
Tuesday, October 21, 2008
Vogler, Christopher. Book Two: Stage Seven: Approach to the Inmost cave Stage Eight: The Ordeal. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007. 143-173.
Summary:
The approach to the Inmost Cave is described as the intermediate region between the border and the very center of the hero’s journey. At this stage the hero will encounter supreme wonder and terror, and is forced to make final preparations for their central ordeal of the adventure. Vogler notes that there can be various functions of approach within this stage, and relies on the Wizard of Oz to help illuminate some of the functions of this stage, as the story possesses a well-developed approach section. Obstacles are present within this stage, which will serve to bond the heroes as a group, and prepare them for the life and death struggle yet to come. Illusions can also be present, and it is crucial that the hero remains focused and alert on their journey. Often at times Threshold Guardians will be present in this stage, and represent various elements of the hero’s internal psyche as well as current adventure.
The Ordeal is the stage in which the hero `stands in the deepest chamber of the Inmost Cave, faces the greatest challenge, as well as the most fearsome opponent yet. The Ordeal is seen as the mainspring of the heroic form and the key to its magic power. It is emphasized that heroes must die so that they can be reborn, and through this process they return changed and transformed. The ordeal is usually the central event of the story, or the main event of the second act, and is more appropriately termed crisis, rather than climax, as it is the point in the story where hostile forces are in the tensest state of opposition. Vogler clarifies that a crisis can come in various stages of the story, and differentiates between a central crisis, and a delayed crisis. Every story needs a crisis moment that conveys the ordeals sense of death and revival, as a crisis can separate the two halves of the story. The ordeal is described as one of the deepest depressions in a story, and thus leads to one of its highest peaks.
Reaction: I was very impressed with Vogler`s description of the Approach to the Inmost Cave, and The Ordeal. In both chapters the information is presented in a clear and concise manner that leaves little confusion for the reader. Vogler made clear that both sections represent critical stages of the hero’s journey, and easily allowed the reader to identify with the criteria through using well known films as Wizard of Oz and Star Wars to further illuminate the respective stages.
Questions:
What do you find to be more effective in a story – having a central crisis or a delayed crisis? Explain why.
Have there been times where you found yourself rooting for the villain rather than the hero?
Describe the relationship between the hero’s external challenges with that of his inner challenges?
Summary:
The approach to the Inmost Cave is described as the intermediate region between the border and the very center of the hero’s journey. At this stage the hero will encounter supreme wonder and terror, and is forced to make final preparations for their central ordeal of the adventure. Vogler notes that there can be various functions of approach within this stage, and relies on the Wizard of Oz to help illuminate some of the functions of this stage, as the story possesses a well-developed approach section. Obstacles are present within this stage, which will serve to bond the heroes as a group, and prepare them for the life and death struggle yet to come. Illusions can also be present, and it is crucial that the hero remains focused and alert on their journey. Often at times Threshold Guardians will be present in this stage, and represent various elements of the hero’s internal psyche as well as current adventure.
The Ordeal is the stage in which the hero `stands in the deepest chamber of the Inmost Cave, faces the greatest challenge, as well as the most fearsome opponent yet. The Ordeal is seen as the mainspring of the heroic form and the key to its magic power. It is emphasized that heroes must die so that they can be reborn, and through this process they return changed and transformed. The ordeal is usually the central event of the story, or the main event of the second act, and is more appropriately termed crisis, rather than climax, as it is the point in the story where hostile forces are in the tensest state of opposition. Vogler clarifies that a crisis can come in various stages of the story, and differentiates between a central crisis, and a delayed crisis. Every story needs a crisis moment that conveys the ordeals sense of death and revival, as a crisis can separate the two halves of the story. The ordeal is described as one of the deepest depressions in a story, and thus leads to one of its highest peaks.
Reaction: I was very impressed with Vogler`s description of the Approach to the Inmost Cave, and The Ordeal. In both chapters the information is presented in a clear and concise manner that leaves little confusion for the reader. Vogler made clear that both sections represent critical stages of the hero’s journey, and easily allowed the reader to identify with the criteria through using well known films as Wizard of Oz and Star Wars to further illuminate the respective stages.
Questions:
What do you find to be more effective in a story – having a central crisis or a delayed crisis? Explain why.
Have there been times where you found yourself rooting for the villain rather than the hero?
Describe the relationship between the hero’s external challenges with that of his inner challenges?
Tuesday, October 7, 2008
vogler
Vogler, Christopher. “Book Two: Stage One: The Ordinary World and Stage Two: The Call to Adventure. The Writers Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions, 2007.
This chapter lays out the necessary settings in which the hero will undertake his or her journey. Vogler by noting that the mythological approach to a story boils down to using metaphors or comparisons to get across your feelings about life. Vogler goes on to mention what are the needed aspects and qualities to receive the desired attention before the story is told. He emphasizes the importance of the opening image of the story, as that is crucial for engaging the viewer’s interest at the start of the story. Followed by this the importance in some cases of using a prologue is mentioned, however it is made clear that it is not always required, as the needs of the story will always dictate the best approach to the structure. In many stories the beginning starts in the hero’s ordinary world, and later in the story he enters that of the special world. The importance of foreshadowing is then stressed, as this is done to help unify a story into a rhythmic and poetic design through displaying the battles and moral dilemmas associated with the special world, as the hero remains in that of the ordinary. It is also mentioned that every good story poses a series of questions about the hero, which relates to the hero’s journey. Additionally every hero needs both an inner and outer problem associated with him or her, as Vogler notes this can clearly be found in many Disney stories.
Vogler emphasizes the importance of the hero’s first impression for the storyteller, as he feels most importantly it is based on what the hero is doing at the moment of his entrance. Additionally a proper introduction for the hero to the audience is critical for their engagement. Vogler mentions that is it is critical to create a common bond between the hero and the audience in the initial stages, so they have the ability to easily identify with the hero. He believes it is extremely important for the hero to be lacking something, or for something to be taken away from him at the start of his journey. The Call to Adventure is described by Vogler as the second stage associated with the Hero’s Journey. Other terms that relate to the call to adventure are “an inciting or initiating trigger, a catalyst, or a trigger”.
Reaction:
I thought Vogler did a great job outlining the various elements associated with the required background for the hero’s journey. Through reading this chapter one gains a much greater understanding of what are the required elements associated with a good story. It is made clear that not every element needs to be present, however, one easily learns the proper time, and situation for each aspect. It is very easy to identify these themes within many novels and films, as clearly these are the accepted norm for a good story.
Questions:
1) Do you agree with the importance of a quality introduction for the hero? Why or Why not?
2) Do you think it is possible to create a quality story without clearly acknowledging who the hero is in the initial stages of the story?
3) Does every hero need to face a dramatic question in his or her adventure?
This chapter lays out the necessary settings in which the hero will undertake his or her journey. Vogler by noting that the mythological approach to a story boils down to using metaphors or comparisons to get across your feelings about life. Vogler goes on to mention what are the needed aspects and qualities to receive the desired attention before the story is told. He emphasizes the importance of the opening image of the story, as that is crucial for engaging the viewer’s interest at the start of the story. Followed by this the importance in some cases of using a prologue is mentioned, however it is made clear that it is not always required, as the needs of the story will always dictate the best approach to the structure. In many stories the beginning starts in the hero’s ordinary world, and later in the story he enters that of the special world. The importance of foreshadowing is then stressed, as this is done to help unify a story into a rhythmic and poetic design through displaying the battles and moral dilemmas associated with the special world, as the hero remains in that of the ordinary. It is also mentioned that every good story poses a series of questions about the hero, which relates to the hero’s journey. Additionally every hero needs both an inner and outer problem associated with him or her, as Vogler notes this can clearly be found in many Disney stories.
Vogler emphasizes the importance of the hero’s first impression for the storyteller, as he feels most importantly it is based on what the hero is doing at the moment of his entrance. Additionally a proper introduction for the hero to the audience is critical for their engagement. Vogler mentions that is it is critical to create a common bond between the hero and the audience in the initial stages, so they have the ability to easily identify with the hero. He believes it is extremely important for the hero to be lacking something, or for something to be taken away from him at the start of his journey. The Call to Adventure is described by Vogler as the second stage associated with the Hero’s Journey. Other terms that relate to the call to adventure are “an inciting or initiating trigger, a catalyst, or a trigger”.
Reaction:
I thought Vogler did a great job outlining the various elements associated with the required background for the hero’s journey. Through reading this chapter one gains a much greater understanding of what are the required elements associated with a good story. It is made clear that not every element needs to be present, however, one easily learns the proper time, and situation for each aspect. It is very easy to identify these themes within many novels and films, as clearly these are the accepted norm for a good story.
Questions:
1) Do you agree with the importance of a quality introduction for the hero? Why or Why not?
2) Do you think it is possible to create a quality story without clearly acknowledging who the hero is in the initial stages of the story?
3) Does every hero need to face a dramatic question in his or her adventure?
Tuesday, September 30, 2008
Subscribe to:
Comments (Atom)