Summary
In these chapters Vogler looks into the Ordinary World. He goes through a guide for the journey step by step. Starting with Before the Beginning and ending with Questioning the Journey. Before the beginning sets a tone for the ordinary world. It gives some background and sets a base to grab the reader. From here he jumps to the “title” which gives a clue or link to what the story holds ahead. Following the title is where “the opening image can be a powerful tool to create mood and suggest where the story will go” (p.85). Next is the prologue where the author can give that special link to a back-story or “cue the audience to what kind of movie or story this is going to be” (p.86). As you learn what type of story is about to unfold the ordinary world must be shown to emphasize the special world while showing contrast and foreshadowing the story ahead. “Every hero needs both an inner and an outer problem,” which is normally lead by a question (p.88). Once the problem is disclosed the hero makes his or her entrance. Part of the hero experience is connecting the hero to the audience while identifying and connecting his or her strengths and flaws. Showing your flaws shows your history and or back-story while expressing what you have at stake. This is where the ordinary world brings the theme back into the story and shows the call to adventure. Temptation to need, the options are lost and the call to adventure is made.
Reaction
These chapters dig deep into the ordinary world while expressing the call to adventure while supporting the general theme. I liked when the stories theme supports the inner and outer problems creating an ordinary and an extraordinary world. I felt that an important element of these chapters is the connection to the call to adventure. Just because the story may have all these factors, the level of call to adventure may be a lot higher then the level of conflict.
Questions:
1.) Does the inner problem have to relate to the outer problem?
2.) Is the hero required to have a back-story?
3.) What is the most important part of a great hero?
Vogler, Christopher . The Writer's Journey : Mythic Structure for Writers. Studio City, CA: Michael Wiese Productions, 2007.
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2 comments:
i think that the hero must have a back story to allow the audience relate to the hero. without the hero's backstory every becoming apparent, there is a smaller chance the the audience will be interested in the hero's journey, especially an inner one.
I don't think that the hero's outer problem has to relate to their inner problem. Their outer problem is for the audience to see him/her overcome while the inner problem is something that the hero has to tackle within their self and separate it from any other problems they may have.
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