Kristy Roseberry 1
November 16, 2008
Professor Robinson
Vogler 231-290 Annotation 11
Citation:
Vogler, Christopher. “The Writer’s Journey”. “Stories Are Alive”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
Vogler states that the Hero’s Journey is an accurate map to become a writer, and better yet a human being. He states that the Hero’s Journey and the Writer’s Journey are the same. Vogler states that the Elixir in a story writer’s journey is a good story. He also states that writers have the potential to be healers for other people. Vogler compares writers and shamans and states that they both are prepared for their work by enduring terrible ordeals. Furthermore, Vogler states that when we write we travel to the worlds of our imagination.
Vogler goes on to talk about how stories have a healing power, in which they can help others deal with difficult emotional situations. He also states that stories have a survival value, they are metaphors, and that good stories show at least two journeys, an outer one and an inner one, also that stories are
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orientation devices. Vogler states that stories are somehow alive and are responsive to human emotions and wishes. He states that stories have an agenda just like humans do. Vogler goes on to talk about the story of Rumplestiltskin and discusses the power of wishing. He states that wishing is an underlying principle of storytelling. Vogler states that the expression of a wish has the important function of orientation for the audience. He states that stories hear the wishes with intense emotion attached to it. Vogler states that often heroes wish for something that they want badly but the journey teaches them what they need. Vogler also states that the aim of good storytelling is to get the audience to wish along with the hero. A good story can do this by making the hero sympathetic and making the audience identify with the hero. Vogler also states that we have wishes for our villains also. Vogler also goes on to talk about the progression from wishing to willing. He states that just like wishing, the will must be managed. Vogler also states that there is a connection between needs and willing, which is that both evolve from the idea of wishing or wanting.
Reaction:
In this section, Vogler talks about the importance of the Hero’s Journey and why we should use the Hero’s Journey. Vogler also states that stories can have a healing power, which is true. Many people will watch movies or read books that they can relate to and which can help them get through a problem. People like to be able to relate to a story. I know for myself, I will watch certain
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movies or shows that are relating to my mood at the time and what I am going through during my life. Reading Vogler’s Hero’s Journey has helped me to be able to analyze stories a lot better.
Questions:
1. What do you think the greatest importance of the Hero’s Journey is?
2. What do you think the elixir is for a story writer, do you agree with Vogler that it is a good story?
3. What is your favorite part of the Hero’s Journey or your favorite part in Vogler’s text?
Sunday, November 16, 2008
Friday, November 14, 2008
Reflection and Action
I have completed my rhetorical analyses, interview and volunteer work. I need to record my interview, which I did with my sister who has been a vegetarian for 14 years. I volunteer with Best Buddies. Both factory farming and best buddies present ideas of compassion and helping other people and animals. Overall, I think the experience has been good and has helped me gather helpful information to present my project to other people. I plan on doing a poster board to present my information. On the poster board, I am going to have facts on factory farming, have my four modes, present some quotes from my interview, and show how both factory farming and best buddies relates to having compassion for others.
Sunday, November 9, 2008
Annotation 10
Kristy Roseberry 1
November 9, 2008
Professor Robinson
Vogler 231-290 Annotation 10
Citation:
Vogler, Christopher. “Epilogue: Looking Back on the Journey”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
Vogler is now done explaining the Hero’s Journey and has moved on to express what you should use the Hero’s Journey for and how you should use it as a tool. Vogler states that the Hero’s Journey is a guideline and it does not have to follow exactly, rather that it is better if it does not and is creative. He states the greatest measure of a story’s success is the story’s lasting popularity and effect on the audience. Vogler states that the needs of the story are what dictate its structure. Furthermore, he states that the stages, terms, and ideas of the Hero’s Journey can be used as a design template for stories. Vogler also states that any element of the journey can be used at any point in the story. Vogler uses examples of several different films to demonstrate how the hero’s journey is used in different ways. Vogler uses the movies, Titanic, The Lion King, Pulp Fiction, Full Monty, and Star Wars to demonstrate the different ways a writer can use the Hero’s Journey.
Reaction:
Vogler’s book has been helpful in understanding and critiquing different types of movies, shows, and books. Although Vogler’s examples of movies, shows, and books that demonstrate the Hero’s Journey usually are interesting and helpful, Vogler’s many examples of the films that use the Hero’s Journey in different ways was quite boring. After one or two examples of different films it was hard to hold attention. In regards to the Hero’s Journey, I found the idea that the writer can use any element of the Hero’s Journey at any time was interesting and truthful. I agree with Vogler that a story is better if it does not follow every single event in the Hero’s Journey and if the story is creative.
Questions:
1.Do you agree with Vogler that you can use any element of the Hero’s Journey at any point in the story?
2.What do you think the greatest measure of a story’s success is?
3.Do you think that you should follow the Hero’s Journey exactly or is it okay to stray from it and be creative?
November 9, 2008
Professor Robinson
Vogler 231-290 Annotation 10
Citation:
Vogler, Christopher. “Epilogue: Looking Back on the Journey”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
Vogler is now done explaining the Hero’s Journey and has moved on to express what you should use the Hero’s Journey for and how you should use it as a tool. Vogler states that the Hero’s Journey is a guideline and it does not have to follow exactly, rather that it is better if it does not and is creative. He states the greatest measure of a story’s success is the story’s lasting popularity and effect on the audience. Vogler states that the needs of the story are what dictate its structure. Furthermore, he states that the stages, terms, and ideas of the Hero’s Journey can be used as a design template for stories. Vogler also states that any element of the journey can be used at any point in the story. Vogler uses examples of several different films to demonstrate how the hero’s journey is used in different ways. Vogler uses the movies, Titanic, The Lion King, Pulp Fiction, Full Monty, and Star Wars to demonstrate the different ways a writer can use the Hero’s Journey.
Reaction:
Vogler’s book has been helpful in understanding and critiquing different types of movies, shows, and books. Although Vogler’s examples of movies, shows, and books that demonstrate the Hero’s Journey usually are interesting and helpful, Vogler’s many examples of the films that use the Hero’s Journey in different ways was quite boring. After one or two examples of different films it was hard to hold attention. In regards to the Hero’s Journey, I found the idea that the writer can use any element of the Hero’s Journey at any time was interesting and truthful. I agree with Vogler that a story is better if it does not follow every single event in the Hero’s Journey and if the story is creative.
Questions:
1.Do you agree with Vogler that you can use any element of the Hero’s Journey at any point in the story?
2.What do you think the greatest measure of a story’s success is?
3.Do you think that you should follow the Hero’s Journey exactly or is it okay to stray from it and be creative?
Sunday, November 2, 2008
Annotated Bibliography 9
Kristy Roseberry 1
November 2, 2008
Professor Robinson
Vogler 197-228 Annotation 9
Citation:
Vogler, Christopher. “The Resurrection”. “Return with the Elixir”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
The Resurrection is the trickiest passages for the hero and the writer. The Resurrection is the climax and the last and most dangerous meeting with death. Vogler states that a new self must be created for the new world. The Resurrection functions as a cleansing of the heroes smell of death and helps retain the lesson of the ordeal. Vogler states that the Ordeal is like a midterm and the Resurrection is like a final exam. Furthermore, that heroes must be tested one more time to retain the learning from the Ordeal. The meeting with death in the Resurrection is a higher threat, and a threat to the world not just the hero. The stakes are higher for this meeting with death than in the past. Vogler states that the hero can have assistance in acting in the climax, but that it is best for the hero to be the one to perform the decisive action. The Resurrection is the biggest battle of the story and is the showdown. Usually, heroes survive this
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confrontation with death and are Resurrected. Also, usually the villains die or are defeated, sometimes tragic heroes die. The tragic heroes are resurrected in the way that they live on in the memory of the people they gave their life for. A climatic choice that indicates whether or not the hero has truly learned the lesson of change is also a possibility of resurrection. The Resurrection as stated formerly usually represents the climax. Climax in Greek means “ladder”. There can also be a quiet climax, which gives sense that all conflicts have been harmoniously resolved, which usually occurs after the death of a loved one. Stories can also have more than one climax, or a series of rolling climaxes. Climaxes are supposed to provide a feeling of catharis, which means purging in Greek. But in English means a purifying emotional release. Catharis works best Vogler states through physical expression of emotions like laughter or crying. Laughter is the strongest catharis. A catharis is the logical climax of a hero’s character arc. The Resurrection is the hero’s final attempt to make major change in attitude or behavior. The Resurrection can also be a potential misstep for the returning hero. The misstep does not have to be a physical event, but can be a moral or emotional misstep. In fairy tales, there is often a false claimant. Vogler states it is also important to provide proof in the Resurrection stage. Resurrection often calls for a sacrifice from the hero, which in Latin means “making holy”. The Resurrection stage is where the hero can show that they have absorbed and incorporated the lessons of the journey. The Resurrection is important to show an outward sign that the hero has changed.
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The Return with the Elixir is when the hero returns from the Special World and brings something to share with others in the Ordinary World. Returning with the Elixir is using the lessons learned from the adventure. The Return is also called “denouement” which means untying in French. The two approaches to ending the hero’s journey are circular and open-ended. In the circular ending there is a sense of closure and completion and in the open-ended approach there is a sense of unanswered questions. The most popular design is the circular in which the story returns to the starting point, which allows a chance for comparison for the audience. In the open-ended approach the storytelling goes on after the story has ended. A good Return should have some surprise. The Return should have a twist. The Return is where final rewards and punishments are handed out. The elixir can be literal or metaphoric. Love is one of the most powerful elixirs. The elixir changes not only the hero but also the rest of the world. Another common elixir is wider responsibility. When heroes die tragically the audience learns from the heroes mistakes. An epilogue can also complete a story by projecting ahead to some future time to show how the characters turn out. The Return can be abrupt, prolonged, unfocused, unsurprising, or unsatisfying causing pitfalls of the Return. The final function of the Return should be to conclude the story decisively.
Reaction:
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At the point of the Resurrection and the Return with the Elixir the hero’s journey is coming to an end. The hero is showing and incorporating into their lives everything that they have learned from the journey. The hero is also sharing the lessons they have learned with others. The hero is also showing the changes they have gone through since they left the Ordinary World. The Resurrection and the Return with the Elixir are both important steps in the hero’s journey. As usual, Vogler does a good job describing these stages of the hero’s journey.
Questions:
1. Is it necessary in a story to have a Resurrection?
2. Why does there need to be another Climax after the Ordeal?
3.Is it necessary for the hero to incorporate everything they have learned from the journey into their lives and share it with others?
November 2, 2008
Professor Robinson
Vogler 197-228 Annotation 9
Citation:
Vogler, Christopher. “The Resurrection”. “Return with the Elixir”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
The Resurrection is the trickiest passages for the hero and the writer. The Resurrection is the climax and the last and most dangerous meeting with death. Vogler states that a new self must be created for the new world. The Resurrection functions as a cleansing of the heroes smell of death and helps retain the lesson of the ordeal. Vogler states that the Ordeal is like a midterm and the Resurrection is like a final exam. Furthermore, that heroes must be tested one more time to retain the learning from the Ordeal. The meeting with death in the Resurrection is a higher threat, and a threat to the world not just the hero. The stakes are higher for this meeting with death than in the past. Vogler states that the hero can have assistance in acting in the climax, but that it is best for the hero to be the one to perform the decisive action. The Resurrection is the biggest battle of the story and is the showdown. Usually, heroes survive this
Roseberry 2
confrontation with death and are Resurrected. Also, usually the villains die or are defeated, sometimes tragic heroes die. The tragic heroes are resurrected in the way that they live on in the memory of the people they gave their life for. A climatic choice that indicates whether or not the hero has truly learned the lesson of change is also a possibility of resurrection. The Resurrection as stated formerly usually represents the climax. Climax in Greek means “ladder”. There can also be a quiet climax, which gives sense that all conflicts have been harmoniously resolved, which usually occurs after the death of a loved one. Stories can also have more than one climax, or a series of rolling climaxes. Climaxes are supposed to provide a feeling of catharis, which means purging in Greek. But in English means a purifying emotional release. Catharis works best Vogler states through physical expression of emotions like laughter or crying. Laughter is the strongest catharis. A catharis is the logical climax of a hero’s character arc. The Resurrection is the hero’s final attempt to make major change in attitude or behavior. The Resurrection can also be a potential misstep for the returning hero. The misstep does not have to be a physical event, but can be a moral or emotional misstep. In fairy tales, there is often a false claimant. Vogler states it is also important to provide proof in the Resurrection stage. Resurrection often calls for a sacrifice from the hero, which in Latin means “making holy”. The Resurrection stage is where the hero can show that they have absorbed and incorporated the lessons of the journey. The Resurrection is important to show an outward sign that the hero has changed.
Roseberry 3
The Return with the Elixir is when the hero returns from the Special World and brings something to share with others in the Ordinary World. Returning with the Elixir is using the lessons learned from the adventure. The Return is also called “denouement” which means untying in French. The two approaches to ending the hero’s journey are circular and open-ended. In the circular ending there is a sense of closure and completion and in the open-ended approach there is a sense of unanswered questions. The most popular design is the circular in which the story returns to the starting point, which allows a chance for comparison for the audience. In the open-ended approach the storytelling goes on after the story has ended. A good Return should have some surprise. The Return should have a twist. The Return is where final rewards and punishments are handed out. The elixir can be literal or metaphoric. Love is one of the most powerful elixirs. The elixir changes not only the hero but also the rest of the world. Another common elixir is wider responsibility. When heroes die tragically the audience learns from the heroes mistakes. An epilogue can also complete a story by projecting ahead to some future time to show how the characters turn out. The Return can be abrupt, prolonged, unfocused, unsurprising, or unsatisfying causing pitfalls of the Return. The final function of the Return should be to conclude the story decisively.
Reaction:
Roseberry 4
At the point of the Resurrection and the Return with the Elixir the hero’s journey is coming to an end. The hero is showing and incorporating into their lives everything that they have learned from the journey. The hero is also sharing the lessons they have learned with others. The hero is also showing the changes they have gone through since they left the Ordinary World. The Resurrection and the Return with the Elixir are both important steps in the hero’s journey. As usual, Vogler does a good job describing these stages of the hero’s journey.
Questions:
1. Is it necessary in a story to have a Resurrection?
2. Why does there need to be another Climax after the Ordeal?
3.Is it necessary for the hero to incorporate everything they have learned from the journey into their lives and share it with others?
Four Modes
1. Book-The Jungle by Upton Sinclair
Sinclair, Upton. The Jungle. Pocket, 2004.
The Jungle written by Upton Sinclair is effective in showing the horrible working conditions of the meat-packing industry. My research paper is on the horrible conditions of factory farming and how it harms not only animals, but humans and the environment also. Thus, The Jungle shows how factory farming is harmful to humans also, by showing the horrible working conditions of the employees. The Jungle also expresses the concepts of harm to animals, people, and the environment. The purpose of the book is to show and hopefully change the working conditions of the meat packing industry and slaughterhouses. The Jungle encompasses the ideas of ethos, pathos and logos. The Jungle encompasses the idea of ethos because it shows that working conditions for people should be valuable to everyone, and thus employers should provide their employees with decent working conditions. The Jungle encompasses the idea of pathos because it appeals to the emotion of compassion, and shows that to make workers work in bad working conditions is immoral. The Jungle encompasses the idea of logos because it shows if you provide decent working conditions for employees they will be happy. The book would appeal to people interested in the cruelty of the meat-packing industry or factory farming. Overall, the book is effective in getting the point of the cruelty and horrible working conditions of the meat-packing industry.
2. Song-Factory Farm Music video-Truth on Earth
http://www.youtube.com/watch?v=QOothmIqu7A
The song "Factory Farm Music Video" by Truth on Earth is very informative and appealing to people who are interested in the conditions of factory farming and care about the well-being of animals, the earth and other people. By using a song, I will be able to appeal to people who want a different way of receiving the information on factory farming other than reading or talking. My research paper was on factory farming, thus there is a direct link between my paper and the song by Truth on Earth. The song "Factory Farm Music Video" encompasses ethos, pathos, and logos in several ways. Ethos is present in the song "Factory Farm Music Video" because it shows that factory farming is immoral and more people should be aware of this problem. "The Factory Farm Music Video" appeals to pathos and the emotions because it makes one feel bad about buying meat that is factory farmed. "The Factory Farm Music Video" presents the idea of logos because it shows if you do not factory farm the world will be a better place and animals will be treated better.
Truth On Earth. Factory Farm Music Video. youtube.com, 2008.
3.Film-The Meatrix
http://www.youtube.com/watch?v=IMOAaciER6o
The film "The Meatrix" which was found on youtube.com is very effective because the movie shows animals talking about factory farming, thus appealing to people who care about animals. My research paper is on factory farming and compassion and "The Meatrix" is directly connected to my paper by discussing factory farming and showing how factory farming is wrong. "The Meatrix" is a pun on The Matrix which also makes the movie interesting to watch. The film "The Meatrix" has several examples of ethos, pathos, and logos. "The Meatrix" shows ethos because it shows that factory farming is immoral and people should not factory farm. "The Meatrix" shows pathos because it appeals to emotions because the film uses cartoon animals to get the cruelty of factory farming across. "The Meatrix" shows logos because it shows that if you eliminate factory farming animals will be happier and the earth would be a better place. Clearly, I would say that "The Meatrix" does a good job at getting the point across and would be beneficial for an audience to watch.
Media That Matters. The Meatrix. youtube.com, 2007.
4.Visual Piece-
The photo I used of all the cows crammed together in a pen is very effective because the photo shows the intense and horrible living conditions of factory farming. The visual piece used gets the authors point across and also gets the point of my research paper across. The photo definitely appeals to emotion and pathos and the concept of compassion because no animal or human should have to live in conditions that are witnessed in the photo presented. Overall, the photo is very effective and makes an individual not want to support factory farming.
Untitled. 2008. Wichita Eagle Editorial Department, Wichita, Kansas.
Monday, October 27, 2008
The Bell Jar Paragraph
In the Bell Jar written by Sylvia Plath there are several main events that occur in Chapters 19 and 20. Plath presents two main characters, Esther and Joan who are both in an asylum. Esther meets a man named Irwin and has coffee with him and decides to go back to his apartment. Esther has dwelled on her virginity for five years and eagerly gives her virginity to Irwin. Esther begins to bleed and Irwin tells her that sometimes it hurts and sometimes ladies bleed, but Esther does not think that this bleeding is normal. Esther has Irwin bring her to Joan's place, and Joan brings Esther to the hospital. When Esther arrives back at the asylum, the Doctor's are looking for Joan and can not find her. Later Joan is found, but she is dead. Joan had hung herself and was found by some elderly people. Later the audience finds out that both Esther and Joan had dated the same guy named Buddy. Clearly, there are several exciting events in Chapters 19 and 20 of the Bell Jar by Sylvia Plath.
Annotated Bibliography 8
Kristy Roseberry 1
October 27, 2008
Analytic and Persuasive Writing
Annotated Bibliography 8 175-194
Citation:
Vogler, Christopher. “Reward”. “The Road Back”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
The Reward is where the hero faces the consequences of surviving death. Vogler also states there will almost always be a period where the hero is recognized or rewarded for surviving death. Heroes will also celebrate having survived death, and Vogler states this time is also given for rest, recuperation, and refueling. A campfire scene is common for the celebration 0 refueling. A campfire scene is common for the celebration. Campfires are good for the hero and companions to gather and joke and also can be a time of reminiscing. Campfire scenes are also important for the audience to catch their breath after the ordeal and we are able to get to know the characters better. A love scene can also be the aftermath of an Ordeal. The Reward is also when the hero takes possession of what they have been seeking. Vogler also refers to this time as
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“Seeking the Sword” because often the hero has to take possession of whatever they are seeking aggressively. The heroes may not always be given the elixir sometimes they might have to steal it, which is also known as the “elixir theft” Vogler states that elixir is the medium for medicine. The elixir most heroes seek is the ability to overcome the forces of death. Vogler states that the heroes that emerge from the Ordeal are recognized as special since they outwitted death. Heroes are often also granted new powers and perceptions from surviving death. The hero may seize new knowledge. The hero may also see through deception in this stage, such as seeing someone for who they really are. Also, Seizing the Sword can be a moment of clarity. Heroes may also experience a high level of self-realization and see who they are. Other people may see the hero more clearly also. Vogler states they may have an epiphany. Heroes can also experience an epiphany, and realize they are a sacred and divine being. A hero may also experience distorted perceptions after a conquest of death, and heroes may experience an inflation of the ego.
The Road Back is when the heroes have to face a choice of whether to stay in the Special World or go back to the Ordinary World. Few heroes choose to stay in the Special World. This is the stage when the hero resolves to return to the Ordinary World and implement the lessons they have learned. Heroes are often motivated to take the Road Back when the forces they defied in the Ordeal strike back at them. Villains or Shadows who are not completely defeated rise up stronger than before. At this stage an avenging force may also strike a costly
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blow to the hero’s fortunes, wounding him or killing him. Heroes usually leave the Special World because they are running for their lives. Vogler states that chases are useful for revving up a stories energy. The chase in a fairy tale is often known as a magic flight. Vogler also states that what the hero throws down in the chase may represent a sacrifice, leaving something of value. Heroes are usually chased by villains.
Reaction:
The Reward and the Road Back seem to represent the hero’s journey coming to an end. Everything that has occurred throughout the story has built up and now everything is on its way back down from the excitement and the Ordeal. Both of the stages represent the struggles the hero has gone through and overcome. The Reward and the Road Back are both important for the hero’s journey and their hard work paying off. The Reward is not only rewarding for the hero, but also for the audience because they get to see the hero rewarded for all that they have done. Like usual, Vogler does a good job at describing and giving examples for these stages.
Questions:
1. In your memoir, would you say that you decided to stay in the Special World or return to the Ordinary World? Why?
2.What do you think is more important for the hero, the Reward or the Road Back?
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3.Is it necessary to have a Reward stage, or can the hero complete their journey without being rewarded for their hard work?
October 27, 2008
Analytic and Persuasive Writing
Annotated Bibliography 8 175-194
Citation:
Vogler, Christopher. “Reward”. “The Road Back”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
The Reward is where the hero faces the consequences of surviving death. Vogler also states there will almost always be a period where the hero is recognized or rewarded for surviving death. Heroes will also celebrate having survived death, and Vogler states this time is also given for rest, recuperation, and refueling. A campfire scene is common for the celebration 0 refueling. A campfire scene is common for the celebration. Campfires are good for the hero and companions to gather and joke and also can be a time of reminiscing. Campfire scenes are also important for the audience to catch their breath after the ordeal and we are able to get to know the characters better. A love scene can also be the aftermath of an Ordeal. The Reward is also when the hero takes possession of what they have been seeking. Vogler also refers to this time as
Roseberry 2
“Seeking the Sword” because often the hero has to take possession of whatever they are seeking aggressively. The heroes may not always be given the elixir sometimes they might have to steal it, which is also known as the “elixir theft” Vogler states that elixir is the medium for medicine. The elixir most heroes seek is the ability to overcome the forces of death. Vogler states that the heroes that emerge from the Ordeal are recognized as special since they outwitted death. Heroes are often also granted new powers and perceptions from surviving death. The hero may seize new knowledge. The hero may also see through deception in this stage, such as seeing someone for who they really are. Also, Seizing the Sword can be a moment of clarity. Heroes may also experience a high level of self-realization and see who they are. Other people may see the hero more clearly also. Vogler states they may have an epiphany. Heroes can also experience an epiphany, and realize they are a sacred and divine being. A hero may also experience distorted perceptions after a conquest of death, and heroes may experience an inflation of the ego.
The Road Back is when the heroes have to face a choice of whether to stay in the Special World or go back to the Ordinary World. Few heroes choose to stay in the Special World. This is the stage when the hero resolves to return to the Ordinary World and implement the lessons they have learned. Heroes are often motivated to take the Road Back when the forces they defied in the Ordeal strike back at them. Villains or Shadows who are not completely defeated rise up stronger than before. At this stage an avenging force may also strike a costly
Roseberry 3
blow to the hero’s fortunes, wounding him or killing him. Heroes usually leave the Special World because they are running for their lives. Vogler states that chases are useful for revving up a stories energy. The chase in a fairy tale is often known as a magic flight. Vogler also states that what the hero throws down in the chase may represent a sacrifice, leaving something of value. Heroes are usually chased by villains.
Reaction:
The Reward and the Road Back seem to represent the hero’s journey coming to an end. Everything that has occurred throughout the story has built up and now everything is on its way back down from the excitement and the Ordeal. Both of the stages represent the struggles the hero has gone through and overcome. The Reward and the Road Back are both important for the hero’s journey and their hard work paying off. The Reward is not only rewarding for the hero, but also for the audience because they get to see the hero rewarded for all that they have done. Like usual, Vogler does a good job at describing and giving examples for these stages.
Questions:
1. In your memoir, would you say that you decided to stay in the Special World or return to the Ordinary World? Why?
2.What do you think is more important for the hero, the Reward or the Road Back?
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3.Is it necessary to have a Reward stage, or can the hero complete their journey without being rewarded for their hard work?
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