Annotated Bibliography 4 Vogler 83-105

Kristy Roseberry 1
September 27, 2008
Professor Robinson
Analytic and Persuasive Writing
Vogler 83-105 Annotated Bibliography

Citation:
Vogler, Christopher. “The Ordinary World”. “The Call to Adventure”. The Writer’s Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA: Michael Wiese Productions, 2007.
Summary:
Vogler states that the opening of any story has some special burdens to bear. He states that the beginning must get the reader’s interest, set a tone of the story, suggest where it is going and get across a lot of information. Vogler states that the beginning is delicate. Vogler states that the beginning of a story is a good place to set a mood, image, or metaphor for the story. He also states that a carefully selected title can intrigue the audience to see what is to come. Vogler states that oral storyteller’s begin their story with “once upon a time” to get the attention of the audience. These signals, Vogler states let the reader in on the mood of the story. Vogler states that a title is important to let the reader know the nature and attitude of a story. He also says that an opening image can be a powerful tool. Some stories can even begin with a prologue section before that actual story.
A prologue can serve several functions such as; giving an essential piece of the backstory, cue the audience, or starting the story. Vogler states by upsetting the audiences’ normal perceptions, the audience may become more receptive. A prologue is also not necessary
Roseberry 2
in every story. It is vital in a story to establish the ordinary world as a base for comparing the Special World. It is also useful to make the Ordinary World very different from the Special World. The Ordinary World can also be used to create a model of the Special World and foreshadow battles and other dilemmas. The Ordinary World also suggests the dramatic question of the story. According to Vogler, every hero needs inner and outer problems. This is because heroes without inner challenges seem boring to the audience. Heroes also have to learn something in the story. It is also an important part of building character’s relationship with the audience for the character to make an entrance. The entrance should define and reveal the character. The Ordinary World also introduces the hero to the audience. It is important to establish a bond of sympathy or common interest between the hero and the audience. Also, the opening scene creates identification between the audience and the hero. The identification is created by giving the hero universal qualities. Hero’s are always lacking something or something is taken away from them.
Tragic heroes can possess admirable qualities, but also possess the tragic flaw of hamartia, which ultimately leads to their destruction. Tragic heroes tend to be superior people with extraordinary powers and feel they are equal or better than the gods. Vogler states that every well-rounded hero has a trace of tragic flaws.
There are also wounded heroes who have deep psychic wounds. These wounds are universal wounds that everyone has suffered from. By giving a hero a wound, the hero is humanized. These wounds also do not have to be visible. The wound also does not have to be expressed, it can be between the character and the writer. Vogler states that many stories are about the healing of a wound. In order for an audience to be involved in the adventure they have
Roseberry 3
to know what is at stake. Also, during the Ordinary World, backstory and exposition occurs. Backstory according to Vogler, is the relevant information about a character’s history and background. Exposition is the art of revealing the backstory and any other important information n about the plot. Also, in the Ordinary World the theme of the story occurs.
Vogler states that the Ordinary World for most heroes is static, but unstable. The Call to Adventure is also known as the inciting or initiating incident, catalyst or trigger. The Call to Adventure can also be a message from a messenger. The Call to Adventure can also be a stirring within the hero, which can come in the form of dreams, fantasies, or visions. Synchronicity is the stirring of accidents that may be the message that calls the hero to the adventure. A hero can also be summoned to the Call to Adventure by temptation. The Call to Adventure is usually delivered by the Herald of a story. Reconnaissance is when a villain makes a survey of the hero’s territory, and this section lets the audience know the struggle is about to begin. The Call to Adventure can be unsettling and disorientating to the hero, but is necessary for the hero. A Call to Adventure can occur in the form of a loss to the hero. A Call to Adventure can also be the hero running out of options. Also, not all Call to Adventures are positive summons. A story can also have more than one call to adventure. Vogler states that the Call of Adventure is a process of selection, and states that there are reluctant heroes and willing heroes.
Reaction:
The more and more I learn about the writer’s journey, the more interesting it is to me to think about these archetypes in stories, television and movies that I watch. The Ordinary World and the Call to Adventure are two of the most vital parts of the hero’s journey. This is the point

Roseberry 4
where many important events occur in the story, which get the audience hooked. Like usual, Vogler does a good job describing these two major events and gives many good examples.
Questions:
1.What are two examples of television shows and movies where the Ordinary World and the Call to Adventure are very clear?
2.Do you agree that the Ordinary World is important for the audience to get hooked on the story? If so, why is this important?
3.What are the most important roles of the Ordinary World and the Call to Adventure? Why do you believe this? Give examples to justify.