Annt Bib 1-7

Devin Pedone
Annt Bib 1

Summary:
“Get out of jail free.”
Devin Pedone
Annt Bib 2

Citation:
Vogler, Christopher. “Archetypes”. “Hero”. “Mentor”.
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA:
Michael Wiese Productions, 2007. 23-47.

Summary:
The archetypes of the story are the various types of characters that influence the journey in some significant way. All of them serve to progress the story by affecting the main hero, who is the main character of the story, and the one who will face numerous triumphs and perhaps victories during his journey. Most of the plot revolves around the hero’s development and his actions. He is expected to experience some trauma or death early in the story, which he must deal with in order to become emotionally stronger. Most heroes have some flaw that is apparent to the reader. Vogler calls this these flaws “a starting point of imperfection of incompleteness from which a character can grow” (33). Heroes come in many different styles and personalities, but always serve the same purpose as the main character in the story.
The mentor is often the closest person to the hero, and guides him through most of the journey. He can be a close friend to the hero, someone he looks up to with great respect; the he can also be in the mind. A hero’s conscience is a common mentor figure in stories. The mentor serves as the motivating force and the giver of wisdom.

Reaction:
Throughout all of my bibliographies, I sometimes am referring to the hero as “he,” although it could also be a female figure. This is simply for the convenience of not having to write “he or she” and “his or her” etc. whenever I refer to the hero. This is consistent with the discussion we had during our first class session. What comes to mind when reading of the different types of mentors is the angel and devil on one’s shoulders; both of them serving a separate but equally important purpose for the person making a decision.

Questions:
1. Can a mentor ever give the hero bad advice?
2. Does a hero always have to be the “good guy?”
3. How does a negative early experience affect a hero mentally?

Terms:
Flexibility (46): Susceptibility of modification or alteration; capacity for ready adaptation to various purposes or conditions.
A good teacher will show no flexibility in matters of plagiarism.

Growth (31): The action, process or manner of growing; both in material and immaterial senses.
Most students experience mental growth when they arrive at college.

Personality (33): Personal nature or quality.
She has a great personality.

Devin Pedone
Annt Bib 3

Citation:
Vogler, Christopher. “Threshold Guardian”. “Herald”. “Shapeshifter”. “Shadow”. “Ally”.
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA:
Michael Wiese Productions, 2007. 49-75.

Summary:
This section of the books describes more of the essential archetypes in the story. The threshold guardian is an obstacle that must be overcome before the hero can move beyond that point in the story. It could be anything that would otherwise prevent him from passing a particular point. A herald is used to convey information to the hero, warning him of impending danger, or moving him to act. Not always in human form, the herald can also take form as the hero’s instinctive desire to go into action. Either way, it is what drives him, as would a call to action. Shapshifters are characters who can easily lead the reader or the hero astray. Vogler make note that it is often—but not always—of the opposite sex of the hero, holding the role of a romantic figure, with which the hero has a close relationship.
The shadow represents a force or character that brings to light the negative characteristics of the hero. In this manner, he is forced to realize that the shadow is playing on the hero’s fear of his own flaws. The shadow serves to bring out the human nature and emotions that the hero must not ignore, but overcome in order for him to achieve his goals. An ally to the hero serves as the role of a helpful entity. The ally is generally viewed as the hero’s sidekick, and can take human, animal, or physiological form.

Reaction:
When I read a story, I see the hero in a constantly uphill battle with threshold guardians. Most of these are not human, but physical or emotional obstacles that the hero must overcome before he can progress. I see the shapshifter and the shadow as a single character, not two, but I do believe that there can be more than one of them. They will sometimes disguise themselves as an ally, but reveal to the audience that they are actually an adversary. The shapshifter may actually be both an ally and an adversary simultaneously, especially if he has an agenda that is positive in nature, but not always directly of benefit to the hero.

Questions:
1. Could the shapeshifter also be the shadow?
2. Why must the hero face the fears that shadow reveals?
3. How helpful is the ally to the hero in overcoming such fears?

Terms:
Power (51): Ability to act or affect something strongly.
Politicians have the power to change peoples’ minds by speaking to them.

Figure (56): Of a living being: Bodily shape, occas. including appearance and bearing.
A military officer is a figure of authority.

Antagonist (65): An opponent in any sphere of human action, as politics, controversy, etc.
A hero and his allies must find a way to overcome the challenges posed by their antagonist.

Devin Pedone
Annt Bib 4

Citation:
Vogler, Christopher. “Ordinary World”. “Call to Adventure”.
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA:
Michael Wiese Productions, 2007. 85-105.

Summary:
The ordinary world is the opening of the story. It usually contains the image of a time and place were the hero is unaware of what lies ahead of him. This world contains the opening image of a place with often large contrast to the special world we would see later in the story. At this time, the hero makes his entrance in a way that builds his character and establishes his role as the protagonist. The ordinary world stage also establishes the theme of the story, and what may be at steak
Vogler refers to the call to adventure as the seeds of change, which get the story rolling. At this stage, the hero is lured into a mission by the need for change, or simply because there is no other option. The hero may be tempted to heed more than one call.

Reaction:
Vogler seems to give the ordinary world a distinctive feeling of peace and harmony, where the call to adventure establishes a dilemma that needs to be solved—some type of discomfort, lack, or need that requires the attention of the hero. I feel that at this point, the hero may not have the needed character development to call himself a hero. On the other hand, some stories begin when the main character is already established as a hero. For example, Beowulf is seen as a hero called to complete a task, but already a hero nonetheless, whereas most heroes may start off as ordinary people, and gain heroic status through their actions.

Questions:
1. What would be an example of a story in which the hero starts out as a normal citizen?
2. What are some ways in which the ordinary world is in contrast with the special world?
3. How does the hero identify himself at the beginning of the story?

Terms:
Entrance (89): The coming of an actor upon the stage.
He waited for the crowd to start clapping before making his entrance.

Relevance (94): Bearing upon, connected with, pertinent to, the matter in hand.
The lawyer cleverly established the car’s relevance to the case.

Premise (95): Previous circumstances or events; things happening before.
A small flame can be a premise of a large fire.

Devin Pedone
Annt Bib 5

Citation:
Vogler, Christopher. “Refusal of the Call”. “Meeting with the Mentor”.
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA:
Michael Wiese Productions, 2007. 107-125.

Summary:
The hero is now faced with choosing whether to traverse the path of the hero, or to refuse and thus end the story. It is a very natural reaction to avoid the difficulties that are involved with continuing the journey. The hero will try to make excuses, but finds that persistence in his refusal can lead to tragedy. He may also encounter threshold guardians at this stage, which will determine the hero’s will to accept the call to adventure. Many times, the hero must find “the secret door” (p.112) which indicates his affirmative answer to the call. This is usually the first threshold guardian on his journey, and presents itself as an obstacle that is set by the mentor or threshold guardians.
While the hero may not yet be prepared to enter the unknown world that lies beyond his ordinary world, the mentor has the knowledge necessary to guide the hero on his journey. The mentor is often familiar with the special world, as he may even be a veteran of a similar journey. With this background, the mentor can act effectively as a source or wisdom for the hero. The guidance he provides acts as the current hero’s teaching, training, and testing. It is clear that in most stories, the agenda of the mentor is for the hero to succeed.

Reaction:
I can personally relate to many stories where the mentor acts as a crucial guide to the hero. In most of them, the mentor was once a hero and now travels the same journey as the current hero, so he is able to guide the hero nearly to the end, or until the hero surpasses the mentor in skill or progresses further through the journey. In some cases, the hero’s journey takes a dramatically different turn towards the end of the story. At this point, the mentor can no longer assist the hero, other than to remind him of his previous teachings and lessons learned throughout his journey this far. I always see the mentor as a mysterious character, whose past or agenda is not always clear from the beginning. According to Vogler, it is not uncommon for the mentor to mislead the audience as to his intentions.

Questions:
1. Why does the mentor make such an effective guide or guardian to the hero?
2. How does the mentor help the hero to decide to proceed with the journey?
3. What obstacles may cause the hero to question his ability to carry on with his mission?

Terms:
Trigger (99): Quick to act in response to a suggestion, to take advantage of a situation, or the like.
The parking lot’s pothole was the trigger for many tenants’ complaints.

Overcome (108): To get the better of, defeat, overpower, prevail over.
The boy was able to overcome his fear of heights after his first plane flight.

Fate (111): The principle, power, or agency by which, according to certain philosophical and popular systems of belief, all events, or some events in particular, are unalterably predetermined from eternity.
It was fait that the hero would follow the same path as the mentor did before him.

Devin Pedone
Annt Bib 6

Citation:
Vogler, Christopher. “Crossing the First Threshold”. “Tests, Allies, and Enemies”.
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA:
Michael Wiese Productions, 2007. 127-141.

Summary:
The hero comes to a point where he must cross the first threshold. In other words, it is the statement that the hero has decided to commit himself to this journey. While attempting to cross the threshold, he will encounter threshold guardians. These are adversaries or obstacles that must be overcome in order for the hero to progress through the story. The actual crossing requires the hero to “take a leap of faith into the unknown” (129). This signifies the beginning of the hero’s adventure
Crossing the threshold thrusts the hero into a new, special world. Here he meets new people who quickly become his allies or his enemies. It is at this stage that the hero learns the actual rules he must follow to complete his journey. At this point, the hero is still unsure and unfamiliar with this new world, but quickly learns how he must act, and what he must do to survive this stage. This is when he may form a team with a sidekick, and establish a rivalry with an adversary.

Reaction:
I like how Vogler makes reference to threshold being a clear indication that the hero is now in a special world, with new rules to be followed, and new people to meet. Vogler seems to give us the idea that when meeting someone new, that person is almost immediately established as either and ally or an enemy to the hero.

Questions:
1. Because the hero does not know the rules at first, could a potential ally become the hero’s enemy?
2. Could one of the hero’s new allies be an adversary in disguise?
3. Could the hero simply get someone else to cross the threshold for him?

Terms:
Contrast (136): Comparison of objects of like kind whereby the difference of their qualities or characteristics is strikingly brought out.
The ordinary world was dull and boring, in contrast to the new, special world.

Solution (129): The action or process of solving.
It was hard to find the solution to the extra credit problem on the math test.

Sequence (130): The following of one thing after another in succession.
The sequence of train departures is listed on the time board.


Devin Pedone
Annt Bib 7

Citation:
Vogler, Christopher. “Stage Seven: Approach to the inmost cave.”
The Writers Journey: Mythic Structure for Writers. 3rd Edition. Studio City, CA:
Michael Wiese Productions, 2007. 143-153.

Summary:
The approach to the innermost cave is the point at which the hero of the story is committed to his task. It usually consists of a realization that action must be taken, and so the hero spends some time preparing for his ordeal. At this point, the hero has accepted his challenge and is preparing himself, both mentally and physically, for the final battle. During this time, he is faced with obstacles that act to impede the path of the hero, such as illusions. It is important for the hero to be weary of threshold guardians that may lure him away from his mission, or lead him in the wrong direction. The experiences of the hero’s past usually act as lessons the hero learns from in order to remain on course. The entry into another special world more harsh or challenging than the first further indicates the importance of the hero’s mission and the need to carefully prepare himself. With all in its final state of readiness, the hero enters the next stage with his mind set and determined on victory. Within this final stage, the hero approaches at least one large threshold. If the hero is truly ready to proceed, then he will use the knowledge and experience he has gained thus far to defeat this threshold.
Sometimes, the past experiences pale in comparison to what lies ahead, and the hero must follow his emotions to complete an impossible test. This is when the hero is given the opportunity to prove himself a worthy opponent. Usually this stage involves unforeseen complication and higher stakes, and sometimes, the hero realizes that he must face his adversary alone, rather than with the help of his comrades. To reach the end of the approach stage, the hero must carefully think about whom he truly is, and why he must be dedicated to his mission. At the same time, he is analyzing the mind of his opponent. Using this technique, he is able to get closer to the adversary. By the end of this stage, the hero has broken through a barrier of no return; he must complete his mission, or fail.

Reaction:
Excitement is what fills this stage, as it appears to be the approach to a climax in the story. This is probably the most difficult part for the author to write, because a lot has to happen in a short amount of time. The hero must prepare himself, mind and body, for what would appear to be the final conflict. I find that this is also the most enjoyable stage, as it usually requires the reader to think deeply about the hero, his mission, and his adversary. Vogler stresses that this is a time of preparation, and after this point, the hero must cross the final threshold. I believe this refers largely to the emotional threshold the hero must cross when he realizes the full scale of his quest.

Questions:
1. At this point, can the hero decide to avoid confronting the final adversary by quitting his journey?
2. If so, can the story continue, or would it end in failure?
3. If the hero fails to overcome the final threshold, could he move on to the ordeal, or is passing the threshold a requirement?

Terms:
Calibrate (151): To determine the correct position, value, capacity, etc., of.
To find the right measurement, you have to calibrate the scale first.

Transformation (146): The action of changing in form, shape, or appearance; metamorphosis.
The sales man’s life was ruined by his transformation into a bug.

Experience (147): Proof by actual trial.
The doctor had a lot of experience with this type of disease.