Vogler Annotation 4

Vogler, Christopher. The Writer's Journey. 3rd ed. Studio City, CA: Michael Wiese Productions,

2007. 83-105.

Summary

In this section Vogler goes into more depth with the Ordinary World stage and the Call to Adventure stage. The Ordinary World is like the “world of the common day”. It shows the audience what the hero is like and creates an atmosphere for them. Vogler talks about various aspects of the Ordinary World stage, such as the title of the story. The title is often the first clue to the audience as to the nature of the story. The opening image also introduces a theme and usually the story ends with a similar image, almost like bring the story full circle. A prologue gives a hero’s backstory and is often used to get the audience engaged or “hooked”. Subtle foreshadowing is seen and questions about the hero are posed. Will they survive? The audience tries to indentify with the hero. Both have universal problems and often times the hero is lacking something. Maybe someone has died or they just don’t feel complete. Maybe they have had a bad past and have a lot of baggage on their shoulders. Ultimately, the goal of the Ordinary World stage is to connect the story with the audience.

Next, Vogler goes into the Call to Adventure stage. The Call to Adventure is like the new “energy” that (usually) springs the hero into action. Sometimes there are coincidences that happen that set the story in motion, like fate. C. G. Jung calls this synchronicity. Or the hero may start their journey by being tempted by something. As with the Ordinary World, the hero maybe called because they are lacking something in their lives and the call is to go and attain it. Sometimes too there are multiple calls. A hero may be called, but be reluctant and then called again until they finally go into the action.

Reaction

Vogler aptly goes into depth about these two stages. His use of examples help to solidify his points about these two stages. Again, as with the rest of the text, Vogler relates his theories of the hero’s journey to real life. A good story can pull the audience in. Typically this is because the audience often sees themselves in the hero. Perhaps they indentify a problem the hero is having that is similar to one they are dealing with, and they want to see how this person deals with that same issue.

Questions

1. What would happen if the hero DID refuse the call? Could there be any story at all?

2. What if the hero is currently in a challenge, but then gives up later, like in The Dark Knight? Is that a refusal of the call?

3. Are the any heroes that don’t have a problem? Would that even be a story?