The writer's journey2

Refusal of the call: The hero who hears the call to adventure initially may hesitate and refuse to leave the comfort and tasks of their everyday existence. Perhaps they are afraid of what might be happened to them. Perhaps they do not see the call as important, being more engrossed in their current activity. The Hero may not be willing to make changes, preferring the safe haven of the Ordinary World. They have responsibilities and do not want to leave their family. Meeting with the mentor The Hero meets a mentor to gain confidence, insight, advice, training, or magical gifts to overcome the initial fears and face the Threshold of the adventure. Sometimes the Mentor provides the hero with important information from the past. The hero may also remember important lessons learned early in life as a kind of "inner mentor" or personal code.

The refusal may well be prompted by an individual. This becomes an essential stage that communicates the risks involved in the Journey that lies ahead. Without risks and danger or the likelihood of failure, the audience will not be compelled to be a part of the Hero's Journey. Their frailties remind us of our own. Though each has at one time or another refused destiny's call, they have returned to the hero's path, stronger and more ready to fulfill their role in the tapestry of myth.

In the introduction to the story we may already have been shown the need and the refusal of the hero to respond positively to the call may thus frustrate us, initiating tension in the story. It may not be obvious right away how this stage applies to our particular heroines, but it does apply. The hero returns to his calling after trying to run away from it. Indeed, it is often these tales of reluctant heroes that win our hearts because the hero seems more human. The Refusal can also be evidenced by the medieval heiress who doesn’t want to marry. In romance, the mentor is often a best friend, a roommate, a personal maid, or some other kind of influencer.

1. Have you ever had one of those moments when you suddenly know yourself for who you are?

2. Can you think of mentor characters in your favorite stories and/or movies? What type of mentors are they and why?

3. Can you point to a mentor in your own life? What qualities does your mentor have that you would like to incorporate into your life?

Peer reviewing

My paper was reviewed by Erin. She tried to help me about grammer and spelling. I didn't realize I made a lot of mistakes of spelling. She focused on my structure, some missing part, and the weeknesses of transition.

The writer's journey

THE ORDINARY WORLD.The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma. The hero is shown against a background of environment, heredity, and personal history. Some kind of polarity in the hero’s life is pulling in different directions and causing stress. THE CALL TO ADVENTURE. The Hero may want to go on the adventure, but they are frankly comfortable right where they are, and adventures, after all , are uncomfortable affairs. This acts as a sort of literary inertia, where a body at rest wants to stay at rest, unless acted upon by an outside force. Something shakes up the situation, either from external pressures or from something rising up from deep within, so the hero must face the beginnings of change.



Before the hero can set out on the adventure, the audience first needs to know where he or she is coming from. We are told seemingly insignificant details about the Shire and what it is like to live there. All this serves to paint a significant image of the Ordinary World. This is the normalcy that the hero will break from. Most of us have enough "normal" in our own lives. The potential hero is sitting fat, dumb, and happy in the ordinary world when something comes along and smacks him into the adventure. During romantic stories, this is usually the first glimpse at the object of affection. If the journey is to be inward, perhaps it is the first time the hero recognizes a fault within herself that she wishes to correct.



We begin in the ordinary world, where everything is status quo. Everything seems ok, and that’s just the problem, isn’t it? Everything is just ok. But sometimes, a soft little voice inside our head tells us that there should be something more. We can’t quite articulate it yet, but we just get this nagging feeling, maybe it’s everyone else, but life can’t be just about this Where am I right now in my your life? Is it where I want to be? or do I get the sense that something’s just not quite right, that something needs to be changed? Maybe it’s not about the external environment, I feel that it’s me who needs changing.



Questions



1. How to descrive your ordinary world, and what do you think about them in your ordinary world?



2.If you are a storyteller, what backgrounds will you set in the ordinary world, and the do maincharacter have an inner and an outer problem?



3. Have you ever experienced 'call'? What kinds of call did you recieve?

Revising Draft

Strengths

I think I described well as it gave understanding of reader in my ordinary world. I tried to describe what personailty did I have and what kinds of person I was. I think readers could be imagin my ordinary world. Also I tried to describe an opportunity which makes it an occasion to change direction, and I found the connection between HERO journal and my life.

Weekneeses

I think I should improve connection between writing and ideas. And I need to work on attention of readers, what I want to say and what I learned.

The Archetypes(2)

The Threshold Guardian's job is to ensure the protagonist is worthy of passing the threshold, and thus they act as part of the tests the protagonist must face in the journey. A hero who depends on his strength might attempt to overcome Threshold Guardians, while a hero who depends on his wits might evade, bribe, learn from and even convert the Guardians to his cause. Heralds act to signal change and invite the character to answer the call to adventure. Their job is to motivate the hero into action, despite the hero's frequent desire to maintain the status quo. The Shapeshifter archetype is hard to describe by its very nature but in essence it acts to bring uncertainty and tension into a story, by changing appearance, mood, or behavior. In a romance, the hero and heroine can both be shapeshifters, adapting as external and internal demands require. The Shadow character is normally filled with a huge amount of repressed energy and emotion, aspects of the protagonist that have festered from lack of expression. It can be an outside force, or a reflection of part of your protagonist's character. Doubts that cripple the protagonist at the critical moment, or frighten them out of taking crucial steps are the footprints of the protagonist's Shadow. The energy of mischief and the potential for change are the signposts for the Trickster Archetype. They may be as obvious as the clownish sidekick or as subtle as the hidden troublemaker. Tricksters serve important purposes. They can serve to cut egos down to size, be they the egos of your protagonists or the people they encounter. In books with a serious or action-filled tone, they can give moments of contrasting light relief.



A wise hero or heroine recognizes such guardians as signals that they are progressing. Each guardian represents tests of new skills or beliefs, and act as warm-ups for the great confrontation, often known in romance writing circles.The paranormal subgenre allows for a more blatant version of the shpeshifter archetype, where a major character might physically change into a wolf, vampire or angel. Within the subgenre, such changes are accepted by readers along with the emotional and integral changes of more mundane characters.


We have treated with archetypes in the unconscious and in the conscious. Having a high sense of complexity in style makes us deal with dreams in terms of examining them from every aspect and having different dimensions in time and space. Asldo I hope this book has helped me identify me own archetypal characters within my work. Perhaps it has helped to clarify what a character is intended to do, or I have become aware of a gap within your work that can be successfully filled and the plot assisted by the skills of a Trickster, a Threshold Guardian or a Shadow. Careful consideration, knowledge of archetypes can be extremely beneficial during the rewrite process. I wish my characters strength of purpose.



Questions

1. What sensation you can get in your expeirence ?

2. Can you find the shpeshifer in yout life?

3. Do you agree with the archtypes, and do you think dsivided archtype is succesful in your life?

Free Rice

"You have now donated1000 grains of rice."

I think this site is very helpful for people who want to improve their vocabularies.

For me, I found many vocabularies I have never seen.... I think my best level was not good compare to others, but I hope it would be better the next time. And I like the system that repeats the questions of wrong answers I checked.

The Archetypes

An archetype is a prototype or model from which something is based. The character archetypes listed here derive from Joseph Campbell's The Hero with a Thousand Faces and are deeply rooted in the myths and legends of many cultures. A significant character's role can often be associated with one of these archetypes, because storytelling is as old as these myths and egends and is how they were handed down to us. Archetypes connect the story to the rich heritage of all storytelling. The most common and useful archetypes are: HERO, MENTOR, THRESHOLD GURDIAN, HERALD, SHAPESSHIFER, SHADOW, ALLY, and TRICKSTER. In chapter “Hero”, the essence of the hero is not bravery or nobility, but self-sacrifice. The mythic hero is one who will endure separation and hardship for the sake of his clan. The hero must pay a price to obtain his goal. The hero's journey during a story is a path from the ego, the self, to a new identity which has grown to include the experiences of the story. The mentor is a character who aids or trains the hero. The essence of the mentor is the wise old man or woman. The mentor represents the wiser and more godlike qualities within us. The mentor's role may be to teach the hero.

Everyone has some weaknesses and flaws and a hero also has it. That's way the hero must learn in order to grow. Other characters besides the protagonist can have heroic qualities. This can be especially true of the antagonist. Heroes can be willing and adventurous, or reluctant. They may be group and family oriented, or loners, and they may change and grow themselves, or act as catalysts for others to grow and act heroic. The hero can be an innocent, a wanderer, a martyr, a warrior, a vengeful destroyer, a ruler, or a fool. But the essence of the hero is the sacrifice he makes to achieve his goal. The mentor may occasionally be the hero's conscience, returning him to the right path after he strays or strengthening him when he weakens. The hero doesn't always appreciate this assistance, of course.

While reading this part, I associated it with 'The Lion King' which I chose as my hero character I thought 'The Lion King' is a story containing many archetypes. Archetypes are patterns or models of literature that reoccur in many stories. They are the hero, death & rebirth of the hero, and the symbolism and associations of water vs. desert. These archetypes can be noticed easily and help things come together. There is many cases of archetypes of characters, situations, and symbolism and associations in the Lion King. They included the heroic qualities of Simba, the spiritual death and rebirth of Simba, and the associations of water and the desert in the story. These archetypes are very important to the story and help give the viewer a better understanding.

Questions

1. Do you think you are hero? Why? What is your motivation to change by yourself?

2. When you watch the 'hero' movie such as SUPERMAN and BATMAN, do you think the heroes are a specializes kine of hero? and Why?

3. What do you think that which part of the archetypes as emanations of the hero do you belone?

1. A practical guide

This story starts Campbell's 'The hero with a Thousand Faces.' that is his statement of the most persistent them in oral tradition and recorded literature. Christopher Vogler asserts that "all stories consist of a few common structural elements found universally in myths, fairy tales, dreams, and movies." The book explores the powerful relationship between mythology and storytelling in a clear, concise style that's made it required reading for movie executives, screenwriters, playwrights, scholars, and fans of pop culture all over the world. And Campbell gives an outline of Hero's journey; Ordinary World, Call to Adventure, Refusal of The Call, Meeting with the Mentor, Crossing the First Threshold, Tests,Allies Enemies, Approach to the Inmost Cave, Ordeal, Reward, The Road Back, Resurrection, Return with th Elixir. Discover a set of useful myth-inspired storytelling paradigms like "The Hero's Journey," and step-by-step guidelines to plot and character development.
Using patterns explored in the works of Joseph Campbell (Hero With A Thousand Faces) Christopher Vogler delivers an immensely readable, illuminating explanation of why certain classic and successful stories and films resonate so strongly with their respective audiences. And breaking it down into a roadmap of events and character archetypes, Vogler teaches by example how every writer can turn a go-nowhere story idea into a journey that will captivate readers--and editors--alike. It places emphasis on the idea that everything in life has to have as much of a human and personal appeal to it, as it has a rational and practical appeal. When you try to sell something to the public, there needs to be something that appeals to their senses with so much impact that they keep coming back for more.
I am very intersted that each pattern relates with life and the story of films. We can find that what is being said resonated with us as truth about focusing one's writing. It didn't feel formulaic--just informative and thought provoking. Also our imagination is triggered into creating more relevant scenes for our characters because we have a better understanding of who they are, where they are going and why.

Question
1. Which part do you belong in your life's journey?

2. Do you agree with 12 stages? and Is it succesful in your life?

3. Can you find the stages in the movie that you watched? and which movie is hard to find the stages?

Lion King

Lion King

I can't remember, when I watched the movie. But the movie touched my heart even when I was child. The movie uses lions instead of people. Simba is the main character who watches his uncle as he murders his father. Simba's uncle threatens him, so he is forced to run away. As Simba grew, he realized what had really happened to his father. The sudden urge for revenge on the uncle overpowered him. With the help of his father's spirit, Simba eventually returns home to claim his rightful position as king. Simba faces a common archetypal situation, death and rebirth. Although Simba never physically dies, in spirit he does die. The spiritual death of Simba is when he runs away from the Pridelands into the desert. Everyone in the Pridelands thinks that he has physically died. In fact, he nearly does die in the desert. Luckily, Timon and Pumbaa find him and keep him alive. The spiritual resurrection of Simba occurs when he returns to his home at Pride Rock. Everyone discovers that Simba is alive. It seems as if he has risen from the dead to them because for such a long time they believed that he was dead. At Pride Rock, Simba returns to his previous life and faces all of his problems.