1. A Practical Guide, Archetypes, and Heroes

In reading the first three sections of “The Writer’s Journey” I feel that many of my own thoughts and discoveries are in Vogler’s research... near verbatim. This is more satisfying than anything else because I think that’s an indication that I’m internalizing story structure, at least so far in reference to this book. 

I firmly believe in story structure and think that in understanding it, then one is able to have the tools to discover stories which haven’t been brought to life yet. I agree that storytelling hits us on an unconscious level, partly because I believe a good chunk of our identity is in storytelling. The world of prose is a mirror to our world, though it may be a rather distorted mirror like one found at a circus. 

Story maps to me are like blueprints. In understanding the blue prints you’ll know how to build a mansion, and once you decide whether the story will focus on revenge, forbidden love, or rescue then the variables can take shape to build something original -- we may have seen revenge a thousand times, but not with maple syrup against pancakes. 

I think the same goes with character development; we do have a handful of archetypes, but I think the trick with strong character development isn’t to just bring a typical trope to the table, but rather put a spin on it, give the character dimension. In fact, some of the best characters will have the mobility to try on several different masks from mentor, shapeshifter, impoverished, to king. I personally enjoy a great deal of change because I think it inevitably asks deeper questions of identity, which to me is at the heart of the hero’s journey since, as Volger states, we all have universal questions that we ask, “Who am I? Where did I come from? Where will I go when I die? What is good and what is evil? What must I do about it? What will tomorrow be like?” (11). 

For the past few months I’ve been trying to grapple with what is a worthwhile hero. I find other archetypes and character buildings more entertaining to work with. I find it difficult to allow my mind to place itself in the hardships, the thinking, and responsibilities of what it is to be a true hero. I think a genuine hero is difficult to develop because they encompass so much of the story; sometimes the characters they are intrigued by and meet along the way interest me more. As I read through Volger, I think I’ve been closer to the identity of writing heroes than I previously thought. I think the most important contrast a hero needs to have is the strength to carry his journey while also being relatable to all, especially in his motivations whether revenge, anger, lust, etc. A hero needs to be mighty and yet flawed. And a hero is definitely nothing without desire. Flannery O’Conner believed that a character needed to be desperate for what they desired and that we as an audience are enthralled by such journeys. 

I agree with Volger in that a hero needs to be active throughout, somewhat like the active voice needs to be consistent in writing; the hero needs the chance to stand up and make his own decisions no matter how grueling, impossible, or depressing it may be. All too often the hero’s chance to succeed is taken by another, outside force. A hero needs conflict. She needs to have contradictory thoughts and feelings in her being. This doesn’t necessarily mean that the hero is both good and bad, I think it can be debilitating to think in such terms at times. Instead, it may be deciding what is the greater good of two seemingly good choices, what allegiance is more important, or deciding which of two terrible things has less of a consequence for the greater good... or curiously, more of a consequence for all. Not all heroes or protagonists are necessarily the good guys or are the heroes for humanity, but perhaps something else.