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袩褍褌械褕械褋褌胁懈械 锌懈褋邪褌械谢褟. 袦懈褎芯谢芯谐懈褔械褋泻懈械 褋褌褉褍泻褌褍褉褘 胁 谢懈褌械褉邪褌褍褉械 懈 泻懈薪芯
袣褉懈褋褌芯褎械褉 袙芯谐谢械褉 - 锌褉懈蟹薪邪薪薪褘泄 屑邪褋褌械褉 褋褑械薪邪褉薪芯谐芯 写械谢邪, 泻芯薪褋褍谢褜褌懈褉褍褞褖懈泄 褋芯褌褉褍写薪懈泻芯胁 胁械写褍褖懈褏 谐芯谢谢懈胁褍写褋泻懈褏 褋褌褍写懈泄. 袝谐芯 泻薪懈谐邪 胁褏芯写懈褌 胁 褋锌懈褋芯泻 芯斜褟蟹邪褌械谢褜薪芯泄 谢懈褌械褉邪褌褍褉褘 写谢褟 胁褋械褏, 泻褌芯 蟹邪薪懈屑邪械褌褋褟 泻懈薪芯, 邪 谢械泻褑懈懈 懈 褋械屑懈薪邪褉褘 锌芯褋械褖邪褞褌 泻懈薪芯写械褟褌械谢懈 懈 锌懈褋邪褌械谢懈 胁褋械谐芯 屑懈褉邪. 袙 泻邪褔械褋褌胁械 褋褑械薪邪褉懈褋褌邪 懈谢懈 锌褉芯写褞褋械褉邪 锌褉懈薪懈屑邪谢 褍褔邪褋褌懈械 胁 褉邪斜芯褌械 薪邪写 褌邪泻懈屑懈 褎懈谢褜屑邪屑懈, 泻邪泻 "袣芯褉芯谢褜 袥械胁", "袘芯泄褑芯胁褋泻懈泄 泻谢褍斜", "孝芯薪泻邪褟 泻褉邪褋薪邪褟 谢懈薪懈褟", "P.S. 袙邪褕 泻芯褌 屑械褉褌胁", "楔褍褌薪懈泻 孝懈谢褜".
袙 芯褋薪芯胁械 谢褞斜芯泄 褍胁谢械泻邪褌械谢褜薪芯泄 懈褋褌芯褉懈懈 - 斜褍写褜 褌芯 褋泻邪蟹泻邪, 屑懈褎, 褋褞卸械褌 写谢褟 褉芯屑邪薪邪 懈谢懈 泻懈薪芯褋褑械薪邪褉懈泄 - 谢械卸懈褌 锌褍褌械褕械褋褌胁懈械 谐械褉芯褟: 胁薪褍褌褉械薪薪械械 懈谢懈 胁薪械褕薪械械. 协褌邪 懈写械褟 褋褌邪谢邪 锌褍褌械胁芯写薪芯泄 蟹胁械蟹写芯泄 写谢褟 袣褉懈褋褌芯褎械褉邪 袙芯谐谢械褉邪, 泻芯谐写邪, 褉邪斜芯褌邪褟 胁 褋褑械薪邪褉薪芯屑 芯褌写械谢械 写懈褋薪械械胁褋泻芯泄 褋褌褍写懈懈, 芯薪 锌褉芯胁械褉褟谢 薪邪 锌褉邪泻褌懈泻械 写械泄褋褌胁械薪薪芯褋褌褜 屑懈褎芯谢芯谐懈褔械褋泻懈褏 褋褏械屑, 芯锌懈褋邪薪薪褘褏 胁 蟹薪邪屑械薪懈褌芯屑 褌褉褍写械 袣褝屑锌斜械谢谢邪 "孝褘褋褟褔械谢懈泻懈泄 谐械褉芯泄". 袩芯蟹卸械 锌褉邪泻褌懈褔械褋泻芯械 锌芯褋芯斜懈械, 薪邪锌懈褋邪薪薪芯械 袙芯谐谢械褉芯屑 写谢褟 泻芯谢谢械谐, 锌褉械胁褉邪褌懈谢芯褋褜 胁 泻谢邪褋褋懈褔械褋泻懈泄 褍褔械斜薪懈泻, 泻芯褌芯褉褘泄 薪械 褌芯谢褜泻芯 胁褏芯写懈褌 胁 泻褉褍谐 芯斜褟蟹邪褌械谢褜薪芯谐芯 褔褌械薪懈褟 斜褍写褍褖懈褏 锌懈褋邪褌械谢械泄 懈 褋褑械薪邪褉懈褋褌芯胁, 薪芯 懈 写械褋褟褌懈谢械褌懈褟屑懈 薪械 褌械褉褟械褌 谢懈写懈褉褍褞褖械谐芯 锌芯谢芯卸械薪懈褟 褋褉械写懈 屑薪芯卸械褋褌胁邪 泻薪懈谐 褌邪泻芯谐芯 褉芯写邪. 袙 "袩褍褌械褕械褋褌胁懈懈 锌懈褋邪褌械谢褟" 邪胁褌芯褉 锌褉懈谐谢邪褕邪械褌 褔懈褌邪褌械谢褟 懈褋褋谢械写芯胁邪褌褜 蟹褘斜泻懈械 谐褉邪薪懈褑褘 屑械卸写褍 屑懈褎芯屑 懈 褋芯胁褉械屑械薪薪褘屑 懈褋泻褍褋褋褌胁芯屑 褉邪褋褋泻邪蟹褘胁邪薪懈褟 懈褋褌芯褉懈懈, 锌褉械写褍锌褉械卸写邪褟 芯 褌褉褍写薪芯褋褌褟褏 懈 芯锌邪褋薪芯褋褌褟褏 锌褍褌械褕械褋褌胁懈褟 胁 薪械写褉邪 褋芯斜褋褌胁械薪薪芯泄 写褍褕懈, 懈 胁芯芯褉褍卸邪械褌 锌芯谢械蟹薪褘屑懈 懈薪褋褌褉褍屑械薪褌邪屑懈, 泻芯褌芯褉褘械 胁 褉褍泻邪褏 褍屑械谢芯谐芯 屑邪褋褌械褉邪 锌褉懈芯斜褉械褌邪褞褌 薪械胁械褉芯褟褌薪褍褞 褋懈谢褍.
袙 芯褋薪芯胁械 谢褞斜芯泄 褍胁谢械泻邪褌械谢褜薪芯泄 懈褋褌芯褉懈懈 - 斜褍写褜 褌芯 褋泻邪蟹泻邪, 屑懈褎, 褋褞卸械褌 写谢褟 褉芯屑邪薪邪 懈谢懈 泻懈薪芯褋褑械薪邪褉懈泄 - 谢械卸懈褌 锌褍褌械褕械褋褌胁懈械 谐械褉芯褟: 胁薪褍褌褉械薪薪械械 懈谢懈 胁薪械褕薪械械. 协褌邪 懈写械褟 褋褌邪谢邪 锌褍褌械胁芯写薪芯泄 蟹胁械蟹写芯泄 写谢褟 袣褉懈褋褌芯褎械褉邪 袙芯谐谢械褉邪, 泻芯谐写邪, 褉邪斜芯褌邪褟 胁 褋褑械薪邪褉薪芯屑 芯褌写械谢械 写懈褋薪械械胁褋泻芯泄 褋褌褍写懈懈, 芯薪 锌褉芯胁械褉褟谢 薪邪 锌褉邪泻褌懈泻械 写械泄褋褌胁械薪薪芯褋褌褜 屑懈褎芯谢芯谐懈褔械褋泻懈褏 褋褏械屑, 芯锌懈褋邪薪薪褘褏 胁 蟹薪邪屑械薪懈褌芯屑 褌褉褍写械 袣褝屑锌斜械谢谢邪 "孝褘褋褟褔械谢懈泻懈泄 谐械褉芯泄". 袩芯蟹卸械 锌褉邪泻褌懈褔械褋泻芯械 锌芯褋芯斜懈械, 薪邪锌懈褋邪薪薪芯械 袙芯谐谢械褉芯屑 写谢褟 泻芯谢谢械谐, 锌褉械胁褉邪褌懈谢芯褋褜 胁 泻谢邪褋褋懈褔械褋泻懈泄 褍褔械斜薪懈泻, 泻芯褌芯褉褘泄 薪械 褌芯谢褜泻芯 胁褏芯写懈褌 胁 泻褉褍谐 芯斜褟蟹邪褌械谢褜薪芯谐芯 褔褌械薪懈褟 斜褍写褍褖懈褏 锌懈褋邪褌械谢械泄 懈 褋褑械薪邪褉懈褋褌芯胁, 薪芯 懈 写械褋褟褌懈谢械褌懈褟屑懈 薪械 褌械褉褟械褌 谢懈写懈褉褍褞褖械谐芯 锌芯谢芯卸械薪懈褟 褋褉械写懈 屑薪芯卸械褋褌胁邪 泻薪懈谐 褌邪泻芯谐芯 褉芯写邪. 袙 "袩褍褌械褕械褋褌胁懈懈 锌懈褋邪褌械谢褟" 邪胁褌芯褉 锌褉懈谐谢邪褕邪械褌 褔懈褌邪褌械谢褟 懈褋褋谢械写芯胁邪褌褜 蟹褘斜泻懈械 谐褉邪薪懈褑褘 屑械卸写褍 屑懈褎芯屑 懈 褋芯胁褉械屑械薪薪褘屑 懈褋泻褍褋褋褌胁芯屑 褉邪褋褋泻邪蟹褘胁邪薪懈褟 懈褋褌芯褉懈懈, 锌褉械写褍锌褉械卸写邪褟 芯 褌褉褍写薪芯褋褌褟褏 懈 芯锌邪褋薪芯褋褌褟褏 锌褍褌械褕械褋褌胁懈褟 胁 薪械写褉邪 褋芯斜褋褌胁械薪薪芯泄 写褍褕懈, 懈 胁芯芯褉褍卸邪械褌 锌芯谢械蟹薪褘屑懈 懈薪褋褌褉褍屑械薪褌邪屑懈, 泻芯褌芯褉褘械 胁 褉褍泻邪褏 褍屑械谢芯谐芯 屑邪褋褌械褉邪 锌褉懈芯斜褉械褌邪褞褌 薪械胁械褉芯褟褌薪褍褞 褋懈谢褍.
480 pages, Hardcover
First published November 1, 1992
1244 people are currently reading
17868 people want to read
About the author
Christopher Vogler
16听books167听followersChristopher Vogler is a Hollywood development executive, screenwriter, author and educator, best known for working with Disney and his screenwriting guide, The Writer's Journey: Mythic Structure For Writers, from 2007.
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Displaying 1 - 30 of 761 reviews
December 5, 2017
to watch a video review of this book on my channel, From Beginning to Bookend.
An approachable and informative re-imagining of The Hero With a Thousand Faces by Joseph Campbell, replete with a simplified hero's journey and examples using modern books and films.
An approachable and informative re-imagining of The Hero With a Thousand Faces by Joseph Campbell, replete with a simplified hero's journey and examples using modern books and films.
March 16, 2010
The most effective movie moment on writing I've ever seen came in "Wonder Boys" when Rip Torn very dramatically intones, "I...am... A WRITER!" It's said without any trace of irony. This is a common feature in writers both amateur and professional. No empathy, no sense of irony.
If you've seen a lecture about story structure, you've probably been listening to someone regurgitate this same set of values.
It's doubly funny because from what I can tell, Vogler essentially rewrote Joseph Campbell while dumbing it down for writers.
You learn about a set of archetypes, then a series of steps that Campbell suggests are Jungian archetypes that crop up everywhere.
I find this whole monomyth concept thoroughly overstated. Many of these points are so vague as to be meaningless, while others can be simplified or even removed. Books like "Save the Cat" suggest that a writer must follow all of them. Vogler at least has the decency to suggest that these are merely guides, not rules.
I don't think Joseph Campbell did the work he did because he wanted to create easy lesson for hacky screenwriters (for some reason all these books seemed geared towards movies). He seemed to just find the reoccuring events of fiction fascinating.
The thing is, these archetypes only really seem good for creating a boy's first adventure. Many mature story diverge so greatly from the formula that it's more of an act of creativity to make them fit.
When I was at the GDC this year, I listened to a two hour lecture by a member of the Pixar writing staff. Here's their story structure:
Exposition
Inciting Incident
Progressive Complications
Climax
Resolution
Funny how the formula used by one of the most successful studios is roughly the same structure explained to me in grade school.
Though there were a few interesting points in this fairly thick book, I feel like these guides succeed and keep getting written for all the wrong reasons.
Wannabe writers want a shortcut. They want a blue print to art, a way to bypass understanding things like human empathy, harnessing irony, or the need to practice. They don't want to put in the 10,000 hours of work for mastery suggested by the book Outliers. Writing was a wild hair urge summoned up in college, and they want results right-the-hell now!
A lot of the things you need to know about writing can be gleaned from a careful examination of what makes you care about the works you love. Ira Glass once stated that people get into writing because they have good taste, and want to add to the amazing conversation of ideas that their taste has created.
To me the best advice on the matter is, "You should write more. You should read more." And pay attention while you do both.
If you've seen a lecture about story structure, you've probably been listening to someone regurgitate this same set of values.
It's doubly funny because from what I can tell, Vogler essentially rewrote Joseph Campbell while dumbing it down for writers.
You learn about a set of archetypes, then a series of steps that Campbell suggests are Jungian archetypes that crop up everywhere.
I find this whole monomyth concept thoroughly overstated. Many of these points are so vague as to be meaningless, while others can be simplified or even removed. Books like "Save the Cat" suggest that a writer must follow all of them. Vogler at least has the decency to suggest that these are merely guides, not rules.
I don't think Joseph Campbell did the work he did because he wanted to create easy lesson for hacky screenwriters (for some reason all these books seemed geared towards movies). He seemed to just find the reoccuring events of fiction fascinating.
The thing is, these archetypes only really seem good for creating a boy's first adventure. Many mature story diverge so greatly from the formula that it's more of an act of creativity to make them fit.
When I was at the GDC this year, I listened to a two hour lecture by a member of the Pixar writing staff. Here's their story structure:
Exposition
Inciting Incident
Progressive Complications
Climax
Resolution
Funny how the formula used by one of the most successful studios is roughly the same structure explained to me in grade school.
Though there were a few interesting points in this fairly thick book, I feel like these guides succeed and keep getting written for all the wrong reasons.
Wannabe writers want a shortcut. They want a blue print to art, a way to bypass understanding things like human empathy, harnessing irony, or the need to practice. They don't want to put in the 10,000 hours of work for mastery suggested by the book Outliers. Writing was a wild hair urge summoned up in college, and they want results right-the-hell now!
A lot of the things you need to know about writing can be gleaned from a careful examination of what makes you care about the works you love. Ira Glass once stated that people get into writing because they have good taste, and want to add to the amazing conversation of ideas that their taste has created.
To me the best advice on the matter is, "You should write more. You should read more." And pay attention while you do both.
July 13, 2010
Reading this book wasn't a lot of fun!
Few years ago I read " The Hero with a Thousand Faces " By Joseph Campbell ( and I loved it! ), and I also read about 4 books for C.G. Jung ( I loved 'em either!) ..
This book is primarily based on the great work, effort, sweat, and research of these two Godfathers of mythology, and it annoys me to see the richness and depth of their work converted into a "recipe" for "ready-meal microwave writers!".
I Love Mythology, I think we all crave it in a way, and it is true that all stories can be related to it, but this does not justify the fact that the author stripped this fascinating field of knowledge from its spiritual and magical dimensions.
I believe writers should read about mythology! But I think they should go to its "supreme source" instead of buying a "10 minutes snack" from a consultant.
Writing is a trip into the unknown, it is a journey indeed! But it is not a ready template that you can apply to your script and " win " some points of so called "depth" or " mythic dimensions! " .. this is simply like picking a shell from a beach in Bali, putting the shell in one of your rooms in the house and call it " a Balinese rooms"!
Do your work properly, dig in the dirt, absorb the mysterious world of mythology slowly and take your time.
Few years ago I read " The Hero with a Thousand Faces " By Joseph Campbell ( and I loved it! ), and I also read about 4 books for C.G. Jung ( I loved 'em either!) ..
This book is primarily based on the great work, effort, sweat, and research of these two Godfathers of mythology, and it annoys me to see the richness and depth of their work converted into a "recipe" for "ready-meal microwave writers!".
I Love Mythology, I think we all crave it in a way, and it is true that all stories can be related to it, but this does not justify the fact that the author stripped this fascinating field of knowledge from its spiritual and magical dimensions.
I believe writers should read about mythology! But I think they should go to its "supreme source" instead of buying a "10 minutes snack" from a consultant.
Writing is a trip into the unknown, it is a journey indeed! But it is not a ready template that you can apply to your script and " win " some points of so called "depth" or " mythic dimensions! " .. this is simply like picking a shell from a beach in Bali, putting the shell in one of your rooms in the house and call it " a Balinese rooms"!
Do your work properly, dig in the dirt, absorb the mysterious world of mythology slowly and take your time.
November 25, 2020
Joseph Campbell鈥櫮眓 Kahraman鈥櫮眓 Sonsuz Yolculu臒u kitab谋n谋n senaristler, senaryo yazmak isteyenler ya da bir hikaye anlatmaya ilgisi olanlar i莽in bir nevi tekrar yaz谋lm谋艧 hali. Kendisiyle s谋n谋rl谋 kalmayan bir kitap bu y枚nden. Mitler, masallar, arketipler ile ba艧ka okumalara da s谋莽rat谋yor sizi. Bana bu y枚nden en b眉y眉k katk谋s谋; Jung鈥檜n D枚rt Arketip鈥檌 oldu. Y谋llard谋r okunmay谋 bekliyordu, bu s眉re莽te birlikte okuyunca par莽alar daha g眉zel oturdu yerine diye d眉艧眉n眉yorum.
Kitab谋n daha da g眉zel, ki艧isel katk谋s谋 san谋r谋m 艧uydu: Kendi yolculu臒umdaki kahramanl谋臒谋mda, zaman zaman s谋navlar, m眉ttefikler, ma臒ran谋n derinliklerine yakla艧ma, orada kendi g枚lgemle kar艧谋la艧ma anlar谋n谋, ba艧ka mitler, hikayeler, versiyonlar 眉zerinden g枚zlemlemek oldu. Ve 艧unu hat谋rlatt谋 tabi, herkesin yolculu臒u farkl谋, herkesin yolun sonuna gelme ser眉veni ba艧ka, aslolan yolculuktur, sen kendine ve yola g眉ven, gerisine 莽ok da kapt谋rma.鈽�
Karakterin yolculu臒unu izlemeyi, anlamland谋rmay谋, buna kafa yormay谋 seven herkese mutlaka 枚neririm.
Kitab谋n daha da g眉zel, ki艧isel katk谋s谋 san谋r谋m 艧uydu: Kendi yolculu臒umdaki kahramanl谋臒谋mda, zaman zaman s谋navlar, m眉ttefikler, ma臒ran谋n derinliklerine yakla艧ma, orada kendi g枚lgemle kar艧谋la艧ma anlar谋n谋, ba艧ka mitler, hikayeler, versiyonlar 眉zerinden g枚zlemlemek oldu. Ve 艧unu hat谋rlatt谋 tabi, herkesin yolculu臒u farkl谋, herkesin yolun sonuna gelme ser眉veni ba艧ka, aslolan yolculuktur, sen kendine ve yola g眉ven, gerisine 莽ok da kapt谋rma.鈽�
Karakterin yolculu臒unu izlemeyi, anlamland谋rmay谋, buna kafa yormay谋 seven herkese mutlaka 枚neririm.
May 22, 2017
I found this to be of invaluable help in shaping my novel and is a must for any writer's arsenal. Whilst many of the examples I had not heard of, as they are now outdated, the knowledge was imparted in such a straight forward way and with such a conversational tone as to garner no confusion. Writers, both amateur and expert, can benefit from comparing their writing to the outline suggested and I believe all can benefit from the advice given.
October 2, 2016
My father was an English Lit and Humanities teacher. He gave me a deep appreciation for the story. I've loved Joseph Campbell ever since I saw him on PBS with Bill Moyer. I went back and have read several of his books. Unfortunately, he seems to have written them for academia, instead for the layman, and sometimes I feel they are difficult to get through. Also, he doesn't always help tell how to use the myths and folklore.
This book is a godsend for me. While I have read other books dealing with the theories of JC, this takes them and shows how to apply them to a story. While I am still reading it, it has already given me insight into looking at stories and movies in a different light. Being a Fantasy and Sci-Fi fan, I've understood the archetypes for a long time. For instance, Ben Kenobi (Obi Wan) and Gandalf are really the same archetypal figure of Mentor and are plain to see to me. But I never really thought of looking beyond that and seeing the same Mentor figure in other movies, like Robin Williams' character in Dead Poet's Society, M in the Bond films and books, or Father in Hellboy. Also, it has helped me to understand that the role can also be used as a mask, where a different archetype can pick it up and wear it as need be for the story, such as Julia Roberts girlfriend-prostitute in Pretty Woman, where she isn't always a Mentor, but she can be at times when the hero (boy or girl) needs them to be.
So far an incredible book and one I'm sure I will use if ever I decide to pan out the story ideas in my head. If not, then I at least will look at film and stories differently and possibly even my own life. (Yeah, that good so far.)
Finished it and it was everything I had hoped. An incredible book. If you are interested in the "behind the scenes" of story telling, this is a must read. Can't wait to read his other book.
This book is a godsend for me. While I have read other books dealing with the theories of JC, this takes them and shows how to apply them to a story. While I am still reading it, it has already given me insight into looking at stories and movies in a different light. Being a Fantasy and Sci-Fi fan, I've understood the archetypes for a long time. For instance, Ben Kenobi (Obi Wan) and Gandalf are really the same archetypal figure of Mentor and are plain to see to me. But I never really thought of looking beyond that and seeing the same Mentor figure in other movies, like Robin Williams' character in Dead Poet's Society, M in the Bond films and books, or Father in Hellboy. Also, it has helped me to understand that the role can also be used as a mask, where a different archetype can pick it up and wear it as need be for the story, such as Julia Roberts girlfriend-prostitute in Pretty Woman, where she isn't always a Mentor, but she can be at times when the hero (boy or girl) needs them to be.
So far an incredible book and one I'm sure I will use if ever I decide to pan out the story ideas in my head. If not, then I at least will look at film and stories differently and possibly even my own life. (Yeah, that good so far.)
Finished it and it was everything I had hoped. An incredible book. If you are interested in the "behind the scenes" of story telling, this is a must read. Can't wait to read his other book.
January 22, 2013
This is basically The Hero With a Thousand Faces turned into a self-help guide for aspiring screenwriters. Vogler is deeply experienced in how Hollywood makes stories, having worked as a professional narrative-smith for several major studios including Disney and Fox, and the advice is pragmatic, flexible, and surprisingly robust. Each chapter is concluded by a set of questions that a keen professor might ask of a story. Vogler would be the first to admit that the Hero's Journey is not a prescription for a good story, and that many films fall outside of its Archetypes and Steps, but if your story can't be described by the Hero's Journey, you probably have some work to do.
Some of the example movies are a little dated in the Year of Our Lord 2013 (Romancing the Stone, what's that?), and there isn't much said about the more complex stories typical of extended trilogies or television shows, but for all that, this is a critical book for writers looking to improve the structure of their stories.
Some of the example movies are a little dated in the Year of Our Lord 2013 (Romancing the Stone, what's that?), and there isn't much said about the more complex stories typical of extended trilogies or television shows, but for all that, this is a critical book for writers looking to improve the structure of their stories.
June 4, 2020
A few years ago, I did comb through The Hero with a Thousand Faces and create my own guide for my storytelling. It was hard. It took a long time--time that I could have spent writing. If you are, like me, more a storyteller than a scholar, you need to dive right into this one.
If you are already a Jungian or a Joseph Campbell scholar, this book is not for you. Anyone else, writer or not, should give Vogler's work a try. If he challenges and inspires you to find out more about Campbell and Jung, he has done a noble thing indeed.
And, along the way, you will learn some things about why some stories fly off with our collective imagination and others...well, just don't. And if you are a writer and you've struggled with this problem in selling your own works, you can get some help here. Unless you don't care about what readers feel and think and you just want to write for you. That's cool. If that's the case, this book is not for you, either.
But there are several chapters beyond the "formulaic" bulk of the book that are worth a look even if you catch yourself looking down your nose at this text. The appendix entitled "Stories are Alive" underscores the importance of your character's initial wish for a change, but also emphasizes that WILL is at least as important as wish. And I did enjoy "The Wisdom of the Body.鈥� The final section "Trust the Path" was a moving one for me and most likely the reason why, in the end, this accessible, amusing and very approachable book is a 5 star read for me.
If you are already a Jungian or a Joseph Campbell scholar, this book is not for you. Anyone else, writer or not, should give Vogler's work a try. If he challenges and inspires you to find out more about Campbell and Jung, he has done a noble thing indeed.
And, along the way, you will learn some things about why some stories fly off with our collective imagination and others...well, just don't. And if you are a writer and you've struggled with this problem in selling your own works, you can get some help here. Unless you don't care about what readers feel and think and you just want to write for you. That's cool. If that's the case, this book is not for you, either.
But there are several chapters beyond the "formulaic" bulk of the book that are worth a look even if you catch yourself looking down your nose at this text. The appendix entitled "Stories are Alive" underscores the importance of your character's initial wish for a change, but also emphasizes that WILL is at least as important as wish. And I did enjoy "The Wisdom of the Body.鈥� The final section "Trust the Path" was a moving one for me and most likely the reason why, in the end, this accessible, amusing and very approachable book is a 5 star read for me.
November 23, 2015
賲賳 丕賱賲匕賴賱 丕賳 鬲賰鬲卮賮 丕賳 賰賱 丕賱賯氐氐 鬲鬲賰賵賳 賲賳 賳賮爻 丕賱亘賳丕亍 賵丕賱賯賵丕毓丿 丕賳 噩乇丿鬲賴丕
賰丕賳鬲 賴匕賴 丨賯賷賯丞 丕賰丿鬲賴丕 鬲毓丕賱賷賲 賴匕丕 丕賱賰鬲丕亘
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丕毓鬲乇賮 丕賳賴 丨賲賱 賮賷 賲丨丕囟乇鬲賴 丕賱賲賰賵賳丞 賲賳 爻丕毓鬲賷賳 賵賳氐 賲丨鬲賵賶 賵丕爻賱賵亘 丕賯賵賶 賵丕賮囟賱 亘賰孬賷乇 賲賳 賴匕丕 丕賱賰鬲丕亘
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乇亘賲丕 賷馗賳 丕賱亘毓囟 丕賳賴 賰鬲丕亘 賲賵噩賴 賱賲賳 賷賰鬲亘 丕賱爻賷賳丕乇賷賵賴丕鬲 賮賯胤 賴匕丕 睾賷乇 氐丨賷丨 賴賵 賲賵噩賴 賱賱賰鬲丕亘 丕賱丨賰丕賷丕鬲 爻賵丕亍丕 丕賱乇賵丕賷丕鬲 丕賵 丕賱賯氐氐 亘卮賰賱 毓丕賲, 丨鬲賶 丕賳賴 賷賲賰賳 丕賳 賷賰賵賳 賲賵噩賴 賱賱賯乇丕亍 賱賷爻鬲胤賷毓賵丕 賮賴賲 丕賰亘乇 賯丿乇 賲賲賰賳 賲賳 丕賱丕卮丕乇丕鬲 丕賱乇賲夭賷丞 丕丕賱睾賷乇 賲亘丕卮乇丞 賮賷 賰賱 丕賱丨賰丕賷丕鬲 賵丕賱鬲毓賲賯 賮賷 丕丿乇丕賰賴丕 亘卮賰賱 丕賰亘乇
賱匕賱賰 賮賴賵 賲賳 丕賱賰鬲亘 丕賱鬲賷 賷賮囟賱 丕賳 賷賯乇兀賴丕 丕賱噩賲賷毓 丕賵 賷賰賵賳 毓賳丿賴 丕賱賲毓賱賵賲丕鬲 丕賱丕爻丕爻賷丞 賮賷賴丕 毓賱賶 丕賱丕賯賱
賷賲賰賳賰 丕賳 鬲賯乇兀 丕賱賮賴乇爻 丕賵 丕賱毓賳丕賵賷賳 賮賷 賰賱 氐賮丨丞 賵爻鬲氐賱 賱賰 丕賱賲毓賱賵賲丞 亘卮賰賱 丕爻丕爻賷
Currently reading
January 27, 2009When I first heard about this book, I resisted it as it sounded like a formula for success in Hollywood (Vogler was an advisor at Disney). I was at the beginning of my writing journey and wanted to give myself freedom to write in whatever direction I wanted. Also, I had just finished a Ph.D. program, and I wanted to write without rules for awhile. That was ten years ago, however, and lately I've become interested in mythic structure and archetype Since Vogler translates Campbell's ideas about myth and archetype for modern storytelling, it seemed like a good place to start. As I read, I'm amazed by how much mythic structure is I've absorbed already by osmosis. There are so many points of correspondence between Vogler's points and the structure of the book I'm writing, it's spooky. But now that I'm aware of those correspondences, I hope I can make my narrative stronger by tightening them those points and letting them play out.
January 29, 2021
Un saggio che ho studiato nel dettaglio per i miei progetti futuri.Lettura indispensabile per tutti coloro che vogliono scrivere un romanzo o per sceneggiature.
October 2, 2018
If you're a writer and you aren't using this book, you need to be using this book. We used it to study character archetypes and stages of a hero's journey in Harry Potter this semester, but the book honestly gives you so much more than that. At the end of each chapter is a series of questions for you to answer about your own WIP, making it clear where the gaps are. I loved using this for class, and I'm happy to be getting more than a semester's use out of it.
December 27, 2016
趩蹖夭蹖 讴賴 賴賳诏丕賲 禺賵丕賳丿賳 丕蹖賳 讴鬲丕亘 亘乇丕蹖鈥屬� 噩丕賱亘 亘賵丿 賱匕鬲 讴卮賮 趩蹖夭賴丕蹖蹖 亘賵丿 讴賴 鬲丕 丌賳 賱丨馗賴鈥� 噩賱賵蹖 趩卮賲賲 亘賵丿 賵賱蹖 賲賳 亘賴 賵噩賵丿卮丕賳 蹖丕 丿爻鬲鈥屭┵� 亘賴 丕蹖賳鈥屭┵� 芦丕蹖賳鈥屫焚堌甭� 賴爻鬲賳丿 賲鬲賵噩賴 賳亘賵丿賲. 賲孬賱 賵賯鬲蹖 讴賴 讴爻蹖 亘賴 氐賮鬲蹖 蹖丕 禺氐蹖氐賴鈥屫й� 丿乇 卮賲丕 丕卮丕乇賴 賲蹖鈥屭┵嗀� 賵 卮賲丕 丿乇 毓蹖賳 鬲氐丿蹖賯 亘賴 賵噩賵丿 丌賳 氐賮鬲貙 噩丕 賲蹖鈥屫堌必� 讴賴 趩胤賵乇 鬲丕 亘賴 丕賲乇賵夭 禺賵丿賲 亘賴 賴賲趩賳蹖賳 趩蹖夭蹖 鬲賵噩賴 賳讴乇丿賴 亘賵丿賲.
June 30, 2011
Just a copy of Campbell's The Hero with a Thousand Face, but for modern readers.
September 6, 2023
4.5 such a good book, I wish there was a newer edition, unless I am not aware of it? This book is not for those in the film industry only, as it was recommended to me for scriptwriting, but for any writer overall. It covers everything, from characters to story structure, any writer can find something useful and interesting. I personally enjoyed every chapter. Yes it's a lot to take in and it took a while for me to finish, but I actually wish I would've read it even slower. I learnt a lot, and I believe by reading it again I would learn even more. Also it had one of the most beautiful endings a book can have. Very glad I read it.
November 12, 2017
This book goes well with a cup of hot tea and Bill Moyer's video.
The title was poorly chosen in my opinion because it limits readership to those who see themselves as writers. How sad. This book is for anyone--anyone who knows or doesn't know that they are the hero of their own story. Which is pretty much everyone, since the definition of hero includes, "central character", "he who grows the most throughout the story", and so on.
So aside from bringing more clarity and enjoyment to the movies you see or the books you read, this book could very well do the same for your life.
The title was poorly chosen in my opinion because it limits readership to those who see themselves as writers. How sad. This book is for anyone--anyone who knows or doesn't know that they are the hero of their own story. Which is pretty much everyone, since the definition of hero includes, "central character", "he who grows the most throughout the story", and so on.
So aside from bringing more clarity and enjoyment to the movies you see or the books you read, this book could very well do the same for your life.
December 12, 2023
袩懈褋褜屑芯 鈥� 褑械 褔邪褋褌芯 褋锌芯胁薪械薪邪 薪械斜械蟹锌械泻 锌芯写芯褉芯卸 胁褋械褉械写懈薪褍 薪邪褋 褋邪屑懈褏, 蟹邪 褟泻芯褩 屑懈 写芯褋谢褨写卸褍褦屑芯 谐谢懈斜懈薪懈 褋胁芯褦褩 写褍褕褨 泄 锌芯胁械褉褌邪褦屑芯褋褟 蟹 屑邪薪写褉褨胁泻懈 蟹 袝谢褨泻褋懈褉芯屑 写芯褋胁褨写褍, 谐邪褉薪芯褞 褨褋褌芯褉褨褦褞. 袧懈蟹褜泻邪 褋邪屑芯芯褑褨薪泻邪 褔懈 薪械锌械胁薪褨褋褌褜 褖芯写芯 褑褨谢械泄 屑芯卸褍褌褜 斜褍褌懈 孝褨薪褟屑懈, 褟泻褨 蟹邪胁邪卸邪褞褌褜 薪邪褕褨泄 褉芯斜芯褌褨, 邪 褉械写邪泻褌芯褉 褔懈 胁谢邪褋薪懈泄 胁薪褍褌褉褨褕薪褨泄 泻褉懈褌懈泻 屑芯卸褍褌褜 锌芯褋褌邪胁邪褌懈 褟泻 袙邪褉褌芯胁褨 袩芯褉芯谐褨胁, 褖芯 褋褌邪褞褌褜 锌械褉械锌芯薪芯褞 薪邪 褕谢褟褏褍.
褟 锌褉邪褑褞褞 蟹 褌械泻褋褌邪屑懈 写芯褋懈褌褜 写邪胁薪芯, 褨 褏芯褔邪 蟹写械斜褨谢褜褕芯谐芯 褑械 泻芯褉芯褌泻邪 褎芯褉屑邪, 褋褌芯褉褨褌械谢褨薪谐 屑邪褦 褋胁芯褦 屑褨褋褑械 褍 屑芯褩泄 褉芯斜芯褌褨 褌邪 褋械褉写械薪褜泻褍. 褨 褑械 薪邪泄泻褉邪褖懈泄 锌芯褋褨斜薪懈泻 蟹褨 褋褌芯褉褨褌械谢褨薪谐褍, 褟泻懈泄 屑械薪褨 褌褉邪锌谢褟胁褋褟 - 胁锌械褉褕械 胁 卸懈褌褌褨 胁 屑械薪械 锌芯谢芯胁懈薪邪 泻薪懈谐懈 锌械褉械泻谢械褦薪邪 褋褌褨泻械褉邪屑懈))
袙芯覒谢械褉 褉芯蟹斜懈褉邪褦 屑褨褎芯谢芯谐褨褔薪褍 褋褌褉褍泻褌褍褉褍 锌芯斜褍写芯胁懈 褏褍写芯卸薪褜芯谐芯 褌胁芯褉褍 蟹邪 褌械芯褉褨褟屑懈 袛卸芯蟹械褎邪 袣械屑锌斜械谢谢邪: 锌芯褟褋薪褞褦 邪褉褏械褌懈锌懈, 械褌邪锌懈, 写褨谢懈褌褜褋褟 褑褨泻邪胁懈屑懈 褨薪褋褌褉褍屑械薪褌邪屑懈 褨 写邪褦 锌懈褌邪薪薪褟, 褖芯 薪邪褕褌芯胁褏薪褍褌褜 薪邪 褉芯蟹写褍屑懈 褌邪 写芯锌芯屑芯卸褍褌褜 褍 褉芯斜芯褌褨. 褑械 胁褋械 薪邪 锌褉懈泻谢邪写邪褏 胁褨写芯屑懈褏 褉芯屑邪薪褨胁 褌邪 泻褨薪芯褎褨谢褜屑褨胁, 褦 薪邪胁褨褌褜 芯泻褉械屑褨 褉芯蟹写褨谢懈 蟹 写械褌邪谢褜薪懈屑 褉芯蟹斜芯褉芯屑, 写械 谢械谐褕械 胁谢芯胁懈褌懈 胁褋褞 褋褌褉褍泻褌褍褉褍. 薪邪锌懈褋邪薪芯 胁褋械 写芯褋懈褌褜 谢械谐泻芯, 褌芯屑褍 胁锌械胁薪械薪邪, 褖芯 褔懈褌邪褌懈 斜褍写械 褑褨泻邪胁芯 薪械 褌褨谢褜泻懈 褉邪泄褌械褉邪屑)
褦写懈薪械, 褖芯 屑械薪褨 薪械 褋锌芯写芯斜邪谢芯褋褟 鈥� 褑械 褌械 褖芯 褨 胁 褑械泄 锌褉械泻褉邪褋薪懈泄 屑褨褎褨褔薪懈泄 褋胁褨褌 锌褉懈锌褏邪谢懈 褉褍褋薪褞 蟹 褉芯蟹斜芯褉芯屑 泻邪蟹芯泻. 邪谢械 褉芯斜谢褞 锌芯锌褉邪胁泻褍 薪邪 褌械, 褖芯 泻薪懈谐邪 锌懈褋邪谢邪褋褟 斜褨谢褜褕械 25 褉芯泻褨胁 褌芯屑褍 (ArtHuss 锌械褉械泻谢邪谢懈 胁卸械 芯薪芯胁谢械薪械 胁懈写邪薪薪褟 2020谐芯 褉芯泻褍)
褟 锌褉邪褑褞褞 蟹 褌械泻褋褌邪屑懈 写芯褋懈褌褜 写邪胁薪芯, 褨 褏芯褔邪 蟹写械斜褨谢褜褕芯谐芯 褑械 泻芯褉芯褌泻邪 褎芯褉屑邪, 褋褌芯褉褨褌械谢褨薪谐 屑邪褦 褋胁芯褦 屑褨褋褑械 褍 屑芯褩泄 褉芯斜芯褌褨 褌邪 褋械褉写械薪褜泻褍. 褨 褑械 薪邪泄泻褉邪褖懈泄 锌芯褋褨斜薪懈泻 蟹褨 褋褌芯褉褨褌械谢褨薪谐褍, 褟泻懈泄 屑械薪褨 褌褉邪锌谢褟胁褋褟 - 胁锌械褉褕械 胁 卸懈褌褌褨 胁 屑械薪械 锌芯谢芯胁懈薪邪 泻薪懈谐懈 锌械褉械泻谢械褦薪邪 褋褌褨泻械褉邪屑懈))
袙芯覒谢械褉 褉芯蟹斜懈褉邪褦 屑褨褎芯谢芯谐褨褔薪褍 褋褌褉褍泻褌褍褉褍 锌芯斜褍写芯胁懈 褏褍写芯卸薪褜芯谐芯 褌胁芯褉褍 蟹邪 褌械芯褉褨褟屑懈 袛卸芯蟹械褎邪 袣械屑锌斜械谢谢邪: 锌芯褟褋薪褞褦 邪褉褏械褌懈锌懈, 械褌邪锌懈, 写褨谢懈褌褜褋褟 褑褨泻邪胁懈屑懈 褨薪褋褌褉褍屑械薪褌邪屑懈 褨 写邪褦 锌懈褌邪薪薪褟, 褖芯 薪邪褕褌芯胁褏薪褍褌褜 薪邪 褉芯蟹写褍屑懈 褌邪 写芯锌芯屑芯卸褍褌褜 褍 褉芯斜芯褌褨. 褑械 胁褋械 薪邪 锌褉懈泻谢邪写邪褏 胁褨写芯屑懈褏 褉芯屑邪薪褨胁 褌邪 泻褨薪芯褎褨谢褜屑褨胁, 褦 薪邪胁褨褌褜 芯泻褉械屑褨 褉芯蟹写褨谢懈 蟹 写械褌邪谢褜薪懈屑 褉芯蟹斜芯褉芯屑, 写械 谢械谐褕械 胁谢芯胁懈褌懈 胁褋褞 褋褌褉褍泻褌褍褉褍. 薪邪锌懈褋邪薪芯 胁褋械 写芯褋懈褌褜 谢械谐泻芯, 褌芯屑褍 胁锌械胁薪械薪邪, 褖芯 褔懈褌邪褌懈 斜褍写械 褑褨泻邪胁芯 薪械 褌褨谢褜泻懈 褉邪泄褌械褉邪屑)
褦写懈薪械, 褖芯 屑械薪褨 薪械 褋锌芯写芯斜邪谢芯褋褟 鈥� 褑械 褌械 褖芯 褨 胁 褑械泄 锌褉械泻褉邪褋薪懈泄 屑褨褎褨褔薪懈泄 褋胁褨褌 锌褉懈锌褏邪谢懈 褉褍褋薪褞 蟹 褉芯蟹斜芯褉芯屑 泻邪蟹芯泻. 邪谢械 褉芯斜谢褞 锌芯锌褉邪胁泻褍 薪邪 褌械, 褖芯 泻薪懈谐邪 锌懈褋邪谢邪褋褟 斜褨谢褜褕械 25 褉芯泻褨胁 褌芯屑褍 (ArtHuss 锌械褉械泻谢邪谢懈 胁卸械 芯薪芯胁谢械薪械 胁懈写邪薪薪褟 2020谐芯 褉芯泻褍)
February 14, 2012
I bought this book as set reading for a writing course I'm currently studying. Having recently finished, I can say without doubt it's the most useful book on writing I've ever read - and I've read a fair few of them.
The great thing about this book is its simplicity. The main concept - that all stories and narratives follow a set path, or journey, involving archetypal characters - is a strong one that's easy to grasp. The rest of the book then elaborates on the theme, exploring diverse avenues like polarity and the nature of supporting characters.
Of course, Vogler's analysis won't apply to every book or writer, but as somebody striving to get published in genre fiction, this book was a godsend. It's already helped me plot out my next book and it's going to be an invaluable resource in the future - one of those books you always need to have at hand, just in case.
The great thing about this book is its simplicity. The main concept - that all stories and narratives follow a set path, or journey, involving archetypal characters - is a strong one that's easy to grasp. The rest of the book then elaborates on the theme, exploring diverse avenues like polarity and the nature of supporting characters.
Of course, Vogler's analysis won't apply to every book or writer, but as somebody striving to get published in genre fiction, this book was a godsend. It's already helped me plot out my next book and it's going to be an invaluable resource in the future - one of those books you always need to have at hand, just in case.
May 10, 2020
隆Este es el mejor manual de gui贸n que he le铆do hasta la fecha! Pr谩ctico, 煤til, sencillo y detallado. Todo sobre los arquetipos y las etapas del viaje del h茅roe. Sirve incluso para historias que tienen una estructura dram谩tica no tan cl谩sica como la de los tres actos. Adem谩s incluye an谩lisis de pel铆culas. Lo recomiendo mucho para quien necesite ayuda a la hora de construir sus historias o pulir / ordenar el material narrativo.
July 7, 2010
I learned a new way of looking at stories and movies from this book. They say it is one of the fundamental texts for hollywood script writers and I believe the archetypes and journey stages are strong models to refer to for the fiction writer. One might best explain this book in applying one of its models - the journey stages - to a film many of us are familiar with. I tried it with Forrest Gump:
1) Ordinary World: Begins life as a cripple, with odds stacked against him
2) His quest becomes Jenny, an early friend who treats him normally and represents normal life. She speaks the Call to Adventure: Run Forrest, run!
3) Reluctant Hero: Forest still gets beat up, still called stupid by most
4) Mentor = Momma, who believes in him and tells him he can do anything/ 鈥淪tupid is as stupid does.鈥�
5) Crossing the First Threshold: Becoming a football hero (through running & confusion)
6) Tests: Nearly getting killed in war, Jenny rejecting him in a coffee house, fights with Jenny鈥檚 boyfriend (they represent hippie counterculture when he is a Viet Nam military hero they protest), Jenny almost killing herself and taking his goal of gaining her as his true love from him.
7) Inmost cave: Forrest faces his first real failure in a long time as a shrimper, but Lt. Dan faces his fears of failure too and they both ride out a storm that ultimately is the saving grace for their shrimp boat business. Also, Lt. Dan invests their money making them financially secure for life.
8) Ordeal: Momma dies
9) Reward: Jenny comes back only to leave him the day after she has sex with him to prove she loves him.
10) Road Back: Forrest starts running again. People see him as a wise man and follow his lead.
11) Ressurection: Jenny contacts him, they come together, he learns he has a son! Who鈥檚 smart!
12) Return With The Elixir: The family goes back to Alabama. Jenny dies, but little Forrest is an important legacy of big Forrest鈥檚 original quest.
1) Ordinary World: Begins life as a cripple, with odds stacked against him
2) His quest becomes Jenny, an early friend who treats him normally and represents normal life. She speaks the Call to Adventure: Run Forrest, run!
3) Reluctant Hero: Forest still gets beat up, still called stupid by most
4) Mentor = Momma, who believes in him and tells him he can do anything/ 鈥淪tupid is as stupid does.鈥�
5) Crossing the First Threshold: Becoming a football hero (through running & confusion)
6) Tests: Nearly getting killed in war, Jenny rejecting him in a coffee house, fights with Jenny鈥檚 boyfriend (they represent hippie counterculture when he is a Viet Nam military hero they protest), Jenny almost killing herself and taking his goal of gaining her as his true love from him.
7) Inmost cave: Forrest faces his first real failure in a long time as a shrimper, but Lt. Dan faces his fears of failure too and they both ride out a storm that ultimately is the saving grace for their shrimp boat business. Also, Lt. Dan invests their money making them financially secure for life.
8) Ordeal: Momma dies
9) Reward: Jenny comes back only to leave him the day after she has sex with him to prove she loves him.
10) Road Back: Forrest starts running again. People see him as a wise man and follow his lead.
11) Ressurection: Jenny contacts him, they come together, he learns he has a son! Who鈥檚 smart!
12) Return With The Elixir: The family goes back to Alabama. Jenny dies, but little Forrest is an important legacy of big Forrest鈥檚 original quest.
May 7, 2013
The Writer's Journey is as interesting to read as a textbook, but about as deep as half a dozen copies of Writer's Digest. If you read a lot and write quite a bit and you pay attention while you do these things, there is nothing in here you don't already know. Maybe you don't know the author's terms for each component, but you already know the stuff. I thought this would be a good reference, something to sit on the shelf and go back to when I need to look something up. Nope.
With a book this thick, I was hoping for some in-depth study. With a title like this, I expected a look into mythology and how it affected contemporary fiction. Instead, I read a lot of repetition and many vague descriptions. Do you know what an anti-hero is? Of course you do. Do you want to hear a scholar's analysis of the anti-hero, what makes them tick why we identify with them? Of course you do; so did I. You won't get that here. This book will tell you that anti-heros are characters like Han Solo. Then the author will say that again and then once more for good measure. That's all you'll get.
The last third are just stories of the movies the author helped "improve," citing all of the ideas he offered that were used in, say, The Lion King as well as all of the ideas he had that were not used and would have made the movie better had the executives listened to him. I won't even opine; if that sounds like good reading to you, be my guest.
Mostly, this book is a collection of abstracts from better authors - it gets two stars for encouraging me to go read some more Jung.
With a book this thick, I was hoping for some in-depth study. With a title like this, I expected a look into mythology and how it affected contemporary fiction. Instead, I read a lot of repetition and many vague descriptions. Do you know what an anti-hero is? Of course you do. Do you want to hear a scholar's analysis of the anti-hero, what makes them tick why we identify with them? Of course you do; so did I. You won't get that here. This book will tell you that anti-heros are characters like Han Solo. Then the author will say that again and then once more for good measure. That's all you'll get.
The last third are just stories of the movies the author helped "improve," citing all of the ideas he offered that were used in, say, The Lion King as well as all of the ideas he had that were not used and would have made the movie better had the executives listened to him. I won't even opine; if that sounds like good reading to you, be my guest.
Mostly, this book is a collection of abstracts from better authors - it gets two stars for encouraging me to go read some more Jung.
December 11, 2011
When I first browsed tried to read this book 10 years ago I didn't get passed the first 50 pages. My main problem with these kind of books is that they are so packed with information that it is hard for me to apply their lessons later. I might retain the gist of what they preach, but I end up forgetting most of the specifics, and so it feels like a waste of time to read them from cover to cover.
These last few weeks I have indeed read it cover to cover, but this time I had a concrete goal in mind. I have a story that I've wanted to write for a long time, and I needed help refining the structure, filling the holes in the plot and sharpening the themes and the characters. I didn't use the book as a recipe, but as a sounding board, a tool that allowed me to ask all the right questions before I actually sat to write my story; and it has proven extremely useful in that respect.
These last few weeks I have indeed read it cover to cover, but this time I had a concrete goal in mind. I have a story that I've wanted to write for a long time, and I needed help refining the structure, filling the holes in the plot and sharpening the themes and the characters. I didn't use the book as a recipe, but as a sounding board, a tool that allowed me to ask all the right questions before I actually sat to write my story; and it has proven extremely useful in that respect.
February 10, 2011
Great book in the beginning and middle (Mapping and Stages of the Journey) drags near the end as Vogler starts to ponitificate a bit. He likes to write and it shows in that the point is always made but not before many, many pages of buildup. I found this left me skimmmng and not reading so much near the end.
I'm sure I will re-read sections of this book again in order to get more from it. Seems to me it is that kind of book and I do believe that it is a read neccessary for all authors at all levels of their craft as the hero's journey applies to all genres.
I'm sure I will re-read sections of this book again in order to get more from it. Seems to me it is that kind of book and I do believe that it is a read neccessary for all authors at all levels of their craft as the hero's journey applies to all genres.
July 31, 2018
This is a great book for anyone wanting to understand how to use Campbell's Hero's Journey in their writing, be it fiction or nonfiction--including content marketing. Vogler is a movie-script writer and he focuses on popular movies as his examples, making it easier to familiarize yourself with the example if you haven't seen it.
I read this book after it was recommended in a webinar that reviewed the basic structure of the Hero's Journey for use in content marketing, and I was able to immediately put it to use. Learning and inspiration can come from anywhere!
I read this book after it was recommended in a webinar that reviewed the basic structure of the Hero's Journey for use in content marketing, and I was able to immediately put it to use. Learning and inspiration can come from anywhere!
October 20, 2008
Excellent distillation of Joeseph Campbell's work. This book delivers examples and guidance about how to use the mythic archetypes described by Campbell in his works. The book is for writers of fiction who hope to capture the power of the Heroic Journey described in The Hero of a Thousand Faces. However, this book is no substitute for reading Campbell's work, which is much broader and richer, as Vogler points out.
February 4, 2017
Imperdibile per chi desidera fare della scrittura un mestiere. Il saggio analizza gli achetipi che si trovano in letteratura e nel cinema: la figura dell'eroe, del messaggero, del saggio (o mentore), del guardiano della soglia, dell'ombra e dell'antagonista.
Certo, alcune figure potrebbero anche mancare in un romanzo e non ne risentirebbe affatto :)
Certo, alcune figure potrebbero anche mancare in un romanzo e non ne risentirebbe affatto :)
June 18, 2008
If you want to truly understand the power of story this is a must read. What Vogler has done is taken A Hero of a Thousand Faces and made it simple to understand. Instead of using myths that no one knows he uses movies to show how stories are shaped by an ancient pattern. Powerful book.
April 8, 2023
lo que cuenta en el fondo es interesante pero diosmio menudo tost贸n, perfectamente se podr铆a haber resumido en la mitad de p谩ginas sin perder contenido pero a este se帽or le gusta repetir 50 veces las mismas ideas y ejemplos
February 27, 2011
One of the books they made us read in film school way back when was Christopher Vogler's book THE WRITER'S JOURNEY: MYTHIC STRUCTURE FOR WRITERS. Vogler has come out with a third edition, so I thought I'd take a read.
Vogler is coming at story structure out of the Joseph Campbell HERO WITH A THOUSAND FACES tradition. Campbell theorized that hero stories have a similar structure across all human cultures, and that there are archetypes that we always see in them: the refusal of the call, the mentor, the inmost cave, etc.
Vogler attempts to relate Campbell's character archetypes to successful movies. Who is the Shadow? Who is the Shapeshifter? Who is the Mentor? He also outlines a basic structure for the story:
1. Ordinary World
2. Call to Adventure
3. Refusal of the Call
4. Meeting with the Mentor
5. Crossing the First Threshold
6. Tests, Allies, Enemies
7. Approach to the Inmost Cave
8. Ordeal
9. Reward
10. The Road Back
11. Resurrection
12. Return with the Elixir
When you try to apply this formula to some movies, it works quite well, e.g. STAR WARS. Bear in mind, though, these often seem to be movies written by writers who are consciously trying to apply Joseph Campbell to screenwriting, as George Lucas was. Back in film school, I tried a bunch of times to relate these steps to stories I was trying to tell, and I had trouble telling what step I was supposed to be on. Lisa pointed out that many of the steps applied to the series I'm working on (Natural World, Refusal of the Call) but later on it gets difficult to say which part is "The Road Back" and which is "Return with the Elixir".
When Vogler tries to fit stories that aren't intended to be epic hero tales into his formula, the results aren't so neat. It can feel like he's shoehorning the facts into the theory, as when he looks at PULP FICTION. No "Shapeshifter" character? Claim that Vincent Vega and Mia's dance moves "reflect the SHAPESHIFTER archetype, as they try out various masks and identies in the APPROACH to love" (p. 275). Uh huh.
I'm not a big fan of formula, myself. I'm agnostic about Blake Snyder's formula (see my earlier post on SAVE THE CAT!) because I can see how it might work. My problem with Vogler is that while it is an interesting way to look at movies, and to understand what they're doing for the audience, I don't see how it helps me write one. It looks like a way to analyze what is going on in a movie, rather than a way to write a movie.
I should note that Christopher Vogler is not a professional writer, but a professional story analyst (if I understand his resume right). He shares credit on one German movie. Mostly, my impression is, he works with writers that the studio feels could use someone with a deeper understanding of story structure. In that case I would imagine that his approach, actually applied by him, might work.
But if you want a mythic perspective on screenwriting -- and how it fits into the grand epic tradition of storytelling -- then you might well check out THE WRITER'S JOURNEY.
Vogler is coming at story structure out of the Joseph Campbell HERO WITH A THOUSAND FACES tradition. Campbell theorized that hero stories have a similar structure across all human cultures, and that there are archetypes that we always see in them: the refusal of the call, the mentor, the inmost cave, etc.
Vogler attempts to relate Campbell's character archetypes to successful movies. Who is the Shadow? Who is the Shapeshifter? Who is the Mentor? He also outlines a basic structure for the story:
1. Ordinary World
2. Call to Adventure
3. Refusal of the Call
4. Meeting with the Mentor
5. Crossing the First Threshold
6. Tests, Allies, Enemies
7. Approach to the Inmost Cave
8. Ordeal
9. Reward
10. The Road Back
11. Resurrection
12. Return with the Elixir
When you try to apply this formula to some movies, it works quite well, e.g. STAR WARS. Bear in mind, though, these often seem to be movies written by writers who are consciously trying to apply Joseph Campbell to screenwriting, as George Lucas was. Back in film school, I tried a bunch of times to relate these steps to stories I was trying to tell, and I had trouble telling what step I was supposed to be on. Lisa pointed out that many of the steps applied to the series I'm working on (Natural World, Refusal of the Call) but later on it gets difficult to say which part is "The Road Back" and which is "Return with the Elixir".
When Vogler tries to fit stories that aren't intended to be epic hero tales into his formula, the results aren't so neat. It can feel like he's shoehorning the facts into the theory, as when he looks at PULP FICTION. No "Shapeshifter" character? Claim that Vincent Vega and Mia's dance moves "reflect the SHAPESHIFTER archetype, as they try out various masks and identies in the APPROACH to love" (p. 275). Uh huh.
I'm not a big fan of formula, myself. I'm agnostic about Blake Snyder's formula (see my earlier post on SAVE THE CAT!) because I can see how it might work. My problem with Vogler is that while it is an interesting way to look at movies, and to understand what they're doing for the audience, I don't see how it helps me write one. It looks like a way to analyze what is going on in a movie, rather than a way to write a movie.
I should note that Christopher Vogler is not a professional writer, but a professional story analyst (if I understand his resume right). He shares credit on one German movie. Mostly, my impression is, he works with writers that the studio feels could use someone with a deeper understanding of story structure. In that case I would imagine that his approach, actually applied by him, might work.
But if you want a mythic perspective on screenwriting -- and how it fits into the grand epic tradition of storytelling -- then you might well check out THE WRITER'S JOURNEY.
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