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12 Steps to Mythic Screenwriting: Part 2 – Call to Adventure

Submitted by on July 20, 2009 – 10:27 pm2 Comments

This is my favorite step in the mythic screenwriting structure. Whether its because it’s so dependable, it’s found in just about every story told, or because it’s one of the most exciting steps for me personally - I’m not sure.

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But if one thing is clear, it’s that audiences look forward to the call just as much as they look forward to the climax – though the call is probably a bit more subconscious. The way I see it, the call is an important step in mythic storytelling because of two reasons:

1. Cutting to the chase

Between the seemingly perpetual boredom that must of occurred due to the lack of constant distraction and attraction back in the early days, and the shortening attention span of people in present time, I’d say we can both appreciate one thing despite the gap of hundreds – even thousands – of years: The call to adventure. It’s an inciting incident; it’s cutting to the chase; it’s embarking on the mysterious; it’s going where no one has gone before; it’s leaving what – and who – you know behind … only to hope that you might be able to return.

2. Adventure

Isn’t it obvious? The call to adventure represents a moment the majority of us look forward to as we grow up and experience life – it’s the moment when we move out from our parents’ house; it’s the moment when we embark on life after graduating; it’s the moment when we’re presented with an opportunity or challenge.

Star Wars is known as one of the best examples of mythic storytelling on screen, so I thought it’d be best to explore the mythic structure referencing it as often as possible. One point I thought could use more exploration is the transition between mythic story steps.

The clip below is a fine example of a movie transitioning from the ordinary world to the call of adventure. Perhaps the most definitive divider of the two steps is the line from Obi Wan, “You must learn the ways of the force … if you’re to come with me to Alderan.”

The transition to the actual call to adventure is expositional, which is a way of easing away from the world of ordinary. Obi Wan informs him that his father fought in the war, that his uncle didn’t want him to have the light sabre, and that’s your uncle talking – all of these things reveal that perhaps Luke hasn’t been in the most encouraging hands.

With this in mind, consider what makes a good transition from world of origin to the call to adventure. It might be a sudden change, a long awaited change, or a gradual change that naturally comes about as seen in Star Wars. The nice thing here is that with all mythic structure, there’s no right and wrong – simply guidelines of what worked before and what didn’t.

One way the call seems to work best is when it calls the hero to undertake a tremendous task with a lot of responsibility. As with Frodo, a halfling, in Lord of the Rings who is called upon to destroy the ring, or Neo, just another trapped mind in the corporate world, in the Matrix who is believed to be the one to save Zion, or even our pal Luke, a farm-boy from a distant desert planet, who is depended on by the entire galaxy to destroy the empire, the hero in the mythic storytelling structure often face impossible challenges and must rise to the occasion or fail.

This brings us to the next step, which is the hero’s first reaction – Refusal of the call. You can see a glimpse of this moment in the clip above, when Luke makes excuses not to go with Obi Wan to Alderan, but stop by next week, or subscribe to ScriptXRay for the full exploration of this moment – it’s the last part of the refusal of the call that makes it so powerful.

In case you missed it, check out the first post of this 12-post series: 12 Steps to Mythic Screenwriting: Part 1 – World of Origin

2 Comments »

  • William Fu says:

    It felt exactly just like the time when I was a kid and wanted to join the little league of soccer, but my mom told me to go on and study instead…she will not allow me to venture into that unknown world of youthful competition for sports. Instead she wanted me to study for something which until now, I realized, it was something I can just learn without going to school. This is just an example from my own life…
    Anyways, I’m glad you shared that scene with us Chris, because it certainly does reflect what’s been happening over and over again, constantly in this world, where children or young people who chose to do something that they really want to try it out, but you’ve got these parents (or authoritative figures) that tells you to stop daydreaming, cause it won’t come true anyways, and just follow your everyday routines doing chores around the house, and to become part of the working cycle of society.
    The part where Luke suddenly backs off, and sort of rejects his calling is when he thought and told Obi-Wan Kenobi that he’s got some things to do, and he’s worried about the harvest. We could tell, actually Luke really wanted to get out there because he said he could take Obi-Wan to a certain point, but he insisted not to go, which leads to the ultimate push where his home’s been ravaged by the Empire and making him to go with Obi-Wan.
    It’s pretty powerful, because we see this everyday, for everybody who has encountered several occasions when they’ve been put down or disbelieved by other people about their own dreams or what they want to do.
    In a way, society itself has already established its own protective barrier or ideologies for people to feel that their secure because of having a job, having a life, where of course spending their whole life paying bills to a house which it doesn’t really own by them, but the government. It’s almost just like the Matrix, where people think their free, but in reality we’re only slaves in bondage to a system.
    Therefore, if we look at some of the older generations in different cultures, for example the Chinese, they would have the notion that new generations should always take up the cup from the old and carry it along with them further on. There’s a must for boys to carry on the task of the father for sure…in fact this is what I am dealing with now…so even though I love movies and screenwriting, but they could never understand what it is. You could say they are a different world apart from me, because I can’t run their business. There’s always a lack of energy for me when it comes to running machines and just doing the same things, meeting the same customers everyday. But when it comes to writing, I love to wonder and just be by myself, meet who ever on the streets that I can connect with and just talk.
    This is exactly what Luke might have been experiencing..and that is the struggle between his desire to get out of that place, to make his dream come true versus the requirements put upon him by his Uncle Owen, which are the burdens in this “realistic” society.
    What’s really interesting about this is that some people may say, how foolish with all this force stuff?, but some would also encourage Luke to do it, since I think subconsciously, we are tired of the ways how the society makes us operate. However, it could be dangerous also just like the story of Daedalus and Icarus. The danger to take on the unknown, which of course is just like the flight of Icarus between the Sun above and the Sea below. I think this kind of danger could also be too overwhelming or fearful for some of us to even think about, and that is why we constantly deny the possibilities for us to follow whats really deep down inside our hearts.
    Great Article Chris!

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