Myths and facts form an integral part of the story writing process as writers engage the readers in thrilling adventures that are based on myths and facts. Both terms can be used interchangeably, but in order to get a clearer understanding of the work of writers Linda Seger offers an explanation to the relationship between myths and facts as terms relate to writing. Seger suggests that majority of the stories and films that have been produced are a result of the myths and legends that exist throughout history. In fact, Seger’s article “Creating the Myth” offers a comparative assessment of the myths and facts that are present in the actions and choices that persons make throughout life.
Interestingly, Seger points out that each person share similar ideas that help these persons to grow, develop, and transform. Despite the differences in culture and dreams, it is easy to relate to the experiences of others. This understanding comes through viewing of films that reflect universal stories that can serve as a guide through personal experiences. The facts of the events in a person’s life live on throughout history and become mythical dramas on screen. Seger defines myths as “the common stories at the root of out universal existence” (Seger 1). The author further notes that these myths are present in every culture and history and can be found in fairy tales, Greek mythology, legends, and stories that stem from the different religious perspectives.
There is a relationship between the myth and the fact. The myth is what one sees, hear, read and watch and a fact is the events as it is portrayed. Facts tell the story that actually occurred. Facts tell the story of specific myths if the events in the myth actually take place. In this sense, Seger actually reference to “more than true myths” would be problematic as the myth might be wrong and if the myth is wrong outside of screen writing, then it is necessary to prove that the issue is a fact and a true myth. In other words, the relationship between the myth and fact is quite simple. One must gather scientific proof in an effort to support a fact. Historically, myths are passed on verbally without scientific support, but science proves fact. However, screen writers use to fact to solidify the myth in their stories.
Facts and myths are connected in many ways as myths arise from factual events that occurred in the past. Seger notes that myths are stories that are “more than true” (Seger 1). The author explains that the myths are truer because the events have been lived vicariously by persons in the past. The author notes that majority of the stories that appear in films reflect the lives and experiences of persons in the world. This argument is true as most persons can easily identify with the challenges that the heroes and the villains face in these stories. Additionally, the stories are even truer as they contain some amount of mythical significance and the characters appear to be more intense than the ordinary person. Most of these characters are created from icons in the modern society, but these stories tell stories that create significant changes that impact the lives of everyone.
But, the article is more than just telling the readers about heroes and the symbolic nature of these stories. The article is symbolic of the ways persons relate to the events in the story and the way in which persons wish to emulate the heroes in the films. At the onset of the article, Seger hints at the relative theory which suggests that person continue to emulate the actions of persons in order to find personal fulfillment. Of course, the average person will not be able to act in a similar manner as Clint Eastwood, but the heroic actions of these movie icons manifests in different ways. Seger makes references to Eastwood as a mythological hero who allows the viewers to live vicariously through the myth and the revolutionary changes that the heroes present.
In essence, Seger argues that that there are other myths that focus on make-believe characters that are likely to include more than one factual event. These events help to develop what Seger describes as the archetypal characters that follow the typical hero mythology and the healing of the hero. Seger’s reference to the different films reflects the author’s need to bring clarity to the types of heroes and the roles that these heroes play in films. But, the readers who are unfamiliar with these films will have a difficult time understanding the simple message that the author is trying to convey despite the explanation of each of the type of heroes and the contribution each make to the lives of persons who are attempting to understand the roles of the heroes.
However, the readers who are familiar with these films can readily identify with the hero. Seger suggests that Eastwood transforms the traditional role of the hero into one that speaks to saving the day. In addition, Seger uses the Star Wars series to show how the hero transforms into one that brings justice to the wider society. In contrast, Seger suggests that the “healing myth” is also relevant to the way in which persons analyze personal actions. The heroes in this case work through personal problems to find a solution that will end positively. The “Combination Myths” helps to clarify the conflicting emotions in the characters that lead to the hero facing destruction. Seger refers to the fact that good intentions can turn into horrifying event, but the hero usual fixes these challenges.
In the article, Seger implies that superhero films are popular because persons can relate to the characters and the ability of these characters to overcome the obstacles that are present at the time. Clearly, these superhero films represent the vicarious ways in which persons can view the challenges that are presented daily. Nonetheless, persons may lack the element of fantasy within these problems, but the truth is that the superheroes deal with similar problems to the average person and this is what makes myth larger than fiction. The reference to Gandhi and his journey towards peace and independence is similar to that of the challenges that superheroes face. Additionally, persons face the challenge of trying to achieve personal goals. The reality is that despite the circumstances, anyone can rise above the distress in the society and become unique.
The hero myth is common to ordinary people and reflects the fact that heroes can be found in any circumstance. Realistically, “the hero begins as a non-hero” (Seger 2) and develops into a stronger being because of the help that others offer. In addition, heroes find help in the most unlikely places and this does not create problems for screenwriters who have always been able to create scenarios that are practical. Screenwriters are human beings who have share similar experiences as the heroes in these films. As a result, the screen writers are able to shape each film to suit the circumstance.
Critics may argue that screenwriters find problems with making myths larger than life and often change or challenge the fact of the story because of the inaccuracies of dialogue and maintaining the factual accounts throughout these myths. Screenwriters work with mythology events that come mainly through oral traditions. Some of the information becomes lost in translation, while other screen writers add to the dialogue which may cause challenges to the validity of the story.
Seger’s ten category of the transformation in the hero can create a challenge for screen writers who must ensure that the audience is always treated to the hero that relates to viewers perception. Seger carefully points out that some film makers are better able to incorporate myths into the films because these film makers “have a strong sense of myth, and incorporate it into their films” (Seger 5). But, other film makers face challenges in presenting myths that are “more than fiction” (1) because some screen writers lack the historical associations of growing up with the knowledge of myths. As a result, these screen writers are unable to produce hero films that will draw the viewers because they cannot bring the Bible stories or those from other religions and culture to the forefront.
Some screen writers may find problems in creating hero films that appeal to the audience because of the main focus of presenting excitement and adventure in the films. The “audiences might fail to connect with the hero’s journey” (Seger 1). Nevertheless, those film makers who can combine myths into films that audiences can relate to will not fail to connect to the audience and the hero’s journey. The author’s reference to Sylvester Stallone’s and Clint Eastwood’s style of directing show that incorporating myths into films suggests that there is still hope for the film industry and for persons to be able to relate to the genre.
In concluding, film makers dramatize the myth of the hero in a number of ways, but clearly, the audiences can relate to the myths from daily experiences and a personal relationship with the myths that have come down through books and oral traditions. Seger gives the reader a clear understanding of the hero myth and what makes the myth. Additionally, Seger addresses the “Archetypes,” “Combination Myths,” “Healing Myths” and “Problems and Solutions.” Each argument in the argument gives a brief understanding of the importance of the hero. These ideas are important to screen writers and the development of films. The audiences are able to relate to the myths in these films because of the early experiences in understanding myths. Screen writers who engage the audience in the films that have hero who are larger than myths will be more likely to reach a larger audience.
References
Seger, Linda, Creating the Myth (2011) Beneath the Stars, Web 20 Feb 2016
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