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This hero is the fantasy creator. He's got all the right lines and all the right moves. Unfortunately, these moves are all to gain him the good time. The irony about the charmer is he works very hard to get something for nothing. He's got a string of women and doesn't commit to one easily. The charmer is all about self-satisfaction.

Some examples of the charmer are Johnny Storm from The Fantastic 4, Dick in The Bachelor and The Bobby Soxer, and Bret Maverick in Maverick.

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The Lost Soul is the character who has been hurt in the past and is scared to reach out again. The hurt may have come from a childhood cruelty, either intentional or not-the loss of a loved one, an illness. The pain the character clings to may even be a physical attribute that makes him/her different from the mainstream.

Yes, the character clings to the pain. Staying with what's familiar now than to change is always easier. Deep, deep down, the character is convinced that to try again to reach out and join the party of life will involve more hurt to be endured.

This is not to say the Lost Soul character is always a recluse. The character's life may well be very full and enjoyable. However, that life is just slightly stunted, possibly in such a small way, even the character isn't aware unless challenged to change.

The last thing a Lost Soul character needs for growth is an enabler of any sort. The Lost Soul has to learn to face the pain and get beyond it. He/she needs someone to help face this challenge. That someone cannot take on the challenge for the Lost Soul, but has to demonstrate why the Lost Soul must grow to encompass the hurt as part of life and live better because of it.

Beast from Beauty and the Beast is an obvious Lost Soul, as is Heathcliff from Emily Bronte's Wuthering Heights. Bruce Wayne is a Lost Soul who uses his Batman persona to fight crime in a battle to deal with his own pain. Peter Parker, Spider Man, is the geeky teenage outcast who suddenly has super powers, which he uses as a crime fighter to cope with the difficulties in his life. In the last two examples, their choice is to fight bad guys and be heroic to others instead of handling the uneasy feelings of inadequacy by not being good enough to protect his parents (in Bruce Wayne's case), deal with snotty contemporaries or stop his uncle from being killed in Peter Parker's situation. For each of them, they've magnified their losses and situations until they hold themselves responsible, even though they weren't, which keeps them lost in their own pain.

For the Lost Soul to grow emotionally, the desire, determination, and drive to change has to come from inside the self. Outside events and people can help the Lost Soul realized the change has to be made. Ultimately, however, the Lost Soul has to be the one to do it.

Day 7 - The Warrior Archetype
by Eve Savage

Everyone likes a man in uniform. We like him even more when he's out of uniform! I have always had a soft spot for a military man. Which is a good thing as I am happily married to the USAF.

A military man is the embodiment of the warrior archetype. This hero is honorable, relentless and always sticks up for the underdog. He doesn't always follow the rules, but he does have a code he lives by and expects other people to live by as well. His determination to fight for the cause tends to lead to self-righteousness and a rigid adherence to his code. But in the end, good guys will always win.

Some examples of the warrior are: John McClane (Bruce Willis) in Die Hard, William Wallace (Mel Gibson) in Braveheart, Lt. Col Hal Moore (Mel Gibson) in We Were Soldiers, and Capt. John H. Miller (Tom Hanks) in Saving Private Ryan.

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Day 9 -The Professor Archetype
By Bev Oz

The professor is easy to pick out in almost any crowd. If he's not wearing a lab coat or a tweed jacket with leather-patched elbows, he's probably out and about in a hodgepodged, mismatched outfit, oblivious to any fashion faux pas. After all, the purpose of clothing is to protect one from the elements and prevent any indecent exposure. Does it really matter if his lime green "particle vacuums suck" t-shirt matches his plaid slacks, when what's happening in his head is what's important? To the rational-thinking Professor, the answer is unequivocally NO.

Although he may not be the king of cool, don't let his lack of fashion sense fool you for a moment. The Professor is no dummy. He's extremely intelligent and a logical, rational thinker - almost to a fault. He's the cool head in a crisis. As he pushes up his glasses, he's quietly calculating the probability of potential outcomes, and will continue to ponder the problem until the most reasonable and feasible resolution can be found. A well-educated man, he finds joy in the most tedious of subject matter and has no problem verbalizing quantum physics. But ask him to speak any language other than his learned specialty, and he's a goner. He often uses terms and phrases the ordinary person simply cannot comprehend, or says the wrong thing at the most inappropriate time.

The Professor may not be a social creature blessed with all the social graces. He's spent more time in a lab or reading books alone rather than living in the real world. But he is a steadfast, reliable fellow you can count on through thick and thin. The Professor is honest and faithful, and genuine about his feelings. Because he is so unpracticed with emotions and love in general, he can be vulnerable and sometimes clumsy, but always tries his best, especially when he's fallen for a girl.

Consider these Professor heroes:
Dr. Dolittle, the Professor on Gilligan's Island , Barnaby Fulton in Monkey Business, Norbit and Harry Potter

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The Boss might be called a "bitch" by some. She is in charge and isn't about to let you forget it. Wherever the top of the ladder is, you will find her there or climbing her way to that lofty spot.

A "boss" might be a woman accustomed to being in a position of power, a Queen or member of a very powerful family. This lady doesn't want her way simply to have it, she believes her way is the best and most likely to result in a successful outcome. Sigourney Weaver in Working Girl is a good example of this kind of Boss.

A second kind of "boss" is one who has had to work her way up the ladder. She's savvy and determined to reach the pinnacle. She has no time for anything or anyone is her way. Having seen life without success or control, makes her hungrier for achievement.

Positive Traits:

Strong
Take-charge
Intense
Confident
Determined
Persuasive
Outspoken
Resourceful
Planning, Organizing, Executing
Competitive

Negative Traits

Blunt
Ruthless
Winning is everything
Can't see from other's point of view
Ignores others' feeling and her own.
Competitive
Workaholic
Overly-Confident
Needs to be in-charge
Need for perfection

Goals and ambition are the focus of the Boss's life and she accomplishes them.

Not all women use their body as a weapon - but this one does. The seductress knows how to use everything she's been given to her advantage. And when it's not given to her, she takes it instead.

An expert at quickly sizing up a situation and using every bit of knowledge to her advantage, some may think she's cold and cruel. Quite the opposite. The seductress is at heart a survivor. Full of passion and self-preservation, she doesn't trust anyone but herself.

Some examples of the seductress are: Scarlet O'Hara (Vivian Leigh) in Gone With The Wind, Kathryn Merteuil (Sarah Michelle Gellar) in Cruel Intentions, and Jessica Rabbit in Who Framed Roger Rabbit?.

The Spunky Kid is that irrepressible woman cheering on everyone, including herself, with the never-say-die attitude. No mountain is ever too high climb, valley too deep to crawl through, or mission too impossible to achieve. At least, not with the gutsy and supportive Spunky Kid around. Even if all hell breaks loose, you can count on her to be there until the bitter end, as she's as loyal as they come.

Although the Spunky Kid doesn't necessarily have an easily recognizable uniform, there's a good chance you'll find her decked out in more manly, sporty clothes than in dresses and pumps. Why? She's likely hanging out with the guys, watching or playing the game, and tossing back and forth verbal barbs and wisecracks with the best of them. Her ability to behave like a proper lady may be a bit on the clumsy side, too. But don't think for a moment she's not capable of being feminine and using good manners. With just a little effort, a light touch of makeup, and dress, she can easily transform herself into an irresistible knockout that sometimes throws the hero completely off balance. Think of Amanda Bynes character in What a Girl Wants and J.P. Franklin in television's My Boys.

The Spunky Kid generally has an extensive gaggle of friends eager to be around her, a short list of enemies, and a past that may be littered with failed attempts at love. Her moxie and eternal optimism always carries her through any tough times.

Some examples of the Spunky Kid include Bella Blue in The Ex List, Blue in Susan Elizabeth Phillips' Natural Born Charmer, and Fiona in Shrek.

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Day 13 - Free Spirit Archetype
By Layla Chase

This character is full of energy, fun loving and spontaneous. Ruled by her emotions, rather than any practical consideration, this character goes through life listening to her inner voice. This may not make sense to others but she thinks relying on her instincts is the only way to make decisions. She very much lives in the moment and is sincere in her dealing with others. Looking at life with a positive viewpoint keeps her always thinking of possibilities.

Possessing a strong sense of individuality, she is labeled eccentric by some and a trendsetter by others. Her curiosity and enthusiasm leads her in several directions at the drop of a hat. The impulsiveness that makes her lively person to be around also may cause hurt feelings because she speaks her mind before thinking.

The Free Spirit might be a comedian-think Auntie Mame, Phoebe Bufay in Friends, or Lucille Ball. Or the character may be a darling like Ariel in The Little Mermaid, or Jane Austen's Emma, or Jenna Elfman in Dharma & Greg. Occupations that fit this personality are: actress, fashion designer, travel agent, florist, receptionist, retail buyer, manicurist, jazz singer.

Life is never dull with the Free Spirit around.

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The Waif is the character who not only wants to be protected, but whom everyone else is more than happy to take care of. The Waif is an innocent, despite being aware of life's harsh realities. The Waif rarely, if ever, instigates life changes. No matter what happens, The Waif holds to a solid core of belief that whatever happens, happens. The Waif accepts what happens, incorporates it into life's fabric, and moves on.

Snow White is the perfect examples of The Waif. She ended up under the thumb of an Evil Queen who dressed her in rags. Snow White never cared why she suddenly had new clothes, but cheerfully went off into the woods with a huntsman she didn't know. When he told her to run, she did. She didn't question, she simply ran. She stumbled into the dwarves' lives and simply took up the position of their maid and nurturer. Even when the Evil Queen disguised herself as an old crone offering apples, Snow White didn't remember Grumpy told her not to accept gifts from strangers. She took the pretty apple and ate it. When the Prince kissed her and woke her up, she cheerfully rode away with him, waving good-bye to the dwarves.

While Cinderella is also a Waif, she's a stronger character because she has emotional growth. At the end, she steps in front of the step-mother and step-sisters to show she has the glass slipper and claim the Prince. She instigated that change in her life.

To be a viable character for today's public, the Waif must become strong enough to take steps to change the life path, not simply stand still and let life happen.

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Day 15 - The Librarian Archetype
by Roni Adams

This heroine is controlled and proper. She knows every rule and regulation and follows them to the letter. She is a role model in her community and is generally above reproach in her personal life. But, underneath all this proper role-model behavior lurks a passionate woman who longs for the hero who can make her feel uninhibited and free. The Librarian can be shy and quiet, finding solace in the peaceful atmosphere of her library and her books, or she could be an intellect- the girl in school who knew everything and intimidated most people with her knowledge.

The Librarian may have chosen the life she has or it may be a role thrust upon her by life's circumstances. Her parents may have been quiet and expected the same. She may have come from an intellectual background, maybe both parents were professors and she's followed in their footsteps. Or her childhood could have been so out of control and chaotic that she has to have this kind of control in her adult life in order to cope. This heroine isn't always a librarian, however, she could be a school teacher, or college professor, she might even be a doctor.

Examples are: Joan Wilder in Romancing the Stone, Rose Sayer in The African Queen, Diane Chambers in Cheers

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Day 16 - The Crusader Archetype
by Eve Savage

There's no other way to put it - the crusader is the fighter!

She is strength and determination personified. The crusader knows her goals and walks over anyone who gets in her way. She is stubborn and could never be called a damsel in distress.

Some examples of crusaders are Buffy Summers in Buffy the Vampire Slayer, Sarah Connor in The Terminator movies and Lu Shu Lien (Michelle Yeoh) in Crouching Tiger, Hidden Dragon.

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Day 17 - Nurturer Archetype

by Betty Hanawa

The Nurturer can be summed up in one word: Mom!

This is not to imply males are not nurturers, some can be terrific at it. Primarily, though, nurturing falls to females.

These are the characters who take care of everyone, whether they like it or not. The Nurturer often anticipates needs and arranges things before the need arises. This is the calendar keeper, the sender of cards and flowers, the gift buyer. The Nurturer is a volunteer-junky whether for a family gathering or an organization. The Nurturer thrives as a homemaker, a teacher, a secretary, an accountant. The Nurturer is not the power figure, but the one influencing the power. In My Big, Fat Greek Wedding, Maria Portokalos tells her daughter, "Let me tell you something, Toula. The man is the head, but the woman is the neck. And she can turn the head any way she wants."

The flaw the Nurturer must overcome is two-fold.

One: not everyone wants to be taken care of nor can be taken care of. The Nurturer gets her feelings hurt when she realizes not everything she does is appreciated. At that point, she becomes the martyr. How many people does it take to change a light bulb for a mom? None. Don't worry about it. Go. Enjoy yourself. I'll be fine here. Alone. In the dark.

Two: a Nurturer has to learn is when to encourage someone to take charge of the decision process and not step in and take over. The Nurturer has to step back and allow someone to learn a lesson by failing.

A wise Nurturer knows how to encourage and support without becoming a Smother Mother. Another nurture is Abby in The Truth about Cats and Dogs.

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Day 18- The Protagonist
By Desiree Holt

The term protagonist refers to the central or main character in a story. The word derives from a Greek term that means "the main character." It is most common for the story to be "about" the protagonist; even if the Main Character's actions are not heroic, they are nonetheless usually vital to the progress of the story. The protagonist could also be the narrator of the story, if it's told in first person.

A protagonist is a figure or figures in literature whose intentions are the primary focus of a story. Usually protagonists are derived from good will, however, this does not always have to be true. Protagonists cannot exist in a story without opposition from a figure or figures called antagonists. Classically in literature, characters with good will are usually the protagonists. However, not all characters who assist the protagonist are required to be simple protagonistic.

The actions of the plot are a result of actions by the protagonist. For example: an attorney makes a conscious decision about representing a particular client. Everything else follows from that. The client isn't what he seems to be. Bad people are involved in his life who then focus on the protagonist-our hero. The protagonist's wife/girl friend is alarmed by what's happening, wants him to drop the client and their relationship is affected.

Sometimes, a work will initially highlight a particular character, as though they were the protagonist, and then unexpectedly dispose of that character as dramatic device. Such a character is called a false protagonist. This happens most often in suspense stories and thrillers.

And remember, the type of person you choose for your protagonist, the characteristics he/she has, will also determine how and why that person interacts with the occurrences of the plot.

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Day 20 - The Contagonist
By Megan Kerans

Of all the roles for characters, the contagonist often causes the most confusion. Many times the contagonist is confused with the antagonist, but they are different and serve different purposes.

The antagonist is person or entity is knowingly trying to stop your hero/heroine from reaching their goal. They are completely aware of their actions and taking steps purposefully to throw roadblocks before the hero/heroine. In many cases this person is the villain of the story.

The difference between an antagonist and contagonist is knowledge and intent. The contagonist can also be a person or entity. They cause roadblocks for your hero, but unlike the antagonist, they believe they are "helping." Think of a well-meaning friend or family member. They care about the hero/heroine and honestly believe the goal will be bad for that person.

The contagonist can also act out of ignorance. They honestly have no idea their actions are thwarting the hero/heroine from their goal. This person can be anyone from an oblivious family member or friend to the security guard who won't bend the rules and allow the hero/heroine to sneak inside a building after hours.

A contagonist doesn't need to be a person. A blizzard that stops your hero from chasing the villain is a contagonist. The storm isn't knowingly or purposely acting against the hero, but simply by being poses a challenge. A high-tech security system such as the one in Mission Impossible is a form of contagonist. The Chicago Police Department pursuing Dr. Kimble in the Fugitive as he tries to clear his name create challenges to his discovering the real killer.

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Day 21 - Role: Mentor
By Shayla Kersten

The Mentor is a vital role in most novels. He is the protagonist's guide, teacher, surrogate parent or master. The Mentor is the conscience of the story. One of the most obvious Mentors in a movie is Obi-Wan Kenobi in Star Wars: Episode Four.

To Luke, Obi-Wan was literally his teacher, his guide and his master. Sometimes the role isn't as obvious but it is just as important. Like Obi-Wan, the character may disappear from the story leaving only their influence behind. Or they may be there, by the hero or heroine's side, until the end, like Mr. Miyagi in Karate Kid.

Then again, the Mentor may not make a true appearance in the novel at all. He or she could be a memory of deceased parent or teacher. The moral fiber instilled in the protagonist could act in the Mentor's stead.

The Mentor helps shape the protagonist's character so he can succeed at his task. When Luke was flying his fighter in the final raid on the Death Star, he heard the voice of Obi-Wan telling him to "use the force"-to believe in himself and his beliefs and training. This is an obvious use of the Mentor's role.

Most of the time, the role is more understated. The heroine remembering her mother's confidence in her abilities as she faces the villain shows the Mentor's affect in a more subtle way.

However one chooses to use a Mentor in a novel, Mentors should be well-rounded characters with believable reasons for why the protagonist looks up to them.

Day 23 - Role: Logic
By Shayla Kersten

Logic is a secondary character that embodies reason or control for the protagonist. Appealing to the intellect of the protagonist, Logic helps move the story forward. An example of Logic in a movie is Princess Leia in Star Wars.

Leia is single minded about her mission and the need to defeat the Empire. She convinces Luke, the hero, to follow her with reason-the Death Star would change the balance of power in the galaxy. The emperor would be unstoppable. Since Han is the Skeptic (see #24), he's convinced by the promise of a reward.

While the example of Leia is a well-rounded character in Star Wars, Logic doesn't need to be a fully developed role. Shorter novels don't leave room for too many characters. As with most of the secondary characters, Logic can be combined with another role or can even be internalized as part of the hero's or heroine's upbringing or training.

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December 27 - Goals, Motivation, Conflict
By Myla Jackson

I first learned about Goals, Motivation and Conflict from listening to a workshop tape by the inspiring author Debra Dixon. She does a fabulous job describing these three key elements to character development in her book Goal, Motivation & Conflict. If you don't have a copy of this book, get one.

Your character's goal is WHAT he wants or what he thinks he wants in the beginning of the story. In You've Got Mail Joe Fox's goal is to build his new store Fox Books.

His motivation is WHY he wants it. In Joe's case, it's all about money and prestige. He's grown up in a family of money-making men, driven by the need to make more money. It's a measure of their worth and business acumen.

The conflict is WHY HE CAN'T HAVE IT or what gets in the way of his ability to attain his goal.

In this case, Kathleen Kelly launches a campaign to stop Fox Books from building around the corner from her bookstore, painting them and Joe Fox as the big bad wolf. Conflict is what makes the story interesting just like flaws are what make characters interesting. Without conflict, you don't have a story. So make the conflict good. Make it matter to the characters. To Kathleen Kelly whose goal was to keep her bookstore going just like it had for years and years, the conflict of the big mega-bookstore moving into her sales territory was a huge blow to her. Why (motivation)? Because her bookstore was tied to her memories of her mother (makes your reader want to root for Kathleen). Repeat after me:

CONFLICT IS GOOD!!!

Just because you identify a character's goal at the beginning of the story doesn't mean you're stuck with that goal through to the end. In many cases, the character may change his mind or commit to another goal as the story progresses or as the character grows and learns. Or if he achieves his goal as in Joe's bookstore putting Kathleen's out of business, he might find the success empty and establish a new goal: win the heart of Kathleen.

When you lay out your story, remember, to ask:

What does my character want (GOAL)?
Why does he want it (MOTIVATION)?
Why can't he have it (CONFLICT)?

ay 28 Day 28 - Character Arc
By Elle James

So, what's this Character Arc, you say? Is it some big boat you have your character climb aboard with the other animals, two-by-two in preparation for the big flood?

Kind of.

The Character Arc is the journey your character undertakes. It's the path toward learning and growing. He steps on the path or into the boat at the beginning, thinking one thing, convinced his way is the true and only way. As the story progresses and conflicts emerge, events happen to him, his beliefs and attitudes change. He might grow stronger, or become less harsh by the time he climbs off the boat at the end of the journey.
For example, at the beginning of You've Got Mail Joe Fox thought "It's business. It's not personal." Through his interactions with Kathleen Kelly, the man on the elevator, his ex-girlfriend and other people he met along his journey, his beliefs shifted and changed.

By the end of the story, he'd learned that life was empty when you looked at it as all about business. He began to realize he didn't want to end up like his father, never finding love, never being loved. Through his interactions with Kathleen and others, he learned and grew and became a better person wanting life to be personal, not all about the business. Kathleen helped him to see this by her actions, her love for her employees and her mother's memory.

The Character Arc is the progression of your character's change throughout the story. Think of Hans Solo in the first Star Wars movie. He was all about making money, never getting involved. By the end of the first movie, he was ready to join the rebel cause. He'd learned there was more to life than smuggling for personal gain throughout the star system. He came to this conclusion through the events that occurred and the people who influenced him along the way.