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Mallymkun
a woman who tempts someone to do something, typically a sexually attractive woman who sets out to allure or seduce someone.

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Mad Hatter
side with or support (someone or something).

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March Hare
side with or support (someone or something).

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Drink me and Eat me temptation items
The energy of mischief and the potential for change are the signposts for the Trickster Archetype. They may be as obvious as the clownish sidekick or as subtle as the hidden troublemaker. Tricksters serve important purposes. They can serve to cut egos down to size, be they the egos of your protagonists or the people they encounter. In books with a serious or action-filled tone, they can give moments of contrasting light relief. Tricksters serve as catalysts because they can't stand to see things stay as they are. As catalysts, they affect other lives but remain unchanged themselves. Their entire purpose is to promote change, and by words or action help to shine a light on situations that must be modified for balance.

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Cheshire Cat
The Shapeshifter archetype is hard to describe by its very nature but in essence it acts to bring
uncertainty and tension into a story, by changing appearance, mood, or behavior. In a romance, the hero and heroine can both be shapeshifters, adapting as external and internal demands require.

Secondary characters may be Shapeshifters as well, turning from Mentor to Herald to Trickster to Villain and back through the cycle in turn. Shapeshifters can reflect the protagonist's unspoken desire for transformation, and successful dealings with such shifters can result in new understanding of the opposite sex or restrained energies within themselves.

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Tweedle Dee and Tweedle Dum
The Threshold Guardian's job is to ensure the protagonist is worthy of passing the threshold, and thus they act as part of the tests the protagonist must face in the journey. A hero who depends on his strength might attempt to overcome Threshold Guardians, while a hero who depends on his wits might evade, bribe, learn from and even convert the Guardians to his cause. Needless to say, running away from a Threshold Guardian is not a successful way of dealing with one. . As with Mentors, the Guardian can also be an inanimate object, animal or force of nature.

Threshold Guardians are typically the henchmen of the villain or antagonist, but they can also be neutral to either side, simply doing their job. The third type of guardian is a secret helper, there to act as a guide if the protagonist is able to pass the initial test and learn from the result. A delayed form of secret helper is the guardian who turns to your protagonist's side after the protagonists shows them mercy or aids them. The final type of threshold guardian is more difficult to define and fight, because they are the protagonist's own fears, hatred and obsessions

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Bunny
Heralds act to signal change and invite the character to answer the call to adventure. Their job is to motivate the hero into action, despite the hero's frequent desire to maintain the status quo.
Heralds can be people, objects or acts of nature. They may be positive, neutral or negative. We usually encounter the Herald in the first stages of the journey, although this archetype can be used to signal major direction changes later in the plot.

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Absolem
The mentor serves a number of purposes: source of wisdom, gift giver, and conscience. The role of gift-giver comes out most strongly in the subgenres that reflect mythology and fairytales.

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Red Queen
The Shadow character is normally filled with a huge amount of repressed energy and emotion, aspects of the protagonist that have festered from lack of expression. It can be an outside force, or a reflection of part of your protagonist's character. Doubts that cripple the protagonist at the critical moment, or frighten them out of taking crucial steps are the footprints of the
protagonist's Shadow.

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Hero
Alice from Wonderland
The Hero is also known as: The warrior, crusader, rescuer, superhero, the soldier, dragon slayer, the winner and the team player.

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Master of the Two Worlds/Restoring the World (The Resurrection)

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Master of the Two Worlds/Restoring the World (The Resurrection)

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The Hero faces the Resurrection, his most dangerous meeting with death. This final life-and-death Ordeal shows that the Hero has maintained and can apply all that he has brought to the Ordinary World. This Ordeal and Resurrection can represent a "cleansing" or purification that must occur now the the Hero has emerged from the land of the dead. The Hero is reborn or transformed with the attributes of his Ordinary self in addition to the lessons and insights from the characters that he has met along the road.

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Reward: The Hero has survived death, overcome his greatest fear, slain the dragon, or weathered the Crisis of the Heart, and now earns the Reward that he sought. The Hero's Reward comes in many forms: a magical sword, an elixir, greater knowledge or insight, reconciliation with a lover. Whatever the treasure, the Hero has earned the right to celebrate. Celebration not only allows the Hero to replenish his or her energy, but also gives the audience a moment to catch their breath before the Journey resumes to its climax and resolution.
The Road Back: The Hero must finally recommit to completing the Journey and accept the Road Back to the Ordinary World. A Hero's success in the Special World may make it difficult to return. Like Crossing the Threshold, The Road Back, needs an event that will push the Hero through the Threshold, back into the Ordinary World.

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The Hero must prepare himself for the greater Ordeals yet to come and needs this Stage to Test his skills and powers, or perhaps seek further training from the Mentor. This Initiation into the Special World also Tests the Hero's commitment to the Journey, and questions whether he can succeed.

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The Hero needs to find out who can be trusted. Allies are earned, a Sidekick may join up, or an entire Hero Team forged.

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An object which is believed to contain certain magical properties which would provide good luck for the possessor or offer protection from a possible evil or harm.

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The Hero meets a Mentor to gain confidence, insight, advice, training, or magical gifts to overcome the initial fears and face the threshold of the adventure.

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Accepting the Unknown (Crossing the Threshold

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Accepting the Unknown (Crossing the Threshold

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Crossing the Threshold signifies that the Hero has finally committed to the Journey. He is prepared to cross the gateway that separates the Ordinary World from the Special World.

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The Hero has received the Call to Adventure but instead of accepting it, he refuses.

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The Call to Adventure can be defined as some information, presented in the form of a problem, a challenge or a request, which is received by the hero and will require some form of action which takes him off into the unknown.

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The hero goes about his ordinary life and demonstrates his flaw - a simple task, that by the end of the story he has grown and learnt to overcome it. It is used to demonstrate the vivid contrast the new world he is about to enter.

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Described at length in Joseph Campbell's The Hero with a Thousand Faces, the hero's journey serves as the tale every culture tells. The journey's path is described variously, but in general it includes the call to adventure, a supernatural aid or mentor, initiation by trials and adventures, victory, and return.

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Front/Rear Lighting: Soft direct lighting on face or back of subject.

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Bottom/Side Lighting: Direct lighting from below or from one side.

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Natural Lighting: Light that comes from the sun. It is contrasted with artificial light, which comes from light bulbs, fires, and other man-made fixtures used in homes.

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High Key: This was originally done partly for technological reasons, since early film and television did not deal well with high contrast ratios, but now is used to suggest an upbeat mood.

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Low Key: Accentuates the contours of an object by throwing areas into shade while a fill light or reflector may illuminate the shadow areas to control contrast.

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Soft Focus: In photography, soft focus is a lens flaw, in which the lens forms images that are blurred due to spherical aberration.

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Medium Shot: Or waste shot is a camera angle shot from a medium distance.

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Long Shot: A view of a scene that is shot from a considerable distance, so that people appear as indistinct shapes. An extreme long shot is a view from an even greater distance, in which people appear as small dots in the landscape if at all.

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Close Up: A type of shot, which tightly frames a person or an object. Close-ups are one of the standard shots used regularly with medium shots and long shots.

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Deep Focus: A style or technique of cinematography and staging with great depth of field, using relatively wide-angle lenses and small lens apertures to render in sharp focus near and distant planes simultaneously. A deep focus shot includes foreground, middle-ground, and extreme background objects, all in focus.

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Eye Level: A viewpoint is the apparent distance and angle from which the camera views and records the subject. They also include the eye-level camera angle and the point of view shot.

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High Angle: The camera looks down on the subject from a high angle and the point of focus often gets "swallowed up.' High-angle shots can make the subject seem vulnerable or chicken when applied with the correct mood, setting, and effects.

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Low Angle: A camera angle positioned low on the vertical axis, anywhere below the eye line, looking up. sometimes, it is even directly below the subject's feet. Psychologically, the effect of the low-angle shot is that it makes the subject look strong and powerful.

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Dutch Angles: Also known as Dutch tilt, canted angle, oblique angle or German angle, is a type of camera shot where the camera is set at an angle on its roll axis so that the shot is composed with vertical lines at an angle to the side of the frame, or so that the horizon line of the shot is not parallel with the bottom of the camera frame.