Genre and genre expectation is extremely important.

Easy example --

Porn.

You can have the best script and actors in the world and have them shoot a porno... but if they ain't getting down to business every couple minutes or so, you're going to have some very unsatisfied customers.

An action movie better have action. A comedy better make people laugh. A horror movie better be scary. Etc. etc. Think about it -- is it really a comedy if nobody laughs?

Knowing your genre, and how to achieve the expectations of the genre is important. That doesn't mean you have to do the same things or use a formula. Just deliver on what that audience wants.

Scott, re: the ATTRACTOR and MENTOR character, et al. -- while I'm well acquainted with the Campellian/Vogler theories surrounding the many faces of the hero's journey, you repeatedly refer to what you describe as an ATTRACTOR character. I guess this is the first time I've heard of this particular "mask" being employed. (is this Truby, or something of your own concoction?) Therefore, I'm not entirely sure who/what/how this archetype is to function within your theoretical story parameters. Could you please describe your thoughts on this particular character and/or function. i.e is an "attractor" character considered not unlike a "love interest"? My apologies if this answer is buried somewhere within the annals of your site.

RC

Ryan, the short answer is I came up with "Attractor" because Romance or Love Interest can lead people astray. The connection of the character to the Protagonist may in fact be a 'love interest,' but not always. Moreover the connection goes deeper than that -- it's the character whose function is primarily tied to the Protagonist's emotional self. Hence, the shorthand, Attractor / Heart as compared to Mentor / Head (the P's intellectual self).

For more background, here is a post that goes through the basics of the ideas.