In search of a flaw

[vikingdane]

I am writing a thriller. For a variety of reasons, I have a character who needs to be smart, accomplished, likeable. In other words, a star. She has insecurities that run deep and further the plot, but I am finding that this flaw is not enough. She is still too perfect to be real or to make the audience root for her. She needs a Shakespearan flaw. If it weren't so trite, I would give her an alcohol problem.
Anyone have any good ideas?

[CRASH]

Are you looking for a flaw to make her real? Or a Shakespearian flaw, which is fatal?

[Nemesis Unbound]

The problem is without knowing more about your story, most of the ideas that people might suggest will probably be very general in nature rather than specific to your character, in other words trite things such as being an alchoholic. See what I'm saying? On the other hand its probably not a good idea to give away too much of your screenplay online. Perhaps what you have alluded to already is enough, she's too perfect to be real, and people around her have a hard time believing any of her insecurites because it seems like she "has it all" As a result she has no one to turn to when things get tough, and that sense of isolation she feels can be what the audience sympathizes with.

[wcmartell]

What is the thing she is most afraid of ABOUT HERSELF? The one thing she's in denial about? Sometimes it's the thing she thinks of as a strength that is really a weakness (I always try to do the right thing... but I expect others to do the right thing, too. That makes me a a moralistic jerk sometimes... so my fear is that I'll hurt people - and that's just what I do with my attitude!)

Your story will be an event that forces her to deal with that fear/flaw.

So work backwards from your plot and find the fear. That deep emotional fear that she's in denial about.

- Bill

[Writers Blockhead]

Totally different genre but this string reminded of the Mia Farrow character in "Hannah and Her Sisters" where her "perfection" is her flaw.

[Le Vampyre]

Dane.

Recently read in Film-on-line poll; Fave flawed hero; Fox Mulder. Reason? Well in my opinion, because of the lack of a family base, thus, nobody around to guide and steer him in his choices, thus, all his ideas/assumptions are based on the sole incline of his own instincts, oft leading him into @#%$ty situations which his own *distinct* personality has led him into.

Example, but, y'see? Make your character imorally moral.
He/She does what she/he thinks is right, yet doesn't give a hoot if anybody else thinks said deed is wrong.

But, I've found that flaws must be sufficent to lead weight to storyline. Death in family, as result of iresponsible action, is often quite decent. However it would help if this tied in with villain's plan/deeds.

If you care to expose a little more, i'm sure you'll get a bit more helpful help.

** Remember, the more hell you put your character through, the more rewarding her initial victory will be **

Not talking Superman II here. But it's good to use Skeletons In The Closet/ Psycology against a hero.


Le Vampyre :[

[Teris1]

Fox Mulder may also be considered flawed based on his obsession with pornography. Another interesting fact (for fans of the show anyway), which is perhaps tied to his obsession: as revealed in an episode a couple of years ago, he dies by way of auto-erotic asphyxiation.

[GirlinGray]

I always start with the seven deadly sins. They're fun. And downright Biblical.

[steeves]

whether warranted or not... a *very* typical fear within successful people

an interesting thread touched on this and other protag flaw-type stuff at the wordplayer scripts forum: it might give you some interest (only open mon-fri so i can't link you directly)
check it out monday morn

[wcmartell]

Your flaw will connect your character to your story (or else you're just tacking something on).

- Bill

[Le Vampyre]

With this heroes flaw thing:

Maybe worth considering the burden/dependcy of family members. (Old/weak etc)

Mr/Mrs John McLaine had the kids on the outside. The chick in Long Kiss Goodnight had a kid. True Lies guy Harry Tasker had his wife. True, theses aren't *flaws* as such, but a person having a problem *they* can overcome isn't always...like...whoope-doo! Because they've always had the ability to do so. It's their problem for god's sake. And unless you doing the soul-searching good will hunting type of thing it may not work.

However in the context of your genre, making your character all out hero isn't that bad, however when something out of said character's control get's in the way it exposes a genitic flaw in the character weakness and love for person in jepeody. How many family-hostage scene have you seen (Drop the gun or i'll shoot her?)

There's a reason for it. People are hindered by their feelings for people. Good or antipathic. That's why this basic human condition can be used as a flaw because (all hail Bill) fear is exposed. Fear of harm to aforesaid person.

But then again, scrape away family-ties and you're left with a Crow, Charlie Bronson, type which is a flaw unto itself because of the reckless methodology.

Give a little more and so can I. Because i think i am misreading the scope/insularity of your vision by being *too Hollywood and conventional*

Bye.
Vampyre :[

[Leandro]

Your question made me think of two possibilities:

1. Anorexia/Bulimia. A common psychological drive of those afflicted with these eating disorders, especially young women, is the obsessive need to be viewed as perfect, as well as the compulsive need to control every aspect of their environment, their bodies included. This quest for perfection is of course in and of itself a flaw, and the presence of the condition itself is a big red flag for severe underlying emotional frailty.

2. The character played by Holly Hunter in Broadcast News. This character was in every aspect "perfect"--ambitious, strong, independent, intelligent, attractive. Yet in her private moments she was prone to unexpected and somewhat inexplicable emotional breakdowns (uncontrollable sobbing). This exposed vulnerability, her flaw, made the character someone we "real" people could better relate to and care for; it also added greater dimension and complexity to an already dynamic character.

[Kelly]

Tourette's syndrome could be funny.

[vikingdane]

for your suggestions. Gave me a fresh perspective on the whole situation.
WCMartell and Steeves -- Although I had not thought of my character's flaws in terms of fear, it is actually fear that motivates her already. She has come to embrace her success in her career as her entire identity. The fear that drives her (and moves the plot) is failing at this one thing from which she draws her sense of self-worth. (Or in Steeves' words -- she fears exposure as a fraud). More specifically, she fears failing in the eyes of one particular person.
After reading the comments on this thread, and thinking some more, I have begun to suspect that I have a suitable flaw for my character, but that I have not properly demonstrated/brought to life her fears and insecurities.
Leandro -- I had thought of the eating disorder thing, but I was concerned about a number of pitfalls in using that theme: treating the topic too lightly/erroneously (although one of my relatives is currently hospitalized for this disease, I cannot begin to get my mind around it); having my screenplay turn into more of a MOW featuring anorexia than a thriller; creating a lead female with a problem that would stereotype her, and detract from the story. In the end, I decided it was easier to pick a different downfall that try to steer clear of all these concerns.

Thanks again.
Vikingdane.

[Leandro]

Vikingdane,

WRT anorexia, I agree with what you said about "...having my screenplay turn into more of a MOW featuring anorexia than a thriller." The only way it could work would be to have your character be a recovered anorexic or bulimic--something which plagued her in her teenage past. Any reference to the disease in her adulthood would have to be nothing more than a subtle temptation or relapsing of past destructive behaviors, much like that of a recovered addict or alcoholic. However, I agree that this too would be difficult to achieve without stereotyping your character; Subtlety would be the key to pulling it off. I think the reason the character I referenced in Broadcast News worked so well was because there was never any direct reference or explanation for the character's private outbursts; yet the action alone (the outbursts) was more than enough to elucidate the character's humanness. Ah, but then, subtlety is part of the genius of Mr. Brooks.

[steeves]

are the same as my characters - because my characters, no matter what i write, are part of me - and i suggest that is the same for ALL of you: there is a piece of you in everything you write (well) - if not it won't come off as real

revel in your own flaws, use them, abuse them, twist them and multiply them: that is the only way you can be sure that they come across as real (imnsho)

in my current work, my boys' main flaw is overconfidence and ego (quelle surprise)
otoh, my next planned work has a character flawed with letting herself be pushed around: a lack of confidence

related, yes, almost but not quite opposites - i use my own flaw and the mirror opposite of me that i see in others around me.