Characters Need Flaws (Usually)

There has been an ongoing debate within my online critique group about whether every character in every story needs a flaw. “Characters should have flaws” is one of those tenets of good writing that seems to be espoused everywhere.

But is it true? Yes and no. Let me explain.

Story Drivers

Though stories can cover endless topics, there are really only two “drivers” of a story, i.e. what propels the story from beginning to end. Characters and plots. And while every story has both, only a few stories manage to effectively utilize both. It is generally one or the other that drives everything.

Plot-driven stories, were they made into movies, would be action flicks.  High-adrenaline situations where characters are reactive, fighting for their lives before finally getting out of danger. As books, these stories are harder to pull off, and the main criticism of them is that they are one-dimensional. There’s no depth under the main situation such that, if the action slowed down, anything interesting would happen. But still, they can be fun reading in an afternoon at the beach.

Character-driven stories are much more complex by the simple fact that humans are amazingly complex. And humans are more relatable. Situations about love, anxiety, appreciation, betrayal, and so many others resonate with readers because they understand—if they haven’t experienced directly—these emotions.

And that’s where character flaws come in. Great characters are deep, complex, and have emotions. They are not perfect, but have biases, histories, or conditions that affect their decision-making and their actions. Just as we all do.

Main vs. Secondary Characters

Within those character-driven stories, not all characters need flaws because some characters simply don’t require that level of development. What I’m talking about here are secondary characters. Best friends, sidekicks, neighbors, etc.—characters that are used to help advance the overall story but aren’t really the main participants. They may or may not have flaws, but either way, their flaws don’t affect where the story goes.

However, main characters such as the protagonist/hero, and often even the chief antagonist, will have flaws, and oftentimes, more than one.

What Is a Flaw?

First, let’s understanding what we’re talking about. A purist will say that a character flaw needs to be something emotionally wrong with the main character. Whether caused by a childhood trauma or some other event, a character with trust issues, who doesn’t want help, or who struggles with an addiction are obvious examples.

Others with a much more expanded viewpoint will consider nearly any challenge or obstacle as a flaw. Stranded on an island, hopelessly outmatched, or running out of time are included as flaws by this group. I think this goes a touch far, and my definition falls somewhere in the middle. To me, anything that affects a character’s decision-making process or influences their reasoning can be considered a flaw.

Flaws are emotional, and base emotions make for fantastic flaws. Fear, desperation, lust, and rage all make excellent flaws. So much so, these deep, deadly-sin flaws are usually what drives the antagonist/villain in a story, though they can also motivate an anti-hero protagonist.

Generally, though, everyday emotions like anxiety, obsession, frustration, guilt, or humiliation can add humanity to a character. And there are dozens of other emotions. Whether a character is quick to judge, or lacks confidence, or flies off the handle, or has a drinking problem, or grieves a loss, or is simply naïve, human emotional issues are relatable because we’ve all been there. We’ve all stuck our foot in our mouths, or wished for something (or someone) we could not have, or been frustrated, nervous, overwhelmed, or suspicious.

And that’s really the goal – to have characters that readers relate to and want to read about.

Not Flaws

I would argue that physical limitations are not flaws so much as challenges. They don’t necessarily affect a character’s decision-making, other than accommodating for the disability.  Deadpool losing a hand or Eli (in The Book of Eli) being blind are certainly challenges, but it’s Deadpool’s love of Vanessa or Eli’s belief in the word of God that drive them.

Additionally, external challenges, like a lack of resources, or no food, or an impending storm, or a flooding ship, are not flaws. Though they may drive the tension of a story, they don’t affect how characters make decisions.

Why Flaws Are Needed

Think about the ideal character, a beacon of strength, poise, and confidence. Someone who knows everything or has abilities to handle anything. Like Superman. Now place him as the main character in any book and consider the outcome.

For example, if Superman were Carrie in Stephen King’s eponymous book, he’d never be bullied, would have most of the school as friends, and would be prom king. End of story. Yawn. Or if Superman was Donna Trenton, stuck at a garage with a rabid St. Bernard in King’s Cujo, he’d have the kid saved, the car fixed, and the dog safely taken to the vet for treatment. What a snore.

If solutions come easy to characters, i.e. they have the background, knowledge, expertise, and ability to handle anything, there is no tension, no drama. The reader doesn’t care because the outcome is known. And that’s not relatable because no human is like that. Having flaws makes us relatable, and that’s what makes the connection to the reader.

Counter-Argument

Some don’t think characters need to have flaws, citing Frodo Baggins in Lord of the Rings, not understanding that Frodo does have a flaw—he’s terribly naïve—and that’s what makes him relatable. He has no experience, no understanding of the world around him. He does have heart and is willing to take the ring to Mordor, if only “someone will show me the way.” He can’t fight, has no magic, and doesn’t relate to the other creatures of middle earth. He absolutely needs the help of the fellowship, and particularly Sam, to make it.

This same source thinks Ellen Ripley in Alien doesn’t have a flaw, and for that movie, I would agree because that is a plot-driven story. But jump forward to Aliens, and Ellen’s flaws become clear. She’s got a healthy dose of self-interest in that she wants to get reinstated as a flight officer so badly, she’s willing to go on the mission to LV-426. She’s also too trusting of the corporation, assuming they are operating with her and humanity’s best interests in mind.

Conclusion

I concede the overall, high-level point that “not all characters need flaws.” But, if the story is character-driven, the main character absolutely should have at least one flaw. That character needs to resonate with readers; they need to be relatable. That main character’s job is to put the reader in their shoes and carry them through the story as if the reader were experiencing it themselves.

Those types of characters connect with readers and make them come back for more.

Agree or disagree with my take on character flaws? Let me know in the comments.