StoryNotesNewsletter

ISSUE #10:


Among a main character's weaknesses and flaws, one particular
flaw is usually more significant.

The following article defines this primary flaw, examines its
origin, and demonstrates how it relates to Inner Need, Character
Arc, Theme, and Goal.


(Due to its length, this article will be sent in two parts.
Thus, it will comprise Issues #10 & #11.)

(You may prefer to cut-and-paste the two e-mail installments into
a word processing document -- Word, WordPerfect, Works, etc. It
should then be easy to make the page breaks come out properly, in
case you wish to print it out. I suggest a left margin of 1.5"
or 2.0", depending on the font.)

(To see back issues of the StoryNotesNewsletter, go
to http://groups.yahoo.com/group/StoryNotesNewsletter ... scroll
down past "Search Archive" and, to start with Issue 1, click on
the "4" in the box for Oct 2000.)


PART 1 (OF 2):


SHINING A SPOTLIGHT ON THE


* * * K E Y F L A W * * *


OF YOUR MAIN CHARACTER


"He would be so much happier if he weren't so manipulative."
"She could accomplish much more if she weren't afraid of
criticism."
"He needs to learn how to get along with others."
"She doesn't think she deserves success."
"Too bossy."
"Not a team player."
"So belligerent."
"Overly confident."
"Must learn to change with the times."
"Has to stop holding that grudge."
"Needs a dose of self-confidence."

The evaluations of employers, teachers, and coaches, the
insights of friends – even the gossip of peers – often zero
in on the primary character trait (and its accompanying behavior)
which is largely responsible for holding a person back. They see
with great clarity the primary fault, foible, or weakness which
sabotages that person's success with friends, romance, goals,
dreams, and vocation. And which often results in unhappiness and
frustration.

As with real life, so, too, with stories for the page, stage,
and screen.

Among a main character's several weaknesses and flaws, there
tends to be one particular flaw which is more significant to the
story than the others. The flaw doesn't exist in isolation. Far
from it. It often relates to the main character's primary goal
by making it more difficult for the character to achieve it.
This flaw impedes the character's efforts. It acts as an
internal generator of obstacles. Due to the flaw, the character
trips himself up.

This "Key Flaw" may also relate to theme. Frequently one of
the themes of the story relates to a particular shortcoming of
the main character – such as excessive mistrust, emotional
isolationism, dishonesty, rash behavior, etc.

As often as not, the flaw is pertinent to both goal *and*
theme.

The flaw usually is related to a character's "Inner Need" –
that within the character which is incomplete or which needs
healing. This Key Flaw often arises as a result of this unmet
Inner Need, or due to a troubling Backstory Event.

And the Key Flaw also relates to the Character Arc – how the
protagonist often changes and grows throughout the movie. Much
of that growth, if positive, is due to the realization of the
void or wound within and of the crippling, self-defeating nature
of the Key Flaw.

The Key Flaw, Character Arc, Inner Need, and Theme all work
together to make the events and elements of the story seem more
cohesive and unified, and to make the story as a whole seem more
significant. In particular, these elements help to link plot,
character, and theme.

These are some rather sweeping assertions. They demand
explanation and proof. So ... here goes.

WELL-ROUNDED CHARACTERS

Protagonists with just one or two character traits are little
more than stick figures. Most protagonists possess a number of
character attributes. And they are a mixture – a major character
who is all good or all bad is not very credible or interesting.

Most protagonists have several positive traits (for example:
loyal, charming, brave, determined), several neutral traits
(traits that are neither good nor bad, but merely distinctive,
such as being shy, outgoing, relaxed, cautious, methodical,
etc.), and two or three negative traits (for example:
hot-tempered, overly-trusting, rash, selfish, impatient,
materialistic, blaming, etc.)

One of the protagonist's negative traits often stands out,
however. It is more important than the rest in terms of plot,
character growth, and theme. We could call that negative trait
the *Key Flaw.*

The Key Flaw is the one flaw among the character's several
weaknesses and faults that is most important, because it is the
one getting in the way of achieving the goal, and it is working
against filling the void or the need in the character's life.
It's an internal enemy; a character-based Achilles' heel.

The Key Flaw is akin to the Tragic Flaw of the old Greek and
Shakespearean tragedies, sometimes called the Fatal Flaw. It was
the flaw or element of the protagonist's character that was
largely responsible for the character's downfall.

The Tragic Flaw was often a trait such as an excessive
Temper, Ambition, Pride, Hesitancy, Arrogance, Recklessness.
They were blemishes that in another situation, might have been
merely troublesome, not ruinous. Occasionally it could be seen
how in another situation, these traits could even have been
desirable. But in this set of circumstances, they led to
disaster.

The Key Flaw is similar, but since most movies today are not
tragedies, an important difference exists: the Key Flaw has the
*potential* to be fatal or produce failure.

If we wish to have the movie end on a positive note, then we
give the protagonist the chance and ability to learn from his or
her mistakes, to see the light, and to overcome this weakness by
controlling it or eliminating it.

In normal times, the flaw might be only mildly disturbing and
disruptive to their lives. In times of crisis, however – such as
what happens during most movies – the flaw looms larger. It
threatens to destroy the protagonist. Or at least, to sabotage
the success in gaining the goal and/or fulfilling the need.
Thus, it is counter-productive to the needs and desires of the
main character. But for a time, the character does not see that.
And when he or she finally does, the character cannot easily and
immediately correct or control the flaw.

As mentioned earlier, the Key Flaw is, in a way, an internal
enemy. It's a source of internal obstacles and self-generated
problems – thus adding to the overall conflict. It often causes
the main character to not only make mistakes, but to act badly –
in a way that is unfair, cruel, or harmful to others. Or at
least annoying, frustrating, and off-putting.

Sometimes the Key Flaw is not so much a negative character
trait as a flawed idea – a mistaken belief that needs to be
changed.

Sometimes it's nothing more than a fear. It depends on the
genre and your story.

The Key Flaw is a limiting, self-defeating, misery-producing
aspect of character that *must be overcome in order to achieve
the goal and to fill one's Need*. The character must realize he
or she has this flaw and see how it is destructive and/or wrong,
and extinguish it. Or at the very least, learn how to control
it.


(TO BE CONTINUED in Issue #11)

(IN THE NEXT ISSUE: "Examples of Key Flaws" – citing numerous
films. Also: "Origins of the Flaw.")


Copyright Jeff Newman, 2001


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notes, a tape recording elaborating on the notes, 10 pages or
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commentary, and a 4-page checklist) and a follow-up phone
consultation.

For more information, or for info on my other services, please
see my homepage ( http://www.storynotes.net ).

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