When the Hero in Your Manuscript Can’t—or Shouldn’t—Change

by Zena Dell Lowe @ZenaDellLowe

A writer friend recently reached out with a concern. He was telling the true story of a real-life hero who led a dangerous mission to rescue 15 American kids from Afghanistan. The man faces real challenges—age, a heart condition, world weariness—but he doesn’t change in the traditional sense. He just keeps going, because that’s who he is at his core.

So, my friend asked: Can a story work if the hero doesn’t change?

Short answer? Absolutely.

This taps into a deeper issue: our misunderstanding of what it means for a character to have a flaw, or to grow. The assumption is that the main character must undergo a transformation. But in truth, some of the greatest heroes in storytelling don’t change who they are — they double down.

Here are seven insights to reframe how we think about character flaws and arcs — with examples to help you see how they work in action.

1. Character flaws aren’t always negative.

We assume flaws are bad traits to be overcome. But sometimes, a flaw is a noble conviction that causes suffering. The goal isn’t to discard it — it’s to endure it.

🔹 Example: Captain America (MCU) — His flaw is his unwavering moral center. He refuses to trade freedom for security, even when pressured by powerful institutions. He doesn’t bend to fit the times. And that “flaw” becomes the reason he leads the Avengers.

2. Moral conviction = flaw in a suffering-averse world.

In a culture that avoids discomfort, characters who suffer for their principles are labeled difficult or dangerous. Their refusal to compromise reveals the rest of us.

🔹 Example: Atticus Finch in To Kill a Mockingbird — His moral compass isolates him. He loses friends, earns scorn, and puts his children at risk by defending an innocent Black man in a racist town. He doesn’t change — he endures.

3. Sometimes the “flaw” is the hero’s greatness.

That moral conviction is what makes them heroic. But it also costs them dearly. That’s the real arc: not transformation, but sacrifice.

🔹 Example: Frodo Baggins — He begins with courage and resolve, and he never loses those traits. But they come at a terrible cost. By the end of The Lord of the Rings, Frodo is wounded—physically, emotionally, spiritually—and can no longer live in the world he saved.

4. The flaw causes pain.

Heroes who refuse to compromise often pay relational, professional, or psychological prices. The pain isn’t proof of failure—it’s the cost of holding the line.

🔹 Example: Harry Bosch (TV series Bosch) — He loses jobs, alienates colleagues, and lives with constant suspicion because he won’t play by political rules. He’s hated by those in power and haunted by what it costs him.

5. The struggle is over roles.

These heroes often face mutually exclusive roles. They want to be both father and protector, lover and leader, but can’t fulfill both without betraying who they are.

🔹 Example: Batman / Bruce Wayne — He can’t be Gotham’s Dark Knight and a normal man in love with Rachel. She sees it. He knows it. And ultimately, he chooses the city over the woman he loves.

6. The type of flaw should fit your story.

Ask: Does your hero need to overcome something broken, or endure something noble that causes suffering?

🔹 Example of transformation flaw: Tony Stark — He begins as arrogant and selfish, but evolves into someone who lays down his life for others.

🔹 Example of enduring flaw: William Wallace in Braveheart — His refusal to kneel to tyranny leads to betrayal, torture, and death. But he dies unchanged — shouting "Freedom!" to the end.

7. These characters suffer because they can’t change.

The world wants them to. Their loved ones beg them to. But they can’t. The arc isn’t about transformation — it’s about endurance and loss.

🔹 Example: The Mandalorian — His code as a Mandalorian compels him to protect Grogu at all costs. He sacrifices safety, alliances, and comfort. He doesn’t stop being who he is — he becomes more fully who he already was.

So, yes — your hero doesn’t have to change to make the story work. But they do have to suffer. Their arc becomes a portrait of sacrifice, conviction, and consequence. Their internal war is not who they are, but what it costs to remain that way.

That’s still an arc. That’s still compelling. That still counts.

Go forth, and tell it well.

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When the Hero in Your Manuscript Can't—or Shouldn't—Change from @ZenaDellLowe on @EdieMelson (Click to Tweet)

Zena has worked professionally in the entertainment industry for over 20 years as a writer, producer, director, actress, and story consultant. Zena also teaches advanced classes on writing all over the country. As a writer, Zena has won numerous awards for her work. She also has several feature film projects in development through her independent production company, Mission Ranch Films. In addition to her work as a filmmaker, Zena launched The Storyteller’s Mission with Zena Dell Lowe, a podcast designed to serve the whole artist, not just focus on craft. In 2021, Zena launched The Storyteller’s Mission Online Platform, where she offers advanced classes and other key services to writers. Zena loves story and loves to support storytellers. Her passion is to equip artists of all levels to achieve excellence at their craft, so that they will truly have everything they need to change the world for the better through story.

To find out more about Zena or her current courses and projects, check out her websites at WWW.MISSIONRANCHFILMS.COM and WWW.THESTORYTELLERSMISSION.COM