by Zena Dell Lowe @ZenaDellLowe
Writers are often told their protagonist needs a “fatal flaw”—something that must be overcome for growth to happen. But what many don’t realize is this: Not every character trait that causes problems is a flaw that must be fixed.
In fact, mislabeling quirks, wounds, or virtues as flaws can weaken your story. To build authentic, compelling characters and arcs, we need to learn how to tell the difference.
The Fatal Flaw Myth
The term “fatal flaw” gets tossed around like a storytelling essential. It comes from Greek tragedy, where a hero’s flaw—hubris, rage, ambition—brings about their downfall. Modern storytelling borrowed the term but blurred the meaning.
Here’s the problem: writers often conflate very different types of issues and call them all “flaws.” Some common types include:
- Moral failings – selfishness, pride, cowardice
- Wounds – unresolved trauma or grief
- Quirks – bluntness, awkwardness, obsession
- Vulnerabilities – idealism, honesty, sensitivity
Each of these requires different treatment. Lumping them all together flattens the character and cheapens their arc.
Understanding the Nuance
The problem isn’t that your character has a flaw. It’s not knowing what kind of flaw you’re writing—or whether it’s even a flaw at all. Take the TV character Bosch, for example. He’s obsessive in his pursuit of justice. It costs him—he’s passed over for promotion, alienated from superiors—but it’s also what makes him noble.
So, is it a flaw? No. It’s a moral commitment that exacts a cost. We don’t want him to grow out of it. We want him to stay true to it. That’s what makes him heroic.
Same with traits like honesty, loyalty, emotional sensitivity. They can be risky—even painful—but they’re not something the character necessarily needs to “fix.” Even annoying traits don’t automatically qualify as flaws.
The real question is: Does the trait cause suffering or harm in a way that demands to be addressed for the character to reach their full potential?
Character Trait vs. Character Flaw
Let’s define the difference:
- A character trait is a consistent way of being that might be inconvenient, awkward, or costly—but isn’t inherently harmful or immoral.
- A character flaw is a pattern of thought or behavior that causes unnecessary suffering or conflict, either for the character or those around them—and must be confronted for growth to occur.
That’s the difference between a trait that adds texture and a flaw that shapes the arc.
The Real Acid Test: Does It Cause Harm That Must Be Addressed?
Recently, a friend told me I tend to get “teachy” when I’m passionate about a topic. He implied that this dynamic could block connection. I had to ask myself: Is this a real issue? Has this trait damaged my relationships? Or is it just something that rubbed him the wrong way?
That’s the real test. Does this trait consistently cause harm—or is it simply uncomfortable for someone else? We can’t take every critique at face value. The question isn’t, “Did someone object?” It’s, “Is this a pattern that causes real disconnection or harm?”
When Others Project Their Preferences as Flaws
Sometimes people project their discomfort as moral judgment. In life and in fiction, characters are often told:
- “You’re too intense.”
- “You care too much.”
- “You need to let this go.”
But just because a trait is unpopular doesn’t mean it’s wrong. Sometimes, the world is what needs to change—not the character.
That’s not a flaw. That’s a point of tension. And it’s often what makes the story resonate.
Compelling Flaw Characteristics
Here are some characteristics of a compelling, story-worthy flaw:
- It’s something the character doesn’t see clearly about themselves.
- It causes real damage or limits their ability to grow.
- It gets in the way of love, purpose, or redemption.
- It’s rooted in fear, pride, shame, or a false belief.
- It creates internal tension that mirrors the external plot.
Think Walter White’s pride (it destroys his family), Tony Stark’s narcissism (it isolates him from real connection), Elsa’s fear of her powers (it causes collateral damage and alienation), or Elizabeth Bennet’s prejudice (it nearly costs her love and happiness).
These flaws must be confronted for the character to step into their fullness.
Letting Traits Be Traits
Not every trait needs to be healed. Not every edge needs sanding down. The goal isn’t to make characters palatable—it’s to make them real. The goal isn’t to fix them—it’s to reveal them. And to let them step into the person they were always meant to be.
Sometimes, we want a character to hold the line, even when it costs them. Bosch doesn’t need to compromise—he needs to persevere. The tension between who he is and what the world demands is the point.
Final Takeaway
Just because a trait causes trouble doesn’t mean it’s a flaw to be fixed. The real question is whether that trait causes harm that must be addressed for the character to grow.
If it doesn’t? If it merely creates friction or heroic struggle without compromising the character’s soul? Then maybe it’s not a flaw at all.
Maybe it’s what makes them unforgettable.
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To find out more about Zena or her current courses and projects, check out her websites at WWW.MISSIONRANCHFILMS.COM and WWW.THESTORYTELLERSMISSION.COM
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