To flaw or not to flawed. That's my question. Recently in a script I wrote, one of the problems that came up, was my protagonist didn't have a flaw. When I originally outlined the character I intended the character's flaw to be "she's too nice" and "she doesn't like to up set people". Now the problem is, are these strong enough flaws for the big screen? I was trying to avoid the cliche flaws or troops, but sometimes it's unavoidable?
What are good character flaws you've used? I know that's a wide open question and will greatly depend on the story. My story for example is a Sci Fi Action. Without a good visual flaw, the character comes off as too perfect. Everything is too easy.
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Make her completely wrong about something. That "something" will have to be fixed before she can complete her goals.
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Perhaps it is a matter of just making the "too nice" flaw be more obvious or result in some horrible things happening. I have a habit of making characteristics too subtle for some people, so I try to be explicit now and again. It goes against the idea of showing rather than telling, but people looking at scripts often do not read them closely enough to see what is there.
These are great suggestions, thank you. I like the completely wrong with something as it fits perfect with the story and can be further explored during.
Also Owen hinted at it, the so nice is to avoid confrontation. I was hoping for a bit of irony as the character is in an action film and must face confrontation during. I think I will have to go through and make sure my characters actions better reflect her flaw as it's clearly not visible enough the way it is now.
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Well, I think the key is to make your characters seem authentic, three-dimensional. Most people — and aliens, I would hope — are complex. I'm not really one for ticking off prescribed boxes, but the point is you certainly don't want a character to be one-noted or flat on the page. Plus conflict creates tension and interest in a story. "Nice" does not necessarily create conflict. So perhaps really consider why she is so nice—as others have already said. Push it further. Have that be something that creates problems. Perhaps it blows up in her face, exposes her, and she has to confront something or make a big change. Finally stand up for herself. I hope that helps!
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Its a great flaw, far enough to build your character.
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Well if everyone walks all over her, she helps people even not so nice people in her life and they never help her and eve dismiss her that could work. Maybe she starts to get some pent up rage or resentment. She could snap on the wrong person. A nice guy she likes, parents, etc.
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Screenplays (and any story) is about exploring character. If your character is 2 dimensional, the story is going to seem thin. "Too nice" is not a flaw. Dig deeper into character.
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That's a great flaw. Depending on the route you want your script to go, you can definitely have someone play with her emotions and take her for granted.
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A flaw is only a flaw if it prevents the person from acting in the best interest of themselves or their goal. Think of those stupid questions you get asked at a job interview "what's you flaw"... "oh I work to hard". Not a real flaw. Does being to nice mean she gets taken advantage of by people? Does it mean she ends up doing things to her own detriment? Then it's a flaw.
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Read about this is "STORY" by Robert McKee.
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You mean like a "Meg Ryan" in Sleepless in Seattle/You've Got Mail type flaw? Generally those types don't fly except in those types of films or the Hallmark Channel variety. They usually are paired with a dose of "naivety" character flaw or the juxtaposition of a strength that becomes a flaw (She's a really dedicated and hard working and focused professional, ie "strength" but it becomes so controlling/obsessive that it keeps her from failing to see the chance of the lifetime Calvin Klein model doctor/animal lover guy who mistakenly comes into her life).
Again, great thoughts on this subject. I think Craig and Boomer hit the issue for me, the flaw is not strong enough to keep her from reaching her goal. Yes it's there and it does a little bit, but not enough which is why she's appearing flawless.
Chad, your right in that certain flaws will work in certain movies. Mine being action, doesn't slow her down enough to make any impact. I think this is why some people have a problem with Rey in Force Awakens, she comes across as too good with no real flaw stopping or slowing her down.
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A lot of films keep the major internal flaws to the B-story, too. You don't see too many internal character flaws preventing actors like Dwayne Johnson, Jason Statham, Sylvester Stallone, Bruce Willis, Angelina Jolie, Milla Jovavich, Rhona Mitra etc. etc. from achieving the goals of the A-story.
Erica Benedikty Good thoughts and with Rey I think it's not an issue because she isn't the sole protag but part of an ensemble cast and her goodness isn't implied but revealed in her decisions re: BB-8. I think in ensemble protag stories it isn't necessary for each one to have some kind of character flaw so much as a definition of who they are, etc. In TFA, Rey is given a backstory (or it's hinted at) where Poe and Finn don't. Rey's actions and decisions are balanced against her revealed past (thus far) whereas Poe is the face of the resistance and Finn is defined not by his past but his decisions about his present. So in my shallow and possibly very wrong view. Rey is the character of Oliver Twist thrust into a larger story. Poe is simply the face of the good side. Finn is representation of inner conflict and BB-8 is the active prop that triggers each character's story forward.