Flawed Hero Quotes

The true hero is flawed. The true test of a champion is not whether he can triumph, but whether he can overcome obstacles - preferably of his own making - in order to triumph.

Anyone who knows me well must understand and be sympathetic to my genuine need to be my own greatest hero. It is not a flaw of character; it is a catastrophe.

I always knew there was no one who is going to accept my flaws and understand my brokenness.And i knew it very well that nobody would hold my hand when the wind of darkness overcome my life so i just pushed them,i pushed them all away.

Real heroes are men who fall and fail and are flawed, but win out in the end because they've stayed true to their ideals and beliefs and commitments.

He won't be one of those girlishly pretty men with curly gold hair...He'll be dark, dangerous, too. Brave, certainly, but not without flaws. I like my heroes human.

Here is your flaw, Shaitan, Lord of the Dark, Lord of Envy, Lord of Nothing, here is why you fail. It was not about me. It’s never been about me.” It was about a woman, torn and beaten down, cast from her throne and made a puppet. A woman who had crawled when she had to. That woman still fought. It was about a man that love repeatedly forsook. A man who found relevance in a world that others would have let pass them by. A man who remembered stories and who took fool boys under his wing when the smarter move would have been to keep on walking. That man still fought. It was about a woman with a secret, a hope for the future. A woman who had hunted the truth before others could. A woman who had given her live, then had it returned. That woman still fought. It was about a man whose family was taken from him, but who stood tall in his sorrow and protected those he could. It was about a woman who refused to believe that she could not help, could not heal those who had been harmed. It was about a hero who insisted with every breath that he was anything but a hero. It was about a woman who would not bend her back while she was beaten, and who shown with a light for all who watched, including Rand. It was about them all. ~Rand al Thor

Don't you ever feel like, what if the world really IS messed up? What if we COULD Do it all over again from scratch? No more war. Nobody homeless. No more summer reading homework. 'm listening. Annabeth: I mean, the West represents a lot of the best things mankind ever did--that's why the fire is still burning. That's why OlympusIs still around. But sometimes you just see the bad stuff, you know? And you start thinking the way Luke does: 'If I could tear this all down, i would do it better.'. Don't you ever feel that way? Like YOU could do a better job I'd you ran the world? Percy:Um...no. Me running the world would be kind of a nightmare. Annabeth: then you're lucky. Hubris isn't your fatal flaw. Percy: what is? Annabeth: I don't know, Percy, but every hero has one. If you don't find it and learn to control it...well, they don't call it 'fatal' for nothing. Percy(thinking to himself): I thought about that. It didn't exactly cheer me up.

A wonderful flaw about human beings is that we’re incapable of making perfect copies. Our failure to copy our heroes is where we discover where our own thing lives. That is how we evolve.

Like all real heroes, Charley had a fatal flaw. He refused to believe that he had gonorrhea, whereas the truth was that he did.

We’re coming near to the end of the bridge, and the road is once more bathed in the neon light of the street lamps so his face is intermittently in the light and the dark. And it’s such a fitting metaphor. This man, whom I once thought of as a romantic hero, a brave shining white knight—or the dark knight, as he said. He’s not a hero; he’s a man with serious, deep emotional flaws, and he’s dragging me into the dark. Can I not guide him into the light?

Heroes rarely look the way we draw them in our minds: attractive, imposing figures with rippling muscles and strong chins. More times than not they are humble beings, small and flawed. It is only their spirits that are beautiful and strong.

God's grace is not defined as God being forgiving to us even though we sin. Grace is when God is a source of wholeness, which makes up for my failings. My failings hurt me and others and even the planet, and God's grace to me is that my brokenness is not the final word ... it's that God makes beautiful things out of even my own shit. Grace isn't about God creating humans and flawed beings and then acting all hurt when we inevitably fail and then stepping in like the hero to grant us grace - like saying, "Oh, it's OK, I'll be the good guy and forgive you." It's God saying, "I love the world too much to let your sin define you and be the final word. I am a God who makes all things new.

I have a fatal flaw. I like to think we all do. Or at least that makes it easier for me when I'm writing -building my heroines and heroes up around this one self-sabotaging trait, hinging everything that happens to them on a specific characteristic: the thing they learned to do to protect themselves and can´t let go of, even when it stops serving them.

The true hero is flawed. The true test of a champion is not whether he can triumph, but whether he can overcome obstacles--preferably of his own making--in order to triumph. A hero without a flaw is of no interest to an audience or to the universe, which, after all, is based on conflict and opposition, the irresistible force meeting the unmovable object.

I know I have my flaws. But I need to level up to be with this woman. She forces me to be better. I want to be better for her. I want to be her hero.

Your fatal flaw is personal loyalty, Percy. You do not know when it is time to cut your losses. To save a friend, you would sacrifice the world. In a hero of the prophecy, that is very, very dangerous.

But if I've learned anything, it is that goodness prevails, not in the absence of reasons to despair, but in spite of them. If we wait for clean heroes and clear choices and evidence on our side to act, we will wait forever, and my radio conversations teach me that people who bring light into the world wrench it out of darkness, and contend openly with darkness all of their days. [...] They were flawed human beings, who wrestled with demons in themselves as in the world outside. For me, their goodness is more interesting, more genuinely inspiring because of that reality. The spiritual geniuses of the ages and of the everyday simply don't let despair have the last word, nor do they close their eyes to its pictures or deny the enormity of its facts. They say, "Yes, and …," and they wake up the next day, and the day after that, to live accordingly.

I`ve always felt a kinship with Willy Wonka. Even at that age, I could tell that he was a flawed hero, an icon for the forbidden. The forbidden in this case was chocolate, a metaphor for indulgence and anything you`re not supposed to have, be it sex, drugs, alcohol or pornography.

This is not a romance. This is a love story. The characters are flawed to the point of being broken. The hero is beautiful, but ugly in ways that defy the ordinary imagination. The heroine isn’t trapped in a tower, but a dark and lonely room. There is no prince coming to save her. While love blooms and thrives, there is no happily ever after. Love does not always begin or end the way we wish it would

Barristan Semly was not a bookish man, but he had often glanced through the pages of the White Book, where the deeds of his predecessors had been recorded. Some had been heroes, some weaklings, knaves, or cravens. Most were only men - quicker and stronger than most, more skilled with sword and shield, but still prey to pride, ambition, lust, love, anger, jealousy, greed for gold, hunger for power, and all the other failing that afflicted lesser mortals. The best of them overcame their flaws, did their duty, and died with their swords in their hands. The worst ... The worst were those who played the game of thrones.

There was something of Francis in the boy, something pure and genuine and flawed. That type didn't think twice before running headlong into a burning house or a young girl's arms.

Men were the worst kid of heroes. Riddled with flaws they refused to see.

This memoir is one of the most brutally honest books I’ve ever read. You will grow to believe, and cheer on, this flawed hero as he gains a liberating knowledge of himself.

I don’t like perfect heroes; I can’t recognize myself in them. I like flawed heroes, like me. I want to see how they struggle with their flaws and in spite of that manage to slay the dragon.

It is not cynical to admit that the past has been turned into a fiction. It is a story, not a fact. The real has been erased. Whole eras have been added and removed. Wars have been aggrandized, and human struggle relegated to the margins. Villains are redressed as heroes. Generous, striving, imperfect men and women have been stripped of their flaws or plucked of their virtues and turned into figurines of morality or depravity. Whole societies have been fixed with motive and vision and equanimity where there was none. Suffering has been recast as noble sacrifice!

I owe a huge debt to Anaïs Nin, because I fell into her diaries, essays, and collected letters in my Twenties and Thirties like a fish falling into water. She was, in some ways, a deeply flawed human being, and perhaps she makes a strange kind of hero for someone like me, committed to the ethical and spiritual dimensions of my craft as well as to the technical ones, but a hero and strong influence she remains nonetheless. Source: Her blog.

In one of the earlier Sherlock Holmes mysteries, Arthur Conan Doyle (not yet a Sir) made an observation on logical deduction. When you have eliminated the impossible, whatever remains, however improbable, must be the truth. There is, however, a specific flaw in that maxim. It assumes people can recognize the difference between what is impossible and what they believe is impossible.

Maybe this was a selfish choice. Someone nobler than me might have given Okiku the final peace she deserves. Someone with less baggage that she would have let him. But flawed as we are, we are perfect together. After all, I'm no hero.

Loving people. That's a fucking flaw if you want to be a hero. Being willing to give your life for someone is all well and good but it means sooner or later you'll give your life for someone and that'll be the end of the story. Heroes can't afford for that to happen.

I don't run when my friends need me

All great heroes have a flaw. It's one of the things that makes them heroes.

The true hero is flawed. The true test of a champion is not whether he can triumph, but whether he can overcome obstacles—preferably of his own making—in order to triumph.

THE SAVE THE CAT! LOGLINE TEMPLATE On the verge of a stasis = death moment, a flawed hero Breaks Into 2; but when the Midpoint happens, they must learn the Theme Stated before the All Is Lost.

The great wheel of fire of ancient wisdom, silence and word engendering the myth of the origin, human action engendering the epic voyage toward the other; historical violence revealing the tragic flaw of the hero who must then return to the land of origin; myth of death and renewal and silence from which new words and images will arise, keeps on turning in spite of the blindness of purely lineal thought.

I wish I'd been accepted sooner and better. When I was younger, not being accepted made me enraged, but now, I am not inclined to dismantle my history. If you banish the dragons, you banish the heroes--and we become attached to the heroic strain in our personal history. We choose our own lives. It is not simply that we decide on the behaviors that construct our experience; when given our druthers, we elect to be ourselves. Most of us would like to be more successful or more beautiful or wealthier, and most people endure episodes of low self-esteem or even self-hatred. We despair a hundred times a day. But we retain the startling evolutionary imperative for the fact of ourselves, and with that splinter of grandiosity we redeem our flaws. These parents have, by and large, chosen to love their children, and many of them have chosen to value their own lives, even though they carry what much of the world considers an intolerable burden. Children with horizontal identities alter your self painfully; they also illuminate it. They are receptacles for rage and joy-even for salvation. When we love them, we achieve above all else the rapture of privileging what exists over what we have merely imagined. A follower of the Dalai Lama who had been imprisoned by the Chinese for decades was asked if he had ever been afraid in jail, and he said his fear was that he would lose compassion for his captors. Parents often think that they've captured something small and vulnerable, but the parents I've profiled here have been captured, locked up with their children's madness or genius or deformity, and the quest is never to lose compassion. A Buddhist scholar once explained to me that most Westerners mistakenly think that nirvana is what you arrive at when your suffering is over and only an eternity of happiness stretches ahead. But such bliss would always be shadowed by the sorrow of the past and would therefore be imperfect. Nirvana occurs when you not only look forward to rapture, but also gaze back into the times of anguish and find in them the seeds of your joy. You may not have felt that happiness at the time, but in retrospect it is incontrovertible. For some parents of children with horizontal identities, acceptance reaches its apogee when parents conclude that while they supposed that they were pinioned by a great and catastrophic loss of hope, they were in fact falling in love with someone they didn't yet know enough to want. As such parents look back, they see how every stage of loving their child has enriched them in ways they never would have conceived, ways that ar incalculably precious. Rumi said that light enters you at the bandaged place. This book's conundrum is that most of the families described here have ended up grateful for experiences they would have done anything to avoid.

You want a heroine. Someone to root for, to identify with. She can’t be perfect, though, because that’ll just make you feel bad about yourself. A flawed heroine, then. Someone who may break the rules to protect her family but doesn’t kill anyone unless it’s self-defense. Not murder, though, at least not the cold-blooded kind. That’s the first deal breaker. The second is cheating. Men can get away with that and still be the hero, but a cheating wife is unforgivable.

The true hero is flawed. The true test of a champion is not whether he can triumph, but whether he can overcome obstacles- preferably of his own making- in order to triumph. A hero without a flaw is of no interest to an audience or to the universe, which after all, is based on conflict and opposition, the irresistible force meeting the unmovable object.

Some men were blind, others had poor tempers. Still others heard voices. It was all the same, in the end. A man was defined not by his flaws, but by how he overcame them.

All demigods had their share of bad spirits inside. Fatal flaws. Some crisis brought them out. Some lines shouldn't be crossed.

As Shakespeare teaches us, all heroes have flaws, some tragic, some conquered, and those we cast as villains can be complex. Even the best people, he wrote, are “molded out of faults.

You’re not the villain in this story, you’re the beautifully flawed hero. You’re the dark hero who has been sacrificing himself all along so others would be safe…and you did it all fully understanding that no one could ever know. But I know, and I don’t care what anything thinks of me for giving my heart to you.

He's not a hero; he's a man with serious, deep emotional flaws, and he's dragging me into the dark. Can I not guide him into the light?

Men were the worst kind of heroes. Riddled with flaws they refused to see.

But Dimitri Fedorov, like all heroes, had one near-fatal flaw.

But sometimes even heroes have their flaws.”     NESS

Be grateful for all of your imperfections and flaws. They are your teachers.

God’s grace is not defined as God being forgiving to us even though we sin. Grace is when God is a source of wholeness, which makes up for my failings. My failings hurt me and others and even the planet, and God’s grace to me is that my brokenness is not the final word. My selfishness is not the end-all… instead, it’s that God makes beautiful things out of even my own shit. Grace isn’t about God creating humans as flawed beings and then acting all hurt when we inevitably fail and then stepping in like the hero to grant us grace—like saying “Oh, it’s OK, I’ll be a good guy and forgive you.” It’s God saying, “I love the world too much to let your sin define you and be the final word. I am a God who makes all things new.

serves as a history of digital technology. What makes the book come alive, though, is Isaacson’s ability to shape the story as a kind of archetypal fantasy: the flawed hero, the noble quest, the holy grail, the

To one degree or another we all fight against preconceptions nearly every day. The wisest people I know don't compare their fight to that of others. Everything is relative through the lens of personal struggle. Heroes come in all shapes and sizes... mine are often those who are fighting their fight in public. Unashamed. Proud. An example. Heroes aren't perfect. They have faults and flaws. They stumble from time to time. They are heroes, though, because they correct themselves... and set an example, intended or not, for the world observing them... even, and especially, to those who would love nothing more than to see them fail. Stay Strong!

Don’t think that writing your character as an untainted paragon of virtue will make them likeable—actually the opposite is true. People are attracted to each other’s rough edges. Your readers will relate more with your hero if they show issues that taint their character.

The Bible does not spin the flaws and weaknesses of its heroes. Moses was a murderer. Hosea’s wife was a prostitute. Peter rebuked God! Noah got drunk. Jonah was a racist. Jacob was a liar. John Mark deserted Paul. Elijah burned out. Jeremiah was depressed and suicidal. Thomas doubted. Moses had a temper. Timothy had ulcers. And all these people send the same message: that every human being on earth, regardless of their gifts and strengths, is weak, vulnerable, and dependent on God and others.

The true hero is flawed. The true test of a champion is not whether he can triumph, but whether he can overcome obstacles - preferably of his own making - in order to triumph. A hero without a flaw is of no interest to an audience or to the universe, which, after all, is based on conflict and opposition, the irresistible force meeting the unmovable object. ... The sun rises every day. What is to love? Lock the sun in a box. Force the sun to overcome adversity in order to rise. Then we will cheer!

He had been an indifferent father, better than his own, perhaps, but that was saying very little. When Tommy was still an unknown fishboy inside Rosa, Sammy had resolved never to let him feel abandoned, never to walk out on him, and until now, until tonight, he had managed to keep the promise, though there were times—the night he had decided to take that job at Gold Star Comics, for example—when it had been difficult. But the truth was that, for all his noble intentions, if you didn’t count the hours when the boy was sleeping, then Sammy had missed out on most of his childhood. Like many boys, Sammy supposed, Tommy had done most of his growing up when the man he called his father was not around, in the spaces between their infrequent hours together. Sammy wondered if the indifference that he had attributed to his own father was, after all, not the peculiar trait of one man but a universal characteristic of fathers. Maybe the “youthful wards” that he routinely assigned to his heroes—a propensity that would, from that day forward, enter into comics lore and haunt him for the rest of his life—represented the expression not of a flaw in his nature but of a deeper and more universal wish.

The true hero is flawed. The true test of a champion is not whether he can triumph, but whether he can overcome obstacles-preferable of his own making-in order to triumph. A hero without a flaw is of no interest to an audience or to the universe, which after all, is based on conflict and opposition, the irresistible force meeting the unmovable object.

It’s the flaws that make us beautiful after all.

All great heroes have a flaw. It’s one of the things that makes them heroes.

As a scar is the mark of pride to a warrior, So is sometimes the flaw in a hero’s character!

He loves me despite my flaws, so I can and should love him despite his. It’s not like I have anywhere else to go. He saved me. Simple as that. You should always stay with your hero.

I have a fatal flaw. I like to think we all do. Or at least that makes it easier for me when I’m writing—building my heroines and heroes up around this one self-sabotaging trait, hinging everything that happens to them on a specific characteristic: the thing they learned to do to protect themselves and can’t let go of, even when it stops serving them. Maybe, for example, you didn’t have much control over your life as a kid. So, to avoid disappointment, you learned never to ask yourself what you truly wanted. And it worked for a long time. Only now, upon realizing you didn’t get what you didn’t know you wanted, you’re barreling down the highway in a midlife-crisis-mobile with a suitcase full of cash and a man named Stan in your trunk.

Heroes don’t come in standard sizes and shapes. They’re not always blond and tall and strong and fearless. Real heroes have flaws and fears they have to overcome to do what they know to be right.

Perhaps Aristotle’s most widely-read work is his esoteric treatise on aesthetics, the Poetics. According to his analysis of tragic poetry (a section on comedy was either lost or never completed), the theatrical audience experiences katharsis (“purgation”) of the heightened emotions of pity and fear as the tragic hero, a basically good but flawed aristocrat, is brought down by his own “error of judgment.

Regardless of my flaws in knowing how to relate to him, there is something about this little boy that captivates me. Maybe it’s his willingness to listen or his eagerness to share. Maybe it’s the subtle way he asks every so often if I’m sure I’m not here for his dad. Maybe it’s that shy little smile he gives me as he bumps his shoulder against mine when he shows me a character he deems as “really cool” that has me actually enjoying my time with him.

[H]e initially conceived of Olivier as a man of the greatest promise destroyed by a fatal flaw, the unreasoning passion for a woman dissolving into violence, desperately weakening everything he tried to do. For how could learning and poetry be defended when it produced such dreadful results and was advanced by such imperfect creatures? At least Julien did not see the desperate fate of the ruined lover as a nineteenth-century novelist or a poet might have done, recasting the tale to create some appealing romantic hero, dashed to pieces against the unyielding society that produced him. Rather, his initial opinion -- held almost to the last -- was of Olivier as a failure, ruined by a terible weakness.

We call that real problem the SHARD OF GLASS. It's a psychological wound that has been festering beneath the surface of your hero for a long time. The skin has grown over it, leaving behind an unsightly scar that causes your hero to act in the way they act and make the mistakes that they do (flaws!). You, as the author and creator of this world, have to decide how this shard of glass got there. Why is your hero so flawed? What happens to them to make them the way they are?

He shouldn't have trespassed!" The voice sounded petulant. Not diabolical. It gave Belle hope, how human it seemed. In all of her fairy tales and adventure books- the ones with the heroes who were clever rather than strong- this was how you outwitted an opponent. By finding a chink in his armor, a personality flaw to exploit. Then you got him to show off his power by turning into a tiny (and easily stompable) mouse, or slitting open his own stomach. All she needed was a flaw, and time.

He was particularly dissatisfied with Aristotle’s insistence that tragedy should invariably depict the downfall of a flawed or ‘middling’ hero, insisting instead that what made a tragedy was the severity of the threat rather than the play’s actual outcome.

This man, whom I once thought of as a romantic hero, a brave shining white knight or the dark knight as he said. He’s not a hero; he’s a man with serious, deep emotional flaws, and he’s dragging me into the dark. Can I not guide him into the light? ~Anastasia

You want the reader to care about your characters — if they don’t, then there’s no emotional involvement. But at the same time, I want my characters to be nuanced, to be gray, to be human beings. I think human beings are all nuanced. There’s this tendency to want to make people into heroes and villains. And I think there are villains in real life and there are heroes in real life. But even the greatest heroes have flaws and do bad things, and even the greatest heroes are capable of love and pain and occasionally have moments where you can feel sympathetic for them.

I’m not good enough for you,” I whisper against her lips. Alarm fills her eyes. “Ryder⁠—” “I don’t know if I’ll ever be. But I want to try.” And I do. I mean that. I know I have my flaws. But I need to level up to be with this woman. She forces me to be better. I want to be better for her. I want to be her hero.

Hamartia (n.) The flaw that precipitates the destruction of a tragic hero. Hamartia is a noble word, with a fine history (the OED says also that it refers particularly to Aristotle’s Poetics). If you have any decency or soul, please do not use this word to refer to your own weakness for something such as chocolate. also

Grace is when God is a source of wholeness, which makes up for my failings. My failings hurt me and others and even the planet, and God’s grace to me is that my brokenness is not the final word. My selfishness is not the end-all…instead, it’s that God makes beautiful things out of even my own shit. Grace isn’t about God creating humans as flawed beings and then acting all hurt when we inevitably fail and then stepping in like the hero to grant us grace—like saying 'Oh, it’s OK, I’ll be a good guy and forgive you.' It’s God saying, 'I love the world too much to let your sin define you and be the final word. I am a God who makes all things new.

When predictions of apocalyptic resource shortages repeatedly fail to come true, one has to conclude either that humanity has miraculously escaped from certain death again and again like a Hollywood action hero or that there is a flaw in the thinking that predicts apocalyptic resource shortages. The flaw has been pointed out many times.

Identifying and accepting our flaws, and then changing who we are, means breaking down the very structure of our reality before rebuilding it in a new and improved form. This is not easy. It’s painful and disturbing. We’ll often fight with all we have to resist this kind of profound change. This is why we call those who manage it ‘heroes’.

The classic strategy for dramatizing the hero’s moral line is to give him a moral flaw at the beginning and then show how his desperation to beat the opponent brings out the worst in him. In short, he has to get worse before he gets better. Slowly but surely, he becomes aware that his central moral problem comes down to a choice between two ways of acting.

He believed that a person’s most profound flaws or virtues emerge in great crisis, or they remain buried forever. I remember leaving his office that day thinking it was sad that ordinary, dull people die all the time without ever knowing they are heroes. All because a girl didn’t go under in the lake right in front of them, or a neighbor’s house didn’t catch fire.

It is not cynical to admit the past has been turned into a fiction. It is a story, not a fact. The real has been erased. Whole eras have been added or removed. Wars have been aggrandized, and human struggle relegated to the margins. Villains are redressed as heroes. Generous, striving, imperfect men and women have been stripped of their flaws or plucked of their virtues and turned into figurines of morality or depravity. Whole societies have been fixed with motive and visions and equanimity where there was none. Suffering has been recast as noble sacrifice! Do you know why the history of the Tower is in such turmoil? Because too many powerful men are fighting for the pen, fighting to write their story over our dead bodies. They know what is at stake: immortality, the character of civilization, and influence beyond the ages. They are fighting to see who gets to mislead our grandchildren.

A heroic figure, larger than life, noble, promising, multidimensional, has a flaw, a “fatal flaw,” that brings about his or her downfall. The flaw often involves some form of hubris, which is Greek for “wanton insolence,” and causes the hero to transgress or ignore natural law, rule, more, or convention. The hero’s flaw may be pride, ambition, greed, lust, jealousy, a desire for revenge, naiveté. Whatever, he or she fails to see consequence. The tragic hero is his own victim.

I'll tell you something,' Arthur said. 'Until a certain age, everyone thinks their parents are heroes. Then they grow up a little, start to understand a little more of the world, and they realize their parents are just people. It destroys them, just a little bit. But it's part of becoming an adult. Everyone goes through it. You, on the other hand--your parents really are heroes, at least to everyone else. It's a bit remarkable, really. You never went through that disappointment of finding out your parents are just people.

By far, the most important distortions and confabulations of memory are those that serve to justify and explain our own lives. The mind, sense-making organ that it is, does not interpret our experiences as if they were shattered shards of glass; it assembles them into a mosaic. From the distance of years, we see the mosaic’s pattern. It seems tangible, unchangeable; we can’t imagine how we could reconfigure those pieces into another design. But it is a result of years of telling our story, shaping it into a life narrative that is complete with heroes and villians, an account of how we came to be the way we are. Because that narrative is the way we understand the world and our place in it, it is bigger than the sum of its parts. If on part, one memory, is shown to be wrong, people have to reduce the resulting dissonance and even rethink the basic mental category: you mean Dad (Mom) wasn’t such a bad (good) person after all? You mean Dad (Mom) was a complex human being? The life narrative may be fundamentally true; Your father or mother might really have been hateful, or saintly. The problem is that when the narrative becomes a major source of self-justification, one the storyteller relies on to excuse mistakes and failings, memory becomes warped in its service. The storyteller remembers only the confirming examples of the parent’s malevolence and forgets the dissonant instances of the parent’s good qualities. Over time, as the story hardens, it becomes more difficult to see the whole parent — the mixture of good and bad, strengths and flaws, good intentions and unfortunate blunders. Memories create our stories, but our stories also create our memories.

I realized I had this idea of a hero as someone who was socially accepted, someone who was revered by the masses. But heroism didn’t always arrive dressed in white and topped with a halo or on the back of some shining steed. Heroism was about your willingness to right wrongs, to sacrifice your own comfort and safety to affect change when you crossed something that needed changing. It was assuming responsibility for people who didn’t have the power to stand up for themselves. It was about being brave enough to live life by your own rules and accepting who you were, flaws and all.

Why is it that women are the only ones who will write perfect men into fiction? It's strange. If a man portrayed his fictional men as archangels, the feminists would throw back their heads and howl, "UNFAIR!" but we women will create our own Mr. Darcy's and Mr. Knightley's and defy anyone who would point out their unrealistic points. The men aren't the ones crazy about Pride and Prejudice. Obviously they don't find perfect men realistic and honest enough to bother reading about. We don't write perfect women characters, do we? No. Our women all have bad tempers, or resentful hearts, or scabby pasts, or hidden fears--things that make them real. It's because we're easy on ourselves and aren't trying to boast perfection because we know we don't measure up. Then why do we hold men to a different standard?..... I'd caution all writers to make sure that your male "hero" in your story has his own flaws. You don't want a one-dimensional character. You don't want a perfect man that will drive away other men from reading the book. Look to the men in your life. The men around you. Look to your brothers and fathers and pastors and neighbors. Your uncles and the guy down the street. Goodness--look to Taylor the Latte Boy if you must, but let's cast aside the Perfect-Man syndrome.

They came late to the empty land and looked with bitterness upon the six wolves watching them from the horizon's rim. With them was a herd of goats and a dozen black sheep. They took no account of the wolves' possession of this place, for in their minds ownership was the human crown that none other had the right to wear. The beasts were content to share in survival's struggle, in hunt and quarry, and the braying goats and bawling sheep had soft throats and carelessness was a common enough flaw among herds; and they had not yet learned the manner of these two-legged intruders. Herds were fed upon by many creatures. Often the wolves shared their meals with the crows and coyotes, and had occasion to argue with lumbering bears over a delectable prize. When I came upon the herders and their longhouse on a flat above the valley, I found six wolf skulls spiked above the main door. In my travels as a minstrel I knew enough that I had no need to ask - this was a tale woven into our kind, after all. No words, either, for the bear skins on the walls, the antelope hides and elk racks. Not a brow lifted for the mound of bhederin bones in the refuse pit, or the vultures killed by the poison-baited meat left for the coyotes. That night I sang and spun tales for my keep. Songs of heroes and great deeds and they were pleased enough and the beer was passing and the shank stew palatable. Poets are sembling creatures, capable of shrugging into the skin of man, woman, child and beast. There are some among them secretly marked, sworn to the cults of the wilderness. And that night I shared out my poison and in the morning I left a lifeless house where not a dog remained to cry, and I sat upon a hill with my pipe, summoning once more the wild beasts. I defend their ownership when they cannot, and make no defence against the charge of murder; but temper your horror, friends: there is no universal law that places a greater value upon human life over that of a wild beast. Why would you ever imagine otherwise?

This is not the "relativism of truth" presented by journalistic takes on postmodernism. Rather, the ironist's cage is a state of irony by way of powerlessness and inactivity: In a world where terrorism makes cultural relativism harder and harder to defend against its critics, marauding international corporations follow fair-trade practices, increasing right-wing demagoguery and violence can't be answered in kind, and the first black U.S. president turns out to lean right of center, the intelligentsia can see no clear path of action. Irony dominates as a "mockery of the promise and fitness of things," to return to the OED definition of irony. This thinking is appropriate to Wes Anderson, whose central characters are so deeply locked in ironist cages that his films become two-hour documents of them rattling their ironist bars. Without the irony dilemma Roth describes, we would find it hard to explain figures like Max Fischer, Steve Zissou, Royal Tenenbaum, Mr. Fox, and Peter Whitman. I'm not speaking here of specific political beliefs. The characters in question aren't liberals; they may in fact, along with Anderson himself, have no particular political or philosophical interests. But they are certainly involved in a frustrated and digressive kind of irony that suggests a certain political situation. Though intensely self-absorbed and central to their films, Anderson's protagonists are neither heroes nor antiheroes. These characters are not lovable eccentrics. They are not flawed protagonists either, but are driven at least as much by their unsavory characteristics as by any moral sense. They aren't flawed figures who try to do the right thing; they don't necessarily learn from their mistakes; and we aren't asked to like them in spite of their obvious faults. Though they usually aren't interested in making good, they do set themselves some kind of mission--Anderson's films are mostly quest movies in an age that no longer believes in quests, and this gives them both an old-fashioned flavor and an air of disillusionment and futility.

This intensity encouraged a binary view of the world. Colleagues referred to the hero/shithead dichotomy. You were either one or the other, sometimes on the same day. The same was true of products, ideas, even good: Something was either "the bes thing ever," or it was shitty, brain-dead, inedible. As a result, any perceived flaw could set off a rant. The finish on a piece of metal, the curve of the head of a screw, the shade of blue on a box, the intuitiveness of a navigation screen - he would declare them to "completely suck" until that moment when he suddenly pronounced them "absolutely perfect.". He thought of himself as an artist, which he was, and he indulged in the temperament of one.

My father is still searching for his happiness. I can't fill that void for him, just like he can't fill mine. It is neither of our responsibilities. And now, I must release him from the task. He is not my hero. And in this moment I feel guilty for putting that pressure on his shoulders. What a heavy weight to carry for a person who is just as broken as I am. What a burden to bear for an empty man. My father is human, flawed and imperfect, and the inevitable truth about the chaos that rages inside of me is that he cannot clean it up. Only I can do that. So my fantasy of my father must reach its final chapter . My fairy tale of him must come to an end. Sometimes little girls must become their own heroes.

few years later, Demeter took a vacation to the beach. She was walking along, enjoying the solitude and the fresh sea air, when Poseidon happened to spot her. Being a sea god, he tended to notice pretty ladies walking along the beach. He appeared out of the waves in his best green robes, with his trident in his hand and a crown of seashells on his head. (He was sure that the crown made him look irresistible.) “Hey, girl,” he said, wiggling his eyebrows. “You must be the riptide, ’cause you sweep me off my feet.” He’d been practicing that pickup line for years. He was glad he finally got to use it. Demeter was not impressed. “Go away, Poseidon.” “Sometimes the sea goes away,” Poseidon agreed, “but it always comes back. What do you say you and me have a romantic dinner at my undersea palace?” Demeter made a mental note not to park her chariot so far away. She really could’ve used her two dragons for backup. She decided to change form and get away, but she knew better than to turn into a snake this time. I need something faster, she thought. Then she glanced down the beach and saw a herd of wild horses galloping through the surf. That’s perfect! Demeter thought. A horse! Instantly she became a white mare and raced down the beach. She joined the herd and blended in with the other horses. Her plan had serious flaws. First, Poseidon could also turn into a horse, and he did—a strong white stallion. He raced after her. Second, Poseidon had created horses. He knew all about them and could control them. Why would a sea god create a land animal like the horse? We’ll get to that later. Anyway, Poseidon reached the herd and started pushing his way through, looking for Demeter—or rather sniffing for her sweet, distinctive perfume. She was easy to find. Demeter’s seemingly perfect camouflage in the herd turned out to be a perfect trap. The other horses made way for Poseidon, but they hemmed in Demeter and wouldn’t let her move. She got so panicky, afraid of getting trampled, that she couldn’t even change shape into something else. Poseidon sidled up to her and whinnied something like Hey, beautiful. Galloping my way? Much to Demeter’s horror, Poseidon got a lot cuddlier than she wanted. These days, Poseidon would be arrested for that kind of behavior. I mean…assuming he wasn’t in horse form. I don’t think you can arrest a horse. Anyway, back in those days, the world was a rougher, ruder place. Demeter couldn’t exactly report Poseidon to King Zeus, because Zeus was just as bad. Months later, a very embarrassed and angry Demeter gave birth to twins. The weirdest thing? One of the babies was a goddess; the other one was a stallion. I’m not going to even try to figure that out. The baby girl was named Despoine, but you don’t hear much about her in the myths. When she grew up, her job was looking after Demeter’s temple, like the high priestess of corn magic or something. Her baby brother, the stallion, was named Arion. He grew up to be a super-fast immortal steed who helped out Hercules and some other heroes, too. He was a pretty awesome horse, though I’m not sure that Demeter was real proud of having a son who needed new horseshoes every few months and was constantly nuzzling her for apples. At this point, you’d think Demeter would have sworn off those gross, disgusting men forever and joined Hestia in the Permanently Single Club. Strangely, a couple of months later, she fell in love with a human prince named Iasion (pronounced EYE-son, I think). Just shows you how far humans had come since Prometheus gave them fire. Now they could speak and write. They could brush their teeth and comb their hair. They wore clothes and occasionally took baths. Some of them were even handsome enough to flirt with goddesses.

He already knew he could coach. All you had to do was look at each of your players and ask yourself: What story does this guy wish someone would tell him about himself? And then you told the guy that story. You told it with a hint of doom. You included his flaws. You emphasized the obstacles that could prevent him from succeeding. That was what made the story epic: the player, the hero, had to suffer mightily en route to his final triumph. Schwartz knew that people loved to suffer, as long as the suffering made sense. Everybody suffered. The key was to choose the form of your suffering. Most people couldn’t do this alone; they needed a coach. A good coach made you suffer in a way that suited you. A bad coach made everyone suffer in the same way, and so was more like a torturer.

Your pupils are dilated." "It's a design flaw. It happens when sexy men get too close." A smile tugged at his lips. "You think I'm sexy?" "You are when you talk in that soft, deep voice and sit so close I can feel the heat of your body, and wear that craze-inducing cologne, and cradle my face like I'm a delicate flower." She licked her lips and his gaze fell to her soft, lush mouth. It was an invitation he couldn't ignore. "You forgot the part where I tried to kill you by crashing into a deer at high speed," he offered, just in case he was misreading the signs. "I'm trying not to remember it because you busted out some pretty slick moves to keep us from going over the cliff. Nothing sexier than a man who can stay calm in a crisis and save a girl so she can live to get fired another day. You, Sam Mehta, are a hero." She thought he was worthy. It was a balm to his soul.

If there are so many references in the Mass to poverty, sadness, failure and loss, it is because the Church views the ill, the frail of mind, the desperate and the elderly as representing aspects of humanity and (even more meaningfully) of ourselves which we are tempted to deny, but which bring us, when we can acknowledge them, closer to our need for one another. In our more arrogant moments, the sin of pride – or superbia, in Augustine’s Latin formulation – takes over our personalities and shuts us off from those around us. We become dull to others when all we seek to do is assert how well things are going for us, just as friendship has a chance to grow only when we dare to share what we are afraid of and regret. The rest is merely showmanship. The Mass encourages this sloughing off of pride. The flaws whose exposure we so dread, the indiscretions we know we would be mocked for, the secrets that keep our conversations with our so-called friends superficial and inert – all of these emerge as simply part of the human condition. We have no reason left to dissemble or lie in a building dedicated to honouring the terror and weakness of a man who was nothing like the usual heroes of antiquity, nothing like the fierce soldiers of Rome’s army or the plutocrats of its Senate, and yet who was nevertheless worthy of being crowned the highest of men, the king of kings.

As a child, Callum never sympathized much with storybook villains, who were always clinging to some sort of broad, unspecified drive. It wasn’t the depravity that unnerved him, but the desperation of it all; the need, the compulsion, which always destroyed them in the end. That was the distasteful thing about villains, really. Not the manner in which they went about their business, which was certainly gruesome and morally corrupt, but the fact that they desired things so intensely. The heroes were always reluctant, always pushed into their roles, martyring themselves. Callum didn’t like that, either, but at least it made sense. Villains were far too proactive. Must they participate in the drudgery of it all for some interminable cause? Taking over the world was a mostly nonsensical agenda. Have control of these puppets, with their empty heads and their pitchforked mobs? Why? Wanting anything—beauty, love, omnipotence, absolution—was the natural flaw in being human, but the choice to waste away for anything made the whole indigestible. A waste. Simple choices were what registered to Callum as most honestly, the truest truths: fairy-tale peasants need money for dying child, accepts whatever consequence follow. The rest of the story—about rewards of choosing good or the ill-fated outcomes of desperation and vice—we’re always too lofty, a pretty but undeniable lie. Cosmic justice wasn’t real. Betrayal was all too common. For better or worse, people did not get what they deserved.

We have become so trusting of technology that we have lost faith in ourselves and our born instincts. There are still parts of life that we do not need to “better” with technology. It’s important to understand that you are smarter than your smartphone. To paraphrase, there are more things in heaven and earth than are dreamt of in your Google. Mistakes are a part of life and often the path to profound new insights—so why try to remove them completely? Getting lost while driving or visiting a new city used to be an adventure and a good story. Now we just follow the GPS. To “know thyself” is hard work. Harder still is to believe that you, with all your flaws, are enough—without checking in, tweeting an update, or sharing a photo as proof of your existence for the approval of your 719 followers. A healthy relationship with your devices is all about taking ownership of your time and making an investment in your life. I’m not calling for any radical, neo-Luddite movement here. Carving out time for yourself is as easy as doing one thing. Walk your dog. Stroll your baby. Go on a date—without your handheld holding your hand. Self-respect, priorities, manners, and good habits are not antiquated ideals to be traded for trends. Not everyone will be capable of shouldering this task of personal responsibility or of being a good example for their children. But the heroes of the next generation will be those who can calm the buzzing and jigging of outside distraction long enough to listen to the sound of their own hearts, those who will follow their own path until they learn to walk erect—not hunched over like a Neanderthal, palm-gazing. Into traffic. You have a choice in where to direct your attention. Choose wisely. The world will wait. And if it’s important, they’ll call back.

As a child, Callum never sympathized much with storybook villains, who were always clinging to some sort of broad, unspecified drive. It wasn’t the depravity that unnerved him, but the desperation of it all; the need, the compulsion, which always destroyed them in the end. That was the distasteful thing about villains, really. Not the manner in which they went about their business, which was certainly gruesome and morally corrupt, but the fact that they desired things so intensely. The heroes were always reluctant, always pushed into their roles, martyring themselves. Callum didn’t like that, either, but at least it made sense. Villains were far too proactive. Must they participate in the drudgery of it all for some interminable cause? Taking over the world was a mostly nonsensical agenda. Have control of these puppets, with their empty heads and their pitchforked mobs? Why? Wanting anything—beauty, love, omnipotence, absolution—was the natural flaw in being human, but the choice to waste away for anything made the whole indigestible. A waste. Simple choices were what registered to Callum as most honestly, the truest truths: fairy-tale peasants need money for dying child, accepts whatever consequence follow. The rest of the story—about rewards of choosing good or the ill-fated outcomes of desperation and vice—we’re always too lofty, a pretty but undeniable lie. Cosmic justice wasn’t real. Betrayal was all too common. For better or worse, people did not get what they deserved. Callum had always tended toward the assassins in the stories, the dutiful soldiers, those driven by personal reaction rather than on some larger moral cause. Perhaps it was a small role to serve on the whole, but at least it was rational, comprehensible beyond fatalistic. Take the huntsman who failed to kill Snow White, for example. An assassin acting on his own internal compass. Whether humanity as a whole won or lost as a result of his choice? Unimportant. He didn’t raise an army, didn’t fight for good, didn’t interfere much with the queen’s other evils. It wasn’t the whole world at stake; it was never about destiny. Callum admired that, the ability to take a moral stance and hold it. It was only about whether the huntsman could live with his decision—because however miserable or dull or uninspired, life was the only thing that mattered in the end. The truest truths: Mortal lifetimes were short, inconsequential. Convictions were death sentences. Money couldn’t buy happiness, but nothing could buy happiness, so at least money could buy everything else. In terms of finding satisfaction, all a person was capable of controlling was himself.

A hero without a flaw is of no interest to an audience or to the universe, which, after all, is based on conflict and opposition, the irresistible force meeting the unmovable object.

The true hero is flawed. The true test of a champion is not whether he can triumph, but whether he can overcome obstacles—preferably of his own making—in order to triumph. A hero without a flaw is of no interest to an audience or to the universe, which, after all, is based on conflict and opposition, the irresistible force meeting the unmovable object.

Am I being too hard on him? I suppose it’s possible that I’m simply casting him as the villain so I have someone to blame for my flaws, for all the ills of my life. After all, blame is how we make sense of our lives. Blame fills in the gaps. In the absence of a true villain in our lives, we’re bound to enlist one. Sure, it may not be the best way, or fair, but it does help us explain our stories. Is that what I’m doing with my dad? Maybe.

The true test of a champion is not whether he can triumph, but whether he can overcome obstacles—preferably of his own making—in order to triumph. A hero without a flaw is of no interest to an audience or to the universe, which, after all, is based on conflict and opposition, the irresistible force meeting the unmovable object. Which is also why Michael Schumacher, clearly one of the most

Gagarin’s death was shameful not just because of the loss of a national hero in muddled circumstances, but because of the dangerous flaws revealed in the Soviet military technology of his time. Obviously their radar systems were not capable of simultaneous mapping of aircraft heights and positions, nor of positively identifying one target from another. The implications of this were highly alarming.

Make your character flawed in a serious, big, scary, potentially life-wrecking way. When you start with a badly flawed character, the arc will be all about correcting that flaw—about your character growing into a better person, the kind of mythic hero archetype he was “meant to be” but couldn’t become until this adventure—the events of your plot—pushed him to change himself for the better.

Heroes without flaws would not be successful. Yet in the end, its not the flaws we remember but the achievements.

I have not lived a lot of my life as a godly man, yet I am writing a godly book. It’s not complicated. The godliest heroes of the Bible were flawed and imperfect. Being realistic, we all are.