What is Hamartia in Storytelling — we will look into the function of the tragic flaw aka hamartia in tragedy, as explained by Aristotle, along with tips on how to write characters with these deep-seated imperfections.

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Chapters:
00:00 - Introduction to Character's Tragic Flaws
00:49 - What is Hamartia?
02:54 - Chapter 1: Show the Consequences: Hamlet
06:44 - Chapter 2: Make It Central to the Story: Black Swan
11:49 - Chapter 3: Chance to Change: Burn After Reading
15:40 - Final Takeaways

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WHAT IS HAMARTIA IN STORYTELLING (AND HOW TO WRITE IT)

To varying degrees, all characters should have faults. These can be minor problems that provide more superficial obstacles, or they can be major weaknesses that bring forth a character’s downfall. In this video, we will look at these more serious, tragic flaws, what Aristotle dubbed hamartia. What is hamartia, how does it work in storytelling, and what are some of the ways writers can use it to create tragic characters? Let’s find out.

WHAT IS HAMARTIA?

In his seminal work on tragedy, Poetics, the great thinker Aristotle lays out this idea that at the center of a tragic character’s downfall is a critical flaw in their behavior or how they think. At the time, the Greeks believed hamartia was a work of fate or karma. Either way, it is often manifested as a mistake, an oversight, a blind spot, a willful ignorance, etc.

EXAMPLES OF TRAGIC FLAW

Aristotle wrote about contemporary Greek tragedies, but we can see hamartia throughout storytelling since then. Dr. Frankenstein’s tragic flaw is his blind confidence in scientific progress and a lack of foresight regarding the consequences of playing God. In There Will Be Blood, Daniel Plainview’s hamartia is tied directly to his greed.

Hamlet’s indecision plunges him into despair. In Black Swan, Nina’s insatiable drive for perfection leads her to self-destruction. And in the Coen Brothers' satirical comedy Burn After Reading, each character in the ensemble has a tragic flaw that contributes to their own demise.

HOW TO WRITE A TRAGIC FLAW

The tragic flaw itself can be various, but there are some strategies writers use to make them work, no matter the character, genre, or story. For one, the consequences of their hamartia must be shown. In any tragedy, the aftermath is where the real resonance occurs — it is the payoff following the setup that audiences expect.

Second, a character’s hamartia should be central to the story. In the Black Swan example, the plot finds Nina pursuing the lead role in Swan Lake, which perfectly sets the stage for her insecurities and obsessions to take hold. Finally, a good tip on how to write hamartia is to allow the characters a chance to overcome their tragic flaw. Since hamartia is more than simply “bad luck,” it is important that the fate of the characters hinges upon the decisions they make.

Not every story is a tragedy, but writers who understand the power and function of hamartia are able to apply similar aspects while crafting rich and nuanced stories.


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“Quantum IV“ - Makeup and Vanity Set
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“Scarface Intro Theme“ - Giorgio Moroder
“HW/ Hope of New Fields“ - Jonny Greenwood
“Treason“ - Christophe Beck
“Welcome to Jurassic Park“ - John Williams
“The Ghost“ - Patrick Doyle
“The Wrestler“ - Clint Mansell
“Power, Seduction, Cries“ - Clint Mansell
“A Room of Her Own“ - Clint Mansell
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“A Swan Song (For Nina)“ - Clint Mansell
“Battle of the Heroes“ - John Williams
“Earth Zoom“ - Carter Burrell
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“Speed Rail“ - Carter Burrell
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“Harry Looks for Love“ - Carter Burrell
“Opportunity“ - Carter Burrell
“What Players Are They“ - Patrick Doyle
“Attack on the Jakku Village“ - John Williams

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