I definitely do think about character flaws when I'm fleshing out the protagonist. I feel that if I'm doing it right, the character presents their own flaws. However, this can be uncomfortable, because I want my main character to be appealing (or at least, engaging.) With some characters, once I've discovered a flaw, I've felt the need to balance them, often by making them more active.

By way of example: In my current script, the heroine's internal block is that she wants men to make decisions for her. This gives her a sense of safety, and this is what she must overcome by the end of the film. However, this weakness runs the risk of making her a passive character. Once I realized this was her internal struggle and arc, I went back and made her more active in the script, but in ways that were consistent with her flaw (e.g. she more actively manipulated the men in her life, she was more direct and assertive when with women, etc.) It's better, but I'm still concerned about her appeal.

I wonder if "outside-in" flaws are fine for action/adventure and other genres where the characters are flatter. Perhaps they don't require, or even support, such depth? I tend to write thrillers and dramas, and it feels more natural (and necessary) for those flaws to arise organically.

It's almost a genre thing. For dramas, I think about what the personality could have as an active conflict with their internal goal.

Comedies seem to work better with external goals as do action and horror.
Dirty Harry having to negotiate...
The monster hunter being afraid of dark spaces...
The mall cop who can't pass the course...

If you can match both internal and external goals, wow.

cxw: Re your comment about making your main character appealing, there's something McKee says about character that always sticks with me: "The protagonist must be empathetic; he may or may not be sympathetic. Sympathetic means likable....Empathy, however is a more profound response....Empathetic means 'like me.' Deep within the protagonist the audience recognizes a certain shared humanity. Character and audience are not alike in every fashion, of course...But there's something about the character that strikes a chord." (p. 141 of Story if you're interested.)

cfan: It's a good quote. Thanks for the reminder.

I think McKee is right about that, and it's why I try to use words like appealing or engaging, rather than likeable, (That said, appealing has shades of likability in it.)

I'm still concerned that my protag isn't empathetic enough, and doesn't strike that chord McKee speaks of. But that's most like just the Evil Writing Monkey of Self Doubt making me worry to much. : )

cfan: the response above is mine, my handle just got screwy.

-cxw

@mywordgames: "Evil Writing Monkey of Self Doubt." Good one. Mocking our self doubt is a great way to knock it down to size.