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Generally, in the long history of storytelling, there has been a move from almost total emphasis on acting––in the myth form, where the audience learns simply by modeling themselves on the hero's actions––to a heavy emphasis on learning, in which the audience's concern is to figure out what is happening, who these people really are, and what events really transpired, before achieving full understanding of how to live a good life.
No individual element in your story, including the hero, will work unless you first create it and define it in relation to all the other elements.
time. Take a lot of it at the beginning of the writing process. I'm not talking about hours or even days. I'm talking about weeks. Don't make the amateurish mistake of getting a hot premise and immediately running off to write scenes. You'll get twenty to thirty pages into the story and run into a dead end you can't escape.
Any character who goes after a desire and is impeded is forced to struggle (otherwise the story is over.) And that struggle makes him change. So the ultimate goal of the dramatic code, and of the storyteller, is to present a change in a character or to illustrate why that change did not occur.
Desire never stops. Equilibrium is temporary. The self-revelation is never simple, and it cannot guarantee the hero a satisfying life from that day forward. since a great story is always a living thing, its ending is no more final and certain than any other part of the story.
The story world isn't a copy of life as it is. It's life as human beings imagine it could be. It is human life condensed and heightened so that the audience can gain a better understanding of how life itself works.