The “Chosen One” Trope: Walking The Line Between Classic And Cliché By Desiree Villena

The “Chosen One” Trope: Walking The Line Between Classic And Cliché

There are plenty of explanations for why the “Chosen One” is such an evergreen trope, appealing to writers and readers alike. It’s a truly versatile device that presents ample opportunities for authors to craft complex worlds and relatable characters. However, because of its ubiquity, you also run the risk of writing yourself into a cliché-filled corner!

Learning how to avoid clichés, and lazy writing in general, is essential to literary success. To that end, I wanted to give some advice on how to make this classic trope work — and crucially, how to avoid its worst pitfalls. First and foremost, you need to…

1. Understand the trope

The Chosen One, as the term implies, is a character who has somehow been “chosen” as the only one capable of defeating evil, saving the world, or resolving some kind of major conflict in a story. It is especially common in speculative fiction and is often paired with a hero’s journey

Some well-known examples include King Arthur, Buffy the Vampire Slayer, and Katniss Everdeen from The Hunger Games. Indeed, this trope can be adapted for any genre; what unites these characters is that they have all been elected to play a pivotal role in their respective worlds. 

With countless “Chosen One” sub-tropes to explore, my first tip for any writer is to read extensively! This tried-and-tested method gives you a chance to:

  • Absorb what has been said before, what you think works and what doesn’t; 
  • Take inspiration from what does work, and;
  • Figure out how to craft something original.

2. Avoid the major pitfalls

While I can’t warn you against every potential pitfall with the Chosen One (there are too many variations of this trope for that), here are some key things to watch out for. 

A) The destiny trap

For every story that features an element of “chosenness,” there is usually some flavor of destiny or predetermination involved. This can (unsurprisingly) lead to predictability — the protagonist discovering their chosenness, setting out on a quest, and meeting some type of opposition so they can undergo personal growth and, eventually, realize their true potential to defeat their opponent.

It’s a tricky line to skate. As a writer, you want there to be some element of inevitability, because it’s a central conceit of the Chosen One narrative. Perhaps you can twist it a bit in your writing (the reluctant hero’s internal battle against their true destiny is always a fun one).

That said, destiny can start to eat away at the agency of your characters, or inadvertently give away the plot. After all, if we’re so sure the hero’s going to defeat the villain, why bother reading to the end of the book? This is why you need to keep readers on their toes, even if it means misleading them for a little while.

Carefully planning your novel can help you maintain good pacing to keep readers on the edge of their seats, even if they already have an inkling of the overall arc. The potentially predictable nature of Chosen One plots require extra care to prevent readers from growing disinterested. If you’re struggling with this, break it down into manageable chunks! Make sure you have at least the following things outlined before you start writing:

  • A narrative arc with a beginning, midpoint, and end;
  • Character profiles for your main characters;
  • A clear setting.

This will give you a solid idea of when best to deploy certain action beats to keep your pacing tight, while still allowing the creative freedom to get from point A to B. In short: you can ensure you have a good grasp on all the different threads that need to be tangled and subsequently untangled over the course of your novel, and become a true puppet master of your characters.

B) The flat character trap

Once you’ve structured your novel with plenty of surprises, you’ll want to map out your characters. Unfortunately, the Chosen One device can lead to lazy characterizations because well, she’s the chosen one — isn’t that interesting enough? Spoiler alert: it’s not.

Flat characters are the kiss of death to any book, and what could be more flat than a perceived lack of agency? Predictability and inevitability can make your characters seem powerless and anonymous, as well as utterly replaceable. It also makes it tough to create the necessary tension to carry the novel forward and make your readers really root for the protagonist.

So how do you avoid this? It’s actually pretty simple: give your “Chosen One” their own choices and introduce them as having a real personality and relationships, using the following tactics: 

  • Create backstories for your characters. Include only necessary details in the story itself, but let a more elaborate mosaic of character memories and personal history inform your character’s thoughts and actions to create consistency. Not sure where to start? Check out this character questionnaire to get the ball rolling.
  • Have your main character act decisively, or make a choice with real stakes (even if it has negative consequences in the short term). You want to remind the reader that, while fate has given them a helping hand, they’re still agents in the story whose choices matter.
  • Pay attention to character descriptions. Don’t write as if you’re describing someone to a forensic artist, with physical traits only! Instead, pick one deeper aspect that would stand out to you if you met them in real life and slowly build from there. Describe your protagonist’s thoughts, actions, and interactions to reflect their personality, rather than using basic exposition (in other words: show, don’t tell).

C) The good vs. evil trap

Every good Chosen One story needs a great antagonist. It doesn’t have to be a person, but it often is — which may tempt you to create an out-and-out villain, verging on caricature, to offset your good guy/girl. This might be fun to write, but it isn’t super compelling to read. And, more importantly, writing a strong, complex antagonist is a useful way to avoid accidentally making your story’s morality too black-and-white.

Whether your main character is facing an evil mastermind or fighting a wider threat to peace, plan your antagonist(s) out and consider what motivates them. One good exercise is to think about how you would write the story from their perspective, and incorporate your insights about their motivations and feelings into your main story.

It’s easy to over-simplify the world around us and write an antagonist who’s obviously, undeniably evil, but people rarely think of their own choices as such. It is far more interesting to read something that makes you question your own assumptions about what is right and wrong, so adding shades of gray and character flaws to your antagonist (and your protagonist too!) is an opportunity to shy cleverly away from this binary worldview and spice up your Chosen One tale.

3. When in doubt, look inward, not outward

When you take on a common trope, there’s a great deal of pressure to create something familiar yet unique. If you’ve made it this far and you think it seems like an impossible task, I have one more tip that might help you think of it in a different, more freeing way.

I’ve hinted at this already, but once you know the pitfalls like the back of your hand, you can use them to your fullest advantage. Toy with your readers by subverting the common characteristics of the Chosen One trope and make it fit your story, not the other way around. Instead of trying to reinvent the wheel, which can stump even the most imaginative authors, look for what is real.

By all means, use your imagination to make up whole new worlds, but always put your story and characters first to create something readers can relate to and which speaks to them. Religiously adhering to a mold other people have created (or trying desperately to avoid one in the pursuit of originality) is not going to serve you in the long run. When you write what is real to you, it doesn’t matter if it has been done before, because it will feel fresh and unique to the reader. 

Whether it was some mysterious force that put a pen in your hand or your own pure determination, you’ve got this! Happy writing.


Desiree Villena is a writer with Reedsy, a marketplace that connects self-publishing authors with the world’s best editors, designers, and marketers. In her spare time, Desiree enjoys reading contemporary fiction, writing short stories, and analyzing literature into the ground.

Great Stories Don’t Write Themselves: How To Develop Strong Fiction Ideas With Larry Brooks & Joanna Penn

 

Posted on May 11, 2020 by Joanna Penn

Podcast: (Duration: 1hr 56 min)

Subscribe: Apple Podcasts | Android | Google Podcasts | Stitcher | TuneIn | Spotify | RSS |

 

You can find Larry Brooks at Storyfix.com and on Twitter @storyfix.

You can find Joanna Penn at www.thecreativepenn.com.

Why You Should be Telling Stories in Non-Fiction

 

IT’S TELEVISION TUESDAY

 

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Why You Should be Telling Stories in Non-Fiction (The Self Publishing Show, episode 219)

 

 

 

 

Vicky Fraser Amazon Page

Vicky Fraser Website

 

 

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Illustration Master Course – Ep. 5: STORYTELLING & PRESENTATION

 

IT’S TELEVISION TUESDAY

 

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Illustration Master Course – Ep. 5: STORYTELLING & PRESENTATION

 

 

 

💎Master Course Diamond Collection (Hi-Res PSDs + Template Sets)

 

 

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How I Embraced Vulnerability to Tell the Story of Becoming Starlight by Sharon Prentice

Becoming Starlight image blue background

 

 

Sharon Prentice image

 

How I Embraced Vulnerability to Tell the Story of Becoming Starlight
by Sharon Prentice, PhD

Writing a book.  To be quite honest, the thought had never entered my mind; I’d never written anything other than personal prose or patient charts that were never meant to see the light of day.  The idea was so remote that it would’ve been, as in the Twilight Zone monologue, like “opening a door into a fifth dimension of thought and sound, as timeless as space, as vast as infinity.” But once the possibility was introduced to me,  I had one reaction: exposing the secrets that lay hidden within my Soul sent chills racing through the recesses of my very being. I couldn’t let it go, though — once unearthed…the thought simply would not leave me alone!

Imagine, if you will, standing on a stage, alone, in front of hundreds of people unknown to you,  while guffaws and ridicule, barbs of judgement undeserved and previously unknown are all directed your way!  A dizzying array of emotion and confusion filling your Spirit with every direct hit…and then, you realize you are, as my dad liked to say–naked as the day you were born! It’s then, possibly for the first time, that you begin to understand the concept of unadulterated vulnerability.

No one enjoys feeling vulnerable. Especially those of us who exist in environments created to keep vulnerability at bay. But there comes a time when life slaps you awake–and you can no longer exist within the protective bubble that served you so well in your private life.

Every writer understands this concept of vulnerability. Opening up to that bone-shaking, fearful reality—that I would be vulnerable–was the beginning of my journey into the world of publishing.  Accepting that in order to tell my story, I would have to surrender my oh-so- carefully tucked-away secrets to public scrutiny was my biggest hurdle. But it was one that needed confronting and eventually–conquering.

To tell my story… was exactly what I needed to do! One of my greatest mentors, Dr. Wayne Dwyer, before his death, told me, “Tell your story, Sharon. Tell the story.” The beginning of the writing process for me was the recognition that I was more uncomfortable staying silent than I was letting the words flow free and accepting the vulnerability inherent in exposure. Naked body or naked Soul–same thing!

But how and where to begin? What exactly did I want to say–or have to say–in this effort to release the words that were forming in the underbelly of my soul?  Instead of letting anxiety rule the day, I simply sat myself down…grabbed pen and paper…and let the floodgates open.

I didn’t change my physical environment…I embraced it. The old La-Z-y Boy recliner that had been my dad’s “home base” before his death became my sacred space. I felt safe and peaceful. It became my home…my sanctuary. My body just seemed to conform to the indentations that had, for years, become its very nature and I felt as if it “knew” me.  I didn’t feel the need to have a totally private, quiet, locked away space that had no recognition of me and the joys and sorrows of my life. It was there, on my dad’s well-loved recliner, that Becoming Starlight was birthed.  

But even in that sanctuary, I found myself chasing words.  It was irritating as the words seemed to erupt and run like madmen away from my conscious mind. The more I chased after the words as they fled the scene, the more irritated I became. Was this the well-known “writer’s block” rearing its ugly head? Or was it simply me trying to force something that simply couldn’t be forced? The operative word here became–relax! I needed to relax and just let it flow. Not trying to force each and every thought into some perfect form of writing saved the day! I stopped worrying about tense and punctuation and dangling participles! I simply put pen to paper and wrote the story.

It was then that the sacred words fell into place. It was then that the words found their place and told their story. My process needed acceptance of the vulnerability of the story that needed to be told. I let the invisible dancer lead the way and make the pen I held in my hand dance.

Becoming an author can be a life-altering decision! Finding your own safe space, your own sense of security, allowing the unfolding of the magic within…effortlessly…is the first step to creating and releasing the music in your Soul. Drawing out that music for healing and comfort…uncovering the shadows that haunt the human condition–that’s what it’s all about and what I hoped my readers would find.  

 

 

 

 

 

 

 

Sharon Prentice image

 

 

 

About the Author:

Dr. Sharon Prentice is the author of Becoming Starlight: A Shared Death Journey from Darkness to Light. Soon after completing her graduate studies in psychology, Dr. Prentice longed to discover “the why’s” about her own intimate experience with death in the form of an SDE, and that of others who had experienced something “weird, unbelievable, odd” at the time of the death of a loved one. Dr. Prentice is in private practice as a Licensed Clinical Pastoral Counselor – Advanced Certification. She is also a Board Certified Spiritual Counselor (SC-C) and holds Board Certification in Cognitive Behavioral Therapy, Group Therapy, Integrated Marriage and Family Therapy, and Crisis and Abuse Therapy. She is also a Board Certified Temperament Counselor. Dr. Prentice is a Professional Member of the American Counselors Association, a Professional Clinical member of the National Christian Counselors Association, a Clinical member of the American Mental Health Counselors Association, and a Presidential member of the American Association of Christian Counselors. She is also a Commissioned Minister of Pastoral Care. For more information, please visit https://sharonprentice.com and follow the author on Facebook and Twitter.

 

 

How to Write a Novel: Plot Gardening with Chris Fox and Joanna Penn

IT’S TELEVISION TUESDAY!

 

 

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How to Write a Novel: Plot Gardening with Chris Fox and Joanna Penn

 

 

 

 

 

Benjamin Thomas

@thewritingtrain

http://www.mysterythrillerweek.com

 

 

 

 

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Story Structure First Act by Usvaldo De Leon

Close up hand of young woman with pen writing on notebook at riverside in the evening.

 

 

Story Structure First Act

by Usvaldo De Leon

 

Structuring a story is a challenge that writers meet in one of two ways: either they outline diligently before they write so much as a sentence, OR: they fire up the word maker and see what happens. The former are called plotters. The latter people are called pantsers and I am one of them.

The difference between the groups lies in how comfortable a writer is with chaos. To write is to literally visit a foreign land. Plotters like to have an itinerary. They know where they will be in the morning, where they are eating lunch, etc. Pantsers wake up and walk out the door with nary a thought for the day. Plotters attempt to impose control. Pantsers attempt to maximize experience.

I view writing as a discovery process. It lets me explore the characters, their interactions, the plot and setting. It lets me feel the story. I’m frequently surprised by what occurs, which leads me to more character driven, organic stories. For plotters, the outline process performs the same function.  The end result for both groups is a story that is thematically and narratively coherent.

For me a story begins with either a situation or an image. If I see an image then it is usually the climax. Seven men on a sailboat in the Pacific. One of them is trying to sabotage the boat, everyone knows it and everyone is on edge. If I have a situation, it is usually the inciting incident. A dying billionaire wants to read his obituary so he fakes his death.

Why my brain works like this is not something I think about. I believe it is churlish to be picky about how one receives inspiration. One does not find a ten dollar bill on the sidewalk and get upset it was not a twenty. Inspiration is a gift.

Next I figure out the bones of the story, a.k.a. structure. Authors use story structure because it is how people’s brains and hearts respond to narrative.

In the first act, the character sees a flaw in the normal world and ventures into the unknown to fix it. In the second act, the character faces myriad challenges to create a solution to the problem. In the third act, the character braces for a final showdown to win the prize and restore the normal world. This template covers everything from Star Wars to Liar Liar and all points in between.

 

 

Resources:

How to Take the Guesswork Out of What Scenes Belong in Your First Act

The First Act Turning Point

The First Act: Nailing Your Novel’s Opening Chapters

 

 

 

Write Sign, Love for Writing, for writers and authors.

 

 

 

 

 

Andrew Stanton: The Clues To a Great Story

IT’S TELEVISION TUESDAY!

 

 

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Andrew Stanton: The clues to a great story

 

 

 

 

 

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imdb.com

@andrewstanton

 

 

 

 

Benjamin Thomas

@thewritingtrain

http://www.mysterythrillerweek.com

 

 

 

The Happy Medium of Storytelling Part 1

Retro microphone over recording software background.

 

 

Let’s talk about storytelling. Or rather, let’s talk about the medium through which storytelling is told and perceived. This is such a fascinating topic I couldn’t resist writing about it.

What is your choice of medium when it comes to books? Paperback, an ebook, or audiobook? I have particular interest in how audiobooks affect our perception of a story. Just stop yourself and consider this one thing. Medium.  According to Google medium is defined as the following:

1. An agency or means of doing something.

2. The intervening substance through which impressions are conveyed to the senses or a force acts on objects at a distance.

Both definitions are great, but I prefer the second one because it provides more insight into the topic. Some readers prefer the tactile and visual feedback of a book any day over a digital one. Others hail the ebook over any dinosaur book. I’ve always had trouble digesting books in physical form for some reason. But when the advent of the ebook was created I became a book addict.

Others prefer yet another medium of storytelling. The audiobook. People are listening to more and more audiobooks these days, including myself. Why? What affect does the audiobook have upon the reader? Or better yet, what affect does this medium have upon the listener?

 

 

Young woman listening

 

 

The narrator and his or her performance is the medium through which the story is perceived. No two narrators are the same in skill, personality, voice, training or delivery. So in a sense, you’re getting a completely different medium with each and every narrator. Cool eh? I thought so. But it doesn’t end there.

According to Professor Mehrabian, only 7% of communication is verbal, and 93% nonverbal. Or, the nonverbal component would be 55% body language, and 38% tone of voice. There is some debate about this (of course), so we have to take into consideration other factors such as context, etc. I’ll spare you the boredom. What I’m getting at is the paralinguistic, or paralanguage part of communication that makes up 93%.

Writing to convey ‘what’s not said’ is extremely hard, but the best writers do it with much practice. What’s not said makes up a huge portion of communication, meaning and in understanding another person. This is critical in the context of storytelling when conveying a character properly.

 

 

Story. Text on the strings

 

They say that the nonverbal component is broken down into body langauage and tone of voice. Body language being 55% and tone of voice 38%. When you read a book the author has to convey this information adequately. All the nonverbal tells of communication must be rendered by the authors writing. Good writing does this well, but anything less is lacking a lot of useful information.

Now you throw in a narrator. I love narrators! We have to see the entire story through their eyes and skill amongst other things. These are what linguists call Paralinguistics, or paralanguage. Which basically means everything that isn’t verbal. According to the aforementioned statistics it means everything as far as understanding another person’s attitude, motive, mood, personality etc. All this must be skillfully conveyed through the narrator.

 

 

 

Body Language, word cloud concept 8

 

 

 

Stayed tuned for part 2!

 

Check out my other blogs

AudioSpy | Mystery Thriller Week |Book Reconn

 

 

 

 

 

 

2018 London Book Fair report from Joanna Penn

IT’S TELEVISION TUESDAY!

 

 

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Trust, Visibility, Mobile Storytelling And Blockchain For Books #LBF2018 (London Book Fair)

 

 

 

 

Did you learn anything from the 2018 London Book Fair? Tell us in the comments!

 

 

Benjamin Thomas

@thewritingtrain

http://www.mysterythrillerweek.com