@Murphy332
Last seen: Mon 17 May, 2021
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: Re: Why's “egalitarian documentation†'cacophony'? I know cacophony means "harsh or unpleasant sound", but I don't know what “egalitarian documentation†means. I can see it's poly-syllabic
“Egalitarian documentation†is a mouthful!
The "sensory dimension" of the words would be how they feel in the mouth and ears. This person is suggesting that you should write in a plain style that is not difficult to say or distracting to listen to.
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: How can a newbie writer secure a self-written story for him/herself using copyright? I have an idea to write a story. How can I apply copyright to it after it gets written?
I have an idea to write a story. How can I apply copyright to it after it gets written?
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: Re: Using minimal amount of dialogue to introduce two characters but still move the story along I have always struggled with writing dialogue between my characters in my historical fiction novel.
Be true to your characters. Your question is a challenge only if both of your characters are people of few words.
In any kind of situation, when two people meet, there is something that they would want to say to each other. In your particular situation (disclosed in your comments) I believe those two have a lot to say, if they are in any condition to talk.
So, spin out your dialogue based on how it might go. Then return to your writing and prune parts of it that seem excessive. And also, small talk may not advance the plot, but it does serve the purpose of character development.
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: Using minimal amount of dialogue to introduce two characters but still move the story along I have always struggled with writing dialogue between my characters in my historical fiction novel.
I have always struggled with writing dialogue between my characters in my historical fiction novel. So, when it is possible to avoid dialogue, I avoid it. In the scenario I am writing, I have 2 characters who are meeting each other for the first time. Obviously, I need to have some dialogue, as there is no other way to formally introduce 2 characters. A dialogue rule I am aware of is that the dialogue must move the story along - no small talk. How can I have these 2 characters meet for the first time and have no small talk but it still seem realistic? I want the minimal amount of dialogue for this, but make it still seem realistic and move the story along. How can I accomplish this?
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: Re: As a young author, how do you make people listen? I am an extremely young author. I don’t mean to sound like I’m bragging, but I think I am very good. They say the best readers are
Stop calling people on the phone for two reasons.
First, your voice will give away your age and your responses will give away your lack of experience.
Then, telephone is prolly the least-preferable method of first contact between writers and their agents, editors, and publishers)
When no one is taking you or your first book seriously, why are they wrong?
Why can you not ask for funds from friends, family or crowd-funding and publish your work yourself?
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: Re: What is a good font to use for a literary magazine? I'm working on some literary translations. I want to use a proper font for my work, but it is a little out of my area of expertise.
This isn't something a writer needs to worry about. There are actual designers that you need to hire that will pick the best font for you. Calibri is not only old and jaded, but also it actually looks bad. Arial is old and jaded but it still looks okay. Palatino is old and jaded too.
I'm not a designer so discount the font suggestions below. I'm just a font junkie. There is no such thing as a perfect font for a magazine. It depends upon the the style that you want to go for. This means you need to do some work first. Tell us what type of style you are going for. Present samples and ask us if the samples actually look good because your tastes may be awful. Personally, I still love sans serif Helvetica Neue for a clean and modern look. I love serif Freight Text Pro Light for readability but less sophistication and a less modern look. But, those are for monitors.
Generally, experts say that sans serif is harder to read but a recent research paper has started to derail that notion.
There are a ton of fonts that are beautiful if you just put them together correctly. It takes a lot of experience though. Also, it's the same thing with all contractors, 90% of them stink so find a top 10% creative designer that readers will love (your tastes are irrelevant). It won't cost a lot, I believe, although the cost to use the font might.
Or, you could go to Google Fonts for examples of body text for publication. Then go to Wolf's site which will give you alternatives. Remember that text on monitors look totally different in print.
Finally, these are 2 people who provide good advice on fonts. Some think their sites are the gospel on fonts. I don't think so.
Butterick
Danny Truong
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: Re: As an author, can I afford to get emotionally attached to my work? It's said that to be a good writer you ought to "Write what you feel and feel what you write." While this sounds
It's good to be passionate about your work but you have to understand, once you release your work, people can interpret it in many different ways. When you write about a man with a gun, one person may interpret him as the good guy and someone else may interpret him as the bad guy. The conclusion is the ideas live in your head and are meaningful to you. That is what it means to be a creator.
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: How much can you reuse ideas from other stories? So there was a novel that had some cool ideas and I really liked, but also there were many parts that made me annoyed mostly due to the
So there was a novel that had some cool ideas and I really liked, but also there were many parts that made me annoyed mostly due to the genre, plot holes and inconsistencies and how they were done or used which affected the overall quality of the story. So while the ideas and story was good, there were clear parts that affected my satisfaction with the story and could have done better.
Now I was thinking of doing a similar story and reusing some of the ideas. The only problem is that while I am confident that I can change it up, there are quite a lot of parts I want to use from the story that inspired me, and while I can change them, the core idea is still there. Now if I was using just one idea it wouldn't be a big problem, but I want to use multiple ones from the original story some of these are cliches that have been used before, but some are also kind of unique to the original story so that using them together you would see the similarity.
However, I intend the overall story to take a different direction. For example, the original was a harem with poor and forced romance, while I am not going to do that and focus more on romance, but also I intend for my story to be at a slower pace and fill plot holes and avoid inconsistencies. Also I would be adding and changing a lot of the settings overall and put relevance on side characters.
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: Re: What are some signs of a chosen one nebulous enough that they can be mistaken? The setup: We have a fantasy world. A while back (like, 30-100 years; not really sure yet) a prophecy was given
Robert Jordan's The Wheel of Time series is basically revolving around the concept of a "chosen one", and some people sincerely, but wrongly believing that they are the "Dragon Reborn".
Usual "chosen one" trope involves the protagonist who is truly the chosen one, and sometimes other people who are knowingly trying to steal that role.
But this is very easy to make the prophesy so "nebulous" that there may be mistakes. Make signs of the chosen one rare, but not truly unique. Alternatively, you may show how the judgement of a "false prophet" is misleading.
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: Re: Are the Arthurian legends freely available for use? I put a bit of Arthurian fantasy into a short story I wrote. I originally thought that this was perfectly acceptable, as many books do
Possibly a good idea for a writer who wants to write Arthurian stories is to start reading them from the earliest writings onward and note which plot points are out of copyright.
You could start by reading about the possibly historical Arthur in the Historia Brittonum and the Annales Cambriae.
Then try reading early Welsh Arthurian stories and poems like "Culwich and Olwen" and "the Dream of Rhonaby" and the Arthurian Triads.
Then read Geoffrey of Monmouth's History of the Kings of Britain which depicted an allegedly historial arthur and made him famous through out Europe, and his successors like Wace, who introduced the Round table, and Layamon.
Then read medieval romances, basically historical novels set in the era of Arthur, by writers like Chretein de Troyes who introduced Lancelot and the Holy Grail into Arthurian Stories, and Robert de Boron who introduced the Sword in the Stone, and so on.
And you should read a lot of 19th, 20th, and 21st century Arthurian novels, or read various accounts of modern Arthurian literature which descirbe which novels added new plot elements and which novels later used them. You have little hope that the heirs of such recent writers would be unaware of being their heirs or would ignore any copyright infringements.
And you should watch a lot of Arthurian movies or otherwise learn about their plots.
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: Re: Problems about making a story suspenseful I've been writing my first story for almost one year, and I am facing problems in working on suspense and that's why I'm slowing on it..I just present
Suspense is created through anticipation of events outside of characters' control.
Suspense is most common in horror/thriller genres, but generally, suspense can be positive or comedic and be suitable in any kind of plot.
The higher characters' stakes are for the event, the bigger is the suspense. However, the reader must be "invested" in characters in order to feel the suspense.
The more obscure is the event, the bigger is the suspense. If the character is scheduled to be executed by hanging, this is dramatic, but not very suspenseful. But if the character is anticipating a visit by a mysterious horror creature, suspense would be much higher.
The more unstable and fragile current situation is, the bigger is the suspense. A character may build one-story card house or five-story card house, with equal stakes and equal clarity of the expected outcome. In case of a five-story card house, suspense would be higher.
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: Re: How much detail is too much? I've read a few amateur stories online and sometimes the author will include so much detail that the reader gets a little bored or distracted and forgets what
That usually relies on the writer's style and skill…
Look how Iris Murdoch introduces great and irrelevant details of menus and cooking, when it wasn't in any way necessary even to mention that anyone was eating.
Notice when Robert A Heinlein lists every move in a game of mental chess which has no real effect on the story or - more than once - describes every action involved in checking whether a vintage car might be immediately ready for the road, rather than simply pressing the starter!
See whether Allan W. Eckert had any need to describe the driver's day, breakfast or family life when he could simply have stated that a truck smashed into his hero's car.
If the Question persists, stick to what detail is actually necessary.
"He drew a gun and shot the man dead" is fine in itself.
"He pulled out a pistol and plugged the lead 'til the man was dead" is more stylish and whether it's more helpful is a matter of choice, isn't it?
"He hauled his tried and trusted, nine-shot Mauser .455 Parabellum from the tooled and monogrammed leather holster behind his hip, raised the silver-plated weapon in a two-handed grip and took slow and careful aim then gently squeezed off a single shot that dropped the victim in his tracks" is at best highly questionable, and probably a lot more pretentious than practical.
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: Re: Building a Fictional World upon a Real Setting To save time with world building an focus on the tale, is it justified to borrow heavily from a real world setting and take enough liberties
This type of borrowing is done all the time. In regular fiction, the setting is still a "real" world, only it is borrowed from some some other place (or places) on Earth, with necessary renaming. In fantasy, the fictionalized world is often borrowed from some real historic setting, like medieval England, sometimes with a great level of detail.
There are three possible issues with that:
Trademarks. While borrowing from real world, the writer can (usually inadvertently) use some names that are trademarked;
Libel. Some real life people and businesses can be offended by their portrayal;
Hate/apologism. When borrowing from a real world setting, some real world issues like genocide and slavery may find their way into author's work. Portrayal of these issues might be offensive to a number of people.
While the first two issues may result in a specific legal action, they are unlikely to lead to any consequences. The third issue may not lead to any legal action, but it has the greatest potential to sink the book.
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: Re: Building a Fictional World upon a Real Setting To save time with world building an focus on the tale, is it justified to borrow heavily from a real world setting and take enough liberties
Western movies and television shows are set in the wild west of imagination, which is more or less based on the real western half or two thirds of the USA usually between about 1850 and 1900.
So westerns are based on a real time and a real vast region, and thus might be supposed to happen in that real time and real region. But many westerns change so many aspects of the real west that they might as well be fantasies set in Middle-earth, or Narnia, or be science fiction stories set on other planets centuries in the future.
For example, you may have heard of John Ford's "cavalry trilogy", three very, very, loosely connected films.
in Fort Apache (1948) the garrison at Fort Apache get a message from Fort Grant that Diablo's band has left the reservation and is headed for Mexico. So they intercept and capture Diablo's band. So Fort Apache should be south of the reservation on the direct route to Mexico, and Fort Grant should also be close to the reservation and thus north of Fort Apache. But the real Fort Apache was north of the real Fort Grant.
Later Captain York goes to Mexico to negotiate with Cochise, and crosses a deep river canyon at the border. But the border of Arizona with Mexico is two straight lines through the desert, with no large canyons along it.
In Rio Grande (1950) the border with Mexico is the shallow river Rio Grande or Rio Bravo. The Rio Grande is the border between the USA and Mexico in Texas and nowhere else. But characters come from Texas to Fort Starke, which thus can't be in Texas. Thus the fictional Fort Starke in Rio Grande (1950) would have to be in the eastern section of New Mexico, north of the far western part of Texas. And Fort Starke would have to be pretty far south in New Mexico to be only a few days ride from the border with Mexico.
But in She Wore a Yellow Ribbon (1949) the fictional Fort Stark is somewhere on the southern plains, possibly in or near The Indian Territory (now the state of Oklahoma) and hundreds of miles away from it's location in Rio Grande (1950).
And this is just a tiny sample of the way western movies move towns, forts, railroads, rivers, mountains, Indian tribes, etc. around with no regard for real geography.
And of course western movies and tv shows often change many other aspects of the west beside the geography.
And that goes for many other genres. Most genres of films, television, and fiction are set on the planet Earth, at the time they are written or a small time in the near future, or sometime during the past. And a lot of writers work very hard to get details about their settings correct. And a lot of writers do not.
I certainly hope that many writers will try their best to get every detail correct. But I know that many writers will not. And I know that many writers who do try to get every detail correct will fail because of problems beyond their control.
So unless the setting of your story is some time and place that is totally outside the scope of present day knowledge of the real universe, your story is going to have some factual and correct details, at least a few. And unless you are very good at learning the facts about your setting, and/or very lucky, your story is going to have some inaccurate details, at least a few.
If you want to write a science fiction story or a fantasy story you should probably ask some questions in the World Building stack e Exchange.
Suppose that you want to write a series of fantasy stories and novels set in a fantasy kingdom and you want it to be full of intrigue, back stabbing, etc., etc. very Game of Thrones like, over a period of centuries.
Examples of real dynasties you might want to model your fictional dynasty on include The Ptolemaic dynasty of Egypt (305-30 BC) in the later generations, the Merovingian dynasty of Gaul from about AD 450 to 753, and the Norwegian dynasty during the civil wars period from 1130 to 1240, for example.
If you use one or several of them as models for your dynastic history in a period of intrigue, civil war, and back stabbing, you would want to change the geography and previous history of your fictional country a little bit, and create a partial fictional language language for that country for the purpose of creating personal and place names which may be based upon or modified from names in the language of your examples.
And the same goes for any other type of story you might want to write. You can get partial inspiration from real persons, places, things, and events and make your fictional versions more or less similar to the ones which inspired your story. And in my opinion there is a very wide range in how much more or less similar your fiction can be to the real events which inspired it.
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: How often should multiple POV be used? I'm starting on my second novel, and my two main characters take two paths that give necessary information for the story. I want to begin a chapter using
I'm starting on my second novel, and my two main characters take two paths that give necessary information for the story. I want to begin a chapter using the male's POV, but his POV is unnecessary for the entire book. Am I able to use his POV for only 3-4 chapters throughout the book? Or should I find a way to integrate his information through the female's POV? I'm excited to attempt it, but don't want to waste my time if it's going to confuse the reader.
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: Re: Section headings: "to check..." vs. "checking" I have a technical document which consists of the following sections: 1. Assignment statements 2. Concatenation 3. Data types 4. To check whether key
The accepted answer is correct of course, but I want to add that you can also use the "How to" construction:
4. How to check whether a key exists
5. How to retrieve a value
6. How to check whether variable or function is True or False
This phrasing is also used in procedural topics, though less common.
Versions 1 and 3 are usually used in procedures themselves:
To check whether a key exists:
1. Open the registry editor.
2. ...
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: Will people always compare a magic school idea to Harry Potter? My story includes a magic school wherein students aged 12 learn magic. The sorting Is based on abilities, Meaning that if a student
My story includes a magic school wherein students aged 12 learn magic. The sorting Is based on abilities, Meaning that if a student has thirst for dark arts, there most concentrated subject becomes dark arts and so.
The students learn wand and hand magic. The mc and his friends discover the school secrets in book 1.
My main question is that will people always compare a magic school idea to Harry Potter despite of changes?
Will people read a book on Magic School?
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: Re: What to do with a story fragment? What should I do when I write an idea, for example a fight scene, but then I find it difficult to write a solution or way to switch from that idea? Should
Do not worry, give it some time.
If you have what seems to be a good idea, your mind won't let it go. Eventually you will either build a story around it, or, while working on some other story, you'll discover that the new story and old idea would actually go pretty well together.
Don't settle for a bad story around a good idea. Let it work through.
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: Re: Transitions in a Story I’m writing a historical fiction story set in the 1800s; the family has to move a lot when the protagonist is younger due to financial reasons, and the siblings often
So, you have a lot of flashbacks? This indeed can be confusing. Typically, this can be organized in two ways:
Relevant flashbacks. Each flashback is connected to the "present" plot, either giving it a subtle (or not so subtle) push in new direction, or providing an important "reveal" or even twist.
Flashback plotline. Flashbacks are organized chronologically and form a separate plotline. Essentially this acts as a "second POV character".
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: Re: How to show a character with multiple personalitites? To preface this, I have seen the question multiple personalities characters speech in text and I feel that my question is different enough,
I feel drop hints, like when you write a scene imagine how both characters will act and make note of the difference between them. If for example a character switches part way then show a distinct difference based on their personalities.
As you said Suoti is a gaming personality so I am assuming they are more of the teasing type I would say not have Niar/Suoti give a name, but be ambiguous for example-
> "My name is Eben - who are you?" inquired the old man.
>
> "Who am I, that depends who do you think I am, am I really that
> person, sometimes I could be me, maybe I'm someone whose to say you
> are really who you say they are a name is just label, but doesn't mean
> it matches the person." The girl replied playfully with a teasing look as she giggles at the old mans expense.
See there you don't exactly state who she is, but you express a personality instead, readers won't know if she is just being playful or if her words mean somthing more. Give the reply based on which ever personality is in control and how they would express themselves, consider if the personality treats themselves as an I or we? Do they consider themselves the same person or two different people. How would one's answer be different then the other.
Another way is to add a shift at some point for example.
> "My name is Eben - who are you?" inquired the old man.
> A shift seemed to appeared in Niar's eyes as she considered a reply.
Your not stating it clearly, but your implying somthing changed, you can get the same effects with different ways like a pause or blank look before they answer. You can even add personal quirks like maybe Suoti plays with her hair as where Niar doesn't and Suoti tends to do that whenever she switches in.
Either show the sign in the narrative, dialogue or personality. You don't need to out right say, but do somthing that the read may find odd or can be seen as foreshadowing for it.
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: Re: Choosing between two people in a romance? So, my dilemma is as follows. I have a romance project with the MC trying to choose between two women who he cares for very much. Each has broken
Your best bet is to read from the start by putting yourself in the MC shoes and see if while you are reading if you get more of a reaction out of one girl then the other.
Another option is to consider where you want the MC and the girls to be like by the end. If you have an end point in mind for each you can chose the girl who matches better with how the MC will end up. If you don't know then start considering how the MC will end up depending on which girl he will get with and how he will develop by the end of the story.
I think another thing is to consider how the MC felt when he first met each girl or met again in the case of Cassidy. For example when he first met Diane did he like her right away was it strong, when he meet Cassidy again did old and lingering feels pop up again. Or did he think back to Cassidy often when they were apart. The more intense the feeling that pop up during the first interaction the more memorable it is and the more the MC will lean to thinking about that girl over the other.
The key to chose is really based on how your MC feels usually while witting romance the girls will invoke different feelings in the MC and bring out different sides of him, but what matters most is which one makes the MC feel more strongly and that one will usually be the one that best brings out what the MC is seeking in a relationship.
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: Re: Do academic papers have to be necessarily grammatically correct? I notice that a lot of beautiful literature contains sentences that are not grammatically correct. Here are some examples:
I don't think the question really makes sense. Grammar is defined among other things "as the study of the way the sentences of a language are constructed" and as "an account of these features; a set of rules accounting for these constructions".
In that sense it's a description of the rules that naturally exist in a language, rather than a prescriptive set of rules for people to follow. No description will be 100% accurate.
Since academic papers are usually carefully edited, often by multiple highly educated and prestigious authors and editors, we'd expect them to have relatively few mistakes. Any constructions that they do systematically contain are therefore pretty much grammatical by definition - as is any usage in other language forms when it's systematic enough to be clearly not accidental. Any grammarian writing a general grammar of a language would need to include the way the language is used in academic papers.
Questions about whether specific grammar rules are apply in academic writing would be answerable for specific academic communities, but there is no theoretical 'perfect form of English' against which we can compare academic writing to see if it follows all the same rules.
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: Re: How do I Build Stories Around Characters? I have a lot of characters I’ve spent time creating and developing, but I cannot, for the life of me, develop an overarching plot. Anyone got any
If your characters are good, you might not even need to develop a plot. But you do need to know your characters very well and have good imagination.
Have you listened to children making up stories? They don't have a plot, but they do have some well-defined protagonists (a princess, a knight, a superhero, a supervillain etc.) and a world where this story is set. If a child has good imagination and patience, this can become a very interesting, a book-worthy story. The plot elements are coming in on the fly, and author only has to keep "weaving" the story.
In adult authors, this approach is known as "pantsing". You don't build your plot beforehand, you just keep writing and see where the story would take you. And here is why I believe that good imagination is important. Without imagination, we might end up with some good interaction between the characters and good dialogue, but without a story. Imagination helps author create inciting incidents and unique situations which have a good change of growing into a solid plot.
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: Fault in writers logic and how avoid? So yeah I have seen a situation where what the writer has put makes sense, but after thinking it through there are clear faults in the logic they used.
So yeah I have seen a situation where what the writer has put makes sense, but after thinking it through there are clear faults in the logic they used.
Here's my example
A small team is advancing to and organisation. The leader brings in an
experienced person to act as their second in command and help build up
the organisation.
The second in command gets upset when the leader does not follow the
proper procedures when making a decision.
Now the second in command teaches the leader a lesson to get him to
start doing the procedures properly.
This is all well and good except when the second in command goes to
the extreme to teach him a lesson by abusing their authority and
humiliating the leader in front of the team. The second in command
doesn't even try and talk it out with the leader at all and just goes
right to the extreme option.
Now it ends with the leader blaming themselves after what happens and
learning the lesson, but here is the kicker the readers realise the
procedures the second in command is upset for the leader not following
were never established. The reason the leader never followed them is
not their fault, but cause they were never there to begin with and
were something the second in command expected the leader to follow,
but never told the leader or the team that they were adding these
procedures.
See what I mean at first the writer is giving message of a tough lesson learned and the second in command is doing it for the greater good. However once a reader thinks about it more carefully they realise faults in the logic used. This results in them getting annyoned cause the writer has made the leader out to be wrong and leaves it at that making the second in command the good guy. Yet while the story makes it out to be so the readers don't think so now that they noticed the faults.
This has resulted in readers calling it bad writing cause the reaction the author wants and is going for gets contradicted by what actually happens once thought through. I am wondering if anyone has any tips to avoid such a situation or how to fix it when it happens.
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: How to create suspense when the conclusion is known? How can there be suspense if the reader knows the conclusion from the beginning? I am writing an apocalyptic survival story, and I chose
How can there be suspense if the reader knows the conclusion from the beginning?
I am writing an apocalyptic survival story, and I chose to write it in a non-linear style. So, the reader will know who survives and who dies at the start of the story.
Usually, a lot of writers create suspense by hiding who lives and who dies until the end. And yet, we still read books and watch movies where we already know the outcome from the beginning. For example, in Apollo 13, most people know that
all of the astronauts survive
in the ending decades before the movie started production! But that did not make that movie any less fun to watch.
So, how do writers pull off this feat?
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: How does authorship and copyright work in translation? I am a freelance translator, and once received a request from a client saying that they were supposed to translate a chapter of a book,
I am a freelance translator, and once received a request from a client saying that they were supposed to translate a chapter of a book, but had to outsource this task as it was difficult.
I declined this request, but assuming that the client was to translate the chapter so it could be published, how would authorship and copyright work? Can I expect to receive credit and royalties from the publication? If not, does the client take all of the credit and the royalties?
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: Gerund vs noun in academic writing I wonder what is the best way to describe things in an academic manuscript writing. for example, I have a sentence therefore, passivation of the surface or
I wonder what is the best way to describe things in an academic manuscript writing.
for example, I have a sentence
therefore, passivation of the surface or the introduction of additional interlayers between perovskite and ZnO improves the stability of the cells (that is a google translate version)
OR
therefore, passivating the surface or introducing additional interlayers between the perovskite and ZnO improves the stability of the cells (that is my initial version)
It is probably coming to a more general question: is it better to use a gerund or verb-based nouns in academic writing. Or no difference?
Thanks in advance!
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: I can't get out of the research phase out of fear of missing out One of the aspects I love about fiction writing is doing research. When I settle on an idea, I tend to go look for similar
One of the aspects I love about fiction writing is doing research. When I settle on an idea, I tend to go look for similar historical themes, stories that I can weave into my novel. I get excited about finding an inspiration that introduces a new character or overall enriches my story plot. The problem is that I can't get out of the research stage.
Every time I try to focus solely on writing my novel, I find myself besieged with anxiety. What if I missed something that would've made my novel better, richer?
For example, right now, I'm very comfortable with the plot of the novel I'm working on. I arrived at it after reading multiple primary texts covering an important period in American history. As I write, I can't shake off the idea that if I expand my research and continue reading from different sources, I might find more intriguing, complex narratives that could transform my novels.
Is this healthy? How should I treat the research part? And how can I overcome my anxiety?
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: Re: How to develop my reluctant character? I am writing a novel which is about a naive, good-for-nothing boy who is also suffering from low self-esteem. One day, due to some events, he gets some
Generally, there are two options, which are explained in TV tropes:
I Just Want to Be Normal - the superpowers are "regular", but they interfere with character's way of life.
It Sucks to Be the Chosen One - the superpowers may not be so "super", but they are exceptional, and come with greater responsibility. The stakes are higher. Entire world may depend on character's success, and he or she may die in the process.
There are other ways to show the character as a reluctant hero, like Han Solo, who is a morally ambiguous antihero at first, but I think they are less applicable in your case.
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: Re: Is this allowed to use the name of Templar and other Order like Teutonic, Santiago, Hospitaler, etc as my fiction story? i'm new here, but i really want to make a question about using real
As I remember, the Templars were accused of heresy and disbanded 700 years ago, so the Templar organization will not sue you for libel.
As I remember, in Sir Walter Scott's novel Ivanhoe (1819) one OF the main villains who plot with Prince John against King Richard, and who attack and kidnap innocent travelers, is a Templar knight, Sir Brian de Bois-Guilbert. Lucas de Beaumanoir, fictional Grand Master of the Templars, tries Rebecca as a witch and sentences her to burn at the stake.
So for centuries writers have felt free to accuse medieval Templars of various misdeeds without fear of getting in trouble for libel.
On the other hand, many people think that the Templars were (mostly) good and innocent of all the charges against them, and Templars are often described as more or less "good guys" in fiction and historical speculation. The Templars are often mentioned in various more or less silly historical conspiracy theories, such as the Jesus bloodline theory, etc.
Thus I have seen a television episode where King Philip IV "the (Un)Fair" of France, who attacked the Templars, is described as an evil supernatural villain.
moviechat.org/tt0115317/Poltergeist-The-Legacy/58c760716b51e905f67fd97c/The-Worst-Witness1
And the creators of the show apparently didn't worry about the present government of France or the rival pretenders to the French crown suing them for libeling a former French leader.
I Think that most of the other medieval military are no longer military orders but exist in other forms. I think that the modern Teutonic Knights are two charitable organizations, one Catholic and One Protestant.
en.wikipedia.org/wiki/Teutonic_Order2
And as far as I know they have never tried to interfere with viewing the famous movie Alexander Nevesky (1938) which depicts the Teutonic Knights as sinister invaders.
And the Knights Hospitaller now exist as several charitable organizations.
en.wikipedia.org/wiki/Knights_Hospitaller#Successors_of_the_Knights_Hospitaller3
As I remember, many novels, movies, television episodes, etc. have expressed strong opinions about relatively recent and still somewhat controversial events like the US Civil war and Reconstruction, World War I, World War II, the Nazis, The Cold war, Communism, the assassination of JFK, the Vietnam War, conspiracy theories, etc., etc. without too much trouble. So I tend to doubt that depicting fantasy counterparts of medieval religious orders will get a writer in much trouble.
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