Her hypothesis is that if you want to sell fantastical fiction like Harry Potter to a mass audience, the best story has nothing to do with the elements of fantasy. It’s all about a Chosen One who has a special place in a strange new world.
The Chosen One paradigm is the most positive, most comforting, most affirming metaphorical version of change, of growing up, that I can imagine.
Which sort of explains why so many incarnations of the Chosen One theme usually involve young adults growing up and taking their place in the world. And why most heroes are born to the job.
It’s doubtless why I am, as an adult craving nuance, finding such stories shallow. This is never more the case than when a writer creates a protagonist destined to be a hero in a universe where a good vs. evil dichotomy is written into the universe.
Head over and give it a read, but take note: there’s a difference between selling a science fiction story to a TV executive who hopes it entertains a general audience, and telling a good story. For the latter, try Iain M. Banks.