My thoughts about my novel-in-progress, The Sleep of Reason, are in a tumult right now. I’ve stumbled upon a new revelation at the very end that will reveal a much larger story behind the literal one in the narrative, and so the creative part of my brain is busy offering me insights on how this could be done and how it would need to be prepared for. (I say I “stumbled upon” this revelation — and I really do think it would be the very last words of the story to be most effective — but I think the story was inevitably going to require this, so I think it’s more the case that I stumbled toward it rather than upon it. I’ve been a little slow in seeing where my story was taking me.)
Anyway, because of the nature of the ending, plotwise, I must have access to the protagonist’s thoughts in order to deliver the full impact of these new final words that give such added meaning to the story. For the last 90,000 words I’ve written, this has not been a problem since my protagonist is the first-person narrator of the story. I have had complete access to his deluded thoughts. But, again, given the nature of the plot at the very end, my protagonist is not going to suddenly be very clever and discerning, and while he could have some intimation of this bigger story, his understanding of it would necessarily be incomplete: thus the reader’s understanding might be as well.
And so, dancing at the dark edge of my consciousness, has been this insistent little idea that I need to change the narration of the story from an unreliable first person to a limited omniscience third person. As the days have passed, the rightness of this change has become more clear (and more insistent), and now I am all but resigned to it. The problem is that I have written 90,000 words in first person narration. Yikes! I have never made a wholesale change in the narrator in any of my writing at such a late stage.
I knew that the rewrite was going to involve some significant reworking to address plot and tone issues, but I never thought it would be a fundamental restructuring such as this.
Nonetheless, this would solve some other issues in the story. I have several instances where the coincidences needed by the plot have seemed too convenient. By having the third person narrator relate them, this unlikely serendipity would be fixed (though I can’t say more without giving away too much). I gave a cursory read to Chapter 13 yesterday, just to see how well it would lend itself to being recast it in third person, and it didn’t seem that difficult. So now my question is should I finish writing the novel in the first person? (I’m inclined that way.) Or should I embark from this point in third person? Given the frame of mind I’ve sustained for the last year of writing, I think I will finish the first draft in the first person. I want to stay consistent with the manifold influences in the story telling so I don’t drop a thread or plot device because I’m in unfamiliar narrative territory. I think it will be easier to redo the whole (rather than parts) later.
This postponement also gives me time to ponder the nature of my new narrator. I’ve long thought that a narrator must have as much substance (at least in the writer’s mind) as any character in the story. My new narrator won’t be a character in the story given that he or she must have access to another character’s thoughts, but I want to know what kind of voice this new person uses, where the story would be told (around a campfire? over drinks at the club? in the witness box?), how intelligent the narrator is, and all of that kind of thing.