Thoughts on swapping MCs at the halfway point?

Doogs · Oct 3, 2009

Hey all,

I'm in the planning phases of a sequel/not-sequel to The Scourge of Rome, and I'm toying with the idea of swapping one of my MCs for another about midway through. It sounds great it my head, but I wanted to float it and see if it raises any red flags for anyone.

The overarching story belongs to Scipio Africanus as he comes into his own about halfway through the Second Punic War between Rome and Carthage. His father and uncle have been killed in Spain, and, despite being just 25, the Senate invests him with their old command.

The first half of the novel deals with his activities in Spain, which ultimately result in the Carthaginians' expulsion from the peninsula. The second half takes the action to North Africa, which Scipio invades in a bid to lure Hannibal out of Italy and bring the long war to an end.

Scipio will be the "main" main character, but I also want to inject some different perspectives along the way, so I'm developing two fictional MCs to go along for the ride.

The first is young Marcus Ulpius, son of a lower-middle-class Roman family. He would play the role of green recruit, experiencing the Spanish campaigns from a simple legionary's perspective.

The second is Aulus Mamercus, a grizzled centurion and veteran of several of the war's earlier battles. He, with the other survivors of Cannae, has been sent to serve in exiled disgrace on Sicily. He is pushing 50 when Scipio arrives on the island with plans to invade Africa, and sees, at last, a chance for redemption.

I'd originally thought to carry Ulpius through the entire story, and only bring Mamercus in for the second half, but now I'm not so sure. The logistics of getting Ulpius from Spain and into Scipio's African legions would eat up word count, and I'm afraid he and Mamercus might end up being redundant.

Now, though, I'm considering giving Ulpius a happily-ever-after in Spain, and having him elect to remain there and help get the colony Scipio founds - Italica - off the ground.

This is of course the breeze-by version. There are much deeper motivations at work, which tie into trends any student of this period of the Roman Republic would recognize. But, from a structure standpoint - thoughts? Would the swap be too jarring? Would you as a reader be angered to find a main character suddenly exit stage left?

BAY · Oct 3, 2009

Doogs,

Is there a connection between the two POV? A meshing of the two characters in some way before the split would smooth the transition. As a reader, I feel cheated when a brand new character comes in after the half way point. It makes it hard to root for the newbie to achieve their goals (my personal bias here). That said, I find the three suggested POV's to be interesting--the redemption angle is a favorite of mine, so I would read on.

BardSkye · Oct 3, 2009

Does the story ultimately go back to Scipio? I think as a reader I wouldn't mind a few asides but would feel a bit put off if the main character just disappeared halfway through.

Would it work to alternate viewpoints throughout? A few chapters of one, a few chapters of the next, that sort of thing?

ishtar'sgate · Oct 3, 2009

I've read books like that and as a reader I feel quite disappointed unless the character builds in importance for a while before taking center stage - kind of slowly eclipsing the previous MC so his exit is more easily accepted. If it's not done correctly the reader is left caring for no one. I'm thinking of a book I read recently by a debut author whose novel was highly touted in the media. Unfortunately she kept switching MC's, so much so that I couldn't have cared less about the outcome of the story or what happened to any of them. It's a balancing act. Hope it works out for you.

mayamolly · Oct 4, 2009

Khaled Hosseini switched POV characters half way through A THOUSAND SPLENDID SUNS, and it worked fairly well-- a younger character became the point of view character, and she in many ways assumed parts of the older character's life and ultimately became a way for the older character (no longer the POV character) to redeem her own life. I think this works if one character symbolically finishes the story of the other character; their stories have to ultimately fit together as one story. I still wasn't crazy about A THOUSAND SPLENDID SUNS, though, and I thought that switching POV characters part way through was a little bit of a betrayal of my connection to the MC.

Doogs · Oct 4, 2009

Thanks for the thoughtful comments, everyone! This is all very helpful - much to chew on with this idea, I think.

To answer a few questions...

BardSkye said:
Does the story ultimately go back to Scipio? I think as a reader I wouldn't mind a few asides but would feel a bit put off if the main character just disappeared halfway through.

Yes, Scipio is the main character throughout the story.

It wouldn't be a Two Towers situation, where we follow STORY A for the first half, then abruptly shift to STORY B in the second half, with no connection between them.

Would it work to alternate viewpoints throughout? A few chapters of one, a few chapters of the next, that sort of thing?

I'm planning to alternate between Scipio/Ulpius and Scipio/Mamercus, but I don't think moving between Ulpius and Mamercus would work chronologically. During the first half, Mamercus would basically be twiddling his thumbs in Sicily, forbidden from wintering near any towns and stewing over not being paid for 6-7 years. And during the second half, Ulpius would be busy building a life in Italica, which might be interesting, but wouldn't jive well with the final showdown with Hannibal.

BAY said:
Is there a connection between the two POV? A meshing of the two characters in some way before the split would smooth the transition. As a reader, I feel cheated when a brand new character comes in after the half way point. It makes it hard to root for the newbie to achieve their goals (my personal bias here). That said, I find the three suggested POV's to be interesting--the redemption angle is a favorite of mine, so I would read on.

When I started developing the character of Ulpius, I'd intended a connection that would bring him and Mamercus together (Mamercus saved the life of Ulpius' uncle in a long-ago battle), but that kind of becomes irrelevant if one of them stays in Spain and the other is stuck in Sicily.

Additional question - would a "break" between the leaving of one character and the intro of the other soften the transition? There'd probably be a one-two chapter interval between the two (basically Scipio's return to Rome and dealings with the Senate)?

Carmy · Oct 4, 2009

I have to admit that I would like all the characters to be there from start to finish but it isn't always possible. I've read novels where there's a sudden switch of characters, and it's confusing. We can become so involved with them that we can't help but compare the new character with the old one we knew and probably loved.

May I suggest that Scipio and/or Ulpius/Mamercus mention the third character, maybe even discuss him. For example, Scipio and Mamercus could talk about one of the new recruits - Ulpius? Or, Ulpius could remember tales of Mamercus and his exploits, maybe even compare himself to the old warrior. That way, when the new character turns up as a POV he won't be a stranger to the reader.

BardSkye · Oct 4, 2009

Yes, I think a break would soften the blow, especially if the new characters have been at least mentioned, as Carmy said, sometime previous.

Doogs · Oct 4, 2009

Carmy said:
May I suggest that Scipio and/or Ulpius/Mamercus mention the third character, maybe even discuss him. For example, Scipio and Mamercus could talk about one of the new recruits - Ulpius? Or, Ulpius could remember tales of Mamercus and his exploits, maybe even compare himself to the old warrior. That way, when the new character turns up as a POV he won't be a stranger to the reader.

Glad to hear that suggestion!

FWIW, Mamercus was actually a pretty prominent secondary character in TSOR, serving as a senior centurion under Scipio during the earlier years of the war, and though he's completely fictional, I'm planning to keep that continuity in place, so Scipio, at least, will certainly reminisce about the old warhorse. And when the Senate tries to hobble Scipio's plans to invade Africa by giving him the disgraced Cannae legions, Scipio - who commanded them in the days after the battle - will know the mettle of the men.

PastMidnight · Oct 4, 2009

Doogs said:
Glad to hear that suggestion!

FWIW, Mamercus was actually a pretty prominent secondary character in TSOR, serving as a senior centurion under Scipio during the earlier years of the war, and though he's completely fictional, I'm planning to keep that continuity in place, so Scipio, at least, will certainly reminisce about the old warhorse. And when the Senate tries to hobble Scipio's plans to invade Africa by giving him the disgraced Cannae legions, Scipio - who commanded them in the days after the battle - will know the mettle of the men.

I didn't realize Mamercus was fictional. He's a great character and I think would provide a good POV. I do agree with what's been said, though, that it would be a bit jarring to bring him out of left field partway through this novel. As long as his reputation is built up for the reader throughout this book, there's no reason it shouldn't work.

Carmy · Oct 5, 2009

You're welcome, Doogs. I'm glad I could offer a sliver of help.

If Mamercus is a fictional character there are no historical limitations to what young Ulpius knows or thinks he knows about him, whether it's in the earlier novel or not.

Good luck!

BAY · Oct 5, 2009

As you wrote on Number 9: Yes, that would work. Good Luck.

Ruv Draba · Oct 5, 2009

Is this about viewpoint vs sympathy Doogs? A main character generally has reader sympathy, and also confronts the most challenge and change in the story. But a viewpoint can be whomever or whatever we like. Authors often choose viewpoint to maximise sympathy (we like Holmes a whole lot better seen through Watson's eyes than if we saw him through his own eyes) and to keep the reader close to the action (in thrillers, an author will sometimes cut to a victim's or villain's perspective).

The main concerns for narrative viewpoint are empathy -- we need to connect to the emotions of the scene, relevance -- we want to follow the drama, immediacy -- we want to see it as it occurs, and trust -- a narrative viewpoint need not be reliable but we still need to trust it.

Doogs · Oct 5, 2009

Ruv Draba said:
Is this about viewpoint vs sympathy Doogs? A main character generally has reader sympathy, and also confronts the most challenge and change in the story. But a viewpoint can be whomever or whatever we like. Authors often choose viewpoint to maximise sympathy (we like Holmes a whole lot better seen through Watson's eyes than if we saw him through his own eyes) and to keep the reader close to the action (in thrillers, an author will sometimes cut to a victim's or villain's perspective).

The main concerns for narrative viewpoint are empathy -- we need to connect to the emotions of the scene, relevance -- we want to follow the drama, immediacy -- we want to see it as it occurs, and trust -- a narrative viewpoint need not be reliable but we still need to trust it.

I guess it would be more accurate to say POV characters rather than main characters.

For the purposes of the story, Scipio is main character. Ulpius and Mamercus would occupy a tier just below, sort of akin to the spot Joshua Lawrence Chamberlain held in The Killer Angels.

They have story arcs of their own, but their major function would be to present a different perspective on events. Not only life in the ranks vs. the command tent, but able to observe things free of Scipio's baggage (and in cases bearing their own).

There's also the matter of many events relying on cunning and subterfuge. And shifting from Scipio to Ulpius' POV at a critical moment can help preserve the sense of surprise for the reader.

Puma · Oct 5, 2009

I think you can keep the two distinct and in two separate parts of the story - Ulpius in Spain with him becoming important enough he needs to stay there and Mamercus refound in Sicily - with a chapter or two intervention between the two. I'm not even sure Mamercus needs to be mentioned in the first part - the re-acquaintance can be taken care of pretty quickly through dialogue when Scipio arrives in Sicily - sort of a re-living the old campaign and recognition by Scipio of the possibilities if he takes Mamercus along to North Africa. My thoughts. Puma

lkp · Oct 6, 2009

Hmm, I am puzzled. Are you thinking of this as kind of a Great Gatsby novel, in which the novel is about Gatsby, but told by a different character? If so, I think it would feel odd to have that narrator switch in midstream.

What abut using omniscient narration? That way your two secondary characters can play big roles in the appropriate sections, but you are there throughout keeping the narratorial voice consistent.

Doogs · Oct 6, 2009

lkp said:
Hmm, I am puzzled. Are you thinking of this as kind of a Great Gatsby novel, in which the novel is about Gatsby, but told by a different character? If so, I think it would feel odd to have that narrator switch in midstream.

Not really, no.

The story will be told from three different close 3rd POVs, alternating at section or chapter breaks as necessary.

So basically, the story would be told through the eyes of Scipio, Ulpius, and Mamercus.

Scipio's POV would persist throughout the story. Ulpius would exit stage left once his role in the story is complete, and a chapter or so later, Mamercus would enter.

What abut using omniscient narration? That way your two secondary characters can play big roles in the appropriate sections, but you are there throughout keeping the narratorial voice consistent.

I suppose technically it will be omniscient, since there will be more than one POV, but I want to keep very close to those POVs.

lkp · Oct 6, 2009

Okay, that makes sense. I don't see why that wouldn't work.

For fear of starting the dreaded "what is omni" discussion again --- I wouldn't call that omni, just 3rd person limited using 3 POV characters. Omni needs a separate narratorial voice that is the "author."

BardSkye · Oct 6, 2009

A further thought: if you head the chapter with the POV character's name, that should make it very easy for the reader to keep track.

Steam&Ink · Oct 12, 2009

FWIW, Mamercus was actually a pretty prominent secondary character in TSOR, serving as a senior centurion under Scipio during the earlier years of the war, and though he's completely fictional, I'm planning to keep that continuity in place, so Scipio, at least, will certainly reminisce about the old warhorse. And when the Senate tries to hobble Scipio's plans to invade Africa by giving him the disgraced Cannae legions, Scipio - who commanded them in the days after the battle - will know the mettle of the men.

Doogs, I wonder if you can you rely on your reader having read TSOR when they start on your current WIP? If you're writing these as stand-alones, there is the very real possibility that your reader is meeting Mamercus for the very first time (always seems to happen to me in these kind of stand-alone-but-related novels; I read them bass-ackwards).

Most people have already said what I thought - that you need to at least establish Mamercus as a player in the novel so the switch is not too abrupt for the reader.

I also second Bardskye's helpful suggestion:

...if you head the chapter with the POV character's name, that should make it very easy for the reader to keep track.

Doogs · Oct 12, 2009

steampunkette said:
Doogs, I wonder if you can you rely on your reader having read TSOR when they start on your current WIP? If you're writing these as stand-alones, there is the very real possibility that your reader is meeting Mamercus for the very first time (always seems to happen to me in these kind of stand-alone-but-related novels; I read them bass-ackwards).

I'm actually operating under the assumption they will not have read TSOR. At this point, I'm considering it a novel-length background story. Mamercus is being carried over because I really dig the character, and his story makes him a perfect accompaniment to Scipio's African campaign, but to the reader, he's for all intents and purposes a new character.

Most people have already said what I thought - that you need to at least establish Mamercus as a player in the novel so the switch is not too abrupt for the reader.

Right now that's the challenge. I think I can make it work by seeding him into Scipio's thoughts and maybe a discussion or two. If not, I may have to revise Marcus Ulpius' storyline, but I REALLY don't want to do that. His staying to help get the colony of Italica off the ground fits way too well into some of the themes I'm messing around with, and offers a nod to the future of Rome that those who know their history will geek out over (hint - Google "Marcus Ulpius Italica").

Thoughts on swapping MCs at the halfway point?

Doogs

BAY

BardSkye

Barbershoppin' Harmony Whore

ishtar'sgate

living in the past

mayamolly

I haz a pomegranate

Doogs

Carmy

BardSkye

Barbershoppin' Harmony Whore

Doogs

PastMidnight

Oponionated

Carmy

BAY

Ruv Draba

Doogs

Puma

Retired and loving it!

lkp

Doogs

lkp

BardSkye

Barbershoppin' Harmony Whore

Steam&Ink

sekrit superhero

Doogs