Oneiromancer has an ensemble cast. It has five characters who think they’re the star; each has a point of view and rather like having the focus on them, thank you very much. This is great. This is the story I wanted to tell and it’s a lot of fun, slipping beneath skins and giving different perspectives. Like a movie I can select the viewpoint and give the information I want given.
But, inevitably, there is a problem. Put simply, I don’t know how to start the novel. My early drafts had each ‘hero’ taking their turn: building a scene as they saw it, and then moving to the next person. And, as I’ve never been a big fan of ‘five men walked into a bar’ setups (although I am a big fan of bars), each of them was in a different place, a different time, with no connection to the scene that came before.
In other words I had a series of ‘starts’, none of which built on a narrative. Early criticism was that the novel didn’t really cohere until around the fifth chapter, by which time we’d met all the main players.
So I rewrote the beginning. I removed some early POV changes/introductions and tried to ‘flow’ from one character to the other. But it seems I didn’t go far enough. More simplification is needed. More difficulties are to be overcome.
Oneiromancer is a long novel. All the characters are well bound together, and the POV changes – I think – work well over the long haul. I don’t want to change it. Besides, lots of novels have ensemble casts and continent-spanning perspectives aren’t something to be feared.
But we still have to get the beginning down. Nobody will stick around to witness the genius of my legerdemain if they give up on the novel before my characters collide. Agents base their initial decisions on less and less material: ten pages is now normal. Why should they – or you – read more than that? It’s not as if we’re starved of quality literature.
So it’s back to the start with me. Lop off the first chapter, extract any relevant info, compress and sneak it back in later. And then it’s all about the hope – and the next round of beta reading and feedback and rejection – that this time it works. That I can properly bait the audience until they’re hooked, unable to wriggle away.
Ensemble casts are, in summary, a bugger. If anyone has any answers I’m all ears.