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I'm writing a story written in third-person limited, and the main character has no real name. They simply go by the nickname they're given by the people they hang around at the time, resulting in many different nicknames depending on where they are. Then, they're finally given a normal name that doesn't sound like a title of some sort.
So, what I was thinking of doing was: in the first handful of chapters, third person refers to them as one of their old nicknames, and continues doing so even after they are given a real name in their new environs. Then, at some point, as their character grows attached to the people who call them by that name (and by extension, the name itself), the third person refers to them as their new nickname.
This is meant to mark a point in the story where the character no longer sees themselves as a tool or symbol as they used to in the past, instead seeing themselves as a person as the people surrounding them now see them as. Also, it's meant to mark a point when they'd become comfortable with their new environs, whether they'd like to admit it or not.
Would this seem too jarring for the reader, though? All characters would still refer to them as their new name (outside of flashbacks), and rare changes in PoV before the character's change would still refer to them by their new name.
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No, of course it isn't!!!
If you read Anthony Horowitz's Moriarty, you'll see that's exactly what he did.
(I hate to spoil this) He started the story as 'Let me tell you my name is Frederick Chase' and the main villain of the story is Moriarty, although he never appears. At the end, 'Frederick' shoots the other main protagonist of the story, and the reader finds out that 'Frederick' is actually Moriarty himself! Genius!
My point is, you can tell the reader anything you want as long as the story's interesting and understandable.
It would be cheating if you want to make believe your reader that they are two different persons.
Song of Ice and Fire spoiler :
Theon/Reek is a good example.
But if your are clear about the character, it is done too many time to even list examples. All Characters have name, surname, nicknames,aliases, descriptions. That's even a way to avoid repetitions.
In The Acts of the Apostles, leading protagonist Paul is initially introduced by his given name Saul, at which point he is an antagonist to the other heroes of the story. The narrator, Luke, who incidentally has no problem switching from third-person to first-person and back at will, changes the name of this character once he changes sides and is 'given a new name' by the heroes' leader. That book is part of an anthology that has been a bestseller for hundreds of years, so I believe readers can accept it under some circumstances.
It sounds like naming is at the core of the story, and while name changing may break the rules of storytelling in our culture, it is in fact an ancient tradition to tell a story about how the main character earned their (new) name.
The concern you have to not betray the reader's investment in your story makes you a responsible bridge builder to another level of knowledge in the power of words themselves. I wish you well in this endeavor!
If the protagonist is a con-man, then you could use something like
He had caused enough chaos here, thought Robert. Time to move on, Aliceville will do; it is only 2 days travel north. But what name did he use there? Billy, he finally recalled. Too many places, too many aliases to remember.
Use the main character's own viewpoint as a guide. They will have a reaction to the name, and to being given the new name. They will make meaning of it. They will attach some significance to it.
They will have a reaction to the third person continuing to call them by their old name, and to the third person's transition to the new name.
And these reactions will change over time.
In the main character's viewpoint, attend to these reactions. They are gold for characterizing the main character and their relationships with the other characters. They will help keep the reader involved, and will help the reader track the transition.
Let the reader experience the meaning and significance of the name through the character's own evolving reaction to it.
Let me give you historical examples where this was done, and how/when this has been done well in popular fiction.
Starting in fuedal Japan, the height of the 'samurai age' there. When a boy is born, he's given a name. Literally referred to as his 'childhood name'. As he studies the way of the samurai (Bushido, lit. the way of the warrior) and grows in his training, he is eventually granted the title of samurai. To symbolize this, he takes a new name.
Then how about 'Christian names'. In many places across the Christianised world, you have a 'cultural name', if you country was recently Christianised, or more predominantly in African countries. But when you are baptised, you take a 'Christian name'. FYI, this is still a common occurrence in the Netherlands, where if you live in the 'bible belt', people will tell you their 'Christian name' is [...].
This is also quite common in Western Pop Culture. See P. Diddy (or was it Puff Daddy...?) The Edge, The King of Rock and Roll. It's common for someone to 'take a new name' as a performing artist, or a writing pseudonym.
Now, onto fiction. The Elder Scrolls V: Skyrim. The first emperor of Skyrim was known by many names. Talos of Atmora, Tiber Septum (birth name, btw), the Hero-god of man, the God of War. If you refer to any of these names, you refer to Talos, and likely to Talos worship which is outlawed by the White Gold Concordat. It's not wrong to refer to this person by any of these names, even though the name used to refer to him does show what you wish to see in him (like the OP suggests for the name change in the phrasing I answer).
Another, and perhaps even more famous example, is Count Dracula. In the original work of Bram Stoker, he isn't referred to by much other than his name or station, but. Look at how modern fiction portrays this iconic character. From Hellsing and Hellsing Ultimate (Alucard, lit. name spelled backwards). To Vlad the Impaler (historical basis). To the Scourge of the Turks (historical basis). To the Father of the Vampiric Nation, and Drake (Blade Trilogy). In many vampire mythos, Dracula is the Adam of the vampires, the progenitor and has either a cult-like following, or a mythic status, or a god-like presence in which nations fall when he rises in the night.
Another common trope used in mystery novels, and sometimes thrillers, is an almost 'split personality' type villain, where (s)he's in plain sight the whole time, but secretly plotting behind your back or acting via proxies and often under a pseudonym. In this way, how the narrator refers to the villain is decided purely on whether they are 'villaining' or 'hiding'.
So. I'd have to say, if the narrator changes the name being used, there is precedent in history, fiction, and pop culture. So go for it.
Another option is to have a dialog affirmation. Use an antagonist or villain of some sort who would use the old name after the new name was given, only to be corrected by the hero, and then as the narrator, refer to the new name. This would allow for the character and the narrator to be in sync that this new name will be used. From there, the narrator will never refer to the hero by the old name, excepting from dialog from people who would not know the new name (And Flashbacks... maybe... depends on how the hero sees himself.
"Ah, [Old Name]," The villain said, assuming a fighting stance "We meet again."
Insert suitably dramatic actions
"I am [New Name]," [New Name] said, as he delivers the final blow to the villain.
Interesting question. Changing a character's name is definitely jarring to the reader (at least it has been to me). The best suggestion I've found to deal with that is to create tension about the name. If the reader spends half the story wondering what the true name is and building up to that, they'll want the name to be revealed, and it won't be jarring at all. However, you are dealing with a slightly different problem.
You say:
Then, they're finally given a normal name [...]
This leads me to conclude that this isn't so much a birth name, as a name selected by people who care about this character. That makes how you refer to the character very important and symbolic, as you seem to have figured out.
I think the same principle as above might apply here, if you change it a bit. Introduce tension surrounding the name. Will the character accept it? If the reader wants the character to adopt this new name, then they will cheer when he starts using it, rather than be surprised or confused. Be sure to keep increasing the tension for awhile; the more the reader anticipates the name change, the better.
I think no matter what you do, referring to this character by their new name in narration will be jarring. I think you can lessen that effect by building tension as I've suggested, and also include a scene or internal monologue where the character actually decides to use his name now. Have him basically say or think, 'never again will I be called [nicknmae]. From now on, I am [name].'
The last thing I would suggest is not to surprise the reader. Don't save using that name for the first time for the next chapter. Once the character says the above, call them that name in narration. Or better yet, acknowledge both names in narration and basically reiterate what the character just said. So for example:
[Nickname] was [nickname] no longer. He was [name]. And [name] would never return to who he used to be.
In those three lines I restate what the character just said, and then use the name in narration myself, just to drill it home. THEN you can end the chapter (because that seems like a good point for a chapter to end to me - totally optional though). The point here is that the first time you use the new name in narration, should not be the opening of a new chapter. I think that could be really jarring, especially if the reader paused between chapters for any good length of time.
Best of luck in your writing!
As long as the change is obvious that sounds like an interesting take on naming your character. You should think about how the exact change happens - it's probably unnatural if your narrator suddenly completely switches from one name to the author.
Old habits die hard.
You could for example make it pretty obvious by letting the narrator start with the first name and interrupt himself:
You know, Doo- I wanted to say Doodler again, sorry - You know, Rebecca, that's a very fine idea.
And after one or two such mistakes it becomes normal to use the latter name.
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