BASIC CONCEPTS

— When novelists claim they do not invent it, but hear voices and find stories in their head, they are neither joking nor crazy.

— When characters, narrators, or muses have minds of their own and occasionally take over, they are alternate personalities.

— Alternate personalities and memory gaps, but no significant distress or dysfunction, is a normal version of multiple personality.

— normal Multiple Personality Trait (MPT) (core of Multiple Identity Literary Theory), not clinical Multiple Personality Disorder (MPD)

— The normal version of multiple personality is an asset in fiction writing when some alternate personalities are storytellers.

— Multiple personality originates when imaginative children with normal brains have unassuaged trauma as victim or witness.

— Psychiatrists, whose standard mental status exam fails to ask about memory gaps, think they never see multiple personality.

— They need the clue of memory gaps, because alternate personalities don’t acknowledge their presence until their cover is blown.

— In novels, most multiple personality, per se, is unnoticed, unintentional, and reflects the author’s view of ordinary psychology.

— Multiple personality means one person who has more than one identity and memory bank, not psychosis or possession.

— Euphemisms for alternate personalities include parts, pseudonyms, alter egos, doubles, double consciousness, voice or voices.

— Multiple personality trait: 90% of fiction writers; possibly 30% of public.

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Monday, February 10, 2014

William Faulkner, in various Interviews, describes the Nature of Characters and the Process of Writing

“You can have no more control over [a character] than you would an incorrigible child.”

When Faulkner was asked how he chose such unusual but appropriate names for his characters, he replied that he did not name them: “They tell me their names.” What about the character in Pylon who does not have a name: “He never did tell me his name.”

Q: When you first begin to write a story, do you have a sort of an outline in your mind…?
A: I would say it develops itself. It begins with a character, usually, and once he stands up on his feet and begins to move, all I do is to trot along behind him with a paper and pencil trying to keep up long enough to put down what he says and does, that he is taking charge of it. I have very little to do except the policeman in the back of the head which insists on unity and coherence and emphasis in telling it. But the characters themselves, they do what they do, not me.

Conversations with William Faulkner. Edited by M. Thomas Inge. Jackson, University Press of Mississippi, 1999

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