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.

— Each time you visit, search "name index" or "subject index," choose another name or subject, and search it.

— If you read only recent posts, you miss most of what this site has to offer.

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Monday, March 3, 2014

An Interview in The Writer’s Chronicle makes the Classic Mistake

The Association of Writers & Writing Programs publishes The Writer’s Chronicle magazine. In the current issue—March/April 2014, pages 14-28—Richard Bausch, an award-winning writer and professor, is interviewed by Sarah Anne Johnson, author of The Art of the Author Interview: And Interviewing Creative People.

The interview includes the following question and answer:
Johnson: How do your characters arrive, in a piece of dialogue, a look, a gesture?
Bausch: It feels like they walk into the sentences I’m fumbling with and make their own space, and refuse to be subject to my will about them. So I let them do what they seem to want to do. Whenever they are the real thing, they surprise me. I don’t know what they’re going to do, and then they do it and I’m surprised without being incredulous. I know this sounds mystical and all that, but I really don’t mean it that way. I’m talking about how it feels.

This question and answer did not follow any discussion of character, and the question after it changes the subject. So what we appear to have is a routine question which assumes (based on the interviewer’s experience) that characters will “arrive” (as opposed to being created), and an answer by the writer that fulfills all the interviewer’s expectations.

Apparently the interviewer is not surprised to hear the writer say that his characters are not consciously created: They just walk in when he’s fumbling around and make their own space; they are not subject to his will, but do what they want to do, and surprise him; and it all appears to the writer to be a sort of mystical experience, in that it seems to be out of his control and to defy rational explanation.

The classic mistake in this interview is its failure to pursue what’s going on with the writer and his characters.

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