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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Sunday, July 27, 2014

Failure is Our Muse—a New York Times Sunday Review essay on Writers—Fails to Address Muse

Stephen Marche says that “Three hundred thousand books are published in the United States every year. A few hundred, at most, could be called financial or creative successes. The majority of books by successful writers are failures.” He says that a writer’s greatest virtue may be persistence, but considering the likelihood of failure, it is a virtue almost “indistinguishable from stupidity.”

However, that’s not the worst of it, since even literary success may be ultimately attributable not to the writer, but to the writer’s muse (or, in Henry James’s phrase, “the madness of art”). And this is not just with “literary” novelists. A successful detective novelist may speak of discovering her books—that her future books may already have been written—since her muse always knows what’s going to happen next before she does.

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