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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Wednesday, February 3, 2016

An Open Secret—Normal Novelists have-use-enjoy Multiple Personality—and J. B. S. Haldane’s Four Stages in the Acceptance of New Ideas

The Open Secret

My new/old idea—that most fiction writers have a normal version of multiple personality—is more or less common knowledge among novelists. They may not think of it as multiple personality, per se, but, to paraphrase Margaret Atwood: Most novelists have a sense of having one or more personalities in charge of everyday life, and of having one or more other personalities (aka narrative voices, muses, shadows, characters, etc.) involved in the writing.

What do most people think of this idea? How might their attitudes evolve? They will probably go through four stages. I assume that most are still in the first.

Four Stages of New Ideas
by J. B. S. Haldane (1963) 

1. this is worthless nonsense;
2. this is an interesting, but perverse, point of view;
3. this is true, but quite unimportant;
4. I always said so.

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