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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Friday, October 21, 2016

Curing Writer’s Block: Implications of Multiple Identity Literary Theory, which holds that writers have and use a normal version of multiple personality.

What is blocked in writer’s block? That which normally goes on in the writer’s mind: a cooperative participation of the writer’s alternate personalities.

Thus, when writer’s block does occur, writers who are familiar with their alternate personalities will know with whom to discuss the problem.

There are two ways to communicate with alternate personalities: talking and writing. When writers talk with their characters, narrators, muses, and other voices, they are talking with their alternate personalities. When writers keep extensive journals, and sometimes find entries responding to their inquiries, expressing alternate views (which, if handwritten, may be in different handwritings), those mysterious entries are from their alternate personalities.

The cooperative participation of alternate personalities might be blocked by anything that causes, in the view of the alternate personality, a hostile work environment. For example, if a particular alternate personality is facilitated by a moderate blood-alcohol level or a mild depression, they may be blocked by excessive drinking or severe depression. Or an alternate personality might have artistic differences, and want to publish independently, under a pseudonym.

Since the possible kinds of complaints are infinite, it is best to ask your alternate personalities what is bothering them. If you think you have spoken to all your alternate personalities, but still have writer’s block, you may have alternate personalities whom you have not yet met. You may, in the words of Walt Whitman, contain multitudes.

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