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.

— Share site with friends.

Thursday, June 22, 2017

Judging Novels: Is it better to judge the literary merit of a novel according to the quality of what is written, or according to the process by which it was written?

This may seem like a silly question, because isn’t what is meant by literary merit the quality of what is written?

But judgment of quality is subjective. For example, Dickens is now often cited as a great writer. But at one time he was not taken seriously. And some former winners of prestigious literary prizes are now virtually forgotten. In short, you cannot make an objective determination of the quality of a novel by what people think of it.

What about the process by which a novel was written? If a novel was written by strictly following the rules for characters, plot, style, and themes of a particular genre, surely it cannot be judged a great novel, no matter how enjoyable. But what about literary novels? What makes a literary novel great?

The beginning of my approach is to ask: What do most great writers of literary novels have in common? What I have found in my study of over one hundred great writers is that they all show signs of having a writing process which involves a normal version of multiple personality.

But since I infer that over ninety percent of all novelists have a normal version of multiple personality—and that would include both the great and the mediocre—how would knowing their writing process help to distinguish them?

Moreover, how would anyone know a particular writer’s process, especially since even writers themselves have only a partial awareness of it?

I don’t have the answer. But at least I do have the question.

No comments:

Post a Comment

Thank you for taking the time to comment (whether you agree or disagree) and ask questions (simple or expert). I appreciate your contribution.