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, July 10, 2017

Authorial Intent (post 2): Not only literary fiction, but genre fiction, like detective novels, may be “discovered” by author, rather than being intentional.

Rereading my last post, I see that I restricted what I said to literary fiction, assuming that genre fiction, in contrast, was intentional: Surely detective novels, for example, whose clues and details have to be figured out and planned in detail, are intentional.

But in restricting what I said to literary fiction, I had forgotten the detective novelists I have discussed in this blog; for example, Sue Grafton, who has explicitly said that she has a sense of “discovering” her books, which seem to have been prewritten for her.

So it is not just literary fiction for which the concept of authorial intent is problematic.

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