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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Monday, October 23, 2017

Novelists like “a room of one’s own” to alter their state of consciousness, but also so people won’t see their physical appearance change from Jekyll to Hyde.

To get ready to write, most novelists have a routine that helps them to alter their state of consciousness. Some novelists have compared writing to self-hypnosis. And to do self-hypnosis, it helps to have a quiet place, with everything the way they want it; in other words, a room of one’s own.

But once novelists become adept at their self-hypnosis, they could do it almost anywhere, such as coffee shops. So there must be an additional reason that many novelists prefer to write in seclusion.

Although most novelists don’t think of themselves as having multiple personality, per se, many do think of themselves as having a regular self and a writing self—which is multiple personality, even if they don’t call it that—and in multiple personality, it is common for alternate personalities to see themselves as looking different from the regular personality. Thus, seclusion may be preferred to prevent other people from seeing the change in appearance when the person switches from the regular, host personality to any of the alternate personalities.

Of course, if you were to ask novelists if they change appearance when they write, they would probably deny it, because you would be speaking to the regular personality, not an alternate personality. The regular personality has only a vague idea, if any idea at all, about the alternate personalities.

It is the alternate personalities who think that they look different, and who would prefer seclusion, in a room of their own, so that you don’t see them.

Why, then, are some novelists comfortable writing in the presence of other people? Either their alternate personalities remain inside during the writing or they have decided that most people are unobservant and don’t notice that they look different.

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