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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Saturday, December 29, 2018

Laziness, Literary Technique, and Loyalty: the Third Reason for Confusion in Novels

In my recent post on why some novels are confusing to readers (even though the writer has previously proved that he knows how to write clearly), I implied laziness (in editing and revision) and cited literary technique (an intentional use of confusion to induce trance in the reader).

A third reason for confusion is that the novel’s “voice” (co-writer alternate personalities, which the writer hears in his head) may have had a story that would be confusing to outsiders (readers), but they wanted the story to be told truthfully (according to the way they saw it).

And the writing personality felt that he ought to publish the voice’s version, out of loyalty to the creative people in his organization (especially since they hadn’t failed him in the past, and he didn’t know what he would do without them).

In short, the reasons for a confusing novel are one or more of the following: laziness, literary technique, and loyalty.

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