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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Tuesday, September 27, 2022

Margaret Wise Brown, author of children’s classics “Goodnight Moon” and “Runaway Bunny,” also wanted to write books for adults, but was prevented from doing so by her alternate personalities


“I am stuck in my childhood” (1, p. x) [by her younger alternate personalities]


“She still yearned to write something of literary merit for adults…[But] when she put her pencil to paper to write something for adults, another children’s story, poem, or song poured out…It felt like automatic writing, as if she was only the medium through which the stories came (1, p. 109). [how her regular, host personality experiences her alternate personalities controlling the writing from behind the scenes] 


“The sound of her pencil scratching on paper, the wind outside, and the crackling fire were often the only things she heard except the chatter in her head” (1, p. 191). [the voices of her alternate personalities]


“She was only comfortable writing about animals and children—she lost her way when she tried to write for grownups” (1, p. 222).


“For I believe that at five we reach a point not to be achieved again and from which ever after we at best keep and most often go down from. And so at 2 and 13, 20&30, 21&18…” (1, p. 240) [perhaps the ages of some of her chattering and writing alternate personalities]


1. Amy Gary. In the Great Green Room: The Brilliant and Bold Life of Margaret Wise Brown. New York, Flatiron Books, 2016.

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