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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Friday, October 28, 2022

“The Writing Life” by Annie Dillard: “a work in progress will turn on you”

"I do not so much write a book as sit up with it, as with a dying friend. During visiting hours, I enter its room with dread and sympathy for its many disorders. I hold its hand and hope it will get better…


“This tender relationship can change in a twinkling. If you skip a visit or two, a work in progress will turn on you.


“A work in progress quickly becomes feral. It reverts to a wild state overnight. It is barely domesticated…As the work grows, it gets harder to control…You must visit it every day and reassert your mastery over it…” (1, p. 52).


“…One January day, working alone in that freezing borrowed cabin I used for a study on Puget Sound…I wrote one of the final passages of a short, difficult book…Mostly I shut my eyes. I have never been in so trancelike a state, and in fact I dislike, as romantic, the suggestion that any writer works in a peculiar state…” (1, p. 76).


Comment: She personifies a book being written as being able to turn on her. And how could a book get a will of its own? From alternate personalities involved in the process. And what might bring out alternate personalities? A “trancelike state,” which is psychological, not “romantic.”


1. Annie Dillard. The Writing Life. New York, Harper Perennial, 1989.

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