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, February 28, 2025

“Becoming Myself: A Psychiatrist’s Memoir” by Irvin D. Yalom: Author eavesdrops on his characters


Like a novelist with “multiple personality trait,”—my name for the mentally well, creative version of multiple personality disorder (a.k.a. “dissociative identity disorder,” common among fiction writers, as discussed in this blog—Dr. Yalom experiences person-like entities inside him that seem to have minds of their own (the definition of alternate personalities):


“I have often heard writers say a story writes itself, but I hadn’t understood it until then. After two months, I had an entirely new and deeper appreciation of an old anecdote that Marilyn [his wife] had told me years before about the English novelist William Thackeray. One evening, as Thackeray came out of his study, his wife asked how the writing had gone. He responded, ‘Oh, a terrible day! Pendennis [one of his characters] made a fool of himself and I simply could not stop him.’


“Soon I became used to listening to my characters speaking to one another. I eavesdropped all the time—even after finishing the day’s writing, when I was strolling arm in arm with Marilyn on one of the endless buttery beaches. Before long I had another writerly experience, one of the peak experiences of my life. At some point while deep into a story, I observed my fickle mind flirting with another story, one taking shape beyond my immediate perception. I took this to be a signal—an uncanny one, to myself from myself—that the story I was writing was coming to an end and a new one was readying for birth…” (1, p. 227).


1. Irvin D. Yalom. Becoming Myself: A Psychiatrist’s Memoir. New York, Basic Books, 2017/19. 

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