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Develop a Multiple Personality (Jokingly) to Create Amazing Stories (Seriously)

In the fascinating universe of narrative creation, there’s a secret that few illustrators and artists know: your greatest creative ally can be… yourself! But not the “you” that criticizes every stroke and doubts every idea, but rather the multiple versions of you that can collaborate in perfect harmony. Have you ever wondered why your best ideas emerge when you least expect them? Or why that character you drew without thinking too much turned out to have so much potential? The answer might be found in a mental game that will transform your creative process forever.

Imagine being able to dialogue with different aspects of your creativity as if they were trusted collaborators. This revolutionary approach will not only unlock your narrative potential but also accelerate your creation process, allowing you to develop worlds and stories with a depth and originality that will surprise both your readers and yourself. Get ready for a journey to the heart of your creativity, where you’ll discover that the key to telling extraordinary stories has always been within you… or rather, within all your “selves”.

The Power of Self-Respect: The Foundation of Every Great Story

You know what your problem is? You doubt too much about everything you do. If you were dealing with someone else, and not yourself, you would surely accept more easily some of the ideas that occur to you, and discover that they’re not so bad. What if, then, you did the same with yourself? What if you could offer yourself the same respect that you usually reserve for others?

This dynamic of ruthless self-criticism is common among visual artists and storytellers. Many comic creators spend hours redrawing the same panel over and over, discarding brilliant ideas because they consider them “too simple” or “not original enough.” The irony is that those same ideas, if they came from a respected colleague, you would probably value as pure gold.

The first step to developing extraordinary stories is to establish a relationship of respect with your own creative process. Every sketch, every idea you scribble on a napkin during breakfast, every strange dream you remember upon waking… all are gifts from your creative subconscious. The “you” that generates these ideas deserves as much respect as any comic master you admire.

This shift in perspective is not trivial. When you begin to see your ideas as valuable proposals from a trusted collaborator (who happens to be another facet of yourself), self-censorship decreases and creative flow amplifies. Want to unlock your full narrative potential? Explore proven methods here to free your creativity and start treating your ideas with the respect they deserve.

Build on the Foundation: The Art of Growing from What You’ve Already Created

If you’ve already started writing your story, trust the material you’ve already put down on paper. It’s very possible that, in the heat of the battle for creativity, you’ve lost sight of what made you introduce this or that element. What did you see in the warrior woman, who secretly possesses a tattoo that allows her and anyone within a meter of her to breathe underwater? Maybe you don’t remember now, or maybe you never knew, but believe me: you put her there for a reason.

Respect her, now is not the time, when you’re writing a page that takes place four scenes later, to change her power to better withstand the burning rays of the desert sun, and store her energy to make plants grow. No. Take what you already have and focus on inventing forward, as if someone else had brought you a half-written story for you to finish.

This technique of “building upon what’s built” is fundamental in the world of comics and narrative illustration. Great masters of the medium like Alan Moore, Neil Gaiman, or Naoki Urasawa rarely discard elements they’ve previously introduced. Instead, they explore them more deeply, discovering connections and meanings they hadn’t initially planned.

Think of it this way: each element you introduce in your story is like planting a seed. Don’t pull up the seeds you’ve already planted just because you can’t immediately see how they’ll fit into the final garden. Give them time and space to grow, and you’ll be surprised by what blooms.

For example, if you’ve drawn a character with six fingers on one hand for no apparent reason, don’t hastily “correct” it. Ask yourself: what story might be behind this distinctive trait? Is it a mark of their lineage? A consequence of some supernatural event? Or perhaps a clue to something bigger that will happen later?

The first correction should always come after you’ve written the last word of the first version of your comic script. That’s what drafts are for! Complete them first, correct them afterward. This approach will allow you to maintain the internal coherence of your narrative world while discovering organic connections between elements that initially seemed disparate.

The Drawer Method: How to Become Your Best Editor

You need to be able to look at your creation with fresh eyes. For this, all great writers have a drawer. Sometimes it’s real, sometimes metaphorical. But you should always have a place where you can comfortably store a story you’ve already written, waiting until you can, at least partially, forget about it.

Joe Kubert and Norm Breyfogle, legendary comic artists, used to let their work “rest” for weeks before reviewing it. In 1953, at the height of their creative collaboration, they developed a system where they exchanged their drafts, allowing each to bring a fresh perspective to the other’s work. This dynamic allowed them to create some of the most memorable stories of their time.

Only then, aided by the passage of time, can you open the drawer, take that version of the story, and reread it from the beginning, taking notes occasionally. Don’t look to modify anything important: at this moment it’s as if you were commenting on someone else’s work. Later, yes, once you’ve finished, you’ll need to take these observations into account and modify the material accordingly.

Then put the story back in the drawer, and repeat: until it’s finished. Notice how throughout this process you are three or four different people:

  • The impulsive creator: who writes a version of the story and puts it in the drawer
  • The person who lives: who continues their life carefree and accumulates new experiences
  • The objective editor: who takes a story from the drawer and comments on it as if it were someone else’s work
  • The patient craftsman: who receives this draft with corrections and prepares to rewrite

This method not only allows you to technically improve your work, but also helps you develop a healthier relationship with your creative process. By temporarily separating the roles of creator and critic, you reduce the anxiety associated with immediate self-criticism and allow both facets of your personality to work at their optimal time.

It’s like testing a sword and forging it again. You don’t bring the anvil and hammer to the training field, you simply slash the straw dummies and observe how the sword handles them. How it feels in your fist. Well, this is the same: become another person when correcting yourself, and then yet another when rewriting.

The ideal time for this “creative rest” varies according to each artist. Some need only a few days, while others prefer to wait months. What’s important is that it’s enough for you to approach your work with a renewed perspective, as if seeing it for the first time. Discover practical strategies here to optimize your creative cycles and find the perfect balance between production and refinement.

The Internal Reader: Learn to Read Your Own Stories

Most commonly, when a comic author reviews a work already published (if they do: many refuse to touch it, or want to spend time creating new comics, or with their family, not revisiting finished work; and honestly, I don’t blame them) they constantly think of things they could do if they were still writing it.

That’s like running into an ex-girlfriend on the street and thinking “If we were still dating, I could invite her to the movies this weekend.” Logical, but useless. No, what you should do is try with all your might, as best you can, to put yourself in the shoes of a reader who is reading it… I’m not saying for the first time, because it might be impossible to achieve that much, but someone who is rereading it after a long time.

Osamu Tezuka, considered the god of manga, had a particular technique: he kept his finished manga in a special box and reread them months later pretending to be a child discovering them in a library. This practice allowed him to genuinely evaluate whether his work achieved the emotional effect he sought in his audience.

Forget a little that you know what will happen next, try not to think that you’re the one with the power to modify the story, to decide what will happen. Because, ultimately, you don’t have it! The comic is already finished, you’ve already drawn it, several people have read it. The idea that you could modify something that happens in it is an illusion, try to ignore those voices.

Forget that you were you. Just think that you are you, now, or if you can imagine being someone else, and read the comic you have in your hands. That was made by another person with your same name, somewhat younger. Think:

  • What are they telling you about this main character?
  • What about the secondary characters?
  • Is there a villain?
  • How is the story told: at what moments does it move from one scene to the next, how many panels are dedicated to each event?
  • Do you agree with the message of the story?

Maybe it seems a bit naive to you. Or the opposite: maybe it reminds you of values that you set aside some time ago and it would be good to recover. All this and much more can unfold before you when you read your own story through someone else’s eyes.

This practice of “distanced reading” provides you with invaluable data about your own narrative style and your strengths as a storyteller. Click here to access tools that will enhance your narrative analysis capacity and help you become a better reader of your own work.

Internal Dialogue: Techniques to Foster Collaboration with Your Other “Selves”

Don’t fear receiving some kind of damage to your psyche, on the contrary. You are always still you, you’re just playing. But aren’t we all, in some way, multiple people? Isn’t there a bit of you in each of your characters? Playing at being someone else for a while might be what frees you from the restrictive weight of always having to act as you would act. Dare to embrace this freedom and you’ll be surprised by how much you find yourself!

This concept of “creative multiple personality” is not new in the art world. Salvador Dalí frequently talked about how he conversed with different aspects of his personality while painting. Will Eisner, pioneer of modern comics, described his creative process as an “inner conversation” between the narrator, the artist, and the critic who coexisted in his mind.

An effective technique to foster this internal dialogue is to assign names or even personalities to your different creative facets. For example:

  • The Dreamer: that part of you that generates ideas without worrying about their viability
  • The Architect: who structures and organizes ideas into a coherent narrative
  • The Artist: who translates ideas into concrete images
  • The Editor: who reviews and refines the work with a critical eye

By recognizing these different facets, you can “schedule meetings” with each of them at different stages of the creative process. You can even create specific rituals to activate each personality: perhaps The Dreamer works best in the morning with a cup of tea, while The Editor is more effective at night with classical music in the background.

This methodology not only makes the process more fun, but also allows you to access different optimal mental states for each phase of creation. Ready to take your creative process to the next level? Enter here to discover how to enhance each facet of your creativity and achieve a more harmonious internal collaboration.

Sincere Feedback: The Value of Being Brutally Honest with Yourself

One of the most valuable advantages of developing these “creative personalities” is the ability to get honest feedback from yourself. When you assume the role of an objective reader, you can ask yourself difficult but necessary questions:

  • Does this sequence really work or am I being indulgent with an idea I like but doesn’t serve the story?
  • Does this dialogue sound natural or am I forcing the character to say something I want to express?
  • Does the rhythm of the panels maintain interest or am I losing the reader in unnecessary details?

Craig Thompson, author of “Blankets” and “Habibi,” keeps a journal where he dialogues with himself about his ongoing projects. In these written conversations, he alternately assumes the role of enthusiastic creator and ruthless critic, achieving a balanced perspective that has allowed him to create some of the most acclaimed graphic novels of recent decades.

The key is to keep this process constructive, not destructive. It’s not about demolishing your confidence, but refining your work with the same care and attention you would give to a colleague you deeply respect. After all, the most valuable criticism comes from someone who truly understands and appreciates what you’re trying to achieve.

By practicing this sincere but compassionate feedback, you’ll gradually develop an internal “radar” that will alert you to narrative problems while you work, accelerating your creative process and improving the quality of your stories. Delve into the art of constructive self-criticism by clicking here and discover how to transform each weakness into an opportunity for artistic growth.

The Game of Perspectives: How to Explore Different Narrative Viewpoints

This technique of multiple personalities not only improves your creative process, but can also directly enrich your stories. By regularly practicing changing perspective with yourself, you naturally develop the ability to inhabit different characters in your narratives.

Hayao Miyazaki, master of Japanese animation, frequently talks about how he “becomes” each of his characters while developing his scripts. Even those with just a few minutes on screen receive the same attention: Miyazaki imagines their complete lives, their hopes, their fears, their characteristic gestures. This deep immersion is what gives his secondary characters an authenticity that many protagonists in other works fail to achieve.

To develop this skill, you can create a simple but powerful exercise: choose a scene from your story and write or draw it from the perspective of three different characters. How does the villain experience this confrontation? What details would the secondary character notice that the protagonist overlooks? What meaning would this event have for someone completely outside the main plot?

This exercise not only enriches your understanding of the characters, but can also reveal new narrative directions you wouldn’t have considered from a single perspective. Many brilliant plot twists are born precisely from this exploration of alternative viewpoints.

By mastering the art of quickly switching between perspectives, your stories will acquire a texture and depth that will captivate readers, inviting them to fully immerse themselves in the world you’ve created.

The Evolution of the Method: Adapting the Technique to Your Personal Style

As with any creative methodology, the multiple personality technique must be adapted to your own rhythm and work style. There is no single formula that works for all artists. Some thrive with a very defined structure, while others prefer a more fluid and intuitive approach.

Experiment with different variations of the method until you find what works best for you:

  • Separate journals: Some artists maintain physically separate notebooks for each creative “personality,” with different colors or formats.
  • Designated schedules: Others assign specific times of the day or week for each facet of the process (Mondays for new ideas, Tuesdays for structuring, Wednesdays for drawing, etc.).
  • Different environments: Physically changing spaces can facilitate the mental shift (creating in a café, editing in your studio, reviewing in the park).
  • Specific tools: Using different instruments for each phase (pencil for initial ideas, ink for defining, digital for refining).

Frank Miller, creator of “Sin City” and “300,” has mentioned in interviews how he deliberately changes his approach according to the project phase: he begins with quick, chaotic ink sketches, then adopts a more calculating mindset for page composition, and finally becomes a “film director” to visualize the narrative flow.

The important thing is that the method liberates you instead of limiting you. If at any point you feel that these “personalities” become obstacles or generate more anxiety than creativity, don’t hesitate to adjust or simplify the approach. The ultimate goal is always to facilitate your artistic expression, not complicate it. Looking to perfect a methodology that perfectly adapts to your creative flow? Explore customizable resources here that will help you find your own path to narrative excellence.

Beyond the Page: Applying the Method in Everyday Life

As you become familiar with this technique, you’ll discover that its benefits transcend the creative realm. The ability to see situations from multiple perspectives and maintain a constructive internal dialogue is an invaluable skill in all aspects of life.

Many artists report that after practicing this method for months or years, they experience:

  • Greater empathy in their personal relationships
  • Improved ability to resolve conflicts
  • Reduction of negative thought patterns
  • Greater ease in making complex decisions
  • A more compassionate relationship with themselves

Art Spiegelman, creator of “Maus,” has spoken extensively about how his creative process helped him process family traumas and develop a deeper understanding of his father’s experiences during the Holocaust. What began as a narrative technique became a powerful instrument of human understanding.

By deliberately cultivating different perspectives within yourself, you develop a mental flexibility that can serve as an anchor in times of uncertainty and as a bridge to experiences and people who initially seemed incomprehensible.

Conclusion: The Transformative Power of Your Multiple Creative Selves

Throughout this journey through the world of multiple creative personalities, we’ve discovered that far from being an eccentric technique, this approach represents a natural and powerful way to unleash your narrative potential. By allowing yourself to dialogue with yourself from different perspectives, you not only enrich your stories, but also fundamentally transform your relationship with the creative process.

Remember that this method doesn’t fragment you, but integrates you more fully. By recognizing and valuing the different facets of your creativity, you create a space where all can coexist and collaborate harmoniously. The result is not dispersion, but a richer and more complex unity of your creative self.

Each story you create under this approach will bear the mark of this internal diversity, offering your readers not just entertainment, but windows into multiple ways of experiencing and understanding the world. In a time where polarization and rigid perspectives dominate many conversations, your art can become a bridge that invites others to experience the richness of diversity of thought.

So go ahead: summon your internal council of creatives, listen to their diverse voices, and let their conversations guide you to narrative territories you would never have explored alone. The next great story that will fascinate your readers might be waiting precisely in that inner dialogue.

Don’t fear receiving some kind of damage to your psyche, on the contrary. You are always still you, you’re just playing. But aren’t we all, in some way, multiple people? Isn’t there a bit of you in each of your characters? Playing at being someone else for a while might be what frees you from the restrictive weight of always having to act as you would act. Dare to embrace this freedom and you’ll be surprised by how much you find yourself!

Join us

Develop a Multiple Personality (Jokingly) to Create Amazing Stories (Seriously)

In the fascinating universe of narrative creation, there’s a secret that few illustrators and artists know: your greatest creative ally can be… yourself! But not the “you” that criticizes every stroke and doubts every idea, but rather the multiple versions of you that can collaborate in perfect harmony. Have you ever wondered why your best ideas emerge when you least expect them? Or why that character you drew without thinking too much turned out to have so much potential? The answer might be found in a mental game that will transform your creative process forever.

Imagine being able to dialogue with different aspects of your creativity as if they were trusted collaborators. This revolutionary approach will not only unlock your narrative potential but also accelerate your creation process, allowing you to develop worlds and stories with a depth and originality that will surprise both your readers and yourself. Get ready for a journey to the heart of your creativity, where you’ll discover that the key to telling extraordinary stories has always been within you… or rather, within all your “selves”.

The Power of Self-Respect: The Foundation of Every Great Story

You know what your problem is? You doubt too much about everything you do. If you were dealing with someone else, and not yourself, you would surely accept more easily some of the ideas that occur to you, and discover that they’re not so bad. What if, then, you did the same with yourself? What if you could offer yourself the same respect that you usually reserve for others?

This dynamic of ruthless self-criticism is common among visual artists and storytellers. Many comic creators spend hours redrawing the same panel over and over, discarding brilliant ideas because they consider them “too simple” or “not original enough.” The irony is that those same ideas, if they came from a respected colleague, you would probably value as pure gold.

The first step to developing extraordinary stories is to establish a relationship of respect with your own creative process. Every sketch, every idea you scribble on a napkin during breakfast, every strange dream you remember upon waking… all are gifts from your creative subconscious. The “you” that generates these ideas deserves as much respect as any comic master you admire.

This shift in perspective is not trivial. When you begin to see your ideas as valuable proposals from a trusted collaborator (who happens to be another facet of yourself), self-censorship decreases and creative flow amplifies. Want to unlock your full narrative potential? Explore proven methods here to free your creativity and start treating your ideas with the respect they deserve.

Build on the Foundation: The Art of Growing from What You’ve Already Created

If you’ve already started writing your story, trust the material you’ve already put down on paper. It’s very possible that, in the heat of the battle for creativity, you’ve lost sight of what made you introduce this or that element. What did you see in the warrior woman, who secretly possesses a tattoo that allows her and anyone within a meter of her to breathe underwater? Maybe you don’t remember now, or maybe you never knew, but believe me: you put her there for a reason.

Respect her, now is not the time, when you’re writing a page that takes place four scenes later, to change her power to better withstand the burning rays of the desert sun, and store her energy to make plants grow. No. Take what you already have and focus on inventing forward, as if someone else had brought you a half-written story for you to finish.

This technique of “building upon what’s built” is fundamental in the world of comics and narrative illustration. Great masters of the medium like Alan Moore, Neil Gaiman, or Naoki Urasawa rarely discard elements they’ve previously introduced. Instead, they explore them more deeply, discovering connections and meanings they hadn’t initially planned.

Think of it this way: each element you introduce in your story is like planting a seed. Don’t pull up the seeds you’ve already planted just because you can’t immediately see how they’ll fit into the final garden. Give them time and space to grow, and you’ll be surprised by what blooms.

For example, if you’ve drawn a character with six fingers on one hand for no apparent reason, don’t hastily “correct” it. Ask yourself: what story might be behind this distinctive trait? Is it a mark of their lineage? A consequence of some supernatural event? Or perhaps a clue to something bigger that will happen later?

The first correction should always come after you’ve written the last word of the first version of your comic script. That’s what drafts are for! Complete them first, correct them afterward. This approach will allow you to maintain the internal coherence of your narrative world while discovering organic connections between elements that initially seemed disparate.

The Drawer Method: How to Become Your Best Editor

You need to be able to look at your creation with fresh eyes. For this, all great writers have a drawer. Sometimes it’s real, sometimes metaphorical. But you should always have a place where you can comfortably store a story you’ve already written, waiting until you can, at least partially, forget about it.

Joe Kubert and Norm Breyfogle, legendary comic artists, used to let their work “rest” for weeks before reviewing it. In 1953, at the height of their creative collaboration, they developed a system where they exchanged their drafts, allowing each to bring a fresh perspective to the other’s work. This dynamic allowed them to create some of the most memorable stories of their time.

Only then, aided by the passage of time, can you open the drawer, take that version of the story, and reread it from the beginning, taking notes occasionally. Don’t look to modify anything important: at this moment it’s as if you were commenting on someone else’s work. Later, yes, once you’ve finished, you’ll need to take these observations into account and modify the material accordingly.

Then put the story back in the drawer, and repeat: until it’s finished. Notice how throughout this process you are three or four different people:

  • The impulsive creator: who writes a version of the story and puts it in the drawer
  • The person who lives: who continues their life carefree and accumulates new experiences
  • The objective editor: who takes a story from the drawer and comments on it as if it were someone else’s work
  • The patient craftsman: who receives this draft with corrections and prepares to rewrite

This method not only allows you to technically improve your work, but also helps you develop a healthier relationship with your creative process. By temporarily separating the roles of creator and critic, you reduce the anxiety associated with immediate self-criticism and allow both facets of your personality to work at their optimal time.

It’s like testing a sword and forging it again. You don’t bring the anvil and hammer to the training field, you simply slash the straw dummies and observe how the sword handles them. How it feels in your fist. Well, this is the same: become another person when correcting yourself, and then yet another when rewriting.

The ideal time for this “creative rest” varies according to each artist. Some need only a few days, while others prefer to wait months. What’s important is that it’s enough for you to approach your work with a renewed perspective, as if seeing it for the first time. Discover practical strategies here to optimize your creative cycles and find the perfect balance between production and refinement.

The Internal Reader: Learn to Read Your Own Stories

Most commonly, when a comic author reviews a work already published (if they do: many refuse to touch it, or want to spend time creating new comics, or with their family, not revisiting finished work; and honestly, I don’t blame them) they constantly think of things they could do if they were still writing it.

That’s like running into an ex-girlfriend on the street and thinking “If we were still dating, I could invite her to the movies this weekend.” Logical, but useless. No, what you should do is try with all your might, as best you can, to put yourself in the shoes of a reader who is reading it… I’m not saying for the first time, because it might be impossible to achieve that much, but someone who is rereading it after a long time.

Osamu Tezuka, considered the god of manga, had a particular technique: he kept his finished manga in a special box and reread them months later pretending to be a child discovering them in a library. This practice allowed him to genuinely evaluate whether his work achieved the emotional effect he sought in his audience.

Forget a little that you know what will happen next, try not to think that you’re the one with the power to modify the story, to decide what will happen. Because, ultimately, you don’t have it! The comic is already finished, you’ve already drawn it, several people have read it. The idea that you could modify something that happens in it is an illusion, try to ignore those voices.

Forget that you were you. Just think that you are you, now, or if you can imagine being someone else, and read the comic you have in your hands. That was made by another person with your same name, somewhat younger. Think:

  • What are they telling you about this main character?
  • What about the secondary characters?
  • Is there a villain?
  • How is the story told: at what moments does it move from one scene to the next, how many panels are dedicated to each event?
  • Do you agree with the message of the story?

Maybe it seems a bit naive to you. Or the opposite: maybe it reminds you of values that you set aside some time ago and it would be good to recover. All this and much more can unfold before you when you read your own story through someone else’s eyes.

This practice of “distanced reading” provides you with invaluable data about your own narrative style and your strengths as a storyteller. Click here to access tools that will enhance your narrative analysis capacity and help you become a better reader of your own work.

Internal Dialogue: Techniques to Foster Collaboration with Your Other “Selves”

Don’t fear receiving some kind of damage to your psyche, on the contrary. You are always still you, you’re just playing. But aren’t we all, in some way, multiple people? Isn’t there a bit of you in each of your characters? Playing at being someone else for a while might be what frees you from the restrictive weight of always having to act as you would act. Dare to embrace this freedom and you’ll be surprised by how much you find yourself!

This concept of “creative multiple personality” is not new in the art world. Salvador Dalí frequently talked about how he conversed with different aspects of his personality while painting. Will Eisner, pioneer of modern comics, described his creative process as an “inner conversation” between the narrator, the artist, and the critic who coexisted in his mind.

An effective technique to foster this internal dialogue is to assign names or even personalities to your different creative facets. For example:

  • The Dreamer: that part of you that generates ideas without worrying about their viability
  • The Architect: who structures and organizes ideas into a coherent narrative
  • The Artist: who translates ideas into concrete images
  • The Editor: who reviews and refines the work with a critical eye

By recognizing these different facets, you can “schedule meetings” with each of them at different stages of the creative process. You can even create specific rituals to activate each personality: perhaps The Dreamer works best in the morning with a cup of tea, while The Editor is more effective at night with classical music in the background.

This methodology not only makes the process more fun, but also allows you to access different optimal mental states for each phase of creation. Ready to take your creative process to the next level? Enter here to discover how to enhance each facet of your creativity and achieve a more harmonious internal collaboration.

Sincere Feedback: The Value of Being Brutally Honest with Yourself

One of the most valuable advantages of developing these “creative personalities” is the ability to get honest feedback from yourself. When you assume the role of an objective reader, you can ask yourself difficult but necessary questions:

  • Does this sequence really work or am I being indulgent with an idea I like but doesn’t serve the story?
  • Does this dialogue sound natural or am I forcing the character to say something I want to express?
  • Does the rhythm of the panels maintain interest or am I losing the reader in unnecessary details?

Craig Thompson, author of “Blankets” and “Habibi,” keeps a journal where he dialogues with himself about his ongoing projects. In these written conversations, he alternately assumes the role of enthusiastic creator and ruthless critic, achieving a balanced perspective that has allowed him to create some of the most acclaimed graphic novels of recent decades.

The key is to keep this process constructive, not destructive. It’s not about demolishing your confidence, but refining your work with the same care and attention you would give to a colleague you deeply respect. After all, the most valuable criticism comes from someone who truly understands and appreciates what you’re trying to achieve.

By practicing this sincere but compassionate feedback, you’ll gradually develop an internal “radar” that will alert you to narrative problems while you work, accelerating your creative process and improving the quality of your stories. Delve into the art of constructive self-criticism by clicking here and discover how to transform each weakness into an opportunity for artistic growth.

The Game of Perspectives: How to Explore Different Narrative Viewpoints

This technique of multiple personalities not only improves your creative process, but can also directly enrich your stories. By regularly practicing changing perspective with yourself, you naturally develop the ability to inhabit different characters in your narratives.

Hayao Miyazaki, master of Japanese animation, frequently talks about how he “becomes” each of his characters while developing his scripts. Even those with just a few minutes on screen receive the same attention: Miyazaki imagines their complete lives, their hopes, their fears, their characteristic gestures. This deep immersion is what gives his secondary characters an authenticity that many protagonists in other works fail to achieve.

To develop this skill, you can create a simple but powerful exercise: choose a scene from your story and write or draw it from the perspective of three different characters. How does the villain experience this confrontation? What details would the secondary character notice that the protagonist overlooks? What meaning would this event have for someone completely outside the main plot?

This exercise not only enriches your understanding of the characters, but can also reveal new narrative directions you wouldn’t have considered from a single perspective. Many brilliant plot twists are born precisely from this exploration of alternative viewpoints.

By mastering the art of quickly switching between perspectives, your stories will acquire a texture and depth that will captivate readers, inviting them to fully immerse themselves in the world you’ve created.

The Evolution of the Method: Adapting the Technique to Your Personal Style

As with any creative methodology, the multiple personality technique must be adapted to your own rhythm and work style. There is no single formula that works for all artists. Some thrive with a very defined structure, while others prefer a more fluid and intuitive approach.

Experiment with different variations of the method until you find what works best for you:

  • Separate journals: Some artists maintain physically separate notebooks for each creative “personality,” with different colors or formats.
  • Designated schedules: Others assign specific times of the day or week for each facet of the process (Mondays for new ideas, Tuesdays for structuring, Wednesdays for drawing, etc.).
  • Different environments: Physically changing spaces can facilitate the mental shift (creating in a café, editing in your studio, reviewing in the park).
  • Specific tools: Using different instruments for each phase (pencil for initial ideas, ink for defining, digital for refining).

Frank Miller, creator of “Sin City” and “300,” has mentioned in interviews how he deliberately changes his approach according to the project phase: he begins with quick, chaotic ink sketches, then adopts a more calculating mindset for page composition, and finally becomes a “film director” to visualize the narrative flow.

The important thing is that the method liberates you instead of limiting you. If at any point you feel that these “personalities” become obstacles or generate more anxiety than creativity, don’t hesitate to adjust or simplify the approach. The ultimate goal is always to facilitate your artistic expression, not complicate it. Looking to perfect a methodology that perfectly adapts to your creative flow? Explore customizable resources here that will help you find your own path to narrative excellence.

Beyond the Page: Applying the Method in Everyday Life

As you become familiar with this technique, you’ll discover that its benefits transcend the creative realm. The ability to see situations from multiple perspectives and maintain a constructive internal dialogue is an invaluable skill in all aspects of life.

Many artists report that after practicing this method for months or years, they experience:

  • Greater empathy in their personal relationships
  • Improved ability to resolve conflicts
  • Reduction of negative thought patterns
  • Greater ease in making complex decisions
  • A more compassionate relationship with themselves

Art Spiegelman, creator of “Maus,” has spoken extensively about how his creative process helped him process family traumas and develop a deeper understanding of his father’s experiences during the Holocaust. What began as a narrative technique became a powerful instrument of human understanding.

By deliberately cultivating different perspectives within yourself, you develop a mental flexibility that can serve as an anchor in times of uncertainty and as a bridge to experiences and people who initially seemed incomprehensible.

Conclusion: The Transformative Power of Your Multiple Creative Selves

Throughout this journey through the world of multiple creative personalities, we’ve discovered that far from being an eccentric technique, this approach represents a natural and powerful way to unleash your narrative potential. By allowing yourself to dialogue with yourself from different perspectives, you not only enrich your stories, but also fundamentally transform your relationship with the creative process.

Remember that this method doesn’t fragment you, but integrates you more fully. By recognizing and valuing the different facets of your creativity, you create a space where all can coexist and collaborate harmoniously. The result is not dispersion, but a richer and more complex unity of your creative self.

Each story you create under this approach will bear the mark of this internal diversity, offering your readers not just entertainment, but windows into multiple ways of experiencing and understanding the world. In a time where polarization and rigid perspectives dominate many conversations, your art can become a bridge that invites others to experience the richness of diversity of thought.

So go ahead: summon your internal council of creatives, listen to their diverse voices, and let their conversations guide you to narrative territories you would never have explored alone. The next great story that will fascinate your readers might be waiting precisely in that inner dialogue.

Don’t fear receiving some kind of damage to your psyche, on the contrary. You are always still you, you’re just playing. But aren’t we all, in some way, multiple people? Isn’t there a bit of you in each of your characters? Playing at being someone else for a while might be what frees you from the restrictive weight of always having to act as you would act. Dare to embrace this freedom and you’ll be surprised by how much you find yourself!

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