Cheyenne K. Creations

me: *sobbing in the woods*

The eldritch horror that’s been watching me from behind a tree: ….Red Lobster’s hiring.

but the funniest part of this is not that they were debating the exile of a man who has been dead for over 500 years.

(tiktok)

This is his largest painting ever. It is 2,8×4,2 meters large. That is about 9'3"×14'1". It took him ten days to paint. This is a guy who painted normal-sized paintings in an hour, two, tops, according to contemporaries.

Have them be part of an ensemble cast only, and don’t write from their perspective. Don’t make the story about their DID. Don’t make DID the only notable thing about their character. In fact, it’s best not to explicitly mention their DID or their alters at all (maybe, maybe they can reference alters with a trusted friend, but that’s pushing it.)

Have them be forgetful, or maybe mention losing time. Or, put emphasis on how they cope with being forgetful–journals, alarms, reminders to note the passing of time and keep track of their days. Do not have the other characters react in shock to any of this.

Give them triggers but don’t make it dramatic. Maybe they leave a room suddenly, or tense up and go silent (only to forget it happening later.) Maybe they become suddenly irritable and hostile and sheepishly apologize later, claiming they don’t know what came over them.

“But that seems boring,” you might be thinking. “Isn’t exploring the differences between alters and having dramatic switches the point of writing a character with DID?”

Only if you’re writing for spectacle.

DID is almost always treated as a spectacle in media. And while it’s true that some people with DID do want to see an alter-centric story written with dramatic switches “done right,” there are also many who want to see representation for the more covert realities of DID. We want to see a character with DID who is treated the same as the rest of the cast, because we want to be people treated the same as other people.

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