Introspection – The act of looking inward to examine one’s own thoughts and feelings.
Introspection by your main character is good, but it can also be too much of a good thing. I get annoyed when introspection does the following:
- Happening when there wouldn’t really be time for it. The bombs are falling, the cougar is about to pounce, we’re running from an enemy, etc. Who has time to think about anything beyond the danger?
- Going on so long I forget where we were. Wait? What was happening? Oh, yeah, the main character was just about to do something. Maybe the thoughts shouldn’t go on so long, or should relate directly to the future action. Or maybe a transition would help fix this problem. (Character thought: Now what was I going to do? Oh, yeah, make my bed.)
- When it replaces interaction. Characters should do more than think, they should also act. And specifically interact with other people. K.M. Weiland has a great example of introspection replacing interaction here. A good question to ask is, would this be better shown with conversation or action than thoughts?
I like what novelist Gail Gaymer Martin says, “Too much can be boring since introspection is passive, and too little deprives the reader of getting to know the depth of a character’s needs, longings, and struggles.”
Too little introspection? This is where my critique group asks, “What is he thinking?” or “What is she feeling?” We read because we like knowing what’s going on in someone’s head—the why behind their actions. Write what your character is thinking to give insight to her actions and decisions. September C. Fawkes says, “Often if there isn’t enough introspection, the audience struggles to follow, logically, what is going on and why.”
I saw this list of useful questions for writing introspection on a Reddit post by wdjm:
- Why does he feel that way?
- How does he feel about feeling that way about the action (ex: if he’s happy a bad guy got hurt, does he feel guilty about being happy someone got hurt, even if it was a bad guy?)
- What does he hope happens next?
- What does he dread might happen next?
- Does he want to tell someone about what’s happening? (“I can’t wait to tell my BF about this!”)
- Or is he scared someone might find out about it? (“I hope my mother doesn’t learn about this!”)
- Maybe he doesn’t really care about what’s going on. What’s he thinking about instead? (“Oh, the neighbors are fighting again. How annoying. Hmm. Maybe I’ll order a pizza tonight.”)
Check that your main character’s introspection serves a purpose. Does your character change because of his thoughts? Does she realize something new? Is a new action realized due to the internal monologue? “Introspection is one of the key elements of growing up and moving forward,” Kelly Rogers says. That works for our characters too.
Just like with description, mixing internal dialogue in with action helps avoid too much at once. “That new understanding or new goal or desire, and the size of it, may only become apparent in bits and pieces and stages, not necessarily one huge Moment.” – Emma Darwin
Introspection should also show something of the main character’s personality or beliefs. I love this quote I found in an absolutewrite forum, “Make sure it oozes personality: Is your character funny? Sarcastic? Morbidly dark? Hyperbolic? Adding bits of their personality to the introspection makes it more engaging.” – Raivnor
Keep on target. Elizabeth Grayson says, “While our thoughts sometimes come in stream of consciousness, a genre fiction character’s thoughts are relentlessly logical. They must segue from one to the next in a manner the reader can follow — even if the character you’re writing is a flake.”
For further reading:
Note:
Interiority – The sum total of a character’s internal life—their thoughts, feelings, emotions, and physical sensations.
“3 Common Interiority Mistakes (and How to Fix Them)” by Savannah Gilbo
“How to Write Introspection Well: Show ‘Just Enough’” by September C. Fawkes
“The Importance of Interiority in Novels and Memoirs” by Mary Kole