In a recent post, September Fawkes examines interiority, and how to know if you’re using too much or too little. “Interiority is everything that happens inside your character–typically the viewpoint character,” she explains. “This includes the character’s thoughts (introspection) and feelings that aren’t externally observable, like a speeding heart or dry mouth.”
The right balance will change from story to story, but it’s important that you find it, as well as the balance between thoughts (introspection) and feelings (emotions, sensations). Fawkes points out the pitfalls of each extreme.
- Too Much Introspection. Beginning writers are often over reliant on introspection, where the character is thinking about the past and what’s happening in the moment. Usually, the action is static. The character is in the shower or commuting to work. This drains the immediacy from the story. “The audience usually only cares about the past, when they are already invested in the present (or future) of the story, and when visiting the past adds meaning to the present or has the capacity to alter the near future,” Fawkes writes. In general, less is more, until you reach a major emotional point where you can lean in.
- Too Many Emotions. “Many new writers fairly think that in order to write a story that is emotionally impactful, you need to focus on rendering the emotions powerfully,” Fawkes notes. “In reality, though, the best way to evoke powerful emotions in your audience, is to focus the text on what causes those emotions, so that the audience feels the emotions for themselves.” When you over write emotions, your reader may feel like your character is overreacting or being melodramatic. “The main rule of thumb here, is that the character’s emotions on the page should get less focus than whatever caused those emotions,” Fawkes says.
- Too Little Interiority. However, if you use too little interiority, your readers may be left with only a vague impression of your narrator or may start to wonder if he feels or thinks anything at all. You risk having your character seem unemotional or stupid. The right amount of interiority will provide your readers with context about your protagonist’s story world and relationships. Introspection and emotion also convey motivation, so that your character’s actions and choices make sense. Spec fiction especially needs context, so that your readers know which parts of your worldbuilding are commonplace and which are awe-inspiring.
