“Internal Dialogue: the Greatest Tool for Gaining Reader Confidence” by Elizabeth Sims appeared in the June 2017 issue of The Florida Writer. Ms Sims introduces the article with a discussion about how con artists work. “The best con artists don’t begin by asking for your confidence – they give you theirs first. Here’s my story. I want you, you especially to hear this. The request for help comes later. But before either compassion or greed can be exploited, the mark must feel something for the con artist. When you think about it, what is fiction but one beautiful long con? The reader – the mark – opens a book craving a good story, thirsting to be part of something special. We, as writers, do everything possible to gain the trust of our readers so we can entertain, shock, delight and amuse them all the way to the end.
“And the greatest tool for gaining reader confidence is internal dialogue. Because when a character reveals his thoughts, he’s confiding in the audience. I’m counting on you to understand me – and possibly even help me understand myself. Suddenly readers are in the thick of it; they feel involved and invested.
“Internal dialogue is the inner voice of a character, which is a metaphysical subject. In most modern cultures – and, consequently, most modern literature – there’s a dichotomy within the self: there’s an I and a me.”
(I, the objective pronoun which takes the action and me, the subjective pronoun to which the action is done)
Ms Sims goes on to say: “with internal dialogue, you can:
- Establish your characters and their unique voices
- Show the difference between what a character thinks versus what she says or does; this can fuel tragedy or comedy
- Trace a character’s growth and development, or a character’s degeneration
- Develop you plot
- Reveal things below the surface: pain, secrets, hopes, fears . . .
- Create and develop suspense. Especially when the reader knows more that the character
- Change the subject. A character’s thoughts may drive your story in a new direction
- Reveal a character’s opinions
- Describe. A character can look around and comment on his surroundings; he can observe and analyze
- Develop and reveal character motivation. Why are they doing what they’re doing?
- Reflection. Let your character think through a problem or process an event to whatever degree she is capable of. A character can be a tad less smart than the reader, thus permitting the reader to feel on top of things.
- Adjust the pace. Let your character pause and reflect. It will slow things down and let the reader absorb what just happened.
“Internal dialogue typically takes three basic forms: first-person narration (I thought . . .), third-person narration (She thought . . .), and direct thought-speech (where the character seems to speak directly to the reader). Then there’s the issue of tense. . . . You’ll find that the majority of internal dialogue is written in the present tense, no matter whether the rest of the work is in the past. As to format, the only rule is to avoid quotation marks, single or double, as they’re associated with spoken aloud dialogue and can confuse the reader. It used to be the convention to put inner thoughts in italics . . . Now the trend seems to be to keep everything in Roman text, the idea being that italics are intrusive and unnecessary.”
Ms Sims mentions several pitfalls to avoid:
- Making a character’s inner voice into a wisecracker, “Such a voice can be entertaining but only if used sparingly.”
- Head hopping among various characters
- ‘I thought to myself . . .’ “Who but oneself does one think to?”
- Telling chunks of backstory by having a character remember it
- Putting in anything that doesn’t serve the story
I think this makes clear the power of internal dialogue, but, like any other written vehicle it must be used in a balanced, appropriate way. My personal preference is to write internal dialogue in the first-person present and to use italics, which I don’t think is confusing.
Ms Sims quotes the following passage from Beyond Black by Hilary Mantel:
The encounter, though, had bruised her. Gavin was the first person, she thought, that I was ever really frank and honest with; at home, there wasn’t much premium on frankness, and she’d never had a girlfriend she was really close to, not since she was fifteen.
I would write this as:
The encounter, though, had bruised her. Gavin was the first person that I was ever really frank and honest with. At home, there wasn’t much premium on frankness, and she’d never had a girlfriend she was really close to, not since she was fifteen.
The Florida Writer says: “Elizabeth Sims is the author of the Rita Farmer Mysteries and Goldie award-winning Lillian Byrd Crime Series. She’s also a contributing editor at Writer’s Digest magazine, specialising in the art and craft of fiction. Her instructional title, You’ve Got a Book in You: a Stress-Free Guide to Writing the Book of Your Dreams, has helped thousands of writers find their wings.