How Much Interiority Should You Use When Writing Character Emotions

This is a great question about writing character emotion that came via email from Matt:

Is there a writing principle about how much interiority should be within a scene?

As with all great writing debates, I’m here to say that there’s no set guideline. Womp womp. Interiority is a tough topic, and every writer will forge their own path. Sorry to not have something more concrete, but I do have some food for thought that might help you choose your own approach.

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It’s hard to bond with a character when we don’t know what they’re feeling or thinking. Peel back the hood with interiority.

Writing Character Emotions As Necessary

My rule of thumb is to use what’s necessary and find a balance. As with anything, balance doesn’t come easily. Some writers err on the side of too much interiority, some writers barely scratch the surface of their character’s rich inner lives, even in first person.

The imbalance of too much interiority is especially apparent when nothing is happening, plot-wise. Alternately, nothing happens because there’s too much interiority, or internal conflict, rather than external conflict. If you have your character thinking about everything, maybe you’re on this end of the spectrum. Know that, while a level of interiority is desirable, you also need to focus on the things that come less naturally to you, namely pacing and plot.

It’s very important to know how a character reacts to what’s happening, but it can’t be the end-all and be-all. To be fair, I see this imbalance less than its opposite.

Explore Interiority During Important Moments

The more common imbalance is seeing little interiority in big moments, when connection to the character should naturally increase in order to keep from alienating the reader. Writers who fall into this category tend to be very comfortable with plot. When they do talk about emotion, maybe they simply name what a character is feeling, or talk about the feelings by using clichés that detail emotions in a character’s body.

These are offshoots of telling, and, as you’ve heard me say many times, interiority is quite different from telling, though the distinction can be subtle for a lot of people. Characters with too little interiority are also prone to being stuck, or to being in denial.

As you can see, there are many more links discussing a lack of interiority or issues with inadequate interiority than there are dealing with too much of it. This is yet another reflection of the fact that I see writers end up toward this end of the issue a lot more.

Writing Character Emotions to Get the Most Out of the Story

If that’s not the case for you, and you think you’re somewhere in the middle as an interiority-user, I would still suggest analyzing how you’re striking that balance. Make sure the reader feels connected to important moment, and use enough interiority to highlight the things that are truly important. When something big happens that your character should be reacting to, ask yourself: And? So? Some recent thoughts questions that help develop interiority can be found here.

Next, think about how interiority and plot intersect. Use interiority to plant the seeds of tension as you develop your plot. It’s not enough to have a character feel afraid, for example. They’re usually afraid of something very specific, or a worst case scenario. To help tension along, let their minds go to those darker places, especially if the plot hasn’t caught up yet. More thoughts on that here.

This is such an important facet of the fiction writing craft that I really hope you never stop exploring this fascinating topic, and figuring out how to best use this tool.

Interiority is difficult to master, and every writer will have their own approach. Hire me for developmental editing to help you tease out just the right balance of action, emotion, characterization, and theme.

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