Today, I’m taking over the posting duties. I’ve been asked
to post on internal dialogue, or internalization. So here is James Callan’s position on internalization.
Do You Talk to Yourself?
Most of us do. I certainly do. Sometimes I yell at myself. And much of the time, it is internal – no one can hear what I’m saying, even if they are standing right next to me.
This int
ernal dialogue is important. Since I know that no one can hear it, even with today’s sophisticated eavesdropping equipment, it can be what I really think or feel, or maybe don’t feel. It’s private. Much more private than a diary. Much more private than when I tell a friend or spouse. Only I hear it.
So there is no reason for me to lie, or shade the truth. No reason to leave out unflattering thoughts, no reason to make up a reason or story. What I say internally should be the truth, the whole truth, and nothing but the truth. Can I fool myself, make something look different than it really is? Yes. And sometimes I may do that without even knowing it myself. But at a basic level, I am going to tell myself the truth as I see it.
Why is this important to a writer? Or to a reader?
Internalization by a character in your story is important because the reader recognizes that internalization should be a true picture of what this character really thinks and feels.
Let me give you an example.
Ashley meets Molly at a class reunion, and says, “Well, hello, Molly. What a surprise. Didn’t expect you could make it this year.”
The reader is led to believe that Molly is a friend of Ashley. But what if we share Ashley’s internal thoughts with the reader.
And if I’d known you were going to be here, I wouldn’t have come.
Now we get a very different view of their relationship. Because this is a thought of Ashley, not available to anyone else, the reader can believe this is the true picture. Why would Ashley lie to herself?
Let’s try one more.
Mark stands in the doorway, hands balled into tight fists. “I’m sorry, but you can’t come in here. I don’t care who sent you or why. You’re not coming in.” I don’t know what I’ll do if he tries. I’m all alone and I sure as hell can’t stop the thug if he decides to come in.
The internalization gives us the true feeling of Mark. For all his bravado, he knows it’s all bluff. And now the reader knows that also.
But suppose instead of that bit of internalization, we used this instead. And if you try, I’ll be forced to break your nose, or your arm if you push it.
This gives the reader a very different view of Mark, one the reader will believe.
A little internalization can tell the reader a lot about the character, and the reader will believe it. Use this to give the reader an inside look at your character, making the character real to the reader.
I’d like to leave you with three caveats on internalization. First, yo
u can only use this with your POV character. Second, avoid long internal speeches. Keep internalization short. And third, use it sparingly. Too much becomes tiresome.
But, don’t ignore this powerful tool.
I definitely talk to myself. Unfortunately it’s usually out loud. I catch myself doing it at the store and I think people think I’m mentally ill. Okay, so maybe I am, but I don’t need it to be so obvious!
You could just pretend you’re talking to your invisible friend and not to yourself. Would that help? Of course, today, maybe your talking into a hidden mic on your watch, or a button on your blouse. In actually, you’re giving other people a little mystery to work on. Thanks for the mystery – and thanks for the comment.
I love using internalization, both direct & indirect. The subtext of dialogue makes it pop. Good reminders here, Jim. Thanks.
Couldn’t agree more, Janet. Thanks for stopping by.
When I worked in conflict resolution as a corporate consultant, we used a technique that isolated the internal conversation so people could begin to see what actually happened as opposed to what they believed.It involved three columns: what I said; what they said; what I thought. The gold was always in the third column for that was the basis for a person’s choice of responses and behaviors and their ammo for a new belief. Now I can see what a great writing tool that could be for a conversation that would inform readers that much more about the characters in a story.
What an interesting approach to conflict resolution. And you’re right, it is similar to the use of internalization in a book – try to get at what the person/character really thinks and feels. Thanks for the very insightful comment.
I enjoy internalization and believe using it well in a novel can only add to the strength of a story: at the appropriate, intense times and when the reader needs to see by that method what the character is really thinking. loved the post!
Thanks for visiting – and leaving a comment, Carole. I believe we are in agreement on the value of internalization.
I’m glad you mentioned to not overdo it. Lately I’ve read books where the POV character rationalizes over and over about why s/he’s doing something. I get the impression the author is just adding words. I use deep POV in my writing and prefer reading that way.
Thanks for your comment, Elaine. I agree – too much is — well, too much. Deep POV is an excellent approach.
Interesting, the rules about italicizing internal thought. Genre writing seems to use it, but mainstream and experimental often include internal thought as part of the narrative. Sometimes I struggle with it. I’m a great fan of talking to myself. A big fan of beats in dialogue, too.
Good comment. I think that mainstream and experimental may get into deep POV more than genre books. And with deep POV, these internal thoughts can be part of the narrative as in this case the reader knows that such are thoughts of the POV person. We haven’t talked about deep POV on this blog site, but perhaps we should. It can be powerful, but may not be as easy to achieve.
Thanks for an excellent comment.
Thanks Chris. I definitely believe in the importance of internal dialogue.
Excellent post, Jim. I talk to myself and so should my characters. It really does tell the reader about the character and where they’re coming from.
Thanks, Marja.,
I also talk to myself, and when I’m lucky, my characters talk to me. But, I do like for them to talk to themselves.
You nailed this one Jim. I think it’s crucial to have internal dialogue, but not too much. You shared Great points today. Thanks so much!
Thanks, Elaine. And you’re right, there are 1,000 things we need to remember. Fortunately, a lot of those are so engrained in us that we get an automatic pass on them. But, there are enough other left to keep us on our toes. Thanks again for the comment.
Good information to keep in one’s head along with the 1000 other things we need to remember as we create this imaginary world we livein and write about. Slip up anywhere, and no one will want to come back and vist again! thanks for sharing your ‘internal’ most secret writing secret! LOL