Hello monkeys!
When I write rough drafts, I have a tendency to leave out a lot of internalization. I’m more interested in getting the skeleton of the scene (primarily the action) on paper. But as I was reminded yesterday at my writer’s group, the skeleton isn’t enough. A skeleton with muscles isn’t enough. If I want my scene to really pop, I need to really flesh it out and that means nailing the internalization.
For those not familiar with the term, internalization is when you share what’s going on in your POV character’s head. This is important because it helps the reader see more of the conflict that this character is dealing with and what the potential consequences might be. You can set up foreshadowing and build tension.
Why not just demonstrate that in dialogue and action? Because what a person does or says may be different than what they are thinking. It adds an additional dimension to the character and also the story.
In the prologue of the story I’m working on, my POV character is trying to comply with requests made of her by another character. At the same time, she is trying to figure out why that other character is acting so strange. She comes up with a plan to manipulate the other character, plans that will soon be dashed. Drama! Tragedy!
Providing internalization also helps the reader understand why your POV character makes a sudden change in behavior. If you character has been going along with things, but suddenly rebels, internalization can keep your reader from losing the connection to the character. You don’t want to pop that believability bubble.
Not all stories require a lot of internalization. You will find more in some genres (literary, women’s fiction, romance) than others (spy thrillers, hardcore sci-fi). But more often than not, a little can draw your reader further into your make-believe world.
My problem is the opposite. I tend to tell too much internalization and not enough showing how they are feeling.