On Writing: Interiority

 [Moving stuff back from my abandoned WordPress blog.]

Lincoln Michel's Counter Craft on Substack has been a source for ideas and instruction. Do check out his The View from Inside: On Adding Interiority to Your Fiction.

In fiction, interiority is relating the internal world of a character to the reader. Their thoughts, feelings, hopes, fears, anxieties, memories, motivations, and so on. This is a simple yet consequential thing. Every one of us lives simultaneously in the external shared world and our own private worlds. These two realities are constantly colliding, separating, and distorting each other, whether that’s something as small as snapping at a friend because you are “hangry” or having a life-altering epiphany at the image of, I dunno, a dove flying over a lake that symbolically completes your character arc because you are a protagonist in a literary fiction short story published in a university literary magazine.

I kid, a bit. Still, it is true that our interior worlds are as vast as anything outside of them. If your fiction is missing interiority, it is leaving quite a lot out. This is true in a grander, philosophical sense yet also in a very practical craft sense. Readers tend to connect to stories through the emotions and desires of the POV character(s), and interiority provides that connection. The simplest story structure might be a character wants something but obstacles get in the way. This is a classic and powerful story, but only when the reader understands the character’s wants.

Interiority provides far more than just desires and goals. An interesting character will typically have a gap between how they act or speak and how they think or feel. Here’s an old CW class chestnut: In every scene, you should know what a character says they want, what they think they want, and what they really want. This can be applied to anything from prize-winning literary novels to pulpy superhero films. In this scene, the villain, Dr. Evilguy, says to the security guard that he wants to just use the bathroom but what he thinks he wants is to steal the blasto-ray 4000 omegagun prototype and conquer the city yet what he really wants, deep down, is to please the daddy that never loved them.

sch 6/3