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is immediate and apparently without thought. But in other situations, even in the heat of battle, the character can and should think before acting. As stated by Bickham, ". . . the internalization process always takes place, and when things are complicated, you may need to remember that the pattern of every stimulus-response transaction in deepest reality is STIMULUS-INTERNALIZATION-RESPO NSE."

Introspection may also be used to increase tension. As stated by Nancy Kress in Writer's Digest (August 2003), "It does this when the thoughts you depict directly contrast with that character's actions or dialogue. The two pull in opposite directions. We then wonder which will ultimately prevail . . . and read on to find out." In fact, as explained by Kress, " Without her thoughts, we would not be so aware of her internal conflict, and her subsequent action might seem murky or unmotivated."

Kress also notes that "Another way that thoughts can up the tension is by letting readers learn something that the protagonist doesn't know. This only works for multiple points of view, but it can be very potent."

While scenes are mainly physical and external to the character, sequels are mostly internal, in the head. As outlined by Bickham, a sequel consists of the following phases:

* Emotion

* Thought (including review, analysis, and planning)

* Decision

* Action

Each phase provides ample opportunity for the use of introspection. In fact, sequels written without introspection fall far below their potential.

SETTING. We often learn about the world around the character through the narrator's description or through the character's sensory perception. But the character's thoughts about the setting are also important. What a character thinks about the world around him adds depth and texture to the story.

THEME. Peter Selgin, in By Cunning & Craft, describes a story's theme as ". . . an organizing principle, something to bind its disparate parts together, a central notion or idea." Nancy Kress, in Writer's Digest, August 2003, recommends that thoughts be confined to two types:
* something happening at the moment

* those that form the grand theme of the story

She also notes that ". . . letting us in on your character's thoughts can widen the scope of your story, adding complexity and depth." And "What expands the scope of the book, gives it purpose and coherence and fervor . . . ."

STYLE The style of a story is the sum of the multitude of choices made by the author, either consciously or subconsciously, as he composes a story. Style is a reflection of the author's personality and attitudes, as well as the craft applied. An important aspect of fiction-writing style is the skill with which an author presents the introspection of his character.

Failure to adequately utilize introspection in fiction almost certainly guarantees the story hasn't been developed to its potential. On the other hand, full and skillful use of introspection provides a great opportunity to enhance the reader's experience.

Learn more about this author, Mike Klaassen.
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