Thoughts are an important part of copyediting fiction and creative nonfiction. Taking your reader deep into the point-of-view (POV) character requires opening up the character’s mind. But how do you do this? Here are the industry standard techniques for handling internal musings.
Direct vs. Indirect Thoughts
Direct thoughts are thoughts the character thinks word for word. Express them in present tense. And if the story is in third person, write direct thoughts in first person. Set them in italics, not within quotation marks.
She covered her ears with both hands, shutting her eyes. I must be brave. I’m not really alone.[i]
Indirect thoughts are still thoughts the character thinks, but they are expressed in the same tense as the surrounding text. If your story is in third person, keep the thoughts in third person and set them in Roman typeface along with the surrounding text.
Sir Cecil brushed his sleeve, avoiding Baret’s gaze. This wasn’t like Cecil. What was he trying to hide?[ii]
Both direct and indirect thoughts rarely require thinker attributes (he thought, she thought). These may be useful if you’re editing for omniscient POV. But if you are in a single POV, the POV character is the only one doing the thinking, because the reader can’t be in more than one head at a time.
Thoughts in Deep POV
If you are going for deep point of view, you might tend to overuse direct thoughts. After all, if you want readers inside the character’s head, wouldn’t it be better for them to hear the thoughts exactly as the character is thinking them? The natural assumption is that if you are using a direct thought, you are in a deeper point of view than an indirect thought. This is not, however, the case.
Since direct thoughts are set in italics and written in first person, present tense, they not only cause a visual interruption in the text but also give the subtle impression that the thinker and the narrator are not the same. This has the effect of disturbing the reader’s deep point of view.
Rachel sat at the computer, her fingers hammering out the next few sentences. Her cat’s insistent meow sounded again. How many times is he going to want to go outside today? Yeah, it’s gorgeous outside. The fall weather seemed to be moving in right on time, and a cool breeze was taking the edge off the UV heat from the sun. But I’m never going to get this work done if he doesn’t make up his mind to stay in or stay out. She rose a couple inches out of her chair and reached over to open the back door.[iii]
(Ah! Pretty cool that you know that subtle nuance now, huh?)
In contrast, indirect thoughts blend into the text. The line between experiencing the world through the character’s eyes (what they are seeing) and through the character’s minds (what they are thinking) becomes almost indistinguishable. This allows readers to remain in deep point of view. See the difference indirect thoughts have made to the paragraph below.
Rachel sat at the computer, her fingers hammering out the next few sentences. Her cat’s insistent meow sounded again. How many times was he going to want to go outside today? Yeah, it was gorgeous outside. The fall weather seemed to be moving in right on time, and a cool breeze was taking the edge off the UV heat from the sun. But she was never going to get this work done if he didn’t make up his mind to stay in or stay out. She rose a couple inches out of her chair and reached over to open the back door.
If you are writing deep point of view, make sure you don’t use direct thoughts often. The seamless integration of indirect thoughts will help the text become transparent and the fictional world come alive.
As you move forward to greater heights of writing and editing, remember that your voice is significant, and your contribution is unique.
Pleasant penning,
Rachel E. Bradley, ACP
Freelance Editor and Indexer
Advanced Certified Paralegal
NAIWE Copyediting Expert
Revisions by Rachel Inc.
www.RevisionsbyRachel.com
[i]. Linda Chaikin, The Pirate and His Lady (Chicago: Moody Press, 1997), 64.
[ii]. Linda Chaikin, The Pirate and His Lady (Chicago: Moody Press, 1997), 21.
[iii]. Based on a true story.
Rachel E. Bradley holds a BS degree in Paralegal Studies from Northeastern State University in Oklahoma. She graduated summa cum laude in 2006 and has been awarded the Advanced Certified Paralegal designation by the National Association of Legal Assistants. She is a gold member of the Christian PEN: Proofreaders and Editors Network, is an established freelance editor with the Christian Editor Connection, is an instructor with the PEN Institute, is a judge for the Editors’ Choice Award, and has served as faculty for PENCON, the only conference for editors in the Christian market.
After nine years in the legal field, Rachel transitioned to her current career as a freelance editor and indexer. She now owns Revisions by Rachel Inc. In 2018, she lost her first husband, Matthew, after an intense battle with brain cancer. That experience has given her a new understanding and a fierce compassion for people who feel broken and are hurting. In celebration of continued life and hope, she became a licensed skydiver. When she is not at her computer diligently editing for her clients, you can find her in the skies flying her rainbow canopy, “Promises,” after a jump from 10,000 feet.
In early 2021, she asked God to give her an arranged marriage and gave him permission to choose her next husband. In an incredible tale of trusting God and giving him her yes without exception, she is now gratefully and blessedly married to Alexander Bradley. They have been assigned the awe-inspiring and continually humbling task of raising two incredible children.
Rachel enjoys, among other things, Bible studies, dancing during church worship, skydiving, swing dancing, rock climbing, reading, teaching, discussing important issues, watching Star Trek, sewing, cooking, Pilates, horseback riding, water sports, playing guitar, and snow skiing.