There’s a moment every screenwriter and fiction writer hits where we think… “Okay, but how do I show what this character is actually thinking?”
You know the moment. The character smiles politely while internally screaming. They say “I’m fine” while their soul is doing parkour. The emotional truth of the scene lives entirely inside their head, and suddenly you’re staring at your script wondering whether you’re allowed to cheat and just… tell us.
This is where internal monologue and voiceover come in. While they have similar vibes, they have massively different effects. When used badly they can flatten tension, spoon-feed the audience, or turn your script into a diary with camera directions. And when used well they can give us instant intimacy and conflict.
In today’s blog, we’ll be breaking down what inner dialogue is, how internal monologue differs from voiceover, how to choose the right one, how to format it, and maybe most importantly, when to shut up and let the silence to the work.
So, let’s dive in!
What is Internal Monologue/Inner Dialogue?
Well, it does what it says on the tin.
Inner dialogue, also known as Internal Monologue, is the thoughts a character doesn’t say aloud. It’s the running commentary, the intrusive thought, the quiet realization, or the lie they tell themselves before the truth kicks the door in.
Yes, Inner dialogue and internal monologue are essentially the same thing, often used interchangeably. It’s that inner “voice” we have in our minds.
In prose, inner dialogue often appears as italicised thoughts or first-person narration. In screenwriting, it becomes trickier because film is a visual medium and thoughts are famously invisible.
That’s why inner dialogue in scripts usually shows up in one of two ways:
- Internal monologue/inner dialogue is a character’s private thoughts, often formatted like dialogue but marked as internal.
- Voiceover (V.O.) is spoken narrative heard by the audience, sometimes reflecting thoughts, sometimes telling a broader story.
Both let us into a character’s head, but only one should feel like we’re eavesdropping. And that difference matters more than you think.
Internal Monologue vs. Voiceover
So, what’s the difference between internal monologue and voiceover. Let’s clear it up once and for all, because these two get confused constantly.
Internal Monologue
Internal monologue is unfiltered, messy, immediate, and in the present tense. It’s the thought a character would never say aloud and the truth before they’ve had time to polish it. But it’s especially powerful when it contradicts what we’re seeing on screen.
A character could say “I’m really happy for you,” while they’re internal monologue says, “I think I might throw up.” It creates instant tension and character with no exposition required.
Voiceover (V.O.)
On the other hand, voiceover is performed and delivered to the audience. Even when it represents thoughts, it feels intentional, like the character is aware we’re listening.
Think:
- Retelling events from the future
- Framing the story
- Explaining context, we can’t overwise see
- Confessional narration
Voiceover often has the benefit of hindsight, perspective, and sometimes even judgment.
How to Choose Between V.O. and Internal Monologue
Right, so how do you decide which one to use? Here are the three questions that matter most.
Identify the Audience
First ask yourself, “who is this thought for?”
If the character is explaining the story to the viewer, use voiceover. Whereas if the character is trapped inside a private realisation, use internal monologue.
Voiceover assumes an audience, while an internal monologue assumes privacy.
If it feels like the character is aware of being heard, it’s probably voiceover, and if it feels we’re stealing a thought mid-spiral, it’s internal.
Check the Subtext
This is where internal monologue really shines. One of the most effective uses of inner dialogue is contradiction, when what a character thinks directly clashes with what they say or do.
They smile while panicking, they agree while resenting, and they promise while planning an escape. Internal monologue lets you weaponize these contrasts.
Voiceover, on the other hand, tends to explain subtext rather than sharpen it. That’s not bad, but it’s a different effect.
Here’s a rule of thumb to go by:
- Use internal monologue to create tension
- Use voiceover to create clarity or framing
Keep it Lean
Okay, this is where most writers go wrong. Thoughts aren’t sacred and don’t get a free pass just because they’re ‘internal.’ Treat them like dialogue.
If the thought doesn’t move the plot forward, reveal a secret, or complicate the emotion of the scene, then scrap it completely.
A good internal monologue line should feel like a pressure point, not a sermon. If you can remove it and nothing changes, it didn’t belong there in the first place.
Formatting Inner Dialogue
Let’s talk craft for a second, because formatting tells the reader how to experience the thought. In screenwriting software like Celtx, formatting helps us to distinguish:
- Spoken dialogue
- Voiceover
- Internal monologue
This matters because readers skim. A lot! And if your inner dialogue isn’t clearly labelled, it risks being misunderstood, or worse, ignored.
Here’s the best practice:
- Use voiceover when the line is heard aloud by the audience
- Use (sotto) or (internal) in dialogue for internal monologue (but use this sparingly and consistently)
- Avoid long blocks of thought; white space is your friend
If you want a deeper breakdown of how dialogue formatting affects readability, this pairs really nicely with Celtx’s dedicated dialogue formatting guide. Your formatting can make or break how professional your script feels.
Formatting is invisible storytelling, so when it’s right, no one notices. When it’s wrong, everyone does.
The Craft of the “Thought”: When to Use Internal Monologue
Internal monologue isn’t an all-purpose seasoning. It works best at very specific story moments, usually when the character can’t say what they’re thinking without blowing up the scene.
Below are the moments where inner dialogue earns its keep, with examples from film and TV that absolutely nail it.
1. Moments of Realization
This is when a character understands something but can’t act on it yet. The thought lands before the action does, and that delay creates tension.
For example, in The Handmaid’s Tale, June’s internal monologue often lands right after she realises the true cost of a choice. She can’t react outwardly (doing so would get her killed), but her thoughts tell us the turning point has already happened.
What makes it effective is restraint. June’s thoughts don’t explain the regime (we already know it’s horrific). Instead, they mark a psychological shift: “I can see the system now, and I see myself inside it”.
June’s internal monologue does what the visuals alone cannot: tracking an invisible change in allegiance, hope, or resolve.
So why does it work so well? Because the audience gets ahead of the action. We know she’s changed before the world around her does, which creates tension.
2. Moral Conflict
When a character knows the right thing and won’t do it. Internal monologue lets us sit in that discomfort.
Breaking Bad is a fantastic example of this. Walter White doesn’t use traditional internal monologue often, but when his inner reasoning does surface (sometimes via near-confessional dialogue or implied thought), it reveals the lie he’s telling himself: that he’s doing this for his family.
The brilliance here is that the audience can hear the justification forming before the action confirms it’s nonsense. Walter’s internal logic becomes part of the tragedy which works because it exposes the gap between self-image and reality.
3. Emotional Isolation
When no one else in the scene can know what the character is feeling. This is especially powerful in crowded scenes: parties, meetings, family dinners. Smiles everywhere, panic inside.
Elliot’s internal monologue in Mr. Robot is constant, but it’s most effective in social situations: meetings, conversations, and public spaces where his outward behavior is restrained, awkward, or even neutral. In contrast, his thoughts race, spiral, and contradict themselves.
The contrast between what he says aloud and what he thinks creates a brutal intimacy. We’re inside his head while everyone else is locked out. It’s super effective as it allows the audience to become the character’s only confidant. That bond is incredibly powerful, and hard to achieve any other way.
4. The Lie They Tell Themselves
Some of the best inner dialogue is completely wrong. The character believes it, but the audience doesn’t. That dramatic irony is gold.
This plays a huge role in Fleabag. While technically delivered as asides and voiceover, Fleabag’s internal commentary functions like a monologue. It’s reactive and impulsive as she jokes, deflects, and reframes pain as comedy.
The audience slowly realises that her inner voice is her suit of armor. And when that armor cracks, the absence of the inner monologue hits harder than any line of dialogue.
It just goes to show that a character’s internal monologue doesn’t have to be reliable. When it lies, it creates dramatic irony and lets the audience see the truth before the character does.
Want to see some more key examples on the page? The screenplays for American Psycho and Fight Club use voiceover and internal monologue extremely well. Make sure to check them out for some inspo!
Common Mistakes to Avoid
It’s intervention time! Here are the most common mistakes you should be avoiding when working with internal monologue and voiceover.
On-the-Nose Thoughts
If the character thinks exactly what the audience already understands, you’re not adding anything.
For example, “I am sad because my father left me” falls kind of flat. We know this, so show us something messier.
Overusing Voiceover
Voiceover is powerful because it’s selective. When it becomes constant, it flattens tension and replaces drama with explanation. If your script relies on voiceover to make sense, the structure probably needs work.
Explaining Instead of Deepening
Inner dialogue shouldn’t explain the scene but complicate it further. If it simplifies things, it’s doing the complete opposite of its job.
Frequently Asked Questions (FAQ)
Yes, but they should have distinct purposes. If they blur together, the audience will get confused fast.
No. Bad internal monologue is lazy. But strategic, restrained inner dialogue? That’s advanced craft.
If the audience starts listening instead of watching, you’ve gone too far.
Conclusion
Inner dialogue is one of the sharpest tools in your writing arsenal but only if you respect it. Voiceover is a storyteller, while internal monologue is a secret.
One frames the narrative and the other cracks the character open. Choose deliberately, keep it lean, and format it cleanly. And always ask yourself: Does this thought earn its place on the page?
Because when inner dialogue works, it makes us feel like we shouldn’t be hearing it at all.
Focus on your story, not your formatting.
Let Celtx’s Script Editor automatically apply all industry rules while you focus on the story.
Up Next:
Voice Over Script Format: How to Write (and Format) V.O. Like a Pro
Not every thought belongs on the page as internal monologue. Learn when voiceover is the better choice — and how to format it clearly so readers understand exactly how it plays on screen.
