Stream of consciousness or internal monologue reveals additional information on a character’s thoughts and reveals motivation. Modern-day writers must observe caution in using this technique. It has changed according to the tastes and trends of the times. Stream of consciousness gained favor during the twentieth century. Marcel Proust and William Faulkner were among the notable users of this device.

If Proust and Faulkner had submitted their work today, it would be rejected. Today’s publishing trends and reading tastes opt for stories with fast-paced action and less introspection. In the age of texting and mobile devices, modern readers would have less patience in sifting through too much internal monologue.

But a stream of consciousness is still important as it helps reveal character. Writers must analyze when to use it and it must be used sparingly. It must not impede the flow of action. It should just be enough to reveal situations that cannot materialize through immediate action. Understand that stream of consciousness emulates the flow of thoughts operating without parameters inside the character's head. Nonetheless, a character’s introspection must still follow a certain order in its dissemination of ideas. 

Example: Stephanie walked into the CEO’s office. She saw him sitting behind his wide desk as he beckoned her to take a seat.

This situation illustrates Stephanie’s action without a stream of consciousness. We know that the CEO wants to talk to her, but the activity offers no other information.

Excessive stream of consciousness: Stephanie walked into the CEO’s office. She hated taking the elevator to the 38th floor. The high altitude hurts her ears. She checked her shoulder bag and cursed, as she forgot to bring her pepper spray. As the elevator opened, she smiled blandly at the aging secretary who pointed her to the CEO’s door. Entering without knocking, she saw him sitting behind his wide desk as he beckoned her to take a seat. She would refuse the promotion in exchange for sexual favors. Her dignity was more important, and she wanted to get the promotion on account of her qualifications and not of her body. God, she would not hesitate to gouge his eye if he dared to touch her with malice. Just try and touch me, I swear you’re gonna get it.

It is easy to get impatient in this succession of introspection, and it disjoints the flow of action. While the thought is narrated in sequential order of events, most of it is unnecessary, and the scene would better serve readers through quick interaction between Stephanie and her boss.

Moderate stream of consciousness: Stephanie walked into the CEO’s office. She saw him sitting behind his wide desk as he beckoned her to take a seat. She would refuse the promotion in exchange for sexual favors. Her dignity was more important, and she wanted to get the promotion on account of her qualifications and not of her body. God, she would not hesitate to gouge his eye if he dared to touch her with malice. “I’m glad you came,” the CEO said, “would you care for a drink?”

With just the right amount of introspection at play, we immediately know why she stepped into the CEO’s office. The reader learns enough about Stephanie’s ambitions and her plans. It also reveals the CEO’s lascivious intent and an impending injury coming to him if he crossed the line. 

Without a stream of consciousness, we are left with a plain activity that offers no insight as to what could be expected and how it might unfold. The power of the mind at work offers the transference of thought as essential information. Just remember that our present time demands it to be used sparingly.