uc pseudonym wrote:Purely out of curiosity, what technique, if any, do you prefer?
In the past, I have sometimes used a technique fairly similar to yours. Recently, however, I have begun to favor a more detached style in which little is stated that would not be seen by a third-party observer. I find it an interesting challenge to try to convey the emotions of characters by external descriptions rather than by telling their thoughts directly, and the sparseness of this style, when I see other writers use it, appeals to me. Also, when it is necessary to tell what a character is thinking, it is sometimes possible to do so through dialogue by placing a character in a situation where he or she can state his or her emotions or opinions to some other character.
EDIT: After looking over some of my own stories and fragments of stories, it seems that I it seems that I do frequently resort to narrational assertion to describe characters' emotional states. It is rare, however, for me to directly state a character's thoughts without using a signal phrase like "he thought" or "she wondered." I don't believe I have ever actually written anything as purely detatched as, say, Old Testament narrative stories.
uc pseudonym wrote:Directly inserting character thoughts is my preferred method of writing, as I feel it breaks the narrative the least of the available methods. Use of italics seems out of place to me and sometimes requires "he/she thought," which slows the story.
Part of the reason I am wary of direct insertion is that I feel that while the technique can be used well when skillfully handled, it is more difficult to pull off than some other styles. First person narrative is the same way--while it can be used to great effect by good writers, it also has the potential to be very weak when inexpertly applied. In the case of your writing, I believe that the insertion of the characters’ thoughts is handled well enough that it is not a weakness.
[quote="uc pseudonym"]I would appreciate if you gave me your thoughts as to the future movement of the plot in that manner. Of course, I do not request this]Although I have been engaging in some degree of speculation concerning the plot, this is not a question that it had occurred to me to ask. What I have devoted a bit more mental energy to is the question of who has hired the various assassins. I would guess that to arouse curiosity in this regard was your intent, especially considering the interesting statement in this chapter about the characters being tracked by paperwork rather than by shinobi techniques. Despite my speculation on this question, I have no actual guesses at the moment.
While I do not typically speculate about character development per se, I had made a note to myself to pay attention to how the characterization of Hinata develops in future chapters, although that was more due to something you had told me about your intent to contrast the static characters of Ino and Sakura with Hinata's changing nature than to the story itself. I believe in this case it would be best to wait for a little while at least, if not to the end of the story itself, to make any generalizations about how the characters change throughout the story, since by nature this question can be best answered by a holistic view.