Showing thoughts in first-person writing is all about letting the inner voice shine through naturally. I love how novels like 'The Catcher in the Rye' or 'Eleanor Oliphant Is Completely Fine' do this—Holden’s rambling sarcasm or Eleanor’s blunt observations feel so raw because they’re unfiltered. To achieve that, I try to write as if I’m confessing to a friend, not performing for an audience. Tangents, half-formed ideas, and even contradictions can make thoughts feel alive. For example, instead of just saying 'I was nervous,' I might write, 'My hands kept fiddling with my sleeves—stupid, really, since no one was even looking at me. Or were they? Ugh, stop it.'
Another trick is to use sensory details to anchor thoughts. If a character’s overwhelmed, don’t just say it; show their mind jumping between the clock ticking too loud and the itch of their sweater tag. Video games like 'Disco Elysium' master this—the protagonist’s inner monologue is a chaotic blend of memories, regrets, and bizarre tangents. I borrow that energy by jotting down messy streams of consciousness first, then refining them later. The key is to trust that readers will connect with the vulnerability of unpolished thoughts more than perfectly structured ones.