I don’t think faster readers get rid of the subvocalization. They either speed it up to match or they stop being conscious of it. You want it to at least match your speaking speed or the speed a person would use if they were telling you the story out loud. I’m assuming that you don’t…talk…like…this…in…your…daily…conversations.
Ideally, when you glance at a word, you say it in your head instantly. You don’t stop to think about what word that is or how to say it out loud or study the spelling of it. Even more ideally, you glance at the first couple of words, have the context of the scene/moment, know the character’s personality, and instantly predict the entire sentence/paragraph. < — This is what happens when you get into a zone with a book that is written in a generally modern, easy style of writing. Classics with older writing styles and more complicated language are going to slow you down until/unless you get very used to them.
Her main characters are always very relatable and realistic, with quirks and issues and strengths and weaknesses. She easily imbues them with natural complexity and depth of character. While they are in some ways nothing special, they are still unique and totally believable, fitting into their setting while being clever enough to not quite fit in - just like so many people feel about themselves.
A little bit weird, a little bit rebellious, a little bit lost, a little bit faking it, a little bit brave, not afraid to admit when they were wrong 9at least to themselves - and us readers - if no one else) - all these qualities encourage us to feel sympathy and a sense of camaraderie. We cheer them on, we hope for the best, we laugh and cry with them because we feel like we know them - they are very much like us in some deep and human parts of our souls.
She was a master of character development because she was incredibly observant and gifted with the ability to put what she observed into words we can understand and relate to.