Ever noticed how easily your mood can change, with the weather, good news or bad, a new idea, fear or concern for the future? Our moods shift as often as light and shadow, making a huge difference in our outlook. The ability to create and change mood can make a big difference in writing, too.
“Mood Indigo”, by jazz great Duke Ellington, was Ellington’s first tune written for microphone transmission. Originally titled "Dreamy Blues", the 1930 piece drew such rave reviews after airing that lyrics were added, and the piece was renamed. Notice that, in the works’ very renaming, its mood is evoked. The same principle applies to writing.
Mood in writing is when the sound of the prose sets the feel of a scene or section, or the entire piece, and few writers make sufficient use of it. Why bother with this oft underrated element of craft? Creating the right mood can enhance setting, underscore theme, foreshadow events or signal a change in a character. So how can writers optimize this multipurpose writing tool?
The first step in using mood to the full is to pay close attention to scenes and settings. You can begin by reading a small section of a story, for example, the opening paragraph. Ask yourself what feeling is evoked as you read. You may be describing a wintry day, but the question is, how are you describing it? Is it with a feeling of warmth at being inside when the weather outside is foreboding? Or are howling wind and stinging sleet pelting a driver changing a flat on the shoulder of an interstate? Whether you realized it or not as you were writing, your word choices created a mood. The question is whether the mood works best with your storyline.
Once you read your work with mood in mind, consider whether it’s most effective use is as complement or counterpoint to your story. For example, if you’re writing suspense, you may want to build tension by increasing the feeling of foreboding as events unfold. Returning for a moment to our stranded driver, what if she’s not on an interstate but on an unfamiliar winding mountain road en route to an inn in the Berkshires? As her problems mount, readers will sense the situation will keep getting worse. If you’re looking to underscore impending disaster via surprise, you might set the scene with the woman dressed for the occasion and knowing something of the area. She knows what to do. She’ll get the jack out of the trunk and … By considering the immediate context and the overall goal of the story, you can consciously select the best setup, drawing readers in either by prompting them to suspect or to be surprised by scene’s outcome.
So how do you make the most of opportunities like this? First, consider what’s happening in a scene or section and what kind of story you’re writing overall. Then consider several possible approaches. To find out, write the scene several times using a different approach each time. Once you see which option is best, consider your word choices; prose is paramount. That’s why it’s best to begin with a smaller section of the story. Once you get used to going through these steps with bite-sized pieces, you’ll start doing it automatically throughout the project.
One key reason mood is overlooked is that writers don’t consciously consider it; they write a scene or section based on what’s happening with mood baked in. But if you listen to Ellington’s piece, you’ll hear that it sounds precisely like what the title “Mood Indigo” evokes—not a dreamy blues ballad or a blue mood but a long, deep and introspection. Take the time to read your work with mood in mind, consider the best choice for your context and be intentional in your word choices, and your writing can have the same effect on the reader. An old Italian proverb says the world is beautiful because it’s varied. Your story’s beauty can be enhanced by a variation of moods, a continual play of shadow and light.
