Mood & Tone
PHOTO: An illustration of a compass under broken glass: a metaphor of a screenplay’s mood and tone.
Mood & Tone in Screenwriting: Explained
Understanding ‘look & feel’ in screenwriting.
Mood and tone in screenwriting isn’t as confusing as it may seem. If you remember only one thing about this article, let it be this: you’re writing for filmworms, not bookworms. Or to be more academic: visual learners, not verbal learners.
One of my favourite novelists is Ken Follett. His books are epics — literally and figuratively. Ken takes 2 or 3 pages to describe walking into a room. To help readers understand what’s happening, authors need to write mood and tone. Describing how characters feel, think, emote, and where they are physically, are important to carry the story forward. Using two pages may work for books, but for visual mediums, that’s unacceptable.
Don’t direct the page.
Just write; let the experts set mood & tone.
When it comes to screenwriting, ‘tone’ is merely suggestive. Although the screenwriter is the author of the piece, filmmaking is a visual medium, and it’s the director who sets the ‘tone’ of the film with input from the Director of Photography (DP). As writer of the piece, you can you can advise, but it’s the director’s responsibility to show the story. A little further down we’ll get into the differences between mood and tone.
In screenwriting, there’s a phrase writers like to toss around: ‘Don’t direct the page.’ Simply put, this means, ‘Just focus on writing the words.’ It’s not a screenwriter’s job to dress sets or block shots or direct performers. While it’s okay to make suggestions (for example, when emphasizing important beats), a screenwriter’s primary role is to write the story. Let the experts set mood and tone.
A well written screenplay will stir the imagination of those around you. Directors (including DPs) are experts in visual storytelling and interpretation. Trust the process and know that — more often than not — your story aligns with their vision.
What tone is not.
– A specific character’s attitude toward something.
– The attitude of the narrator. This includes the attitudes of first-person fictional narrators.
– The mood or moods evoked by the piece.
What About Mood?
While ‘tone’ and ‘mood’ are often used similarly, in filmmaking the two are distinct.
In screenwriting, ‘tone’ is the filmmaker’s attitude toward the subject of the story. Tone established through the director’s choices for camera angles, lighting, color palette, and editing. In turn, ‘tone’ can significantly influence the ‘mood’ of the piece.
‘Mood’ refers to the emotions that the audience experiences while watching the film — their emotional reaction.
Earlier we reminded you that you’re writing a script, not a novel. While it might seem obvious to some, it’s important to remember that screenplays and novels are two very different forms of writing. A screenwriter can only suggest tone and subtly imply mood in their scripts, while a novelist is free to write tone and mood in their books.
What mood is not.
– The atmosphere of a scene (atmosphere is the sensation imposed upon the audience through ‘tone’).
– How a character feels.
– How the screenwriter feels.
How Mood & Tone Work Together
It’s all about teamwork.
A film’s tone often shapes the audience’s emotional experience, but it’s important to note that the mood can shift from scene to scene even when the film’s overall tone remains consistent.
Viewers might feel excitement (emotion) while also experiencing goosebumps (sensation) at the same moment. The dialogue in a movie’s final scene, crafted by the screenwriter, combined with the director’s tone established earlier, can evoke a wave of different emotions and reactions.
When the screenwriter and director share the same vision, the outcome is nothing short of cinematic magic!
Examples of Subgenres Reflecting Mood & Tone
Sift through some popular choices.
Below is a list of 22 subgenres that take both mood and tone into account. If you’re searching for a particular combination, this is a great place to start. Please note, this list is subjective and reflects my personal experiences from reading the scripts and watching the films.
Cerebral
Scripts that are ‘cerebral’ are more appealing to the mind than the heart. They can make you feel emotions, but they’re really meant to feed the mind.
Dark
‘Dark’ screenplays deal with fear, death, and the sinister side of human nature. Basically, subject matter that is generally considered taboo, serious, or painful to discuss.
Deadpan
Screenplays considered ‘Deadpan’ are amusing while affecting a serious manner.
Emotional
‘Emotional’ scripts can be tearjerkers, that is true. But also those which evoke moderate anger or laughs can fall under this category.
Exciting
Scripts that are ‘exciting’ come with great enthusiasm and eagerness. With ‘Action’ and ‘Thriller’ screenplays, this is a popular mood.
Feel-Good
‘Feel-good’ scripts evoke feelings of happiness and well-being. Many Disney-Pixar films will leave the viewer feeling all warm and fuzzy inside.
Goofy
Adam Sandler comedy is ‘goofy’ — somewhat ridiculous, or mildly ludicrous. Sort of like wildly eccentric in a harmless way.
Gritty
‘Gritty’ is often used to describe things that are dark and edgy. If a film is gritty, that means it is likely violent and depressing. Think ‘Training Day.’
Heartfelt
Many ‘heartfelt’ screenplays are sincere, and wholehearted. Deeply and strongly felt.
Imaginative
“Imaginative’ scripts are creative and inventive. James Cameron’s ‘Avatar’ franchise is a primo example of imaginative tone.
Inspiring
What comes to mind when you think ‘inspiring’? These scripts make you feel like you want to do something real. Life-changing. ‘Patriots Day’, the story of the 2013 Boston Marathon bombing and the aftermath, inspired some to be a cop or soldier.
Irreverent
Personal favourite. ‘Irreverent’ scripts have content that shows a lack of respect for people or things that are generally taken seriously. In terms of comedy, this is actually a compliment. The TV series ‘Arrested Develpment’ sets that tone, as does ‘The Office.’
Mind-Bending
Christopher Nolan basically “owns” the ‘mind-bending’ subgenere. They’re often very difficult to understand, and feature complex storylines and characters. Movies like ‘Memento,’ and ‘Inception’ are great examples.
Offbeat
For the most part, ‘offbeat’ scripts are different from the ordinary, usual, or expected. Perhaps even a little… off. ‘Knives Out’ and ‘The Ballad of Buster Scruggs’ are good examples. This pairs well with dark comedies.
Ominous
Anything ‘ominous’ gives the impression that something bad or unpleasant is going to happen. A threat is omnipresent; and there’s no indication if anything will or will not happen. Suspense-thrillers can often have a very ominous tone. ‘Black Mirror’… yeah, ominous.
Quirky
Wes Anderson screenplays define ‘quirky’. They almost certainly have peculiar or unexpected traits. ‘The French Dispatch,’ and ‘Moonrise Kingdom,’ are two excellent examples of quirkiness.
Raunchy
You’ll never read a ‘raunchy’ Disney screenplay. This tone is often paired with comedy where the protagonists are involved in genrerally vulgar exchanges, and mild sexual activity. The ‘American Pie’ franchise is a good example. HBO’s ‘Euphoria,’ although not comedic in nature, could be considered as ‘raunchy.’
Scary
Thhis pretty much speaks for itself. ‘Scary’ screenplays are alarming and frightening. This feeling is not exclusive to horror movies, either. Thrillers like ‘Mission: Impossible’ can also trigger intense feelings of fright.
Sentimental
‘Sentimental’ scripts evoke feelings of tenderness, sadness, or nostalgia.
Suspenseful
Mystery screenplays are commonly paired with a ‘suspenseful’ mood subgenre. It can arouse excited expectations or uncertainty about what may happen.
Understated
Screenplays tagged as ‘understated’ are subtle but very effective, in their presentation. ‘Moonlight’ and ‘Ronin’ are the first to come to mind.
Witty
‘Witty’ scripts are clever and funny and timed just right. There’s dialogue that demonstrates sharp, biting humor and delivered playfully. ‘The Adam Project’ and ‘RED’ are classic examples of witty writing.
Learn More About Subgenres
Subgenres Reflecting Primary Genres
A film subgenre is a more specific category within a broader film genre, defined by unique elements, themes, or storytelling techniques that distinguish it from other films in the same genre. Subgenres allow for more precise classification and often focus on particular aspects of mood, tone, plot, setting, or character types.
Each subgenre brings its own unique style, tropes, and conventions to the story, allowing filmmakers to explore different aspects of the genre in creative ways. Subgenres help audiences understand what type of experience they can expect from a film, providing a more tailored viewing choice.
We have more than 140 subgenres to explore.
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