Mood in the Arts
Writers, musicians, and artists all concern themselves with mood, as do, of course, philosophers and psychologists. But what does “mood” mean? It is usually given three definitions: a temporary state of mind; a general impression produced by a predominant quality or characteristic; or a prevailing quality, as of thought, behavior, or attitude. Thus, a character may speak angrily then calm down; a crowd may seem joyous or threatening to a character, or the threat of a storm may make your protagonist cower under cover.
Historically, philosophers, physicians, and psychologists have shown their fascination with mood, connecting it to temperament and behavior. The Greeks discussed the “humors” or “temperaments” which they thought were based on bodily fluids, which in turn they believed caused certain behaviors, creating the categories of sanguine, phlegmatic, choleric, and melancholic. These categories could be used to build different character types. Think about the caring characters, the practical characters, the testy characters, and the sad characters in “Harry Potter and the Philosopher’s Stone.”
For musicians, mood depends on the key the piece is written in, the tempo, and the dynamics, that is, differences in sound. For example, Carl Nielson’s symphony, “The Four Temperaments” was deliberately constructed to evoke four kinds of emotional responses. Vivaldi’s “Four Seasons” similarly associates the four temperaments with spring, summer, fall, and winter. Cinema goes even farther, amplifying mood in the story and on the screen with the mood in the soundtrack to create different emotional reactions in viewers as the scenes progress. The theme from “Star Wars” was written in G major, a happy key, and appears at the beginning and the end, sounding both hopeful and triumphant.
Theories Related to Mood
The Meyers-Briggs Inventory has been used in various settings, including work, school, and other organizations. Keirsey’s reworking of the MBTI in his book, “Please Understand Me,” is an interesting model for writers as it creates four major categories: artisan (promoter, crafter, performer, composer), guardian (supervisor, inspector, provider, protector), rational (field marshal, mastermind, inventor, architect) and idealist (teacher, counselor, champion, healer). It is evident that these categories could easily become characters in a novel. Keirsey’s more recent book, “Personology” (2010), includes intentions, abilities, and interests in his theory of personality, which would give writers even more food for thought.
Writers Must Understand Mode as well as Mood
Grammatically, writers have to be able to use mood knowledgeably to create the world their characters inhabit psychologically. The grammatical term for mood is “mode” which references the state of mind of the speaker as the speaker is constructing what he or she says. For writers, mode naturally determines the form of the verb used. Is the character stating a fact? Asking a question? Giving an order? Making a wish? Or thinking hypothetically or conditionally? Thus, the state of mind is always portrayed by the author’s choice of verb form and can be used to portray the underlying mood or attitude of the character in question. A strong character will use the indicative mode more than any other. A bossy character might use the imperative mode in an excessive amount of interactions. A character who is afraid of reality or is rather shifty could overuse the conditional.
Mood and Fiction
Mood impacts various aspects of fiction. We all know the phrase “It was a dark and stormy night.” The writer sets the mood of the story with a reference to the absence of light and the threat of a storm. Humans often feel unsafe in the dark. They are often afraid of storms. The reader knows that something bad is about to happen. Despite the fact that this phrase has become cliché and has been lampooned, writers need to think about how to cast the mood of their stories, avoiding the melodramatic or the mundane.
Several questions arise for writers about the use of mood and mode. How do I personally handle them? How do I describe scenes, actions, and conversations? How do I hit just the right note and avoid cacophony? How do I create a memorable sentence? A haunting scene? An unforgettable beginning and ending—not subject to parody by professors and critiques. And, finally, how do I stay in a writing mood and mode?
Writing Goals for 2019
This year, my goals are to:
1. Edit my first novel into a coherent manuscript by December 7, 2019:
During the month of March, I have been reading for structure. As I read “There There” by Tommy Orange, I focused on how he used quotations to set the theme and sub-themes of the novel. As I edit my first novel, I have been incorporating some quotations. Now I have a better idea about how to use them more effectively.
2. Complete a draft of my second novel by December 7, 2019:
For four days in March, I participated in the Rocky Mountain Fiction Writers’ NovelRama. This collaborative, or perhaps I should say concurrent, writing event takes place online via Facebook. Experienced writers provide guidance and encouragement in four-hour blocks throughout the day. They set up timed writing sprints, post videos of themselves, and post amusing llama memes. The goal was for each participating writer to write 6,250 words each day and finish with a grand total of 25,000. I had never before tried such a task. I didn’t think I could do it. But I did. My grand total was 25,436. I amazed myself. Best of all, I drafted 16 chapters of my second novel, finishing 86 pages. At this point, I have accomplished almost one-third of my December 7th goal. Additionally, when I looked back to compare my NovelRama total to my last year’s total for the same period, I discovered that I had written 20 pages more in four days than I had written from January to March 7, 2018!
3. Document my progress through a blog to be posted on the seventh day of each month, writing 12 blogs in 2019:
Today is April 7, 2019. This is my fourth blog of 2019. Having to write and publish a blog each month is forcing me to think more deeply and read more widely about fiction writing and how to wield the tools I need to build a good story.
4. Continue to develop a network of kindred spirits in the world of writing and publishing:
I continue to meet more writers through the Boulder Writers Alliance. One of the most helpful experiences I am engaged in is our BWA Book Club for Writers, led by Gary Alan McBride. Our discussions illuminate how each reader experiences the novel in a different way. Each one’s unique perspectives contribute to a better general understanding of the novel in question.
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