Tone, and how abruptly you change it, how radically you change it, and how you break it whether on purpose or on accident says a lot about your experience as a writer, and how well you planned out your plot.
Trigger warning for mentions of mature themes
What is Tone?
“Tone” is the maturity of the work, signaling whether or not your characters have to censor themselves for young readers. It’s also restricted by the genre, whether this is a comedy and what kind—slapstick or gross-out humor—or a scary movie about ghosts, but not graphic body horror. It sets expectations about the amount and degree of romance readers can expect, if the scene will fade to black before anything happens or if you’re in for a raunchy sex scene, or somewhere in the middle. It also helps audiences gauge whether or not characters can die in this universe, and how graphically if they do beyond Disney’s tried and true “villain falling ambiguously from a tall height” deaths.
OSP did a piece on Tone Armor, a device similar to but less obvious than Plot Armor where the established tone means that, no matter how dire the circumstances, your hero won’t actually die, the world won’t actually end, and a happily ever after is on the horizon. Red also discussed what happens when you break your established tone with the shocking death or mistreatment of a character, but more on that later.
How to Decide Your Tone
Depending on your genre and intended audience, content for younger readers demand quite a bit of censorship (though can get away with many, many things worse than death). In the US at least, movies go through the MPAA rating system to determine what’s permitted by the rating given—how many swear words, whether you can show blood, topless women, graphic assault, graphic violence, if and how characters can be killed or how gummy and resistant to damage their bodies are.
If you’re writing for children, you both have less freedom to write violent carnage, and more freedom to get really creative within the limits of your tone box. I can expect the kid protagonists of my fantasy adventure to murder countless monsters that dissolve into gold dust, not bloody carcasses. I can expect the villain to perhaps die from a stab wound, but probably not get decapitated, disemboweled, or drawn and quartered, at least, not ‘on screen’.
If you’re writing for adults, adults do still expect a warning for how graphic anything can be, whether that’s sex scenes, fight scenes, murders, assaults, bloody battles, garish injuries, dead pets, dead children, etc.
Unless you’re already planning to break your tone, you need to know fairly early on whereabouts you want to set those expectations. If none of the characters even allude to sex and you write in a graphic assault, your audience is going to be pissed, and horrified. If none of your characters even allude to sex, and you hint that one was assaulted off-screen, you will still upset your audience if you don’t give them time to prepare for the possibility.
You can soften the violence and graphic content you’ve previously established and few might complain about it not being gritty enough, but going the other direction puts you in a very precarious position. Choosing more mature themes will inevitably alienate younger readers, those with triggers, and those that just want to have a lighthearted good time. The trade off? You’ll invite readers with a work that’s exactly what they’re looking for.
Establishing a Tone
I’m writing this post today because I finally sat down to watch Game of Thrones. One can’t avoid spoilers for a series as massive as that, so I was prepared for the graphic violence, all the gratuitous sex, the infamous Red Wedding, murdered kids, horribly bloody battles, and the like. GoT, the TV adaptation at least as I can’t speak to the books, establishes exactly what to expect in the very first scene: Three people happen upon the site of a graphic mass murder, limbs and body parts strewn everywhere, kids among them, who come back to life as ice zombies to kill them.
That episode continues with a beheading, incest, more incest, attempted child murder via defenestration, a brother selling his little sister into marriage, rampant nudity, and… I’m sure I missed something.
Spoiler Alert for Season 4
What I was not at all prepared for was the graphic death of Oberyn Martell (Pedro Pascal). It’s quick, it’s violent, it’s graphic and gruesome and incredibly well-acted… it was also far more horrifying than the Red Wedding, at least to me. Murder is murder but the way this character went out almost had me quit watching right then and there. Google at your leisure.
It wasn’t necessarily outside the realm of possibility, but most everyone else died via stabbing, arrows, beheading, burning, falling, eaten by wolves, crushed, etc. This was deeply unsettling, particularly because it’s live action, not a cartoon like Invincible.
It did its job, and it’s the only moment to feature in nightmares and make me lose my appetite, so… well done? In the following Previouslies (correct me on the actual word) they don’t even show it, cutting around the actual moment because it’s just that horrible.
This was four seasons into an eight season show and nothing like it had happened before. In a tone already as dark and explicit as TV can get, poor Oberyn pushed it over the edge entirely. It broke the established tone.
Amazon’s The Boys treads the same very thin line, only these people have superpowers for a whole new level of deeply disturbed body horror.
So, when you’re establishing a tone in the realm of “less graphic than Game of Thrones but still terrible,” you can go one of two ways: Horrify your audience straight out of the gate, or slowly creep up to it with allusions and hints until they’re fully prepared for it when it hits.
If your characters have free reign of every swear in the dictionary, start with the “f*cks” and “sh*ts” as quickly as you can as part of their vocabulary, whether you intend to use the words sparingly or after every other word in their dialogue.
If you’re writing a multi-series work that intends to ramp up the rating as it goes, you don’t have to cold open with a murder, but establishing that characters do at least die in this world is a start. Establish that assault happens in the background, that killing happens, or animal cruelty. Your readers with triggers will thank you for it and read something else.
Unless you intend to shatter the tone and shock your audience with it later.
Breaking Tone via Killing Characters
The most effective tonal breakage I can think of that wasn’t even graphic, just dark and incredibly well done: Disney’s animated Mulan. The movie had been your standard Disney musical complete with grand animation for its sing-along song. Soldiers singing, dancing, laughing as they march off to war, all for a girl worth fighting—
The singing stops. The score stops. Their smiles drop. Cut to the scene before them that has murdered this Disney musical in cold blood and it’s a decimated battlefield, the snow-covered and burned bodies of their far better trained and more competent fellow soldiers, and the love interest’s father.
Mulan only briefly reprises one track in the climax, but otherwise, this happy-go-lucky sing-along has rudely and horrifyingly become a war movie. It’s still Disney, so it doesn’t get violent or graphic, but they shattered the tone in glorious fashion.
Breaking tone happens all the time, for minor events and major character deaths. It doesn’t become an issue of “you just alienated your audience” unless the tonal breakage is the aforementioned sudden graphic assault or other sensitive triggers.
Major character deaths are a whole separate monster to tackle and I’d like to, but for today’s purposes I’m talking about killing major characters when the possibility of any of our heroes dying was never established.
For anyone who never read Lord of the Rings and didn’t know the curse of anyone played by Sean Bean, losing Gandalf to another ambiguous high fall was one thing, but Boromir straight up dies in battle. Sure the story is surrounded by death and darkness but you expect heroes in a world like this to have some pretty hefty plot armor—and Boromir had so much room left to grow. In the grand scheme of the story, though, Boromir’s death was as far from shock value fodder as possible.
Sirius Black is another heartbreaking loss, but not entirely outside the realm of possibility—killing off Ron or Hermione would have been. Any mentor figure is automatically doomed with rare exception, especially ones in fatherly roles.
Bianca di Angelo is a different matter. She’s not the first death mentioned in Percy Jackson but she’s a brand new character and despite all the dangers the heroes have already been through and the warnings from the prophecy, actually killing her off for good broke the tone. Suddenly this war was real and there were lasting consequences.
Game of Thrones’ “Red Wedding” didn’t just shock audiences because a bunch of people died, it was which people that died. Robb Stark, eldest son and heir to Sean Bean (so of course he’s dead) and one of the siblings of the “hero” family had been leading a war effort to rescue and then avenge his father. He gets betrayed and murdered, along with his mother and a fair chunk of his army, caught by surprise at a wedding, because he broke an oath and married for love instead.
I knew of the scene and knew that Catelyn Stark was there just from the one time I’d seen the clip years ago, and as it got closer I worried it was Robb’s wedding, but I still wasn’t prepared for the death of the hero of the show. Jon’s off in the north doing his own thing and so is Danaerys. This was the bright-eyed usurper, the avenger, the never-lost-a-battle upstart. No author would ever kill that hero.
They’d established that anyone can die, similar to the Walking Dead in some ways, but this was a whole new level of boldness, killing off Robb. At the time of this post, I haven’t seen past season 4, but I know more deaths are coming.
Deciding to murder your hero, in any other story, would not go over well with your audience. Killing any major character is a decision that should be made with a deep understanding of the consequences or else you end up like Walking Dead after they killed Carl for shock value and never recovered their audience viewership.
It’s not just dead protagonists, it can be worldly tragedies, the heroes actually losing a battle, or the war, a uniquely horrifying monster or cryptid or villainous act. Or it can be a character beginning to contemplate self-harm and possibly attempting to end their own lives. It can be the reveal of an abusive relative, or an incestuous relationship. It can be mental health problems, sudden and un-curable disease and disability.
It can be less-dire things too, but I’m not much for writing comedy.
Tone, like pacing, doesn’t have to remain consistent throughout the entire story. If it’s a lighthearted comedy, let it stay a lighthearted comedy if you want to. You can change tone progressively, with hints and near-misses, or drop a bomb on your audience with a big reveal. What you do and how you implement it is entirely dependant on the story you’re writing.
Most audiences expect a book that isn’t written for elementary schoolers to mature over time and most genres come with set understandings. But hey, I hear Animorphs can get incredibly dark with a bunch of mature themes.
In general, killing a character just for shock value is rarely worth it in the long run. In general, writing in triggering subjects without warning to an audience that wasn’t prepared for it also isn’t worth it in the long run—save it for a different book.
If fanfiction authors leave author’s notes everywhere warning about the subject matter ahead, published authors can do the same, in my opinion. Content warnings should be a thing and it doesn’t have to spoil the surprise. Include it as a forward to your book, letting potential readers know that such and such work they’re considering spending real money on contains mentions of, or explicit depictions of, any and all mature and sensitive themes. You never know who’s out there picking up your book expecting a good time. Do right by them and give a little heads up and you might gain a fan you wouldn’t have otherwise.