They are, however, very important concepts in writing; in fact they’re sometimes so important that like the ‘elephant in the room’ they’re too big to be seen properly.
Strangely enough, tone and flavour are very close in meaning; in fact one could almost consider them to be synonymous. They stand for the bias in the book’s choice of setting, plot, characters and language which, as a whole, elicits a reaction in the reader, whether it be one of sympathy and attraction, or one of repulsion.
Let me take 2 examples. One novel is set in the back streets of London. The only weather ever described is rain, and the whole environment is bleak and ugly. The characters are miserable and depressed, they don’t enjoy their jobs, and they have unsatisfactory relationships. When they go to a café, the food is unappetising, the cutlery is greasy, and the service is grumpy.
The second novel takes place in a jungle. The author is at great pains to describe the heat, the humidity, the smell of the damp vegetation and of the various types of flowers and fruits. The rain patters on the leaves. Everything is in abundance, even in excess. The characters are full of life and sexual fervour. Their bodies are smooth and tanned. They eat fruit and edible shoots. They are improvident and happy-go-lucky.
Obviously these 2 books represent extremes. But they are each unified in their representation of reality and they will each evoke a response in the reader. The first novel may come over as boring, samey, depressing or, conversely, as realistic, gritty, grass-roots. The second novel may be seen as oppressive, over-exuberant, alien, or alternatively colourful, exotic, dreamy.
Some readers, if questioned, might pick on one aspect of the book as having elicited their response – setting, plot, outcome, for example – but others are likely to be less articulate and say they just ‘liked it’ or ‘didn’t like it’. In many instances they will have been affected by the book’s tone or flavour.
Authors who are wise to this audience reaction may deliberately create a tone or a flavour by means of introducing more restricted but repeated devices such as smells or perfumes (diesel oil, roses), or sounds ( water, traffic). They may stylise the dialogue or the descriptions.
Naturally, some authors aren’t conscious of introducing tone or flavour to their books. Perhaps, in some cases, it goes naturally with the subject matter, or issues from the writers own innate character. But it pays to be aware of the possibilities.