The #1 Mistake Composers Make With Emotion

Stephen Berkemeier
2 days ago
4 min read

Why writing music for your character isn't always the right move.

TL;DR

Most composers write music to match what the character is feeling. But that's not always what the audience needs to feel. Emotion in film scoring is about guiding the viewer's experience — not just mirroring the scene.

The Mistake: Writing for the Character, Not the Audience

It's natural to want your music to reflect what a character is going through.

A character cries → we write sad music
A character wins → we write a triumphant cue.
A character looks afraid → we add tension.

But here's the problem:

Just because a character feels something doesn't mean the audience should feel the same thing!

In fact, great storytelling often relies on the tension between what the character feels and what the audience knows.

Film Music Isn't about Matching — It's about Guiding

Let's say your character is smiling happily, but the audience knows something awful is about to happen.

Do you write happy music?

Probably not— it would be better to score the tension underneath. Your focus is on enhancing the emotional arc that the audience is experiencing.

Film music is narrative.

It's not just "What's happening?" — it's "What should this moment mean?"

That means your job isn't to score the character's experience.

It's to score the emotional truth of the scene — and how it lands with the viewer.

A Better Approach: Score the Emotion the Audience Should Feel

Instead of asking:

"What's the character feeling?

Try asking something deeper:

"What does the audience meant to feel in this moment — and why might that be different?"

There are two big reasons this disconnect can happen — and they're both central to great storytelling

The Audience Knows Something the Character Doesn't (or vice versa)
This is one of the most common reasons for emotional mismatch
1. A character is hopeful — but we know something tragic is coming.
2. A character feels safe — but the audience sees the danger.
3. The character may seem in control — but we've already seen them crack.
When the audience and character don't have the same information, the music shouldn't just mirror the character. It should reflect the deeper emotional truth the audience is meant to experience.

This is what makes scoring so powerful! you're not just painting the surface — you're revealing the emotional subtext.

The Audience and Character Feel Different Things
Sometimes , even when everyone has the same information, the emotional experience is still different.
- A character might be numb — but the audience needs to feel grief
- A character might laugh — but the audience feels dread
- A character may feel love — but the audience feels suspicion or unease
Your job as composer isn't just to echo what's on screen. It's to guide the emotion that drives the story forward.

How to Actually Do This: The Emotion Grid

One of the most powerful tools I teach in The Musical Storyteller is the Emotion Grid — a simple framework for translating emotions into musical decisions.

It starts by asking three core questions about the emotion you want the audience to feel:

Valence: Is it pleasant or unpleasant?
Energy: How physically expressive is it?
Size: Is the feeling small and internal, or large and overwhelming?

Once you understand which emotion you're trying to portray use these questions to start shaping harmony, rhythm, texture, and orchestration to match the audience's experience not just what the character shows on screen. (If you'd like a much deeper discussion on this model, check out my blog post here)

Examples from Film:

Sherlock Holmes (2009): In the scene by the docks where the factory explodes, the characters are terrified and disoriented. But the audience feels concern and emotional weight. The music doesn't mirror panic — it delivers a dramatic, somber solo violin that captures the gravity of what's unfolding.

Harry Potter and the Prisoner of Azkaban: When Aunt Marge is blown up, the characters are all angry and afraid. But the audience feels vindicated watching an abusive figure get her comeuppance. The music leans into this emotional truth with a fun, circus-like waltz, reinforcing the audience's satisfaction and comedic reaction to the scene.

Lord of the Rings: Return of the King: As Mount Doom collapses and the characters face death, the music doesn't heighten fear. Instead it delivers a grand, beautiful theme that honors their sacrifice. The audience is meant to feel the meaning of the moment, not the chaos.

Want to Learn How to Do This In Your Own Writing?

This idea — scoring for the audience, not just the character — is a core pillar of my textbook The Musical Storyteller. Grab the full textbook here.

Or start with my free eBook: The Composer's Roadmap — a practical, self-guided path for taking control over your own musical education.

Final Thoughts

The best film music doesn't just reflect emotion — it shapes it.

So the next time you sit down to score a cue, try asking:

"What is the audience supposed to feel in this moment — and how can I help them feel it?"

That's where great storytelling begins!