Kim Rosenstock Sparks Insightful Discussion on Show Tone
Emmy-nominated writer Kim Rosenstock, known for her work on Dying for Sex, recently led a thought-provoking discussion on the often perplexing topic of show tone at the latest edition of Proper Presents: Deadline Dinners. The event, held at the Santa Monica Proper hotel, brought together a diverse group of playwrights-turned-TV writers to explore the intricacies of storytelling in television.
Rosenstock opened the evening by sharing her own confusion when a reporter once asked her to explain the tone of her show. “I don’t know what that means,” she admitted, highlighting a significant difference between theater and television. In theater, discussions typically revolve around a playwright’s voice, while television often necessitates a clearer articulation of tone.
The dinner featured an impressive guest list, including writers such as Carly Mensch from Glow, Alena Smith of Dickinson, and Anthony King from The Afterparty. This gathering of creative minds was designed to foster intimate conversations about the challenges and nuances of storytelling.
One participant recounted a recent experience where she was asked to clarify the tone of her script upon submission. “In theater, we talk about voice a lot, which relates to what you have to share. In TV, the show gets to have a voice, which I guess is tone,” she reflected, indicating the frustration many writers feel when tone becomes a focal point in discussions.
Another writer recalled her experience leading a tone meeting for her first show, expressing bewilderment at the need to explain what should be inherently understood. “I was like, why do I have to spell this out?” she said, acknowledging the learning curve inherent in the transition from theater to television.
During the dinner, Blair Milam, who also works at Freethink Media, offered a unique perspective by comparing tone to the experience of a yoga class. She articulated that tone helps create a “container” for the audience, shaping their expectations and experiences. “Tone is coming from fear of the unknown and fear of experience in the moment,” she explained.
In a particularly memorable moment, Alena Smith quoted an Israeli psychoanalyst, stating, “Tone is the emotional organization of experience.” This insight resonated deeply with the group, as it underscored the critical role tone plays in conveying meaning and emotional context within storytelling.
As the evening progressed, discussions flowed freely, reflecting the camaraderie and shared experiences of the writers. Rosenstock, who recently earned her first Emmy nomination for co-writing the Dying for Sex episode “Good Value Diet Soda” alongside Elizabeth Meriwether, noted her surprise at discovering that she was not listed among prominent playwrights who have made the transition to television.
The event not only highlighted the importance of tone in television writing but also served as a reminder of the challenges faced by writers in bridging the gap between different mediums. With the growing prevalence of television as a storytelling platform, conversations like these contribute significantly to the evolution of narrative techniques in the industry.
As the night concluded, the attendees left with a renewed understanding of their craft, armed with insights that blended their theatrical roots with the demands of contemporary television narrative. Rosenstock’s initiative to initiate this dialogue among peers demonstrates the ongoing need for collaboration and discussion in the evolving landscape of screenwriting.
