What’s in a Line?

Contemplating Writer

When I write, I try to envision everything around the lines: how the characters move, the setting and maybe even the music. Most importantly, the words have to be true to the character and help move the story along. That’s what you ultimately need to see and, usually, that’s done through some form of conflict. However, I didn’t envision conflict on the set around the script. At one point, I was asked to alter a line. Did I want to? No. The scene had changed due to the location and the setup. When Rob pointed out that the line may not work, I initially disagreed. I didn’t see it. It’s a subtle line and I thought the point was being made. And, we’d heard it many times in auditions without debate. But, the issue was raised and we had to come together as a group, agree and move on.

There was a lengthy discussion about a) Was it achieving its goal and b) Was it true to the nature of the relationship dynamic between “Jenn” and “Larissa”? We discussed it as a larger group and batted around alternative lines. I was literally re-writing one scene as I watched another unfold (with tired eyes and a more tired brain). Then, Rob and I discussed it again with Alexis and Lourna. I really wanted the female perspective on it and ensure the line didn’t take their relationship to a level that we didn’t want.

With their input, we came up with something new. It was great because I saw that they understood the characters and the delicate balance that is the relationship. It’s tricky, but I think it will still bring humor and conflict all at once. In the end, the words have to be personal to the character, not me.