I learned a lot about writing from both of them. With Eden, I've learned how to write a complex character who is highly adaptable. She shifts depending on who she's talking to, and it's easy to feel like that's somehow a copout, but it's how people are, and she's helped me learn how to do that while maintaining a consistent base for who she really is under it. I've also gotten to cover a wide variety of serious topics with her that I'm proud of, and I think she's one of my best achievements as far as extrapolation goes. She has very little actual canon, but after seven years, I still feels she's completely true to all of it while still being fully realized and not held back by how little screentime she had.

With Veronica, I've learned to trust my instincts. I know her inside out, to the point that, when I dropped her at TR, it was in part because she was stifled and in part because I felt she'd just gotten so far from canon. But when the movie opens, who Veronica is is actually very much the girl I was playing at the end of her time in TR, because of the changes in her life, being out of Neptune. I took her so far away that I brought her full circle, and it was trusting my instincts that let me complete the trajectory. I also learned a lot from playing her about using more physical language to communicate emotion. I'm a bit more lax with older Veronica, but I had a strict policy during her time in TR wherein I did not allow myself to use the word "feel" except in sarcastic dialogue. I no longer remember the exact quote, but Rob Thomas once said something about never using it with her because that's just not who she is. I took it a step further and kept it out of her narrative for a solid five years, and it taught me so much about showing rather than telling.