48 pages • 1 hour read
Katherine CenterA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Emma spends the night driving around town and ignoring Charlie. The next day is her birthday and, still mad at him, she doesn’t wake Charlie up to go swimming. Yet, to Emma’s surprise, Charlie is already awake and attempting to cook breakfast for her. Her father had emailed Charlie to tell him about her birthday and the breakfast they make for her every year, and Emma felt like Charlie was guilted into the celebration. Emma goes for a swim without him, saying she will clean up the mess later, but she comes back to find that Charlie has made the biscuit donuts she has every year for her birthday. Charlie sees that she is acting weird and asks if it's about meeting Margaux, whom he says drags him out to regular meetings to ask about his health because she feels guilty about the way she left him. Charlie tells Emma that he is genuinely grateful for her being there, inferring that she thinks he was guilted into making the donuts. The donuts are great, and Emma says she has to make them for his birthday, which is months later. However, Charlie says he will be officially cured of cancer while she is in LA after the fifth anniversary of his last treatment, so Emma plans to make a whole meal for him instead, and Charlie says it’s a date.
Four weeks into living together, Emma acknowledges that she and Charlie are working surprisingly well together. One day, they take a drive through the Hollywood Hills, where Emma becomes carsick on the winding roads with few guardrails. As Charlie is telling Emma that they will not fall off, they nearly hit an animal and spin out, ending up teetering on the shoulder of the road. Charlie calls for help as Emma panics, and to distract her, he tells her about his horrible first kiss. Emma asks him about his cancer and his divorce, and he also tells her about how his mother left his family while he was recovering from his near-drowning accident. Charlie realizes how two of the most important women in his life left him when he was close to death, and Emma points out that he is in this situation again, but she is not going anywhere. To continue the distraction, Emma tells Charlie about her mother’s death and her grieving process. Emma also confesses something she has never said before—that she was the one who chose to go camping while everyone else in her family wanted to go to the beach.
Once the fire engines arrive, things go smoothly, and Emma feels elated, but she notices Charlie doesn’t bounce back so quickly. Charlie later admits he is angry with himself for almost killing Emma. They had plans to do research for a scene in the screenplay by going line dancing, but Charlie refuses to go, telling her he only does research for serious projects. They fight about whether love exists, and Emma figures that he is bitter about his divorce. Emma can’t convince him, and she decides to go line-dancing by herself, but when she talks about dancing with someone else, Charlie agrees to go.
At the line-dancing class, Emma is extremely attracted to the handsome instructor, Lorenzo, and Charlie acts jealous. Charlie ends up apologizing for how he acted earlier, and Emma feels her fondness toward him growing. They continue to discuss the feeling of love, which Charlie worries he doesn’t feel and can’t remember how it feels. Though Emma wanted to take Charlie line-dancing to prove that the line-dancing scene he included in his screenplay was not romantic, she begins to doubt herself.
The next day, Charlie has a meeting with the movie executive’s lover for whom they are writing the screenplay, who also happens to be T.J.’s stepmother. As T.J. might show up at the meeting, Charlie suggests Emma should make herself scarce. At a nearby coffee shop, Emma runs into her favorite director, Donna Cole, and she debates pitching her latest screenplay. However, she can’t remember her pitch and has left her backpack with the screenplay at Charlie’s house, so she texts him to bring it, saying it’s an emergency. Charlie runs over, thinking it’s a medical emergency, and Emma begins to approach Donna. However, Donna is surrounded by other important people in the industry, including T.J., which causes Emma to lose her momentary confidence. She wants to leave, but her feet can’t move until Charlie comes up behind her, and Donna hugs him. Everyone at the table is shocked when Charlie mentions he is writing a rom-com under the tutelage of Emma, whom he introduces to Donna. As they are leaving, Charlie guides Emma to compliment Donna rather than give her the screenplay, and Donna asks her to stay behind for a minute. When Charlie is gone, Donna asks if Charlie is in love with Emma because she has never seen him look at someone like that. Donna mentions to the table not to spread the rumor that Charlie is in love and tells Emma not to break his heart, despite her denial of the whole thing.
On the way home, Charlie asks Emma what she was thinking when she planned to give her screenplay to Donna. Emma finally mentioned that she heard what he had said in the bathroom at brunch with Logan, and she mentioned that she wanted to convince him. Charlie admits that he heard what Donna said, and he knows it was just her way of trying to increase Emma’s status. Charlie admits that he isn’t in love with Emma because he Googled how long it takes to fall in love with someone, and they haven’t known each other long enough.
They get to the final act of editing the screenplay and revising the scene with the kiss, which Emma thinks is dreadful. She pulls up several examples of kissing scenes in movies as examples to help him craft the emotion behind the scene. However, they keep arguing about how much detail they should include in the scene, and Emma tells him he just needs to kiss someone and begins making a list of possible women to proposition, while Charlie vehemently disagrees. Ultimately, they agree that only another writer would understand why he needed to do this research, so Emma tells him to just kiss her. Charlie rejects her, and Emma feels like he must find her so repulsive that he wouldn’t even kiss her for research, leaving her feeling humiliated. Charlie admits to Emma that he didn’t want to kiss her for research, and when he realizes that Emma is disappointed too, he kisses her. Afterward, Charlie says he now understands why they are rewriting the screenplay.
Sylvie is disappointed the next morning when Emma tells her about kissing Charlie and then doing nothing else afterward. Both of them overthink whether the kiss was, in fact, for research or not. When she comes downstairs, Emma sees that Charlie has bought her flowers. Emma is anxious as they work throughout the day as they normally would, still debating whether Charlie has feelings for her. Toward the end of the day, Charlie gets an important phone call and goes outside to take it. When he comes back inside and Emma asks how he is, Charlie is mean to her and berates her for trying to fix everything before storming off. When Charlie returns in the middle of the night, Emma learns he has been in a bar fight as his face is bloodied and bruised. After she cleans him up, Emma asks again about what the phone call earlier was about. He doesn’t answer but drunkenly admits that she is his favorite person he’s ever met and hugs her, telling her that she’s going to hate him so much tomorrow.
The next morning, Emma wants to talk to Charlie first thing and confesses her feelings for him. When she does this, Charlie doesn’t react positively and deflates as the conversation continues. He tells Emma that they’re not going to have a romantic relationship and that he shouldn’t have kissed her because he doesn’t like her like that.
The Existence of Love is a major theme in The Rom-Commers and something about which Emma and Charlie constantly argue. While Emma firmly believes that love is the most important feeling in the world, Charlie doubts its entire existence, attributing romantic feelings to coincidence and hormones. Emma also believes that to write about something, you must believe in it, leading her to criticize Charlie for even attempting to write a rom-com. She asks him,
Do you really think that love doesn’t exist? Or are you just saying dialogue that sounds good? Because if you really think love is something Hallmark made up to sell greeting cards, then we should just burn this screenplay right now (149)
This shows how committed she is to the idea of love and its emotional power. Though Charlie is cynical at first, his views on love slowly begin to change in this section. During the fight before going to line dancing, Charlie acts jealous when Emma brings up the idea of her dancing with someone else, leading him to eventually join her. He tells Emma he wants to kiss her, but not if it is just for research. After they kiss, Charlie says, “I get it now. [...] Why we’re rewriting this story” (184), referring to Emma’s conviction that love exists and has a purpose. Though Emma overanalyzes whether this means Charlie has feelings for her, she knows that he acts like he doesn’t care about things he is actually scared of, like falling in love. However, Emma is left uncertain again after their kiss when she confesses her feelings for Charlie, and he tells her he doesn’t feel the same way. With their suddenly changing feelings, Emma and the readers are left wondering if Charlie actually believes in love.
Throughout much of the novel, Emma is driven by her guilt to make various choices. She feels guilty about going to LA instead of staying with her father and for causing Sylvie to withdraw from her prestigious internship. It is implied indirectly that guilt is also part of the reason that she feels so responsible for taking care of her father, as she feels responsible for his accident as well. Emma doesn’t show it, but guilt consumes her, and she feels it when anyone tries to do anything nice for her. When Charlie makes her favorite donuts for her birthday, Emma feels like he was guilted into it. Similarly, she feels guilty about coming on to Charlie when she tried to get him to kiss her, without thinking about what he actually would have felt. Emma’s relationship with guilt is complex, yet it underpins her characterization in this section of the novel and beyond.
In Chapter 18, Selective Truth Telling gives way to openness and honesty about her feelings of guilt when Charlie and Emma wait for their rescuers to arrive. In that moment, Emma says, “I added something that I’d never said out loud before—something that was so scary to verbalize that it made my feelings about the situation we were currently in […] seem almost cute” (146). When Emma tells Charlie how she chose camping over the beach, it is revealed that Emma had omitted details in Chapter 12 when she told the reader about the accident. Center has Emma first tell an honest but incomplete version of the accident before telling Charlie the whole truth later. Emma’s guilt has been buried so deeply for nearly a decade that only the need to distract from possible impending death brings it to the surface.
Later in this section, Charlie again withholds the truth from Emma, first by not telling her about the subject of the phone call and second by saying that he does not want a romantic relationship with her. Unlike Emma, Charlie’s motivation does not come from guilt but rather from fear of hurting her. Emma already knows that when he is afraid, Charlie’s go-to response is to become aloof and dismissive. Immediately after the call, that is exactly what he does before he storms off. However, later, alcohol subverts his selective truth telling, giving him a completely honest moment even though he’s drunk. He tells her that she’s his favorite person and that she will hate him the next day, which are both true statements.
This section of the novel, in particular, focuses on the novel’s backdrop of Hollywood and the film industry. Emma feels like an outsider in LA, especially when she compares herself to Charlie. In Chapter 21, she shows how little she knows about the secretive social culture of the film industry when Charlie has to stop her from giving a script to Donna Cole. Yet, Emma quickly learns how the social hierarchy works in Hollywood when Donna begins to create rumors that would elevate her status. Aware of this as well, Charlie gives Emma all the credit he can for helping him with the screenplay, knowing how much his good opinion alone can do for her in an industry that relies heavily upon word of mouth. On the other hand, Emma fears that people like T.J. will only bring her down, despite how his own foibles and reputation hinder him from making a deal with Donna, something he later blames on Emma. In this chapter, Center shows the complexity of social interactions in Hollywood and demonstrates how the industry often alternates between appearing like a clique and a meritocracy.
By Katherine Center