Earlier this fall, I spoke with Awkward. creator Lauren Iungerich about the beginning of the second half of the third season, which was announced earlier this year as her final year with the series. Since then, Iungerich has been a regular presence in the comment section at The A.V. Club’s weekly reviews of the series, engaging with fans and reflecting on the end of her journey. As the season comes to an end with tonight’s hour-long season finale (10:30/9:30c, MTV), I spoke with Iungerich at length about her experience with the series and the end of her Awkward. journey. This is the first part of that conversation, in which she reflects on her departure and her engagement with her audience. Later tonight after the finale concludes, I will have an additional conversation where we focus on how she chose to bring an end to her time on the series. [NOTE: Part Two of the interview is now up.]
In the comments of last week’s A.V. Club review, you made a point to reflect on the contribution of Erin Ehrlich. As you depart the show, are you reflecting back on your collaborators throughout this journey?
Lauren Iungerich: It would not have been half of fun if I hadn’t had Erin by my side. I had an incredible team of people who helped me make the show. Steve Edwards, who was my supervising editor: editors never get credit the way they should. Editing is such an extension of the writing—sometimes you’re rewriting in the editing room, and he was kind of this magic…I don’t know how to explain it, but he really gets my tone, and the tone of the show, which can go from crazy heightened comedy to this emotional pathos. He really understood and connected with the material—I have to take him with me wherever I go. Also Jamie Dooner, my husband, has been a creative force since I was writing the pilot—his jokes and ideas are peppered in from the beginning (like the now iconic cast from the pilot, which was his idea). I don’t know where I would be without these people—as a creator, you’re the one who makes the final decisions, but I definitely had a lot of consultants along the way.
And yet as the showrunner, you definitely have a lot at stake in the show on a personal level.
LI: As I made the decision to leave my show, which was a very hard decision, it’s so interesting for me to reflect on what’s happened with the show and the ownership that has been taken. For myself and the people mentioned above, this show was personal—it was art. For me, personally—and I speak only for myself here—this was an extension of me and a labor of love, and five years of my life such that I can’t explain the amount of work that goes into it. There are different people who come in and work with us for a few months a year: we have the luxury of an awesome team who comes in every season—including those who are going back without me, which is a gift to be able to leave behind opportunity and jobs for amazing people—but even those who work on the show don’t understand what goes into it for those of us who are with it from day one. It’s not just one person who should get the credit, but I’ve definitely been the lone soldier who carries it from beginning to end, which is why this is so personal and why the choice to leave was so incredibly painful.
Now, though, I see it as a business: it’s not this personal thing anymore. And it is a business, and it’s been the best lesson I’ve learned: should you do anything that gets any kind of adulation, validation, good ratings, or an audience, it becomes this thing where everybody sort of wants a piece of it, and wants to take ownership of it. And the truth is the ownership lies with the people who loved it, and there are a lot of them, it was not just me. It’s still hard for me to see the show as a business, because it was so personal: I cry all the time. I cried last night; I cried writing that post about Erin.