The Score

Elle Kennedy

56 pages 1-hour read

Elle Kennedy

The Score

Fiction | Novel | Adult | Published in 2016

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Symbols & Motifs

Content Warning: This section of the guide references sexual content, cursing, substance use, and illness or death.

The “Life of Dean”

Dean’s defining philosophy, the Life of Dean, is a central motif for Moving Beyond Socially Prescribed Norms in Romantic Relationships that encapsulates Dean’s entire character arc. Across the novel, it evolves from a justification for hedonism into a philosophy for authentic living. Initially, this personal code represents Dean’s carefree, privileged, and commitment-averse lifestyle. He introduces it to Allie as his secret to happiness: “I do what I want, when I want it. And I don’t give a shit what other people think about me” (97). In this early context, his philosophy acts as a shield, allowing him to pursue a string of casual sexual encounters and avoid the expectations of his family, particularly the predetermined path to Harvard Law. It frames happiness as derived from immediate gratification and a rejection of all responsibility, allowing him to exist without emotional risk or long-term investment.


However, as the narrative progresses, Dean redefines the motif as a commitment to personal fulfillment, passion, and joy. Through his developing feelings for Allie and his unexpected passion for coaching, his understanding of the Life of Dean transforms. It ceases to be about shirking responsibility and becomes about choosing the responsibilities that support the life he wants to build for himself. Dean discovers that doing what he wants is about pursuing what brings him genuine joy and fulfillment, even if it defies external expectations. His decision to forgo law school in favor of becoming a teacher and coach signals his embrace of this evolution, suggesting that true contentment comes from aligning one’s life with personal passion.

Dean’s Bedroom

Dean’s bedroom functions as a symbol of his deep-seated avoidance of emotional intimacy and commitment. For most of the novel, the bedroom is a forbidden space for his sexual partners, a private sanctuary he refuses to share. His preference for having sex in semi-public spaces like the living room is a conscious choice rooted in a desire to keep encounters impersonal. Allie observes this pattern early on, questioning his motives: “Hannah said you always fool around in the living room […] why don’t you want to do your naked stuff [in your bedroom]?” (12). Dean’s own explanation that he “like[s] the idea of getting caught” (124) reveals his exhibitionist tendencies, which serve as a defense mechanism against the vulnerability required for a truly intimate connection. By keeping his encounters public, he ensures they remain superficial and transactional, preventing emotional investment.


When Allie becomes the first person Dean has sex with in his bedroom, it signals a shift in his established pattern of emotional detachment. On the first night they sleep together, Allie declares, “I want to see this mysterious bedroom of yours. I want to be the first one to christen it” (29). By crossing this physical threshold, she also crosses an emotional one, foreshadowing their romantic arc from a casual, exhibitionist fling to an intimate, committed romantic partnership. The bedroom ceases to be a symbol of what Dean withholds and becomes the space where his emotional transformation begins as he navigates the line between casual sex and genuine intimacy.

The Skates

The pink skates Dean purchases for Dakota function as a symbol of his latent capacity for selfless generosity, a quality that challenges both his own self-image and the assumptions of others. When Dakota asks Dean to teach her to skate, she reveals that her family could only afford lessons for one child, and her brother took priority. Dean offers a pair of borrowed boys’ skates, but Dakota refuses them, and rather than dismiss her preference, he quietly obtains a pair of pink ones at his own expense. The gesture marks a departure from the Life of Dean philosophy he espouses, in which he claims to act only in his own interest. In contrast, buying the skates requires no audience and earns him no social reward.


The skates also play a role in shifting Allie’s feelings toward Dean. When she watches him teach Dakota in the pink skates, she describes feeling “sweetness unfurls inside of [her], filling in the cracks and holes [she] didn’t realize existed” (282). The moment crystallizes her dawning recognition that Dean possesses depths she didn’t know he had.


Later in the novel, the skates punctuate Dean’s abandonment of the Hurricanes during his downward spiral, underscoring the importance of Confronting Grief as a Step Toward Emotional Growth. Dakota interprets his absence as a personal rejection, asking Allie, “Is he mad because I didn’t want to wear the boy skates? […] Is that why he hates me? Because he paid money for girl skates?” (323). The skates, which once represented Dean’s attention and care, now represent the cost of emotional withdrawal. The skates illustrate that generosity, once extended, creates a connection that demands sustained emotional presence.

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