Series drift is usually blamed on the model. Open the ledger instead. The character was described from memory at every job, and memory rounds its numbers as it goes. “Glossy black hair in a low bun” in frame one becomes “dark elegant hair” by frame four, and the audience watches a stranger take her place. The repair is clerical: enter her once, on a ledger card you paste rather than retype.
Five fixed lines, always in order
Age — a number, and in this room a mature one. Hair — colour, length and one habitual style. Build — two or three words. Face — one or two details that endure every crop. Signature — the pin, the mark, the detail that survives any light. Everything else belongs to the changing line: outfit, corner, hour, lamp. Changing lines are meant to change. Entry lines are not.
State the lines plainly and positively; adjectives are reinterpreted at every attempt, concrete descriptions survive. And version the entry: when she is deliberately changed, rule a new page, date it, and keep the old one, so an old set can be remade exactly as it was.
Working from the entry
Pair the entry with changing lines that share one setting and one light, generate at the standard 6-credit cost, and keep the best third. Spend on repairs, transfers and upscales only after the cull. When a frame returns off character, the cause is almost always in the entry: a changing line contradicted a fixed line, or a line was too vague to hold her.
What a ledger cannot do
It cannot hold a character who was never decided. Decide her on paper first. The ledger is not where the imagination happens; it is where the imagination is kept, entry after entry.