Pink Slip Party (32 page)

BOOK: Pink Slip Party

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THERE ARE A COUPLE OF INSTANCES IN THE BOOK WHERE BEING LAID OFF IS COMPARED TO HAVING A BAD BREAK-UP. WHY DO YOU THINK THE TWO ARE SO SIMILAR?

I think many women can take the loss of a job in the same way they take the loss of a boyfriend. You feel rejected, in the same way that you do when someone tells you they don’t want to be in a relationship with you. The excuse that a layoff is not necessarily related to job performance has the same false ring that “It’s not you, it’s me” does. I think losing your job often feels like a personal rejection, and it makes you go through the same steps you would in recovering from a bad break-up. You will be asking yourself “why” and trying to figure out what to do next.

IN THE BOOK, JANE HAS TWO PERSONAL REJECTIONS — THE LOSS OF HER JOB, AND OF HER BOYFRIEND, WHO IS AN EXECUTIVE AT THE OFFICE WHERE SHE USED TO WORK.

I think many people have experienced workplace romances. While I think most women understand the perils of dating someone at work, it’s almost impossible to avoid. Work is a natural place to find romance. You spend most of your time there, and when you’re there you’re trying to perform at your best. It’s a far less intimidating place to find romance than a local bar or online. Also, I think Jane becoming personally involved at work illustrates a common problem for women in the workplace. Women in particular often have a hard time separating the personal from the professional. It’s one reason why women take career setbacks so personally, because they’ve invested so much of themselves, personally and professionally, in their jobs.

JANE WASN’T THAT THRILLED WITH THE JOB SHE LOST AND PART OF HER JOURNEY THROUGH THE BOOK IS TO FIND SOMETHING SHE FINDS MORE FULFILLING. WHY IS THIS IMPORTANT?

As Americans, I think we relate to our jobs very differently than other people in the world. We have a famous work ethic, and we instinctively let our jobs define who we are. For most of us, work isn’t just a paycheck, it’s an identity. This relationship is even more complicated for workers in their twenties and thirties. We’re part of a generation, I think, where many of our parents told us to do what makes us happy. This is quite a challenging task. Not only are we supposed to find work, but we’re supposed to find work that’s satisfying. If you can’t do both, somehow you’re failing. But finding what you love to do and what pays the bills aren’t always going to be the same thing. Jane finds a nice balance by the end of the book, and I think it’s a balance that many of us seek in our own lives.

JANE HAS A COMPLICATED RELATIONSHIP WITH HER FATHER. HOW DO YOU THINK THAT RELATIONSHIP INFLUENCES THE WAY SHE APPROACHES HER LAYOFF?

In Jane’s family, her dad was the major breadwinner for most of her life, and her example of how a career should be managed. But his view of the workforce is a bit dated. Jane’s dad is only just becoming disillusioned with corporate America, whereas Jane always doubted the sincerity of corporate management. I think they ultimately help each other come to terms with the new economy.

HOW MUCH IS JANE LIKE YOU?

The book is not autobiographical. I never broke into a company that wronged me (although I would have liked to), but certainly there is some of me in Jane. We share a similar sense of humor and some of the same opinions, but Jane is far more confident about expressing hers publicly than I am. I’d like to have some of Jane’s confidence, especially when it comes to confronting landlords.

IN BOTH OF YOUR NOVELS,
I DO (BUT I DON’T)
AND
PINK SLIP PARTY,
HUMOR PLAYS A ROLE IN YOUR STORYTELLING. WHAT DO YOU FIND FUNNY AND WHERE DO YOU GET INSPIRATION FOR WRITING HUMOR?

Humor is a very tricky thing to write, mostly because it’s nearly impossible to get two people to agree on what’s funny. I find lots of things funny. I grew up in a household where there was a lot of laughter and joking around about a wide variety of things. We were the sort of family — my brother Matt and I especially — who’d mimic
Saturday Night Live
skits long after they wore out their funniness. In fact, when I was three, I retold my first knock-knock joke over and over and over again. My parents, who deserve the World’s Most Patient People award, would play along every time. So, developing a sense of humor starts early. Writing funny prose is challenging and I think having a balance of different kinds of humor (from sarcasm to physical comedy) is important, but actually succeeding in making someone laugh out loud is very difficult. At times, you’re going to fall flat, especially if it’s your hundredth retelling of a fruit-themed knock-knock joke. But you should keep trying.

SOME WRITERS HAVE WRITING SCHEDULES. OTHERS WRITE ONLY WHEN THE SPIRIT MOVES THEM. HOW DO YOU WRITE?

I try to write a little bit almost every day, even on days when I’m not feeling too inspired. I don’t always manage to meet this goal. I’m as guilty as anyone at getting sucked into watching
The E! True Hollywood Story
when I really ought to be working. However, I think any little work you can do helps. Writing a novel is like running a marathon. You train for it little by little, and you only get there running one mile at a time.

DO YOU WORK FROM AN OUTLINE? DO YOU HAVE THE ENTIRE STORY PLANNED IN ADVANCE?

I have major plot points planned, but as far as some of the details in many of the chapters, those I tend to improvise. And I’ve found that stories often change from initial outlines. When you get into the middle of a book, and you really feel like you know your characters even better than you did when you started, then some of the plot may seem weak or implausible. Or, you may simply become inspired to take the plot in a new direction. The great thing about fiction, and what separates it from nonfiction, is that radical changes in plot are possible and often make the story stronger.

WHAT ADVICE WOULD YOU GIVE TO PEOPLE WHO WANT TO BECOME WRITERS?

I do believe in the adage
write what you know.
But I think what’s more important is to write about what you find interesting. If you or your friends are interested in the subject and story, then chances are, other people will be, too. Books need readers, especially if you want to publish your book some day. The vast majority of writers are entertainers, and entertainers need audiences.

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