I think if there hadn't been the one passage of the book that mostly abandons the humor, and focuses very intently on one person's struggle with cancer, it wouldn't have been a critical success. So that was a very deliberate decision, to say "Well, if you think it's all fun and games, it's not." So that was my approach: We're going to have as much fun as I can possibly provide, but the serious things that might normally pass by you are not going to be lost.

I think one of the ways you avoid being angry is to avoid being angry at the people in power. They might do crappy things, and piss you off, and make bad decisions, but they shouldn't be hated simply because they're in power. And I thought it was important to humanize them if the book was going to be even-handed to all the different ways you encounter people at work.

I think it's a very bad idea for someone to start writing for a readership.

All broken hearts are circumstantial. Every lovelorn jerk is the victim of bad timing, good intentions, and someone else’s poor decision making.

Comedy is like fictional charm. It's the charm of fiction. Or the charisma of fiction. When you meet somebody who's immediately charismatic, you're attracted to that person. And in fiction it's got to come out in either one of two ways: in the prose itself, and you're hooked immediately because you never want to leave such a colorful and penetrating world. Or, it's simply being a funny writer.

We found ourselves wanting to hurry time along, which was not in the long run good for our health. Everybody was trapped in this contradiction but nobody ever dared to articulate it.

She looks at herself in the mirror. The idea is to look sexy again. And for whom exactly? Yourself, of course. Yes, well, that's all wonderfully self-affirming and very strong-minded as any decent woman should be these days, but let's just face facts here and say that when a woman - no, when a person is thinking about feeling sexy, it is always with the idea of someone else in mind.