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Romantic Comedy
Cover of Romantic Comedy
Romantic Comedy
NEW YORK TIMES BESTSELLER • REESE’S BOOK CLUB PICK • A comedy writer thinks she’s sworn off love, until a dreamy pop star flips the script on all her assumptions—a “smart, sophisticated, and fun” (Oprah Daily) novel from the author of Eligible, Rodham, and Prep.
 
“Full of dazzling banter and sizzling chemistry.”—People
 
“If you ever wanted a backstage pass to Saturday Night Live, this is the book for you.”—Zibby Owens, Good Morning America
A BEST BOOK OF THE YEAR: The Washington Post, NPR, USA Today, BuzzFeed, PopSugar, Harper’s Bazaar, Real Simple, She Reads, New York Post

Sally Milz is a sketch writer for The Night Owls, a late-night live comedy show that airs every Saturday. With a couple of heartbreaks under her belt, she’s long abandoned the search for love, settling instead for the occasional hook-up, career success, and a close relationship with her stepfather to round out a satisfying life.
But when Sally’s friend and fellow writer Danny Horst begins dating Annabel, a glamorous actress who guest-hosted the show, he joins the not-so-exclusive group of talented but average-looking and even dorky men at the show—and in society at large—who’ve gotten romantically involved with incredibly beautiful and accomplished women. Sally channels her annoyance into a sketch called The Danny Horst Rule, poking fun at this phenomenon while underscoring how unlikely it is that the reverse would ever happen for a woman.
Enter Noah Brewster, a pop music sensation with a reputation for dating models, who signed on as both host and musical guest for this week’s show. Dazzled by his charms, Sally hits it off with Noah instantly, and as they collaborate on one sketch after another, she begins to wonder if there might actually be sparks flying. But this isn’t a romantic comedy—it’s real life. And in real life, someone like him would never date someone like her . . . right?
With her keen observations and trademark ability to bring complex women to life on the page, Curtis Sittenfeld explores the neurosis-inducing and heart-fluttering wonder of love, while slyly dissecting the social rituals of romance and gender relations in the modern age.
NEW YORK TIMES BESTSELLER • REESE’S BOOK CLUB PICK • A comedy writer thinks she’s sworn off love, until a dreamy pop star flips the script on all her assumptions—a “smart, sophisticated, and fun” (Oprah Daily) novel from the author of Eligible, Rodham, and Prep.
 
“Full of dazzling banter and sizzling chemistry.”—People
 
“If you ever wanted a backstage pass to Saturday Night Live, this is the book for you.”—Zibby Owens, Good Morning America
A BEST BOOK OF THE YEAR: The Washington Post, NPR, USA Today, BuzzFeed, PopSugar, Harper’s Bazaar, Real Simple, She Reads, New York Post

Sally Milz is a sketch writer for The Night Owls, a late-night live comedy show that airs every Saturday. With a couple of heartbreaks under her belt, she’s long abandoned the search for love, settling instead for the occasional hook-up, career success, and a close relationship with her stepfather to round out a satisfying life.
But when Sally’s friend and fellow writer Danny Horst begins dating Annabel, a glamorous actress who guest-hosted the show, he joins the not-so-exclusive group of talented but average-looking and even dorky men at the show—and in society at large—who’ve gotten romantically involved with incredibly beautiful and accomplished women. Sally channels her annoyance into a sketch called The Danny Horst Rule, poking fun at this phenomenon while underscoring how unlikely it is that the reverse would ever happen for a woman.
Enter Noah Brewster, a pop music sensation with a reputation for dating models, who signed on as both host and musical guest for this week’s show. Dazzled by his charms, Sally hits it off with Noah instantly, and as they collaborate on one sketch after another, she begins to wonder if there might actually be sparks flying. But this isn’t a romantic comedy—it’s real life. And in real life, someone like him would never date someone like her . . . right?
With her keen observations and trademark ability to bring complex women to life on the page, Curtis Sittenfeld explores the neurosis-inducing and heart-fluttering wonder of love, while slyly dissecting the social rituals of romance and gender relations in the modern age.
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  • From the cover Chapter 1

    April 2018


    Weekly Schedule for The Night Owls

    Monday 1 p.m. pitch meeting with guest host

    Tuesday 5 p.m. start of all-night writing session

    Wednesday 12 p.m. deadline for submitted sketches

    Wednesday 3 p.m. table read of submitted sketches

    Wednesday 9 p.m. preliminary show lineup posted internally

    Wednesday night–Saturday morning rehearsals; scripts revised; sets built; special effects designed; hair, makeup, and costumes chosen and created; pre-tapes shot

    Saturday 1 p.m. run-through of show

    Saturday 8 p.m. dress rehearsal before a live audience

    Saturday 11:30 p.m. live show before a new audience

    Sunday 1:30 a.m. first after-party

    Monday, 1:10 p.m.

    For the meeting that marked the official start of that week’s show, I planned to pitch two sketches. But I had three ideas—you could write and submit more but pitch only two—so I’d play by ear which ones I went with, depending on how the guest host reacted to the pitches preceding mine. About forty writers, cast members, and producers were crammed into the seventeenth-floor office of the show’s creator and executive director, Nigel Petersen. Nigel’s seventeenth-floor office—not to be confused with his office on the eighth floor, adjacent to the studio where the show was filmed—was both well-appointed and never intended as a meeting place for anywhere close to forty people. This meant that Nigel sat behind his desk, the host sat in a leather armchair, a few lucky staffers nabbed a place on the sole couch, and everyone else leaned against the wall or sat on the floor.

    Nigel started by introducing the host, who, as happened about once per season, was also that week’s musical guest. Noah Brewster had twice in the past been the musical guest, but this was his first time hosting. He was a cheesily handsome, extremely successful singer-songwriter who specialized in cloying pop music and was known for dating models in their early twenties. Though he looked like a surfer—piercing blue eyes, shaggy blond hair and stubble, a big toothy grin, and a jacked body—I’d learned by reading the host bio we were emailed each Monday morning that he’d grown up in a suburb of Washington, D.C. He was thirty-six, the same age I was, and had been famous ever since releasing the hit “Making Love in July” more than fifteen years before, when I was in college. “Making Love in July” was a paean to respectfully taking the virginity of a long-haired girl with “glowy skin,” “a pouty mouth,” and “raspberry nipples,” and it was one of those songs that had for a year played so often on the radio that, in spite of finding it execrable, I accidentally knew all the words. In the time since then, Noah Brewster had won many awards and sold more than twenty million albums, a figure I also had learned from his host bio. It was not a coincidence that his tenth album was being released the following week; hosts, musical guests, and the combinations therein were usually either celebrating newfound fame or promoting imminent work.

    After Nigel introduced him, Noah Brewster looked around the room and said, “Thanks for letting a musician crash the comedy party. Hosting TNO has been a lifelong dream, ever since I was a middle school misfit sneaking down to the basement to watch after my parents went to bed.” He smiled his big smile at us, and I wondered if his teeth were real or veneers. After nine years at TNO, I was as accustomed as one could be to interacting with high-wattage celebrities, though...
Reviews-
  • AudioFile Magazine Kristen Sieh narrates the story of a contemporary relationship set just before and during the Covid pandemic. Sally Milz is a writer on "The Night Owls," a late-night comedy show. When another average-looking man on the show becomes involved with a gorgeous woman, Sally knows the inverse would never happen, so she's shocked when host Noah Brewster appears interested in her. Sieh captures Sally's snarky tone and sharp wit, showing why she is a success in her career. Sieh also acknowledges the loneliness Sally experiences in her personal life. Noah sounds charming and pleasant, and while Sieh portrays his decency, she also allows his frustration and doubt to show through. Both characters are complex, and Sieh depicts them as flawed human beings who are struggling to connect. K.M.P. © AudioFile 2023, Portland, Maine
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Romantic Comedy
Romantic Comedy
Curtis Sittenfeld
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