Informationen zum Autor Curtis Sittenfeld Klappentext 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 assumptionsa 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 showand in society at largewho'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 comedyit'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. Leseprobe 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 nightSaturday 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 ideasyou could write and submit more but pitch only twoso 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 officenot to be confused with his office on the eighth floor, adjacent to the studio where the show was filmedwas 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 ...

Autorentext

Curtis Sittenfeld

Klappentext

**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.

Leseprobe
**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 twic…