I’d been reading this anthropological piece called Night Work - it’s about hostess clubs in Tokyo. What is it about that film or that story that attracted you? You said you were inspired to write this because you wanted to do a reverse Pretty Woman. Learning to be was something that I’ve been working on now, and trying to accept who I am. It’s kind of unhealthy in that I will even become a different person depending on who I’m with. I feel like I’d take it a step further - camouflaging or trying to be other people. Self-acceptance was a big thing because before writing the book, I did a lot of masking. Those are things that have always plagued me as unhappy things I have to live with and hide or try to cover up. This was an opportunity to embrace aspects like the repetitive motions and sensitivities. HELEN HOANG: Drawing Stella as a character, giving her all of these idiosyncrasies was really helpful for me because those are things about myself that I’ve never really paid attention to or understood. How much of that made its way into Stella and the story you were telling? ENTERTAINMENT WEEKLY: You write movingly in your author’s note about how writing The Kiss Quotient sent you on a concurrent journey of finding your own diagnosis.
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