Chapter One

"Have you seen it?" asked Samantha.

I leaned close to my computer so my editor wouldn't hear me on a personal call.

"Seen what?"

"Oh, nothing. Never mind. We'll talk when you get home."

"Seen what?" I asked again.

"Nothing," Samantha repeated.

"Samantha, you have never once called me in the middle of the day about nothing. Now come on. Spill."

Samantha sighed. "Okay, but remember: Don't shoot the messenger."

Now I was getting worried.

"Moxie. The new issue. Cannie, you have to go get one right now."

"Why? What's up? Am I one of the Fashion Faux Pas?"

"Just go to the lobby and get it. I'll hold."

This was important. Samantha was, in addition to being my best friend, also an associate at Lewis, Dommel, and Fenick. Samantha put people on hold, or had her assistant tell them she was in a meeting. Samantha herself did not hold. "It's a sign of weakness," she'd told me. I felt a small twinge of anxiety work its way down my spine...

Please be aware that this discussion guide will contain spoilers!

1. With Good in Bed, Jennifer Weiner has garnered a lot of early praise for her alternately hilarious and poignant dialogue, and also for her pitch-perfect ear in rendering the conversational rhythms of Cannie's first-person narrative voice. Looking back through the novel, what is it about the dialogue that works so well? In what ways does it serve to subtly develop each character's motivations and idiosyncrasies?


2. Discuss, in connection with the previous question, the specific tone and quality of Cannie Shapiro's voice. What techniques does Weiner employ to make Cannie's musings and descriptions come across so intimately? What sets the author's style ...