When I was coming to terms with my sexuality, I often felt like I needed to seek out sanctuary outside of my house, and the library was the first place I went. It was a place that I could go and seek out information and look for answers to questions that maybe I was too afraid to ask another person.

When I wrote 'The Assistants,' I knew very much that I wanted to write about income inequality and student loan debt and the gender wage gap, but I wanted to put it in a really slick, fun package. That book ended up being described as a socially conscious novel in chick-lit clothing.

I wanted to write a book about two women falling in love that wasn't hinged on tragedy or that involved some horrible identity-based misfortune. I wanted to write a pretty standard romantic comedy where nobody dies, nobody gets hurt, nobody gets sick.

I was the assistant to the editor-in-chief of 'Esquire Magazine.' And my experience as an assistant was really best case scenario. My boss was absolutely the greatest boss I could have asked for. But I think there's something universal about being an assistant, regardless of whether or not your boss is the greatest or a complete terror.

I was in the U.K. and Germany and went to Volkswagen and learned about their apprenticeship model - young people become paid apprentices in trades. It's not a coincidence that youth unemployment is far lower in Germany than the United States because there are paid opportunities for young people to get experience.

I've learned that while I'd be a fool not to stay open to the advice and experiences of the smart, amazing people in my life, I also need to listen to what I have to say.

My music is about the journey, about love and the human experience.

I've been through a lot in the music industry, in life. I've learned that I have to be tough in this world.