Moore explores point of view in her stories, fearlessly changing perspective as a way of making her characters distinct. She does not shy away from bringing the reader close to a character that strains the boundaries of “likeable.” In “You’re Ugly, Too,” Moore explores notions of relatability even as the narrator exists in her own mental world, allowing the reader to glimpse in themselves something of her even as they ponder the madness behind some of her thoughts. In “How to Become a Writer” the reader is presented with a narrator that speaks distantly even as she is drawn close through concretely defined details and clearly recounted life wonderings. In “People Like That Are the Only People Here” the reader feels a perspective shift. Though the point of view creates more of a distance than existed in the previous stories, especially through archetypal nomenclature, the artfully described details of “the Mother finds a blood clot in the Baby’s diaper...startling against the white diaper, like a tiny mouse heart packed in snow” pull the reader into the story with a vengeance.
Moore allows for a little craziness to shine through in her stories. In “Referential,” the narrator is made to feel somewhat left of average through both her complicated thought processes and interactions with her son. Everything from her smooth contemplation of jam jars as a present to her need for physical touch that draws her unnecessarily to beauty salons, Moore embraces the peculiarities in her narrator. At the same time frustrating and captivating, the narrator of this story moves the story along through the way that she navigates the complex relationships she has with the men in her life. Even as the reader questions the significance that she places on the more subtle details of her life, the reader nonetheless accepts these obsessions and uses their presence as indicators of the deeper meanings that exist behind her mounting tragedies.