The Dating Detox: A laugh out loud book for anyone who’s ever had a disastrous date!. Gemma Burgess

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СКАЧАТЬ like, uh, oh…Hmm. Oh no, that’s not it, not Thai silk, I mean the other one. The heavier one but with a shine but not like cheap shine, like, expensive shine?’

      ‘Satin?’

      ‘Yes! And it was sort of gathered here and here, with a big thingy here, and we were in a big church and Coop was there, but he was painting the walls, no, they weren’t the walls, they were the puzzle windows, you know? The puzzle see-through windows? With the—the colouredy light, you know?’

      ‘Stained glass?’

      ‘Yes!’

      I let Laura’s streaming dream commentary ebb and flow around me. Coop isn’t in the office this week. He’s been in Germany, meeting some old clients to sweet-talk them into being new clients. This is extremely lucky, as I feel vague and distracted all morning. I edit some copy I wrote yesterday, cheer myself up with Go Fug Yourself, and over lunch take a very serious look at topshop.com, shopbop.com and netaporter.com. Soul-cheering retail therapy from the comfort of my desk. I don’t buy anything, obviously. Anything purchased the day after a break-up will be forever afflicted with the taint of heartache. And for me, netaporter.com only exists so that I can recognise the designer knock-offs when they hit Zara and H&M.

      ‘Sass, my job needs a quick proof,’ says a flat male voice.

      Ah, yes I didn’t tell you—I’m what they call a copywriter. Theoretically, I help think up advertising, erm, ideas. (If that’s not an oxymoron.) We’re a tiny agency, which means there’s not the usual creative team structure there is in big places, and I do just about everything else to do with words, too: posters and websites and emails and leaflets and all the millions of little things that you read every day that someone has to write. And proofread.

      ‘Now,’ the voice adds.

      I look up. It’s the senior art director. Andy. He’s in his late 30s: short, scruffy, with a pot belly and curly, slightly dirty hair. He dresses like many creative hipster hobbit clones: dirty skinny black jeans, battered studded belt, yellow 70s-motif T-shirt with too-short sleeves revealing arms with the muscle tone of a toddler. Most of the time you’ll find him spouting predictable counterculture snob-pinions in a loud mockney voice.

      He’s also fundamentally sexist and uneducated, which makes him prone to saying things like ‘Jane Austen? Mills and Boon in a corset, innit?’ which is, obviously, stupid on about ten thousand levels. It’s odd, because he thinks he’s so daringly creative and maverick—shades of Arty Jonathan—but of course, he’s just following a different party line. Lots of art directors, of course, are brilliant and funny and original, like Cooper. But quite a few of them are like Andy. (It goes without saying that I’d never date someone like him, doesn’t it? That’s probably another reason I spend so much time in bars: I’m never going to meet someone via work.)

      ‘What job?’ I say, getting up from my desk and following him. He’s already walked away from my desk, knowing I’ll follow. Arrogant bastardo.

      ‘Shiny Straight,’ he says, sitting down on his chair with a spin and a sigh. He’s referring to one of the shampoo brands we work for.

      I nod, and look down at the copy on his screen. He can’t even be bothered to print it out for me to read properly. It’s an A5 ad insert that goes into magazines like Cosmopolitan and Elle. (Yeah, those annoying leaflets that fall out when you’re reading…someone has to write them. Sorry.) But I’ve never seen this ad before.

      Reading it briefly, I can quickly see that it’s all wrong. The strapline (the big type at the top) is new. The supporting copy (the smaller type below that talks about the product) only uses one of the three key words the client requires us to use. The whole thing sounds weirdly formal, not girly and friendly the way it’s meant to. It doesn’t even have a clear call to action—that’s what we call the line that tells people what to do (like go online to register for a freebie, or use the leaflet as a discount voucher, or whatever). It’s just a jumble of lines I’ve written before, put together all wrong. And there’s a punctuation mistake. It’s a mess.

      (Did I say it’s boring hearing about people’s jobs? Too bad, dudes. I have the conch. Heh.)

      ‘I’ve never seen this before,’ I say, looking up at him. He shrugs.

      ‘Where is this copy from?’ I try again, blushing slightly. I find his obvious contempt hard to deal with. I repeat my mantra: posture is confidence, silence is poise. (It’s not a particularly clever mantra, I know, but it stops any nervous babbling when I’m confronted with a difficult situation. And it really does make me stand up straight.)

      ‘I wrote it,’ he says breezily. He means he copied and changed things from my previous work, the douchebag. ‘And Charlotte approved it.’ Charlotte is the account manager. She’s in charge of making sure the good people at Shiny Straight are happy with everything we do, and prone to giving me briefs that say things like ‘it’s bespoke and tailored and personal’, not realising these all mean the same thing. She is not responsible for writing. If anyone is responsible for writing in this 12-person agency, it’s Cooper, or it’s bloody well me. ‘Just proof it, Sass. It’s not a big deal.’

      ‘Why, um, was that?’ I ask, trying to look calm as I stare at the dreadful copy on screen. ‘Why didn’t you ask me?’

      ‘Last-minute brief. Didn’t have time to include you. I’ve read enough of them to know what to say,’ he says. ‘Anyway, it’s the design that counts. Words are bricks, as they say.’

      I glance over at him, my scalp prickling with anger, and see him looking at his design underlings with a smug smile.

      ‘Well, I can’t, um, approve it,’ I say. My cheeks are burning. ‘I can’t approve that copy.’

      The entire creative department—Andy, his two art directors and a freelance illustrator—is looking over. Laura, who they put over on my side of the room because she’s a girl and they love their little boys’ club, is staring at me. Even Amanda, our receptionist/Office Manager (she prefers the latter title, always in caps, so I tend to call her Amanda The Office Manager in my head) says ‘one moment please!’ and puts her caller on hold so she can devote all her attention to what’s going on.

      I want to tell him that it’s crap copy, and words aren’t bricks, and he’s an arsehole, but I can’t. As you know, I hate confrontation. Plus, I think everyone else really likes him, though I have no idea why, so they’re all probably laughing at me.

      ‘Well, I’m not staying here all night waiting for you to write the fucking thing. So proof it, or I’ll just get Charlotte to.’

      ‘Cooper…’ I hesitate. I’m sort of friends with Cooper, more than anyone else is anyway, and everyone knows it, so I try to never use him as a pawn in this sort of battle. I wonder if that’s why I always lose them.

      ‘Cooper would probably prefer we didn’t miss the deadline with the printer. Which is in ten minutes, by the way. So just fucking proof it. Fix the essentials.’ He’s being openly hostile now.

      I take a deep breath. I can feel tears sneaking into my eyes. Why do I cry whenever I’m angry? This is the last thing I need today. It’s not that important. I’ll just give in. I lean over the computer, fix the punctuation mistake (an errant apostrophe in ‘its’) and look up at him.

      ‘There. That wasn’t so hard, was it?’ he smiles. His lips are dry and cracked. And I know if I got within two feet, his СКАЧАТЬ