turned the top page of the manuscript. And they began.
He gave great notes. They were acute, considered, wise. Intimate.
As he had promised, the process of editing her novel forced them into a curious form of co-habitation. She would arrive at his office each morning and, following his customary breakfast of roll and sausage and black coffee, they would commence work. At first on opposite sides of his desk, then on the third day he came out and sat on the edge, balancing there comfortably, at ease in his body; a move, Jane did not fail to notice, which put her at eye level with his crotch.
Often she felt like the submissive in a highly specific S&M relationship, one with no physical contact but plenty of verbal discipline. I edit you. I. Edit. You. Ordinarily, she wouldn't have put up with any man who bossed her about as much as Tom did, but theirs was a professional relationship, she reminded herself. So she gave herself permission to be spanked. On the page.
Mostly they worked in his office, or the café next door, and whenever they reached a sticky point they would take to the streets and walk it out like a pulled muscle. Occasionally they decamped to her place. The first time he asked her—no, informed her—of the change of venue came early one morning while she was still half asleep, drowsy with last night's notes. He was on his way over, said the familiar accented voice on the other end of the phone.
When the doorbell rang she was in the shower. She stepped out, dripping, to shout down the corridor that there was a key on the lintel above the door and he should let himself in. It felt natural to give this man the run of her flat. After all, he was going to publish her. When she entered the sitting room she found him sprawled on the floor, propped on one elbow, pages scattered about him, red pen zipping through the manuscript. He looked right at home. And, watching him work steadily, intensely, she realised that he was the first man she'd properly trusted since her dad walked out.
They settled into their routine. Every day it was just the two of them, happily suspended in a bubble of literary discourse and fried egg sandwiches. One Wednesday morning, ten chapters into the edit, Jane breezed through the front door of Tristesse Books.
‘Morning, Roddy.’ She plunked a bulging paper bag on his desk. ‘I made brownies.’
There was an urgent rustle as Roddy tore open the bag. With an appreciative smile, she turned towards Tom's office. She liked Roddy; he was a good influence on Tom. If Tom had a fault—and he did—it was an impulsiveness that shaded into arrogance, and Roddy was the one who called him on it, every time. Although it was dubious how he balanced his job as a replacement English teacher with secretarial duties for Tristesse Books, he exuded an air of moral rectitude along with an insatiable appetite for her home baking. He was Jiminy Cricket to Tom's Pinocchio, she'd informed both men one cool summer night, as they sat outside at Bar 91 amidst the buzz of revellers welcoming the weekend. Tom had almost choked on his pint. Roddy just looked disappointed: couldn't he at least be Yoda to a hot-headed young Skywalker, he'd asked.
‘Uh, Jane. You can't go in there.’
She stopped at the door, one hand poised over the handle.
‘He's got someone with him. They've been in there all night.’
She could hear Tom on the other side, his voice in its by now familiar trajectory, the point and counterpoint of argument, the steady inflection and unwavering logic of his contention. And it hit her. He was giving notes.
To someone else.
She experienced a sudden light-headedness, like an aeroplane cabin depressurising at altitude, and was still reeling when the door opened and a winsomely pretty blonde girl stepped out of the office and collided with her.
‘Ooh, sorry.’
‘Sorry.’
‘No, I should be the one who … sorry.’
They disentangled themselves and the girl introduced herself.
‘Nicola Ball.’
She was wearing a severe black pinafore dress on top of a white shirt buttoned to the neck. Pellucid blue eyes gazed unblinkingly from a perfectly oval face. There was a hint of redness around her eyelids, as if she'd been crying.
‘The Last Stop,’ said Jane delightedly. ‘I loved that book.’
‘Thank you,’ said Nicola, a tremulous smile appearing on pale lips. Then her expression hardened and she cast a dark look back through the doorway to Tom's office. ‘At least someone appreciates me,’ she snarled.
‘Why are you still here?’ Tom's voice boomed out. ‘Stop socialising and start rewriting. Go. Now!’
‘I hate that man,’ Nicola hissed.
As she said it Jane felt an unexpected sense of relief. Nicola hated Tom. Good.
‘Please tell me you're not one of his,’ said Nicola.
‘Uh, one of—? Oh, I see. Well yes, I am—as you say—one of his,’ said Jane, adding an apologetic shrug since Nicola's sombre expression seemed to demand one. ‘Tom's going to publish me.’
Nicola took her hand and patted it consolingly. ‘I'm so sorry.’ She pursed her lips in an expression of graveside condolence, bowed her head and departed.
Jane watched her slip out, the triangle of her pinafore dress swinging like a tolling church bell, and felt herself smile inwardly; whatever Nicola's experience of working with Tom had been, it bore little resemblance to her own.
‘Jane?’ he called from the office. ‘Is that you?’
She never tired of hearing him say her name. She floated inside on a cloud of happiness ready to embark on the next leg of their voyage of collaboration and constructive criticism, of intellectual discussion and high-minded debate.
‘Your notes,’ Jane spluttered. ‘Your notes are burning cigarettes stubbed out on the bare arm of my creativity.’ She stepped away from his desk only to return immediately. ‘Oh, and there is no such thing as constructive criticism. The phrase reeks of foul-tasting medicine forced down gagging throats “for your own good”. Constructive criticism is a fallacy; weasel words designed to lure innocent writers like me into an ambush. This chapter is too long. There's too much set-up. This plotline doesn't pay off. Uh, perhaps that's because you cut the set-up? This character is underwritten. Show, don't tell! This chapter is still too long. I like this scene, this is a great scene—it must be cut.’ She stood before him, her face flushed, her breath shallow and rapid.
‘Are you quite finished?’ Tom responded with irritating calm.
She brushed her fringe from her eyes and sniffed. ‘Yes.’
‘Good, then we shall continue.’
Two months into the edit and Jane had lost all sense of perspective. Was he a brilliant editor or, despite his earlier disavowal, simply a sadist who enjoyed torturing novelists? Currently, she was leaning towards the latter. She half suspected that were she to pull at the antiquarian volume of Frankenstein squatting atop his bookcase a secret door would swing open to reveal a shadowy chamber and the gaunt, moaning figures of his other novelists, hanging from bloodstained bulldog clips, notes on their last drafts carved into their skin with his annoying and ubiquitous little red pen. It
