Mhairi McFarlane - Who’s That Girl? - A laugh-out-loud sparky romcom!

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A laugh-out-loud romance from the author of the bestselling YOU HAD ME AT HELLOWhen Edie is caught in a compromising position at her colleagues’ wedding, all the blame falls on her – turns out that personal popularity in the office is not that different from your schooldays. Shamed online and ostracised by everyone she knows, Edie’s forced to take an extended sabbatical – ghostwriting an autobiography for hot new acting talent, Elliot Owen. Easy, right?Wrong. Banished back to her home town of Nottingham, Edie is not only dealing with a man who probably hasn’t heard the word ‘no’ in a decade, but also suffering an excruciating regression to her teenage years as she moves back in with her widowed father and judgy, layabout sister.When the world is asking who you are, it’s hard not to question yourself. Who’s that girl? Edie is ready to find out.

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Copyright

Published by HarperCollins Publishers Ltd

1 London Bridge Street

London SE1 9GF

www.harpercollins.co.uk

First published in Great Britain by HarperCollins Publishers 2016

This edition published by Harper360 2016

Copyright © Mhairi McFarlane 2016

Cover layout design © HarperCollins Publishers Ltd 2016

Jacket illustration © CSA-Images/iStock

Cover design © Jessica Lacy Anderson

Mhairi McFarlane asserts the moral right to be identified as the author of this work.

A catalogue copy of this book is available from the British Library.

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

Source ISBN: 9780007525003

Ebook Edition © September 2016 ISBN: 9780008184803

Version: 2016-07-05

Dedication

For Natalie, Paula & Serena

My favourite mix tape

Table of Contents

Cover

Title Page

Copyright

Dedication

Chapter 1

Chapter 2

Chapter 3

Chapter 4

Chapter 5

Chapter 6

Chapter 7

Chapter 8

Chapter 9

Chapter 10

Chapter 11

Chapter 12

Chapter 13

Chapter 14

Chapter 15

Chapter 16

Chapter 17

Chapter 18

Chapter 19

Chapter 20

Chapter 21

Chapter 22

Chapter 23

Chapter 24

Chapter 25

Chapter 26

Chapter 27

Chapter 28

Chapter 29

Chapter 30

Chapter 31

Chapter 32

Chapter 33

Chapter 34

Chapter 35

Chapter 36

Chapter 37

Chapter 38

Chapter 39

Chapter 40

Chapter 41

Chapter 42

Chapter 43

Chapter 44

Chapter 45

Chapter 46

Chapter 47

Chapter 48

Chapter 49

Chapter 50

Chapter 51

Chapter 52

Chapter 53

Chapter 54

Chapter 55

Chapter 56

Chapter 57

Chapter 58

Chapter 59

Chapter 60

Chapter 61

Chapter 62

Chapter 63

Chapter 64

Chapter 65

Chapter 66

Chapter 67

Chapter 68

Chapter 69

Chapter 70

Chapter 71

Chapter 72

Chapter 73

Chapter 74

Chapter 75

Chapter 76

Chapter 77

Acknowledgements

About the Author

Also by Mhairi McFarlane

Keep Reading

About the Publisher

1

Life through a phone is a lie. Edie imagined the process like a diagram from physics lessons, the one on that Pink Floyd album cover – a beam of white light refracted in a prism, splintering and fanning out as a rainbow.

I mean, how much artifice, she wondered, was crammed into this one appealing photograph? She gazed at its seductive fictions in the slightly greasy, warm slab of screen in her palm as she queued at the hotel bar.

Activity in the room whirled around her, messy unkempt sweaty reality, soundtracked by The Supremes ‘Where Did Our Love Go?’ In this still life, everything was forever image managed and perfect.

Untruth number one: she and Louis looked like they adored each other’s company. In order to squeeze into the frame, Edie had rested her head against his shoulder. She was coquettish, wearing a mysterious smile. He was doing the self-satisfied, slightly 007 quirk of the lip that conveyed hey life is great, no big deal. It really wasn’t a big deal.

They’d spent five hours as platonic plus ones – the wedding planner had demanded pairs, like Noah’s Ark – and now they were grating on each other, in heat and booze and wedding clothes with waistbands that had got tighter and tighter, as if inflating a blood pressure cuff.

Edie’s heels had, like those high enough for special occasions, moved from ‘wobbly and pinchy, but borderline tolerable’ to stabbing at her viciously like some mythic pain where she’d given up her mermaid tail for size 4s and the love of a prince.

Falsehood number two, the composition. Twinkling-happy party girl Edie, looking up through roadsweeper-brush-sized false lashes. You could glimpse the top half of her red dress, with nicely hoisted pale bosom, stomach carefully held in. Louis’s cheekbones were even more ‘killer in a Bret Easton Ellis’ sharp than usual, chin angled downwards.

This was because they’d held the lens at arm’s length above their heads and discarded five less flattering images, bartering over who liked which one. Edie had eye bags, Louis objected he looked gaunt, the expressions were slightly too studied, the shadows had not fallen in their favour. OK, another, another! Pose, click, flash . Half a dozen was the charm: they both looked good, but not too much like they’d tried to look good.

(‘Why does everyone do that expression now, like you’re sucking on a sour plum?’ Edie’s dad asked, last time she was home. ‘To make yourself look thin and pouty, I suppose. But you don’t look like that face you pull, in real life. How strange.’)

Louis, an Instagram professional and very sour plum, fiddled with the brightness and contrast settings. ‘Now to filter ourselves to fuck.’

He selected ‘Amaro’, bathing them in a fairytale cloud of lemonade fog. Complexions were perfected. The mood was filmic and dreamy, you’d think it captured a perfect moment. You had to (not) be there.

And then there was the caption. The biggest deception of all. Louis tapped it out and hit ‘post.’ ‘ Congratulations Jack & Charlotte! Amazing day! So happy for you guys <3 #perfectcouple living their #bestlife.’

This was mostly for the benefit of the rest of the Ad Hoc agency, who’d all found elegant excuses not to travel from London to Harrogate. Nothing tested popularity like several hundred miles of motorway.

Like after admiring Like rolled in. ‘Sigh. You two are another #perfectcouple!’ ‘Shame I’m a bender!’ Louis replied. That’d be the least of our problems , Edie thought. They’d all done the arithmetic with Louis, that if he slagged off everyone else to you, he slagged you off, too.

And of course, Louis had not stopped grousing under his breath about the ‘amazing’ wedding. Edie thought criticising someone’s big day was like making fun of the way they ate, or the size of their ankles. Good people instinctively understood it was not fair game.

I really thought Charlotte would go for something more clean, minimal. Like Carolyn Bessette marrying JFK Jnr. The crystal beading on that gown’s a bit Pronuptia, isn’t it? Even women with taste seems to lose the plot and go Disney disaster in a bridal salon. I am so over those rose bouquets with pearl studs and white ribbon round the stems, like a bandaged stump! Once a WAG has done something, it is DONE. And sorry, but I find a tanned bride vulgar. Ugh, two sips of that Buck’s Fizz and it was into a plant pot. I can’t bear orange juice used to hide cheap champagne. Look at the DJ, he’s about fifty in a blouson leather jacket, where did he get that from, 1983? He looks like he should be on Top Gear. It’ll be rocking out to Kings Of Leon’s ‘Sex On Fire’ and Toni Braxton for the erection section. Why can’t weddings be more MODERN?

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