Isabel Wolff - The Making of Minty Malone

‘ Unsightly fat on your upper arms? ’ enquired a solicitous female voice. No, I thought as I lifted them up to brush my long, dark hair. ‘ Ugly dimples on hips and thighs? ’ I gazed at my shrunken middle. Nope. ‘ Introducing the new Bum and Tum Slim – THE fast, effective way to lose inches. ’ I don’t want to lose any more inches, I thought – I’d lost half a stone in a week.

I glanced at my watch, and a sharp surge of adrenaline began to make my heart race. Nine thirty. No putting it off. I’d have to go in and face them all now. At least then it’d be over with, I thought wearily, as I picked up my bag. The staring. The stifled titters. The sudden silences when I walked by; the giggles by the coffee machine, the furtive conversations by the fax.

Breathing deeply, I walked through the newsroom, passed the sales department and went into the Capitalise office. Mayhem met my eyes. Once again, the cleaners had failed to show. Books and papers spilled across desks; wastepaper bins overflowed. A spaghetti of editing tape lay on the floor, while an upturned cup dripped tea on to the carpet. In one corner a printer spewed out sheets of script which no one bothered to collect. Where was everyone? I wondered. What on earth was going on? Then, from the adjacent boardroom came a shrill, familiar voice, and I realised that the planning meeting had started early. I opened the door and crept in. Good. They were too busy arguing to notice me.

‘CWAP!’ screeched Melinda Mitten, our ‘star’ presenter, and I marvelled yet again at how a woman with a serious speech impediment could have become a professional broadcaster. Actually, there’s a simple explanation for this: a) her uncle owns the station and b) her uncle owns the station. He’s Sir Percy Mitten, the hosiery king. Very big in tights. And his stockings were always said by those who knew to be the ‘ denier cri’. But two years ago he sold Pretty Penny for, well, a pretty penny, and decided to buy London FM. Like many a business baron he wanted to move into the media, and owning a radio station had become de rigueur. Once derided as brown-paper-and-Sellotape outfits struggling to survive, commercial radio stations had acquired a certain cachet. In fact, they were the ultimate accessory for the successful industrialist with his eye on a seat in the Lords. And so we turned up for work one day to find we’d been the target of a takeover. Our owners had sold us, like a used car, to the Mitten Group. No one had had a clue. Not even Jack. It was a fait accompli. He’d been informed about it on his mobile phone as he made his way into work. For a while, chaos reigned. No one knew what to expect. Words like ‘rationalisation’ and ‘belt-tightening’ were bandied about like balls. Anyone over thirty-five was told to expect their cards. Bob Harper, ‘the voice of London FM’, was summoned and summarily sacked and, the next day, Melinda arrived in a Porsche and a cloud of Poison.

‘Hello, evewyone,’ she’d said amiably. ‘I’m the new pwesenter.’

In the event, apart from Melinda’s arrival, life remained remarkably unchanged. There was gossip about us in Broadcast , of course, and there were also dark mutterings about Jack. Some claimed he had lost his authority and should have fallen on his sword. But he was forty, a dangerous age in an industry driven by youth. I was very relieved that he stayed. It was Jack who’d given me my first break. I didn’t know anything about radio – I’d been teaching for five years – but all of a sudden I got the broadcasting bug, and so I pestered Jack. I wrote to him, and got a rejection letter. I wrote again, and got another. Then I went round to London FM, just behind the Angel, and asked his assistant, Monica, if he’d see me. She told me he was too busy. So I went back again the next day, and this time, he agreed. Monica showed me into his office. Jack was sitting staring at his computer. He was in his late thirties, and he was very attractive.

‘Look, I don’t mind seeing you,’ he said, after a minute. ‘But, as I told you, I don’t have any vacancies. In any case, I only employ trained people.’

‘Can’t you train me?’ I asked.

‘No,’ he said firmly, ‘I don’t have the money.’

‘Well, how much does it cost?’

‘That’s not the point,’ he said, slightly irritably. ‘It’s not even as though you’ve been a journalist.’ This was true. I wasn’t exactly an enticing prospect. ‘Whenever I appoint someone,’ he explained, ‘I have to justify that choice to Management. And I’m afraid I just don’t have the budget to run a kindergarten for beginners.’ He handed me back my CV. ‘I’m very sorry. I admire your persistence, but I’m afraid I really can’t help.’

‘But I want to be a radio journalist,’ I said, as if that were all the explanation that was required. ‘I really think I’d be good.’

‘You haven’t got any experience,’ he countered wearily. ‘So I simply can’t agree.’

But I’d stayed in there, trying to make him change his mind. Looking back, I’m astonished at my boldness. In the end, he’d nearly lost his temper. He had shown me the Himalayan pile of CVs lying on his desk. He’d made me listen to the show-reels of three of his top reporters. He’d told me to try my luck making coffee at the Beeb. But, like Velcro, I had stuck.

‘I’ll work for nothing,’ I said.

‘We’re not allowed to do that,’ he replied. He leaned towards me across his huge, paper-strewn desk, hands clasped together as if in prayer. When he spoke again, he was almost whispering. ‘You can’t edit tape; you’ve never interviewed anyone; you’ve no idea how to make a feature, and you wouldn’t know a microphone from a baseball bat. I need competent, talented, experienced people, Minty, and I’m afraid that’s all there is to it.’

‘OK, I know I’m not experienced, but I am very enthusiastic and I’d learn very quickly if you’d just give me a chance, and you see, I’ve been reading this book about radio production, so I already know quite a lot.’

‘A book?’ he said, wryly. ‘Very impressive. Right,’ he said, with a penetrating stare, ‘what are “cans”?

‘Headphones.’

‘What does “dubbing” mean?’

‘Copying.’

‘“De-umming”?’

‘Taking out all the glitches – the ums and ah’s.’

‘What about “wild-track”?’ He had picked up a piece of yellow leader tape and was twisting it in his hands.

‘Er …background noise, like birdsong, or traffic.’

‘More or less. What’s “popping”?’

‘Distortion on the microphone.’

‘OK. What are “bands”?’ He had swivelled round in his chair and was tapping something out on his computer keyboard.

‘Edited speech inserts,’ I said.

‘What’s a “pot-cut”?’ He went over to the printer, which started up with a high-pitched whine.

‘An early coming-out point on an insert, when a live programme is running short of time.’

This quiz was starting to get me down. He tapped something out on his computer.

‘What does “i.p.s.” mean?’

‘Inches per second.’

‘Very good. What’s a “simulrec”?’ And now he was printing something out.

‘I really haven’t the faintest.’ This was ridiculous.

‘The same interview recorded in two different places and edited together later.’ He was scanning the page with his eyes.

‘What’s a segue?’ he asked.

‘Oh, I don’t know.’ I didn’t like this. I was on my feet.

‘Music or speech which follows on from something else without an intervening explanatory link.’ He folded the printout in two. ‘What’s a “Lyrec”?’