'What an inauspicious start to married life,' Josh comments.

'Is there such a thing as an auspicious start?' I ask. He grins at me and Issie scowls. She likes weddings. The rain is falling so hard it's bouncing off the pavements and up my skirt. I'm bloody cold and wish the bride would stop hugging her mother and simply get in the car. I look closer. Maybe she isn't so much hugging as clinging. Maybe the seriousness of what she's done has hit her and she's having second thoughts. Issie shakes the remnants of confetti from the blue box but misses the bride and groom. The confetti settles on the grubby road. The filthy street is in stark contrast to the finery of their clothes, the car, the flowers, the smiles that radiate.

'Josh, what's the proper name for a squashed cube?' I ask, pointing to the little blue box of confetti. 'They should redesign this packaging,' I add.

 'No!' Issie looks horrified, as if I'd suggested exposing my bikini line to the vicar. 'Weddings are about tradition.'

'Even if tradition means tacky and predictable?' Two big sins in my book.

'By definition,' she defends. Then she leaps forward to jostle for a font position to catch the bouquet. She nervously hops from one foot to the other, her sleek, blonde, shoulder-length hair brushing her right shoulder, then her left, then her right again. Issie is a fidget. I am a still person. She continually rubs her hands together, taps her feet, jerks her knee. She once read that this constant nervous activity uses thirty calories an hour, more than a Mars bar a day, pounds in a year, a whole dress size in a lifetime. Her constant unfocused activity strikes me as a fairly accurate metaphor for how she lives her life.

I don't try to catch the flowers. I don't try for two reasons. One, Issie will lynch me if I catch them. She's spent the entire reception spiking the drinks of single women, in the hope that this will diminish their co-ordination. And two, it's bollocks.

No really, the whole marriage thing is bollocks. I mean I'm as happy as the next one to have an excuse to wear a hat and drink champagne. Generally, wedding receptions are a laugh, a big, fun party. But that's as far as it goes for me. Beyond that. It's bollocks. I'm not a man. And I'm not a lesbian. I'm not even a man hater - Josh is one of my best friends, and he's a man. I'm a single, successful, attractive, 33-year old, heterosexual. I just don't want to get married. Ever.

Clear?

Issie doesn't catch the flowers and she looks as though the disappointment will break her. 'A drink, Cas? Issie?' asks Josh, in an effort to cheer her up. He doesn't wait for a response but turns back to the hotel and heads directly for the bar. He knows that we'll willingly join him for a drink Martini-style: any time, any place, anywhere. We elbow through the elegant crowds. This morning they sat demurely in church pews but they have now abandoned any semblance of civilization. The exit of the bride, the groom and the oldies leaves the rest of the guests free to indulge in what brought us to the wedding in the first place. The opportunity for some hedonistic, no strings attached, unashamed sex.

I selected my target in church, before the 'I dos'. I relocate him. He's tall, dark and handsome. Admittedly, he doesn't look that bright. Rather too in love with himself to allow room for anyone else. Perfect. Deep and meaningful is an over-rated phenomenon. Shallow and meaningless but well endowed gets such a hard press.

It's important to pick out a target early on in the proceedings and it's important to let him know he's it. I smile. Directly at him. If at this point he looks around and tries to locate the recipient of my smile, I'll instantly go off him. I like my men to be arrogant enough to know that I'm flirting with them. He passes the test by grinning back at me. Only turning to catch his reflection in the mirror that hangs behind the bar. He grins again. This time at himself. The difference in appearance is fractional. I don't mind. Vanity is a safety net. I flick my hair and turn away. Job done.

'Can I offer you a drink? ' I never say yes to this question without first checking the origin, however busy the bar is. I look up and see Mr Tall, Dark and Handsome. On cue. He is presumptuously holding a bottle of bollie and a fistful of glasses. I like presumption, extravagance and the recognition that my friends will want a drink too. He has sparkling green eyes and the floppy-haired look that was all the rage when I was nineteen. I resist telling him that since Brideshead Revisited, no man (other than Hugh Grant) has ever successfully pulled off this look. I resist because besides the height, yes and cheekbones, I like his suit.

'Fine.' I grin.

He does the usual stuff: he asks me my name, and I tell him it's Cas and he says, 'Oh, what's Cas short for?' and I explain it's short for Jocasta and I grin and add, 'I was named after my father's mother, very oedipal.' And sometimes they get this reference and sometimes they don't but it doesn't matter because either way they grin maniacally. Because usually by this time the men I talk to are well and truly in lust with me. They may not be interested in the possibility of steamy foreplay. They are checking out my full, pert tits or my long, brown, muscular legs, depending on whether they are breast or leg men. And, if their tastes are more sophisticated and long, black, glossy hair, or clear skin, or slim hips, or blue eyes, or straight teeth turn them on, I can offer all these things too. Believe me, I know I'm blessed.

I wear my hair long, because it drives men wild. They look at me and see a sexy bitch or a nineteenth-century heroine, whichever is their bag. Strictly speaking, I think my personality would suit a razor-sharp, chin-length bob, but I work in television and 'Give them what they want' is my war cry.

I ask his name and try to commit it to memory. I ask what he does, and he does something or other. It doesn't matter to women who want a future. I notice he has very large feet and this is exciting. In my experience (wide and varied) the old adage is true. I constantly touch him. Little light touches on his arm and shoulder. I even pick off an imaginary piece of lint from his breast pocket. It always amazes me that men fall for this clichéd crap but they always do. I run my tongue around my lips, my teeth and the olive in his Martini. He is not vulnerable. He knows this routine. He's played it himself on countless occasions. He's a little bit taken aback that it's being played to him but my audacity excites. He tries to regain control of at least the conversation and asks what I do for a living. I tell him that I'm a TV producer for the new terrestrial channel, TV6, and this, if we were in any doubt, clinches it.

My glamorous job has huge pulling power. My job is glamorous, especially in comparison to most people's jobs. It is an affectation of those who work in TV to continually deny that the job is fun or alluring. It's a way of neutralizing our guilt at the hideously high salaries we earn. It is undoubtedly more glamorous to sell TV airtime than baked beans at a leading supermarket. It is unquestionably more exciting to spot Des O'Connor in the lifts than Dave Jones from accounts. However, TV is also bloody hard work.

I've been in the business for twelve years now. I started as a gofer on Wake Up Britain straight after Uni. The pay was a pittance but I was thrilled. I had a job in television. I spent most of my time in a state of perpetual fear. I had no responsibility so the level of misdemeanour that I could aspire to was putting sugar in someone's coffee when they'd distinctly asked for Saccharin. My most constant dread was that my clothes, hair, figure, accent, jokes were unacceptable. I spent all my money on the right clothes (black) and the right hairstyles (long, short, very short, long again, black, blonde, red, black again), happily reinventing myself until I could be myself. It was vital to me to do well. Not just well but best. No job was too small for me to accept it cheerfully. No ambition was too large for me to hold it greedily. I worked obscene hours, even working once on Christmas Day, which wasn't really a hardship. Holidays bore me. It was worth it. I leapt ahead of my peers and by the time I was twenty-three I was chief researcher. I rushed through the ranks of associate producer and producer, and I reached the dizzy heights of executive producer the week before my thirtieth birthday. It's who I am. It's what I am.

'That must be fascinating,' Mr Tall, Dark, Handsome with Green Eyes comments.

'It is. As we are now living in the digital age and there are hundreds of extra channels all fighting for the consumer mind share, it's extremely tough.' I don't bother to tell him that besides the terrestrial channels, BBC1 and 2, ITV, Channels 4 and 5 and TV6, there are 200 digital satellite channels, 500 digital cable channels and 70 digital terrestrial channels on offer, not to mention interactive television, the Internet and home shopping. Yet viewing time per capita has declined. The more we have to watch, the less often we tune in. So the challenge hasn't let up; I'm constantly being asked to introduce more demanding or aggressive promotions, programmes or plans. I don't bother to mention it because even Josh, my most devoted listener, glazes over when I give too much detail. I know I can be boring about my work but it means so much to me. I try to think of an entertaining star story. In the corridors of power I often bump into someone famous, especially those who are famous for being famous - they make themselves very available. I like them the least and admire them the most. It's much harder than being famous for being talented. I know a story about has-been soap stars won't interest.

'I eat my sandwiches in the same canteen as Davina McCall.'

That gets him.