Even so, it wasn't as tough as it had been when she worked in TV when she was "in Bradford every weekend, filming at night" and it gave her a terrific perspective when she was busy later in her career.
Does she feel a brief period of slavery would put people in the right frame of mind to work in advertising? "I'm not suggesting everybody should have a tough time to be able to be good or to succeed, but it does help you understand and appreciate the junior people you work with."
From W+K, she went to Media Arts Lab which she can't talk about because of their tight NDA regime.
Asked if she'll be in trouble for acknowledging the existence of the NDAs she signed, she says: "If you don't see me again, you know who it is!"
Her two years there were followed by a brief stint at the Red Brick Road before she was introduced to VCCP's Olly Calverley whom she describes as someone as: "brilliant, fun and impossible not to get on with."
For the third time in her career, she joined a TV department just before it doubled in size and the work was unrelenting. Needing a break after a good couple of years at VCCP, she headed off to Brazil for a few months.
When she returned, she was invited to join The Sweetshop and she immediately realised she'd found her metier: "I loved it. I felt like I was suddenly at home."
Out of respect for everyone who works agency-side, she's reluctant to admit that production-side is more fun but she's not fooling anyone: "Working with directors is what I always wanted to do. You don't really have any say on a script as an agency producer, whereas here - with sales - I help with treatments and ideas, and that I really love."