Andy Martin describes the unusual process of writing Reacher Said Nothing: Lee Child and the Making of Make Me
Published in the Sunday Times
Reacher Said Nothing: Lee Child and the Making of Make Me
Andy Martin (Penguin Random House)
“I’ve just written this great four-word sentence,” said Lee Child. “Come and have a look.” He ushered me into his apartment in Manhattan overlooking Central Park. He works in an office in the back, adorned with framed pages of the New York Times bestseller lists featuring his own novels sitting squarely at no. 1. I perched on the couch and he hit me with his four words. They were good words. High quality, high value. Each word emerging from his keyboard was worth $100. Each of his books is at least 100 000 words long. Make Me, the book he was working on, was his 20th Jack Reacher novel. You do the math.
Child, numero uno thriller writer, a giant in airport bookstores around the world, is half-poet, half-pirate, both ruthless materialist and dreamy head-in-the-clouds fantasist. The real mystery was: what the hell was I doing there? Which is a question a lot of his friends were asking. “Lee, hold on a second. You’ve got a Cambridge academic sitting behind you watching you write? You cannot be serious, man! He’s going to put you off your stroke. He is a literary voyeur!”
It was a crazy idea, I admit. Bear witness to the moment of creation, be there while a writer is writing and write about him writing in real time. Follow the composition of an entire novel from the first word (“Moving”) all the way through to the last word (“needle”). Capture the process at close quarters, try to climb inside the writer’s head, spectate while the words are spun into a book, like watching an alchemist transform lead into gold. Complete madness, obviously.
But Child said, “Yes, cool idea. You’d better get over here. I’m starting next Monday.” He always starts a new book on September 1, it’s a religion with him. It could have been any writer, in theory. But Donna Tartt takes 10 years, so I crossed her off. And Albert Camus was dead. I saw Child as not just a bestselling phenomenon, but as a serious writer whose first book, Killing Floor, reads like a sequel to Camus’s The Outsider.
Child has this theory that anyone in the world might want to kill quite a few people, given the opportunity. Jack Reacher kills people on our behalf. He enacts the revenge we so rarely get the chance to carry out ourselves. He is a Messiah and avenging angel all rolled into one. And he is like a kid, just a very big one (1.95m and 113kg).
Those four words? Reacher is surveying the street before breaking into a house. It’s empty. “No eyes, no interest,” Child writes. A characteristic structure: “No x, no y.” No hell, no heaven. A double negation. Notice that, in those four words, Reacher is an inaction hero. And this for me is what makes Reacher work, as a protagonist. Of course he beats people to death with his elbows. But he is also a philosopher who thinks his way through his fights.
Child is the same when it comes to writing. I didn’t really have to ask him questions. He was like Lionel Messi running rings around the opposition and at the same time commentating on what he is doing and exactly how he is going to score.
- Reacher Said Nothing: Lee Child and the Making of Make Me by Andy Martin
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