Выбрать главу

But most of all, I wanted Knight to be a guy whose reputation preceded him. The men of ExSol are worried that he's coming to Siberia. David Fairfax discovers that he's the second-best bounty hunter in the world—at a time when Knight is standing right in front of Schofield.

As a writer, it's very liberating to create characters such as Knight— it's the same with Mother—because you can do all sorts of things with him. For the simple reason that there are no boundaries. Characters like Knight and Mother are not governed by socially acceptable norms, and so are fun to write about. They swear, they kill bad people, they do crazy things. But having said that, there is one special thing common to both Mother and Knight: their loyalty to their friends—Mother to Schofield, and Knight to his pilot, Rufus. However wild and crazy they may be, they stand by their friends.

As an interesting aside, Knight is named after St Aloysius (pronounced allo-wishus) Gonzaga, a Jesuit saint and the namesake of my old high school, St Aloysius' College, in Sydney.

[THIS QUESTION CONTAINS PLOT SPOILERS]

Okay. To the big question: how could you kill Gantl Seriously, Scarecrow sees some of the biggest 'character moments' you've written. What made you make those choices?

You cannot believe how hard that scene was for me to write. Unlike other characters who have met their end in my previous books, Gant had been with me for two-and-a-half books, and I virtually considered her a member of the family. I've neverConsidered myself to be an emotional, fall-in-love-with-my-characters kind of writer, but I remember vividly the day I wrote that terrible scene—I recall physically standing up from my computer and saying (aloud, to my empty office) 'Can I really do this?'

And so I thought about it. A lot. But then I said to myself 'No. This is what makes my novels different to other kinds of books. No character is safe. I've got to hold my nerve.'

It took me another day before I could sit down and actually type the scene, but I did. In the end, though, this is the essential feature of the action-thriller novel—the reader must believe that the hero and his friends might not make it.

Ultimately, however, it was a 'character motivation' thing that made me go through with killing Libby Gant. I decided that I wanted to see what would happen to the hero, Schofield, if such a terrible thing happened. What that led to was one of my favourite scenes in all of my books: the fistfight between Schofield and Mother (I don't know about you, but ever since I created them, I have wondered who would win a fight between Schofield and Mother: in the end, the answer is Schofield).

How do you interact with your military advisors?

This is a good question. My two military guys, Paul Woods and Kris Hankison, are two of the most knowledgable men I've ever known. And their input into my books has been beyond value, for the simple reason that no matter how much research you do on a given topic, someone 'in the industry' will always be able to give you that little bit of nuance, that little bit extra. That is what Paul and Kris do for me on military matters.

That said, sometimes the dictates of my story mean that I have to say to them, 'Sorry, guys, but I'll have to invoke poetic licence on this point.' A good example is the big MOAB bomb in Scarecrow. MOABs are actually satellite-guided, but my story required Gant to place a laser inside the Karpalov Coalmine. So, despite the protests of the guys, I made the MOAB laser-guided.

The best thing about my military advisors is that they have a keen sense of the tone of my books—they know that my novels are outrageous and over-the-top. So they accept that I sometimes have to bend the truth (and, hell, the laws of physics!) for the sake of a roller-coaster story.

Matthew. The French. They were the bad guys in Ice Station. And now Scarecrow. What have you got against the French?

Ha! Er, yes, the French do cop a bit of a pasting in Scarecrow. You have to understand, though, that I don't dislike France. Not at all!

What it boils down to is this: I write fiction. And I'm always looking for new dastardly villains. Back in the days of the Cold War, authors could just make the Soviet Union the evil bad guy. But that doesn't apply anymore. The world has changed. The way I see it— and as I suggested in Ice Station—international alliances are more fickle than we imagine. And France, more than any other major

Western nation, has been a vocal and active opponent of United States hegemony. Since Shane Schofield is American, France is often at cross-purposes with him.

Add to that France's chequered geopolitical history—the sinking of the Rainbow Warrior, her nuclear testing in the Pacific Ocean, and her outspoken opposition to the US invasion of Iraq—and you have a nation that could, in the world of fiction, have nefarious anti-US plans.

But I stress: it's fiction!

So what else have you been doing?

Since finishing Scarecrow, I have completed two screenplays. I enjoy writing scripts in between my books—a novel takes me a year to write, whereas a screenplay takes me about two months. I adapted my own short story, Altitude Rush, into a full-length screenplay, and have finished the first part of an epic science fiction trilogy that I think will rock the world one day!

Any more books on the way?

Yes indeed. Earlier this year I signed a new two-book deal with my publishers, Pan Macmillan, so there will be at least two more books from me. I have now moved to producing one book every two years—I would love to be able to produce a book every year, but I fear the quality would suffer and I just don't want to end up churning out books simply to keep to a timetable.

Not sure what they'll be about at this stage. One will probably be a Schofield book, although maybe Aloysius Knight could get a novel of his own. And I keep getting asked at book signings if I will be writing a sequel to Templel

Any final words?

As always, I just hope you enjoyed the book. Keep reading and take care.

Matthew Reilly Sydney, Australia November 2003

Matthew Reilly Contest

The New York State Library. A brooding labyrinth of towering bookcases, narrow aisles and spiralling staircases. For Doctor Stephen Swain and his daughter, Holly, it is the site of a nightmare. For one night this historic building is to be the venue for a contest. A contest in which Swain is to compete - whether he likes it or not.

The rules are simple. Seven contestants will enter. Only one will leave. With his daughter in his arms, Swain is plunged into a terrifying fight for survival. He can choose to run, hide or to fight - but if he wants to live, he has to win. For in this contest, unless you leave as the victor, you do not leave at all.

'Matt Reilly, genius ... the arrival of a rare talent' John Birmingham, the Sydney morning herald

'An electrifying . . . novel for the X-Files generation' Jessica Adams, cleo

'Matthew Reilly is our Michael Crichton'

DAILY TELEGRAPH

Matthew Reilly Ice Station

At a remote ice station in Antarctica, a team of US scientists has made an amazing discovery. They have found something buried deep within a 100-million-year-old layer of ice. Something made of METAL.

Led by the enigmatic Lieutenant Shane Schofield, a team of crack United States Marines is sent to the station to secure this discovery for their country. They are a tight unit, tough and fearless. They would follow their leader into hell. They just did ...

'The pace is frantic, the writing snappy, the research thorough. Unputdownable . . .'