Reacher Said Nothing. Andy Martin

on dropping them. They were all over the place. They sacked me inside an hour. I deserved to be sacked. I was no good at it.’

      He really wanted to be good – to find something he could be good at. He thought he was good at television. Then he got sacked from that job too.

      We were about to go into his office. The novel factory. I think I was more nervous than he was. And I had a sense of quasi-religious awe too – I was about to bear witness to the genesis of a great work, the Big Bang moment. ‘Do you have anything in mind?’ I said.

      Because this was the key thing about the way Lee Child writes. The thing that drew me to write to him and break into his apartment and watch him working. He really didn’t know what was going to happen next. ‘I don’t have a clue about what is going to happen,’ he would say. He was a writer who thought like a reader. He had nothing planned. When he wrote to me he said, ‘I have no title and no plot.’ But he said I could come anyway. He didn’t think I would put him off too much. He relied on inspiration to guide him. Like a muse. Or the Force or something. Something basic and mythic, without too much forethought. He liked his writing to be organic and spontaneous and authentic. He feared that thinking about it too much in advance would kill it stone dead. But still he had a glimmering of what would be. He knew the feel of a book.

      ‘The opening is a third-party scene, I know that, right at the start. A bunch of other guys. So it has to be a third-person sort of book. Reacher doesn’t know what is happening. He’s not there yet.’

      ‘Do you see something in your mind, or what? Is that what you mean by “scene”?’

‘It’s visual, yes. In the sense of seeing the words – I can almost see the paragraph in my mind. The physical look on the page. You have to nail the reader right there, on the first page. The uncommitted reader. And I can feel it. The rhythm. It’s got to be stumbly. It’s tough guys talking. I have to get a hint of their vernacular. But, at the same time, it has to trip ahead. A tripping rhythm. Forward momentum.’

      I think it was around then that Lee started talking about euthanasia. He was in favour. There is a lot of thanatos in his books, not so much of the eu. ‘I can die right now. I’m fine with that.’ He dismissed the recommendation of a friend to go off to a mountain in Austria and chuck himself off (he thought you might change your mind by virtue of the fresh air and the landscape). Turned out he had some plan, when the time came, involving a veterinary supplies store down in Mexico and a rather powerful cocktail of morphine and horse tranquillizer. Had it all worked out.

      ‘Come on, man,’ I said, although I basically agreed with him. ‘Think of your readers! Anyway, I’m stuffed if you die. I’ll have to finish your book for you. Pretend you’re still alive and steal all your earnings.’

5 FINALLY, CHAPTER ONE

      That got him going. We finished the toast and went into his office at the back of the apartment. No Central Park (couldn’t afford to spend all his time looking through the window like the boy in the Manhattan apartment). We sat down. Lee sat in front of his desk with the desktop computer on. It was there, waiting for him. It was already switched on. The desk is metal. Riveted. Silver. Huge. Solid. On a bunch of shelves to the right, mugs with pens. And a magnifying lens. On the left – a collection of his own books in hardcover.

      The first thing he did was light a cigarette. (Second thing was take a mighty drag.)

      ‘Look, Lee, I’m going to just shut up now. This is like going into church for me. I feel I should be quiet. Anyway, I don’t want to put you off your stroke.’

      ‘It’s not a problem.’

      Lee was sitting in front of the screen of his new computer. An almost empty screen. It didn’t even have a page on it. Nothing. I was sitting on this kind of couch a couple of yards behind him. Just perched on the edge of it, not really lying down or anything.

      ‘It’s reverse Freudian,’ Lee said. ‘You’re on the couch and you’re analysing me.’

      I said nothing.

      He flexed his fingers. ‘Naturally I’m going to start, like all good writers, by … checking my email!’

      He cast an eye over some kind of gmail list. ‘I’m just going to email the editor with the title suggestion. I don’t know if it’s going to work or not.’ He pressed the return key and I heard the whoosh sound as the email was sent. ‘They like to get it out of the way if possible. We’ll see what she says.’

Then he told me the title. Make Me.

      ‘I don’t know, it’s not definite. Popped into my head last night. But I like it. It’s got something. Sounds like Reacher all right. Playground machismo. And then there’s that meaning to do with being under surveillance, making someone, identifying them, tailing them. And maybe a little bit erotic or romantic too.’

      He hadn’t really written anything yet. Then he turned to me in his chair.

      ‘This isn’t the first draft, you know.’

      ‘Oh,’ I said. ‘What is it then?’

      ‘It’s the only draft!’

      Right then he sounded more like Jack Reacher than Lee Child. ‘I don’t want to improve it. When I’ve written something, that is the way it has to stay. That’s how I was that particular year. You can’t change it. It’s like one of those old photos you come across. From the seventies, say. And you have this terrible seventies haircut and giant lapels on your jacket. It’s ridiculous – but it’s there. It is what it is. Honesty demands you own up to it and leave it alone.’

      He still hadn’t written anything.

      ‘I reckon around ninety working days. Should finish it around mid-March – mid-April if I slack.’

      He still hadn’t begun.

      ‘And remember, I’m not making this up. Reacher is real. He exists. This is what he is up to, right now. That’s why I can’t change anything – this is just the way it is.’

      I was a couple of yards behind him and slightly to the right. I could see over his shoulder. I didn’t want to get any closer. It was already ridiculous. Lee told me that he had cut his nails earlier that day. He hated it when his fingernails clacked against the keyboard.

      He lit another cigarette and took a deep drag and blew out a lot of smoke then put the cigarette in the ashtray.

      ‘I was thinking – you have a high risk of dying from secondary smoke inhalation here.’

      Martin said nothing.

I was thinking: the smoke is all part of it. Like a magic show. Smoke and mirrors. And, quite contrary to standard Magic Circle practice, the magician was tweaking aside the curtain and saying, OK, come on through and let me show you exactly how I saw the lady in two, and over here is my disappearing elephant, and so on. Everyone wants to know how it’s done. And now I was about to find out.

      So, I’m behind him. And he is there in front of the computer. I’m trying to keep quiet. Like a mouse, if not quite a fly-on-the-wall.

      ‘I’m opening a file here. Microsoft Word doc … Now I move it to the middle of the screen.’

      He was talking me through it, like some kind of surgical operation. ‘I always use Arial. To begin with anyway. And ten-point. So I get more on the page. But I crank it up to 150 per cent to save my eyes.’

      It’s 2.26 in the afternoon. September 1, 2014. Lee is on the verge of something momentous. At the moment it’s a blank page. The file doesn’t have a name.

      ‘Then I have to turn off all these red lines … Do not check spelling. Or grammar. I am going to let Microsoft tell me what grammar is?’

      It’s a huge screen