Matthew Reilly - Scarecrow

What were you trying to achieve with this new novel?

From the very beginning, I was aware that Scarecrow would be closely compared to my other books. This is natural—hey, as soon as you write two books, people automatically compare them and decide which is their favourite. With that in mind, what I really wanted was for Scarecrow to be seen as a new kind of Matthew Reilly novel, a faster book, a book that was more densely packed with plot: a book that was a stylistic leap forward from my previous efforts. I'm hoping people will see Contest, Ice Station, Temple and Area 7 as 'Matthew Reilly Version 1.0' and Scarecrow as the beginning of 'Matthew Reilly Version 2.0'.

It's funny, in the interview at the back of Area 7, I mentioned that I wanted to create a new level of speed and pace in my next book—and then I'd meet people at book signings and they'd say 'How are you possibly going to make it faster? I like to think that Scarecrow has lived up to the promise of being faster and completely out-of-control!

How have you tried to achieve this?

Mainly by combining action and exposition—I wanted my characters to be running away from the bad guys while they were figuring stuff out. A lot of thrillers have rest breaks between the action scenes during which the author spells out the plot. I wanted to fuse the action and the plot advancement together. The result is that

Scarecrow is about the same length as Area 7, but has a lot more happening in it.

What was the inspiration for the bounty hunters in Scarecrow?

It's odd, you know, but for me bounty hunters have only ever appeared in two storytelling spheres: westerns and the original Star Wars trilogy (I haven't read any of Janet Evanovich's books, but I believe her lead character is a bounty hunter).

The idea of international bounty hunters, with their own planes and units and even submarines, was something I adapted from the (real-life) concept of mercenary forces: private armies that sell themselves and their hardware to the highest bidder. In Australia, such forces got a lot of press when Papua New Guinea engaged a mercenary army a few years ago; I also read about them operating in Sierra Leone, helping the government stay in power in exchange for diamonds.

In addition to this, I have always been intrigued by the concept of the Wild West freelance bounty hunter, a concept which was adapted to a sci-fi environment in the Star Wars trilogy, in particular The Empire Strikes Back. Indeed, this is why Demon Larkham's gang—the Intercontinental Guards, Unit 88, or 'IG-88'—is proudly named after the obscure bounty hunter of the same name in The Empire Strikes Back. (For those who don't know, IG-88 was the very tall robot bounty hunter who stands in the background as Darth Vader offers a reward for the bounty hunter who finds the Millennium Falcon. IG-88 utters no dialogue, nor does he actually move, but he became one of those cult Star Wars action figures— probably because he was always the one left on the shelf!).

In any case, the idea of these elite hunters-of-men really appealed to me, and I wanted to fashion a story whereby my hero, Shane Schofield—an able warrior himself—was being pursued by the best manhunters on the planet. And thus Scarecrow was born.

Speaking of bounty hunters, you introduce in Scarecrow a character named Aloysius Knight, a.k.a. the Black Knight. What lay behind his creation?

I had a lot of fun creating Aloysius Knight. From the start, he was designed to be Schofield's darker shadow, his amoral twin (he even has an eye dysfunction to match Schofield's). I wanted him to be the equal of Schofield in battle skills, but darker, more ruthless—as shown, for example, when we first meet him at Krask-8, when he kills the pleading mercenary in cold blood.

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.