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A Quick Chat with Jason Starr
An author interview by Jon Mitchell








Cold Caller
Jason Starr
No Exit Press
Harpenden, Herts
1996
218pp
£6.99
1-874061-82-3

Related Links

The Christmas Card by Jason Starr – short story

The Alibi on Eighty-Eighth Street by Jason Starr – short story

Jasonstarr.com


Merchandise Links

UK Edition: Amazon.co.uk

RR: Tell us a little about yourself

JS: I grew up in Brooklyn, and went to college in Binghamton, New York – otherwise known as hell on earth. It would be a great setting for Waiting for Godot: it’s dank, bleak, frigid and in the absolute middle of nowhere. I guess it’s a good place to start writing so that’s what I did. I took the usual writer’s workshops, writing some pretty bad short stories. In my senior year I took a crack at writing a novel, without much success. My main problem was that I had no idea about structure – I was basically just writing long character studies. After college, I decided that I would try writing plays, not because I had any great love for the theatre, but because it seemed natural since my fiction was mostly dialogue anyway. I joined a couple of theatre groups and had some plays produced at some very Off-Off Broadway theatres. All in all, it was a good experience. It’s strange and exciting to hear actors reading your words on stage – playwriting is probably the most intensely gratifying form of writing in existence in that respect – but I hated the collaboration in theatre. Actors only care about the roles, not the plays, and I found that people were constantly telling me what to write. I decided that being holed up, alone, in front of a computer screen for months at a time better suited my personality. So I started writing fiction again.

RR: Cold Caller is an assured debut. Had the idea been developing for some time?

JS: Cold Caller has a lot to do with work, especially boss-employee relationships. I’ve had a lot of shitty jobs since college and a lot of shitty bosses too, so I’m sure a lot of the themes in the book had been simmering in my brain for years. The setting for the novel is an exaggerated version of a telemarketing company I once worked for. In the book I describe the company as having all of these Kafkaesque rules and regulations, but believe me: places like this really exist!

RR: Why a crime novel?

JS: I’d always loved mystery and crime fiction. As a teenager I read Mickey Spillane and Raymond Chandler. I loved the gritty, hard-boiled prose. Later on I discovered crime fiction – George V. Higgins, Jim Thompson, and James M. Cain. Unlike mystery fiction where you know the detective is going to live and the world will be a safe place again at the end of the book, in crime fiction the reader is constantly on edge because anybody can die at any time. I loved seeing the world from this point of view. The genre also seemed to suit my writing style. I felt comfortable getting into the heads of loners, losers and psychopaths.

RR: Bill Moss [the narrator of Cold Caller] is certainly a loner, loser and psychopath. But when we first meet him he seems a fairly regular guy with regular work, money and girlfriend problems. Did you set out to create a character on the verge of entering a very dark place ?

JS: Yes. I didn’t want to write a one-dimensional crime novel where there are good guys and bad guys. I wanted to blur the lines and to do that I needed to make Bill into a “real” person. So I put him in a situation that a lot of people can identify with, having some typical problems, before revealing his dark side. Or, in Bill’s case, his “pitch dark side.” I guess I was also trying to make readers feel a bit complacent. I love reading books where an author gets you hooked on a character and, when you finally realise that the character is on his way to hell, it’s too late. It’s like riding on Space Mountain in Disney World. You start with that slow ascent in brightness and you want to get off and then boom: you’re falling in pitch-darkness. That’s why Jim Thompson is one of my favourites. In books like The Killer Inside Me and POP. 1280, when things start going bad you can’t do anything except keep reading because you’re so hooked on the character. I guess it’s similar to horror movies, when you see the two girls going into the house and everything seems great but you know at some point all hell is going to break loose. I love that! But I think there are things at the beginning of Cold Caller that a reader can look back on later and say to themselves, “Hey, why did he do that?” So it’s the type of book where there’s a lot of subliminal foreshadowing going on.

RR: Despite everything he does, Bill Moss comes across as a worringly sympathetic character. Did you want to get away from the idea that bad guys are necessarily purely evil?

JS: I think bad guys are definitely evil. If a guy goes into a supermarket and starts blowing people away with an Uzi it would be hard to find a good side. But if the story of that guy is told in the right way there might be a way to make him compelling and that’s what I was trying to do with Bill Moss. I wanted to give him enough “identifiable qualities” to make him sympathetic, without making him likeable. That’s what writers like Patricia Highsmith and Charles Willeford do so well. For example, look at Highsmith’s Ripley books. Tom Ripley is the most evil recurring character in all crime fiction, but we keep coming back to him because Highsmith makes us forget about good and evil altogether and makes us only concerned with what happens. Willeford’s the same. You don’t care how cruel his character’s are because they’re so damn compelling.

RR: What book would you most like to have written?

JS: I don’t know if there’s really any point in writing if the themes don’t come from yourself. But if you put a gun to my head I’d say Crime and Punishment.

RR: Is there anyone writing today you particularly admire?

JS: Elmore Leonard. He’s gained popularity since the movie of Get Shorty came out, but I still think he’s underrated. It’s no wonder that Quentin Tarrantino is adapting Rum Punch. He and Tarrantino both have that great combination of humour and violence. I am also a big Ed Bunker fan. I think Dog Eat Dog was his best book.

RR: Talking of Ed Bunker, he’s said some nice things about Cold Caller. Any plans to do what he’s done and write a screenplay? Cold Caller could make a good film.

JS: I think so too! There is talk of a Cold Caller movie, but nothing’s definite yet. I doubt they would let me write the screenplay though and I don’t think I’d really want to. I’d probably want to leave in a lot of things, where someone with an impartial view might have a clearer vision of it. When it comes to adapting novels I’m all for collaboration, which might seem strange given what I think about writing for the theatre. I think it would be fun to see someone else’s version of Cold Caller and – assuming the person knows what he or she is doing – it would probably make a better film. But I do have some ideas for my own original screenplays which I hope to write someday.

RR: What are you working on at the moment? Any immediate plans for the future?

JS: Norton is publishing an edition of Cold Caller in the U.S. and Canada in April and I’m looking forward to that. Cold Caller will also be published in German by Diogenes and in French by Fleuve Noir later next year. I have completed a second crime novel which No Exit Press will publish in the UK next year. Like Cold Caller, it’s a dark suspense novel set in New York, but this one is told from different points of view. And right now I’m working on a rough draft of what I hope will be my third novel. It could be darker and nastier than Cold Caller, but it’s funny too. At least I hope it is.

RR: Are you the sort of person that girlfriends take home to meet their parents?

JS: Maybe you should ask my wife that question! But, seriously, I don’t think I’m at all like Bill Moss. I’m just a nice, normal guy who goes to work every day and comes home. Although Bill Moss would probably say the same thing.

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