Jason Starr

interview by Allan Guthrie

JASON STARR (photo, right, by Jerry Bauer) is the author of Cold Caller, Nothing Personal, Fake I.D., Hard Feelings and Tough Luck. His work has been compared to James M. Cain, Jim Thompson, Patricia Highsmith and Charles Willeford. Definitely noir, then, we can all agree. But Jason Starr has stamped his own identity on the genre with his astonishing series of impeccably constructed stories of fickle fate. So much so, that noir writers of the future will have to stand comparison with him. And that's just not fair!

Allan Guthrie tried his best not to be Starr-struck when he interviewed Jason for Noir Originals.

Allan Guthrie: Your first published novel, COLD CALLER - good enough to have been bought, un-agented, by NO EXIT in the UK - is extremely confidently written. Was COLD CALLER your first attempt at a novel or do you have another hidden in a drawer somewhere? And what do you believe were the reasons behind the maturity of the writing? (I won't accept "raw talent" as an answer!)

Jason Starr: Thanks for calling the writing in COLD CALLER mature but, trust me, the book didn't get snapped right up. I have a very large pile of rejections from agents and publishers, some of them blowing me off pretty harshly. I remember a couple of agents hung up on me when I called to inquire about the status of the manuscript. One call went like this:

ME: Hi, I'm calling about the book I sent you three months ago. It's called COLD CALLER...
POMPOUS AGENT: It didn't work for me.
ME: Oh, because--
POMPOUS AGENT: It didn't work for me!
(click)

I also have a bunch of very cold letters, basically telling me to quit writing. It can get very bleak at times when you send out ten manuscripts a week, then a couple of weeks later get 10 rejections. It gets even more frustrating when publishers tell you they don't accept unsolicited manuscripts, and agents tell you they aren't taking on new clients. It seems like there is no way to get published. Ironically, I think it was my own "cold calling" experience that kept me going. Telemarketers aren't used to taking no for an answer, so if I got ten rejections in the mail, I just sent out another 20 letters the next day. I had to keep reminding myself that 95 percent of all submissions probably aren't even read, or if they are read they're read by assistants who don't know anything about crime fiction (if this is true or not, didn't matter--it kept me psyched up to keep going). Eventually, I got a couple of encouraging letters, from people who did seem to "get" the writing, and I knew that I'd get through to somebody eventually. The whole process probably took about a year. I had done a lot of playwriting previously, and I wrote a couple of novella length manuscripts that were not very good at all, and I also wrote one detective novel that really sucked. So, no, COLD CALLER, was definitely not my first attempt at writing. It took me a while to find my voice and, most importantly, write the kind of books I enjoy reading myself.

AG: It’s no secret you’re an admirer of the great Charles Willeford. You must have been delighted when the Literary Review called you his "worthy successor." Which are your favourite Willeford novels, and what is it about him you admire?

JS: I'm flattered by the "worthy successor" comment, but I hope people understand that those sort of comments are really just marketing tools for publishers. Somebody might go into a bookstore and pick up one of my books who has never heard of me before, but has heard of Willeford, so they'll buy the book, hopefully because they're getting a rough idea for the type of book it is. But if the person expects to read a Willeford novel, they'll be disappointed. Can I just vent for one second? It really pisses me off when some smart-ass reviewer spends the whole review comparing me to Willeford, or another author mentioned in a blurb, saying that my book is nothing like those author's books. What the hell does that have to do with the book I wrote? I DIDN'T WRITE THAT BLURB, SOMEBODY ELSE DID!!!...Okay, I'm better now...I get Jim Thompson, Patricia Highsmith, and James M. Cain comparisons too, but I really think my books are only similar to these writers in a very general way. The only real similarity is that I write dark crime novels, usually with amoral protagonists, so reviewers and publishers people immediately think of other writers who have created these types of characters. I understand why it's done, but it can be a double-edged sword.

But, to answer your question. It's true, I've been a huge admirer of Willeford's work for a long time. I know I'm not in the consensus, but I think THE SHARK-INFESTED CUSTARD is his best book. It might have been ahead of its time when it was published, and I'm not sure the publisher knew what to do with it, but I think it's a fantastic crime novel. I love PICK-UP, COCKFIGHTER, the Hoke Moseley novels, and I also love THE HIGH PRIEST OF CALIFORNIA. I think what I like most about Willeford is his irreverence. He didn't care if his books were marketable or not, if they had amoral characters, or unsatisfying endings--he wrote what he wanted to write and he didn't give a damn what anyone thought. I mean some of his characters are such total assholes--I think it's great! He probably paid a price for this because, until the Moseley novels, he wasn't a real commercial success. But even with the Moseley novels, he wrote them his own way, with each book having a different style. And the dry sense of humor in his books is priceless. He really was a guy who marched to his own drumbeat.

AG: How about yourself? How do you set your own parameters? Are you affected by reader expectations? Would you, for instance, consider writing a caper novel?

JS: I love caper novels. In fact, I just read a great one, Whittington's THE DEVIL WEARS WINGS. My latest book, TOUGH LUCK, was almost a caper novel, but I didn't quite take it in that direction. I'd absolutely consider writing one, but it wouldn't be until several books down the line. Because I don't have a series character, I don't really have to think about reader's expectations as much as if I did. I mean maybe if I wrote something totally different, like a romance novel, I'd get a few letters, but as long as I'm writing crime novels I don't think anyone cares what I do. I think that's one of the great things about crime fiction--there are so many sub genres, that a writer can keep switching back and forth, doing different things. I think detective fiction is much more limited in this respect.

AG: You make a distinction between crime fiction and detective fiction. Can you explain the difference for those who might not see the distinction? And, loosely related, how do you feel about being described as a "mystery" writer?

JS: There does seem to be a lot of confusion between crime fiction and detective fiction, with the two often getting lumped together for some reason, although I think the distinction is very clear. Actually, the two are total opposites--crime novels are detective novels inverted. Instead of following the detectives or cops who are trying to solve crimes, you are with the criminals who are committing them, with the cops being on the periphery, or nonexistent. Imagine an Agatha Christie novel. Now imagine the same novel told from the perspective of the killer--that would be a crime novel (a weird crime novel, but still a crime novel). There are some gray areas. For example, Elmore Leonard, who always writes from multiple viewpoints, might have a cop or state trooper, and a criminal (or two), and go back and forth between the different POVs. But these are still crime novels because there is no real mystery to solve--we know who the criminals are in advance and we (usually) see the crimes as they are being committed.

Some of my books (especially HARD FEELINGS and TOUGH LUCK) have some mysterious elements in them. There are mini mysteries within the plot that eventually get solved, but all my books are crime novels. I always keep the cops and detectives outside the story. Hitchcock once said, when asked about why he always has the police as minor characters in his films, that "Cops are boring." I have to admit that I feel the same way. There are some excellent police procedurals and detective novels and novels about police officers (Ellroy's THE BLACK DAHLIA pops into my head), but when I'm reading I usually find the criminals much more interesting than the police, so when I write I naturally try to stick to the criminals' perspectives. That said, I have to admit, I love rogue cop novels, such as Lionel White's, BEFORE I DIE, so that would definitely be an exception...But, no, I don't mind being called "a mystery writer" one bit. My books sometimes get reviewed in the mystery column of newspapers, and are sold in the mystery section of bookstores. I guess some people consider crime fiction to be a sub genre of mystery fiction so there isn't a real place for crime fiction, but as long as the books get attention I'm happy. I just hope that people don't pick up my books expecting to solve a locked room mystery.

AG: You mention Lionel White, one of the most prolific crime writers of the 50s/60s. If you'd had the chance to meet him when he was alive, what question(s) would you have liked to ask him?

JS: I really only started reading White's books recently and have read six or seven books, but I am a big fan of his already. The film of THE KILLING has always been one of my favorite film noirs but, for some reason, I'd never read the book before. I'm just as impressed with the novel as I am with the movie. Kubrick added some twists here and there, but the general plot structure is there which influenced such films as PULP FICTION and even MEMENTO. I also think BEFORE I DIE (or TO FIND A KILLER) is a great cop novel, and THE NIGHT OF THE RAPE, although dated, has a structure more like a contemporary thriller. So White could do it all--caper novels, first-person novels, multi-narrated thrillers. If I met him I'd probably just ask him about the film of THE KILLING--if he met Kubrick and Jim Thompson and what that whole experience was like. I'd also ask him why he never gives the location of the racetrack in THE KILLING, which is obviously Belmont Park on Long Island. Did the publishers fear there would be a copycat heist? But White probably wouldn't be first on my list of old pulp writers I'd like to meet. I'd rather hang out with Charles Willeford…

AG: Two of the techniques you mention (first person novels and multi-narrated thrillers) are very much part of your own repertoire. You also write in single viewpoint third person. It's unusual to demonstrate such versatility over the course of only five novels. How did you decide which approach would work best for each book? And have you discovered you have a preference?

JS: Yes, I do try to mix it up. Part of it is that I always work under the fear that my editors and everyone else will hate the book I'm currently working on, and want something completely different the next time. But a larger part of it is that I want to try to keep challenging myself, so I don't get complacent. I guess that's why I haven't written any series characters yet, and don't plan to in the near future. The idea of spending six months, or a year, or however long a particular book takes to write, in the head of a single character, then writing another book with the same character, doesn't really appeal to me. I'm from the MTV generation--I need constant change. As for how I decide on the point of view for each book, it depends on the plot. For example, in TOUGH LUCK, I considered telling the story from multi viewpoints, but as I started getting into it I realized that it was Mickey's story and that I wanted to stick with him. I'd written a few first-person novels and I wanted to see what it would be like telling a story in the third person, but from the single viewpoint. It's not as easy to get into a character's head as it is in straight first person, but it adds some other dimensions, making it easier for readers to observe and judge a character. I like the way it worked out with Mickey in TOUGH LUCK and I'm glad I decided not to tell that story in first person. COLD CALLER, FAKE I.D., and HARD FEELINGS are first person novels because they couldn't be anything else. As for a personal preference, I'm not sure I have one. I love writing in first person because it forces readers to identify with the narrator, whether they want to or not, and I love building up the psychology of a single character and creating that distorted view of the world. But I also enjoyed what I did in NOTHING PERSONAL, using multi viewpoints, because of all the flexibility it gave me with the plot.

AG: At what point during the writing of a novel do you start thinking about the next one? After you've finished a novel, do you go straight into the next one?

JS: I'm always a few books ahead of myself. When I'm writing one, I'm outlining a few more. In fact, sometimes I start writing the other books and continue writing them for a few days, then go back to the one I'm really working on. At the very least, I always have ideas for other books while I'm writing, and at least jot the ideas down...When I finish writing a novel I usually have a few chapters written of the next one. Then there is all the time waiting for my agent and editor to read the book, and doing revisions on the book, so when I finally turn in the new book I'm more than halfway through the next one. By the time the book is published I usually have at least a draft of the next one finished, and I've started the one to follow that one. I enjoy writing every day so I don't really take any breaks from it. Maybe I'll take a weekend off, but I always like to get into a new project.

AG: Do you start with a synopsis?

JS: I usually have a rough outline of a book before I start writing, but I'm very flexible with it. I cut and paste all the time, moving things around, and the book eventually takes shape.

AG: What do you expect from yourself in a normal writing day?

JS: I write, on average, three or four hours a day. I try to write two to three pages a day, but I don't really keep a set goal for myself. If I spend a day editing and plotting out parts of a book, but only write a paragraph or two, I don't stress about it because I know that the day I write will be easier because of all the "set-up work" I did the day before.

AG: How many drafts do you normally write?

JS: In the computer age it's really hard to estimate how many actual drafts I do. I might do ten or fifteen official drafts, but I make so many changes within the drafts, as I'm writing, that I might actually do twenty or twenty-five drafts. Then it goes on to copyediting and I do a couple more. It's always my goal to get my books as tight as possible, cutting anything I think is extraneous, even within sentences. Sometimes I'll even use shorter words, if I can get the same meaning across.

AG: How much input do your agent and editor have? Do you solicit opinions from anybody else? And how do you decide whether such advice is good or bad?

JS: My agent and editor have a lot of input in my books and make great suggestions. But before I get to that point my first reader has always been my wife. She really knows the rhythm of my writing and helps me get my books into shape before I show them to anyone else. I think it's important to have a reader, or readers, you trust to show your work to. When I was starting out writing, it was harder to tell the good advice from the bad, which is one of my problems with writing workshops. You have to sit there, listening to people comment about your work, and most of them don't know what they're talking about. I think getting bad advice can throw a lot of young writers off because it's hard to make any sense out of all the noise. But now that I've been at it for a while, and have written a number of books, I get a sense right away of what works and what doesn't, and I'm fortunate that I get a lot of great advice.

AG: You explore a number of recurring themes in your writing: thwarted ambition/desire, dashed hopes, men in denial, workplace psychology, stale relationships, to name but a few. Are these aspects of human existence/relationships that you find particularly fascinating? And is it more than just the exploration of these themes that make your writing "noir"?

JS: Wow, you make my books sound so uplifting! But, seriously, I do find these themes interesting, much more interesting than writing about a world where things always work out perfectly. I like to create situations where the stakes are high for my characters, where they make decisions that often turn out to be the wrong ones. But, unlike say David Goodis, I usually try to balance out the bleak situations my character's are in with humor, using humor as a type of redemption. I've always liked writing that makes me feel uncomfortable, that makes me squirm (in a good way) while I'm reading, but that also makes me laugh and feel gripped because I want to find out what happens next, so I try to create that feeling in my own books...And, yes, I do think the themes I deal with contribute to why my books are considered "noir." As we all know noir is an ambiguous term and sometimes hard to define, but a lot of it does have to do with "things not working out the way they're supposed to" and a dark view of the world, and I think that definitely comes out in my writing.

AG: You've written a couple of screenplays: NOTHING PERSONAL, based on your second novel, and OCTOBER SQUALL, which will star Halle Berry. How did these projects originate and how are they progressing?

JS: The two projects are sort of related. A couple of years ago, I was hired to adapt NOTHING PERSONAL for a U.K. production company. The co-producers of the project subsequently hired me to write an original screenplay for Halle Berry, which became OCTOBER SQUALL. NOTHING PERSONAL was close to getting made a couple of months ago with Jake Gyllenhaal as Joey and Eva Mendes as Maureen, but now I'm not sure what's going to happen with it. OCTOBER SQUALL is at a studio and will likely be filmed in the fall or next spring. It's about a woman (Halle), who is raped, gets pregnant, has a son, then when the son hits puberty she realizes the apple hasn't fallen far from the tree. It takes place in the 60s and 70s, has a lot of twists and good supporting roles, and I'm excited about the chance of seeing it filmed. At this point, COLD CALLER, also seems to have a decent chance of getting made. A screenplay was written a couple of years ago and now Nick Nolte's company is taking it over, with Nolte to play the role of Nelson Simmons, owner of the company. But things change rapidly in the movie business, so who knows what'll happen?

AG: What makes screenwriting easier/harder than writing a novel?

JS: For me, the process of screenwriting is much easier than novel writing. You have to do just as much plotting, but there's much less writing to do, and I find the whole process very enjoyable--I really love it. What happens after the screenplay is written is another story. You realize that all the nightmare stories that you've heard about Hollywood are true. You have very little input and if you get emotionally involved in a project it's even worse. It makes you appreciate the control you have as a novel writer.

AG: On your website you devote a section to reading. What have you read recently? What are you reading at the moment? Do you ever read (like you write!) more than one book at the same time? How important is it for a writer to read regularly?

JS: Yes, actually, I do sometimes read more than one book at a time. Sometimes I lose track of a book in my apartment and pick up another one and get into it, then go back to the other one. But I almost always finish every book I start. I guess it's a superstition I have--I don't like to leave things unfinished, maybe out of a fear that I won't finish my own books. Recently, I read Whittington's THE DEVIL WEARS WINGS, and an Elmore Leonard I'd never read, SPLIT IMAGES. Currently I'm reading AMSTERDAM by Ian McEwan. I try to read a combination of current crime fiction, old pulp novels, and literary fiction. While I try to read as much as I can, I probably don't read as much as I did when I first started writing. Part of it is because of demands of time. I have a daughter now, whom I spend half my day with, so when I have free time I spend most of it writing. I'm also a very slow reader--I almost never finish a book in one or two sittings. Still, l try to read at least a book a week, but I used to read much more than that. I think it's very important for writers to read regularly, but it's even more important when you're first starting out. I know collectors will cringe when they read this, but I used to mark up my books, circling passages I liked, making notes about the way the authors structured the plots, and even scribbling ideas for my own novels in the margins. Now, although I still learn a lot from reading, I never mark up my books at all.

AG: Given that you finish almost every book you start, there must have been a few you've read that weren't very good. How much can you learn from a badly written novel?

JS: I think people are much more selective about choosing books than they are about movies, TV shows, music, and most other forms of entertainment. A movie only takes a couple of hours, a song takes a couple of minutes, and if you don't like what's on TV you change the channel (unless, you're like me and you have TIVO, then you always watch what you want to watch--but you get my point). Buying a book takes more of a commitment. People want to make sure they don't get burned so they'll usually buy a book that they know they'll probably like, either because they've read the author before, heard something good about the author, or they've started reading the book and like the writing. So, in my case, when I say I finish most books I start, this is because I usually only start books I know I'll want to finish. But, in the rare case that I read a disappointing book, I'll try to figure out where the story went wrong, and how it could have been done differently. I do the same thing when I watch a bad movie, or one with plot holes.

AG: Speaking of plotting, in your own novels the action always seems to come from the characters, and you conjure up superbly climactic and satisfying endings -- something a lot of writers seem to neglect. Do you find plotting comes easily, or is it the result of hard work? Do you have any tips to help us less gifted plotters?

JS: First off, thanks for the compliment---I do work hard on plotting. When I started writing, I had a lot of trouble plotting--it was even a weakness in my writing. I was strong with dialogue, which is one reason why I wrote plays at first. In fact, when I wrote short stories I sometimes wrote all dialogue, with little or no description or plot--I really just wrote character studies. Gradually, my style changed, and I became much more plot oriented. One way I learned about plotting was by reading a lot fiction, and learning from my favorite writers. Elmore Leonard is a great crime plotter, but I also paid attention to the plotting techniques of writers such as Kafka, Marquez and Heinrich von Kleist. A big help has been writing on a computer. I used to write longhand, then transcribe my work, and I found it much harder to plot that way. I know a lot of writers say that they have no idea what's going to happen next in a novel, but I'm the total opposite. I have a vague outline from the beginning, with an ending in mind, and then, as I write and come up with new ideas, I insert the ideas and twists throughout the document. After a few weeks, the full plot takes shape and I usually stick with it, with minor variations, until the book is completed. I might not know the exact ending, but I'll know how the book is going to end, or at least what type of mood the ending will have. For example, in COLD CALLER, I had a vague idea of what would happen to Bill when I started writing the book, but I didn't know what the actual ending would be until I'd figured out the rest of the plot. NOTHING PERSONAL took more advance plotting, because of the intersecting stories.

AG: Do your titles spring to mind before you start a new book or are they inspired by the content? Where did the two-word title motif originate and how long do you think you'll stick with it?

JS: Is FAKE I.D. two words? Yeah, I guess it is. But, no, I've never had a title in mind before I started a book. My titles come after a long, agonizing process after the book is written. Trying to find a good title can really drive you crazy. Sometimes I walk around for days, and lie awake at night, obsessing about it. I discuss it with my wife, agent and editor until I finally come up with one that seems right for the book. The two-word title thing hasn't been planned at all. I'm aware of it, of course, and I kind of like the way the string of titles works together, but if I come up with a good title from one of my books that isn't two words I'll definitely use it.

AG: Which half of the day do you spend with your daughter and which half writing? Do you have an office? What sort of ambience do you like to create whilst you write? How long do you work before taking a break?

JS: I write in the morning, from eight until about noon, give or take. I'm not rigid about it. Some days I only write for two or three hours and I take days off when I feel burnt. In the afternoons, while my wife is at work, I take care of my daughter. I know it sounds strange---writing crime fiction in the morning, going to playgrounds in the afternoon, but that's my life. I write almost entirely in coffee bars. I used to write at home, but I've gotten used to writing with other activity around me and now I actually prefer it. I have some favorite spots I go to and I alternate days. As long as I have a table, an outlet, and a cup of decaf, I'm happy. I take breaks to stretch, go to the bathroom, maybe read the sports section of a Post or a News somebody has left, but that's about it.

AG: How do you feel about the promotional aspects of a writer's existence? How much fun do you get out of signings, readings, interviews, etc?

JS: In general, I do anything I can to promote my books, and I enjoy doing promotion very much. Sometimes I hear writers complain about having to go to multiple cities on book tours, or turning down interviews, but I really can't understand that. When I have a book published I want to get out there as much as I possibly can to promote it. I went to London for COLD CALLER and will probably go to Italy this year, but my first real U.S. tour was for TOUGH LUCK. I went to the West coast for a couple of days and did more radio interviews than I had before. Hopefully, I'll go to more cities and do more when my next book is published. Maybe if I went to 20 cities in 10 days, or whatever, it would start to drain on me and I'd give a different answer to this question, but I think I'd still enjoy it. Part of it might be my sales background. I like getting out there and selling. When I have a book published I go into as many stores as I can--introduce myself, and sign my books. Promotion is also a nice change of pace from writing. As a writer, you spend so much time by yourself that it's nice to break the routine once in a while. And with so many books published every year, I think it's crucial to get out there as much as possible, to be heard among the noise. You can't assume that your books will sell by themselves, or that the publisher will take care of the marketing and you can sit home and relax. When your book is published your real work begins.

AG: It's obvious to anyone who has read "Fake I.D." (speaking of superb endings) that horse racing is a subject you know very well. Gambling also features prominently in your work. Where does your racetrack interest stem from? And do you have a successful betting system you'd like to share!

JS: I started going to the racetrack when I was five years old. I used to tell my father which horses to bet, going by their names; he didn't listen, and the horses always seemed to win. Then I learned to read the Racing Form and my handicapping ability went steadily downhill. For years, until I was about fifteen, The Racing Form, along with Baseball Digest, were my main reading material. Nowadays, I really only bet on the big days--Triple Crown races, Breeders Cup, etc, but every summer I go up to Saratoga for a weekend with a couple of friends for the flats and the harness track up the block. I always seem to lose, although I'm under the delusion that I'm a world class handicapper. But I love horse racing and being around the track--especially Saratoga in August. Some of the gambling experiences in my books are based on things that actually happened to me or my friends. For example, the opening of NOTHING PERSONAL at The Meadowlands is based on a real experience, and the bookie joint in TOUGH LUCK is based on a place I used to hang out in Brooklyn. I use a variety of systems at the track and am very confident about my opinions, but one thing I've learned over the years is that the term "successful betting system" is an oxymoron.

AG: In the UK, your publisher No Exit is reissuing your entire backlist with new, photographic jackets. In the States, Black Lizard have gone for the black-and-white/sepia retro look. If you had complete control over the process, how would you like to see your books packaged?

JS: That's something I think about a lot. Since I've been with a few U.S. publishers, my books haven't had a unified look to them. But now that I'll be with Vintage Crime/Black Lizard for at least four books I'm hoping that a unified theme develops. It's tricky because my books have been paperback originals, and publishers usually like to vary designs of original books, to distinguish them from reprints. Still, ultimately, I'd love to have covers similar to Patricia Highsmith's American covers, or Jim Thompson's, or Willeford's, or the new ones Vintage has put out for Eric Ambler. I love those edgy literary type covers that have a retro feel. Even before I was published by Vintage, I'd been a big fan of their covers, and they recently put out a great one for Vachss' THE GETAWAY MAN. In the U.K., No Exit has tried different cover designs for my books, but now they're set on the design of the new paperback edition of HARD FEELINGS, and all of my books will be reissued with the new design, in mass market editions. This is something I've wanted for a long time. There's a lot of noise on bookstores' shelves and I've always wanted my books to be easily recognizable, to help them stand out.

AG: New York is a noir city. How much does being a New Yorker influence what you write about? How comfortable would you be setting one of your novels elsewhere?

JS: My books take place mainly in the New York area because I've lived in New York all of my life and I like to write about what I know best. I don't like to do a lot of research for my books--not because I'm lazy, but because I don't want the books to seem too researched--I want everything to come naturally, out of the characters and the situations. Many crime writers do a lot of research for their books--Elmore Leonard jumps to mind--and pull it off brilliantly, but, at least at this point in my career, I like to stick to what's inside my head. Of course I'm just talking about setting here. I always research for details in my books but, for example, I could never see setting a book in Cuba. Down the line, I think I'm going to start moving away from this a bit. I have some stories I want to write that will have to take place outside of New York, but right now I feel very comfortable writing about New York and New Yorkers, and there's no shortage of material here. I guess, in this way, I'm lucky I'm not from some small town in the Midwest. There's so much going on in this city, so many different cultures, so much tension, so many angry, stressed out people, that it's really a noir writer's dream.

AG: What advice do you wish you'd been given when you first started writing novels?

JS: One thing is to get used to waiting. Before you get published, you're waiting for news from agents and publishers, and that never changes. You're always waiting for feedback on your books, or for news of foreign sales or movie deals. The waiting can drive you crazy which is why it's always important to stay busy, to keep working. But I don't think there's any real advice someone could've given me. Unlike other careers, there's no set career track as a writer. In fact, I don't think any two writers have the same experiences. Some people get lucky the first time out and have a blockbuster bestseller. Other people have to work their way up slowly. Others write one novel and you never hear from them again. So I don't think there's any advice that can prepare you for such an unpredictable career. You just have to keep working hard and hope you get lucky.

AG: Finally, can you tell us what you're working on at the moment?

JS: I'm finishing up my new novel for Vintage, called TWISTED CITY (yes, a two-word title), which will be published in early 2004. I'm very happy with the way it's turned out and I think it may be my best novel yet, and maybe the most noir. I'm also working on another book for Vintage, which I hope will come out in 2005. I've also been plotting out a screenplay for HARD FEELINGS, which I'd love to have a chance to adapt.

AG: Can I order a copy of TWISTED CITY now? I think I might just like it! On behalf of myself and everyone who reads this interview, thank you very much for sharing your thoughts with us, Jason. It's been an education and a pleasure.

photo by Julie Scholz

Jason Starr links

His website

No Exit - his UK publisher

Black Lizard - his US publisher

Diogenes - his German publisher

Meridiano Zero - his Italian publisher

The Richmond Review - Jason is the New York Editor