I didn't agonize over whether I was expressing myself; I didn't worry about art; I was writing under a pseudonym, at very high speed. And the usual concerns about the quality or originality of one's output were irrelevant since my explicit goal was to be entirely unoriginal - to write something so perfectly suited to the paperback market that my publishers would buy my work without hesitation. I was engaged in a high-pressure exercise where the goal was absolute unoriginality. [Michael Crichton, "A Case of Need: A new introduction", in Michael Crichton, A Case of Need, London 1997, pp vii-viii]
Well, mission accomplished. This is an innocuous little book with a plot that is a pastiche of early bond movies. Villains are pulp fiction cartoon characters; there is The Professor, and The Count, there are Italian Mafia-types, oversized "odd-job" lookalikes with voiceboxes, American cowboys in Rolls Royces. Supporting cast are stereotyped, female characters are all sexy, Spanish men are all small, fidgety and speak in high voices. My first paperbacks were standard variations on the 1960s cold-war spy story made popular by Ian Fleming. In my novels, the women were all beautiful; the men all drove Ferraris; and nearly everybody carried a gun. [same place, p viii]
Indeed so. The plot is driven by odd events. Villains march freely into the protagonist's hotel room and Dr. Ross, the hero of the story, engages with them in easy conversation, rather than call hotel security. For example. Dialogue is designed to be fast and bantering, exactly like Tony Curtis and Roger Moore talked in an episode of The Persuaders, but only serves to make plot events more bizarre. In fact, the whole book feels rushed, as if Michael did not bother to edit anything or rewrite. (...) I would sit down (...) and write furiously eighteen hours a day. I usually produced twenty-five pages of typescript each day. (...) I sent the finished manuscript to my publisher in New York - (...) it was essential that they buy it immediately, (...) because the next day I would be back in classes, and have no time to make any changes. [same place, p vii]
I am a huge fan of Michael Crichton. I think he was a true storyteller, knew how to craft a plot masterfully, control the ebb and flow of suspense, paint strong and believable characters, and create intelligent and complex stories. Ever since I read the introduction to "A Case of Need", I wanted to read one of these early novels, which Michael used to pay for his tuition fees at Harvard. "Zero Cool" is precisely how he characterised these early novels. It would be wrong even to describe them as "early attempts", they were just a means for Michael to pay his way through medical school.
I am not going to pick up another one of these, but "Zero Cool" surely offered an enjoyable and fascinating insight into the early days of a naturally talented writer.