Terry Fallis, award-winning author of The Best Laid Plans shares his thoughts on writing in this exclusive interview with Evadne Macedo, author of The 29^th Day: A Novel.

1. The first time I read, The Best Laid Plans, I thought it was a very funny book – and I have not amended my position on that after a second or third reading. Quite rightly, your novel won the 2008 Stephen Leacock Medal for Humour.  The crux of your comedic genius is your masterful use of language, character, situations and knowledge (whether about politics or the intricacies of human nature). I know that you have read, and have copies, of every book that has ever won the Stephen Leacock medal, but are there any in particular that have shaped your approach to humour writing? For those of us aiming to write humorous novels, can you share your secrets on how you make your readers laugh out loud?

You’ve asked an excellent question that has stymied writers and critics, literally, for centuries. I think making someone laugh through the written word alone is among the most formidable challenges a writer can confront. Making your readers scared, or mad, or sad, or happy, or shocked, is, I think, easier (not easy, just easier than making them laugh). One’s sense of humour is very personal and particular. I’m always struck, when I do readings, what lines of mine get the most laughs. It depends completely on the audience. In some groups, one line will generate hearty guffaws while another phrase elicits a polite chuckle. In other groups, the reverse is true. We’re all different and carry different senses of humour. I like to play to a rather broad audience, so in TBLP you’ll find what I hope are funny set pieces, witty language, sight gags, and even some bathroom humour (I kind of regret the bathroom humour in hindsight). I hope there’s something for every taste. Other writers who I’ve loved and laughed with include John Irving, Stephen Fry, Paul Quarrington, Donald Jack, Mordecai Richler, among others. In the end, you need a sense of humour to make people laugh. And you need to know when to stop trying too hard (something I don’t think I got a hold of until the second half of TBLP).

2. There is one scene in The Best Laid Plans in which Angus – a sort of gruff Scottish Engineer turned politician – is set to meet a delegation of feminists. His advisor, Daniel, is late and fears what kind of reception Angus will give them. I really enjoyed the way you built suspense and then revealed the outcome – I have used a similar technique in one part of The 29th Day. What I liked most about the resolution of that particular set-up was that you challenged readers’ implicit assumptions about feminists and the dynamic between rights-seekers and the politicians. More broadly, throughout the novel, the topic of feminism and feminists is presented with respect and admiration. Who, if anyone, was the fictitious Marin Lee modeled on? What was the impetus for this approach? To what extent is your book a conscious reaction to the typical representations of women and feminists in literature and pop culture.

I cut my political teeth in the student movement while at McMaster in the early 80s. There is, and remains I hope, a strong women’s movement within the student movement. It was an awakening of sorts for me and issues of equality have been important to me ever since. There is no single woman after whom Marin Lee’s character is modeled. She is probably an amalgam of several different women I admire, including my wife. I certainly wanted to portray strong, independent and intelligent women in the novel, but not in a way that drew too much attention to that fact. It’s just part of the story.

3. Your character Muriel Parkinson is intelligent, funny and a critical resource to Daniel as he fulfills the mission he has been given. But, she also happens to live in a home for seniors and have a disability. It is remarkable to note that though Daniel’s interactions with Muriel Parkinson are often funny, her disability and age are irrelevant to the humour. You even go beyond this, and write: “In the Liberal Party, and in society in general, we have a nasty tendency to cast older people aside and then to repeat their mistakes as if we’re exploring uncharted waters.” Given how prevalent attitudes of ageism and ableism are in society, was it difficult to write scenes involving Muriel without inadvertently incorporating stereotypes? I think that the fact that The Best Laid Plans won Canada’s top award for humour challenges the prevalent idea that humour and human rights are incompatible – what are your thoughts on that?

Wow. You should interview authors for a living. Outstanding question. I always want my humour to be respectful, relevant, even quietly educational, while it’s tweaking the reader’s funny bone. I think humour can be found, and revealed for others, in almost any setting. But I would rather not pursue the easy laugh, driven by stereotypes, although I’m sure I’m often guilty of that in TBLP. I also believe that humour can be a trenchant instrument of social change. I fear that people get tired of, even inured to, the anger and outrage that usually accompanies social change. I’ve come to believe that minds can be opened through humour, as well.

4. I wrote The 29th Day based on an idea that I had four years ago – I let the characters develop in response to early questions you had asked me after reading the first chapter, the key one being: “What happens next?” I discovered the answer to that question chapter by chapter. The end result, as you had warned me, is that I would have to do multiple rewrites. This is actually rather arduous, and I might be inclined to try a different approach next time. Please describe your approach to outlining, and how you make sure your outline does not restrict better ideas you may come up with as you write.

I think I’m an outliner because I really need the security of knowing where I’m going. I’m the same way when I’m driving! Before writing my novels, I start by thinking through the story in my head. I jot down big picture ideas for plotting, no details. When the general arc of the story settles in my mind, I begin to map it out in more detail. I develop my characters including names, back-stories, personalities, faults and virtues and then draft character sketches (about a page long). Not all of these character traits will be explicitly noted in the novel. Rather, I write the sketches and refer to them often to help guide me in capturing the behaviour of the characters when they’re confronting various situations in the story. Finally, I break the story into chapters. For no good reason I can think of, my chapters are generally consistent in length (4,000 to 6,000 words). I think it may help the reader stay in a reading rhythm. I prepare 2-3 pages of bullet point notes for each chapter describing what happens, where, why, when, and to whom. Sometimes, these chapter notes may even include snippets of dialogue that have occurred to me.    If there’s funny stuff going on in the chapter, I always note that as well. The chapter notes are quite detailed. (My outline/chapter notes for The High Road required 65 pages.) By the time my outline is done, it feels like the novel is already written, even though not a word of the actual manuscript has been typed. Then I start writing, chapter by chapter, 5,000 words at a time. There are as many different ways to write a novel as there are novelists, but this approach feels right for me.

5. In addition to being an award-winning novelist, you have accomplishments in a few other fields: a degree in Engineering from McMaster, a long history of politics/communications work in Ottawa and now you run a public relations consulting company, Thornley Fallis. In my interview with Thomas Trofimuk, author of Waiting for Columbus, he spoke about the challenge of balancing government work, family life and his fiction writing. How do you find balance in your life? Did you write when you were young or was this an interest you developed as an adult?

Throughout my childhood, there was a love of humour and language in our home. I don’t know if I was destined to write. What I do know, is that the people I admire the most are those who seem to make a mark in many different fields of endeavour. Leonardo da Vinci, Alexander Graham Bell, Stephen Fry, and many others I admire, all seem to be polymaths. I’m much more impressed by someone who has succeeded in many different fields than I am by a world class expert in a single narrow subject. I like the well-rounded approach to life, I guess. You can see my varied interests in TBLP including politics, feminism, chess, engineering, hovercrafts, language, etc. As well, I wanted to write a novel, partly to see whether I could. I really didn’t know if I’d be able to. So first and foremost, it was a personal challenge.

As for balance, it’s never easy. It always feels as if you’re compromising on some aspect of your life. With enough discipline, I think it is possible to keep the balls in the air. I’ve tried hard not to shortchange my wife and kids. That usually means that I write when they’re asleep. I think it also means that you have to let your own writing deadlines slip from time-to-time as other obligations encroach. When that happens, accept it, and keep writing. The twin pillars of discipline and desire can usually free up enough time to write, often at the expense of sleep. A reasonable trade-off, I figure.

6. The Best Laid Plans pokes fun at Canadian politicians and challenges all of us to think about government, and more particularly, decorum in government. In July 2009, you were invited to present to the Commonwealth Parliamentary Association and in December 2009, you were invited to present to a liberal riding association. What do you say when you present to politicians? Have any of them read the book before you present to them, and if so, which parts of the book are they are interested in? How are your remarks received? Do you get the sense that the satire has provoked any serious discussion or changes? Have readers indicated that they are more aware of the political system as a result of The Best Laid Plans?

I’m always a little uncomfortable when I know politicians are in the audience. Many have read the novel and claimed to have enjoyed it. Despite some discomfort, I always try to stick to my guns when it comes to discussing our democracy’s shortcomings, even if there are prime offenders in the room. I do consider TBLP to be satire, as opposed to comedy. I’m always delighted if readers enjoy the story itself. But I’m even more fulfilled if the novel causes some readers to give passing thought to the state of politics in Canada. It was a thrill for me to speak on the floor of the Ontario Legislature in the summer. I have tremendous respect for our political institutions. Indeed, that is what drives my desire for reform.

7. At every writing event I have gone to, there is always a question about the mechanics of an author’s writing. Could you please comment on the practicalities behind your writing? For example, do you keep notes in a notebook? If so, at what point to you transfer them to a computer? Do you write on a laptop or a desktop? Do you hide yourself away in a quiet room or write at cafés? And the biggest question of all: Do you use a Mac or a PC?

I do have several Moleskin notebooks where I jot down plot ideas, and begin to map out the broadest of broad strokes of the story and characters. Then I switch to the computer to develop my character sketches and chapter notes. I write on the top floor of our home in my favourite room, our library. I spend a great deal of time there surrounded by our books. It is very peaceful there. I’m a PC guy. In fact, as unromantic as it sounds, it was the purchase of a then new laptop (a Fujitsu Lifebook) nearly five years ago that prompted me to start writing TBLP. Earlier in December, I bought a new Dell laptop that I love, and on which my third novel will be written. I write the most late Friday and Saturday nights, and early Saturday and Sunday mornings. I find it tough to write weekday evenings, after a day at the office.

8. When Miriam Toews presented to a group of writers at the October 25, 2009 Humber Writers’ Circle, she spoke about the importance of having someone in your life who takes you seriously as a writer. In my case, this person was you. It is no exaggeration to say that my first novel, The 29th Day, and any that follow exist because of your mentorship. I want to formally recognize you for that. In your development as a writer, was there a particular person who took your writing seriously or who mentored you? For other established writers who might not have thought of mentoring someone, can you comment on your reasons for supporting the career of an unpublished writer?

It’s very kind of you to consider me your mentor. I still feel like I need one. I understand what Miriam says but I confess that until Beverley Slopen became my agent, and Douglas Gibson became my editor/publisher, I really didn’t have a mentor. Writing my first novel was a very private affair. Very few people knew I was writing it. As a consequence, until I started to podcast the novel in early 2007, I honestly had no idea whether it was worthy of anyone’s time. Having a mentor earlier in the process might have given me more confidence that I might have been on the right track. I am very pleased that you have found my comments to be helpful. But I am ever mindful not to portray my approach to writing as the “right” way to go. It is just the way I seem to have gone. It is quite possible to be a brilliant writer while pursuing an altogether different approach than the one that seems to have worked for me. But I am very happy to try to be helpful and supportive. I remember stumbling around in the dark for a long time before I found my way. I’m pleased to share what little I know and am gratified that it seems to be helpful.

9. You have recently completed writing The Best Laid Plans’ sequel, The High Road with the support of your agent, Beverley Slopen, and your publisher, McClelland and Stewart. This time there were different challenges for your writing: a busy schedule of readings for The Best Laid Plans and the need to keep what we loved about Angus and Daniel and your other memorable characters, while moving the story forward. So, honestly, how much better is the process this time around? Can you give us any hints about what happens in The High Road?

The High Road simply picks up where TBLP left off. (How creative is that!) I hope readers of the first will enjoy the second. What I found most challenging about writing the sequel was how to get into the story at the outset. How much of TBLP do I tell in setting up the sequel? You don’t want to bore those who have already read TBLP. On the other hand, you don’t want new readers to be left in the dark if they haven’t read TBLP. Because of this challenge, I wrote Chapter One about three times before striking what I hope is the right balance. Despite all that happened in my life with TBLP, writing The High Road felt remarkably similar. I worried that I’d be feeling much more pressure on the second, but it didn’t really work out that way.

10.  Your first novel, The Best Laid Plans, won the Stephen Leacock medal and has been ranked as one of the top books of the decade and the funniest Leacock winner of the decade.  Yet, as an unpublished writer seeking an agent and a publisher, you were unable to overcome the barriers to publication. You responded with innovative solutions to this common problem: podcasting your book chapter by chapter, publishing on i-universe and submitting your self-published novel to an awards-committee. Your hard work, talent and entrepreneurial spirit paid off. Yet, there is a culture of failure around unpublished authors and their “desk-drawer novels” and a stigma associated with self-published work. Taken too seriously, both of these could prevent great writing from ever reaching readers. In addition, these perspectives are inconsistent with the open access and democracy of voice that prevail in the age of the internet. What are your thoughts on this?

This is a real dilemma. Had I known in the fall of 2006 that the self-publishing stigma was as strong as it is, I may well not have ventured down that road. I think it’s clear that it’s tougher now than it’s ever been to find a literary agent and a publisher, regardless of the manuscript quality. I remember feeling helpless when I didn’t even receive rejection letters in my year-long search for an agent and publisher. It was depressing. I can say definitively that being published by McClelland & Stewart is far better than self-publishing. But I never would have come to M&S’s notice, had I not first self-published. That’s the conundrum. But to be absolutely clear, it was winning the Leacock that landed me my agent and publisher. Self-publishing simply allowed me to win the Leacock. Confused yet? I know I am. So what does it all mean? Well, I’m not really sure. I guess I’d urge writers to exhaust absolutely every avenue to traditional publishing before even considering self-publishing. If you go down the self-publishing road, a greater burden to get your book “out there” falls on your shoulders. Enter whatever awards competitions you can. Learn about the new online tools available to you, like podcasting, blogging, and Twitter. They can really help you build an audience. (You might even want to enroll in the course I’m teaching next November at U of T’s School of Continuing Studies about “building an audience for your writing”.) If you’re lucky enough to be published by a mainstream house, you still have to do a lot of the promotion yourself. It helps if you enjoy that sort of thing, as I do. I’ve done some 60 talks/readings/signings/book-clubs/festivals, etc. since TBLP was published by M&S in September, 2008. This helps to fuel word-of-mouth and keeps your book in front of readers. But I can’t close out this response without saying that before you worry about any of this, focus on producing the best manuscript possible. All else flows from that.

11. Do you have any final words of advice for aspiring writers?

At the risk of being obvious, keep reading and keep writing. Writing is a skill that gets better with practice. I fear there are many aspiring writers who focus more on the challenge of getting published than on the challenge of making their manuscript, their story, as good as it can possibly be. Getting published, in the traditional sense, is hard in this country and seems to be getting harder. One can always head down the self-publishing road, as I did initially. For me, self-publishing was a last resort. It worked for me but it certainly wasn’t my first choice. And I don’t labour under any misconceptions. Without the Leacock Medal, we would never have met, I’d still be trying to persuade bookstores to carry my novel, and I’m nearly certain I wouldn’t yet have a publishing deal. The Leacock lightning strike changed my life as a writer. So I guess my advice to aspiring writers would be, focus your efforts on your manuscript until it’s the best it can be. Then you can start the next part of the journey. Sounds trite I know. Oh, and also, look for competitions to enter. Winning can make a difference. You can trust my word on that.

This interview was originally posted by Evadne Macedo at http://books.macedo.ca on January 20, 2010.

For more information about Terry Fallis, visit www.terryfallis.com and www.thornleyfallis.com

See also Evadne Macedo’s previous interviews and profiles:

• June Hutton: Underground (January 6, 2010)
• Thomas Trofimuk: The 52nd Poem, Doubting Yourself to the Bone and Waiting for Columbus (December 16, 2009)
• Gina Buonaguro & Janice Kirk: Ciao Bella and The Sidewalk Artist(December 9, 2009),
• Don LePan: Animals (December 2, 2009)
• Ray Robertson: David (November 25, 2009)
• Deborah Willis: Vanishing and Other Stories (GG Finalist) (November 19, 2009)
• Joy Fielding: Still Life & many other novels (November 14, 2009)

Look  out for upcoming interviews with Kim Moritsugu, Pasha Malla and Anar Ali.