Dan Schlissel Q&A
Dan Schlissel on running a tremendously influential indie comedy label.
“A strange line is usually the thing that gets me going on a story. If you go back and look through all my stories it’s kind of rare if it doesn’t start with some sort of off-kilter situation or language that’s either funny or intriguing in some way.”
Ever since I started writing, I’ve always been on the lookout for good spots within my stories to infuse humor. In the beginning there was a ton of trial and error, but over time I think I’ve internalized some sort of comedic rhythm that helps me know when to drop in a funny line.
I think I’m gifted a daily written word count before my brain goes to mush. I’ve always been super protective of taking a writing-adjacent job because of this. If those words were eaten up by a day job — if I was teaching writing or writing copy — I wouldn’t have the energy or desire to write any fiction.
I started working on a novel a bit ago and am glacially making progress. I keep taking breaks from it to write short stories because the thing I am not working on is always the thing I’d rather be working on. The process has been semi-daunting. I write things organically without much planning and I’ve had to do a bunch of complicated outlining to keep track of all the different characters and plot points.
It is a mix, but a strange line is usually the thing that gets me going on a story. If you go back and look through all my stories it’s kind of rare if it doesn’t start with some sort of off-kilter situation or language that’s either funny or intriguing in some way. When you pick up one of my stories I really want your interest to be piqued right away so you’ll do the hard work of continuing to read.
None of my stories are ever pulled directly from life, but weird things that have happened to me are definitely repurposed for my stories. With Jayhole, I sort of imagined how inconsiderate, oblivious and awful some of my former housemates were and then combined them into one person and cranked that inconsiderateness, obliviousness, and awfulness to its highest possible level.
I’ve been known to fiddle around with stories for a long ass time, but there is always a point in my fiddling where I get viscerally sick of looking at it and need to get it away from me and me away from it. That’s usually how I know I’m done.
Some short story collections I’ve loved lately: Rebecca Schiff’s “The Bed Moved,” Lauren Groff’s “Florida,” “Exhilaration” by Ted Chaing. Obviously, George Saunders is a huge influence of mine. Always a big fan of anything that Lindsay Hunter writes.
I’ve dabbled with turning a couple of my stories into screenplays, but it never worked for me. I always felt like I was losing a lot of the humor that is conveyed through the voice of my characters. I’d love to see one of my stories made into a film so if anyone else wants to try, please feel free.
My philosophy is that any time you can capture a reader’s interest, you’d better. What’s better than doing that right away with your title?
Yes, definitely, he’s still one of my faves. I had a weird job in Italy after I graduated from college — helping to rebuild a 14th century monastery into an ecological village and harvesting olives from olives trees by hitting them with a long stick — and I only had room in my backpack for five books. Luckily I brought “Barrel Fever” with me. I probably read it 100 times while I was there.
Whenever I try to write any non-fiction it feels like a slog so I start making up things to make it more interesting, which when an editor wants a non-fiction piece, ends up being problematic. I need the possibility of being able to lie when I write.
Right now I’m working on the novel and my next collection of short stories at the same time. I am guessing the short story collection will probably be finished first, but we’ll see!
Dan Schlissel on running a tremendously influential indie comedy label.
Mark Engebretson preserves a magical time in Minneapolis musical history with his documentary "Jay's Longhorn."