PDF Summary:Craft in the Real World, by Matthew Salesses

Many writers believe there is one universal "craft"—a set of techniques that transcend cultural boundaries and will resonate with any reader. In Craft in the Real World, Matthew Salesses challenges this notion, arguing that our ideas of good writing stem from Western literary tradition and prioritize storytelling from the white, middle-class male perspective.

Through critical analysis of diverse storytelling techniques and narrative structures, Salesses demonstrates the richness of marginalized traditions. He explores the need to expand our craft concepts to be more inclusive of different cultural aesthetics. Salesses advocates for reframing writing workshops and grading methods to empower marginalized writers to develop their authentic narrative voices for their intended audiences.

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• Create a photo collage that blends images from your daily life with elements of fantasy or imagination to visually represent the interconnectedness of reality and imagination. For example, you might take photos of your routine activities and then use an app to overlay fantastical elements, like adding a unicorn in the background of a city street. This activity can help you visualize how imagination can transform and enrich your perception of the mundane.
• Explore non-Western narratives by reading one story or folktale from a different culture each month. By diversifying your reading list, you'll gain a deeper appreciation for the varied structures and themes that these stories employ. For example, you might start with an anthology of African folktales, then move on to a collection of oral histories from Indigenous Australian storytellers.
• Create a personal journal using a "Rashomon" approach, where you recount an event from multiple perspectives. This exercise helps you to see situations from different angles and recognize the validity of various viewpoints. For instance, write about a family dinner from your perspective, then reimagine it from the viewpoints of at least two other family members.
• Engage in active reading by annotating a novel with notes on potential dual meanings. As you read, use sticky notes or a digital annotation tool to mark passages that seem to have a hidden message or could be interpreted in multiple ways. This practice will sharpen your ability to discern underlying themes and messages in literature, much like the "masked narrative" technique.

Empowering Marginalized Writers by Decentering "Readers" in Workshops

This section focuses on how writing workshops operate, arguing that their traditional structure, rooted in Western literary conventions, often perpetuates the marginalization of diverse writers. Salesses critiques the notion of a universal "reader" construct, advocating for a more sensitive and culturally conscious approach that centers the writer's aesthetic vision and intended audience.

The Traditional Workshop Model Assumes a White, Middle-Class, Straight, Cis, Able-Bodied Readership

Salesses scrutinizes the traditional workshop structure, where the writer remains silent while their peers offer critique, arguing that this approach is inherently biased and problematic, particularly for writers from marginalized communities. He emphasizes how conventional workshops, by assuming a homogenous readership that aligns with dominant cultural norms, often pressure diverse authors to conform to those norms, effectively silencing their unique perspectives and experiences.

How This Silences and Marginalizes Diverse Writers

Salesses explores how the traditional workshop, with its reliance on the "gag rule" and a generalized notion of an "audience," can be particularly detrimental to writers from marginalized communities. He argues that the silencing of writers, while perhaps intended to encourage objective critique, actually reinforces existing power imbalances, giving more weight to the perspectives of the dominant group. When workshops assume a homogenous white readership, writers of color are often pressured to explain or justify their cultural context, to make their stories "relatable" for white readers, while white writers are rarely asked to do the same.

He also highlights how workshop environments may inadvertently pressure writers from marginalized communities to cater to a "mainstream" audience, effectively shifting their allegiance away from the readers they actually wish to reach. He cites the example of an author from a society where the dialogue tag "queried" is commonplace, being encouraged to employ "ask" instead because it is considered "invisible" to a Western audience. This seemingly innocuous suggestion, he argues, compels the author to prioritize the dominant audience's standards over those of their own community, ultimately undermining the author's authenticity and artistic vision.

Other Perspectives

• The "gag rule" and focus on a generalized audience could be seen as an attempt to create a level playing field, where the work is judged on its own merits rather than the identity of the writer.
• Silencing in workshops could be a byproduct of a flawed educational model rather than a deliberate attempt to give more weight to the perspectives of the dominant group.
• The assumption of a homogenous readership could be a reflection of the industry's current demographics, which is a separate issue from the intentions or practices of individual workshops.
• White writers may also face challenges in workshops when their work delves into topics that are not universally understood or accepted by the dominant culture, requiring them to explain or justify their cultural context.
• The feedback to use more "invisible" language like "ask" instead of "queried" might be aimed at clarity and simplicity in writing, rather than an attempt to suppress cultural identity.
• The push for relatability might also come from market-driven motives, where publishers seek to maximize the potential readership for commercial success, rather than from a racial perspective.
• The concept of a dominant audience is not static and can change over time, influenced by the very works that challenge its norms.
• Artistic vision is not always static and can evolve through exposure to different perspectives, including those of a workshop environment; what may seem like pressure could also be an opportunity for growth and expansion of one's artistic boundaries.
• Catering to a wider audience does not necessarily mean sacrificing authenticity; it can also be an opportunity for cross-cultural dialogue and understanding.

Rethinking the Universal Reader in Writing Groups

Salesses challenges the notion that "the reader" is a universal construct, arguing that it obscures the diversity of potential audiences and their varied expectations. He suggests that, instead of striving for a generalized relatability, workshops should encourage writers to reflect on their intended audience and to make conscious choices about how to connect with that audience's cultural context. He posits that workshops should aim to help writers cultivate awareness and intentionality in their craft choices, rather than to conform to a singular, dominant standard.

He emphasizes the importance of specificity in craft decisions, arguing that authors who understand their target audience are better equipped to make choices that resonate with the experiences and expectations of that audience. Instead of relying on vague notions of "relatability," Salesses encourages writers to consider how their craft choices will be interpreted by their chosen audience, acknowledging that different readerships will bring different cultural contexts and expectations to the text.

Practical Tips

• Write reviews for books you read that focus on the representation within the story. Share your thoughts on how well different characters and cultures are portrayed, and whether the book resonated with a specific audience. This practice will help you reflect on your own expectations as a reader and recognize the diversity in others' reading experiences.
• Use social media polls and questions to gather insights about what your peers or followers are looking for in content similar to what you might create. Post a series of questions or polls on platforms like Instagram or Twitter, asking about their favorite genres, topics, or formats, and use the responses to guide your creative decisions.
• Engage in role-reversal writing exercises where you write from the perspective of someone from a different cultural background. This practice will challenge you to step outside your own cultural framework and consider how your writing might be interpreted by someone with a different set of cultural experiences. It's a way to build empathy and awareness, which can then be applied to ensure your writing is culturally attuned to your audience.

Focusing on Authors' Aesthetic Vision and Intended Audience

Salesses proposes a reorientation of workshops, one that centers the writer's aesthetic vision and intended audience. He argues that, instead of silencing authors and pressuring them to conform to dominant norms, workshops should empower writers to make conscious, culturally informed craft decisions that serve their own artistic goals and reach their chosen audience.

Empowering Authors to Challenge Bias in Feedback

Salesses suggests that a more productive workshop model involves empowering writers to challenge biased feedback, encouraging them to articulate their own artistic intentions and to push back against suggestions that undermine their vision or cater to a dominant readership. He also encourages classes to be more transparent regarding their biases and assumptions, acknowledging that different readers will perceive a text differently based on their own cultural backgrounds and experiences.

He provides specific ways to achieve this shift in workshop dynamics. For instance, he proposes having writers submit "Writing Notes" alongside their manuscripts, outlining their process, intentions, and target readers. This allows the workshop to engage with the piece on the writer's terms, fostering a more collaborative and respectful approach to critique. He also suggests letting the writer participate in the workshop by asking questions and redirecting the conversation toward their most pressing concerns.

Practical Tips

• Partner with a fellow writer to practice challenging biased feedback in a low-stakes setting. Role-play scenarios where you receive biased feedback, and practice responding assertively but respectfully. This can help you build confidence and develop effective strategies for addressing bias when it occurs in actual workshops.
• Develop a feedback filter system using color-coded notes. When reviewing suggestions, use different colored sticky notes or highlighters to categorize them: one color for ideas that enhance your vision, another for neutral feedback, and a third for comments that may dilute your artistic intent. This visual approach helps you quickly sort through feedback and decide which to consider and which to push back against.
• Use social media to engage in discussions that challenge your viewpoints. Follow thought leaders or groups with diverse perspectives and actively participate in conversations. This can expose you to different biases and assumptions, helping you understand and articulate your own more clearly.
• Experiment with reading texts that are outside of your usual genres or cultural scope and then research the cultural context separately. This will allow you to see how much your understanding shifts with added context. For example, reading a collection of poetry from a culture you're unfamiliar with might initially seem opaque, but after learning about the cultural symbols and history, the poems may take on a new dimension of meaning.
• Use your "Writing Notes" as a basis for a blog or social media series that documents your writing journey. Sharing your writing process, goals, and intended audience can attract readers who are interested in your genre or topic, and it can also establish a more personal connection with your audience.
• Start a 'Writer's Terms' book club with friends or colleagues. Instead of focusing on personal interpretations, the group's discussions should revolve around understanding the writer's context, background, and the terms set forth in their work. This approach fosters a collective effort to appreciate the piece from the writer's perspective and can lead to richer, more focused dialogues.
• Create a personal rule to ask two questions before offering any critique: "Is it true?" and "Is it necessary?" This self-imposed guideline ensures that your feedback is both honest and valuable, avoiding unnecessary negative comments that don't contribute to a collaborative atmosphere.
• Implement a "question parking lot" during writing sessions, where participants can post their questions on sticky notes or a shared digital document. This allows for an organized way to address queries without interrupting the flow of the workshop. Later, these questions can be used to redirect the conversation to areas of interest or confusion.

Workshop Models Centered On the Writer's Process and Questions

Salesses advocates for workshop models that prioritize the author's methods and encourage a more question-driven approach to critique. He suggests that, instead of focusing on evaluating the finished product, workshops should consider the creator's decisions and intentions, helping them to gain greater awareness and control over their craft choices. He offers specific techniques, such as having workshops generate only questions for the writer, or having the writer propose a list of potential revisions for discussion, as ways to shift the focus from evaluating the story to exploring its possibilities.

This reorientation of the workshop approach, Salesses argues, empowers writers to become more conscious and intentional in their craft choices, preparing them to revise and ultimately to become their own most effective critic. By focusing on the writer's method and questions, the workshop becomes a space for collaboration and exploration, rather than a site of judgment and conformity.

Practical Tips

• Implement a "choice-and-effect" mapping exercise for your next project. Before starting, outline the key decisions you'll need to make and predict the potential effects of each. As you progress, compare your predictions with the actual outcomes. This strategy will help you understand the relationship between your creative choices and their impact, enhancing your awareness and control over your craft.
• Implement a 'question-based feedback' rule in your online community or forum. When members post their work or ideas, require that feedback must be in the form of questions. This can foster a more thoughtful and constructive environment. For example, in a photography group, instead of saying "The lighting could be better," ask "How might different lighting affect the mood of this photo?"
• Engage in "reverse engineering" by dissecting pieces of writing you admire. Choose a short story, poem, or novel section that resonates with you and break it down to understand the craft behind it. What makes the characters compelling? How does the structure contribute to the story's impact? Then, apply these insights to your own work by experimenting with similar techniques, but with your unique twist. This practice can expand your toolkit and inspire you to make more conscious choices in your writing.
• Use text-to-speech software to listen to your writing. Hearing your words spoken aloud can highlight areas that may need clarification or simplification. As you listen, take notes on sections that sound awkward or confusing, then revise those parts for better flow and coherence.
• Organize a virtual "method exchange" workshop with fellow writers or interested individuals using online platforms like Zoom or Google Meet. Each participant presents a unique writing method they use, followed by a group discussion centered on understanding and exploring these methods. This not only broadens your repertoire of writing techniques but also builds a community that values collaborative learning and the sharing of creative processes.

Nontraditional Workshop Models That Challenge Conventional Structures

This section delves into different frameworks for workshops that challenge the limitations of the traditional structure. Salesses presents a range of approaches, from adapting techniques borrowed from performance arts to experimenting with flipped classrooms and author-driven formats, demonstrating how workshops can be reimagined to create a more equitable and empowering experience for diverse writers.

Adopting Critical Response Process to Involve Writers

Salesses suggests using the "Critical Response Process" (CRP), a technique developed for performance and theater arts, in writing workshops. He explains the four steps of the process, beginning with the group's observations and questions, followed by the writer's questions for the group, and concluding with suggestions from the group, offered only with the writer's permission. This approach, he argues, prioritizes a collaborative and respectful dialogue, providing the writer with agency in guiding the conversation and setting the terms for critique.

Writer Guiding Discussion Through Their Queries

Salesses emphasizes how CRP empowers authors to guide the workshop discussion through their own questions. He explains that, after listening to initial observations from the workshop, the author can respond and then pose inquiries that shape the subsequent conversation. This allows writers to focus the critique on their most pressing concerns and to actively engage with the workshop's perspectives, rather than passively receiving feedback.

Other Perspectives

• This approach could potentially reinforce the author's existing biases or blind spots if they only ask about areas they're comfortable with or aware of.
• The dynamic of the author leading the discussion could inadvertently suppress dissenting opinions or critiques that participants feel the author may not want to hear.
• This approach assumes that writers are always the best judges of what aspects of their work need the most attention, which might not always be the case, especially for less experienced writers.

Workshop Encourages Collaboration in Writer's Process, Not Evaluation

He highlights how CRP fosters a more collaborative and process-oriented approach to workshop, shifting the focus from evaluating the finished product to exploring the writer's intentions and options for improvement. By encouraging writers to articulate their goals and to ask questions, CRP empowers them to take ownership of their process and to make intentional, deliberate craft decisions. This approach also encourages participants to become more invested in understanding and supporting the writer's vision, as opposed to just offering their own opinions or suggestions.

Practical Tips

• Create a "collaboration corner" in your workspace where team members can post ongoing projects and seek input or partners. By visualizing the collaborative opportunities available, you encourage a culture of teamwork and collective problem-solving, which aligns with a process-oriented workshop approach.
• Implement a 'three-stage writing strategy' where you first outline your intentions, then draft without editing, and finally, in a separate session, review your work with a focus on aligning the text with your original goals. This method ensures that you give adequate attention to your intentions and consider how to refine your writing before considering it complete.
• Create a vision board to visually represent your goals and aspirations, which can help you internalize and support your own vision. By selecting images and words that resonate with your objectives and arranging them on a board, you make your abstract goals more tangible. For example, if you aim to write a book, include pictures of a cozy writing nook, inspirational quotes from authors you admire, and a mock-up cover of your future book.
• You can practice active listening during conversations to better grasp the perspectives of others. Start by focusing entirely on what the other person is saying without planning your response. Nod and provide non-verbal feedback to show you're engaged. After they've finished speaking, summarize their main points to confirm your understanding before sharing your thoughts.

Experimenting With New Ways to Equitably Distribute Power in Writing Sessions

Salesses encourages teachers to experiment with various workshop models that distribute power more equitably among participants, particularly in classrooms with diverse writers. He offers examples such as partner-guided workshops, where writers work in pairs to provide feedback and support to each other, and round-robin workshops, where everyone in the workshop receives feedback on their work simultaneously. These approaches, he suggests, can help to mitigate the power imbalances inherent in the conventional workshop model, creating a more inclusive and collaborative environment.

Workshop Groups Choose Their Format and Feedback Methods

Salesses suggests "Author-Choice Workshops," where the writer selects the format and feedback methods for their own workshop session, as a way to give writers greater agency and control over their workshop experience. This could involve selecting from a predetermined list of options, such as "scissors and tape" activities or "draw the story" exercises, or even creating a completely unique format that best serves the writer's needs and the narrative. This approach, he suggests, can empower writers to create their own workshop experience and receive feedback that's most relevant and helpful to their specific process and goals.

Practical Tips

• Start a 'concept dinner club' with friends where each meal is themed around a different book or idea. During the dinner, engage in activities and discussions related to the theme. If the concept is about innovation, for instance, each person could bring a dish that combines unexpected ingredients and share the creative process behind it.
• Experiment with writing in different physical spaces to discover how environment influences your unique format. For example, try drafting a chapter in a bustling coffee shop, then another in a quiet library, and note how the setting affects the structure and flow of your narrative. This can help you identify the ideal conditions for your creative process.

Workshopping Various Works to Distract From Single Writers

Salesses proposes strategies for mitigating the anxiety and pressure associated with being the sole focus of critique, such as workshopping multiple stories simultaneously or focusing on specific craft elements rather than the story as a whole. He suggests that, by distributing the attention across various works or craft components, workshops can create a more supportive and less intimidating environment for writers, particularly those from marginalized communities who may feel additionally vulnerable when sharing their work.

Practical Tips

• Experiment with 'anxiety role play' in a comfortable setting. Choose a friend or family member to act out a scenario that typically induces anxiety, such as presenting an idea in a workshop. Practice your response in this safe environment, focusing on calming techniques and constructive self-feedback. This rehearsal can build confidence and reduce the intensity of anxiety when faced with the actual situation.
• Implement a weekly story rotation schedule. On a calendar, assign different stories to different days of the week. This approach ensures that you're regularly revisiting and advancing each narrative, which can help maintain a balanced creative flow and prevent any one story from stagnating due to overexposure.
• Experiment with dialogue by eavesdropping on real conversations in public spaces and then rewriting them with a specific goal, such as revealing a secret or building tension. This practice allows you to focus on the craft of dialogue and understand how it can drive the story forward in subtle ways.
• Create a "silent editing" session where writers exchange drafts and make written suggestions without verbal discussion. This can reduce the pressure of immediate verbal critique and give writers time to process feedback privately. For instance, you and a friend could swap blog posts, use colored pens to make notes, and then discuss the changes after both have had time to review the suggestions.
• Develop a 'Writers of the Week' feature on a local community radio station or podcast that spotlights the work of writers from marginalized communities. Interested writers can submit their pieces to be read on air, providing them with exposure and the opportunity to reach listeners who may not be avid readers. This initiative can help amplify diverse voices and introduce these writers to new audiences.
• Use anonymous online platforms to share your writing initially. This can help you get used to the idea of public exposure without the fear of personal judgment. Websites like Reddit or anonymous blogging platforms allow you to post your work without revealing your identity. You can gauge the reaction of a broader audience and receive feedback that can help you improve your writing without the pressure of being personally identified.

Grading Written Assignments Beyond Just Evaluating Final Products

This section challenges the traditional approach to assessing writing from students, arguing that evaluating the final product alone is often ineffective and can discourage writers, particularly those from marginalized communities. Salesses advocates for a more holistic approach that recognizes and rewards the way writers go about things, their decision-making, and analytical abilities.

Shifting Focus to Writers' Decision-Making and Methods

Salesses proposes a shift away from grading solely on the perceived "quality" of the final product towards a more process-oriented approach that recognizes and rewards decision-making, analytical skills, and engagement with craft concepts. He suggests, for instance, that instructors can grade on the quality of the student's revision plans, insights from their workshop experience, and their ability to articulate their aesthetic choices and intentions. This approach, he argues, motivates authors to become increasingly aware and deliberate about their artistic choices, rewarding them for their efforts and encouraging continued growth.

Evaluating the Quality of Revision Plans and Reflections

Salesses suggests that teachers can assess the quality of the student's "revision plans," evaluating their ability to identify areas for improvement, propose specific strategies for making changes, and articulate a clear vision for the story's development. He also suggests grading on the quality of their "self-reflections," assessing their ability to critically analyze the feedback they received, to identify the most useful suggestions, and to formulate a plan for implementing those suggestions in their revisions.

Practical Tips

• Create a revision reflection journal to track your learning progress. Start by identifying subjects or topics you find challenging and note down why they are difficult for you. Then, brainstorm and write down specific strategies you could use to improve in those areas, such as using flashcards for memorization or discussing complex topics with peers. Finally, set a clear goal for each subject, like understanding a concept thoroughly or being able to apply it to real-world scenarios, and revisit your journal weekly to adjust your strategies and goals as needed.

Grading Writers' Analytical and Creative Abilities

Beyond just evaluating the practical aspects of revision, Salesses encourages instructors to assess the author's analytical and aesthetic abilities. This could involve evaluating their "Self-Analysis of Elements of Fiction", an assignment that asks students to articulate their understanding of craft concepts—such as plot, characterization, tone, etc.—and to analyze how those concepts operate in their own work. This approach, he argues, allows instructors to evaluate the student's engagement with craft concepts and their developing ability to synthesize and apply those concepts in their own writing.

Practical Tips

• Start a personal writing journal that focuses on a different analytical or aesthetic aspect each week. This could involve writing a critique of a piece of literature one week, focusing on the analytical side, and then trying to emulate the style of a favorite author the next week to enhance your aesthetic understanding.
• Experiment with writing short stories using prompts that challenge specific elements of fiction. For example, write a story with a non-linear plot, then another focusing on developing a unique character voice, and another emphasizing the creation of a distinct tone. Sharing these stories with friends or online writing communities for feedback will help you refine your understanding and application of these elements in your own writing.

Alternative Grading Approaches: Critique Letter as Form

Salesses proposes evaluating and giving feedback on the letters students write critiquing their peers' work, treating the critique letter itself as a form with specific criteria and conventions. This approach, he argues, not only helps students become more thoughtful and effective critics, but also encourages them to consider the creator's methods and intentions, instead of only evaluating the finished product.

Teaching People to Write Thoughtful, Question-Driven Peer Feedback

Salesses suggests providing students with extensive guidelines and in-class discussions on writing effective critique letters. This involves encouraging them to pose more open-ended questions, frame their ideas as hypothetical rather than prescriptive, and focus on the author's process and intentions. By providing students with clear criteria and expectations, instructors can help them develop the skills necessary to provide valuable, supportive feedback that empowers their peers to make their own decisions and choices in their writing.

Practical Tips

• Use a journal to reflect on the critiques you receive, noting what was helpful and what wasn't, and why. This self-reflection can help you develop a better understanding of what makes feedback effective for you and how you can apply that insight when critiquing others. Over time, you'll be able to refine your critique skills based on personal experience and observation.
• Create a feedback form with prompts that require more than a yes or no response, such as "What is your biggest takeaway from today's lesson and why?" or "How could the concepts we discussed today be applied in a real-world scenario?" Distribute these after a lesson or presentation to encourage deeper reflection and more valuable feedback.
• You can practice framing your own ideas as hypotheticals during casual conversations with friends. Start by introducing your thoughts with phrases like "What if we considered..." or "Imagine if..." instead of asserting them as the best or only solution. This approach encourages open dialogue and can lead to more collaborative and creative problem-solving sessions.
• Start a reflection journal where you document your experiences with different services or events, focusing on the purpose and process behind them. After visiting a new restaurant or using a service, write down what you think the creators intended and how effectively they achieved their goal. This practice will sharpen your perception of intentionality in various experiences.
• Use a feedback app or tool that allows you to set criteria for responses. Many apps offer the ability to create custom forms or surveys where you can specify the kind of feedback you're looking for. For example, if you're a writer seeking feedback on a story, you could use a survey tool to ask readers to rate the story's characters, plot, and pacing on a scale, as well as provide open-ended responses for more nuanced feedback.
• Encourage a peer review circle where each member has the autonomy to choose their writing topics. By setting up a group with friends or colleagues where everyone shares their writing, you can foster an environment that values independent decision-making. Each member can present their chosen subject matter and receive feedback without being directed on what to write about, thus practicing the empowerment of making their own choices.

Prioritizing Author's Voice and Intended Readership Over the "Quality" of the Final Product

By grading on the quality of the critique letter, Salesses argues, instructors can shift the emphasis from the "quality" of the final product to a more collaborative, process-oriented approach to workshopping. This approach prioritizes the writer's voice and agency, encouraging students to view themselves as partners in supporting and developing one another's work. Ultimately, Salesses suggests, this approach can create a more equitable and culturally aware workshop environment, one that empowers diverse writers to explore their own aesthetic visions and reach their chosen audiences.

Practical Tips

• Volunteer to mentor someone in an area you're knowledgeable about, using a process-oriented approach. Provide them with regular, constructive feedback that emphasizes their development over time rather than just the end result. This mentoring relationship can help you practice applying a collaborative and process-focused mindset to someone else's learning journey, reinforcing the concept for yourself.
• Start a collaborative online document for class notes where all students can contribute their insights and understanding of the material. Use a platform like Google Docs or an app designed for collaborative work. This shared resource becomes a living document that benefits from the collective knowledge of the group, ensuring that everyone has access to comprehensive study material.