Book SummaryCraft in the Real World, by Matthew Salesses

1-Page Summary1-Page Book Summary of Craft in the Real World

Cultural and Political Aspects of 'Craft' in Fiction

Craft Evolves Due to Historical and Societal Factors

This section delves into how our understanding of what constitutes good writing—what we call "craft"—is deeply entwined with the broader historical and cultural circumstances in which it arises. Salesses dismantles the notion of literary technique as a neutral set of guidelines, demonstrating how it inherently reflects and reinforces the values of the dominant culture.

Craft Mirrors Dominant Culture's Values, Favoring Straight, White, Male, Middle-Class Writers

Salesses argues that the standards of craft we often take for granted are standardized rather than universal. These standards have been historically shaped by the dominant culture, which in America, means privileging the perspectives and experiences of straight, white, middle-class men. For instance, Salesses points to the prevalence of stories about reaching adulthood in the Western literary canon. He observes that this type of book frequently centers on the journey of a person finding their place within society, ultimately reinforcing conventional societal standards. This emphasis on individualism and assimilation, while perhaps relevant to some groups, does not represent the full spectrum of human life, particularly those from marginalized communities.

Take, for example, incorporating sensory elements, a common craft technique discussed in classes. Salesses points out that the advice to choose "striking" or "unusual" details, while seemingly objective, often reflects the gaze of white, middle-class individuals. This can lead to situations where writers of color are encouraged to include details they find commonplace or insignificant simply because they seem "exotic" to white readers. Conversely, writers from racial minority groups who choose to depict details familiar to their own communities may be told to cut them because they are not deemed "striking" enough for a mainstream readership.

Other Perspectives

• The global literary community includes many voices and has a history of cross-cultural exchange, which can influence and potentially diversify the understanding of craft beyond the scope of any one dominant culture.
• The rise of independent publishing platforms and social media has democratized the process of storytelling, allowing a broader range of voices to be heard and succeed without traditional gatekeeping.
• Coming-of-age narratives may actually offer diverse perspectives on reaching adulthood, as authors from different backgrounds can infuse their unique cultural, socio-economic, and personal experiences into the traditional framework, thereby challenging and expanding the norms rather than reinforcing them.
• Stories that emphasize individualism and assimilation can be universally relatable on a human level, as many people grapple with finding their identity and place in the world, regardless of their background.
• Encouraging the use of sensory details can be seen as a way to universalize the craft of writing, allowing for a shared technique that can be customized by the individual writer's experience and intention.
• The advice to include "striking" or "unusual" details is not necessarily racially motivated but could be seen as a general writing tip aimed at creating engaging and vivid prose for readers of any demographic.
• Writers from any background might be asked to cut details that do not contribute to the story's development or reader engagement, which is a standard part of the editing process.

Craft Used to Promote American Values and Push Aside Non-Western Storytelling Traditions

Salesses further explores how techniques were wielded as a tool to promote American values, particularly during the mid-20th century's geopolitical tensions. He cites the Iowa Writers' Workshop, the first-ever MFA program, which he claims was explicitly used to disseminate American values of freedom and individualism as a counter to Communism. He points to Korean writer Richard Kim, who was urged to adopt Western craft conventions in order to be published and accepted by the American literary establishment. Salesses argues that this exemplifies how craft can serve to uphold a specific ideological agenda, often at the expense of diverse storytelling traditions.

The privileging of storytelling techniques from the West, Salesses argues, extends to the marginalization of storytelling structures from other regions. He contrasts the linear, conflict-driven plots typical of Western fiction with the four-act structure (kishotenketsu) often found in narratives from China, Korea, and Japan. This structure emphasizes surprise and reconfiguration of understanding rather than conflict and resolution. Similarly, Salesses brings in African scholars who point to the Western emphasis on "round characters" as a discriminatory standard unfairly applied to African literature, which often prioritizes different modes of characterization. He suggests that the common dismissal of narratives from outside the West as "plotless" or "lacking character development" stems from a failure to recognize alternative craft traditions as equally valid and sophisticated.

Practical Tips

• Incorporate diverse character development techniques into your daily observations and conversations. When you meet new people or learn about individuals from different cultures, pay attention to how their identities are shaped by their community, traditions, and actions rather than just...

Craft in the Real World Summary Redefining Craft Concepts to Include Diverse Storytelling Traditions

This section explores the need to redefine and expand our understanding of core craft concepts—such as story structure, character, and tone—to encompass diverse storytelling traditions. Salesses challenges the limitations of Western-centric approaches, advocating for a more inclusive perspective that recognizes the validity and sophistication of alternative narrative structures and aesthetics.

Rethinking Plot, Character, and Tone to Center Non-Western Storytelling and Aesthetics

Salesses challenges us to move beyond a singular concept of craft, acknowledging the existence of multiple crafts, each shaped by its own cultural and historical context. He encourages a critical reassessment of common craft axioms, like the centrality of character-driven narrative, the need for conflict, or the pursuit of "universal" themes, suggesting that these are often based on Western literary conventions and do not necessarily apply to all storytelling traditions.

Cultural Contingency of Causality, Agency, and Conflict

Salesses examines how our understanding of causality, agency, and conflict is culturally contingent. He challenges the dominant Western view that narrative is a linear...

Craft in the Real World Summary 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...

Craft in the Real World Summary 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...

Craft in the Real World Summary 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...