19 Oct Book Review of Craft in the Real World: Rethinking Fiction Writing and…
Book Review: Craft in the Real World: Rethinking Fiction Writing and… by Matthew Salesses
As someone who has always found solace in the written word, it’s not often that a craft book captures my attention quite like Matthew Salesses’ Craft in the Real World. I picked it up with a sense of curiosity, eager to dive into a perspective that challenges traditional notions of writing amidst our diverse societal tapestry. Little did I know that this book would not only reframe my understanding of craft but also resonate profoundly with my own experiences as a writer navigating multiple identities.
Salesses sets the stage by exploring how the expectations of craft are deeply influenced by cultural norms—especially those upheld by the historically dominant white male narrative. The book begins with a crucial question: What kind of power does writing hold? This inquiry invites us to critically examine craft as not merely a set of best practices but as a reflection of societal values that often marginalize diverse voices.
One key theme I found particularly compelling is the discussion surrounding the naming of a character’s race. Salesses provocatively suggests that identifying only non-white characters’ races normalizes whiteness in our narratives. It was a painful yet necessary realization that the subtle expectations I had internalized about storytelling often adhere to a standard that sidelined characters from varied backgrounds. This shift in perspective left me with an unsettling clarity about the responsibilities we bear as writers to the stories we tell.
Salesses’s writing is intellectually rich yet accessible, a balancing act that creates an engaging reading experience. He navigates complex concepts with an inviting tone, making it easy for readers to reflect on their own practice. The pacing allows for deep contemplation, particularly in sections like “craft is a set of expectations,” where the exploration of how ‘craft’ has been historically tied to the construction of identity sparked numerous pangs of recognition within me.
One particularly striking quote from the book reads: “Craft works best, then, when a writer and a reader share the same cultural background.” This resonated deeply with me, as it encapsulated the heart of the challenge many writers face today—how do we write authentically while also bridging diverse readerships? The narrative urges us to confront the limitations of our conditioning: to question whose expectations we are writing to and, ultimately, to evaluate the narratives that exist outside this narrow scope.
In concluding my reflection on Craft in the Real World, I believe this book would be invaluable to writers of all backgrounds, particularly those feeling the weight of cultural expectations in their work. It encourages us to break from conformity and to embrace the rich, multifaceted nature of storytelling. This reading experience not only deepened my understanding of craft but also reignited my passion for writing in a way that feels more inclusive and representative of the world I inhabit.
In a time when diverse stories are crucial to cultural understanding, Salesses provides a refreshing lens through which writers can approach their craft. This isn’t just a manual; it’s an invitation to rethink, reshape, and reclaim our narratives. I closed the book feeling inspired, challenged, and empowered to articulate my truths—because, as Salesses poignantly reminds us, writing is indeed power.
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