"Versions of some of these chapters were first published in: Pleiades Magazine, Gulf Coast, Necessary Fiction, and Electric Literature"--Title page verso.

Includes bibliographical references (pages 217-225).

Part 1: Fiction in the real world. "Pure craft" is a lie -- What is craft? 25 thoughts -- Audience, theme, and purpose -- Redefining craft terms ; ...Tone ; ...Plot ; ...Conflict ; ...Character arc and story arc ; ...Characterization ; ...Relatability ; ...Believability ; ...Vulnerability ; ...Setting ; ...Pacing ; ...Structure -- An example from East Asian and Asian American literature -- Part 2: Workshop in the real world. "The reader" vs. POC -- Who is at the center of workshop and who should be? -- Alternative workshops -- Syllabus example -- Workshopping incomplete drafts -- Against page limits -- Four things to grade -- Appendix: Exercises. Purpose-oriented writing exercises -- 34 revision exercises.

"The traditional writing workshop was established with white male writers in mind; what we call craft is informed by their cultural values. In this bold reevaluation of the elements of fiction writing--including plot, characterization, conflict, and structure--and aspects of workshop--including the silenced writer and the imagined reader--Matthew Salesses asks, How can we invite diverse storytelling traditions into literary spaces? Teachers will find suggestions for syllabi, grading, and introducing new methods to the classroom; students will find revision and editing guidance. Drawing from examples including One Thousand and One Nights, Curious George, and the Asian American classic No-No Boy, Salesses reminds us: "When we write fiction, we write the world.""--back cover.