There’s many a best-seller that could have been prevented by a good teacher.
— Flannery O’Connor
I can't understand why people are frightened of new ideas. I'm frightened of the old ones.
— John Cage
Carefully follow what most textbooks on fiction tell you, and chances are you will end up producing a well-crafted piece that could have been produced just as easily in 1830.
You will end up producing, that is, a narrative where language is transparent and focus falls on your protagonist’s psychology. That protagonist will be rounded, resonant, believable, and usually middle or lower-middle class. Your setting will be urban or suburban and rendered with the precision of a photograph, while the form your narrative takes will be so predictable, so patterned by convention, as to be virtually invisible: it will have a beginning, a muddle, and an ending through which your character will travel in order to learn something about himself, herself, or his or her relationship to society or nature.
Architectures of Possibility is all about taking chances, trying to compose in alternative, surprising, revelatory directions, about trying to move out of your comfort zone to discover what might lie on the other side.