[...] The desire is always for work that puts narrative ahead of all other considerations, and this is the kind of writing that now dominates our literature: it describes the world without having a worldview. Which is a workable definition of the kind of writing most easily converted into IP.

This circumstance didn’t emerge because a handful of tech companies suddenly started competing to buy all the stories that American writers can produce. Anyone with an interest in the history of American letters already knows how in the 1950s the rise of the MFA workshop system produced an imperative toward a show-don’t-tell, narrative-first formula for fiction writing. This was, in large part, because the first prominent director of the first prominent workshop program wanted to cultivate a kind of writing that supported American political orthodoxy—a detail that has important echoes for today. Work that placed story ahead of political or moral considerations had the convenient feature of being unthreatening to power, and it was this kind of writing that the program managed to make into the unquestioned standard for quality in American fiction. More than half of the MFA programs that arose in the wake of Iowa’s rise—funded by donations from the CIA and by America’s mid-century corporate patricians—were founded by graduates of this program. Over time, many readers and critics came to see workshop-style writing as the standard for quality fiction, and many still do—a fact that writers are aware of, ambiently or otherwise. Writing has always involved some level of accommodating power and public taste.