James Hynes

Kevin Quinn is a standard-variety American male: middle-aged, liberal-leaning, self-centered, emotionally damaged, generally determined to avoid both pain and responsibility. As his relationship with his girlfriend approaches a turning point, and his career seems increasingly pointless, he decides to secretly fly to a job interview in Austin, Texas. Aboard the plane, Kevin is simultaneously attracted to the young woman in the seat next to him and...

First-person narration can be one of the most natural ways to tell a story - but there are several important guidelines to keep in mind. Professor Hynes helps you navigate the different types of first-person storytellers, including the double consciousness, the unreliable narrator, and the retrospective narrator.

You might have a mental image of the writer as a solitary genius toiling away in an ivory tower. But writers today must be adept at both the crafting of words and the business of publishing. To conclude, Professor Hynes surveys the publishing landscape today and gives advice for making the leap from hobbyist to professional.

Revisit beginnings. How do you get started with a story? Here, Professor Hynes shifts from the techniques of plotting to offer several clear strategies for putting these techniques into action. He also provides invaluable advice about making choices on the page - and understanding the implications of those choices.

So far, this study has focused on the individual elements of good fiction. Now that you have a complete toolkit of writing techniques, how do you put it all together to create a whole story? Professor Hynes discusses the process of writing an entire draft, and offers some words of wisdom to help you maintain momentum.

Characters are illusions, and the illusion often hinges on how much access a writer gives us to a character's thoughts. Begin this unit on character with an examination of how writers choose which moments in a character's life to dramatize, and then consider how knowledge of a character's thoughts affects the story.

Now that you now have a wealth of strategies for developing character, how do you get your character into your story? Here, you'll run through five different ways authors introduce characters. You'll also see two methods for building a story: the exploratory method and the "iceberg theory" of character creation.

What happens in a story depends in large part on who tells it. The three-part unit on point of view begins with a quick tour of the major points of view, from the third-person omniscient to the subjective first person. You'll also see how point of view is linked to time. As it turns out, when a story is told matters just as much as who tells it.

Characters breathe life into your story, but without plot, even the most engaging character can fall flat. Begin a six-part unit on plotting, a critical skill for any writer who wants to keep the reader turning pages. Professor Hynes begins the unit by breaking down story and plot into a few fundamental components.

Write what you know is a common dictum, but what happens when you run up against the limits of your knowledge? What if you want to write a story about something other than your own life? What real-life details do you have an obligation to get right? Find out how fiction writers approach the unknown.