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The 31 Literary Devices You Must Know

General Education

Need to analyze The Scarlet Letter or To Kill a Mockingbird for English class, but fumbling for the right vocabulary and concepts for literary devices? You've come to the right place. To successfully interpret and analyze literary texts, you'll first need to have a solid foundation in literary terms and their definitions.

In this article, we'll help you get familiar with most commonly used literary devices in prose and poetry. We'll give you a clear definition of each of the terms we discuss along with examples of literary elements and the context in which they most often appear (comedic writing, drama, or other).

Before we get to the list of literary devices, however, we have a quick refresher on what literary devices are and how understanding them will help you analyze works of literature.

What Are Literary Devices and Why Should You Know Them?

Literary devices are techniques that writers use to create a special and pointed effect in their writing, to convey information, or to help readers understand their writing on a deeper level.

Often, literary devices are used in writing for emphasis or clarity. Authors will also use literary devices to get readers to connect more strongly with either a story as a whole or specific characters or themes.

So why is it important to know different literary devices and terms? Aside from helping you get good grades on your literary analysis homework, there are several benefits to knowing the techniques authors commonly use.

Being able to identify when different literary techniques are being used helps you understand the motivation behind the author's choices. For example, being able to identify symbols in a story can help you figure out why the author might have chosen to insert these focal points and what these might suggest in regard to her attitude toward certain characters, plot points, and events.

In addition, being able to identify literary devices can make a written work's overall meaning or purpose clearer to you. For instance, let's say you're planning to read (or re-read) The Lion, the Witch, and the Wardrobe by C.S. Lewis. By knowing that this particular book is a religious allegory with references to Christ (represented by the character Aslan) and Judas (represented by Edmund), it will be clearer to you why Lewis uses certain language to describe certain characters and why certain events happen the way they do.

Finally, literary techniques are important to know because they make texts more interesting and more fun to read. If you were to read a novel without knowing any literary devices, chances are you wouldn't be able to detect many of the layers of meaning interwoven into the story via different techniques.

Now that we've gone over why you should spend some time learning literary devices, let's take a look at some of the most important literary elements to know.

List of Literary Devices: 31 Literary Terms You Should Know

Below is a list of literary devices, most of which you'll often come across in both prose and poetry. We explain what each literary term is and give you an example of how it's used. This literary elements list is arranged in alphabetical order.

An allegory is a story that is used to represent a more general message about real-life (historical) issues and/or events. It is typically an entire book, novel, play, etc.

Example: George Orwell's dystopian book Animal Farm is an allegory for the events preceding the Russian Revolution and the Stalinist era in early 20th century Russia. In the story, animals on a farm practice animalism, which is essentially communism. Many characters correspond to actual historical figures: Old Major represents both the founder of communism Karl Marx and the Russian communist leader Vladimir Lenin; the farmer, Mr. Jones, is the Russian Czar; the boar Napoleon stands for Joseph Stalin; and the pig Snowball represents Leon Trotsky.

Alliteration

Alliteration is a series of words or phrases that all (or almost all) start with the same sound. These sounds are typically consonants to give more stress to that syllable. You'll often come across alliteration in poetry, titles of books and poems ( Jane Austen is a fan of this device, for example—just look at Pride and Prejudice and Sense and Sensibility ), and tongue twisters.

Example: "Peter Piper picked a peck of pickled peppers." In this tongue twister, the "p" sound is repeated at the beginning of all major words.

Allusion is when an author makes an indirect reference to a figure, place, event, or idea originating from outside the text. Many allusions make reference to previous works of literature or art.

Example: "Stop acting so smart—it's not like you're Einstein or something." This is an allusion to the famous real-life theoretical physicist Albert Einstein.

Anachronism

An anachronism occurs when there is an (intentional) error in the chronology or timeline of a text. This could be a character who appears in a different time period than when he actually lived, or a technology that appears before it was invented. Anachronisms are often used for comedic effect.

Example: A Renaissance king who says, "That's dope, dude!" would be an anachronism, since this type of language is very modern and not actually from the Renaissance period.

Anaphora is when a word or phrase is repeated at the beginning of multiple sentences throughout a piece of writing. It's used to emphasize the repeated phrase and evoke strong feelings in the audience.

Example: A famous example of anaphora is Winston Churchill's "We Shall Fight on the Beaches" speech. Throughout this speech, he repeats the phrase "we shall fight" while listing numerous places where the British army will continue battling during WWII. He did this to rally both troops and the British people and to give them confidence that they would still win the war.

Anthropomorphism

An anthropomorphism occurs when something nonhuman, such as an animal, place, or inanimate object, behaves in a human-like way.

Example: Children's cartoons have many examples of anthropomorphism. For example, Mickey and Minnie Mouse can speak, wear clothes, sing, dance, drive cars, etc. Real mice can't do any of these things, but the two mouse characters behave much more like humans than mice.

Asyndeton is when the writer leaves out conjunctions (such as "and," "or," "but," and "for") in a group of words or phrases so that the meaning of the phrase or sentence is emphasized. It is often used for speeches since sentences containing asyndeton can have a powerful, memorable rhythm.

Example: Abraham Lincoln ends the Gettysburg Address with the phrase "...and that government of the people, by the people, for the people shall not perish from the Earth." By leaving out certain conjunctions, he ends the speech on a more powerful, melodic note.

Colloquialism

Colloquialism is the use of informal language and slang. It's often used by authors to lend a sense of realism to their characters and dialogue. Forms of colloquialism include words, phrases, and contractions that aren't real words (such as "gonna" and "ain't").

Example: "Hey, what's up, man?" This piece of dialogue is an example of a colloquialism, since it uses common everyday words and phrases, namely "what's up" and "man."

An epigraph is when an author inserts a famous quotation, poem, song, or other short passage or text at the beginning of a larger text (e.g., a book, chapter, etc.). An epigraph is typically written by a different writer (with credit given) and used as a way to introduce overarching themes or messages in the work. Some pieces of literature, such as Herman Melville's 1851 novel Moby-Dick , incorporate multiple epigraphs throughout.

Example: At the beginning of Ernest Hemingway's book The Sun Also Rises is an epigraph that consists of a quotation from poet Gertrude Stein, which reads, "You are all a lost generation," and a passage from the Bible.

Epistrophe is similar to anaphora, but in this case, the repeated word or phrase appears at the end of successive statements. Like anaphora, it is used to evoke an emotional response from the audience.

Example: In Lyndon B. Johnson's speech, "The American Promise," he repeats the word "problem" in a use of epistrophe: "There is no Negro problem. There is no Southern problem. There is no Northern problem. There is only an American problem."

A euphemism is when a more mild or indirect word or expression is used in place of another word or phrase that is considered harsh, blunt, vulgar, or unpleasant.

Example: "I'm so sorry, but he didn't make it." The phrase "didn't make it" is a more polite and less blunt way of saying that someone has died.

A flashback is an interruption in a narrative that depicts events that have already occurred, either before the present time or before the time at which the narration takes place. This device is often used to give the reader more background information and details about specific characters, events, plot points, and so on.

Example: Most of the novel Wuthering Heights by Emily Brontë is a flashback from the point of view of the housekeeper, Nelly Dean, as she engages in a conversation with a visitor named Lockwood. In this story, Nelly narrates Catherine Earnshaw's and Heathcliff's childhoods, the pair's budding romance, and their tragic demise.

Foreshadowing

Foreshadowing is when an author indirectly hints at—through things such as dialogue, description, or characters' actions—what's to come later on in the story. This device is often used to introduce tension to a narrative.

Example: Say you're reading a fictionalized account of Amelia Earhart. Before she embarks on her (what we know to be unfortunate) plane ride, a friend says to her, "Be safe. Wouldn't want you getting lost—or worse." This line would be an example of foreshadowing because it implies that something bad ("or worse") will happen to Earhart.

Hyperbole is an exaggerated statement that's not meant to be taken literally by the reader. It is often used for comedic effect and/or emphasis.

Example: "I'm so hungry I could eat a horse." The speaker will not literally eat an entire horse (and most likely couldn't ), but this hyperbole emphasizes how starved the speaker feels.

Imagery is when an author describes a scene, thing, or idea so that it appeals to our senses (taste, smell, sight, touch, or hearing). This device is often used to help the reader clearly visualize parts of the story by creating a strong mental picture.

Example: Here's an example of imagery taken from William Wordsworth's famous poem "I Wandered Lonely as a Cloud":

When all at once I saw a crowd, A host of golden Daffodils; Beside the Lake, beneath the trees, Fluttering and dancing in the breeze.

Irony is when a statement is used to express an opposite meaning than the one literally expressed by it. There are three types of irony in literature:

• Verbal irony: When someone says something but means the opposite (similar to sarcasm).
• Situational irony: When something happens that's the opposite of what was expected or intended to happen.
• Dramatic irony: When the audience is aware of the true intentions or outcomes, while the characters are not . As a result, certain actions and/or events take on different meanings for the audience than they do for the characters involved.
• Verbal irony: One example of this type of irony can be found in Edgar Allan Poe's "The Cask of Amontillado." In this short story, a man named Montresor plans to get revenge on another man named Fortunato. As they toast, Montresor says, "And I, Fortunato—I drink to your long life." This statement is ironic because we the readers already know by this point that Montresor plans to kill Fortunato.
• Situational irony: A girl wakes up late for school and quickly rushes to get there. As soon as she arrives, though, she realizes that it's Saturday and there is no school.
• Dramatic irony: In William Shakespeare's Romeo and Juliet , Romeo commits suicide in order to be with Juliet; however, the audience (unlike poor Romeo) knows that Juliet is not actually dead—just asleep.

Juxtaposition

Juxtaposition is the comparing and contrasting of two or more different (usually opposite) ideas, characters, objects, etc. This literary device is often used to help create a clearer picture of the characteristics of one object or idea by comparing it with those of another.

Example: One of the most famous literary examples of juxtaposition is the opening passage from Charles Dickens' novel A Tale of Two Cities :

"It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair …"

Malapropism

Malapropism happens when an incorrect word is used in place of a word that has a similar sound. This misuse of the word typically results in a statement that is both nonsensical and humorous; as a result, this device is commonly used in comedic writing.

Example: "I just can't wait to dance the flamingo!" Here, a character has accidentally called the flamenco (a type of dance) the flamingo (an animal).

Metaphor/Simile

Metaphors are when ideas, actions, or objects are described in non-literal terms. In short, it's when an author compares one thing to another. The two things being described usually share something in common but are unalike in all other respects.

A simile is a type of metaphor in which an object, idea, character, action, etc., is compared to another thing using the words "as" or "like."

Both metaphors and similes are often used in writing for clarity or emphasis.

"What light through yonder window breaks? It is the east, and Juliet is the sun." In this line from Romeo and Juliet , Romeo compares Juliet to the sun. However, because Romeo doesn't use the words "as" or "like," it is not a simile—just a metaphor.

"She is as vicious as a lion." Since this statement uses the word "as" to make a comparison between "she" and "a lion," it is a simile.

A metonym is when a related word or phrase is substituted for the actual thing to which it's referring. This device is usually used for poetic or rhetorical effect .

Example: "The pen is mightier than the sword." This statement, which was coined by Edward Bulwer-Lytton in 1839, contains two examples of metonymy: "the pen" refers to "the written word," and "the sword" refers to "military force/violence."

Mood is the general feeling the writer wants the audience to have. The writer can achieve this through description, setting, dialogue, and word choice .

Example: Here's a passage from J.R.R. Tolkien's The Hobbit: "It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. The door opened on to a tube-shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats -- the hobbit was fond of visitors." In this passage, Tolkien uses detailed description to set create a cozy, comforting mood. From the writing, you can see that the hobbit's home is well-cared for and designed to provide comfort.

Onomatopoeia

Onomatopoeia is a word (or group of words) that represents a sound and actually resembles or imitates the sound it stands for. It is often used for dramatic, realistic, or poetic effect.

Examples: Buzz, boom, chirp, creak, sizzle, zoom, etc.

An oxymoron is a combination of two words that, together, express a contradictory meaning. This device is often used for emphasis, for humor, to create tension, or to illustrate a paradox (see next entry for more information on paradoxes).

Examples: Deafening silence, organized chaos, cruelly kind, insanely logical, etc.

A paradox is a statement that appears illogical or self-contradictory but, upon investigation, might actually be true or plausible.

Note that a paradox is different from an oxymoron: a paradox is an entire phrase or sentence, whereas an oxymoron is a combination of just two words.

Example: Here's a famous paradoxical sentence: "This statement is false." If the statement is true, then it isn't actually false (as it suggests). But if it's false, then the statement is true! Thus, this statement is a paradox because it is both true and false at the same time.

Personification

Personification is when a nonhuman figure or other abstract concept or element is described as having human-like qualities or characteristics. (Unlike anthropomorphism where non-human figures become human-like characters, with personification, the object/figure is simply described as being human-like.) Personification is used to help the reader create a clearer mental picture of the scene or object being described.

Example: "The wind moaned, beckoning me to come outside." In this example, the wind—a nonhuman element—is being described as if it is human (it "moans" and "beckons").

Repetition is when a word or phrase is written multiple times, usually for the purpose of emphasis. It is often used in poetry (for purposes of rhythm as well).

Example: When Lin-Manuel Miranda, who wrote the score for the hit musical Hamilton, gave his speech at the 2016 Tony's, he recited a poem he'd written that included the following line:

And love is love is love is love is love is love is love is love cannot be killed or swept aside.

Satire is genre of writing that criticizes something , such as a person, behavior, belief, government, or society. Satire often employs irony, humor, and hyperbole to make its point.

Example: The Onion is a satirical newspaper and digital media company. It uses satire to parody common news features such as opinion columns, editorial cartoons, and click bait headlines.

A type of monologue that's often used in dramas, a soliloquy is when a character speaks aloud to himself (and to the audience), thereby revealing his inner thoughts and feelings.

Example: In Romeo and Juliet , Juliet's speech on the balcony that begins with, "O Romeo, Romeo! Wherefore art thou Romeo?" is a soliloquy, as she is speaking aloud to herself (remember that she doesn't realize Romeo's there listening!).

Symbolism refers to the use of an object, figure, event, situation, or other idea in a written work to represent something else— typically a broader message or deeper meaning that differs from its literal meaning.

The things used for symbolism are called "symbols," and they'll often appear multiple times throughout a text, sometimes changing in meaning as the plot progresses.

Example: In F. Scott Fitzgerald's 1925 novel The Great Gatsby , the green light that sits across from Gatsby's mansion symbolizes Gatsby's hopes and dreams .

A synecdoche is a literary device in which part of something is used to represent the whole, or vice versa. It's similar to a metonym (see above); however, a metonym doesn't have to represent the whole—just something associated with the word used.

Example: "Help me out, I need some hands!" In this case, "hands" is being used to refer to people (the whole human, essentially).

While mood is what the audience is supposed to feel, tone is the writer or narrator's attitude towards a subject . A good writer will always want the audience to feel the mood they're trying to evoke, but the audience may not always agree with the narrator's tone, especially if the narrator is an unsympathetic character or has viewpoints that differ from those of the reader.

Example: In an essay disdaining Americans and some of the sites they visit as tourists, Rudyard Kipling begins with the line, "Today I am in the Yellowstone Park, and I wish I were dead." If you enjoy Yellowstone and/or national parks, you may not agree with the author's tone in this piece.

How to Identify and Analyze Literary Devices: 4 Tips

In order to fully interpret pieces of literature, you have to understand a lot about literary devices in the texts you read. Here are our top tips for identifying and analyzing different literary techniques:

Tip 1: Read Closely and Carefully

First off, you'll need to make sure that you're reading very carefully. Resist the temptation to skim or skip any sections of the text. If you do this, you might miss some literary devices being used and, as a result, will be unable to accurately interpret the text.

If there are any passages in the work that make you feel especially emotional, curious, intrigued, or just plain interested, check that area again for any literary devices at play.

It's also a good idea to reread any parts you thought were confusing or that you didn't totally understand on a first read-through. Doing this ensures that you have a solid grasp of the passage (and text as a whole) and will be able to analyze it appropriately.

Tip 2: Memorize Common Literary Terms

You won't be able to identify literary elements in texts if you don't know what they are or how they're used, so spend some time memorizing the literary elements list above. Knowing these (and how they look in writing) will allow you to more easily pinpoint these techniques in various types of written works.

Tip 3: Know the Author's Intended Audience

Knowing what kind of audience an author intended her work to have can help you figure out what types of literary devices might be at play.

For example, if you were trying to analyze a children's book, you'd want to be on the lookout for child-appropriate devices, such as repetition and alliteration.

Tip 4: Take Notes and Bookmark Key Passages and Pages

This is one of the most important tips to know, especially if you're reading and analyzing works for English class. As you read, take notes on the work in a notebook or on a computer. Write down any passages, paragraphs, conversations, descriptions, etc., that jump out at you or that contain a literary device you were able to identify.

You can also take notes directly in the book, if possible (but don't do this if you're borrowing a book from the library!). I recommend circling keywords and important phrases, as well as starring interesting or particularly effective passages and paragraphs.

Lastly, use sticky notes or post-its to bookmark pages that are interesting to you or that have some kind of notable literary device. This will help you go back to them later should you need to revisit some of what you've found for a paper you plan to write.

What's Next?

Looking for more in-depth explorations and examples of literary devices? Join us as we delve into imagery , personification , rhetorical devices , tone words and mood , and different points of view in literature, as well as some more poetry-specific terms like assonance and iambic pentameter .

Reading The Great Gatsby for class or even just for fun? Then you'll definitely want to check out our expert guides on the biggest themes in this classic book, from love and relationships to money and materialism .

Got questions about Arthur Miller's The Crucible ? Read our in-depth articles to learn about the most important themes in this play and get a complete rundown of all the characters .

For more information on your favorite works of literature, take a look at our collection of high-quality book guides and our guide to the 9 literary elements that appear in every story !

These recommendations are based solely on our knowledge and experience. If you purchase an item through one of our links, PrepScholar may receive a commission.

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Hannah received her MA in Japanese Studies from the University of Michigan and holds a bachelor's degree from the University of Southern California. From 2013 to 2015, she taught English in Japan via the JET Program. She is passionate about education, writing, and travel.

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22 Essential Literary Devices and How to Use Them In Your Writing

Written by MasterClass

Last updated: Sep 7, 2021 • 8 min read

Literary devices are specific techniques that allow a writer to convey a deeper meaning that goes beyond what’s on the page. Literary devices work alongside plot and characters to elevate a story and prompt reflection on life, society, and what it means to be human.

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• How to write a literary analysis essay | A step-by-step guide

How to Write a Literary Analysis Essay | A Step-by-Step Guide

Published on January 30, 2020 by Jack Caulfield . Revised on August 14, 2023.

Literary analysis means closely studying a text, interpreting its meanings, and exploring why the author made certain choices. It can be applied to novels, short stories, plays, poems, or any other form of literary writing.

A literary analysis essay is not a rhetorical analysis , nor is it just a summary of the plot or a book review. Instead, it is a type of argumentative essay where you need to analyze elements such as the language, perspective, and structure of the text, and explain how the author uses literary devices to create effects and convey ideas.

Before beginning a literary analysis essay, it’s essential to carefully read the text and c ome up with a thesis statement to keep your essay focused. As you write, follow the standard structure of an academic essay :

• An introduction that tells the reader what your essay will focus on.
• A main body, divided into paragraphs , that builds an argument using evidence from the text.
• A conclusion that clearly states the main point that you have shown with your analysis.

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Table of contents

Step 1: reading the text and identifying literary devices, step 2: coming up with a thesis, step 3: writing a title and introduction, step 4: writing the body of the essay, step 5: writing a conclusion, other interesting articles.

The first step is to carefully read the text(s) and take initial notes. As you read, pay attention to the things that are most intriguing, surprising, or even confusing in the writing—these are things you can dig into in your analysis.

Your goal in literary analysis is not simply to explain the events described in the text, but to analyze the writing itself and discuss how the text works on a deeper level. Primarily, you’re looking out for literary devices —textual elements that writers use to convey meaning and create effects. If you’re comparing and contrasting multiple texts, you can also look for connections between different texts.

To get started with your analysis, there are several key areas that you can focus on. As you analyze each aspect of the text, try to think about how they all relate to each other. You can use highlights or notes to keep track of important passages and quotes.

Language choices

Consider what style of language the author uses. Are the sentences short and simple or more complex and poetic?

What word choices stand out as interesting or unusual? Are words used figuratively to mean something other than their literal definition? Figurative language includes things like metaphor (e.g. “her eyes were oceans”) and simile (e.g. “her eyes were like oceans”).

Also keep an eye out for imagery in the text—recurring images that create a certain atmosphere or symbolize something important. Remember that language is used in literary texts to say more than it means on the surface.

Narrative voice

Ask yourself:

• Who is telling the story?
• How are they telling it?

Is it a first-person narrator (“I”) who is personally involved in the story, or a third-person narrator who tells us about the characters from a distance?

Consider the narrator’s perspective . Is the narrator omniscient (where they know everything about all the characters and events), or do they only have partial knowledge? Are they an unreliable narrator who we are not supposed to take at face value? Authors often hint that their narrator might be giving us a distorted or dishonest version of events.

The tone of the text is also worth considering. Is the story intended to be comic, tragic, or something else? Are usually serious topics treated as funny, or vice versa ? Is the story realistic or fantastical (or somewhere in between)?

Consider how the text is structured, and how the structure relates to the story being told.

• Novels are often divided into chapters and parts.
• Poems are divided into lines, stanzas, and sometime cantos.
• Plays are divided into scenes and acts.

Think about why the author chose to divide the different parts of the text in the way they did.

There are also less formal structural elements to take into account. Does the story unfold in chronological order, or does it jump back and forth in time? Does it begin in medias res —in the middle of the action? Does the plot advance towards a clearly defined climax?

With poetry, consider how the rhyme and meter shape your understanding of the text and your impression of the tone. Try reading the poem aloud to get a sense of this.

In a play, you might consider how relationships between characters are built up through different scenes, and how the setting relates to the action. Watch out for  dramatic irony , where the audience knows some detail that the characters don’t, creating a double meaning in their words, thoughts, or actions.

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Your thesis in a literary analysis essay is the point you want to make about the text. It’s the core argument that gives your essay direction and prevents it from just being a collection of random observations about a text.

If you’re given a prompt for your essay, your thesis must answer or relate to the prompt. For example:

Essay question example

Is Franz Kafka’s “Before the Law” a religious parable?

Your thesis statement should be an answer to this question—not a simple yes or no, but a statement of why this is or isn’t the case:

Thesis statement example

Franz Kafka’s “Before the Law” is not a religious parable, but a story about bureaucratic alienation.

Sometimes you’ll be given freedom to choose your own topic; in this case, you’ll have to come up with an original thesis. Consider what stood out to you in the text; ask yourself questions about the elements that interested you, and consider how you might answer them.

Your thesis should be something arguable—that is, something that you think is true about the text, but which is not a simple matter of fact. It must be complex enough to develop through evidence and arguments across the course of your essay.

Say you’re analyzing the novel Frankenstein . You could start by asking yourself:

Your initial answer might be a surface-level description:

The character Frankenstein is portrayed negatively in Mary Shelley’s Frankenstein .

However, this statement is too simple to be an interesting thesis. After reading the text and analyzing its narrative voice and structure, you can develop the answer into a more nuanced and arguable thesis statement:

Mary Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as.

Remember that you can revise your thesis statement throughout the writing process , so it doesn’t need to be perfectly formulated at this stage. The aim is to keep you focused as you analyze the text.

Finding textual evidence

To support your thesis statement, your essay will build an argument using textual evidence —specific parts of the text that demonstrate your point. This evidence is quoted and analyzed throughout your essay to explain your argument to the reader.

It can be useful to comb through the text in search of relevant quotations before you start writing. You might not end up using everything you find, and you may have to return to the text for more evidence as you write, but collecting textual evidence from the beginning will help you to structure your arguments and assess whether they’re convincing.

To start your literary analysis paper, you’ll need two things: a good title, and an introduction.

Your title should clearly indicate what your analysis will focus on. It usually contains the name of the author and text(s) you’re analyzing. Keep it as concise and engaging as possible.

A common approach to the title is to use a relevant quote from the text, followed by a colon and then the rest of your title.

If you struggle to come up with a good title at first, don’t worry—this will be easier once you’ve begun writing the essay and have a better sense of your arguments.

“Fearful symmetry” : The violence of creation in William Blake’s “The Tyger”

The introduction

The essay introduction provides a quick overview of where your argument is going. It should include your thesis statement and a summary of the essay’s structure.

A typical structure for an introduction is to begin with a general statement about the text and author, using this to lead into your thesis statement. You might refer to a commonly held idea about the text and show how your thesis will contradict it, or zoom in on a particular device you intend to focus on.

Then you can end with a brief indication of what’s coming up in the main body of the essay. This is called signposting. It will be more elaborate in longer essays, but in a short five-paragraph essay structure, it shouldn’t be more than one sentence.

Mary Shelley’s Frankenstein is often read as a crude cautionary tale about the dangers of scientific advancement unrestrained by ethical considerations. In this reading, protagonist Victor Frankenstein is a stable representation of the callous ambition of modern science throughout the novel. This essay, however, argues that far from providing a stable image of the character, Shelley uses shifting narrative perspectives to portray Frankenstein in an increasingly negative light as the novel goes on. While he initially appears to be a naive but sympathetic idealist, after the creature’s narrative Frankenstein begins to resemble—even in his own telling—the thoughtlessly cruel figure the creature represents him as. This essay begins by exploring the positive portrayal of Frankenstein in the first volume, then moves on to the creature’s perception of him, and finally discusses the third volume’s narrative shift toward viewing Frankenstein as the creature views him.

Some students prefer to write the introduction later in the process, and it’s not a bad idea. After all, you’ll have a clearer idea of the overall shape of your arguments once you’ve begun writing them!

If you do write the introduction first, you should still return to it later to make sure it lines up with what you ended up writing, and edit as necessary.

The body of your essay is everything between the introduction and conclusion. It contains your arguments and the textual evidence that supports them.

Paragraph structure

A typical structure for a high school literary analysis essay consists of five paragraphs : the three paragraphs of the body, plus the introduction and conclusion.

Each paragraph in the main body should focus on one topic. In the five-paragraph model, try to divide your argument into three main areas of analysis, all linked to your thesis. Don’t try to include everything you can think of to say about the text—only analysis that drives your argument.

In longer essays, the same principle applies on a broader scale. For example, you might have two or three sections in your main body, each with multiple paragraphs. Within these sections, you still want to begin new paragraphs at logical moments—a turn in the argument or the introduction of a new idea.

Robert’s first encounter with Gil-Martin suggests something of his sinister power. Robert feels “a sort of invisible power that drew me towards him.” He identifies the moment of their meeting as “the beginning of a series of adventures which has puzzled myself, and will puzzle the world when I am no more in it” (p. 89). Gil-Martin’s “invisible power” seems to be at work even at this distance from the moment described; before continuing the story, Robert feels compelled to anticipate at length what readers will make of his narrative after his approaching death. With this interjection, Hogg emphasizes the fatal influence Gil-Martin exercises from his first appearance.

Topic sentences

To keep your points focused, it’s important to use a topic sentence at the beginning of each paragraph.

A good topic sentence allows a reader to see at a glance what the paragraph is about. It can introduce a new line of argument and connect or contrast it with the previous paragraph. Transition words like “however” or “moreover” are useful for creating smooth transitions:

… The story’s focus, therefore, is not upon the divine revelation that may be waiting beyond the door, but upon the mundane process of aging undergone by the man as he waits.

Nevertheless, the “radiance” that appears to stream from the door is typically treated as religious symbolism.

This topic sentence signals that the paragraph will address the question of religious symbolism, while the linking word “nevertheless” points out a contrast with the previous paragraph’s conclusion.

Using textual evidence

A key part of literary analysis is backing up your arguments with relevant evidence from the text. This involves introducing quotes from the text and explaining their significance to your point.

It’s important to contextualize quotes and explain why you’re using them; they should be properly introduced and analyzed, not treated as self-explanatory:

It isn’t always necessary to use a quote. Quoting is useful when you’re discussing the author’s language, but sometimes you’ll have to refer to plot points or structural elements that can’t be captured in a short quote.

In these cases, it’s more appropriate to paraphrase or summarize parts of the text—that is, to describe the relevant part in your own words:

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The conclusion of your analysis shouldn’t introduce any new quotations or arguments. Instead, it’s about wrapping up the essay. Here, you summarize your key points and try to emphasize their significance to the reader.

A good way to approach this is to briefly summarize your key arguments, and then stress the conclusion they’ve led you to, highlighting the new perspective your thesis provides on the text as a whole:

If you want to know more about AI tools , college essays , or fallacies make sure to check out some of our other articles with explanations and examples or go directly to our tools!

• Ad hominem fallacy
• Post hoc fallacy
• Appeal to authority fallacy
• False cause fallacy
• Sunk cost fallacy

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By tracing the depiction of Frankenstein through the novel’s three volumes, I have demonstrated how the narrative structure shifts our perception of the character. While the Frankenstein of the first volume is depicted as having innocent intentions, the second and third volumes—first in the creature’s accusatory voice, and then in his own voice—increasingly undermine him, causing him to appear alternately ridiculous and vindictive. Far from the one-dimensional villain he is often taken to be, the character of Frankenstein is compelling because of the dynamic narrative frame in which he is placed. In this frame, Frankenstein’s narrative self-presentation responds to the images of him we see from others’ perspectives. This conclusion sheds new light on the novel, foregrounding Shelley’s unique layering of narrative perspectives and its importance for the depiction of character.

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Last updated on May 22, 2024

100 Literary Devices With Examples: The Ultimate List

About the author.

Reedsy's editorial team is a diverse group of industry experts devoted to helping authors write and publish beautiful books.

About Martin Cavannagh

Head of Content at Reedsy, Martin has spent over eight years helping writers turn their ambitions into reality. As a voice in the indie publishing space, he has written for a number of outlets and spoken at conferences, including the 2024 Writers Summit at the London Book Fair.

Literary devices are perhaps the greatest tools that writers have in literature. Just think — Shakespeare could have written: Everyone has a role in life.

Instead, he used a literary device and penned what is likely the most famous metaphor in literature:

All the world’s a stage

And all the men and women merely players

And the rest is history.

What are literary devices?

A literary device is a writing technique that writers use to express ideas, convey meaning, and highlight important themes in a piece of text. A metaphor, like we mentioned earlier, is a famous example of a literary device.

These devices serve a wide range of purposes in literature. Some might work on an intellectual level, while others have a more emotional effect. They may also work subtly to improve the flow  of your writing. No matter what, if you're looking to inject something special into your prose, literary devices are a great place to start.

How to identify literary devices

A writer using a literary device is quite different from a reader identifying it. Often, an author’s use of a literary device is subtle by design —you only feel its effect, and not its presence. 

Therefore, we’ve structured this post for both purposes:    

• If you’re a reader, we’ve included examples for each literary device to make it easier for you to identify them in the wild. 
• If you’re a writer, we’ve included exercises for the literary devices, so that you can practice using them in your works. 

Let’s get to it.

100 common literary devices, with examples

1. alliteration.

Alliteration describes a series of words in quick succession that all start with the same letter or sound. It lends a pleasing cadence to prose and Hamlet and the dollar as currency in Macbeth .

Example: “ One short sleepe past, wee wake eternally,

And death shall be no more; death, thou shalt die.” — “Death, Be Not Proud” by John Donne

Exercise: Pick a letter and write a sentence where every word starts with that letter or one that sounds similar. 

2. Anaphora

Anaphora is the repetition of a word or phrase at the beginning of a series of clauses or sentences. It’s often seen in poetry and speeches, intended to provoke an emotional response in its audience.

Example: Martin Luther King’s 1963 “I Have A Dream” speech.

“I have a dream that one day this nation will rise up and live out the true meaning of its creed.

"… and I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be able to sit together at the table of brotherhood.

"… I have a dream that little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character.”

Exercise: Pick a famous phrase and write a paragraph elaborating on an idea, beginning each sentence with that phrase. 

Related term: repetition

3. Anastrophe

Anastrophe is a figure of speech wherein the traditional sentence structure is reversed. So a typical verb-subject-adjective sentence such as “Are you ready?” becomes a Yoda-esque adjective-verb-subject question: “Ready, are you?” Or a standard adjective-noun pairing like “tall mountain” becomes “mountain tall.”

Example: “Deep into that darkness peering, long I stood there wondering, fearing.” — “The Raven” by Edgar Allan Poe

Exercise: Write a standard verb-subject-adjective sentence or adjective-noun pairing then flip the order to create an anastrophe. How does it change the meaning or feeling of the sentence?

4. Chiasmus

Chiasmus is when two or more parallel clauses are inverted. “Why would I do that?” you may be wondering. Well, a chiasmus might sound confusing and unnecessary in theory, but it's much more convincing in practice — and in fact, you've likely already come across it before.

Example: “Ask not what your country can do for you; ask what you can do for your country.” — John F. Kennedy

5. Congeries

Congeries is a fancy literary term for creating a list. The items in your list can be words, ideas, or phrases, and by displaying them this way helps prove or emphasize a point — or even create a sense of irony. Occasionally, it’s also called piling as the words are “piling up.”

Example: "Apart from better sanitation and medicine and education and irrigation and public health and roads and a freshwater system and baths and public order, what have the Romans done for us?" — Monty Python’s Life of Brian

6. Cumulative sentence

A cumulative sentence (or “loose sentence”) is one that starts with an independent clause, but then has additional or modifying clauses. They’re often used for contextual or clarifying details. This may sound complex, but even, “I ran to the store to buy milk, bread, and toilet paper” is a cumulative sentence, because the first clause, “I ran to the store,” is a complete sentence, while the rest tells us extra information about your run to the store.

Example: “It was a large bottle of gin Albert Cousins had brought to the party, yes, but it was in no way large enough to fill all the cups, and in certain cases to fill them many times over, for the more than one hundred guests, some of whom were dancing not four feet in front of him.” – Commonwealth by Ann Patchett

Example: Write three sentences that are related to each other. Can you combine the information into a cumulative sentence? 

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7. Epistrophe

Epistrophe is the opposite of anaphora, with this time a word or phrase being repeated at the end of a sentence. Though its placement in a sentence is different it serves the same purpose—creating emphasis—as an anaphora does. 

Example: “I’ll be ever’where – wherever you look. Wherever they’s a fight so hungry people can eat, I’ll be there. Wherever they’s a cop beatin’ up a guy, I’ll be there . If Casy knowed, why, I’ll be in the way guys yell when they’re mad an’ – I’ll be in the way kids laugh when they’re hungry an’ they know supper’s ready. An’ when our folks eat the stuff they raise an’ live in the houses they build, why, I’ll be there .” — The Grapes of Wrath by John Steinbeck

Related terms:  repetition, anaphora

Exercise: Write a paragraph where a phrase or a word is repeated at the end of every sentence, emphasizing the point you’re trying to make. 

8. Erotesis

Erotesis is a close cousin of the rhetorical question. Rather than a question asked without expectation of an answer, this is when the question (and the asker) confidently expects a response that is either negative or affirmative. 

Example: “ Do you then really think that you have committed your follies in order to spare your son them?” — Siddhartha by Herman Hesse

Related term:  rhetorical question

9. Hyperbaton

Hyperbaton is the inversion of words, phrases, or clauses in a sentence that differs from how they would normally be arranged. It comes from the Greek hyperbatos, which means “transposed” or “inverted.” While it is similar to anastrophe, it doesn’t have the same specific structure and allows you to rearrange your sentences in whatever order you want. 

Example: “Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire.” — “The Tell-Tale Heart” by Edgar Allan Poe

Related terms:  anastrophe, epistrophe

10. Isocolon

If you’re a neat freak who likes things just so , isocolon is the literary device for you. This is when two or more phrases or clauses have similar structure, rhythm, and even length — such that, when stacked up on top of each other, they would line up perfectly. Isocolon often crops up in brand slogans and famous sayings; the quick, balanced rhythm makes the phrase catchier and more memorable.

Example: Veni, vidi, vici (“I came, I saw, I conquered”)

11. Litotes

Litotes (pronounced lie-toe-teez ) is the signature literary device of the double negative. Writers use litotes to express certain sentiments through their opposites, by saying that that opposite is not the case. Don’t worry, it makes more sense with the examples. 😉

Examples: “You won’t be sorry” (meaning you’ll be happy); “you’re not wrong” (meaning you’re right); “I didn’t not like it” (meaning I did)

12. Malapropism

If Shakespeare is the king of metaphors, Michael Scott is the king of malapropisms . A malapropism is when similar-sounding words replace their appropriate counterparts, typically to comic effect — one of the most commonly cited is “dance a flamingo,” rather than a “flamenco.” Malapropisms are often employed in dialogue when a character flubs up their speech.

Example: “I am not to be truffled with.”

Exercise: Choose a famous or common phrase and see if you can replace a word with a similar sounding one that changes the meaning. 

13. Onomatopoeia

Amusingly, onomatopoeia (itself a difficult-to-pronounce word) refers to words that sound like the thing they’re referring to. Well-known instances of onomatopoeia include whiz, buzz, snap, grunt, etc.

Example: The excellent children's book Click, Clack, Moo: Cows That Type . “Farmer Brown has a problem. His cows like to type. All day long he hears: Click, clack, moo. Click, clack, moo. Clickety, clack, moo. ”

Exercise: Take some time to listen to the sounds around you and write down what you hear. Now try to use those sounds in a short paragraph or story. 

14. Oxymoron 

An oxymoron comes from two contradictory words that describe one thing. While juxtaposition contrasts two story elements, oxymorons are about the actual words you are using.

Example: "Parting is such sweet sorrow.” — Romeo and Juliet by William Shakespeare. (Find 100 more examples of oxymorons here .)

Related terms: juxtaposition, paradox

Exercise: Choose two words with opposite meanings and see if you can use them in a sentence to create a coherent oxymoron. 

15. Parallelism

Parallelism is all about your sentence structure. It’s when similar ideas, sounds, phrases, or words are arranged in a way that is harmonious or creates a parallel, hence the name. It can add rhythm and meter to any piece of writing and can often be found in poetry. 

Example: “ That’s one small step for man, one giant leap for mankind.” — Neil Armstrong

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16. Polysyndeton

Instead of using a single conjunction in lengthy statements, polysyndeton uses several in succession for a dramatic effect . This one is definitely for authors looking to add a bit of artistic flair to their writing, or who are hoping to portray a particular (usually naïve) sort of voice.

Example: “Luster came away from the flower tree and we went along the fence and they stopped and we stopped and I looked through the fence while Luster was hunting in the grass.” — The Sound and the Fury by William Faulkner

Exercise: Write three or four independent sentences. Try combining them using conjunctions. What kind of effect does this have on the overall meaning and tone of the piece?

17. Portmanteau

A portmanteau is when two words are combined to form a new word which refers to a single concept that retains the meanings of both the original words. Modern language is full of portmanteaus. In fact, the portmanteau is itself a portmanteau. It’s a combination of the French porter (to carry) and manteau (cloak). 

Example: Brunch (breakfast and lunch); cosplay (costume and roleplay); listicle (list and article); romcom (romance and comedy)

Exercise: Pick two words that are often used together to describe a single concept. See if there’s a way to combine them and create a single word that encompasses the meaning of both.

18. Repetition

Repetition , repetition, repetition… where would we be without it? Though too much repetition is rarely a good thing, occasional repetition can be used quite effectively to drill home a point, or to create a certain atmosphere. For example, horror writers often use repetition to make the reader feel trapped and scared.

Example: In The Shining , Jack Torrance types over and over again on his pages,  “All work and no play makes Jack a dull boy.” In this case, obsessive repetition demonstrates the character’s unraveling mind.

Related term: anaphora

Exercise: Repetition can be used to call attention to an idea or phrase. Pick an idea you want to emphasize and write a few sentences about it. Are there any places where you can add repetition to make it more impactful? 

19. Tautology

A tautology is when a sentence or short paragraph repeats a word or phrase, expressing the same idea twice. Often, this is a sign that you should trim your work to remove the redundancy (such as “frozen ice”) but can also be used for poetic emphasis.

Example: "But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door" – “The Raven” by Edgar Allan Poe

20. Tmesis 

Tmesis is when a word or phrase is broken up by an interjecting word, such as abso-freaking-lutely. It’s used to draw out and emphasize the idea, often with a humorous or sarcastic slant.

Example: "This is not Romeo, he's some-other-where." – Romeo and Juliet by William Shakespeare

21. Allegory

An allegory is a type of narrative that uses characters and plot to depict abstract ideas and themes. In an allegorical story, things represent more than they appear to on the surface. Many children's fables, such as The Tortoise and the Hare , are simple allegories about morality — but allegories can also be dark, complex, and controversial. 

Example: Animal Farm by George Orwell. This dystopian novella is one of modern literature’s best-known allegories. A commentary on the events leading up to Stalin's rise and the formation of the Soviet Union, the pigs at the heart of the novel represent figures such as Stalin, Trotsky, and Molotov.

Exercise: Pick a major trend or problem in the world and consider what defines it. Try and create a story where that trend plays out on a smaller scale. 

For more inspiration for how to use allegories to explore your themes, check out this guide on themes. 

22. Anecdote

An anecdote is like a short story within a story. Sometimes, they are incredibly short—only a line or two—and their purpose is to add a character’s perspective, knowledge, or experience to a situation. They can be inspirational, humorous, or be used to inspire actions in others. Since anecdotes are so short, don’t expect them to be part of a main story. They’re usually told by a character and part of the dialogue. 

Example: Marcel Proust’s Swann’s Way , part of his series of novels, In Search of Lost Time, deals with the themes of remembrance and memory. In one section of this book, to illustrate these ideas, the main character recalls an important memory of eating a madeleine cookie. “Many years had elapsed during which nothing of Combray, save what was comprised in the theatre and the drama of my going to bed there, had any existence for me, when one day in winter, as I came home, my mother, seeing that I was cold, offered me some tea, a thing I did not ordinarily take. I declined at first, and then, for no particular reason, changed my mind. She sent out for one of those short, plump little cakes called ‘petites madeleines,’ which look as though they had been moulded in the fluted scallop of a pilgrim’s shell.”

23. Deus Ex Machina

Literally meaning “god in the machine” in Greek, deus ex machina is a plot device where an impossible situation is solved by the appearance of an unexpected or unheard of character, action, object, or event. This brings about a quick and usually happy resolution for a story and can be used to surprise an audience, provide comic relief, or provide a fix for a complicated plot. However, deus ex machinas aren’t always looked upon favorably and can sometimes be seen as lazy writing, so they should be used sparingly and with great thought. 

Example: William Golding’s famous novel of a group of British boys marooned on a desert island is resolved with a deus ex machina. At the climax of The Lord of the Flies, as all threads converge and Ralph is about to be killed by Jack, a naval officer arrives to rescue the boys and bring them back to civilization. It’s an altogether unexpected and bloodless ending for a story about the boys’ descent into savagery. 

Exercise: Consider the ending of your favorite book or movie and then write an alternate ending that uses a deus ex machina to resolve the main conflict. How does this affect the overall story in terms of theme and tone?

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24. Dramatic irony

Dramatic irony is when the readers know more about the situation going on than at least one of the characters involved. This creates a difference between the ways the audience and the characters perceive unfolding events. For instance, if we know that one character is having an affair, when that character speaks to their spouse, we will pick up on the lies and double-meanings of their words, while the spouse may take them at face value.

Example: In Titanic , the audience knows from the beginning of the movie that the boat will sink. This creates wry humor when characters remark on the safety of the ship.

25. Exposition

Exposition is when the narrative provides background information in order to help the reader understand what’s going on. When used in conjunction with description and dialogue, this literary device provides a richer understanding of the characters, setting, and events. Be careful, though — too much exposition will quickly become boring, thus undercutting the emotional impact of your work.

Example: “The Dursley’s had everything they wanted, but they also had a secret, and their greatest fear was that somebody would discover it.” – Harry Potter and the Sorcerer’s Stone by J.K. Rowling

Exercise: Pick your favorite story and write a short paragraph introducing it to someone who knows nothing about it. 

26. Flashback

Flashbacks to previous events split up present-day scenes in a story, usually to build suspense toward a big reveal. Flashbacks are also an interesting way to present exposition for your story, gradually revealing to the reader what happened in the past.

Example: Every other chapter in the first part of Gone Girl is a flashback, with Amy’s old diary entries describing her relationship with her husband before she disappeared.

Related term: foreshadowing

27. Foreshadowing

Foreshadowing is when the author hints at events yet to come in a story. Similar to flashbacks (and often used in conjunction with them), this technique is also used to create tension or suspense — giving readers just enough breadcrumbs to keep them hungry for more.

Example: One popular method of foreshadowing is through partial reveals — the narrator leaves out key facts to prompt readers’ curiosity. Jeffrey Eugenides does this in The Virgin Suicides : “On the morning the last Lisbon daughter took her turn at suicide — it was Mary this time, and sleeping pills, like Therese, the two paramedics arrived at the house knowing exactly where the knife drawer was, and the gas oven, and the beam in the basement from which it was possible to tie a rope.”

Related term: flashback

Exercise: Go back to your favorite book or movie. Can you identify any instances of foreshadowing in the early portions of the story for events that happen in the future? 

28. Frame story

A frame story is any part of the story that "frames" another part of it, such as one character telling another about their past, or someone uncovering a diary or a series of news articles that then tell the readers what happened. Since the frame story supports the rest of the plot, it is mainly used at the beginning and the end of the narrative, or in small interludes between chapters or short stories.

Example: In The Name of the Wind by Patrick Rothfuss, Kvothe is telling Chronicler the story of his life over the span of three days. Most of the novel is the story he is telling, while the frame is any part that takes place in the inn.

29. In Medias Res

In medias res is a Latin term that means "in the midst of things" and is a way of starting a narrative without exposition or contextual information . It launches straight into a scene or action that is already unfolding. 

Example: “Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice.” — The opening line of One Hundred Years of Solitude by Gabriel García Márquez

Exercise: Pick a story you enjoy and rewrite the opening scene so that it starts in the middle of the story. 

30. Point of view

Point of view is, of course, the mode of narration in a story. There are many POVs an author can choose, and each one will have a different impact on the reading experience.

Example: Second person POV is uncommon because it directly addresses the reader — not an easy narrative style to pull off. One popular novel that manages to employ this perspective successfully is Bright Lights, Big City by Jay McInerney: “You are not the kind of guy who would be at a place like this at this time of the morning. But here you are, and you cannot say that the terrain is entirely unfamiliar, although the details are fuzzy.”

Exercise: Write a short passage in either first, second, or third person. Then rewrite that passage in the other two points of view, only changing the pronouns. How does the change in POV affect the tone and feel of the story? 

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31. Soliloquy 

Soliloquy involves a character speaking their thoughts aloud, usually at length (and often in a Shakespeare play). The character in question may be alone or in the company of others, but they’re not speaking for the benefit of other people; the purpose of a soliloquy is for a character to reflect independently.

Example: Hamlet’s “to be or not to be” speech, in which he ruminates on the nature of life and death, is a classic dramatic soliloquy.

Exercise: Pick a character from your favorite book or movie and write a soliloquy from their point of view where they consider their thoughts and feelings on an important part of their story or character arc. 

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Tone refers to the overall mood and message of your book. It’s established through a variety of means, including voice, characterization, symbolism, and themes. Tone sets the feelings you want your readers to take away from the story.

Example: No matter how serious things get in The Good Place , there is always a chance for a character to redeem themselves by improving their behavior. The tone remains hopeful for the future of humanity in the face of overwhelming odds.

Exercise: Write a short paragraph in an upbeat tone. Now using the same situation you came up with, rewrite that passage in a darker or sadder tone. 

33. Tragicomedy

Tragicomedy is just what it sounds like: a blend of tragedy and comedy. Tragicomedy helps an audience process darker themes by allowing them to laugh at the situation even when circumstances are bleak.

Example: Lemony Snicket’s A Series of Unfortunate Events uses wordplay, absurd situations, and over-the-top characters to provide humor in an otherwise tragic story.

34. Allusion

An allusion is a reference to a person, place, thing, concept, or other literary work that a reader is likely to recognize. A lot of meaning can be packed into an allusion and it’s often used to add depth to a story. Many works of classic Western literature will use allusions to the Bible to expand on or criticize the morals of their time. 

Example: “The two knitting women increase his anxiety by gazing at him and all the other sailors with knowing unconcern. Their eerie looks suggest that they know what will happen (the men dying), yet don’t care.” The two women knitting in this passage from Joseph Conrad’s Heart of Darkness are a reference to the Fates from Greek mythology, who decide the fate of humanity by spinning and cutting the threads of life.

Exercise: In a relatively simple piece of writing, see how many times you can use allusions. Go completely crazy. Once you’re finished, try to cut it down to a more reasonable amount and watch for how it creates deeper meaning in your piece. 

35. Analogy

An analogy connects two seemingly unrelated concepts to show their similarities and expand on a thought or idea. They are similar to metaphors and similes, but usually take the comparison much further than either of these literary devices as they are used to support a claim rather than provide imagery. 

Example: “ It has been well said that an author who expects results from a first novel is in a position similar to that of a man who drops a rose petal down the Grand Canyon of Arizona and listens for the echo.” — P.G. Wodehouse

Exercise: Pick two seemingly unrelated nouns and try to connect them with a verb to create an analogy. 

36. Anthropomorphism

To anthropomorphize is to apply human traits or qualities to a non-human thing such as objects, animals, or the weather. But unlike personification, in which this is done through figurative description, anthropomorphism is literal: a sun with a smiling face, for example, or talking dogs in a cartoon.

Examples: In Disney’s Beauty and the Beast , Mrs. Potts the teapot, Cogsworth the clock, and Lumière the candlestick are all household objects that act and behave like humans (which, of course, they were when they weren’t under a spell).

Related term: personification

Exercise: Pick a non-human object and describe it as if it was human, literally ascribing human thoughts, feelings, and senses to it. 

37. Aphorism

An aphorism is a universally accepted truth stated in a concise, to-the-point way. Aphorisms are typically witty and memorable, often becoming adages or proverbs as people repeat them over and over.

Example: “To err is human, to forgive divine.” — Alexander Pope

38. Archetype

An archetype is a “universal symbol” that brings familiarity and context to a story. It can be a character, a setting, a theme, or an action. Archetypes represent feelings and situations that are shared across cultures and time periods, and are therefore instantly recognizable to any audience — for instance, the innocent child character, or the theme of the inevitability of death.

Example: Superman is a heroic archetype: noble, self-sacrificing, and drawn to righting injustice whenever he sees it.

Exercise: Pick an archetype — either a character or a theme — and use it to write a short piece centered around that idea. 

To learn more about archetypes, check out these 12 common ones that all writers should know.

A cliché is a saying or idea that is used so often it becomes seen as unoriginal. These phrases might become so universal that, despite their once intriguing nature, they're now looked down upon as uninteresting and overused. 

Examples: Some common cliches you might have encountered are phrases like “easy as pie” and “light as a feather.” Some lines from famous books and movies have become so popular that they are now in and of themselves cliches such as Darth Vader’s stunning revelation from The Empire Strikes Back, “Luke, I am your father.” Also, many classic lines of Shakespeare are now considered cliches like, “All that glitters is not gold” from The Merchant of Venice. 

Exercise: Write a short passage using as many cliches as possible. Now try to cut them out and replace them with more original phrasing. See how the two passages compare. 

40. Colloquialism

Colloquialism is the use of casual and informal language in writing, which can also include slang. Writers use colloquialisms to provide context to settings and characters, and to make their writing sound more authentic, especially in spoken form . Imagine reading a YA novel that takes place in modern America, and the characters speak to each other like this:

“Good morning, Sue. I hope that you slept well and are prepared for this morning’s science exam.”

It’s not realistic. Colloquialisms help create believable dialogue:

“Hey Sue, what’d you get up to last night? This science test is gonna suck.”

Example: Trainspotting by Irvine Welsh takes place in Scotland, a fact made undeniably obvious by the dialect: “Thing is, as ye git aulder, this character-deficiency gig becomes mair sapping. Thir wis a time ah used tae say tae aw the teachers, bosses, dole punters, poll-tax guys, magistrates, when they telt me ah was deficient: ’Hi, cool it, gadge, ah’m jist me, jist intae a different sort ay gig fae youse but, ken?’”

Exercise: Write a dialogue between two characters as formally as possible. Now take that conversation and make it more colloquial. Imagine that you’re having this conversation with a friend. Mimic your own speech patterns as you write. 

41. Euphemism

A euphemism is an indirect, “polite” way of describing something too inappropriate or awkward to address directly. However, most people will still understand the truth about what's happening.

Example: When an elderly person is forced to retire, some might say they’re being “put out to pasture.”

Exercise: Write a paragraph where you say things very directly. Now rewrite that paragraph using only euphemisms. 

42. Hyperbole

Hyperbole is an exaggerated statement that emphasizes the significance of the statement’s actual meaning. When a friend says, "Oh my god, I haven't seen you in a million years," that's hyperbole.

Example: “At that time Bogotá was a remote, lugubrious city where an insomniac rain had been falling since the beginning of the 16th century.” — Living to Tell the Tale by Gabriel García Márquez

Exercise: Tall tales often make use of hyperbole to tell an exaggerated story. Use hyperbole to relate a completely mundane event or experience to turn it into a tall tale. 

43. Hypophora

Hypophora is much like a rhetorical question, wherein someone asks a question that doesn't require an answer. However, in hypophora, the person raises a question and answers it immediately themselves (hence the prefix hypo, meaning 'under' or 'before'). It’s often used when characters are reasoning something aloud.

Example: “Do you always watch for the longest day of the year and then miss it? I always watch for the longest day in the year and then miss it.” — Daisy in The Great Gatsby by F. Scott Fitzgerald

An idiom is a saying that uses figurative language whose meaning differs from what it literally says. These phrases originate from common cultural experiences, even if that experience has long ago been forgotten. Without cultural context, idioms don’t often make sense and can be the toughest part for non-native speakers to understand. 

Example: In everyday use, idioms are fairly common. We say things like, “It’s raining cats and dogs” to say that it’s downpouring. 

Exercise: Idioms are often used in dialogue. Write a conversation between two people where idioms are used to express their main points. 

45. Imagery

Imagery appeals to readers’ senses through highly descriptive language. It’s crucial for any writer hoping to follow the rule of "show, don’t tell," as strong imagery truly paints a picture of the scene at hand.

Example: “In the hard-packed dirt of the midway, after the glaring lights are out and the people have gone to bed, you will find a veritable treasure of popcorn fragments, frozen custard dribblings, candied apples abandoned by tired children, sugar fluff crystals, salted almonds, popsicles, partially gnawed ice cream cones and wooden sticks of lollipops.” — Charlotte's Web by E.B. White

Exercise: Choose an object, image, or idea and use the five senses to describe it. 

Show, Don't Tell

Master the golden rule of writing in 10 five-minute lessons.

Irony creates a contrast between how things seem and how they really are. There are three types of literary irony: dramatic (when readers know what will happen before characters do), situational (when readers expect a certain outcome, only to be surprised by a turn of events), and verbal (when the intended meaning of a statement is the opposite of what was said).

Example: This opening scene from Orson Welles’ A Touch of Evil is a great example of how dramatic irony can create tension.

47. Juxtaposition

Juxtaposition places two or more dissimilar characters, themes, concepts, etc. side by side, and the profound contrast highlights their differences. Why is juxtaposition such an effective literary device? Well, because sometimes the best way for us to understand something is by understanding what it’s not .

Example: In the opening lines of A Tale of Two Cities , Charles Dickens uses juxtaposition to emphasize the societal disparity that led to the French Revolution: “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness…”

Related terms: oxymoron, paradox

Exercise: Pick two ideas, objects, places, or people that seem like complete opposites. Introduce them side by side in the beginning of your piece and highlight their similarities and differences throughout. 

48. Metaphor

A metaphor compares two similar things by saying that one of them is the other. As you'd likely expect, when it comes to literary devices, this one is a heavy hitter. And if a standard metaphor doesn't do the trick, a writer can always try an extended metaphor: a metaphor that expands on the initial comparison through more elaborate parallels .

Example: Metaphors are literature’s bread and butter (metaphor intended) — good luck finding a novel that is free of them. Here’s one from Frances Hardinge’s A Face Like Glass : “Wishes are thorns, he told himself sharply. They do us no good, just stick into our skin and hurt us.”

Related term: simile

Exercise: Write two lists: one with tangible objects and the other concepts. Mixing and matching, try to create metaphors where you describe the concepts using physical objects.

One metaphor example not enough? Check out this post , which has 97 of ‘em!

49. Metonymy

Metonymy is like symbolism, but even more so. A metonym doesn’t just symbolize something else, it comes to serve as a synonym for that thing or things — typically, a single object embodies an entire institution.

Examples: “The crown” representing the monarchy, “Washington” representing the U.S. government.

Related term: synecdoche

Exercise: Create a list of ten common metonymies you might encounter in everyday life and speech.

Whatever form a motif takes, it recurs throughout the novel and helps develop the theme of the narrative . This might be a symbol, concept, or image.

Example: In Anna Karenina by Leo Tolstoy, trains are an omnipresent motif that symbolize transition, derailment, and ultimately violent death and destruction.

Related term: symbol

Exercise: Pick a famous book or movie and see if you can identify any common motifs within it. 

51. Non sequitur

Non sequiturs are statements that don't logically follow what precedes them. They’ll often be quite absurd and can lend humor to a story. But they’re just not good for making jokes. They can highlight missing information or a miscommunication between characters and even be used for dramatic effect. 

Example: “It was a spring day, the sort that gives people hope: all soft winds and delicate smells of warm earth. Suicide weather.” — Girl, Interrupted by Susanna Kaysen 

Exercise: Write a conversation that gets entirely derailed by seemingly unrelated non sequiturs. 

52. Paradox

Paradox derives from the Greek word paradoxon , which means “beyond belief.” It’s a statement that asks people to think outside the box by providing seemingly illogical — and yet actually true — premises.

Example: In George Orwell’s 1984 , the slogan of the totalitarian government is built on paradoxes: “War is Peace, Freedom is Slavery, Ignorance is Strength.” While we might read these statements as obviously contradictory, in the context of Orwell’s novel, these blatantly corrupt sentiments have become an accepted truth.

Related terms: oxymoron, juxtaposition

Exercise: Try writing your own paradox. First, think of two opposing ideas that can be juxtaposed against each other. Then, create a situation where these contradictions coexist with each other. What can you gather from this unique perspective?

53. Personification

Personification uses human traits to describe non-human things. Again, while the aforementioned anthropomorphism actually applies these traits to non-human things, personification means the behavior of the thing does not actually change. It's personhood in figurative language only.

Example: “Just before it was dark, as they passed a great island of Sargasso weed that heaved and swung in the light sea as though the ocean were making love with something under a yellow blanket, his small line was taken by a dolphin.” — The Old Man and the Sea by Ernest Hemingway

Related term: anthropomorphism

Exercise: Pick a non-human object and describe it using human traits, this time using similes and metaphors rather than directly ascribing human traits to it. 

54. Rhetorical question

A rhetorical question is asked to create an effect rather than to solicit an answer from the listener or reader. Often it has an obvious answer and the point of asking is to create emphasis. It’s a great way to get an audience to consider the topic at hand and make a statement. 

Example: “If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge?” — The Merchant of Venice by William Shakespeare

Writers use satire to make fun of some aspect of human nature or society — usually through exaggeration, ridicule, or irony. There are countless ways to satirize something; most of the time, you know it when you read it.

Example: The famous adventure novel Gulliver’s Travels by Jonathan Swift is a classic example of satire, poking fun at “travelers' tales,” the government, and indeed human nature itself.

A simile draws resemblance between two things by saying “Thing A is like Thing B,” or “Thing A is as [adjective] as Thing B.” Unlike a metaphor, a similar does not posit that these things are the same, only that they are alike. As a result, it is probably the most common literary device in writing — you can almost always recognize a simile through the use of “like” or “as.”

Example: There are two similes in this description from Circe by Madeline Miller: “The ships were golden and huge as leviathans, their rails carved from ivory and horn. They were towed by grinning dolphins or else crewed by fifty black-haired nereids, faces silver as moonlight.”

Related term: metaphor

57. Symbolism

Authors turn to tangible symbols to represent abstract concepts and ideas in their stories  Symbols typically derive from objects or non-humans — for instance, a dove might represent peace, or a raven might represent death.

Example: In The Great Gatsby , Fitzgerald uses the eyes of Doctor T.J. Eckleburg (actually a faded optometrist's billboard) to represent God and his judgment of the Jazz Age.

Related term: motif

Exercise: Choose an object that you want to represent something — like an idea or concept. Now, write a poem or short story centered around that symbol. 

58. Synecdoche

Synecdoche is the usage of a part to represent the whole. That is, rather than an object or title that’s merely associated with the larger concept (as in metonymy), synecdoche must actually be attached in some way: either to the name, or to the larger whole itself.

Examples: “Stanford won the game” ( Stanford referring to the full title of the Stanford football team) or “Nice wheels you got there” ( wheels referring to the entire car)

Related term:  metonymy

Zeugma is when one word is used to ascribe two separate meanings to two other words. This literary device is great for adding humor and figurative flair as it tends to surprise the reader. And it’s just a fun type of wordplay. 

Example: “ Yet time and her aunt moved slowly — and her patience and her ideas were nearly worn out before the tete-a-tete was over.” — Pride and Prejudice by Jane Austen

60. Zoomorphism 

Zoomorphism is when you take animal traits and assign them to anything that’s not an animal. It’s the opposite of anthropomorphism and personification, and can be either a physical manifestation, such as a god appearing as an animal, or a comparison, like calling someone a busy bee .

Example: When vampires turn into bats, their bat form is an instance of zoomorphism.

Exercise: Describe a human or object by using traits that are usually associated with animals. 

Related terms: anthropomorphism, personification

61. Enjambment

French for “straddle,” enjambment denotes the continuation of a sentence from one poetic line to the next. It’s the opposite of an end-stopped line. 

Example : The first line in T.S. Eilot’s “The Waste Land” is an example of enjambment: 

“April is the cruellest month, breeding

Lilacs out of the dead land, mixing.”

Related terms: end-stop

62. Euphony

Euphony is the acoustic effect of a combination of words that’s pleasing to the ear. Indeed, it leads by example: if you say “euphony” out loud, the assonance of the word itself is harmonious.

Example: “Shall I compare thee to a summer’s day? / Thou art more lovely and more temperate.”

Related terms: cacophony, alliteration

63. Pathetic fallacy   

Pathetic fallacy is a form of personification, where an author gives human emotions to an inanimate object. 

Example: “The sky wept.”

64. Anagram

If you like puzzles, you might have already heard of an anagram : a new word or phrase a writer can form by re-ordering the letters of another word. Note that an anagram is not the same as a palindrome or a semordnilap, as the letters need to come in a different order, and not simply read back to front.

Example: “brag” is an anagram of “grab,” and vice versa. We can go on. “Night” is an anagram of “thing”!

Related terms: palindrome, semordnilap

65. Antithesis

Made up of two different words (“anti” and “thesis”), antithesis is a literary device that juxtaposes opposing ideas, words, or images. Usually, these two contrasting ideas will be written with similar grammatical structure for dramatic effect.

Example: Neil Armstrong perhaps unintentionally created an example of antithesis when he famously said, “That’s one small step for man, one giant leap for mankind.”

Related terms: juxtaposition

66. Circumlocution

Circumlocution is the opposite of saying something directly: instead, it’s when a writer states something in an ambiguous, unclear, or roundabout way. “Talking in circles” is the end result.

Example: Look to any politicians for examples of circumlocution. The pigs in George Orwell’s Animal Farm , for instance, vaguely say in many words, “For the time being it has been found necessary to make a readjustment of rations,” in order to mask the fact that they’ve simply stolen food from the other animals.

Related terms: periphrasis

67. Epigraph

In literature, an epigraph is the quotation (or sometimes the phrase) at the beginning of a book or chapter. It’s entirely optional on the author’s part, but can offer a thematic direction for the reader.

Example: In The Sun Also Rises , Ernest Hemingway uses Gertrude Stein’s “You are all a lost generation” quote to kick off a chapter.

Related terms: intertextuality

Mood in writing refers to the emotions that the writer makes a reader feel through the text. Many factors contribute to this effect, but the writer’s use of language is perhaps the most primary of them.

Example: When you read an Agatha Christie novel, what do you feel? Happy? Excited? Joyous? Probably not. You’re more likely to be nervous, anxious, and tense because of her stories — and that’s in part due to the suspenseful mood she successfully creates through her language.

Related terms: atmosphere

69. Diction

Diction refers to the words that an author chooses to put in writing. This linguistic choice helps the writer express an idea, or achieve a certain effect. In speech, it also refers to the style of enunciation.

Example: The diction that an author chooses for their characters is important, and can tell you about the characters themselves — whether they’re rich or poor, where they’re from, and how old they are. “

Related terms: tone, dialogue, narrative voice

70. Vignette

As a literary device, a vignette is a short scene without a beginning, middle, or end. Instead, it starts in medias res and captures a certain moment in time or is a character-creating detail.

Example: The cold opens of many sitcoms are great examples of vignettes. They are short scenes unrelated to the main plot of the episode, but set the humorous mood that will follow.

Related terms: in medias res  

A foil character is a supporting character whose main purpose is to provide contrast to the protagonist in some shape or form, whether it’s the protagonist’s traits, dreams, or goals.

Example: In Pride and Prejudice , Mr. Wickham serves as Mr. Darcy’s foil. Without Wickham’s decadent, gold-digging ways, we’d never learn the extent of Darcy’s honesty, or his goodness.

72. Antistrophe

The term antistrophe describes a specific type of repetition — that of a word, or a phrase, repeating at the end of consecutive sentences. You’ll commonly see it used in poetry, although books and speeches will also make use of it.

Example: “Wherever there's a fight so hungry people can eat, I’ll be there. Wherever they’s a cop beatin’ up a guy, I’ll be there. […] An’ when our folks eat the stuff they raise an’ live in the houses they build — why, I’ll be there.” — John Steinbeck, Grapes of Wrath

73. Polyptoton

As you’re reading this post, do you find it readable? Congrats: you just encountered a case of polyptoton , which is otherwise known as the repetition of two words that share the shame root (“reading” and “readable,” for instance, “trick” and “trickery,” or “ignorant” and “ignorance.”)

Example: In the phrase, “Who shall watch the watchmen?”, the repetition of “watch” and “watchmen” is an example of polyptoton.

74. Anthimeria

Anthimeria captures the act of turning a word from one part of speech into another: for instance, when an author uses a word that was originally a noun as a verb.

Example: “Chill” is perhaps a popular example by now. Originally a noun, it’s now used everywhere as a verb that means “to relax.”

75. Double entendre

A double entendre is exactly what it says on the tin: a word with two, or double, meanings. What’s more? Often the second meaning is something a tad risqué.

Example: William Shakespeare was a master when it came to double entendres. Just take Mercutio’s statement: “Ask for me tomorrow, and you shall find me a grave man.” Here, the word “grave” pulls double duty, as it means both to be  “serious” and hints at death.

Related terms: pun

76. Paraprosdokian

Paraprosdokian literally means “against expectations” in Greek—so you might be able to guess how it functions as a literary device. Yep, that’s right: it describes a sentence with an unexpected ending.

Example: As Oscar Wilde once said, “Some cause happiness wherever they go. Others, whenever they go.”

Related terms: paradoxical

77. Intertextuality

Whenever a text is referenced, either directly or indirectly, in another text, that’s an instance of intertextuality : the derived relationship between two works. 

Example: Every reference that the musical “Hamilton” makes to another musical is an example of intertextuality. 

78. Palindrome

A palindrome is the easiest literary device on your eyes: it’s a word or phrase that you can read the same either backward or forward.

Example: “Madam, I’m Adam” is exactly the same read backward as it is read forward. “Radar,” meanwhile, is an example of a word that’s a palindrome. Or the famous “Redrum” from The Shining . 

79. Spoonerism

If you’ve ever mispronounced a phrase before, you might’ve accidentally created a spoonerism , which refers to a person swapping the sound of two or more words.

Example: You’d be committing a spoonerism if, instead of “bunny rabbit,” you said “runny babbit.”

80. Ellipsis

As a narrative device, an ellipsis means the omission of certain words or parts of the plot, so as to give the readers an opportunity to fill in the gaps themselves.

Example: In The Great Gatsby , F. Scott Fitzgerald lets the ellipsis form a time lapse that is up to the reader to interpret: “ ... I was standing beside his bed and he was sitting up between the sheets, clad in his underwear, with a great portfolio in his hands.”

81. Parataxi

Literally, a parataxi describes the placing of consecutive words without a connecting word to show the relationship between them. It is different from hypotaxi, as you’ll soon see.

Example: “I came, I saw, I conquered.” — Julius Caesar.

Related terms: hypotaxi

82. Hypotaxi

A hypotaxi is the opposite of a parataxi in that it adds connecting words (or conjunctions) to show readers exactly what the relationship between two clauses is.

Example: In the sentence, “I ate an apple because I was hungry,” the word ‘because’ makes it a hypotaxi.

Related terms: parataxi

Aporia captures the moment when the speaker pretends not to know something, or expresses doubt, in order to prove a point. Often this confusion is completely feigned when used rhetorically, bordering on irony, although sometimes it can be genuine.

Example: As Elizabeth Barrett Browning once asked, “How do I love thee?”. Or, like when someone replies “I don’t know, can you?” when you ask if you can use the bathroom.

Related terms: irony

84. Asyndeton

We’ve covered polysyndetons. Now get ready for its sibling, the asyndeton , which describes the act of intentionally omitting conjunctions in a sentence.

Example: “Live, laugh, love.”

Related terms: polysyndeton, syndeton, parataxi

85. Meiosis

Nope, this isn’t the kind of meiosis you learned about in high school biology! In literature, meiosis is instead a rhetorical device where the speaker understates something to belittle a undermine or situation.

Example: You’d be using meiosis if you said “Oh, it’s only a scratch” to describe a deep, gaping wound that’s bleeding out of the bone.

86. Paralipsis

A paralipsis is what it’s called when you emphasize something about a situation, person, or topic by claiming that you don’t know much about it. Yes, it’s a little passive-aggressive, if that’s what you’re also thinking right now.

Example: “Of course, that’s not to mention my most hated enemy’s billion-dollar debt, nor their complete unwillingness to pay it.”

Related terms: apophasis

87. Overstatement

An overstatement is the best literary device of all time. There’s nothing better in the world than an overstatement (which is when you exaggerate your language to make your point in some shape or form).

Example: “This is officially the worst day of my life,” one says, upon accidentally dropping one’s ice cream cone on the ground with a splat.

Related terms: understatement

88. Apophasis

As another rhetorical device that’s just slightly passive-aggressive, an apophasis does the trick of bringing up a subject by denying that you’re bringing it up.

Example: “We won’t speak of his absolute inability to be a decent human being. Nor will we even begin to speak of his atrocious gambling problem.”

89. Cacophony

The opposite of euphony, cacophony is the term used to describe a combination of discordant tones that do not sound good together.

Example: You’ll see this literary device used a lot in poetry, for instance, in Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner”:

"With throats unslaked, with black lips baked,

Agape they heard me call:

Related terms: euphony

90. Connotation

Connotation refers to what an author or speaker implies through the use of a particular word. It’s usually non-literal, and up to the reader to interpret.

Example: The connotation of the word “miserly” is quite negative, and evokes the image of a Grinch hoarding money, while “frugal” connotes someone who’s merely thoughtful about saving money.

91. Dysphemism

When you choose to use an offensive or derogatory term in place of a neutral or agreeable one, you’re using a dysphemism .

Example: “He’s a nerd” instead of positively describing that someone is smart or factually stating that someone often studies is an instance of a dysphemism. 

Related terms: euphemism

92. Hyperbaton

Inverting the regular sequence of words is called a hyperbaton . Authors generally do this to call emphasis to a certain phrase, or part of the sentence.

Example: Yoda from Star Wars is a famous abuser of hyperbaton, with his Go you must’s and Miss them, do not’s .

Related terms: anastrophe

93. Metanoia

In literature, metanoia is a self-correction, or when a writer deliberately takes back a statement they just made in order to re-state it.

Example: In the Hippocratic Oath that doctors take before getting their credentials, they promise “To help, or, at least, to do no harm.” The second half of it is the instance of metanoia.

You know them. You love them. Yes, puns , or jokes that are wordplays on the different meanings or sounds of a word, are also literary devices that authors use to add humor to a piece of writing.

Example: “Denial isn’t just a river in Egypt.”

95. Parenthesis

Parentheses are a form of punctuation, but when used in literature, they can insert information that authors would like to add for detail.

Example: Author Sarah Vowell once wrote in her book, Take the Cannoli , "I have a similar affection for the parenthesis (but I always take most of my parentheses out, so as not to call undue attention to the glaring fact that I cannot think in complete sentences, that I think only in short fragments or long, run-on thought relays that the literati call stream of consciousness but I still like to think of as disdain for the finality of the period)."

96. Synesthesia

Like its psychological definition, synesthesia in literature describes the conflation of two senses. This might materialize in the author using one sense to describe another, or blend the two altogether.

Example: "The silence that dwells in the forest is not so black." — Oscar Wilde

97. Eutrepismus

Eutrepismus is a long word for a simple concept: stating your points in a numbered list, so as to structure your speech, or dialogue.

Example: “Firstly, you’ll want to read this post. Secondly, you’ll want to memorize every single literary device on it.”

98. Epizeuxis

Epizeuxis is another hard-to-spell-and-pronounce literary device that captures a very simple concept: it’s the repetition of a word to emphasize it.

Example: “Hark, hark! The Lark!” — William Shakespeare

99. Narrative voice

Narrative voice is the voice from which a story in literature is told. It encompasses all of the decisions that an author makes in regards to voice, including tone, word choice, and diction.

Example: First-person books like Catcher in the Rye provide good examples of books written in a strong narrative voice. 

100. Syllepsis

We saved one of the most obscure (and best!) literary devices for last. Syllepsis is another form of wordplay (similar to a pun) where a word, usually a verb, is used in multiple ways.

Example: “She blew my nose, and then she blew my mind.” — The Rolling Stones

Related terms: zeugma, pun

Readers and writers alike can get a lot out of understanding literary devices and how they're used. Readers can use them to gain insight into the author’s intended meaning behind their work, while writers can use literary devices to better connect with readers. But whatever your motivation for learning them, you certainly won't be sorry you did! (Not least because you'll recognize the device I just used in that sentence 😉)

6 responses

Ron B. Saunders says:

16/01/2019 – 19:26

Paraprosdokians are also delightful literary devices for creating surprise or intrigue. They cause a reader to rethink a concept or traditional expectation. (https://en.wikipedia.org/wiki/Paraprosdokian)

ManhattanMinx says:

17/01/2019 – 02:07

That's pore, not pour. Shame.....

↪️ Coline Harmon replied:

14/06/2019 – 19:06

It was a Malapropism

↪️ JC JC replied:

23/10/2019 – 00:02

Yeah ManhattanMinx. It's a Malepropism!

↪️ jesus replied:

07/11/2019 – 13:24

Susan McGrath says:

10/03/2020 – 10:56

"But whatever your motivation for learning them, you certainly won't be sorry you did! (Not least because you'll recognize the device I just used in that sentence. 😏)" Litote

Comments are currently closed.

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Common literary devices, such as metaphors and similes, are the building blocks of literature, and what make literature so enchanting. Language evolves through the literary devices in poetry and prose; the different types of figurative language make literature spark in different ways.

Consider this your crash course in common literary devices. Whether you’re studying for the AP Lit exam or looking to improve your creative writing, this article is crammed with literary devices, examples, and analysis.

What are Literary Devices?

• Personification
• Juxtaposition
• Onomatopoeia
• Common Literary Devices in Poetry
• Common Literary Devices in Prose
• Repetition Literary Devices
• Dialogue Literary Devices
• Word Play Literary Devices
• Parallelism Literary Devices
• Rhetorical Devices

Let’s start with the basics. What are literary devices?

Literary devices take writing beyond its literal meaning. They help guide the reader in how to read the piece.

Literary devices are ways of taking writing beyond its straightforward, literal meaning. In that sense, they are techniques for helping guide the reader in how to read the piece.

Central to all literary devices is a quality of connection : by establishing or examining relationships between things, literary devices encourage the reader to perceive and interpret the world in new ways.

One common form of connection in literary devices is comparison. Metaphors and similes are the most obvious examples of comparison. A metaphor is a direct comparison of two things—“the tree is a giant,” for example. A simile is an in direct comparison—“the tree is like a giant.” In both instances, the tree is compared to—and thus connected with—something (a giant) beyond what it literally is (a tree).

Other literary devices forge connections in different ways. For example, imagery, vivid description, connects writing richly to the worlds of the senses. Alliteration uses the sound of words itself to forge new literary connections (“alligators and apples”).

By enabling new connections that go beyond straightforward details and meanings, literary devices give literature its power.

What all these literary devices have in common is that they create new connections: rich layers of sound, sense, emotion, narrative, and ultimately meaning that surpass the literal details being recounted. They are what sets literature apart, and what makes it uniquely powerful.

Read on for an in-depth look and analysis at 112 common literary devices.

Literary Devices List: 14 Common Literary Devices

In this article, we focus on literary devices that can be found in both poetry and prose.

There are a lot of literary devices to cover, each of which require their own examples and analysis. As such, we will start by focusing on common literary devices for this article: literary devices that can be found in both poetry and prose. With each device, we’ve included examples in literature and exercises you can use in your own creative writing.

Afterwards, we’ve listed other common literary devices you might see in poetry, prose, dialogue, and rhetoric.

Let’s get started!

1. Metaphor

Metaphors, also known as direct comparisons, are one of the most common literary devices. A metaphor is a statement in which two objects, often unrelated, are compared to each other.

Example of metaphor: This tree is the god of the forest.

Obviously, the tree is not a god—it is, in fact, a tree. However, by stating that the tree is the god, the reader is given the image of something strong, large, and immovable. Additionally, using “god” to describe the tree, rather than a word like “giant” or “gargantuan,” makes the tree feel like a spiritual center of the forest.

Metaphors allow the writer to pack multiple descriptions and images into one short sentence. The metaphor has much more weight and value than a direct description. If the writer chose to describe the tree as “the large, spiritual center of the forest,” the reader won’t understand the full importance of the tree’s size and scope.

Similes, also known as indirect comparisons, are similar in construction to metaphors, but they imply a different meaning. Like metaphors, two unrelated objects are being compared to each other. Unlike a metaphor, the comparison relies on the words “like” or “as.”

Example of simile: This tree is like the god of the forest. OR: This tree acts as the god of the forest.

What is the difference between a simile and a metaphor?

The obvious difference between these two common literary devices is that a simile uses “like” or “as,” whereas a metaphor never uses these comparison words.

Additionally, in reference to the above examples, the insertion of “like” or “as” creates a degree of separation between both elements of the device. In a simile, the reader understands that, although the tree is certainly large, it isn’t large enough to be a god; the tree’s “godhood” is simply a description, not a relevant piece of information to the poem or story.

Simply put, metaphors are better to use as a central device within the poem/story, encompassing the core of what you are trying to say. Similes are better as a supporting device.

Does that mean metaphors are better than similes? Absolutely not. Consider Louise Gluck’s poem “ The Past. ” Gluck uses both a simile and a metaphor to describe the sound of the wind: it is like shadows moving, but is her mother’s voice. Both devices are equally haunting, and ending the poem on the mother’s voice tells us the central emotion of the poem.

Learn more about the difference between similes and metaphors here:

Simile vs. Metaphor vs. Analogy: Definitions and Examples

Simile and Metaphor Writing Exercise: Tenors and Vehicles

Most metaphors and similes have two parts: the tenor and the vehicle. The tenor refers to the subject being described, and the vehicle refers to the image that describes the tenor.

So, in the metaphor “the tree is a god of the forest,” the tenor is the tree and the vehicle is “god of the forest.”

To practice writing metaphors and similes, let’s create some literary device lists. grab a sheet of paper and write down two lists. In the first list, write down “concept words”—words that cannot be physically touched. Love, hate, peace, war, happiness, and anger are all concepts because they can all be described but are not physical objects in themselves.

In the second list, write down only concrete objects—trees, clouds, the moon, Jupiter, New York brownstones, uncut sapphires, etc.

Your concepts are your tenors, and your concrete objects are your vehicles. Now, randomly draw a one between each tenor and each vehicle, then write an explanation for your metaphor/simile. You might write, say:

Have fun, write interesting literary devices, and try to incorporate them into a future poem or story!

An analogy is an argumentative comparison: it compares two unalike things to advance an argument. Specifically, it argues that two things have equal weight, whether that weight be emotional, philosophical, or even literal. Because analogical literary devices operate on comparison, it can be considered a form of metaphor.

For example:

Making pasta is as easy as one, two, three.

This analogy argues that making pasta and counting upwards are equally easy things. This format, “A is as B” or “A is to B”, is a common analogy structure.

Another common structure for analogy literary devices is “A is to B as C is to D.” For example:

Gordon Ramsay is to cooking as Meryl Streep is to acting.

The above constructions work best in argumentative works. Lawyers and essayists will often use analogies. In other forms of creative writing, analogies aren’t as formulaic, but can still prove to be powerful literary devices. In fact, you probably know this one:

“That which we call a rose / By any other name would smell as sweet” — Romeo & Juliet by William Shakespeare

To put this into the modern language of an analogy, Shakespeare is saying “a rose with no name smells as a rose with a name does.” The name “rose” does not affect whether or not the flower smells good.

Analogy Writing Exercise

Analogies are some of the most common literary devices, alongside similes and metaphors. Here’s an exercise for writing one yourself.

On a blank sheet of paper: write down the first four nouns that come to mind. Try to use concrete, visual nouns. Then, write down a verb. If you struggle to come up with any of these, any old word generator on the internet will help.

The only requirement is that two of your four nouns should be able to perform the verb. A dog can swim, for example, but it can’t fly an airplane.

Your list might look like this:

Verb: Fall Nouns: Rain, dirt, pavement, shadow

An analogy you create from this list might be: “his shadow falls on the pavement how rain falls on the dirt in May.

Your analogy might end up being silly or poetic, strange or evocative. But, by forcing yourself to make connections between seemingly disparate items, you’re using these literary devices to hone the skills of effective, interesting writing.

Is imagery a literary device? Absolutely! Imagery can be both literal and figurative, and it relies on the interplay of language and sensation to create a sharper image in your brain.

Imagery is what it sounds like—the use of figurative language to describe something.

Imagery is what it sounds like—the use of figurative language to describe something. In fact, we’ve already seen imagery in action through the previous literary devices: by describing the tree as a “god”, the tree looks large and sturdy in the reader’s mind.

However, imagery doesn’t just involve visual descriptions; the best writers use imagery to appeal to all five senses. By appealing to the reader’s sense of sight, sound, touch, taste, and smell, your writing will create a vibrant world for readers to live and breathe in.

The best writers use imagery to appeal to all five senses.

Let’s use imagery to describe that same tree. (I promise I can write about more than just trees, but it’s a very convenient image for these common literary devices, don’t you think?)

Notice how these literary device examples also used metaphors and similes? Literary devices often pile on top of each other, which is why so many great works of literature can be analyzed endlessly. Because imagery depends on the object’s likeness to other objects, imagery upholds the idea that a literary device is synonymous with comparison.

Imagery Writing Exercise

Want to try your hand at imagery? You can practice this concept by describing an object in the same way that this article describes a tree! Choose something to write about—any object, image, or idea—and describe it using the five senses. (“This biscuit has the tidy roundness of a lady’s antique hat.” “The biscuit tastes of brand-new cardboard.” and so on!)

Then, once you’ve written five (or more) lines of imagery, try combining these images until your object is sharp and clear in the reader’s head.

Imagery is one of the most essential common literary devices. To learn more about imagery, or to find more imagery writing exercises, take a look at our article Imagery Definition: 5+ Types of Imagery in Literature .

5. Symbolism

Symbolism combines a lot of the ideas presented in metaphor and imagery. Essentially, a symbol is the use of an object to represent a concept—it’s kind of like a metaphor, except more concise!

Symbols are everywhere in the English language, and we often use these common literary devices in speech and design without realizing it. The following are very common examples of symbolism:

A few very commonly used symbols include:

• “Peace” represented by a white dove
• “Love” represented by a red rose
• “Conformity” represented by sheep
• “Idea” represented by a light bulb switching on

The symbols above are so widely used that they would likely show up as clichés in your own writing. (Would you read a poem, written today, that started with “Let’s release the white dove of peace”?) In that sense, they do their job “too well”—they’re such a good symbol for what they symbolize that they’ve become ubiquitous, and you’ll have to add something new in your own writing.

Symbols are often contextually specific as well. For example, a common practice in Welsh marriage is to give your significant other a lovespoon , which the man has designed and carved to signify the relationship’s unique, everlasting bond. In many Western cultures, this same bond is represented by a diamond ring—which can also be unique and everlasting!

Symbolism makes the core ideas of your writing concrete.

Finally, notice how each of these examples are a concept represented by a concrete object. Symbolism makes the core ideas of your writing concrete, and also allows you to manipulate your ideas. If a rose represents love, what does a wilted rose or a rose on fire represent?

Symbolism Writing Exercise

Often, symbols are commonly understood images—but not always. You can invent your own symbols to capture the reader’s imagination, too!

Try your hand at symbolism by writing a poem or story centered around a symbol. Choose a random object, and make that object represent something. For example, you could try to make a blanket represent the idea of loneliness.

When you’ve paired an object and a concept, write your piece with that symbol at the center:

The down blanket lay crumpled, unused, on the empty side of our bed.

The goal is to make it clear that you’re associating the object with the concept. Make the reader feel the same way about your symbol as you do!

6. Personification

Personification, giving human attributes to nonhuman objects, is a powerful way to foster empathy in your readers.

Personification is exactly what it sounds like: giving human attributes to nonhuman objects. Also known as anthropomorphism, personification is a powerful way to foster empathy in your readers.

Think about personification as if it’s a specific type of imagery. You can describe a nonhuman object through the five senses, and do so by giving it human descriptions. You can even impute thoughts and emotions—mental events—to a nonhuman or even nonliving thing. This time, we’ll give human attributes to a car—see our personification examples below!

Personification (using sight): The car ran a marathon down the highway.

Personification (using sound): The car coughed, hacked, and spluttered.

Personification (using touch): The car was smooth as a baby’s bottom.

Personification (using taste): The car tasted the bitter asphalt.

Personification (using smell): The car needed a cold shower.

Personification (using mental events): The car remembered its first owner fondly.

Notice how we don’t directly say the car is like a human—we merely describe it using human behaviors. Personification exists at a unique intersection of imagery and metaphor, making it a powerful literary device that fosters empathy and generates unique descriptions.

Personification Writing Exercise

Try writing personification yourself! In the above example, we chose a random object and personified it through the five senses. It’s your turn to do the same thing: find a concrete noun and describe it like it’s a human.

Here are two examples:

The ancient, threadbare rug was clearly tired of being stepped on.

My phone issued notifications with the grimly efficient extroversion of a sorority chapter president.

Now start writing your own! Your descriptions can be active or passive, but the goal is to foster empathy in the reader’s mind by giving the object human traits.

7. Hyperbole

You know that one friend who describes things very dramatically? They’re probably speaking in hyperboles. Hyperbole is just a dramatic word for being over-dramatic—which sounds a little hyperbolic, don’t you think?

Basically, hyperbole refers to any sort of exaggerated description or statement. We use hyperbole all the time in the English language, and you’ve probably heard someone say things like:

• I’ve been waiting a billion years for this
• I’m so hungry I could eat a horse
• I feel like a million bucks
• You are the king of the kitchen

None of these examples should be interpreted literally: there are no kings in the kitchen, and I doubt anyone can eat an entire horse in one sitting. This common literary device allows us to compare our emotions to something extreme, giving the reader a sense of how intensely we feel something in the moment.

This is what makes hyperbole so fun! Coming up with crazy, exaggerated statements that convey the intensity of the speaker’s emotions can add a personable element to your writing. After all, we all feel our emotions to a certain intensity, and hyperbole allows us to experience that intensity to its fullest.

Hyperbole Writing Exercise

To master the art of the hyperbole, try expressing your own emotions as extremely as possible. For example, if you’re feeling thirsty, don’t just write that you’re thirsty, write that you could drink the entire ocean. Or, if you’re feeling homesick, don’t write that you’re yearning for home, write that your homeland feels as far as Jupiter.

As a specific exercise, you can try writing a poem or short piece about something mundane, using more and more hyperbolic language with each line or sentence. Here’s an example:

A well-written hyperbole helps focus the reader’s attention on your emotions and allows you to play with new images, making it a fun, chaos-inducing literary device.

Is irony a literary device? Yes—but it’s often used incorrectly. People often describe something as being ironic, when really it’s just a moment of dark humor. So, the colloquial use of the word irony is a bit off from its official definition as a literary device.

Irony is when the writer describes something by using opposite language. As a real-life example, if someone is having a bad day, they might say they’re doing “ greaaaaaat ”, clearly implying that they’re actually doing quite un-greatly. Or a story’s narrator might write:

Like most bureaucrats, she felt a boundless love for her job, and was eager to share that good feeling with others.

In other words, irony highlights the difference between “what seems to be” and “what is.” In literature, irony can describe dialogue, but it also describes ironic situations : situations that proceed in ways that are elaborately contrary to what one would expect. A clear example of this is in The Wizard of Oz . All of the characters already have what they are looking for, so when they go to the wizard and discover that they all have brains, hearts, etc., their petition—making a long, dangerous journey to beg for what they already have—is deeply ironic.

Irony Writing Exercise

For verbal irony, try writing a sentence that gives something the exact opposite qualities that it actually has:

The triple bacon cheeseburger glistened with health and good choices.

For situational irony, try writing an imagined plot for a sitcom, starting with “Ben lost his car keys and can’t find them anywhere.” What would be the most ironic way for that situation to be resolved? (Are they sitting in plain view on Ben’s desk… at the detective agency he runs?) Have fun with it!

9. Juxtaposition

Juxtaposition refers to the placement of contrasting ideas next to each other, often to produce an ironic or thought-provoking effect. Writers use juxtaposition in both poetry and prose, though this common literary device looks slightly different within each realm of literature.

In poetry, juxtaposition is used to build tension or highlight an important contrast. Consider the poem “ A Juxtaposition ” by Kenneth Burke, which juxtaposes nation & individual, treble & bass, and loudness & silence. The result is a poem that, although short, condemns the paradox of a citizen trapped in their own nation.

Just a note: these juxtapositions are also examples of antithesis , which is when the writer juxtaposes two completely opposite ideas. Juxtaposition doesn’t have to be completely contrarian, but in this poem, it is.

Juxtaposition accomplishes something similar in prose. A famous example comes from the opening A Tale of Two Cities by Charles Dickens: “It was the best of times, it was the worst of time.” Dickens opens his novel by situating his characters into a world of contrasts, which is apt for the extreme wealth disparities pre-French Revolution.

Juxtaposition Writing Exercise

One great thing about juxtaposition is that it can dismantle something that appears to be a binary. For example, black and white are often assumed to be polar opposites, but when you put them next to each other, you’ll probably get some gray in the middle.

To really master the art of juxtaposition, try finding two things that you think are polar opposites. They can be concepts, such as good & evil, or they can be people, places, objects, etc. Juxtapose your two selected items by starting your writing with both of them—for example:

Across the town from her wedding, the bank robbers were tying up the hostages.

I put the box of chocolates on the coffee table, next to the gas mask.

Then write a poem or short story that explores a “gray area,” relationship, commonality, or resonance between these two objects or events—without stating as much directly. If you can accomplish what Dickens or Burke accomplishes with their juxtapositions, then you, too, are a master!

10. Paradox

A paradox is a juxtaposition of contrasting ideas that, while seemingly impossible, actually reveals a deeper truth. One of the trickier literary devices, paradoxes are powerful tools for deconstructing binaries and challenging the reader’s beliefs.

A simple paradox example comes to us from Ancient Rome.

Catullus 85 ( translated from Latin)

I hate and I love. Why I do this, perhaps you ask. I know not, but I feel it happening and I am tortured.

Often, “hate” and “love” are assumed to be opposing forces. How is it possible for the speaker to both hate and love the object of his affection? The poem doesn’t answer this, merely telling us that the speaker is “tortured,” but the fact that these binary forces coexist in the speaker is a powerful paradox. Catullus 85 asks the reader to consider the absoluteness of feelings like hate and love, since both seem to torment the speaker equally.

Another paradox example comes from Oscar Wilde’s The Importance of Being Earnest.

“To be natural is such a very difficult pose to keep up.”

Here, “natural” and “pose” are conflicting ideas. Someone who poses assumes an unnatural state of being, whereas a natural poise seems effortless and innate. Despite these contrasting ideas, Wilde is exposing a deeper truth: to seem natural is often to keep up appearances, and seeming natural often requires the same work as assuming any other pose.

Note: paradox should not be confused with oxymoron. An oxymoron is also a statement with contrasting ideas, but a paradox is assumed to be true, whereas an oxymoron is merely a play on words (like the phrase “same difference”).

Paradox Writing Exercise

Paradox operates very similarly to literary devices like juxtaposition and irony. To write a paradox, juxtapose two binary ideas. Try to think outside of the box here: “hate and love” are an easy binary to conjure, so think about something more situational. Wilde’s paradox “natural and pose” is a great one; another idea could be the binaries “awkward and graceful” or “red-handed and innocent.”

Now, situate those binaries into a certain situation, and make it so that they can coexist. Imagine a scenario in which both elements of your binary are true at the same time. How can this be, and what can we learn from this surprising juxtaposition?

11. Allusion

If you haven’t noticed, literary devices are often just fancy words for simple concepts. A metaphor is literally a comparison and hyperbole is just an over-exaggeration. In this same style, allusion is just a fancy word for a literary reference; when a writer alludes to something, they are either directly or indirectly referring to another, commonly-known piece of art or literature.

The most frequently-alluded to work is probably the Bible. Many colloquial phrases and ideas stem from it, since many themes and images from the Bible present themselves in popular works, as well as throughout Western culture. Any of the following ideas, for example, are Biblical allusions:

• Referring to a kind stranger as a Good Samaritan
• Describing an ideal place as Edenic, or the Garden of Eden
• Saying someone “turned the other cheek” when they were passive in the face of adversity
• When something is described as lasting “40 days and 40 nights,” in reference to the flood of Noah’s Ark

Of course, allusion literary devices aren’t just Biblical. You might describe a woman as being as beautiful as the Mona Lisa, or you might call a man as stoic as Hemingway.

Why write allusions? Allusions appeal to common experiences: they are metaphors in their own right, as we understand what it means to describe an ideal place as Edenic.

Like the other common literary devices, allusions are often metaphors, images, and/or hyperboles. And, like other literary devices, allusions also have their own sub-categories.

Allusion Writing Exercise

See how densely you can allude to other works and experiences in writing about something simple. Go completely outside of good taste and name-drop like crazy:

Allusions (way too much version): I wanted Nikes, not Adidas, because I want to be like Mike. But still, “a rose by any other name”—they’re just shoes, and “if the shoe fits, wear it.”

From this frenetic style of writing, trim back to something more tasteful:

Allusions (more tasteful version): I had wanted Nikes, not Adidas—but “if the shoe fits, wear it.”

12. Allegory

An allegory is a story whose sole purpose is to represent an abstract concept or idea. As such, allegories are sometimes extended allusions, but the two common literary devices have their differences.

For example, George Orwell’s Animal Farm is an allegory for the deterioration of Communism during the early establishment of the U.S.S.R. The farm was founded on a shared goal of overthrowing the farming elite and establishing an equitable society, but this society soon declines. Animal Farm mirrors the Bolshevik Revolution, the overthrow of the Russian aristocracy, Lenin’s death, Stalin’s execution of Trotsky, and the nation’s dissolution into an amoral, authoritarian police state. Thus, Animal Farm is an allegory/allusion to the U.S.S.R.:

Allusion (excerpt from Animal Farm ):

“There were times when it seemed to the animals that they worked longer hours and fed no better than they had done in [Farmer] Jones’s day.”

However, allegories are not always allusions. Consider Plato’s “ Allegory of the Cave ,” which represents the idea of enlightenment. By representing a complex idea, this allegory could actually be closer to an extended symbol rather than an extended allusion.

Allegory Writing Exercise

Pick a major trend going on in the world. In this example, let’s pick the growing reach of social media as our “major trend.”

Next, what are the primary properties of that major trend? Try to list them out:

• More connectedness
• A loss of privacy
• People carefully massaging their image and sharing that image widely

Next, is there something happening at—or that could happen at—a much smaller scale that has some or all of those primary properties? This is where your creativity comes into play.

Well… what if elementary school children not only started sharing their private diaries, but were now expected to share their diaries? Let’s try writing from inside that reality:

I know Jennifer McMahon made up her diary entry about how much she misses her grandma. The tear smudges were way too neat and perfect. Anyway, everyone loved it. They photocopied it all over the bulletin boards and they even read it over the PA, and Jennifer got two extra brownies at lunch.

Try your own! You may find that you’ve just written your own Black Mirror episode.

13. Ekphrasis

Ekphrasis refers to a poem or story that is directly inspired by another piece of art. Ekphrastic literature often describes another piece of art, such as the classic “ Ode on a Grecian Urn ”:

O Attic shape! Fair attitude! with brede Of marble men and maidens overwrought, With forest branches and the trodden weed; Thou, silent form, dost tease us out of thought As doth eternity: Cold Pastoral! When old age shall this generation waste, Thou shalt remain, in midst of other woe Than ours, a friend to man, to whom thou say’st, “Beauty is truth, truth beauty,—that is all Ye know on earth, and all ye need to know.”

Ekphrasis can be considered a direct allusion because it borrows language and images from other artwork. For a great example of ekphrasis—as well as a submission opportunity for writers!—check out the monthly ekphrastic challenge that Rattle Poetry runs.

Ekphrasis writing exercise

Try your hand at ekphrasis by picking a piece of art you really enjoy and writing a poem or story based off of it. For example, you could write a story about Mona Lisa having a really bad day, or you could write a black-out poem created from the lyrics of your favorite song.

Or, try Rattle ‘s monthly ekphrastic challenge ! All art inspires other art, and by letting ekphrasis guide your next poem or story, you’re directly participating in a greater artistic and literary conversation.

14. Onomatopoeia

Flash! Bang! Wham! An onomatopoeia is a word that sounds like the noise it describes. Conveying both a playfulness of language and a serious representation of everyday sounds, onomatopoeias draw the reader into the sensations of the story itself.

Onomatopoeia words are most often used in poetry and in comic books, though they certainly show up in works of prose as well. Some onomatopoeias can be found in the dictionary, such as “murmur,” “gargle,” and “rumble,” “click,” and “vroom.” However, writers make up onomatopoeia words all the time, so while the word “ptoo” definitely sounds like a person spitting, you won’t find it in Merriam Webster’s.

Here’s an onomatopoeia example, from the poem “Honky Tonk in Cleveland, Ohio” by Carl Sandburg .

The onomatopoeias have been highlighted in bold. These common literary devices help make your writing fresh, interesting, and vivid, creating a sonic setting that the reader can fall into.

Learn more about onomatopoeias here!

Onomatopoeia Writing Exercise

Onomatopoeias are fun literary devices to use in your work, so have fun experimenting with them. In this exercise, take a moment to listen to the noises around you. Pay close attention to the whir of electronics, the fzzzzzzz of the heater, the rumbling of cars on the street, or the tintintintintin of rain on the roof.

Whatever you hear, convert those sounds into onomatopoeias. Make a list of those sounds. Try to use a mix of real words and made up ones: the way you represent noise in language can have a huge impact on your writing style .

Do this for 5 to 10 minutes, and when you have a comprehensive list of the sounds you hear, write a poem or short story that uses every single word you’ve written down.

If you built your political campaign off of wordplay, would you be punning for president?

A pun is a literary device that plays with the sounds and meanings of words to produce new, often humorous ideas. For example, let’s say you used too much butter in your recipe, and it ruined the dish. You might joke that you were “outside the margarine of error,” which is a play on the words “margin of error.”

Puns have a rich literary history, and famous writers like Shakespeare and Charles Dickens, as well as famous texts like The Bible, have used puns to add depth and gravity to their words.

Pun Writing Exercise

Jot down a word or phrase that you commonly use. If you’re not sure of what to write down, take a look at this list of English idioms . For example, I might borrow the phrase “blow off steam,” which means to let out your anger.

Take any saying, and play around with the sounds and meanings of the words in that saying. Then, incorporate the new phrase you’ve created into a sentence that allows for the double meaning of the phrase. Here’s two examples:

If I play with the sound of the words, I might come up with “blowing off stream.” Then, I would put that into a sentence that plays with the original meaning of the phrase. Like: “Did you hear about the river boat that got angry and went off course? It was blowing off stream.”

Or, I might play with the meanings of words. For example, I might take the word “blowing” literally, and write the following: “someone who cools down their tea when they’re angry is blowing off steam.”

Searching for ways to add double meanings and challenge the sounds of language will help you build fresh, exciting puns. Learn more about these common literary devices in our article on puns in literature .

16–27. Common Literary Devices in Poetry

The following 12 devices apply to both poetry and prose writers, but they appear most often in verse. Learn more about:

• Metonymy/Synecdoche
• Alliteration
• Consonance/Assonance
• Euphony/Cacophony

12 Literary Devices in Poetry: Identifying Poetic Devices

28–37. Common Literary Devices in Prose

The following 10 devices show up in verse, but are far more prevalent in prose. Learn more about:

• Parallel Plot
• Foreshadowing
• In Media Res
• Dramatic Irony

10 Important Literary Devices in Prose: Examples & Analysis

38–48. Repetition Literary Devices

Though they have uncommon names, these common literary devices are all forms of repetition.

• Anadiplosis
• Anaphora (prose)
• Antanaclasis
• Antimetabole
• Antistrophe
• Epanalepsis

Repetition Definition: Types of Repetition in Poetry and Prose

49–57. Dialogue Literary Devices

While these literary elements pertain primarily to dialogue, writers use euphemisms, idioms, and neologisms all the time in their work.

• Colloquialism

How to Write Dialogue in a Story

58–67. Word Play Literary Devices

The following literary devices push language to the limits. Have fun with these!

• Double Entendre
• Malapropism
• Paraprosdokian
• Portmanteau

Word Play: Examples of a Play on Words

68–72. Parallelism Literary Devices

Parallelism is a stylistic device where a sentence is composed of equally weighted items. In essence, parallel structure allows form to echo content. Learn all about this essential stylistic literary device below.

• Grammatical parallelism
• Rhetorical parallelism
• Synthetic parallelism
• Antithetical parallelism
• Synonymous parallelism

Parallelism Definition: Writing With Parallel Structure

73–112. Rhetorical Devices

Rhetorical devices are literary devices intended to persuade the reader of something. You might have heard of ethos, pathos, and logos, but do you know your aposiopesis from your hyperbaton?

Many literary devices can also be considered rhetorical devices. After all, a metaphor can convince you of something just as well as a syllogism. Nonetheless, the following 40 rhetorical/literary devices will sharpen your style, argumentation, and writing abilities.

• Anacoluthon
• Polysyndeton
• Procatalepsis
• Reductio ad Absurdum
• Amplification
• Antiphrasis
• Overstatement
• Adnomination
• Aposiopesis
• Circumlocution

Common Rhetorical Devices List: The Art of Argument

Master These Common Literary Devices With Writers.com!

The instructors at Writers.com are masters of literary devices. Through masterful instruction and personal expertise, our instructors can help you add, refine, and improve your literary devices, helping you craft great works of literature. Check out our upcoming courses , and join our writing community on Facebook !

Sean Glatch

103 comments.

Very nice the litrery divices

Brilliant litery devices

Love this article thank you

Good literary devices

My stoonts confess to having trouble with “poultry”.

I love this literary term it help a lot

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Broaden the vucablry it does

Very effectively and simply elaborated

I am trying think of the specific literary structure based on loosely assembled episodes set within the framework of a journey: it is not quixotic, peripatetic, itinerant…always on the tip of my tongue. Help!

enjoyed this (and learned some new things, too). HB

Wow, very educating and nice! Quite helpful

It is very nice visiting this site.

This was put together profoundly; thank you! As a writer, you can never learn enough. I will begin incorporating these into my stories. Words can’t express how helpful this was, and it was very efficiently put together as well, so kudos to that!

The Real Person!

I’m so happy this article helped you, Jalen! Happy writing!

Thank you for this article! It really helped a lot! hands up to the good samaritan of understanding literature :D.

But I would have one last question: Would any sort of intertextuality be considered an Allusion? (Also when you refer to the author for example?)

Great questions! That’s a great way to think about allusion–any sort of intertextuality is indeed allusive. In fact, your use of “Good Samaritan” is an allusion to the Bible, even if you didn’t mean it to be!

And yes, because an allusion is anything referential, then a reference to another author also counts as an allusion. Of course, it can’t be directly stated: “She’s reading Shakespeare” doesn’t count, but “She worships the Immortal Bard” would be an allusion. (It’s also an allusion to the story of the same name by Isaac Asimov).

I’m glad to hear our article was helpful. Happy reading!

This will help! Thanks!

There is also Onomatopoeia, you can make the list 45

This article really helped me, the techniques are amazing, and the detail is incredible. Thank you for taking your time to write this!

I’m so glad this was helpful, Gwen! Happy writing!

this was useful 🙂 thanks

I love personification; you can do so much with it.

Hi, I’m really sorry but I am still confused with juxtaposition.

Hi Nate! Juxtaposition simply describes when contrasting ideas are placed next to each other. The effect of juxtaposition depends on the ideas that are being juxtaposed, but the point is to surprise or provoke the reader.

Take, for example, the opening line of Anna Karenina by Leo Tolstoy: “Happy families are all alike; every unhappy family is unhappy in its own way.”

Here, happy and unhappy families are being juxtaposed, and the contrast between the two is meant to provoke the reader and highlight the differences between those families. This juxtaposition sets up the novel as a whole, which often discusses themes of family and happiness (among many other themes).

I hope this helps!

very nice indeed

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Really helping. It’s a wonderful article

O mother Ghana, teach your children to change their negative attitudes towards you and what you have Please which literary device is this?

The device employed here is called apostrophe, which is when the writer addresses something not actually present for literary effect. Read more about it at this link .

This was very effective towards my writing and my family really enoyed seeing how much I had learnt. Thanks a lot.

so irony is literally sarcasm then

Sometimes! Sarcasm is a form of verbal irony.

Verbal irony occurs when a person intentionally says the opposite of what they mean. For example, you might say “I’m having the best day ever” after getting hit by a car.

Sarcasm is the use of verbal irony with the intent of mocking someone or something. You might say “Good going, genius” to someone who made a silly mistake, implying they’re not a genius at all.

Hope that makes sense!

Love this article! I used to struggle in my literature class, but after reading though this article, I certainly improved! Thanks! However, I have one question I really need your help with- Can I assume that a phrase which is the slightest bit plausible, a hyperbole? For example, a young elementary student who is exceptionally talented in basketball, to such an extent that he was quite famous nation-wide, said that he would be the next Lebron James although he was still very young. Would this be considered as a hyperbole? It would be great if you can help me with this.

That’s a great question! Although that claim is certainly exaggerated, it probably wouldn’t be hyperbole, because the child believes it to be true. A hyperbole occurs when the writer makes an exaggerated statement that they know to be false–e.g. “I’ve been waiting a billion years for this.”

Of course, if the child is self-aware and knows they’re just being cheeky, then it would be hyperbole, but I get the sense that the child genuinely believes they’re the next Lebron. 🙂

I’m glad this article has helped you in your literature class!

That makes a lot of sense, thanks for your reply!

Sorry, I have another question related to hyperbole. This is an extract from Animal Farm:

“Squealer was sent to make the necessary explanation to the others. ‘Comrades!’ he cried. ‘You do not imagine, I hope, that we pigs are doing this in a spirit of selfishness and privilege? Many of us actually dislike milk and apples. I dislike them myself. Our sole object in taking these things is to preserve our health. Milk and apples (this has been proved by Science, comrades) contain substances absolutely necessary to the well being of a pig. We pigs are brain-workers. The whole management and organisation of this farm depend on us. Day and night we are watching over your welfare. It is for your sake that we drink that milk and eat those apples. Do you know what would happen if we pigs failed in our duty? Jones would come back! Yes, Jones would come back! Surely, comrades,’ cried Squealer almost pleadingly, skipping from side to side and whisking his tail, ‘surely there is no one among you who wants to see Jones come back?’ Now if there was one thing that the animals were completely certain of, it was that they did not want Jones back. When it was put to them in this light, they had no more to say. The importance of keeping the pigs in good health was all too obvious.”

May I know if the speech made by Squealer in this extract is a hyperbole, gaslight (I’m not sure if this is a literary device), or some other device(s)? I know this is very wordy so you can take your time, no rush.

(I am doing a chapter analysis of chapter 3 in Animal Farm)

By the way, if you have written any other articles, please let me know! I would like to read them, thanks!

Take a look at writers.com/writing-tips for our archive on the craft of writing!

It wouldn’t be hyperbole, as a hyperbole is usually a word or phrase, not an entire passage of text. It’s better to analyze this passage in terms of its rhetorical strategies: Squealer is appealing to nebulous ideas like Science and the return of Jones–appeals to logos and pathos, despite there being a lack of evidence.

These strategies are logical fallacies: arguments that are easily disproven through reasoning, but which often resonate when people don’t employ critical thinking. Some of the fallacies here are “appeal to fear” and the “false dilemma” that Jones will return if the pigs don’t eat apples and milk (this is also a “red herring”).

I can’t provide much more help than this, as I don’t want to write your assignment for you, but I’m happy to point you in this direction, because understanding how logical fallacies are abused is essential to being an informed reader and citizen. 🙂

Ok, thanks for your reply!

Thank you! I am studying for an English final and this was a life saver!

My pleasure, Isla, good luck on your final!

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Hi what is the name of the literary device where you name a character after their personality eg. Mr Knighley, Miss honey or Miss Trunchball? Thank you

That’s called an “aptronym”!

Mind blowing indeed. I had no idea there were so many names for patterns I hear people use with words. This lis is great as is. I am using it to probe further into what they are. I would only suggest that if the time ever allowed for someone to provide a brief detail or definition to each it would save a lot of time for many like me. None the less, I am grateful for the work provided. Thank you.

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It is personification as well as apostrophe, as Sean suggested. Ghana (the nation, I am assuming) is personified as a mother who is able to teach her citizens (children) to change their negative attitudes towards her.

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Thanks so much, I never knew the list to this was as tall as everest, way back in school I didn’t take lit lessons serious and forgot everything til it came to mind to revise these devices And here google landed me, and thanks again so much.

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Can Dystopia be considered a kind of literary device?

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What Are Literary Devices? List & Definition Cheat-Sheet

What are literary devices? Many writers struggle to answer this question. In today’s guide, I’ll set the records straight and tell you what they are, how to use them, and why. By the end, you’ll have everything you need to wield language with precision and elevate your writing.

Understanding literary devices empowers us to convey what we want our audience to know or feel, which is the ultimate goal of storytelling. So, I’ll give you a list of literary devices and definitions in a simple-to-follow way that you can easily apply to your writing. Without further ado, let’s start learning.

What Are Literary Devices?

Literary devices are tools and techniques writers use to create depth and meaning in our work. From novels to poetry, essays to screenplays , these devices give writing texture, nuance, and resonance. They encompass many things, from language choices to structural patterns, and each serves a unique purpose in shaping the reader’s experience.

Here is a quick list of the literary devices I’ll be covering today:

Alliteration

Colloquialism, foreshadowing, personification, juxtaposition, metaphor or simile, onomatopoeia.

At their core, these literary devices enhance communication by engaging readers on multiple levels. They evoke emotions, spark imagination, and invite interpretation. Whether it’s the vivid imagery of a metaphor, the rhythmic repetition of alliteration, or the subtle foreshadowing of events to come, these devices enrich storytelling and leave a lasting impression on audiences.

With the “what” out of the way, let’s jump into a more detailed list of literary devices and definitions.

Literary Devices List & Definitions

Allusion is when a writer references another work of art, culture, or history within their writing. For example, you could describe your character as having “Herculean strength, ” referring to the Greek hero Hercules.

This instantly paints a vivid picture of the character’s physical prowess, allowing you to describe the character extensively (using relatively few words) through the power of association. Allusions can also establish tone, provide insight into characters, and enhance your thematic elements.

Diction refers to the choice and use of words and phrases in writing. It encompasses vocabulary, syntax, and style and influences the tone and atmosphere of a piece. For instance, a horror novel would likely use foreboding, ominous language to create a sense of tension and suspense.

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Diction conveys the intended mood, setting, and characterization. By carefully selecting words, writers can evoke specific emotions, enhance imagery, and effectively communicate their message to the audience.

Alliteration involves repeating initial consonant sounds in close proximity within a sentence or phrase. It adds rhythm and musicality to writing, making it more memorable and engaging. For example, “Peter Piper picked a peck of pickled peppers” is a classic alliterative phrase.

While alliteration is most used in poetry, it certainly has a place in novels when used well. Alliteration adds a lyrical quality to the writing, which can help break up long descriptive passages and capture the reader’s attention. An example could be:

“The moonlight danced delicately down the dim, deserted street, casting captivating shadows on the cobblestone pathway. A gentle breeze whispered through the withering willows, weaving wistful melodies that echoed eerily in the empty air. The scent of sweet jasmine mingled with the subtle scent of sandalwood, suffusing the silent night with a sense of serenity and solitude.”

An allegory is a literary device in which characters, events, or settings represent abstract ideas or moral principles. It allows writers to convey complex concepts in a more accessible and relatable manner. For instance, George Orwell’s “Animal Farm” allegory uses farm animals to satirize political systems and human nature.

Allegory is important because it lets you explore deeper themes and commentary while maintaining a coherent and accessible narrative. It also encourages critical thinking and interpretation, engaging readers on multiple levels and often leaving a lasting impact.

Colloquialism refers to informal, everyday language specific to a particular region or social group. It reflects natural speech patterns and cultural norms, adding authenticity and realism to dialogue. For example, using “gonna” instead of “going to” or “y’all” instead of “you all” in a novel set in the Southern United States.

Using colloquialisms lends authenticity to characters and settings, making them more relatable and believable to the audience. It enhances characterization and enriches dialogue, helping to establish tone and legitimize the setting.

Euphemism involves substituting harsh or unpleasant terms for milder or indirect language. It allows writers to address sensitive topics gracefully and characters within the work to do the same. An example of euphemism is using “passed away” instead of “died” in a story about grief and loss.

Importance: Euphemism conveys things with subtle nuances of meaning and can evoke specific emotions without being overly blunt. It’s also important to remember that people in delicate real-life situations tend to use less upsetting, possibly offensive language when possible. As a result, it can often be a realistic way for characters to speak as well.

Flashbacks are scenes or sequences that depict events from the past within the timeline of a narrative. They provide context, backstory, and insight into the characters’ motivations and experiences. For example, in a screenplay, a character’s traumatic childhood might be revealed through flashback sequences.

Having readers experience these key moments enriches storytelling, deepens characterization, and explores the consequences of past actions. When done well, they create suspense, intrigue, and emotional resonance, improving the overall impact of the narrative.

Foreshadowing involves hinting at future events or outcomes within a story. It builds anticipation and suspense, preparing the audience for what is to come. For example, in a mystery, subtle clues or ominous warnings early on may foreshadow a later plot twist or revelation.

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Foreshadowing is very important for your narrative. With no foreshadowing, your big reveals will feel like they came out of left field. However, when you use them well, they create a sense of tension, leading to a more satisfying payoff later in the story.

Imagery refers to using vivid and descriptive language that appeals to the senses and creates a mental picture for the reader. By painting a detailed picture of the setting, characters, and events, you accomplish the classic advice of “show, don’t tell.”

Proper imagery transports readers into the story, immersing them in its sights, sounds, smells, tastes, and textures. It enhances mood and atmosphere and adds richness to the narrative.

Personification involves attributing human qualities or characteristics to non-human things, like objects, animals, or abstract concepts. It gives these entities human-like traits, behaviors, or emotions, making them more relatable and accessible to the reader’s imagination.

One of my favorite examples of personification comes from William Wordsworth’s poem “I Wandered Lonely as a Cloud”:

“I wandered lonely as a cloud That floats on high o’er vales and hills, When all at once I saw a crowd, A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze.”

Clouds don’t get lonely; they can’t see, and daffodils can’t dance. This is personification. However, when Wordsworth says the daffodils are “fluttering and dancing in the breeze.” he gives them human-like qualities of movement and emotion that bring them (and the scene of nature) to life in our imagination.

Juxtaposition involves placing two or more contrasting elements side by side to highlight their differences or create a sense of tension or irony. It draws attention to disparities, contradictions, or unexpected connections between ideas, characters, or situations.

In Charles Dickens’s “A Tale of Two Cities,” the opening line, “It was the best of times, it was the worst of times,” juxtaposes opposing extremes to underscore the tumultuous nature of the times. Other examples are love and hate, war and peace, life and death, etc.

When done well, juxtaposition encourages readers to consider the complexities and contradictions inherent in the human experience. It adds depth and nuance to the narrative by challenging assumptions, inviting readers to explore alternative perspectives, and making things less black & white.

Metaphors and similes are figurative language devices that compare two seemingly unrelated things to create a vivid and imaginative image. The two are slightly different but achieve the same thing. A metaphor implies a direct comparison without using “like” or “as,” whereas similes use these words to establish the connection more explicitly.

A great yet simple example of a metaphor is “Her heart is a fragile glass.” In this metaphor, the heart is compared to glass. This implies that it is delicate and easily broken, suggesting that the person’s emotions or feelings are vulnerable and can be shattered, much like glass.

Here is a simile: “Her heart is like a fragile glass.” This simile also compares the heart to glass. However, unlike a metaphor, a simile uses “like” to make the comparison explicit. By saying “like,” the simile indicates a direct resemblance between the heart and glass, emphasizing the fragility of the heart more directly.

Both metaphors and similes enable us to convey abstract concepts, emotions, or experiences in concrete and relatable terms. They stimulate the imagination, evoke sensory impressions, and create memorable associations that deepen the reader’s understanding and engagement with the text.

Tone refers to the writer’s attitude or perspective toward the subject matter, characters, or audience and is conveyed through the writing’s language, style, and mood. Your tone can be formal, informal, serious, humorous, optimistic, pessimistic or satirical, depending on the intended effect.

For example, “To Kill a Mockingbird” starts with a nostalgic and innocent tone as Scout Finch recalls her childhood, but as the story delves into themes of racism and injustice, the tone becomes more somber and reflective.

Tone sets a literary work’s overall mood and atmosphere and is your tool for making sure the reader feels the way you want them to feel when they read your work. To be more hands-on with the tone of your writing, immerse yourself in the emotions and atmosphere you want to convey.

Experiment with word choice, sentence structure, and pacing to evoke the desired feeling. Consider the reactions you want from readers and adjust your tone accordingly, whether it’s playful, sad, suspenseful, or nostalgic. And remember to stay consistent throughout your narrative to maintain the tone’s impact.

Onomatopoeia is words that imitate or mimic the sound they describe. So, “The bee buzzed around the flowers. The fireworks boomed in the night sky. The bacon sizzled in the frying pan.” These words imitate the sounds they describe, adding an auditory element to the writing and engaging more senses.

Additionally, onomatopoeic words can convey emotional nuances within writing. “The rain tapped lightly against the window, creating a soothing rhythm that lulled her to sleep.”

In this sentence, the onomatopoeic word “tapped” not only describes the sound of the rain but also conveys a sense of gentleness or tranquility, which enhances the overall mood of the scene. Also, just for your information, when writing, onomatopoeia are generally italicized to make them clear to the reader.

There you have it, folks: a quick list of the most common literary devices, their definitions, and how they can be applied to your writing. Even if you weren’t aware of the names, you’ve undoubtedly been using many of them already. Hopefully, today’s article will allow you to be more intentional about weaving them into your work and improve it. Until then, get out there and get to writing.

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• Literary Devices | List & Examples

Literary Devices | List & Examples

Published on April 13, 2024 by Kassiani Nikolopoulou, MSc . Revised on September 25, 2024.

Literary devices are the techniques and strategies authors use to enrich their writing and take it beyond the literal meaning of words. They serve various purposes and can operate at the sentence level or even permeate an entire literary work. Common literary devices include metaphors , similes , and irony .

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Table of contents

What are literary devices, literary devices list, literary devices examples, frequently asked questions about literary devices.

Literary devices refer to the creative tools writers use to elevate their works above ordinary writing.

When used effectively, literary devices add depth, beauty, and emotional resonance to literary works. Writers typically employ several devices simultaneously. However, some literary devices are more common in certain forms of writing. For example, we are more likely to encounter assonance or alliteration in poetry than in prose.

Although we can still enjoy a work of literature without actively recognizing a malapropism or examples of personification, understanding literary devices is crucial. It allows us to appreciate the depth and complexity of a text, maximizing our overall comprehension and enjoyment of the writing.

• Onomatopoeia (word level) to create vivid imagery and enhance the reader’s experience (e.g., “The bees buzzed around the flowers”).
• Parallelism (sentence level) to create balance and rhythm (e.g., “Not only is he a great musician but also a dedicated scholar”).
• Foreshadowing (structural level) as an overarching narrative strategy, to build suspense and anticipation (e.g., “As the dark clouds gathered overhead, he couldn’t shake the feeling of impending doom”).

Here is a list of some common literary devices with definitions and examples.

Literary devices encompass a wide range of elements and techniques. Some operate at word level and help create multiple interpretations or vivid imagery. Others refer to stylistic elements that shape an entire story.

Alliteration

Alliteration is the repetition of the same consonant sound in a series of nearby words (e.g., “ s lithering s nake”). This is used to create a rhythmic effect, add emphasis, or make a phrase more memorable. Alliteration is commonly used in the names of cartoon and comic characters (e.g., “the Green Goblin,” “Doctor Doom,” “Peter Parker”).

A metaphor is a direct comparison between two dissimilar things, typically by stating that one thing is another.

Imagery is the use of figurative language to appeal to the reader’s senses. It involves detailed descriptions of sight, sound, taste, touch, and smell, and it is used to create a specific mood or atmosphere in a literary work. It also refers to recurring types of images, such as food or nature imagery.

An allegory is a narrative in which abstract concepts, such as good, evil, or death, have become characters, places, or other elements in the story. The purpose of an allegory is usually to convey a deeper meaning or impart a moral lesson.

Foreshadowing

Foreshadowing occurs when the author hints at future events before they happen. These hints can be revealed with varying degrees of subtlety, but the future is never fully disclosed.

Euphemism is a mild or indirect word or phrase that replaces one that could be considered harsh or unpleasant. Euphemisms are often used in the context of delicate or sensitive topics, like death, sex, or social taboos, to avoid causing discomfort.

A flashback is an interruption in the chronological sequence of events to show readers a scene from an earlier time. It is a technique used to provide important background information or reveal meaningful details about the characters and the plot.

An allusion is a reference, typically brief and indirect, to a person, event, or other literary work that the reader is expected to recognize. Through allusions, writers can condense layers of meaning and significance into a single word or expression.

Point of view

Point of view is the perspective from which a story is told, and it determines who is telling the story to whom . For example, a story might be told in first person (“I,” “me,” “we”), second person (“you”), or third person (“it,” “they,” “she,” “he”). It is also possible to shift throughout the story.

For example, in A Study in Scarlet by Sir Arthur Conan Doyle, the story is told from the point of view of Dr. Watson in a first-person narrative, as in most Sherlock Holmes stories.

“Looking for lodgings,” I answered. “Trying to solve the problem as to whether it is possible to get comfortable rooms at a reasonable price.”

Irony is a literary device in which a statement or situation has the opposite meaning of what it seems. Writers use irony in a variety of ways, including in dialogue or when describing a situation to highlight a contrast between appearance or expectation and reality.

A simile is an explicit comparison between two dissimilar things such that their comparability seems unlikely. Similes contain the words “like” or “as,” which differentiates them from metaphors.

That’s newly sprung in June;

O my Luve is like the melody

Satire is a technique writers use to criticize the shortcomings and flaws of individuals, institutions, or society at large. Although satire is humorous, its goal is to create awareness and bring about change.

Juxtaposition

Juxtaposition is the placement of contrasting ideas, images, or characters side by side to encourage readers to consider the relationships between them. It is often used in literature to create contrast or highlight a theme.

Hyperbole is the use of exaggerated language to emphasize a point or add humor to a situation. It involves extravagant statements or descriptions that are obviously untrue.

A paradox is a seemingly impossible situation or statement that appears self-contradictory at first yet reveals a deeper truth or meaning.

Literary devices and rhetorical devices are closely related, but they differ in their purpose and use:

• Literary devices encompass a broad category of artistic techniques that writers use to enhance their writing, adding interest and depth. For example, devices like irony or metaphor and narrative styles like first-person point of view fall under this category.
• Rhetorical devices , on the other hand, are techniques used to persuade and evoke emotion. Examples include metonymy , appeal to emotion , and understatement . Although these can be used as literary devices, we often encounter them in various forms of communication, such as speeches, advertisements, and debates where their primary role is to influence decision-making.

In short, literary devices are used to enrich a narrative, whereas rhetorical devices are more focused on persuasion and emotional appeal. However, literary and rhetorical devices sometimes overlap (e.g., irony).

Literary devices and figures of speech are both techniques used in writing and speaking; however, they serve different purposes and are used in different ways.

• Literary devices are techniques or tools that a writer uses to create a specific effect or convey a certain meaning. These devices include elements of language, structure, style, and narrative technique.
• Figures of speech , on the other hand, are a subset of literary devices. They primarily involve the use of language in non-literal ways. Examples of figures of speech include metaphors , synecdoche , and consonance .

In short, while all figures of speech are literary devices, not all literary devices are figures of speech because literary devices encompass a broader range of techniques.

Is this article helpful?

Kassiani Nikolopoulou, MSc

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Literary devices (so many of them): the complete & unbeatable guide.

There are a lot of terms in literature, and at times, it may seem overwhelming to learn them all.

One way to simplify learning literary terms is to learn about literary devices.

This subject area includes tons of literary terms, and learning the ins and outs will bring your writing (and reading comprehension) to a whole new level.

What is a Literary Device?

A literary device is exactly what it sounds like; it’s a tool used by writers to transform words into literature.

Some literary devices are common terms that you likely use often: theme, plot, style, etc. Others you may have never heard of: ad hominem, neologism, spondee, etc.

No matter how common or far-fetched these terms get, every literary device has its place. The more you know, the better you can write. With the help of the following information, you can be well on your way to knowing every literary vice in existence:

Literary Devices v.s. Literary Elements v.s. Literary Techniques

Before diving into a real list of literary devices, there’s two terms you’ll need to know: Literary elements and literary techniques. These are the two different categories of literary devices.

Literary elements are the “big things.” They are something that the reader is able to figure out, and they allow the reader to gain a deeper understanding of the text. They include devices such as character, tone, and genre.

Literary techniques are devices that are used specifically by the writer to make their words come to life. They include devices such as metaphors, symbolism, and rhymes.

The Most Well-Known Literary Elements:

These literary elements are terms you may already be familiar with, and they’re a great way to dip your toes into literary device learning:

Voice: Voice is simply the way in which a writer portrays their words. Voice may be professional in a research paper, and heartfelt and funny in a letter to a loved one, for example.

Voice can also be written in either active or passive form. Active Voice is written as follows “He picked up the wrapper and threw it in the trash. Passive Voice would state “The piece of trash was picked up by the man and thrown into the trash. Active Voice is clear, and it is preferred in most writing circumstances.

Point of View: Point of View is a term that shares whose voice the words on the page are coming from. Here are some examples of point of view:

• First Person : The writer is telling the story to an audience. For example, “I am riding my bike to Jan’s house.”
• Second Person : The writer is telling the story to “you,” using the term “you” throughout the piece. For example, “I am riding my bike to your house.”
• Third Person : The writer is telling the story from an outside perspective, using names as well as the terms “he” and “she.” For example, “She is riding her bike to Jan’s house.”

Theme: The theme, in regards to writing, is the big idea behind a piece. A novel, for example, could tell a story of a young couple in the 1940’s and have a historical theme.

Structure: Structure is how writing is organized. Structure can organize written work in many ways, including chronologically, by cause and effect, by offering a problem then a solution, as well as many other ways (as long as they are logical and able to be understood by the writer and the reader).

Here are some common structures:

• Novel: A novel is a longer piece of fiction that has a distinctive form. Its structure includes an exposition (important information that needs to be told before the story can begin), a rising action ( a series of events that bring about feelings of interest and suspense), a climax (the big event or turning point in the story), a falling action (the action that follows the climax), and a resolution (the way the story ends).
• Novella: This is a piece of writing that is shorter than a novel, but longer than a short story. “Of Mice and Men,” by John Steinback, is a well-known example of a novella.
• Short Story: Short Story still follows a polt, but it’s shorter than a novella. Fairy tales are often written in the form of short stories.
• Vignette: This is even shorter than a short story. It’s basically just a quick description of one happenstance. “House on Mango Street,” by Sandra Cisnreos is a popular vignette.

Style: Style is simply the way in which a writer expresses themself. There are four styles of writing, which are also literary elements:

• Expository: This is an informational writing style. Your research paper would take on this style, as would a news report.
• Narrative: This style tells a story, whether fiction or nonfiction. Examples include novels, autobiographies, and much, much more.
• Descriptive: This writing style engages the senses to draw the reader into a space that the writer creates. Many poems fall into this category.
• Persuasive: This writing style tried to persuade the reader to share the writer’s opinion. An article filled with heartfelt stories on the benefits that would come from raising the legal drinking age, for example, would be persuasive.

Audience: The audience is who you are writing to. For example, if you’re writing a young adult novel, your audience is adolescents. You’ll want to write with them in mind.

The Most Well-Known Literary Techniques:

This is another list of terms you may know, but this time they are literary techniques. These are simple, but they’ll once again transform your writing:

Simile: A simile compares one thing to another. For example, “you’re sweet like honey.”

Metaphor: A metaphor refers to one thing as something else. “You’re my knight in shining armor,” used to describe a normally dressed, non-knight boyfriend, is a commonly used example.

A metaphor can be extended , to drive in the point of the comparison. For example, “He’s the apple of my eye. He fell down from the branch in front of my eyes as I walked past the apple tree. I picked him up, and his crisp, clean look convinced me to keep him near. I only became more and more impressed to learn his beauty was more than peel-deep.” This cheesy metaphor is brought into a clearer image with descriptive language that continues throughout the following sentences.

Metaphors can also be implied , which means this object of comparison is understood, but not mentioned. For example, “She’s a good catch.” It’s clear the comparison is being made between the girl and a fish, yet fish are never actually mentioned.

Personification: Personification gives human-like tendencies to non-human or non-living objects. For example, “My running shoes stared at me from across the room, telling me it was time to wake up and get my morning jog in.”

Imagery: Imagery is a descriptive language that draws the reader in, so they’re able to feel, see, hear, and even smell what the writer is describing. An example would be “She picked a leaf from the tomato plant, hearing a soft crunch when the leaf broke off its stem and feeling the hair-like texture that covered it well.”

Alliteration: Alliteration is the repetition of the beginning sounds of words throughout a sentence. “Sally sold seashells by the seashore” is a commonly used example of this literary technique.

Sentence-Related Literary Devices:

Did you know that types of sentences are considered literary devices? It’s because these types of sentences are formed in a way that serves a specific purpose:

Imperative Sentence:

Balanced Sentence: A balanced sentence has two parts, each of which are close to equal in regards to length. For example, “I want to go to the park, but it’s cold and raining right now.”

Cumulative Sentence: This type of sentence begins with the main clause, and ends with multiple more clauses or phrases that add to or change the main clause. For example, “We went to the store often, so often, in fact, that we started to dread the trip, and it became our least favorite place to go.”

Hypothetical Question: This sentence type asks a question that is based on opinions or assumptions instead of fact. An example would be, “You’re in a boat that’s starting to fill with water; do you jump out and swim to shore or do you attempt to mend the boat?”

Simple Paragraph: The simple paragraph isn’t quite a sentence, but it’s a simple writing form nonetheless. Simple paragraphs are written with a topic sentence at the beginning, support sentences in the middle, and a concluding sentence at the end. They’re used in almost all types of writing, making them an essential technique for all writers to learn.

The description above can be viewed as a simple paragraph example. Convenient, right?

Literary Devices by Genre:

First off, it’s important to note that “genre” itself is a literary device! It’s considered a literary element, to be exact. A genre is a category of writing, and can include drama, romance, humor, poetry, and more. Each genre is also considered a literary device, and each genre has many devices that are used within it.

This may seem a little bit like opening up a matryoshka doll, but it’s simpler than it sounds. Check out these literary devices organized by genre to gain a deeper understanding:

Fiction: Fiction is all about make-believe. It’s any written work that is not based on true events.

• Science Fiction: This is a type of fiction writing that’s based on future technological or scientific advances; think robots, aliens, time travel, etc.
• Drama: Drama is a fiction narrative that is written with a more serious tone. Shakespeare’s “A Midsummer Night’s Dream” is a great example of a drama piece.
• Melodrama: To understand this genre, think drama, but exaggerated. Soap Operas can be considered melodramas.
• Tragedy: This is a form of drama that brings suffering to center stage. Romeo and Juliet is the perfect example for the tragedy genre.
• Fantasy: This is a form of fiction that’s based around myths, legends, or supernatural activity; think The Lord of the Rings and the world created within its pages.
• Romance: Romance highlights love stories and ends with optimism. Nicholas Sparks novels are all about Romance.
• Comedy: Comedy is funny, amusing, and almost always has a happy ending. Comedy is a common genre for adolescent reads, though there are comedy pieces written for all ages.
• Tragicomedy: This is just what it sounds like – a mix between comedy and tragedy. It may be that the tragic events are so overdone that they are funny, or the story may end in an uplifting and goofy way. Shakespeare’s “The Winter’s Tale” is a tragicomedy.
• Tall Tale: A Tall Tale is written as if it’s true, but the events are so far-fetched that any reader would know they’re actually fake. The tales of Paul Bunyon and Johnny Appleseed are great ways to view into this genre.
• Fable: Fables are short stories that teach a lesson. They are often written with animals as characters. One well-known fable is “The Tortoise and the Hare.”
• Fairy Tale: Fairy Tales are creative stories filled with fascinating characters. They are usually written for children. Cinderella is Fairy Tale that almost everyone knows.
• Utopia: A Utopia is a story in which the characters live in a “perfect world.” Plato’s “Republic” is a well-known Utopia.
• Dystopia: A Dystopia is just the opposite; the characters live in an awful world. “The Hunger Games,” by Suzanne Collins are Dystopian novels.
• Satire: Satire is a genre that is meant to shame a person or organization. Satire is especially common in today’s web in the area of tearing down opposing politicians.
• Thriller: Thrillers are books that are meant to keep readers on their toes. Stephen King’s books are popular thrillers.
• Suspense: A Suspense story is similar to a thriller, but it keeps the reader in a state of anxiousness, eager for additional information. Murder mystery books fit into the Suspense genre.
• Parody: A Parody piece is similar to Satire, but it simply imitates another story instead of tearing it down. An example would be “Bored of the Rings,” by Henry Beard and Douglas Kenney. It’s not meant to bring “The Lord of the Rings” down, rather it’s a read that is built for humor and entertainment.

As fiction has plenty of subtypes, it also has a long list of literary devices that are often used within its genre. These literary devices play large roles in creating make-believe writing:

• Protagonist: The protagonist is the main character in a story. Harry Potter is the protagonist in the Harry Potter series.
• Antagonist: The antagonist is actively working against the protagonist. For example, Voldemort (or should we say “he who shall not be named?” is the antagonist in the Harry Potter books.
• Hero: The hero is another name that the main character in a story may be called, especially if they accomplish something great. Hamlet is the hero in Shakespeare’s “Hamlet.”
• Anti-hero: This is a main character that just doesn;t have those hero-like characteristics. Lucifer in “Paradise Lost” is a strong example of an anti-hero in literature.
• Anti-climax: In an anti-climax, tension builds up to an event, but nothing major actually happens. For example, a woman forgets to shut the door to her home in a horror movie, causing the audience to feel suspense as they believe the evil character may sneak inside. Later on, though, the main character simply remembers to close and lock the door.
• Dialogue: This is where two or more characters talk between each other. Most novels are written with a large amount of dialogue.
• Monologue: Monologue is where only one character speaks for a fairly lengthy amount of time. King Henry V’s “St Crispin’s Day” Speech in Shakespeare’s “Henry V” is a well known example of a monologue.
• Character: A character is a person who appears in a work of fiction. Every fiction book you read is filled with characters (as well as many nonfiction books).
• Flat Character: Flat characters stay the same from the beginning of the story to the end. Usually, flat characters aren’t the main characters. They are smaller roles, such as the strict teacher or the loving mother, who do not grow or change throughout the book.
• Static Character: This is just another term that describes flat characters! See the above term for more information.
• Dynamic Character: A Dynamic Character grows and changes throughout the book. They learn from the challenges that they face throughout the pages of the book. Most main characters are dynamic.
• Round Character: This is once again the same as a dynamic character. It’s simply another term that holds the same meaning.
• Direct Character: This just means that an author explicitly explains who a character is. Their personality does not need to be found through the happenings in the book. For example, an author may state that the main character is young but wiser than their years may suggest. This characteristic would then be reinstated throughout the story.
• External Conflict: This type of conflict takes place between a character and an external force. For example, a man is in a plane crash and works to survive in the wilderness until help arrives.
• Internal Conflict: Internal conflict takes place within a character. This may be related to a decision a character has to make, or an important, internal opinion that changes throughout the book.
• Flashback: A flashback is a scene in a book that shares a glimpse into the past. For example, when a hero is fighting off a monster and they are growing weak, about to give up, they may have a flashback and remember a person they love telling them they are strong enough to accomplish anything. The strength they receive from reliving this flashback would help them to win the fight that is occuring in current time.
• Flash-Forward: A flash-forward gives the audience a glimpse of the future before it actually happens. The Scrooge visits in Chalres Dickens’ “A Christmas Carol” are a perfect example of flash-forward scenes.
• Foreshadowing: This gives the reader a hint of what is to come. An example would be when Little Red Riding Hood’s grandmother tells Little Red to “watch out for the wolf in the woods.”
• Frame Story: This is a story within a story. “Frankenstein,” by Mary Shelley has multiple frame stories.
• Narrator: This is a third-party voice that tells the story. “The Book Thief” is told from the perspective of a narrator.
• Plot: This is simply the name for the events that make up a story. Every work of fiction has a plot!
• Subplot: This is a smaller story that happens alongside the main story. A romantic relationship that occurs in an action-based book would be a subplot.
• Prologue: This is a chapter that provides an opening for a story, giving necessary background information. “The Book Thief,” by Markus Zusak has a prologue that introduces the narrator, for example.
• Epilogue: An epilogue is a chapter found at the end of a book that provides a conclusion, even though the actual story has already been finished. The Harry Potter series ends with an epilogue set nineteen years in the future, for example..

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• Setting: This is simply where the story takes place. It could be a city, a school, or within a character’s home.
• Self-Fulfilling Prophecy: This is something that is believed by a character to the point that they make it come true. Macbeth’s death was due to a self-fulfilling prophecy.
• Tragic Hero: A tragic hero does something that causes their own failure. Maybe their inability to ask others for help got them into a situation they couldn’t overcome on their own.
• Tragic Flaw: This is a trait that causes the main character to fail. For example, the character’s pride could get in the way of them winning a race.
• Cliffhanger: Some people hate them, and some people love them. A Cliffhanger is a story that ends without telling the audience what exactly happened. Every Harry Potter book ends with a cliffhanger.

Non-Fiction: Nonfiction is the opposite, so it’s based on true events. The types of nonfiction writing are listed below:

• Autobiography: An Autobiography is the written story of someone’s life, written by themselves. “The Diary of a Young Girl,” by Anne Frank, is a strong example of an autobiography.
• Biography: A Biography is the written story of someone’s life, written by someone other than them. Most biographies share the life story of famous people, such as authors, presidents, musicians, actors, etc.
• Memoir: A Memoir is a type of autobiography written about specific memories or events in a person’s life. One popular memoir is “The Glass Castle,” by Jeanette Walls.”

Play: A play is a written work meant to be performed in front of an audience. It tells a story through character dialogue. One common play is “Les Miserables.” Plays, once again, have some literary devices of their own:

• Dramatic Irony: In a play, dramatic irony is where the audience understands what is happening, but the characters do not. For example, the audience may see that a teacher is leaving lunch on the desk of a child who normally goes without, while the character of the child does not know where the food is coming from until later on in the story.
• Dramatic Monologue: A dramatic monologue is a speech made by a character often in a play though they can also occur in books, where the character tells a part of the story. Shakespeare’s works are filled with examples of these.
• Comic Relief: Comic relief is a funny moment or character that gives the audience a break from a serious matter. The nurse in “Romeo and Juliet” provides comic relief through her multiple jokes.

Poem: A poem is a form of written work filled with imagery that provokes emotion. Robert Frost is a well known poet. Poems have many literary devices, which you can learn more about below:

• Anapest: This describes two short, unstressed syllables followed by a long, stressed syllable. An example is “Welcome home.”
• Blank Verse: A Blank Verse is a line of a poem that does not use a rhyme. They are often written in Iambic Pentameter (a line of ten syllables, stressed syllables following unstressed syllables). Blank Verses appear often in works of Shakespeare.
• Ballad: This is a poem that tells a story through the use of short stanzas. It can also be set to music, similar to a song. Thomas Hardy’s “During WInd and Rain” is a popular ballad.
• Caesura: This refers to a pause in the middle of a line of poetry.

“The bird flew; his wings were black as night.”

• Canto: This is the name of a section of a long poem.
• Catalogue: This is a type of poem that is filled with many images.
• Cinquain: A Cinquain is a style of poem written with fines.
• Common Meter: This poem writing style uses lines that alternate between six and eight syllables, and follows the iambic (stressed syllable followed by unstressed syllable) pattern.
• Couplet: A Couplet is two lines of a poem that work together, often with a rhyme.
• Dactyl: This is one stressed syllable, and then two unstressed syllables. “Elephant” could be a dactyl, for example.
• End Rhyme: This is just what it sounds like, rhymes that appear at the end of lines.
• End Stopped Line: This is a line in a poem that ends with punctuation, to show the end of a segment or thought.
• Epic: This is a long, narrative poem that focuses on a specific heroic or brave person, often from historical times.
• Exact Rhyme: An exact rhyme uses two words with the same stressed vowel sound and the same ending sound. For example, ”cat” and “hat” are an exact rhyme.
• Eye Rhyme: This is a rhyme in regards to the way your eyes see the word. For example, “cow” and “tow.” The words look the same, but they do not rhyme when they are said aloud.
• Feminine Rhyme: This is a set of words that rhyme in both the stressed syllable and the unstressed syllable that follows. For example, “paper” and “taper” are feminine rhymes.
• Foot: This is one stressed syllable, followed by one or more unstressed syllable(s). A dactyl is one type of foot.
• Formal Verse: This is a piece of poetry that follows a specific meter. It could follow any of the meters in Poetry, for example. It could follow Iambic Pentameter.
• Free Verse: A free verse follows no meter or structure. It is written however the author wants it to be.
• Haiku: A Haiku is a poem that has three lines. The first line has five syllables, the second line has seven, and the third line has five once again. Here’s an example of a Haiku:

“I woke up at dawn

To the sound of many birds

They were flying near.”

• An example of a half rhyme is “pun” and “fume.”
• Hyperbaton: This term refers to the inversion of words. Yoda speaks with inversion, for example.
• Hyperbole: A hyperbole is exaggerated, and not necessarily true.

“I’ll walk one thousand miles just to be with you.”

• Hypophora: This is when a question is asked, and then answered right away.

“What day is it? The most beautiful day.”

• Hypotaxis: Hypotaxis is when a clause is subordinate to another clause.

“The moon was bright, lighting up the sky.”

• Imab: This refers to a short, stressed syllable followed by a long, unstressed syllable. “Attack” is an example of an iamb.
• Internal Rhyme: Two words that rhyme because of their middle segments are internal rhymes. “Together forever” is an example of this type of rhyme.
• Innuendo: This is a slightly sneaky, often inappropriate, hint.
• Limerick: A limerick is a funny poem with five lines. One popular limerick is “Hickory Dickory Dock.”
• Line Break: This is when a line of a poem ends with punctuation.

“The sun was warming the ground

“Making the early morning dew dry up.”

• Lyric Poem: This is a style of poem that expresses emotion. Edmund Waller’s “Go, Lovely Rose” is an example of a lyric poem.
• Meter: Meter is the pattern of syllables that makes up a poem. Iambic Pentameter is a common example.
• Narrative Poem: This is a type of poem that tells a story. Geoffrey Chaucer’s “The Canterbury Tales” is a well known example.
• Onomatopoeia: An onomatopoeia is a word that describes a sound. “Click,” “Plop,” “Sizzle” are all examples of this term.
• Octave: An octave is a set of eight lines in a poem. It can make up a poem alone, or it can be a piece of a longer work.
• Ode: An ode is a lyric poem written to a person or a thing and filled with emotion. John Keats’ “Ode to a Nightingale” is a popular example.
• Poetic Justice: This describes the good characters winning and the bad characters losing. Most children’s stories, for example, have poetic justice.
• Quatrain: This is a stanza with four lines.
• Refrain: This is a line, often found at the end of stanzas, that is repeated throughout the poem.
• Rhyme: A rhyme is made up of two words that have similar sounds. For example, “ball” and “tall” are rhymes.
• Rhyme Scheme: This is the pattern in which rhymes are placed throughout a poem.
• Riddle: A riddle is a short, beautifully written question, that is asked as a type of game.

“What has to be broken before being used?”

• Sestet: A sestet is the last six lines in a type of poem called a sonnet.
• Slant Rhyme: Slant rhymes are similar, but they do not sound exactly the same. An example could be “orange” and “porridge.”
• Sonnet: A sonnet is a poem made up of fourteen lines. It can use any type of rhyme scheme. Shakespeare wrote many sonnets.
• Stanza: A Stanza is a set of lines in a poem that is grouped together.
• Tercet: This is three lines of a poem that often rhyme.

“I chased the cat

I swung the bat

I wore a hat.”

• Trochaic: This is a poetry meter that is made up of Trochees , or stressed syllables followed by unstressed syllables.

Prose: Prose is a form of writing that has no formal structure. Everyday language is technically even spoken in prose.

Proverb: Proverbs are simple statements that share truth, whether it be based on life experience or spiritual beliefs. A common proverb is “Once bitten, twice shy.”

Folklore: Folklore is a genre that encompasses fictional stories, songs, and more, specifically related to a culture and its history. Fairy tales, tall tales, myths, and legends can all be considered folklore.

Myth: A myth is a story, typically an origin tale, that often involves gods or other supernatural beings. Greek Mythology and the stories within it are strong examples.

Legend: A legend is a story that is told as if it were true. It typically takes place in the distant past, and it has a lesson or value behind it.The story of the Loch Ness Monster is an example of a legend.

Essay: An essay is a short piece of prose writing that focuses on a specific topic. School assignments are great examples of essays. Here are some literary devices that are found within essays:

• Main Idea: The main idea is the purpose behind a piece. For example, the main idea of this piece is literary devices.
• Transition: A transition smooths the movement from one topic to the next. For example, If you’re talking about the history of dogs and you need to move into speaking about dogs in current times, your transition could state “The history of dogs is rich and fascinating, but the present world of dogs has even more to offer.”
• Thesis: The thesis is the statement sentence that shares what the rest of the essay will discuss or prove. For example, a paper about the dangers of drinking and driving could state “Drinking and driving is dangerous because it puts both yourself and others at risk.” The rest of the essay would then go on to prove those two statements.
• Argument: An argument is the presentation of opposing or opinion-based views. FOr example, you may state “The death penalty should not exist.” The rest of your essay would back up why you hold the beliefs that are presented in your argument.

Critique: A Critique is a form of writing that reviews something, such as a movie, restaurant, or piece of art. When you look at the reviews for a new movie in theatres, you’re likely reading a critique.

More Literary Devices to Explore:

Knowing the most common literary devices is one thing, but knowing ones that aren’t often used can set your writing apart. Here’s a list of every other literary device for you to explore (and add to your future writing projects):

• Allegory: An allegory is a story that has a deeper meaning buried within it, often regarding real-world events. Animal Farm by George Orwen is an allegory.
• Allusion: An Allusion is a brief way to bring something up without actually saying it. For example, stating someone is acting like “Eeyore” would be an allusion toward them feeling down and depressed.
• An example could be “I saw a dog in a blue dress.” Was the dog wearing the blue dress, or were you?
• Amplification: Amplification is simply adding onto a point or sentence. For example, “Biking is great exercise” can be amplified by stating “Biking is an excellent workout for your entire body, from the cardio work that benefits your heart and lungs to the lower body movements that strengthen your muscles.
• Analogy: An analogy is a descriptive tool that compares one thing to another. “Life is like a box of chocolates; you never know what you’re gonna get” from “Forrest Gump” is a well-known analogy.
• Ad Hominem: Ad Hominem is a remark made against a person instead of an argument. It’s often found to be noncredible. An example would be stating that a person didn’t graduate high school and therefore their facts on global warming must be incorrect.
• Anachronism: An anachronism is a part of literature that is out of place or out of time when compared to the rest of the work. Anachronisms can be used to help the audience relate or to provide humor. An example would be placing cell phones in a story that occured in the nineteenth century.
• Anadiplosis: This is when a sentence endswith a specific word, and the next sentence begins with that same word. It’s often used to provide emphasis or style to a piece. For example, “Life is short. Short chunks of time are all we have to fill with memory and adventure.”
• Anagram: An anagram is a word that has the same exact letters as another word, but in a different order. An example would be “silent” and “listen.”
• Accumulation: Accumulation is when multiple similar terms or characteristics are listed to describe something. It works to provide emphasis. An example would be, “My kitten’s fur is as soft as the sky, as fuzzy as a peach, and as smooth as linen.”
• “ D irty paw prints fill the floor on muddy days. O ver all the furniture you’ll find little strands of fun. G reater than these issues, though, is the love my sweet pet gives back to me.”
• Adage: An Adage is a short saying that is regarded as truth throughout society. An example is “Many hands make light work.”
• Anacoluthon: This is a term for an interrupted sentence. These can be used as literary tools, but you may notice them more often in everyday life: “I need to stop by the store to get- Wait, did you send me the recipe we need for dinner tonight?”
• Anagnorisis: This is a term that describes the moment in a story when a character discovers truth, whether it be who they are or what is happening. It leads to the resolution of the conflict. Almost every story written today contains this moment; you just may need to search for it!
• “I’m so hungry I could eat a whole elephant.”
• “It was cold. It was dark. It was time to go home.”
• Anecdote: This is a short story that shares a point, and also often makes the audience laugh. It could be any story within a story, or relating to a topic being discussed.
• Anthimeria: This is simply trading one term for another. For example, in the phrase “Let’s hop to it,” “hop to it” means to go or get started on a task.
• Antanaclasis: This is when a term is repeated, but with a different meaning each time. It is often used in humor. “Othello” by Shakespeare has an antanaclasis that states “Put out the light, then put out the light.” The first term means blowing out a candle and the second means ending someone’s life.
• Antecedent: This is a word in a sentence that can later be replaced by a pronoun. For example, “Mary flew a kite. She thought it was a lot of fun.” In this case, “Mary” is the antecedent as the name is later replaced by the word “she.”
• Anthology: This is a collection of works that make up a single piece. For example, a book made up of poems could be referred to as an anthology.
• Anthropomorphism: This means giving human-like characteristics to nonhuman things. “The Little Engine that Could” is a great example.
• Antimetabole: This is when something is repeated, but backwards. For example, “Cats love dogs. Dogs love cats.”
• Antithesis: This is basically a fancy term for two contrasting phrases that work together. An example would be when man landed on the moon and the saying “One small step for man, one giant leap for mankind” came to be.
• “Sardines on a birthday cake– delicious.”
• “It’s time to go to school. Every child needs to go to school.”
• “The simplest questions are the hardest to answer.”
• Aporia: This is an expression of doubt. For example, “How am I supposed to do this without you?”
• Apostrophe: This is when writing turns from addressing one audience to address something else. For example, a character could turn to their green pasture and state “You look beautiful today.”
• Aposiopesis: This is when someone stops speaking mid sentence, whether it be out of passion, fear, or an unwillingness to keep talking. For example, “I’m going to take what’s mine and–” The sentence ends abruptly, and the ending is left for the audience to guess.
• “My doggy, Mr. Fluffy, is playing in the backyard.
• Archaism: This is the use of an old-fashioned word. An example would be writing with the word “Thou” in today’s time.
• Archetype: This is something, whether it be a character, action, or setting, that represents a universal pattern. There are many different archetypes, a well known one is the “Scapegoat.”
• Aside: This is when a character speaks, but their words are only heard by the audience. The other characters are not aware of them. These are often present in plays.
• Assertion: This is a statement that represents a strong belief, whether it is true or not. For example, “I will not let her go to the office” could be said by a student who believes their friend is not guilty of what the teacher accuses.
• Assonance: This is when similar, but non-rhyming vowel sounds are used. “A pot of rocks” is an example of assonance.
• Asyndeton: This is a sentence with missing words, written in a style that emphasizes the meaning. Julius Caesar’s “I came, I played, I conquered” is an example of this.
• Atmosphere: This is the feelings the writer wants the reader to experience. For example, authors of thriller books want their readers to feel suspense.
• Attitude: This is the tone a writer uses toward certain subjects. For example, a positive attitude could be expressed toward rescuing shelter dogs in a story about a rescued pet.
• Auditory image: This expresses through words something that is typically heard. For example, “The metal bowl and wooden spoon clanged together, making piercing, yet somewhat beautiful music.”
• Bandwagon: This is a tool used in persuasive writing that suggests because the greater audience believes something, the reader should believe it as well. It’s the written version of the “Everyone else is doing it” argument.
• Bathos: This term refers to deep, expressive, and emotion-filled writing. It’s commonly found in poetry.
• Bias: Bias is an undue favor (or unfavor) to a topic or group of people. It’s typically something you want to avoid when writing.
• Bildungsroman: This is another term for a coming-of-age novel, and follows the story of the main character from adolescence into adulthood. Harper Lee’s “To Kill a Mockingbird” is a popular example.
• Black humor: This is when a subject that is normally “off limits” is talked about with a bit of humor.
• Cacophony: This is when multiple loud, harsh-sounding words are used. Lewis Carroll’s “Through the Looking Glass” contains a lot of cacophony.
• Cadence: This is the rhythm or beat a piece of writing follows. It’s mostly found in poetry, though it can be used as a stylistic tool in any type of writing.
• Catastrophe: This is another word for a huge disaster. “Romeo and Juliet” is a catastrophe-based story.
• Catharsis: This is the use of large, often negative, emotions in literature to help readers deal with the same feelings in their everyday life. The tragedy genre is often considered to be catharsis.
• Chiasmus: This term describes two phrases that are similar, but reversed.

“We ate all of our dinner. It’s entirety, we consumed.”

• Circumlocution: This simply means unneeded words. For example, “Mean people who want to hurt others are not welcome.” In this sentence, the words “who want to hurt others” are unnecessary.
• Claim: This is the point the writer is trying to make. In an essay meant to persuade readers to vote, the point would be the importance of participating in elections.
• Cliche: This is a phrase that is overused, and therefore has turned a bit cheesy.

“Actions speak louder than words.”

• “Let’s go! Let’s catch up! We can win this race!”
• Coherence: This term means logical and consistent. This is an important tool to use when trying to prove a point.
• Colloquialism: These are phrases that are used in a specific area. “Y’all” is a colloquialism used in the Southern part of the United States.
• Comparatives: This is an area that looks into the differences between literature in various countries. For example, it may compare American and British literature.
• Conceit: A conceit is a comparison that is made between two very different things. For example, “Friendship is like slipping on a banana peel.”
• Concession: A concession is a sentence that admits not everyone agrees with your thesis and provides a few reasons why, but then goes on to show why they should change their minds and side with you. For example, “I know not everyone likes summer because it’s hot and humid, but the daily sunshine and the life that sprouts all around us are things no one should take for granted.”
• Connotation: This term related to the feeling a word has behind it, whether it be positive or negative. For example, a toddler digging through the kitchen cupboards could be called “mischievous” with a negative connotation, or “curious” with a positive connotation.
• Consonance: This is when consonant sounds are repeated. For example, “The b irds in the b lue sky b ounced all around.”
• Context: Context is the background or details surrounding a word that affect its meaning. For example, a word may have one meaning in a research paper and a different meaning in a romance novel. The reader uncovers what the writer means by using context.
• Contrast: This is the use of opposites in writing. It may be opposite characters, for example, that emphasize each other’s characteristics by use of contrast.
• Denotation: Words have many meanings. Denotation refers to the literal meaning. For example, blue is a color (not another term for sadness).
• Denouement: This is basically how a story ends. For example, it’s the conclusion of events that take place in a novel.
• Deus ex machina: This is when an unfixable problem in a story is solved by a very unexpected twist. “Charlie and the Chocolate Factory” is a good example, when Charlie’s financial situation is fixed by him inheriting Wonka’s factory.
• Diacope: This is a phrase that is repeated with words in between. For example, “To be or not to be.”
• Diction: This is the way words are chosen, in hopes of them fitting into a specific style. Many famous, historical novels provide excellent diction examples.
• Diatribe: This is a harsh form of writing that is meant to bring something down. Joseph COnrad’s “Heart of Darkness” is an example of diatribe.
• Dichotomy: This is when something is broken into two different parts. For example, good and evil.
• Didacticism: This is a form of writing that teaches something. “How to” articles are a great example.
• Digression: This is when a writer begins talking about something that is off-topic for an amount of time. It’s a common occurrence in storytelling.
• Dilemma: A dilemma occurs when a character needs to make a choice between two good (or bad) things. An example may be choosing to help their friend pass a class, or avoiding the act of cheating on an assignment.
• Discourse: This is a formal type of writing that often conveys important information. They are common in educational work.
• Dissonance: This is the use of harsh-sounding words in poetry. It’s similar to cacophony.
• Distortion: Distortion is when something is twisted and turned to represent something other than what it actually is. An example would be when someone exaggerates the truth to the point that it is false.
• Doppelgänger: This is a fictional character that looks extremely similar to the protagonist.
• Double entendre: This is a term or phrase that can be interpreted in two different ways. They are often used in comedy.
• Dysphemism: This is when negative terms are used instead of positive terms. For example, a dysphemism would be calling a rollercoaster a “death trap.”
• Elegy: This is a type of poem that honors a person who has died. They are commonly written for famous people or historical people who have made an impact on the writer.
• Elision: An elision is when some sounds are removed from words or phrases. “Tis” used in place of “it is” is an elision.
• Ellipsis: An ellipsis is the three dots that are used when a word or phrase is removed from a sentence. For example, “I love you because… and I will continue to love you forever.” The three dots are replacing the reasons behind the love to shorten the sentence and show the main point.
• Enjambment: This is when a thought or phrase in poetry runs from one line to the next.

“The green grass grows

And covers the entire field.”

• Enthymeme: This is an argument that is written logically, but with an implied conclusion. For example, “I had a bad sandwich at her house last week, so all of her meals must be bad.”
• Enumeration: An enumeration is a complete list within a work of literature. It could be a set of steps in a “How To” article, for example.
• Epanalepsis: This is when a word or phrase is used at the beginning and the end of a sentence.

“Cats are magnificent creatures and no creature is as great as cats.”

• Epiphany: This is a sudden idea or insight a character has. It’s the “lightbulb” moment in literature.
• Epiphora: This is when a word is repeated in nearby segments of text. For example, “I have a banana, you have a banana, and Tom has a banana.”
• Epistle: This is a long, formal letter. Epistles are common in the Bible.
• Epigram: An epigram is an idea that is stated in a quick, clever fashion.

“True friends stab you in the front.” -Oscar Wilde

• Epigraph: An epigraph is a short bit of writing (written by someone else) placed at the top of a piece. Ernest Hemingway’s “The Sun Also Rises” begins with an epigraph.
• Epistrophe: This is the repetition of words at the end of sentences. For example, “The sky’s awake. I am awake.”
• Epitaph: This is a short poem written about a friend after they die. They are sometimes engraved on tombstones.
• Epithet: This is a tool used to describe an object or a character. In Alexander the Great’s name, for example, “the Great” is an epithet.
• Eponym: An eponym is something that is named after a person (or referred to in a certain way because of that person). For example, John Hancock is another name for signature.
• Epizeuxis: This is simply another word for diacope, which is explained above.
• Eristic: When an author writes about a heated topic without actually trying to solve the issue at hand, it’s referred to as Eristis. It’s considered a form of debate.
• Ethos: This is a way to make the audience trust the writer by showing credibility and ethical behavior. For example, a persuasive essay on why it’s important to not text and drive has more meaning when it’s written by a former police officer who had to report to all of the texting and driving accidents.
• Euphemism: This is a nicer way to say something that’s hard to talk about. “He who shall not be named” is a euphemism for Voldemort in “Harry Potter.”
• Euphony: Euphony is writing that is made up of pleasant sounds. It is common in poetry.
• Evidence: Evidence is required in argumentative essays to prove the point the writer is trying to make. If the writer states that zoos should not exist, their evidence needs to show the downsides of zoos in regards to animals.
• Exaggeration: This is when something is described as more than it really was. For example, “I saw the biggest dog in the world today.”
• Exemplum: This proves the point of a story. For example, the exemplum in fables is the lesson the story brings to light.
• Expletive: An expletive is an unnecessary word (or words) that take up space in a sentence. For example, “it is” in the sentence “It is time to go to the movies.” The words aren’t needed to understand what is being said.
• Explication: This is a short write up that explains the meaning of a work. For example, an explication of a poem wouldn’t mention how the piece was written, it would only explain the meaning it holds.
• Fallacy: This is an incorrect or illogical statement that makes an argument invalid. The ad hominem is an example of a fallacy.
• Farce: This is a type of comedy that is written solely for entertainment and humor. The movie “Home Alone” is a good example.
• Figurative Language: This is language that is used in a non-literal sense. Metaphors and similes are types of figurative language.
• Figure of Speech: A figure of speech has a second meaning, beside its literal meaning. “Falling in love” is a well known example of a figure of speech.
• Foil: This is when a good character is presented as an evil character. Mercutio is a foil in Shakespeare’s “Romeo and Juliet.”
• Hamartia: This is simply another term for Tragic Flaw.
• Hubris: This is another word for pride in a literary character. It is a common tragic flaw.
• Idiom: This is a saying that does not stand for its literal meaning. For example, “Stop bugging me” has nothing to do with bugs.
• In Medias Res: This is when a story starts in the middle, because the audience already knows what happened beforehand. An example is Homer’s “The Iliad.”
• Inciting incident: This is when the action begins in a story. In fiction, it’s followed by the rising action.
• Induction: Induction is when a reader finds a fact and draws a conclusion from it. That conclusion may be right or wrong. Induction happens all the time throughout the process of reading. A writer may use this knowledge to add surprises into the text.
• Inference: This is when opinions are formed based on a set of observations. A writer can supply facts to guide the reader toward a certain inference.
• Intertextuality: Intertextuality is when one text is shaped by another. William Golding’s “Lord of the Flies” is shaped by Robert Louis Stevenson’s “Treasure Island,” for example.
• Inversion: This is when words are revered. Yoda speaks in an inverted fashion.
• Irony: Irony is an extremely unexpected occurrence or something has the opposite meaning than what would be expected. An example would be a fire station burning down.
• “I want to go to the park, because it is a beautiful day and because the sun is shining bright.”
• Jargon: Jargon is a set of words with meanings that are only understood by a specific group of people. Lawyers have a large amount of legal jargon.
• Juxtaposition: This is when two characters or phrases are placed together for comparison. For example, “When it rains, it pours.”
• Kenning: This is a metaphor that combines two words. An example would be a bookworm.
• Kinesthesia: This is imagery, typically found in poetry, that describes a bodily movement such as a heartbeat or running legs.
• Lampoon: A lampoon is basically a way to make fun of something. Satire and sarcasm are types of lampoons.
• Litotes: This means to understate something in a funny way. For example, if a person got into a car accident on their way to work, they could say “Well this is not the best morning I’ve ever had.”
• Logos: This is just another term for logic, and it’s especially important in argumentative writing. Including statistics in a report is a type of logos.
• Malapropism: This is when a word that sounds right, but is completely wrong, is used to confuse the reader (or to make them laugh).

“She went to expensive measures to keep her son safe.”

• Maxim: These are clever sayings that share truths of life. An example is “Opposites attract.”
• Meiosis: This term refers to downplaying something. An example could be calling a psychiatrist a “shrink,” and therefore diminishing the important work they do.
• Metalepsis: Metalepsis is when something is described by using a similar, yet unrelated term. An example would be calling something good by stating “It wasn’t bad.”
• Metaphysical: This is a complex and bold form of poetry that is said to be outside the realm of human understanding. It was commonly written during the seventeenth century.
• Metonymy: This is when something is referred to with a closely related term. For example, “heart” often refers to “love.”
• Mood: The mood refers to the emotions that are evoked by a piece of writing. It can be affected by setting, character, plot, and more. One mood written works can have is uplifting.
• Moral: This is the lesson that is meant to be learned by a story. For example, the moral of “The Tortoise and the Hare” is “slow and steady wins the race.”
• Motif: This is an image or idea that occurs throughout a written work that adds to the theme. For example, the spring season could represent new life.
• Motivation: This is the reason behind a character’s actions. It can be intrinsic (within the character) or extrinsic (an outside force). An example would be a student who wants to pass high school to get a better job than her parents had throughout her childhood.
• Nemesis: The nemesis is an evil character who works against the protagonist. An example would be Ursula in “The Little Mermaid.”
• Neologism: This is a term that basically means “a made up word.” “Selfie” is a neologism for a picture of yourself.
• Non Sequitur: This is a sentence or statement that does not make logical sense. It’s often used for comedic purposes.

“I saw a cat today, so I’ll likely win the lottery tomorrow.”

• Nostalgia: This is a description of the past, and can bring back either feelings of pleasure or feelings of pain. The famous beginning of Charles Dickens’ “A Tale of Two Cities” is an example of nostalgia.
• Omniscient: In literature, an omniscient view can see the thoughts of every character. Many novels are written from this point of view.
• Ordinal Number: These are number terms such as first, second, third, and so on. They can be used to organize thoughts or books in a series.
• Overstatement: An overstatement is describing something as more than it was. For example, someone who found a dollar on the ground could say “I had the best day of my life today!”
• Oxymoron: This is when two words or phrases with opposite meaning are used together. “Good pain” could be considered an oxymoron.
• Pacing: This is how a writer controls the speed of a story. It can be told quickly, or it can be more drawn out.
• Palindrome: This is a word that backward or forward, spells the same. An example is “racecar.”
• Paradox: A paradox is a sentence that cannot be true, but it also cannot be false.

“This sentence is a lie.”

• Paralipsis: This refers to the act of purposely leaving information out. It is commonly used in political speeches.
• Parallel structure: This is a sentence that is made up equally in regards to grammar.

“We went outside, rode our bikes, drew with chalk, and ate a snack.”

• Paraphrase: This is taking someone else’s writing and putting it in your own words.

“Tigers are elegant creatures with their orange and black stripes.”

“The black and orange stripes that tigers have make them beautiful.”

• Paraprosdokian: This term describes a surprise ending to a sentence. For example, “I had two pets named Fred, one was a dog and the other was my husband.”
• “The horse galloped and jumped and bucked and played.”
• Parenthesis: This is an explanatory word or phrase that’s inserted into a text (and placed inside of parenthesis). Did you spot the example right in the definition?
• Paronomasia: This is a funny play on words. They are found often throughout the work of Shakespeare.
• Parrhesia: This is another term for free speech, often expressing the opinion of the author. George Orwell’s “Animal Farm” contains plenty of this.
• Pastiche: This is a type of writing that imitates the work of someone else. An example would be trying to write in a Shakespearian style.
• Pathos: This gets the emotions of the reader involved. Bringing up how farm animals are treated by large corporations, for example, would be an effective use of pathos in an argument for supporting local farmers.
• Periphrasis: Periphrasis is just an indirect way of speaking. For example, stating “The bowl of water that belongs to the dog” instead of “The dog’s water bowl.”
• Persona: The persona is who is thought to be speaking in a written work. For example, the writer could take on an educational voice to create a fitting persona for a research paper.
• Perspective: This describes who is telling the story. Some examples include first person, second person, and third person.
• Pleonasm: Thi is when something is described with more than the amount of necessary descriptive terms. For example, “I saw it this morning at the beginning of the day.”
• Polyptoton: This is when words with the same root are repeated. For example, “My lover is looking lovely today.”
• Polysyndeton: This style of writing uses multiple conjunctions. “We went to the bank and the store and the restaurant and the mall.”
• Portmanteau: This is when two words are combined to create a new word. A popular portmanteau is “hangry.”
• “Many people believe it is okay to text and drive, but it is one of the most dangerous things you can do.”
• Propaganda: Propaganda publicly shares a specific opinion. “Animal Farm” is propaganda.
• Prosody: Prosody is the attitude that gives a phrase the correct meaning. For example, if someone says “I had a wonderful day,” prosody would determine whether that statement was true or sarcastic.
• Prosthesis: This is when a syllable is added to the beginning of a word. For example, “She went a-walkin’.”
• Pun: A pun is a funny type of word play. An example could be “Horses are stable animals.”
• Realism: This is a writing style that represents real life. As long as a book has nothing make-believe in it, it’s likely realism.
• Rebuttal: This is when a writer breaks down the opposing argument. For example, in a piece that states truancy is too harshly enforced, the writer could look at countries with less truancy punishments and show they have better attendance rates.
• Red Herring: This is when a writer avoids an argument or negative subject by bringing up something completely unrelated. It is once again common in political pieces.
• Reductio Ad Absurdum: This is another term for argumentative essays, where the writer breaks down the opposing view to the point no one could possibly believe it.
• Repetition: Repetition is repeating a word or phrase for emphasis. For example, The strong wind blew over the table, and the strong wind knocked down a tree.”
• Rhetorical Devices: Rhetoric is using literature for a variety of purposes, including bringing about emotions or proving a point. Most literary techniques can be considered rhetorical devices.
• Sarcasm: This is when something is said one way, but has the opposite meaning. Stating “It’s a beautiful day” during a giant storm is an example of sarcasm.
• Semantic: Semantic is the thought that words can be used in many ways other than to represent their literal meaning. Semantics show that “heart” can be a human organ, and it can be something that represents love.
• Sensory Language: This connects the reader to a story through the use of the five senses. It may include terms that explain sounds or feelings, for example.
• Sesquipedalian: This term refers to the use of extremely long words. It can include the use of any ridiculous words or phrases.
• Sestine: This is a type of poem with six, six-line stanzas followed by one three-line stanza. An example is Elizabeht Bishop’s “A Miracle for Breakfast.”
• Sibilance: Sibilance is the repeated use of “hissing” sounds. “Sally sold seashells by the seashore” could be a sibilance.
• Situational Irony: This is when something extremely unexpected (and often funny) happens. An example would be a teacher forgetting to do their homework.
• Slang: These are made-up words that have been accepted and are understood by society. “BAE” is a slang word that means “before anyone else,” or babe, that is often used today.”
• Snark: Snark is made up of quick, unkind comments. Saying “Nice catch” when someone drops a football would be an example of snark.
• Soliloquy: This is when a character speaks to themselves. Soliloquies are often found in plays.
• Sound Devices: These create a specific sound in writing, and specifically in poetry. Rhymes are the most common sound device.
• Spondee: A spondee is two stressed syllables. An example could be “Schoolyard.”
• Straw Man: This is when an argument goes after the most extreme point of view instead of what the other person actually thinks. An example would be arguing with someone on lowering the legal drinking age, and state they want more alcoholics in the world.
• Stream of Consciousness: This is a writing style that follows the thoughts in the author’s mind. Virginia Woolf’s works are great examples of this style.
• Subjective: Subjective means opinion-based. A subjective topic example is “What is the best color in the rainbow?”
• Superlative: Superlatives are words that add “-est” onto an adverb or adjective. “Happiest” is an example of a superlative.
• Surrealism: Surrealism is work that is almost dreamlike. It is full of descriptive imagery. Salvador Dahli’s work is a great example.
• Symbolism: Symbolism is when one object holds the meaning of something larger. A necklace given to a character by her lover could be a symbol of his commitment and love.
• Syncope: This is a term that represents a shortened word. For example, the syncope for “You all” is “Y’all.”
• Synecdoche: This is a saying in which a piece of something represents the whole thing. A good example is “All hands on deck.” WHen this phrase is used, they are not just asking for hands, they are asking for the help of the people.
• Synesis: This is a type of phrase where the technical rules of grammar are let go to allow something that still makes sense. Mark Twain’s novels use synesis.
• Synesthesia: This is when something is being described with characteristics of something else. A simile is a great example of synesthesia.
• Syntax: This term refers to how words are arranged in a sentence.
• Tautology: Tautology is when a meaning is repeated through a seemingly unnecessary word. For example, “Cold snow.” We already know that snow is cold, so using the adjective to describe it isn’t really necessary.
• Tmesis: This cuts a word or phrase into two different parts. “Fan-freaking-tastic” is a slang version of a tmesis.
• Tricolon: This means three words or phrases that are parallel.

“Eat, Pray, Love.”

• Trope: This is a broad term that describes something in a way that is not literal. A metaphor is a type of trope.
• Truism: This is a statement that is based on a fact, so it does not need to be proven. For example, “Water is wet.”
• Understatement: This is when something is downplayed. Saying “I had a decent race” when you won the state championship would be an example of an understatement.
• Undertone: This is an implied attitude that lies at the surface of a piece. For example, an argumentative essay on the why the death penalty should not exist may have a depressing undertone.
• Verbal Irony: Verbal irony is when a character says one thing but means the opposite. They could say “I wish I was at home” while on the best vacation of their life.
• Villanelle: This is a specific type of poem with nineteen lines (five tercets, one quatrain, and one couplet). “One Art” by Elizabeth Bishop is a great example.
• Verisimilitude: This is the process a writer uses to make their piece seem believable. For example, people in a certain country speak the native language, making it seem true that the characters are actually there.
• Vernacular: These are sets of words used by specific groups of people. Medical terms are vernacular for doctors and nurses.
• Volta: This is a switch in a written work. It could be a change in emotion or a switch to the other side of an argument. For example, a character may go from being happy that it’s snowing to being sad that school is cancelled for the day.
• Wit: Wit is a quick, well-thought-out, and funny way to respond to something. It is often used in comedy writing, or as comic relief.
• Zeugma: A Zeugma is a verb or an adjective that explains two different things. For example, “He threw away the assignment and his chance at passing the class.”
• Zoomorphism: This is when animal-like characteristics are given to people (or to anything that is not an animal).

“She ran with the speed of a cheetah.”

Conclusion: Literary Devices, Techniques, and Elements

The list of literary devices is long, and it’ll never be required of you to memorize them all.

The more you know, however, the more complexity and style you can add to your writing.

Take this list and work your way toward becoming the best writer you can possibly be.

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by Fija Callaghan

Fija Callaghan is an author, poet, and writing workshop leader. She has been recognized by a number of awards, including being shortlisting for the H. G. Wells Short Story Prize. She is the author of the short story collection Frail Little Embers , and her writing can be read in places like Seaside Gothic , Gingerbread House , and Howl: New Irish Writing . She is also a developmental editor with Fictive Pursuits. You can read more about her at fijacallaghan.com .

If “literary devices” sounds like a throwback to something you slept through in your English Lit 101 class, you’re not alone. Maybe breaking down the finer points of metaphor, perspective, and juxtaposition sounds like a fast track to sucking all the fun out of actually enjoying creative writing.

On the other hand, it might surprise you to learn that these literary devices are present in all stories, from epic poetry to Saturday morning cartoons to those guilty-pleasure paperbacks you pick up at the airport and then “accidentally” leave behind on the plane.

If you’re reading, watching, or listening to a story and find yourself engaged for even a moment… that’s literary devices at work. They’re tools that the writer uses to engage with the reader on a visceral level, to make them look at the story—and the world around them through the story—in a completely different way.

Here we’ll show you multiple literary devices and rhetorical devices, with examples, that you can use to create powerful stories.

What are literary devices?

Literary devices are tools and techniques that a writer can use to elevate their story beyond the literal meaning of the words on the page. These techniques work on an unconscious level to enhance characterization, heighten tension, and help your story’s theme create a more powerful impact on the reader.

There are many types of literary devices that writers can use to create different effects in their work. The skilled writer uses them to create a powerful, lasting work of art; without them, a story would be much more basic, less enjoyable, and less memorable.

In other words, literary devices are the techniques that turn a literal, step-by-step retelling of events into a rich, engaging, and memorable piece of literature.

What’s the difference between literary devices and literary elements?

You’ll sometimes hear these terms being used interchangeably, but they’re not quite the same thing. We’ve looked at how literary elements are the structural skeleton of our story ; you can think of them as the blank canvas, the first washes of colour, the rough outlines that help us understand the shapes we’re seeing and what they have the potential to become.

Literary devices are everything that gives these outlines life and form. In a painting, these devices would be the play of light, shadow, and perspective; the use of contrasting and complimentary colour theory; the cool stuff you do with your sparkly gel pens at the very end that makes the finished piece really jump out. They’re tools that the writer uses—sometimes bold, masterful turns and sometimes nothing more than small nudges—to guide and engage the reader.

Or, consider a house. Literary elements are the house’s structure: They’re the foundation, the beams, the drywall, the roof. Without these elements there’s no physical house. Literary devices are what you do to a a building to turn it from a house into a home: the wallpaper you select, the style of furniture, the books on the shelf, the comfy couch, the good smells in the kitchen.

You probably won’t use all of the literary devices we’re going to show you here in your own work. Most writers will come back to the same ones again and again, mastering them as they keep using them. This is what becomes their distinctive storytelling style, or voice.

Having a basic understanding of the ideas on this literary devices list, however, will help you see why other storytellers make the choices they do so that you can begin developing a storytelling voice of your own.

33 literary devices (with examples!) you can use to strengthen your writing

Once you’ve formed the bones of your story, you can use these literary devices to add shape and style to your work. It’s worth exploring all of these literary devices in your practice, though you’ll likely find a handful of them that become your writer’s toolkit—devices that you come back to again and again.

As you grow in your skill, these literary devices will become a part of your storytelling voice.

1. Allegory

Allegory is kind of like a cross between metaphor (which we’ll talk about a little further on) and theme. It’s the practice of telling a real, true, relevant story through the filter of fiction.

Often these stories stand in place for something the author can’t say, due to political or cultural barriers; other times it’s simply a way to get the reader or viewer to consider an issue in a different light.

This doesn’t mean that the story is being told as a direct comparison to a central idea; it means the story on the surface is composed of a complex web of metaphors that tell a second story with a deeper meaning underneath.

An classic example of allegory is Dante’s Divine Comedy , where Dante uses his fictional journey through Hell, Purgatory, and Heaven as an allegory for the journey of a person’s soul to God.

2. Allusion

Allusion is a common literary device that indirectly references a real life person, place, or event.

It invites the reader to meet you, the author, in the middle, piecing together a cultural clue that you’ve left for them. Sometimes this is done because the idea is too sensitive to lay out overtly. Other times allusions can be used for light, comedic effect.

For example, in Eoin Colfer’s The Wish List, several repeated references are made to “the rockstar with the hair.” For a while the author lets the reader hypothesize as to whom he might be referring to, before dropping in a detail where a character begins humming “Blue Suede Shoes.” We talk about the value of repetition a little farther on.

3. Anachronism

Anachronism is a conflict of time within a single work —for example, describing a character as “zipping up her dress” if the story is set at a time before the invention of zippers, or causing national outrage by leaving a plastic water bottle on a 1920s film set .

Generally, anachronism is a negative thing that will cause your readers and viewers to delight in calling you out for it. This is why it’s so important, when writing historical pieces, to thoroughly research all the minute details of your story. However, anachronism as a literary device can sometimes be used quite effectively for comedic effect or to create a sense of displacement.

4. Archetypes

In literature, a character archetype is a standardized pattern that we instantly recognize from generations upon generations of storytelling.

Contrary to stereotypes , which are oversimplifications of an archetype’s most extreme personality traits, archetypes work because they speak to a universal truth. All character archetypes exist and, on some level, exist in us .

Examples of archetypes are the warrior, the mentor, the damsel, the lost child, and, of course, the villain. These archetypes can take on many different faces and sometimes a character can embody more than one archetype at the same time.

In Robert Munsch’s groundbreaking feminist page turner The Paper Bag Princess , the typical damsel-and-dragon story is turned on its head as none of the three central characters fit into the roles they’re expected to. This is an example of using archetypes in an unexpected way, inverting them to delight the reader.

5. Cliffhanger

A cliffhanger is a literary device in which the author ends a segment of the story on a dramatic question. This segment might be smaller, like a chapter, or larger, like the first novel in a continuing series. It holds the reader’s attention and makes them wonder what happens next.

You may recognize cliffhangers from your favourite TV series—they’re one of the most common literary devices in TV storytelling because they’re what gets the show pilot picked up by the network and then, once the show is running, they’re what keeps the viewers engaged and coming back again and again.

An example of a cliffhanger in literature is where the literary device got it’s name: In Thomas Hardy’s A Pair of Blue Eyes , a chapter ends with the main character hanging from a cliff by his fingers. The reader has to start the next chapter to discover the protagonist’s fate.

Cliffhangers are one of the many literary devices that are beloved by filmmakers and creative writers alike.

Dialect is a fantastic literary device to use when crafting strong, distinctive, believable characters. It’s essentially the sound of someone’s voice—not an easy feat to achieve when all you have to work with is paper and ink. It’s their regional accent, but also their upbringing, their level of education, their mood, the sort of people they’ve been exposed to.

When done well, and done sparingly, individual dialects can give your characters more life and lend a wonderful richness to their world.

D. H. Lawrence was famous for his use of dialect in his novels, which preserve the unique vocabulary and pronunciation of Victorian-era coal miners in the north of England.

Diction is related to dialect in that it’s a reflection of the sound of the story’s voice—which, again, you as the writer need to accomplish with nothing more than twenty-six letters. The difference between dialect and diction is that while dialect is a part of characterization, diction is the voice of the narrator.

The author makes choices about how to convey their voice in a story based on the mood and the world they’re trying to create. Very formal language creates distance between the author and the story; more colloquial word choices and regional slang make the story more intimate and immediate.

8. Euphemism

Euphemism is a word or phrase that uses figurative language to reference something that would otherwise be indelicate. “Passed away” is a common euphemism for dying; being “let go” or “made redundant” is a nicer way of saying you’ve been fired. “Cognitively challenged” refers to a stupid person, and “in the family way” is a sensitive way of saying that a woman is pregnant.

These all use informal language to convey something with a different meaning.

Although euphemisms were more commonly used in the eras of banned books, church censorship, and general societal timidity than they are today, they’re still a great way to show characterisation (as an important aspect of dialect, as we discussed above) and the time and place in which your story is happening.

9. Exposition

Exposition is the act of working relevant information into the events of your story —whether that’s through dialogue, observation, narrative detail, or flashbacks .

Exposition can be a tricky literary device to master, but it’s important in helping your readers understand your world, your characters, and what drives your characters to make the choices they do. Too much of this can bog down the reader and take them away from the present action, but just enough will give them a fuller understanding of the world you’re trying to create.

10. Flashback

Flashbacks are interruptions in the narrative that bring the reader to a past point in time in order to create tension and arm them with important information.

You may recognize flashbacks in TV series like crime shows or sitcoms, accompanied by subtitles like “earlier that day,” “three days ago,” etc. This is a way to communicate with the viewer that they’re being taken out of the present moment and redirected to another time.

Sometimes flashbacks are used as dramatic devices, like when the opening shows something horrible or unexpected, and then the flashback shows us what brought our characters to that moment.

11. Foreshadowing

Foreshadowing is a wonderful literary device that gives the reader hints of what is to come later in the story , either through subtle clues based on narrative events or by simply using thematic elements like symbolism and tone. It can help build suspense and keep the reader engaged by making them guess what’s going to happen.

You might foreshadow a turn of events in your story by placing symbolic images and colours through your story. For example, in her fairytale retelling The Bloody Chamber , Angela Carter uses a ruby choker to suggest a cut throat and give hints of what might come later on.

Don’t confuse foreshadowing with the rule of Chekhov’s Gun ; the two are very different concepts! But you can use both literary techniques to give depth to your story.

12. Hyperbole

Hyperbole is an exaggerated statement used for emphatic effect. It’s different than simply overstating something, where the context teeters on the edge of being a lie. Hyperbole isn’t meant to be taken literally.

For example, a child waiting for a parent too long after school might say, “I was waiting for fifty years!” Obviously, no one in this context actually believes they were waiting for fifty years—the child hasn’t even been alive that long. It’s using figurative language to emphatically say, “I’ve been kept waiting for too long and I am less than pleased about it.”

13. Imagery

Imagery is the art of making a moment come alive for the reader. We see this literary device in both fiction and poetry. To create an image that’s vivid and engaging, use a range of senses to create your world such as sight, sound, smell, touch, and taste (this is called visual, auditory, olfactory, tactile, and gustatory imagery, respectively).

In addition to making the world more real for the reader, the details that you focus on can influence the mood of the story. Well-placed images can also support foreshadowing in the story , as we saw previously.

14. In Medias Res

In media res is a Latin term you might hear in literary analysis that means “in the midst of things.” This means placing the reader in the middle of an exciting event, without any previous backstory or buildup. In other words, this can mean showing the middle of your story first, and then later revealing the events leading up to that moment.

For example, Sara Gruen’s novel Water for Elephants opens with an action-packed scene that takes place towards the end of the novel; then she doubles back to the beginning and shows the reader the events that took place to arrive there.

Other times it simply means dropping your reader in the middle of things that are happening, rather than starting with a lot of flowery description and exposition. Any information the reader needs can be slowly released throughout the scene, and the following scenes.

This immerses your reader in your story’s world right from the beginning. It makes them ask questions about who the people are in the scene and what’s causing the events to unfold—things they’ll learn as they read on through the entire book to the end.

There are different types of irony in literature , but all of them come down to an inversion of belief. The three types of irony you see most often in stories are dramatic irony, where the audience knows some essential piece of information that the characters don’t; situational irony, where the events of the story contradict what we would normally expect; and verbal irony, the contrast of speech and intention.

Verbal irony might be something like sarcasm, where someone says the opposite of what they mean.

Dramatic irony happens when the story reveals information but keeps it hidden from the characters—for example, the dramatic irony of watching someone open a door in a horror film when you know the monster’s waiting behind it.

Situational irony happens when two elements contradict to create a surprising result: for example, a policeman vowing to uphold the law and then giving in to corruption.

16. Juxtaposition

Juxtaposition is a useful literary device that deals in contrast —in other words, putting two characters, images, or ideas side by side to draw attention to their differences.

You see this often in central and supporting characters, such as Batman and Robin—Batman’s dark, silent moodiness contrasts Robin’s bright, youthful energy. You can see this in their personalities as well as their costumes, with Batman all in black and Robin in positive primary colours. It’s this juxtaposition between the two that makes them such an engaging team.

Juxtaposition can also be used in sensory imagery, such as placing a happy event underneath a dark and stormy sky or using a tactile sensation that seems out of place in its environment.

17. Language

If you’re reading this article, you’re probably intending to write your stories in English. But using language as a literary device by adding in glimmers of other languages can add depth to your characters and your world.

A great example is J. R. R. Tolkien, who creates richness in the world of his English-language work by inventing entirely new languages and referencing them just enough to make them seem real.

Cara Black, in her Parisian mystery series, writes in English but uses the occasional French word or phrase here and there to more fully immerse the reader in her Francophone world.

Language can also be useful literary device for characterisation; for example, an elderly family member who struggles with English might have dialogue almost entirely in another language, or a bilingual character might revert to their native language in times of overwhelming stress.

18. Metaphor

As a writing technique, metaphor is quite close to simile . Both are common literary devices used to draw comparisons between two seemingly unrelated ideas. But unlike a simile, which draws a comparison between two things, a metaphor goes a step further and uses one image to literally serve in place of another.

One of the most famous metaphors of all time is Shakespeare’s “All the world’s a stage,” which uses a literal theatrical performance as a comparison to illustrate the tragedies and comedies of everyday life.

19. Misdirection

Also called the “red herring,” misdirection is one of the most satisfying literary devices in storytelling of all kinds. It involves laying out clues as the story progresses, and nudging the reader towards the wrong deductions instead of the right ones.

The very important key to making this literary device work is to ensure the reader doesn’t feel cheated at the end—they should be able to look back at the path you’ve laid out and see that the true answer does make sense after all. This might mean working backwards after your first draft and sneaking in hints of what’s to come amidst other worldbuilding details.

Understanding the principle of Chekhov’s Gun can help avoid unwanted red herrings in your story . The risk of creating an unsatisfying red herring makes misdirection one of the trickiest literary devices to use.

A motif is a literary device in which recurring symbols, story elements, or ideas support the overall theme.

This could be something small and concrete, like apples popping up here and there throughout the story to symbolize a theme of battling temptation, or it could be something broader, like showing characters eating grander or sparser meals depending on the stage of their character arc.

You can use motifs to connect with readers on a subconscious, cultural level and help them immerse themselves even deeper in the story world.

A myth is a story that explains why things are how they are in the world—for instance, the creation myth of the Bible, or the story of how Raven stole the moon and stars in Indigenous mythology. Myths and legends are a fantastic archive of character archetypes and big, thematic ideas.

Unlike myths, legends are stories of something that may or may not have happened at some point in history, like the legends of Robin Hood or King Arthur’s knights. More importantly, both myths and legends are stories that stay with us for the long game because they represent values, needs, and desires that transcend generational divides.

Many stories—if not all stories—have their roots somewhere in this collective library of imagination. When composing your own work, try using old myths and legends to ground your story as you retell them from a new perspective. You could retell of a familiar story, or you could simply use myths and legends as inspiration for the sort of values, strengths, and weaknesses you want to explore in your own characters.

22. Onomatopoeia

Onomatopoeia is a way of communicating sounds in a way that relates to what they actually sound like. “Buzz” for the sound of a bee, “ruff” for the bark of a dog, and “plop” for the sound of a drop of water are all words that sound like the action they’re describing. “Slam,” “pop,” and “pow” are other common words you see in superhero comics.

Onomatopoeia is a literary device used most often in children’s literature and in the comic book medium, though we find it in just about everything including our everyday dialect. It’s best approached sparingly in literature, but the right word choices can add a lot of depth to your sensory environment: describing a stream as “burbling” or a wind as “shrieking” (notice the harsh “ee” vowel followed by the hard “k”) makes the scene clearer and more vibrant to the reader.

23. Oxymoron

An oxymoron is a literary device closely related to a paradox , in that they both present two seemingly contradictory ideas. Unlike a paradox, an oxymoron is a figure of speech that having to do with two words one after the other: a “deafening silence” is an oxymoron, because it combines two words that contradict each other. A “friendly argument,” “act natural,” and “openly deceptive” are some oxymorons.

Although they would appear to be impossible contradictions, many of us have experienced these ideas in our own lives and know that there is a deeper meaning lying behind them.

As a figure of speech, oxymorons can be used in humour and to convey an aspect of a character’s personality—sometimes at the same time.

24. Paradox

A paradox is quite similar to an oxymoron , but it presents two contrasting ideas instead of two contrasting words.

Oscar Wilde’s famous on-brand quote, “I can resist anything except temptation,” is an example of a paradox. By its very nature it can’t be true, and yet one feels that there is some resonant truth hidden somewhere within it.

Others examples are the sayings “the only constant is change” and “the louder you shout, the less they hear.” Both of these examples are composed of ideas that appear to be in conflict with each other, and yet both can be true statements.

The first tells us the only thing that never truly changes is the fact that things are always changing, and the second shows us that causing a scene isn’t always the way to get your voice across.

Paradoxes are useful literary devices that help readers see ideas from a new perspective.

25. Personification

Personification is a literary device that uses figurative language to give recognizable human-like qualities to inanimate or non-human entities.

The most extreme example of this is anthropomorphism, which is giving human traits to an animal or other non-human character. This is a very popular literary device in children’s literature, as it tends to make the ideas and lessons in these stories feel more accessible (this is the same device used to give life to a French candelabra in Beauty and the Beast ).

However, personification can be done on a smaller scale in order to make sensory images more vivid and easier for the reader to understand. A “weeping willow” is an example of attaching a human action to a non-human thing, and to say the weeping willow’s boughs were “lazily sweeping the dust from the road” is another.

26. Perspective

Perspective is the view from which the story is being told .

For instance, if you were to set your story in an old country manor house, you could tell a story following the same events in several different ways.

The matriarch of the house would be one perspective; a small, privileged child another. What would the housemaid see that no one else would? What about the cook or the gardener? What secrets, prejudices, or knowledge would they give to the story?

Not only would all of these people contribute different worldviews, cultural upbringings, and dialects, but they might genuinely believe in different series of events.

27. Repetition

In fiction writing and story structure, repetition is a literary device used to emphasize central themes and to create a subtle kind of rhythm.

The most famous example of repetition is in the “three wishes” often found in faerie tales, as well as three quests, three trials, three paths to choose from. This is because three is the number in which our brains start to recognize patterns. In your own writing, you can use this kind of repetition to support your story’s theme and character arcs.

You can also use targeted repetition of a word or phrase to emphasise an idea or create rhythm (which we’ll look at next!)

In prose writing, rhythm is all about the pacing of your story . Slow, languid writing can feel like being wrapped up in a snuggly blanket. Too much of this, however, becomes suffocating.

Short sentences are more like quick footsteps against a sidewalk. Readers like them because they make us feel like we’re going somewhere, but too many of them for too long and it starts to get hard to keep up.

It’s your job as a writer to use sentences of varying lengths to keep the reader engaged. Longer sentences will slow down the pace, so they’re best used for quiet, reflective moments. Short sentences will kick up the pace, so lean into them for action scenes.

While all good writers use both longer and shorter sentences to some degree, you’ll find that some tend to rely more on one than the other. This is part of what forms their signature voice . Experimenting with sentences of all rhythms will help you find yours.

Satire has been around since its inception in ancient Greece and shows no sign of slowing down. It’s a literary device that uses irony and humour as a way to draw attention to prevalent cultural and societal flaws .

Sometimes this can be done in a lighthearted way: Alice’s Adventures in Wonderland was considered a gentle satire of the upper classes of that time period. But sometimes satires are darker and more biting, such as in dystopian fiction like George Orwell’s 1984 .

Much like a metaphor , a simile is a literary device that compares two unrelated concepts to create vivid, sense-driven imagery. While a metaphor is used to stand in place for something else, a simile is used only in description: “he was as brave as a lion,” for instance, is a simile, while “he had a lion’s heart” is a metaphor.

Similes are great in descriptive passages because you have a whole world in which to draw inspiration from. Is the new girl at school like a “cascading waterfall”? A “fire hydrant”? A “broken chair”? She could be reminiscent of any one of those things, and you as the writer are going to tell us why.

A well-placed simile can give the reader a better sense of a character or place than pages and pages of telling us what it looks like.

31. Suspense

One of the most marvelous literary devices for engaging your readers is suspense —creating a darkly indulgent sort of tension between the reader and the story that keeps them turning page after page. The writer accomplishes this by posing one dramatic question after another.

Cliffhangers are one great way to make this happen. Putting time constraints on your characters is another, as well as shifting perspectives to reveal more information to the reader.

32. Symbolism

Symbolism is the act of using a person, place, or object to convey a larger, more abstract idea . When used repeatedly in a story to emphasise this idea, it’s called a motif .

In Shakespeare’s Hamlet , the skull of Yorik is a symbol of death and fate—it serves as a tangible, physical representation of these things in the context of the story.

Symbolism can also be used in setting—for instance, a rising sun to symbolize a new beginning—or in character, like a young child symbolising a parent’s lost innocence.

A writer can also use colours, animals, or icons that have made their way into our cultural consciousness in order to support the mood and theme of the story. Symbols that we see in our everyday lives include things like red roses for love, butterflies for transformation, or the the caduceus for medicine.

Tone is the way your story world feels to the reader. In film this would be a combination of lighting, cinematography, and soundtrack.

“It was a dark and stormy night” is an infamous opening line that immediately sets the tone for the story. In addition to giving us some context as to the setting of the scene, words like “dark,” “stormy,” and “night” naturally resonate with us in a particular way.

When trying to create an atmospheric tone for your story, you can try brainstorming words that you associate with the feeling you want to evoke, and then working them into your story.

In longer works, it’s a good idea to use different tones for different scenes or chapters. This helps each one stand out from the rest, and keeps them fresh and vibrant for the reader.

How to use literary devices to craft your own story

Now that you have an understanding of the literary devices available to you as a writer, you’re ready for the next part: putting it into practice in your novel, poem, or short story. The literary device examples we’ve looked at are a great starting point for thinking about how to apply them in your own writing.

Plus, we have dedicated lessons on all of these techniques waiting for you in our writing academy !

Every writer is unique, and the literary devices you see other authors using to fantastic effect might not be the ones that bring out the best in your own writing. The sort of imagery, dialect, and characterization we bring into our own work as storytellers is directly related to the way we view the world around us.

Finding your own unique style and voice is an exciting journey that can only be travelled by trying things out, finding what feels right deep in your bones, and practicing them again and again.

To get an idea of what literary devices will work best for you, take a look at the stories that you’ve written so far. Most likely, many of the things on this literary devices list will already be present in some form or another—you’ll be naturally drawn to them because of the powerful stories you’ve absorbed over your life.

Once you see where these literary devices are beginning to take shape, you can work on refining, enriching, and mastering them to create powerful stories of your own.

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What Is Anachronism? 4 Types of Anachronism, with Examples from Literature

What is Symbolism? Definition, Examples & Types of Symbolism

What is a Motif? Definition and Examples

Clichés to Avoid in Writing (Plus Cliché Examples)

What Is an Antihero in Literature? Definition with Examples

What is Euphemism? Examples & Definition in Literature

Definition of Essay

Types of essay, examples of essay in literature, example #1: the sacred grove of oshogbo (by jeffrey tayler).

“As I passed through the gates I heard a squeaky voice . A diminutive middle-aged man came out from behind the trees — the caretaker. He worked a toothbrush-sized stick around in his mouth, digging into the crevices between algae’d stubs of teeth. He was barefoot; he wore a blue batik shirt known as a buba, baggy purple trousers, and an embroidered skullcap. I asked him if he would show me around the shrine. Motioning me to follow, he spat out the results of his stick work and set off down the trail.”

Example #2: Of Love (By Francis Bacon)

“It is impossible to love, and be wise … Love is a child of folly. … Love is ever rewarded either with the reciprocal, or with an inward and secret contempt. You may observe that amongst all the great and worthy persons…there is not one that hath been transported to the mad degree of love: which shows that great spirits and great business do keep out this weak passion…That he had preferred Helena, quitted the gifts of Juno and Pallas. For whosoever esteemeth too much of amorous affection quitted both riches and wisdom.”

Example #3: The Autobiography of a Kettle (By John Russell)

“ I am afraid I do not attract attention, and yet there is not a single home in which I could done without. I am only a small, black kettle but I have much to interest me, for something new happens to me every day. The kitchen is not always a cheerful place in which to live, but still I find plenty of excitement there, and I am quite happy and contented with my lot …”

Function of Essay

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30 Literary Devices Every High Schooler Needs to Know (With Examples)

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Writing is a staple of your education and fundamental to nearly every profession, no matter what industry. How do you make your writing effective? One important component of great writing is the use of literary devices.

Why Should I Understand Literary Devices?

Literary devices improve your writing. You can use them in your courses and college essays and on the SAT writing section , not to mention in your college coursework and future profession.

Understanding literary devices also helps you comprehend the work of others. For example, on the SAT reading test , you’ll need to understand and analyze the work of others. Being able to spot the literary devices the author is using will help you get a sense of the overall meanings behind the passages you encounter.

This is also useful knowledge to have for any social science or humanities class, where you’ll be expected to analyze and understand long works.

30 Literary Devices You Should Know

1. allegory.

What is It: A work that symbolizes or represents an idea or event.

Example: The novel Animal Farm by George Orwell is an allegory for the Russian Revolution, with characters representing key figures in the movement.

2. Alliteration

What is It: The repetition of the same or similar consonant sounds in succession.

Example: She sells seashells by the seashore.

3. Allusion

What is it: An indirect reference to a person, place, thing, event, or idea .

Example: The song “American Pie” by Don McLean is full of allusions to events that occurred in the 1950s and 60s. For instance, “February made me shiver” is an allusion to the plane crash that killed Buddy Holly on February 3, 1959.

What is it: A parallel between disparate ideas, people, things, or events that is more elaborate than a metaphor or simile.

Example : “What’s in a name? That which we call a rose by any other word would smell as sweet.” —William Shakespeare, Romeo and Juliet , Act 2, Scene 2

In this instance, Romeo is drawing an analogy between Juliet and a rose.

5. Anthropomorphism

What is it: The interpretation of a nonhuman animal, event, or object as embodying human qualities or characteristics.

Example: Inanimate objects such as Mrs. Potts and Lumiere are anthropomorphized in Beauty and the Beast .

6. Anachronism

What is it: An intentional or unintentional error in chronology or a timeline.

Brutus: “Peace! Count the clock.”

Cassius: “The clock has stricken three.”

—William Shakespeare, Julius Caesar , Act 2, Scene 1

Mechanical clocks did not exist in 44 A.D., when the play takes place, so this the inclusion of the clock here is an anachronism.

7. Colloquialism

What is it: An informal piece of dialogue or turn of phrase used in everyday conversation.

Example: Contractions such as “ain’t” are colloquialisms that are used in everyday conversation or dialogue to make the speaker and speech sound more authentic.

What is it: The word choice and speaking style of a writer or character.

Example: Diction is involved in almost every piece of writing because it is a vehicle for conveying the tone of the work. In The Adventures of Huckleberry Finn , Huck speaks in a distinctive way characterized by his lack of education and outsider status. This is his diction.

What is it: A poem expressing grief over a death.

Example: O Captain! My Captain! by Walt Whitman is an elegy for Abraham Lincoln.

10. Epiphany

What is it: A moment of sudden realization by a character.

Example : In the movie Clueless , Cher has an epiphany that she is in love with her stepbrother, Josh.

11. Euphemism

What is it: A less provocative or milder term used in place of a more explicit or unpleasant one.

Example: “I have to let you go” is a euphemistic expression for firing someone.

12. Foreshadowing

What is it: Hinting at future or subsequent events to come to build tension in a narrative.

Example: In William Shakespeare’s Macbeth , the witches portend evil, chanting, “Something wicked this way comes.”

13. Hyperbole

What is it: A statement that is obviously and intentionally exaggerated.

Example: “I have a million things to do” is a hyperbolic statement, since no individual actually has one million items on her to-do list.

What is it: A figure of speech that is indecipherable based on the words alone.

Example: “Don’t cut any corners” is an idiom; on its surface, it doesn’t make sense but is a known phrase that means don’t take shortcuts.

15. Imagery

What is it: A compilation of sensory details that enable the reader to visualize the event.

Example: “Now small fowls flew screaming over the yet yawning gulf; a sullen white surf beat against its steep sides; then all collapsed, and the great shroud of the sea rolled on as it rolled five thousand years ago.” —Herman Melville, Moby-Dick

In this passage, Melville uses vivid imagery such as the “yawning gulf” and “sullen white surf” to capture the scene.

What is it: An instance of language conveying the opposite of its literal meaning:

• Verbal irony: speech that conveys the opposite of its literal meaning
• Situational irony: An event that occurs that is the opposite of what is expected
• Dramatic irony: Usually applied to theater or literature, an instance in which the audience knows something the characters involved do not

Verbal Irony: “That’s nice” as a response to an insulting statement is an instance of verbal irony.

Situational irony:  In Oedipus Rex , Oedipus’s parents abandon him to prevent the prophecy of him killing his father and marrying his mother from coming true. The abandonment itself leads him to fulfill the prophecy.

Dramatic irony: In Psycho , the audience knows a killer approaching, but Marion does not.

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17. Juxtaposition

What is it: Ideas, people, images, ideas, or object placed next to one another to highlight their differences.

“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way.”

—Charles Dickens, A Tale of Two Cities

Here, Dickens juxtaposes multiple circumstances, uses opposites for emphasis.

18. Malapropism

What is it: An incorrect word intentionally or unintentionally used in place of a similar-sounding one, sometimes used for humorous effect.

“Our watch, sir, have indeed comprehended two auspicious persons.”

—William Shakespeare, Much Ado Without Nothing, Act 3, scene 5

The malapropisms, in this case, are the misuse of “comprehended” in place of “apprehended” and “auspicious” instead of “suspicious.”

19. Metaphor

What is it: A comparison of two ideas, events, objects, or people that does not use “like” or “as.”

An extended metaphor is a lengthy metaphor that continues the comparison for several sentences, paragraphs, or even pages.

“But soft! What light through yonder window breaks?

It is the East, and Juliet is the sun!

Arise, fair sun, and kill the envious moon,

Who is already sick and pale with grief.”

—William Shakespeare, Romeo and Juliet , Act 2, Scene 2

Here, the sun is a metaphor for Juliet.

What is it: The general feeling the speaker evokes in the reader through the atmosphere, descriptions, and other features.

“Deep into that darkness peering, long I stood there wondering, fearing,

Doubting, dreaming dreams no mortal ever dared to dream before”

—Edgar Allen Poe, The Raven

Poe evokes an air of mystery in the opening lines of his poem, setting a dark mood.

21. Onomatopoeia

What is it: A word the is closely associated or identical to the sound it describes.

Example: Buzz

22. Oxymoron

What is it: A pairing of seemingly contradictory terms used to convey emphasis or tension.

“A fine mess”: this is an oxymoronic characterization because “fine” is typically associated with beauty and order, while “mess” is the opposite.

23. Paradox

What is it: An apparent contradiction that, upon further unraveling, may contain truth, used for effect on the reader.

Hamlet: “I must be cruel to be kind.”

—William Shakespeare, Hamlet , Act 3, Scene 4

In this instance, Hamlet must, in fact, act in a seemingly cruel way in order to ultimately be kind.

24. Personification

What is it: Lending descriptions generally applied to human beings to nonhumans. This term differs from anthropomorphism in that the nonhuman entities are not thought to behave in human-like ways but are merely described in these terms.

Example: The shadows danced on the wall.

Shadows do not actually dance, but the lending of the human action personifies them.

25. Repetition

What is it: Multiple instances of a word or phrase, often in succession, used for emphasis.

“The woods are lovely, dark, and deep,

But I have promises to keep,

And miles to go before I sleep,

And miles to go before I sleep.

— Robert Frost’s Stopping by Woods on a Snowy Evening

The repetition emphasizes the length of the speaker’s journey.

What is it: A phrase or entire work that uses irony to critique behaviors, events, people, or vices.

Example : Animal Farm is a work of satire, critiquing Stalinism and the politics Soviet Union.

What is it: A comparison between objects, events, or people that uses “like” or “as.”

“I wandered lonely as a cloud

that floats on high o’er vales and hills.”

—William Wordsworth, Daffodils

“Lonely as a cloud” is a simile, comparing the states of isolation.

28. Symbolism

What is it: Something used to represent a larger concept or idea.

In Macbeth , the “spot” Lady Macbeth cannot get off her dress is a symbol of her guilt-stained conscience.

29. Synecdoche

What is it: An instance of a part representing a whole or vice versa.

Example: When someone refers to looking out at a “sea of faces,” the faces represent whole people.

What is it: The speaker or narrator’s attitude toward the subject of the piece, distinct from mood in that it is not used to evoke a particular feeling in the reader.

“I shall be telling this with a sigh

Somewhere ages and ages hence:

Two roads diverged in a wood, and I,

I took the one less traveled by,

And that has made all the difference.”

—Robert Frost, The Road Not Taken

The speaker is evoking a tone of unhappiness and possible regret with the words “with a sigh.”

To learn more about using rhetorical devices, read How to Use Rhetorical Devices in Your College Essay .

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Literary Devices

Literary devices, terms, and elements, definition of essay, common examples of essay, significance of essay in literature.

Many famous writers and thinkers have also written numerous examples of essays. For instance, the treatises of the philosophers Plutarch, Cicero, and Seneca are all early forms of essay writing. Essay writing might seem dull to school children, but in fact the form has become extremely popular, often converging with a type of writing called “creative non-fiction.” Authors are able to explore complex concepts through anecdote, evidence, and exploration. An author may want to persuade his or her audience to accept a central idea, or simply describe what he or she has experienced. Below you will find examples of essays from famous writers.

Examples of Essay in Literature

Trust thyself: every heart vibrates to that iron string. Accept the place the divine providence has found for you, the society of your contemporaries, the connection of events. Great men have always done so, and confided themselves childlike to the genius of their age, betraying their perception that the absolutely trustworthy was seated at their heart, working through their hands, predominating in all their being. And we are now men, and must accept in the highest mind the same transcendent destiny; and not minors and invalids in a protected corner, not cowards fleeing before a revolution, but guides, redeemers, and benefactors, obeying the Almighty effort, and advancing on Chaos and the Dark.

Ralph Waldo Emerson was an essayist and poet who was a part of the Transcendentalist movement and who believed strongly in the importance of individualism and self-reliance. The above essay example, in fact, is titled “Self-Reliance,” and encourages human beings to trust themselves and strike out on their own.

Yet, because he was so small, and so simple a form of the energy that was rolling in at the open window and driving its way through so many narrow and intricate corridors in my own brain and in those of other human beings, there was something marvelous as well as pathetic about him. It was as if someone had taken a tiny bead of pure life and decking it as lightly as possible with down and feathers, had set it dancing and zig-zagging to show us the true nature of life. Thus displayed one could not get over the strangeness of it. One is apt to forget all about life, seeing it humped and bossed and garnished and cumbered so that it has to move with the greatest circumspection and dignity. Again, the thought of all that life might have been had he been born in any other shape caused one to view his simple activities with a kind of pity.

Here was I, the white man with his gun, standing in front of the unarmed native crowd — seemingly the leading actor of the piece; but in reality I was only an absurd puppet pushed to and fro by the will of those yellow faces behind. I perceived in this moment that when the white man turns tyrant it is his own freedom that he destroys. He becomes a sort of hollow, posing dummy, the conventionalized figure of a sahib. For it is the condition of his rule that he shall spend his life in trying to impress the ‘natives’, and so in every crisis he has got to do what the ‘natives’ expect of him. He wears a mask, and his face grows to fit it. I had got to shoot the elephant. I had committed myself to doing it when I sent for the rifle. A sahib has got to act like a sahib; he has got to appear resolute, to know his own mind and do definite things. To come all that way, rifle in hand, with two thousand people marching at my heels, and then to trail feebly away, having done nothing — no, that was impossible. The crowd would laugh at me. And my whole life, every white man’s life in the East, was one long struggle not to be laughed at.

George Orwell’s marvelous essay “Shooting an Elephant” tells the story of when he was a police officer in Lower Burma and was asked to deal with an elephant wandering through a market. Orwell brilliantly extrapolates his role in shooting and killing the animal to the effects of Imperialism and the British Empire.

Not that it’s profound, but I’m struck, amid the pig’s screams and wheezes, by the fact that these agricultural pros do not see their stock as pets or friends. They are just in the agribusiness of weight and meat. They are unconnected, even at the fair’s self-consciously special occasion of connection. And why not?—even at the fair their products continue to drool and smell and scream, and the work goes on. I can imagine what they think of us, cooing at the swine: we fairgoers don’t have to deal with the business of breeding and feeding our meat; our meat simply materializes at the corn-dog stand, allowing us to separate our healthy appetites from fur and screams and rolling eyes. We tourists get to indulge our tender animal-rights feelings with our tummies full of bacon. I don’t know how keen these sullen farmers’ sense of irony is, but mine’s been honed East Coast keen, and I feel like a bit of an ass in the Swine Barn.

(“Ticket to the Fair” by David Foster Wallace)

Test Your Knowledge of Essay

3. Which of the following statements is true? A. Essays are found in many intellectual magazines. B. Essays are only used in school settings. C. Essays are always boring. [spoiler title=”Answer to Question #3″] Answer: A is the correct answer.[/spoiler]

75 Literary Devices (A to Z List) | Definitions & Examples

Literary devices are techniques and tools used by writers to convey meaning, create a particular mood or tone, and enhance the overall effect of their writing. We use these literary devices in creative writing such as literature and poetry. These are also used in non-fiction works and other types of communication. We have compiled a huge life of 75 literary devices for you.

Let’s read!

• Alliteration

Alliteration is a literary device that involves using the same sound or letter at the beginning of multiple words in close proximity. It is utilized to make writing sound musical and to stress particular words or phrases. The repeated sound can be a consonant or a vowel sound.

Example: S he s ells s eashells by the s eashore.

Each word in the sentence starts with the repetition of letter “s”. It creates a musical and rhythmic effect in the sentence. This repetition also helps to emphasize the words and draw attention towards them. Alliteration is commonly used in poetry, slogans, and advertising to create a catchy and memorable effect.

Allusion is a literary device where the author makes a reference to something like a person, place, event, or artwork without directly naming it. The author expects the reader to know what they are referring to. Writers do this to make their writing richer by drawing on shared cultural knowledge or by making connections and associations between different works of literature.

For example, a writer may mention Julius Caesar to talk about power or politics. Or they may use a famous work of literature like Shakespeare’s Hamlet to add more meaning to their own characters or themes.

Allusions can be direct or indirect. A direct allusion is when the reference is made explicitly, like “He was a real Romeo, always chasing after the ladies.” An indirect allusion is more subtle and requires the reader to connect the dots between the text and the alluded-to reference, like “Her smile was like the Mona Lisa’s, enigmatic and mysterious.”

Allusions can be found in different types of writing such as poems, plays, novels, and essays. Allusion can make the work of writers more meaningful and thought-provoking.

Ambiguity is a literary device where a writer uses of language or words that have multiple meanings or interpretations. Ambiguity creates a sense of uncertainty or mystery in the writing. It may force readers to engage more actively in order to understand meaning of text.

The example of ambiguity is the famous riddle,

• “What is black and white and red all over?” The answer, “A newspaper,” Here, the word “red” shows different meanings (which can mean both the color red and the past tense of “read”).

Ambiguity can be used deliberately by writers to create a sense of uncertainty or to leave interpretations open to the reader. However, excessive use of ambiguity can be frustrating or confusing for readers. The writers should maintain a balance between clarity and complexity in their use of language.

• Anachronism

Anachronism refers to a technique in literature that employs an element that is inconsistent with the time period or context of the narrative. This may include a historical object, a character, a language, or an event that did not transpire during that specific era.

For instance, imagine a tale set in medieval Europe where characters speak using modern-day slang or utilize modern technology; this would undoubtedly be an example of anachronism. Similarly, in a historical fiction novel set during the American Revolution, if a character is portrayed riding a motorcycle, it would also be deemed an anachronism.

Writers can use anachronism intentionally or unintentionally. Sometimes, writers use anachronism to add humor or satire to their work or to highlight the differences between different time periods.

The writers should be aware of the use of anachronisms. Its excessive usage can detract from the authenticity of a story and take readers out of the narrative. However, a well-placed anachronism can add an unexpected twist or bring a playful element to the story, and even provide an opportunity for commentary or satire.

An analogy is a literary device that involves drawing a comparison between two things in order to clarify or explain something. Analogies can be useful for helping readers understand complex or abstract concepts by comparing them to something more concrete or familiar.

For example, the phrase “life is like a box of chocolates” from the movie Forrest Gump is an analogy that compares the unpredictable nature of life to the unpredictability of a box of assorted chocolates. Another example of an analogy might be comparing the structure of an atom to a miniature solar system, with the nucleus at the center and electrons orbiting around it like planets around the sun.

Analogies can be used in a variety of ways in literature. They can help to illustrate complex ideas or emotions, create vivid imagery, or add depth and richness to descriptions. Analogies can also be used to create humor or irony, by comparing two things that are seemingly dissimilar in unexpected ways.

It is important for writers to choose analogies carefully and thoughtfully, and to ensure that the comparison they are making is both accurate and appropriate for the context of the text. When used effectively, analogies can be a powerful tool for engaging and enlightening readers.

Anaphora is a literary device that involves the repetition of a word or phrase at the beginning of successive clauses, phrases, or sentences. This repetition can create a sense of emphasis, rhythm, or momentum in a text, and can help to unify a piece of writing or highlight a particular idea or theme.

For example, Martin Luther King Jr.’s famous “I Have a Dream” speech is known for its use of anaphora, with the repeated phrase “I have a dream” emphasizing King’s vision for racial equality and justice. Another example of anaphora might be the repetition of the phrase “It was the best of times, it was the worst of times” at the beginning of each paragraph in Charles Dickens’ novel A Tale of Two Cities.

Anaphora can be used in a variety of ways in literature. It can be used to create a sense of urgency or excitement, to build suspense or anticipation, or to emphasize a particular message or idea. Anaphora can also be used to create a sense of unity or coherence in a text, by repeating key phrases or ideas throughout a piece of writing.

Anastrophe is a literary device that involves the inversion of the typical word order in a sentence. In anastrophe, words are rearranged in a way that deviates from the normal subject-verb-object order of English sentences, in order to create a particular effect or emphasis.

For example, in the famous opening line of Yoda’s dialogue from Star Wars, “Powerful you have become, the dark side I sense in you,” the subject and verb are inverted, with “you” coming after “powerful,” and “the dark side” coming after “become.” This inversion creates a sense of emphasis on the unusual word order, and helps to highlight the importance of Yoda’s message.

Anastrophe can be used in a variety of ways in literature. It can create a sense of emphasis or urgency, by placing important words or phrases at the beginning or end of a sentence. Anastrophe can also be used to create a particular rhythm or flow in a text, by changing the normal order of words and creating a sense of variation or contrast.

It is important for writers to use anastrophe carefully and thoughtfully, and to ensure that the unusual word order they are using is appropriate for the context and message of the text. When used effectively, anastrophe can be a powerful tool for creating memorable and impactful writing.

In literature, an antagonist is a character or force that opposes the protagonist, or main character, in a story. The antagonist can take many forms, including a person, group, or organization, as well as abstract concepts like fear, guilt, or injustice.

The antagonist is typically portrayed as an obstacle that the protagonist must overcome in order to achieve their goals or complete their journey. The conflict between the protagonist and antagonist is often the driving force of the story, and can create tension, suspense, and drama.

Examples of antagonists in literature include characters like Lord Voldemort in the Harry Potter series, who opposes the protagonist Harry Potter at every turn, and Captain Ahab in Herman Melville’s Moby-Dick, who becomes obsessed with hunting down the titular whale and ultimately meets his demise as a result.

While the antagonist is often seen as a villain or antagonist, they can also be more complex and nuanced characters. Some antagonists may have sympathetic motivations or be fighting for what they believe is right, even if it is in opposition to the protagonist. This complexity can create a more layered and interesting story, and can force the protagonist to confront their own beliefs and values in order to succeed.

Ultimately, the antagonist is a crucial element of any story, as they provide a source of conflict and tension that drives the plot forward and challenges the protagonist to grow and change.

Antithesis is a literary device that involves the use of contrasting ideas, words, or phrases within a sentence or paragraph to create a sense of balance or tension. Antithesis often involves parallelism, where the structure of the contrasting ideas or phrases is similar or identical.

For example, in William Shakespeare’s play Romeo and Juliet, Juliet famously declares, “My only love sprung from my only hate! / Too early seen unknown, and known too late!” This use of antithesis creates a sense of balance and contrast within the lines, highlighting the conflict between the two opposing forces of love and hate.

Antithesis can be used in a variety of ways in literature. It can create a sense of tension or opposition, emphasizing the differences between two ideas or concepts. It can also create a sense of balance or symmetry, by pairing contrasting ideas in a way that creates a satisfying structure or rhythm.

In addition to being used in individual sentences or phrases, antithesis can also be used on a larger scale to create a sense of contrast or opposition between different characters, themes, or storylines in a work of literature. This can create a complex and nuanced story that explores multiple perspectives and ideas.

Overall, antithesis is a powerful literary device that can be used to create contrast, tension, and balance within a work of literature, and can help to highlight important themes and ideas.

An aphorism is a concise statement that expresses a general truth or moral principle in a memorable and pithy way. An aphorism can take many forms, including a proverb, a saying, a maxim, or a quotation.

Aphorisms are often used to convey wisdom or insight in a succinct and memorable way. They are commonly found in literature, philosophy, and everyday conversation, and can be used to convey a range of ideas and values.

Some famous examples of aphorisms include:

• “Actions speak louder than words.” (Proverb)
• “All that glitters is not gold.” (Proverb)
• “Know thyself.” (Maxim)
• “The unexamined life is not worth living.” (Quotation from Socrates)

Aphorisms can be used in a variety of ways in literature. They can be used to highlight important themes or ideas, provide insight into a character’s personality or worldview, or to create a memorable and impactful line of dialogue.

When used effectively, aphorisms can be a powerful tool for conveying complex ideas in a concise and memorable way. They can also provide a sense of cultural continuity and connection, as many aphorisms have been passed down through generations and across cultures.

Apostrophe is a literary device in which a writer or speaker addresses a person, place, thing, or idea that is not present or is unable to respond. The apostrophe is used to give voice to an absent entity, and to express strong emotions or feelings towards it.

For example, in William Shakespeare’s play Julius Caesar, Mark Antony speaks directly to the dead body of Caesar, saying “O, pardon me, thou bleeding piece of earth, / That I am meek and gentle with these butchers!” This use of apostrophe allows Antony to express his grief and anger towards Caesar’s assassins, and to give voice to his own emotions.

Apostrophe can be used in a variety of ways in literature. It can be used to create a sense of intimacy or connection between the speaker and the absent entity, as well as to express strong emotions or feelings towards it. It can also be used to convey a sense of longing, nostalgia, or regret.

Apostrophe is commonly used in poetry, where it can be used to create a sense of heightened emotion and lyrical intensity. It can also be used in drama and other forms of literature, where it can be used to create a sense of dramatic tension or to highlight important themes and ideas.

Overall, apostrophe is a powerful literary device that allows writers to give voice to absent entities and to express strong emotions and feelings towards them. When used effectively, apostrophe can create a sense of intimacy and connection between the speaker and the absent entity, and can help to convey complex ideas and emotions in a memorable and impactful way.

An archetype is a universal symbol, image, or theme that is present across cultures and throughout history. Archetypes are deeply rooted in the human psyche, and are often associated with universal human experiences such as birth, death, love, and transformation.

Archetypes can take many forms, including characters, symbols, settings, and plots. Some common archetypes include:

• The hero: A courageous and determined character who is on a quest or journey to achieve a goal.
• The mentor: A wise and experienced character who guides and supports the hero on their journey.
• The trickster: A mischievous and unpredictable character who disrupts the established order and often has a transformative effect on the other characters.
• The shadow: A dark and often sinister character who represents the protagonist’s repressed or negative aspects.
• The mother: A nurturing and supportive figure who provides emotional sustenance and guidance to the hero.

Archetypes are often used in literature and other forms of art to convey deep and universal themes and ideas. They can be used to create a sense of familiarity and connection between the reader or viewer and the work of art, as well as to explore complex human experiences and emotions.

Overall, archetypes are a powerful tool for writers and artists, allowing them to tap into universal human experiences and emotions in order to create impactful and meaningful works of art. By using archetypes, writers and artists can create works that resonate with audiences across cultures and throughout history, and that continue to inspire and move people for generations to come.

Assonance is a literary device that involves the repetition of vowel sounds within a series of words or phrases. It is often used in poetry and other forms of literature to create a musical or rhythmic effect, and to draw attention to particular words or ideas.

Assonance can occur within a single word or between multiple words. For example, the phrase “fleet feet sweep by sleeping geese” contains the repeated “ee” sound in “fleet,” “feet,” “sweep,” and “sleeping,” creating a sense of musicality and rhythm.

Assonance is often used in conjunction with other literary devices, such as alliteration and rhyme, to create a sense of unity and coherence within a piece of writing. It can also be used to emphasize particular words or ideas, or to create a specific mood or tone.

Overall, assonance is a powerful tool for writers and poets, allowing them to create works that are both musical and meaningful. By using assonance, writers can draw attention to particular words or ideas, and can create works that are both aesthetically pleasing and emotionally impactful.

Asyndeton is a literary device that involves the omission of conjunctions (such as “and,” “or,” or “but”) between a series of words, phrases, or clauses. It is often used in literature and rhetoric to create a sense of speed, urgency, or excitement.

By omitting conjunctions, asyndeton creates a sense of connection and momentum between the words or phrases. For example, the phrase “I came, I saw, I conquered” uses asyndeton to create a sense of power and determination, emphasizing the rapid sequence of actions.

Asyndeton can also be used to create a sense of surprise or contrast, by breaking the expected pattern of conjunctions. For example, the phrase “She was smart, talented, beautiful, a force to be reckoned with” uses asyndeton to create a sense of surprise, emphasizing the unexpected absence of a conjunction between “beautiful” and “a force to be reckoned with.”

Overall, asyndeton is a powerful tool for writers and speakers, allowing them to create works that are both fast-paced and impactful. By using asyndeton, writers can create a sense of unity and momentum within a piece of writing, while also emphasizing particular words or ideas for greater effect.

Bildungsroman

Bildungsroman is a literary genre that focuses on the personal growth and development of a protagonist, usually from childhood to adulthood. The term “Bildungsroman” is German for “novel of education” or “novel of formation.”

The Bildungsroman genre often involves a journey or quest of self-discovery, as the protagonist encounters various challenges, learns from their experiences, and ultimately gains a deeper understanding of themselves and the world around them. The protagonist typically undergoes a transformation, both in terms of their worldview and their place in society.

Some notable examples of Bildungsroman include “To Kill a Mockingbird” by Harper Lee, “Great Expectations” by Charles Dickens, “The Catcher in the Rye” by J.D. Salinger, and “Jane Eyre” by Charlotte Bronte.

Overall, Bildungsroman is a powerful literary genre that allows writers to explore themes of personal growth, self-discovery, and the complex journey of becoming an adult. By following the protagonist on their journey of self-discovery, readers can gain insight into their own experiences and struggles, and can be inspired by the protagonist’s resilience and growth.

Cacophony is a literary device that involves the use of harsh or discordant sounds, often for the purpose of creating a sense of dissonance or tension. The term “cacophony” is derived from the Greek word “kakophonia,” which means “bad sound.”

Cacophony can be created through the use of harsh consonant sounds, such as “k,” “g,” and “t,” or through the repetition of similar sounds or words. For example, the phrase “clammy hands clutched the crumbling cliffs” uses cacophony to create a sense of tension and unease, emphasizing the harsh “c” and “cl” sounds.

Cacophony is often used in literature to convey negative emotions or ideas, such as anger, violence, or chaos. It can also be used to create a sense of contrast or irony, by juxtaposing discordant sounds with more pleasant or harmonious elements.

Overall, cacophony is a powerful tool for writers, allowing them to create works that are both aesthetically impactful and emotionally resonant. By using cacophony, writers can create a sense of tension, dissonance, or discord, and can draw attention to particular words or ideas for greater effect.

Catharsis is a literary device that involves the emotional release or cleansing that a character undergoes during the course of a story. The term “catharsis” comes from the Greek word “katharsis,” which means “purification” or “cleansing.”

In literature, catharsis often occurs when a character experiences a strong emotional response to a traumatic event or revelation, and is able to process and overcome that emotion through some form of release. This release may take the form of a physical action, such as crying or screaming, or it may be more symbolic, such as a change in the character’s perspective or behavior.

The concept of catharsis is often associated with the ancient Greek philosopher Aristotle, who believed that the purpose of tragedy was to create a sense of emotional release or purification in the audience. According to Aristotle, the emotional experience of tragedy allowed the audience to process and overcome their own negative emotions, leading to a greater sense of catharsis and emotional balance.

Overall, catharsis is a powerful literary device that can help to create a sense of emotional depth and resonance in a story. By allowing characters to experience and overcome their emotions, writers can create works that are both meaningful and transformative for readers.

Characterization

Characterization is a literary device that refers to the way in which an author creates and develops characters in a story. Through characterization, authors can provide readers with information about a character’s appearance, personality, backstory, and motivations, allowing readers to form a deeper understanding of the character and their role within the story.

There are two main types of characterization: direct and indirect. Direct characterization involves the author explicitly describing a character’s traits or qualities, while indirect characterization involves revealing information about a character through their actions, dialogue, and interactions with other characters.

Authors can also use various techniques to create and develop characters, such as physical descriptions, internal monologues, and relationships with other characters. For example, a character who is described as tall and muscular may be seen as physically strong, while a character who frequently makes sarcastic remarks may be seen as having a sharp wit.

Effective characterization is essential for creating compelling and memorable characters that readers can relate to and care about. By using a range of techniques to create and develop characters, authors can bring their stories to life and create works that resonate with readers on a deep and emotional level.

Chiasmus is a literary device that involves the repetition of words or phrases in reverse order. It is a type of parallelism, in which the structure of a sentence or phrase is mirrored or reversed. This creates a sense of symmetry and balance, and can be used to emphasize a point or create a memorable phrase.

An example of chiasmus is the famous quote by John F. Kennedy, “Ask not what your country can do for you, ask what you can do for your country.” In this example, the words “country” and “you” are repeated in reverse order, creating a sense of balance and symmetry in the sentence.

Chiasmus is often used in speeches and other forms of persuasive writing, as it can help to emphasize key points and make them more memorable to the audience. It can also be used in poetry and other forms of creative writing to create a sense of rhythm and balance.

Overall, chiasmus is a powerful literary device that can be used to create memorable and impactful writing. By repeating words or phrases in reverse order, writers can create a sense of symmetry and balance in their writing, and emphasize key points in a memorable way.

Climax is a literary device that refers to the point in a story where the conflict or tension reaches its highest point. It is the moment of greatest intensity, where the fate of the characters and the outcome of the story are in the balance.

The climax is typically the turning point in the story, where the protagonist faces their greatest challenge and must make a critical decision or take decisive action to resolve the conflict. It is often the most memorable and emotionally impactful moment in a story, and can have a significant impact on the reader’s experience.

For example, in William Shakespeare’s play “Romeo and Juliet,” the climax occurs when Romeo kills Juliet’s cousin Tybalt in a fit of rage. This action sets in motion a chain of events that leads to the tragic ending of the play.

The climax of a story is often preceded by rising action, where the tension and conflict build gradually, and followed by falling action, where the consequences of the climax are explored and the story begins to wrap up.

Overall, the climax is a crucial element of storytelling, as it provides a moment of high drama and tension that drives the narrative forward and engages the reader’s emotions.

Comic relief

Comic relief is a literary device that refers to the inclusion of humorous elements or scenes in a work of literature or drama that are intended to provide a temporary break in tension or drama. It is often used to lighten the mood and provide relief from the seriousness or intensity of the story.

Comic relief can take many forms, such as a funny character, a humorous situation, or witty dialogue. It is most commonly used in tragic or dramatic works, where the inclusion of comedic elements can help to balance out the heavier themes and emotions.

For example, in William Shakespeare’s play “Hamlet,” the character of the gravedigger provides a moment of comic relief in the midst of the play’s darker themes of death and revenge. His humorous banter and wordplay with Hamlet provides a break in the tension and adds a lighter touch to the play.

Comic relief is also commonly used in film and television, where it is often used to break up the tension in action or drama movies, or to add humor to sitcoms and other comedic shows.

Overall, comic relief is an important literary device that can help to balance out the serious or intense themes of a work of literature, and provide a moment of levity and humor for the audience.

Connotation

Connotation refers to the emotional or cultural associations that a word carries beyond its literal definition. It is the secondary meaning of a word or phrase, often shaped by personal experiences, cultural context, or societal norms.

For example, the word “home” has a positive connotation for many people, evoking feelings of comfort, safety, and belonging. On the other hand, the word “house” may have a more neutral connotation, simply referring to a physical structure where one lives.

Connotation can also vary depending on the context in which a word is used. For instance, the word “snake” can have a negative connotation when used to describe a person who is sneaky or deceitful, but a positive connotation when used to describe a powerful and transformative symbol in mythology or literature.

In literature, authors often use connotation to create mood and tone, and to convey a deeper meaning beyond the literal definition of a word or phrase. By carefully choosing words with specific connotations, authors can manipulate the reader’s emotional response to a character or situation, and create a more nuanced and complex portrayal of their story.

Overall, connotation is an important literary device that can add depth and complexity to language and literature, and allow authors to convey complex emotions and ideas beyond the literal meaning of words.

Consonance is a literary device that refers to the repetition of consonant sounds within a phrase or sentence, often at the end of words. Unlike alliteration, which repeats initial consonant sounds, consonance repeats consonant sounds in any part of the word, creating a musical or rhythmic effect.

For example, the phrase “pitter-patter” contains consonance, as the “t” and “r” sounds are repeated in both words. Another example is the phrase “all’s well that ends well,” where the “l” sound is repeated at the end of each word.

Consonance is often used in poetry and other forms of literature to create a musical or rhythmic effect, and can also be used to reinforce the meaning or mood of a particular passage. It is sometimes used in combination with other literary devices, such as rhyme or alliteration, to create a more complex and layered effect.

Overall, consonance is an important tool in the writer’s toolbox, allowing writers to create memorable and impactful phrases, and to add musicality and rhythm to their work.

Deus ex machina

Deus ex machina is a literary device that refers to a sudden, unexpected resolution to a story that is often seen as contrived or artificial. It is a Latin term that translates to “god from the machine,” and originated in ancient Greek theater, where actors playing gods would be lowered onto the stage by a crane to resolve the plot.

In literature, a deus ex machina occurs when an author introduces an improbable or unexpected event or character to resolve a seemingly unsolvable problem or conflict in the story. This device is often used as a shortcut to resolve complex plot lines or to provide a quick and easy ending, but can also be seen as a lazy or unsatisfying solution.

For example, in a story about a detective trying to solve a murder, a deus ex machina might occur if the murderer suddenly confesses to the crime without any explanation or reason, rather than the detective solving the mystery through careful investigation and deduction.

While deus ex machina can be a useful tool in certain situations, it is generally frowned upon in modern literature as it can be seen as a cop-out or a failure of the author to resolve the story in a satisfying and logical manner. Instead, authors are encouraged to find more natural and believable ways to resolve conflicts and bring their stories to a close.

Dialogue is a literary device that refers to a conversation between two or more characters in a work of literature. It can be used to reveal character, advance the plot, provide information, and add to the overall atmosphere and tone of the work.

For example, in F. Scott Fitzgerald’s novel “The Great Gatsby,” the following dialogue occurs between the characters Daisy and Gatsby:

“‘You remind me of a—of a rose, an absolute rose. Doesn’t he?’ She turned to her husband. ‘What do you think?’ ‘Creepy,’ he said.”

This dialogue reveals several things about the characters and the situation. It shows that Daisy is trying to flatter Gatsby by comparing him to a beautiful and desirable object, but her husband Tom is dismissive and critical of Gatsby. The contrast between Daisy’s romanticized view of Gatsby and Tom’s negative reaction creates tension and conflict between the characters.

Dialogue can also be used to reveal the personalities and motivations of the characters, as well as to convey information and advance the plot. In well-written dialogue, each character should have a unique voice and style of speaking, which helps to create a sense of realism and depth in the story.

Diction refers to the author’s choice of words and phrases in a literary work. It is an important literary device that can help convey the tone, mood, and theme of a piece of writing. The choice of words can also have an impact on the reader’s interpretation and understanding of the work.

For example, in William Shakespeare’s play “Hamlet,” the character Hamlet’s use of complex and intellectual language reflects his educated and thoughtful nature. On the other hand, the character of the gravedigger speaks in a more simple and colloquial manner, reflecting his lower social status and more practical outlook on life.

In addition to the level of formality, diction can also involve the connotations of words and the author’s use of figurative language such as metaphors and similes. By carefully choosing their diction, an author can create a certain tone or mood in their work, whether it be serious, humorous, or emotional.

For example, in Maya Angelou’s poem “Still I Rise,” she uses powerful and uplifting language to convey her message of resilience and strength in the face of adversity:

“I am the dream and the hope of the slave. I rise I rise I rise.”

The repetition of “I rise” creates a sense of momentum and determination, while the use of powerful imagery such as “the dream and the hope of the slave” conveys the historical and cultural significance of the poem’s message.

An elegy is a type of poem that is used to mourn or commemorate the death of someone or something. It is often characterized by its melancholic tone and its use of imagery and symbolism to convey the emotions and thoughts of the speaker.

As a literary device, an elegy often uses figurative language such as metaphors, similes, and personification to convey the emotions of the speaker. It may also use allusions to historical or mythological figures or events to create a sense of grandeur or to add depth to the poem’s themes.

One famous example of an elegy is John Milton’s “Lycidas,” written in memory of his friend Edward King. The poem uses pastoral imagery to convey a sense of loss and mourning, and it also makes allusions to classical mythology to add depth to its themes of death and rebirth.

Another example of an elegy is “In Memoriam A.H.H.” by Alfred Lord Tennyson, which is a long poem written in memory of Tennyson’s friend Arthur Henry Hallam. The poem is structured as a series of short lyrics, each expressing a different emotion or thought about the loss of Hallam. It uses a variety of literary devices, including imagery, allusion, and repetition, to create a sense of emotional depth and to convey the complexity of grief.

In literature, an ellipsis is used to indicate the omission of a word or words, which are unnecessary to convey a complete thought. It’s usually represented by three dots (…) and can be used in various ways to create different effects.

Examples of ellipsis in literature:

• “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness… it was the spring of hope, it was the winter of despair.” – Charles Dickens, A Tale of Two Cities

In this example, the ellipsis is used to indicate a series of contrasts and opposites, building up to a dramatic conclusion.

• “To be, or not to be… that is the question.” – William Shakespeare, Hamlet

The ellipsis here is used to create a pause in Hamlet’s famous soliloquy, emphasizing the gravity of his decision and adding to the emotional intensity of the scene.

Here are some more examples of how ellipsis can be used:

• To create suspense or build tension:

Example: “The door slowly creaked open, and inside… nothing.”

• To indicate a trailing off or a pause in speech or thought:

Example: “I don’t know, I was just thinking… maybe we should take a break.”

• To indicate an intentional omission of information:

Example: “She had been through a lot lately… more than anyone should have to endure.”

• To indicate a change in tone or thought:

Example: “I know I said I wouldn’t go… but maybe just this once.”

• To indicate a hesitation or uncertainty in speech:

Example: “I don’t know if I should tell you this… but I heard that he’s leaving.”

Enjambment is a poetic device that involves running one sentence or clause into the next line of a poem without a pause or punctuation mark. This creates a sense of flow and continuity, as the meaning of the sentence is carried over to the next line.

For example, consider the following lines from William Wordsworth’s poem, “The Solitary Reaper”:

Behold her, single in the field, Yon solitary Highland Lass! Reaping and singing by herself;

In these lines, the sentence “Behold her, single in the field” is carried over to the next line without any pause or punctuation, creating an enjambment. This technique creates a sense of continuity, linking the description of the woman to the next line where she is shown to be reaping and singing by herself.

Enjambment can also be used to create tension or surprise in a poem, as the meaning of a sentence may not be immediately clear until the following line. It can also be used to control the pace and rhythm of a poem, as the reader is forced to continue on to the next line without a natural pause.

Epiphany is a literary device that refers to a sudden realization or insight that occurs in a character’s mind, often leading to a significant change in their perspective or behavior. The term is derived from the Greek word “epiphaneia,” meaning “manifestation” or “appearance,” and is often associated with a moment of clarity or enlightenment.

Epiphanies can occur at any point in a story, but they are often used to mark a turning point or climax in a character’s development. They can be subtle or dramatic, and may involve a character discovering a new truth about themselves, their situation, or the world around them.

One famous example of an epiphany in literature is the ending of James Joyce’s short story “The Dead,” where the main character, Gabriel Conroy, experiences a sudden realization about the true nature of his relationship with his wife. As he watches snow falling outside, Gabriel is struck by the idea that he has been living his life “unmindful of the past, present and future,” and that he has failed to understand the depth of his wife’s feelings for a past lover. This realization leads to a profound sense of loss and a reevaluation of Gabriel’s identity and relationships.

Epiphanies can be powerful tools for character development, as they allow characters to confront their own flaws and biases and to see the world in a new light. They can also be used to create a sense of resolution or closure at the end of a story.

In literature, an epithet is a descriptive word or phrase that is used to characterize a person, place, or thing. It is a type of literary device that helps to add color and depth to descriptions and can be used to create a more vivid and memorable image of a character or object in the reader’s mind.

Epithets can be used in a variety of ways. They can be positive or negative, depending on the author’s purpose. For example, a character might be described as “brave” or “wise” to emphasize their positive qualities, while another might be described as “deceitful” or “cruel” to highlight their negative traits.

Epithets are often used in epic poetry, where they help to create a more formal and elevated style of writing. Homer’s “The Iliad” and “The Odyssey” are famous examples of epic poetry that make extensive use of epithets. In these works, characters are often referred to using descriptive phrases such as “swift-footed Achilles” or “rosy-fingered Dawn.”

Epithets can also be used in more modern forms of literature, such as novels and short stories. They can help to add depth and nuance to characters and settings, and can be used to create a more vivid and memorable reading experience for the audience.

A euphemism is a word or phrase that is used to substitute a harsh or unpleasant word or phrase. It is a form of linguistic expression that is meant to soften the impact of a message, and to make it more socially acceptable or less offensive.

Euphemisms can be used in a wide variety of contexts, from polite conversation to political discourse. For example, instead of saying that someone has died, one might use the phrase “passed away” or “passed on”. In the context of war, the phrase “collateral damage” is often used to refer to civilian casualties, while in the workplace, the term “downsizing” is often used as a euphemism for laying off employees.

Euphemisms can serve a variety of purposes. They can be used to avoid offending someone, to avoid a taboo topic, or to convey a message in a more indirect or subtle way. They can also be used for humorous effect, as in the phrase “vertically challenged” to refer to someone who is short.

However, euphemisms can also be used to conceal the true nature of a situation, or to downplay the severity of a problem. For example, the phrase “enhanced interrogation techniques” has been used as a euphemism for torture, while the term “ethnic cleansing” is often used to refer to genocide.

A flashback is a literary device in which an earlier event or scene is inserted into the narrative of a story, interrupting the present action. It is a technique often used to provide background information about a character, setting, or plot element, and can help to create a deeper understanding of the story and its themes.

Flashbacks can be used in a variety of ways, including to:

• Reveal a character’s past experiences and how they have influenced their current situation or behavior
• Provide context for a current event or situation in the story
• Build suspense or tension by foreshadowing future events
• Create irony or dramatic irony by revealing information that the reader or audience knows but the characters do not
• Show the evolution of a relationship between characters over time

Flashbacks can be presented in a variety of formats, including as a character’s memory, a dream sequence, or a narration of past events. They can be used to varying degrees of length and detail, from a brief mention to a full chapter or more.

In literature, a foil is a character who contrasts with another character, typically the protagonist, in order to highlight certain qualities or traits. By presenting two contrasting characters side by side, the author can emphasize their differences and bring greater depth to the story.

For example, in William Shakespeare’s play “Hamlet,” the character of Hamlet is a brooding, philosophical prince who is consumed by grief and a desire for revenge. His foil is the character of Laertes, who is impulsive, passionate, and quick to take action. While Hamlet is paralyzed by his own thoughts and doubts, Laertes is driven by his emotions and his desire for justice.

Throughout the play, Laertes serves as a foil to Hamlet, highlighting the contrast between their personalities and motivations. This is most evident in the final act of the play, when the two characters engage in a fencing match that leads to their mutual destruction. While Hamlet hesitates and overthinks his moves, Laertes attacks with ferocity and determination, demonstrating the very qualities that Hamlet lacks.

In this way, the foil serves to highlight and reinforce the qualities of the protagonist, showing them in a different light and providing greater depth and complexity to the story.

Foreshadowing

Foreshadowing is a literary device used by authors to hint at future events or developments in the plot. This is often done through the use of subtle clues, hints, or suggestions, which can be picked up by attentive readers and used to predict or anticipate what might happen later in the story.

For example, in George Orwell’s novel “Animal Farm,” the animals on the farm gradually become more and more oppressed by their human owner, Mr. Jones. This sets the stage for a rebellion led by the pigs, who eventually take over the farm and establish their own government. However, early in the book, there are several instances of foreshadowing that hint at the eventual downfall of the pigs and their oppressive regime. For example, the pigs begin to adopt human-like behavior, such as walking on two legs and wearing clothing, which suggests that they are becoming more like their former oppressors. Additionally, the pigs begin to use propaganda and manipulation to control the other animals, which foreshadows the corruption and abuse of power that will occur later in the story.

By using foreshadowing, authors can create a sense of anticipation and tension in the reader, while also providing a deeper layer of meaning and complexity to the story. This can help to keep the reader engaged and invested in the narrative, while also providing a greater sense of satisfaction and closure when the story reaches its conclusion.

Free indirect speech

Free indirect speech, also known as indirect discourse or free indirect style, is a literary technique in which the narrator temporarily adopts the point of view and language of a character, without explicitly signaling the shift from third-person narration to direct speech.

This technique allows the reader to experience the character’s thoughts and feelings in a more immediate and personal way, without disrupting the flow of the narrative. By blending the voice of the character with that of the narrator, free indirect speech can also create a sense of ambiguity or uncertainty about the character’s motives or intentions, adding depth and complexity to the story.

For example, consider the following passage from Jane Austen’s “Emma”:

“Emma could not resist. ‘I cannot see you acting wrong, without a remonstrance. How could you be so unfeeling to Miss Bates? How could you be so insolent in your wit to a woman of her character, age, and situation?—Emma, I had not thought it possible.'”

Here, the narrator adopts the voice and perspective of Emma, allowing the reader to experience her thoughts and emotions in a more direct way. The use of indirect speech also creates a sense of ambiguity about Emma’s true feelings towards the character of Miss Bates, as she simultaneously criticizes her behavior while expressing surprise at her own harshness.

Free indirect speech is a powerful tool for writers, allowing them to create complex and nuanced characters, while also maintaining control over the narrative voice and structure.

Hyperbole is a literary device that uses exaggeration to create emphasis or effect in a text. It is often used in literature and poetry to make a point or to create a humorous effect. Hyperbole is an extreme form of exaggeration that is not meant to be taken literally, but rather to convey an intense emotion or sentiment.

Examples of hyperbole include:

• “I’m so hungry, I could eat a horse!”
• “He’s as tall as a skyscraper!”
• “I’ve told you a million times not to do that!”
• “I’m dying of boredom!”
• “The weight of the world is on my shoulders!”

In each of these examples, the speaker is exaggerating to make a point or to create an effect. The use of hyperbole can add drama, humor, or emphasis to a text and can make it more engaging for the reader.

Imagery is a literary device that uses sensory language to create mental images and evoke emotion in a reader’s mind. It is a technique used by writers to make their writing more vivid and descriptive, and to engage the reader’s senses. By using imagery, a writer can paint a picture in the reader’s mind, allowing them to see, hear, feel, taste, or smell what is being described.

Examples of imagery include:

• “The sun was a fiery ball in the sky, casting a warm glow over the horizon.”
• “The smell of freshly baked bread wafted through the air, making my mouth water.”
• “The sound of waves crashing against the shore filled my ears, drowning out all other noise.”
• “The soft, velvety petals of the rose brushed against my skin, releasing a sweet fragrance.”
• “The taste of the ripe, juicy peach exploded in my mouth, sending shivers down my spine.”

By using sensory language to create vivid mental images, a writer can transport the reader to another place and time, and make them feel as though they are experiencing the scene firsthand. This makes the writing more engaging and memorable, and can leave a lasting impression on the reader.

Irony is a literary device that involves the use of words or situations in a way that is opposite to their intended or expected meaning. It creates a discrepancy between what is said or done and what is meant, often leading to an unexpected outcome. Irony is commonly used in literature to create humor, emphasize a point, or provide social commentary.

There are three main types of irony: verbal, situational, and dramatic. Verbal irony occurs when a speaker says something but means the opposite. Situational irony happens when an event occurs that is contrary to what was expected. Dramatic irony occurs when the audience or reader knows something that the characters do not, leading to tension or anticipation.

For example, in William Shakespeare’s play Romeo and Juliet, there is dramatic irony when the audience knows that Juliet is not actually dead, but Romeo thinks she is and kills himself. This creates a tragic outcome that could have been avoided if Romeo had known the truth.

Another example of irony can be seen in Jonathan Swift’s satirical essay “A Modest Proposal,” in which he proposes that the poor Irish should sell their children as food to the wealthy English. The proposal is presented in a serious and straightforward manner, but it is intended to draw attention to the absurdity of the English treatment of the Irish.

Irony is a powerful literary device that can be used to convey complex ideas and emotions. It can also add depth and nuance to a work of literature, making it more engaging and thought-provoking for readers.

Juxtaposition

Juxtaposition is a literary device that involves placing two contrasting things side by side in order to highlight their differences. This can be done with characters, settings, ideas, or any other element of a story. The purpose of using juxtaposition is to create a contrast that emphasizes a particular point or theme.

For example, in F. Scott Fitzgerald’s novel “The Great Gatsby,” the author juxtaposes the lavish lifestyle of the wealthy characters with the poverty and despair of the lower classes. This contrast highlights the theme of the corrupting influence of wealth and the emptiness of the pursuit of materialism.

Another example of juxtaposition can be found in William Shakespeare’s play “Romeo and Juliet.” The characters of Romeo and Tybalt are juxtaposed as they represent two opposing forces – love and hate. This contrast is used to emphasize the theme of the destructive power of hatred and the transformative power of love.

In both of these examples, juxtaposition is used to create a contrast that helps to highlight an important theme or message in the story.

Litotes is a figure of speech that uses negative phrasing to express a positive statement, often in a subtle or understated way. It is a form of understatement that relies on the use of a double negative or a negation of the opposite to emphasize a point.

For example, saying “she’s not unkind” is a litotes that actually means “she’s kind”. Similarly, “I’m not unhappy” could mean “I’m happy” or “it’s not bad” could mean “it’s good”.

Litotes is often used in literature to create a sense of understated irony, to express humility, or to soften the impact of a statement. It is also used in everyday language, particularly in English, where it is a common rhetorical device.

One famous example of litotes can be found in Shakespeare’s Julius Caesar, when Mark Antony says of Brutus and his fellow conspirators, “They are honorable men.” The use of litotes here emphasizes the irony of the statement, given that the conspirators had just killed Caesar in an act of betrayal.

Metaphor is a literary device that refers to a comparison between two unlike things that share a common characteristic or quality. It creates a direct comparison by describing something as if it is something else. Metaphors are often used in literature to help readers understand and visualize complex ideas or emotions.

Here’s an example of a metaphor:

“The world is a stage.” In this metaphor, the world is being compared to a stage, with people acting out their lives like actors on a stage. The common characteristic between the world and a stage is that both involve people performing and playing different roles.

Metaphors can be found in a wide range of literary works, including poetry, novels, and plays. They can be used to create vivid imagery, convey abstract ideas, and evoke emotions in the reader. A well-crafted metaphor can add depth and richness to a piece of writing and can help the reader to better understand the message the author is trying to convey.

Metonymy is a figure of speech that involves the substitution of the name of one thing with another thing that is closely associated with it. In other words, it is a type of metaphor where a word is replaced with another word or phrase that is closely linked with it in context.

For example, when we say “The White House issued a statement,” we are using metonymy because we are referring to the U.S. government, which is closely associated with the White House.

Another example of metonymy is when people refer to the news media as “the press.” Here, “the press” is being used as a substitute for the journalists and news organizations that make up the news media.

Metonymy is often used in literature to create a deeper, more nuanced meaning or to make a concept more memorable or interesting for the reader.

In literature, mood refers to the emotional atmosphere or feeling that a work of literature creates in the reader. It is the overall emotional tone or ambiance of a text that sets the reader’s emotional response to the story. Mood is achieved through the author’s choice of words, descriptions, setting, and theme.

For example, in Edgar Allan Poe’s short story “The Tell-Tale Heart,” the mood is one of suspense, fear, and anxiety. The description of the setting and the narrator’s thoughts and actions contribute to this mood. The use of dark and ominous imagery, such as the “vulture eye” of the old man, helps to create a sense of unease in the reader.

Similarly, in F. Scott Fitzgerald’s novel “The Great Gatsby,” the mood is one of nostalgia, longing, and disillusionment. The author’s use of vivid descriptions of the setting and characters, such as the grandeur of Gatsby’s mansion and the longing in his eyes as he gazes across the water at the green light, creates a dream-like atmosphere that evokes a sense of loss and sadness.

In both examples, the mood plays an important role in creating a deeper emotional connection between the reader and the story, and in conveying the author’s intended themes and messages.

A motif is a recurring element, image, symbol or theme that appears throughout a literary work, and helps to develop the work’s overall theme or message. A motif can be a word, an object, a symbol or an idea, and it may be repeated throughout the work or only appear a few times.

Motifs are used to enhance the depth and meaning of a story, and to create a sense of unity and coherence. They can add emotional depth to a work, and help to unify different parts of the text. They can also help to reinforce a particular message or theme that the author wishes to convey.

Some common motifs in literature include light and dark, journeys, love, betrayal, and death. For example, in Shakespeare’s play “Macbeth,” the motif of blood is used to symbolize guilt and the consequences of one’s actions. The repeated appearance of blood throughout the play underscores the tragedy of Macbeth’s actions and the consequences that he must face.

In F. Scott Fitzgerald’s “The Great Gatsby,” the motif of the green light that shines across the water serves as a symbol of Gatsby’s unattainable dream of winning back his lost love, Daisy. The repeated appearance of the green light throughout the novel underscores the theme of the American Dream and the impossibility of achieving it.

Motifs can be subtle or obvious, and their significance may only become apparent upon repeated readings or analysis. By repeating certain images, ideas or symbols throughout a literary work, authors can create a sense of coherence and unity, and deepen the reader’s understanding of the work’s overall message or theme.

The narrator is the voice that tells a story or conveys information to the reader. They can be a character within the story or an external voice that is not part of the story. The narrator’s perspective and level of involvement can have a significant impact on the reader’s understanding and interpretation of the story.

There are several types of narrators, each with its own characteristics and limitations. A first-person narrator is a character in the story who refers to themselves as “I” and can only describe events and experiences that they witness or participate in. A third-person narrator is not a character in the story and can provide a more objective view of the events and characters. A third-person limited narrator focuses on the thoughts and feelings of one character, while a third-person omniscient narrator knows the thoughts and feelings of all characters.

The choice of narrator can have a significant impact on the story’s tone, mood, and overall impact. A first-person narrator can create a sense of intimacy and immediacy, while a third-person narrator can provide a more detached and objective view of events. The narrator’s reliability or unreliability can also shape the reader’s understanding of the story and its characters.

In some cases, the narrator may be an unreliable or ambiguous presence, leaving the reader uncertain about the truth of the story. Alternatively, the narrator may be a highly reliable and authoritative source of information, providing the reader with a clear and accurate account of events. Ultimately, the narrator plays a crucial role in shaping the reader’s experience of the story and its characters.

Onomatopoeia

Onomatopoeia is a literary device where a word is used to imitate a sound that it describes. The word itself creates or mimics the sound of the thing it is describing, making the reader better understand and visualize the scene or action in the text. This device is commonly used in poetry, but it can also be used in prose.

Examples of onomatopoeia include words like buzz, crackle, hiss, moo, meow, chirp, rustle, and pop. Here are a few examples of how onomatopoeia can be used in literature:

• The bees buzzed around the flowers in the garden.
• The leaves rustled in the wind.
• The thunder rumbled in the distance.
• The fire crackled and popped as it burned.
• The cat meowed loudly for its food.

Onomatopoeia can add depth and sensory appeal to a piece of writing. It helps to create a more vivid and immersive experience for the reader, allowing them to hear the sounds of the story in their mind as they read.

Oxymoron is a literary device that brings together two contradictory terms in order to create a meaningful phrase. It is often used for emphasis or to create a dramatic effect. The word “oxymoron” comes from the Greek words “oxys” meaning “sharp” and “moros” meaning “dull”.

Examples of oxymoron include:

• Jumbo shrimp
• Bittersweet
• Living dead
• Pretty ugly
• Awfully good
• Open secret
• Virtual reality
• Deafening silence
• Act naturally

These examples all bring together two contrasting terms that create a vivid and memorable image in the reader’s mind. The use of oxymoron can be particularly effective in poetry or prose that deals with complex or contradictory themes.

A paradox is a statement or situation that appears to be self-contradictory or absurd but in reality, it holds a hidden truth. Paradoxes are often used in literature to create an element of intrigue or challenge the reader’s expectations. They can also be used to bring attention to the complexity of a theme or to highlight the paradoxical nature of human existence.

One famous example of a paradox is the statement “less is more.” On the surface, it seems contradictory, as “less” and “more” are opposites. However, the statement can be interpreted to mean that simplicity and clarity can often be more effective than complexity and excess.

Another example of a paradox is the classic time travel paradox, in which a person goes back in time and changes something that affects their own existence, such as preventing their parents from meeting. This paradox creates a logical inconsistency that cannot be resolved, as it questions the very fabric of cause and effect.

In literature, paradoxes can add depth and complexity to characters and themes. For example, in Shakespeare’s play “Hamlet,” the titular character states “I must be cruel only to be kind.” This paradoxical statement reveals Hamlet’s inner conflict between his desire for revenge and his sense of duty to do what is ultimately best for those around him.

Parallelism

Parallelism is a literary device where the writer uses a series of words or phrases with similar grammatical structure and length to emphasize and draw attention to an idea or concept. It is also known as parallel structure or parallel construction.

Example: Martin Luther King Jr.’s famous speech “I Have a Dream” is an excellent example of parallelism: “I have a dream that one day this nation will rise up and live out the true meaning of its creed: ‘We hold these truths to be self-evident, that all men are created equal.’ I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.”

In this excerpt, King repeats the phrase “I have a dream” to emphasize his message of hope and equality, while also using parallel structure in the phrases “rise up and live out” and “sons of former slaves and sons of former slave owners” to highlight the importance of unity and brotherhood.

Parataxis is a literary device in which coordinating conjunctions are used to link phrases or clauses in quick succession, without the use of subordination. This creates a simple and direct style of writing or speech. Parataxis is often used in poetry, where the brevity of the lines lends itself to a quick, staccato rhythm.

An example of parataxis can be found in William Carlos Williams’ poem “The Red Wheelbarrow”:

Here, the poet uses short, simple phrases with coordinating conjunctions (“so much depends upon,” “glazed with rain water”) to create a sense of immediacy and clarity. The paratactic structure emphasizes the simplicity and importance of the image presented, while the line breaks provide a sense of pause and emphasis on each phrase.

Personification

Personification is a literary device in which an inanimate object, animal or abstract idea is given human-like qualities or attributes. This is done in order to make the object or idea more relatable, and to add depth and emotion to the writing.

Examples of personification include:

• “The wind howled in the night” – In this sentence, the wind is personified as it is given the human-like quality of being able to howl.
• “The sun smiled down on us” – The sun is personified here as it is given the human-like quality of being able to smile.
• “The flowers danced in the breeze” – Here, the flowers are personified as they are given the human-like quality of being able to dance.

Personification is commonly used in poetry and prose, and is often used to create vivid and memorable images in the reader’s mind. By attributing human-like qualities to objects or ideas, writers can create a sense of familiarity and empathy in their readers, allowing them to connect with the text on a deeper level.

Point of view

Point of view (POV) is a literary device that describes the perspective from which a story is told. It refers to the person or entity that narrates or tells the story, and the vantage point from which they view the events that unfold.

There are three types of point of view:

• First Person Point of View: This is when the narrator is a character in the story and refers to themselves as “I” or “we.” In first person point of view, the reader only has access to the thoughts, feelings, and experiences of the narrator.

Example: “I woke up to the sound of the rain pouring down outside. I knew it was going to be a dreary day.”

• Second Person Point of View: This is when the narrator addresses the reader directly as “you.” Second person point of view is not commonly used in fiction writing but is often used in instructional or self-help books.

Example: “You woke up to the sound of the rain pouring down outside. You knew it was going to be a dreary day.”

• Third Person Point of View: This is when the narrator is not a character in the story and refers to characters as “he,” “she,” or “they.” Third person point of view can be further divided into two subcategories:

a. Third Person Limited: In this type of narration, the narrator is not a character in the story and only has access to the thoughts and feelings of one character.

Example: “John woke up to the sound of the rain pouring down outside. He knew it was going to be a dreary day.”

b. Third Person Omniscient: In this type of narration, the narrator is not a character in the story and has access to the thoughts and feelings of all the characters in the story.

Example: “John woke up to the sound of the rain pouring down outside. He knew it was going to be a dreary day. Meanwhile, Sarah was already up and ready to face the day, despite the bad weather.”

Polysyndeton

Polysyndeton is a literary device in which conjunctions (such as “and,” “or,” or “but”) are used repeatedly in quick succession, often with no commas, even when the conjunctions could be removed. It is the opposite of asyndeton, which is the omission of conjunctions between phrases or clauses.

Here’s an example of polysyndeton:

“I ate pancakes and bacon and eggs and toast and orange juice for breakfast.”

In this sentence, the conjunction “and” is used repeatedly to connect all of the items the speaker ate for breakfast. The use of polysyndeton creates a sense of accumulation or buildup, and can give the sentence a sense of urgency or excitement.

Protagonist

In literature, a protagonist is the central character or leading figure in a story, often referred to as the hero or heroine. The story revolves around this character, and their actions and decisions drive the plot forward.

The protagonist is usually portrayed as having strengths and weaknesses, and they often face challenges and obstacles that they must overcome in order to achieve their goals. In some cases, the protagonist may also undergo a significant transformation or character development throughout the course of the story.

Examples of protagonists in literature include Harry Potter in the Harry Potter series by J.K. Rowling, Elizabeth Bennet in Pride and Prejudice by Jane Austen, and Santiago in The Alchemist by Paulo Coelho.

A pun is a form of wordplay that exploits multiple meanings of a term, or of similar-sounding words, for an intended humorous or rhetorical effect. It usually involves a play on words that sound similar but have different meanings, or on words with multiple meanings. Puns can be used to add humor or wit to a sentence or a conversation, or to create a memorable phrase or catchphrase.

For example, “Time flies like an arrow; fruit flies like a banana” is a classic pun that plays on the multiple meanings of the words “flies” and “like”. Another example is “I’m reading a book on anti-gravity. It’s impossible to put down.” This pun exploits the multiple meanings of the phrasal verb “put down”, which can mean “to stop reading” or “to place something on a surface”.

Red herring

Red herring is a literary device that is used to distract the reader or audience from an important issue. It involves introducing a false clue or character that misleads the reader or audience and leads them away from the real solution or plot point. Red herrings are often used in mystery, suspense, and thriller genres to throw the reader off the trail of the real culprit or solution.

For example, in the classic mystery novel “Murder on the Orient Express” by Agatha Christie, the detective Hercule Poirot is presented with multiple suspects who each have a motive for committing the murder. However, the real solution involves a complex plot involving multiple people, and the murderer turns out to be someone who was not initially suspected. Throughout the novel, Christie uses various red herrings to throw the reader off the trail of the real culprit, including false clues and misleading character traits.

Repetition is a literary device that involves repeating a word, phrase, or sentence for emphasis or emphasis on a particular idea or theme. It is commonly used in poetry, prose, speeches, and song lyrics to create rhythm and enhance the meaning of a text.

Repetition can take many forms, such as the repetition of a single word, the repetition of a phrase, or the repetition of an entire sentence. Some common types of repetition include anaphora, epiphora, and symploce.

An example of repetition is the famous speech by Martin Luther King Jr., where he repeats the phrase “I have a dream” throughout the speech to emphasize his vision for a better future:

“I have a dream that one day this nation will rise up and live out the true meaning of its creed: ‘We hold these truths to be self-evident, that all men are created equal.'”

“I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.”

“I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.”

Rhyme is a literary device that involves the use of similar or identical sounds in two or more words, usually at the end of lines in poetry or at the end of phrases in prose. Rhyme is used to create a musical quality to the writing and can add emphasis or impact to certain words or phrases.

There are different types of rhyme including:

• End rhyme: The most common type of rhyme where the ending sounds of words in a line match with the ending sounds of words in another line. Example: “I saw a cat/ In a big straw hat.”
• Internal rhyme: Words within a line of poetry that rhyme with one another. Example: “Once upon a midnight dreary, while I pondered, weak and weary.”
• Slant rhyme: Words that are similar in sound but not identical. Example: “Soul” and “all”.
• Eye rhyme: Words that look like they should rhyme but do not because of pronunciation. Example: “Love” and “move”.

Rhyme is used in poetry to create rhythm, emphasize certain words or phrases, and create a musical quality to the writing. In addition, it can be used to create a sense of closure or completeness to a poem or to connect different ideas and concepts.

Rhythm is a literary device that refers to the recurring pattern of sounds and silences in poetry and prose. It is created by the arrangement of stressed and unstressed syllables in a sentence or line of poetry. Here is an example of rhythm in poetry:

The woods are lovely, dark, and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.

In this poem “Stopping by Woods on a Snowy Evening” by Robert Frost, the rhythm is created by the repetition of stressed and unstressed syllables in each line. The pattern of the stressed syllables creates a rhythm that gives the poem a musical quality.

Sarcasm is a form of verbal irony that is intended to mock, criticize or ridicule something or someone. It is often characterized by a tone of voice that is opposite of the speaker’s intended meaning. Here’s an example:

Imagine a rainy day, and someone says, “Oh great, just what I needed today.” The tone of their voice suggests annoyance or frustration, but their words literally say the opposite, as rain is often seen as beneficial for plants and the environment. This is a sarcastic remark because the speaker is using irony to convey a different message than what is literally said.

Satire is a genre of literature or art that uses humor, irony, exaggeration, or ridicule to criticize and expose societal flaws or issues. The goal of satire is often to bring about change or encourage people to think more critically about a particular subject.

For example, the television show “The Daily Show” is a satirical news program that often pokes fun at politicians and the media, using humor and irony to point out flaws in the political system and highlight the absurdities of contemporary society. Similarly, the novel “Animal Farm” by George Orwell is a satirical allegory that critiques the Soviet Union and the dangers of totalitarianism.

A simile is a figure of speech that compares two things using “like” or “as”. Similes are used to make a comparison between two things that are seemingly unrelated, but share common traits. By using similes, writers can create vivid and imaginative descriptions, which can help readers to understand the text in a more engaging and interesting way. For example, “Her eyes were like sparkling diamonds,” is a simile that compares the brightness and brilliance of a person’s eyes to the sparkle of a diamond. Another example is “He was as quiet as a mouse,” which is a simile that compares a person’s silence to the quietness of a mouse. Similes are commonly used in literature, poetry, and everyday language to add depth and color to descriptions, and to create powerful imagery that engages the reader’s imagination.

• She sings like an angel.
• His eyes sparkled like diamonds in the sun.
• The runner was as fast as a cheetah.
• Her hair was as curly as a spring.
• The clouds floated by like cotton candy in the sky.

In each of these examples, one thing is being compared to another using “like” or “as” to create a vivid image or to emphasize a particular quality or trait.

Soliloquy is a literary device that refers to a dramatic monologue spoken by a character in a play, often revealing their inner thoughts and feelings to the audience. The character speaks as if they are alone, and their words are not intended to be heard by anyone else in the scene. Soliloquies are a common feature of Shakespearean plays, and are often used to reveal the inner turmoil of a character, their motivations and their plans.

For example, in Shakespeare’s play “Hamlet”, the character Hamlet delivers several soliloquies throughout the play, including the famous “To be or not to be” soliloquy, in which he contemplates the nature of existence and the possibility of suicide. Soliloquies allow the audience to gain a deeper understanding of the character’s thoughts and feelings, and can add depth and complexity to a play.

A sonnet is a type of poem that consists of 14 lines and follows a strict rhyme scheme and meter. There are two main types of sonnets: the Italian or Petrarchan sonnet and the English or Shakespearean sonnet. The Italian sonnet is composed of an octave, or eight lines, and a sestet, or six lines, while the English sonnet is composed of three quatrains, or four-line stanzas, and a final couplet. Both types typically use iambic pentameter, which consists of ten syllables per line with a pattern of unstressed and stressed syllables.

Here is an example of an English sonnet:

Shall I compare thee to a summer’s day? Thou art more lovely and more temperate: Rough winds do shake the darling buds of May, And summer’s lease hath all too short a date: Sometime too hot the eye of heaven shines, And often is his gold complexion dimmed; And every fair from fair sometime declines, By chance or nature’s changing course untrimmed; But thy eternal summer shall not fade Nor lose possession of that fair thou owest; Nor shall Death brag thou wander’st in his shade, When in eternal lines to time thou growest: So long as men can breathe or eyes can see, So long lives this and this gives life to thee.

This is a famous sonnet by William Shakespeare, known as Sonnet 18. In this poem, the speaker is comparing his beloved to a summer’s day, but ultimately concludes that his beloved is more lovely and everlasting than any seasonal beauty. The poem follows the traditional English sonnet structure with three quatrains and a final couplet, and uses iambic pentameter throughout.

Stream of consciousness

Stream of consciousness is a literary technique that involves presenting a character’s thoughts, feelings, and emotions as they occur, without any editing or structure. It aims to reveal the character’s innermost thoughts and feelings in a continuous flow, allowing readers to experience the character’s mind as if they were inside it. This technique often involves the use of long, uninterrupted passages of thought and can be challenging for readers to follow. An example of stream of consciousness can be found in James Joyce’s novel “Ulysses,” which uses this technique to portray the inner lives of its characters as they navigate through a single day in Dublin.

In literature, style refers to the way an author uses words and language to convey their message or story. It includes elements such as sentence structure, diction, tone, and literary devices. The style of a writer can often be recognized by their unique use of language, syntax, and the way they structure their sentences. For example, Ernest Hemingway is known for his simple, direct style that uses short, declarative sentences, while William Faulkner is known for his complex, poetic style that uses long, meandering sentences with intricate syntax. The style of a writer can greatly impact the reader’s experience and perception of the story being told.

Symbolism is a literary device used to imbue objects, actions, or characters with a deeper meaning that goes beyond their literal interpretation. Through the use of symbolism, writers can evoke emotions, convey themes, and add depth to their works. A symbol can take many forms, such as an object, color, or even a sound, and its meaning can vary depending on the context and the reader’s interpretation. For instance, a red rose can symbolize love, passion, or even blood, depending on the context. Similarly, a white dove can symbolize peace or the Holy Spirit, while a black cat can symbolize bad luck or witchcraft. Symbolism can be found in all types of literature, from poetry to novels to plays. It is often used to enhance the overall meaning and impact of a work by adding a layer of complexity and nuance.

Synecdoche is a figure of speech in which a part of something is used to refer to the whole or vice versa. It’s a type of metonymy, which is a broader term for the use of one word to refer to something closely related to it.

Examples of synecdoche include:

• “All hands on deck” – “hands” refers to the entire crew or people on board the ship.
• “Nice wheels” – “wheels” refers to the entire car.
• “The pen is mightier than the sword” – “pen” represents writing or written communication, while “sword” represents military force or violence.
• “Gray beard” – “beard” represents the entire person or the old age they symbolize.
• “Check out my new threads” – “threads” refers to an entire outfit or clothing.

In each of these examples, a part of something is used to represent the whole, or the whole is used to represent a part. The use of synecdoche can add complexity and nuance to language and literature.

Synesthesia

Synesthesia is a literary device that involves the blending of multiple sensory experiences, such as seeing colors while hearing music or feeling tastes while reading words. It is used to create a vivid and sensory-rich experience for the reader or listener. An example of synesthesia can be found in the famous opening line of Vladimir Nabokov’s novel “Lolita”: “Lolita, light of my life, fire of my loins.” In this line, the speaker is combining the visual image of light with the physical sensation of fire to create an intense and memorable description of his love for the title character. By using synesthesia, Nabokov is able to evoke a powerful emotional response from the reader and create a memorable and sensory-rich opening to his novel.

In literature, a theme refers to the central idea or message that a writer wishes to convey through their work. It is a universal concept or idea that is explored and developed throughout the story. Themes can range from broad, overarching concepts like love, loss, or power, to more specific ideas like the importance of family or the dangers of prejudice.

For example, in Harper Lee’s novel “To Kill a Mockingbird,” the theme of racial injustice is central to the story. Through the experiences of the protagonist, Scout Finch, and her family, the novel explores the devastating effects of racism and the importance of standing up for what is right, even in the face of overwhelming opposition. The theme is not explicitly stated, but rather woven throughout the novel, providing a deeper meaning and resonance to the characters and events.

Tone is the attitude or mood that an author conveys in their writing. It refers to the way the author expresses their feelings towards the subject matter, which can be conveyed through the use of language, style, and other literary devices. For example, a writer may use a somber tone to express sadness or grief, or a humorous tone to convey amusement or satire. Tone can also vary depending on the intended audience or purpose of the writing. For instance, a persuasive essay may use a persuasive or authoritative tone, while a personal narrative may use a reflective or nostalgic tone. In summary, tone is an essential aspect of a writer’s style, as it helps to create a certain emotional response or reaction from the reader.

Tragedy is a type of drama that deals with serious, often somber and distressing events that lead to a disastrous or fatal conclusion for the protagonist or the main character. It explores the darker aspects of the human experience and often involves the tragic flaw or error in judgment of the protagonist, which leads to their downfall. The themes of tragedy may include fate, power, morality, love, and the struggle of the human condition. Tragedies often evoke a sense of pity and fear in the audience, as they witness the tragic events unfolding before them. Examples of well-known tragedies include William Shakespeare’s “Hamlet,” Sophocles’ “Oedipus Rex,” and Arthur Miller’s “Death of a Salesman.”

Understatement

Understatement is a figure of speech that intentionally downplays the significance or exaggerates the triviality of something to create emphasis or a humorous effect. It involves stating less than what is actually meant or expected.

For example, if someone just won the lottery and says, “I guess this will help me pay a few bills,” it is an understatement because winning the lottery is much more significant than simply paying a few bills.

Another example is if someone receives a standing ovation and says, “I don’t deserve this,” it is also an understatement because they clearly do deserve it. Understatement is often used for comedic effect or to create an ironic contrast between what is said and what is actually meant.

Zeugma is a literary device in which a single word or phrase is used with two or more parts of a sentence but must be understood differently in relation to each part. This creates a semantic incongruity in the sentence, often for humorous or dramatic effect. For example, in the sentence “She opened her door and her heart to the orphan,” the word “opened” is used with “door” and “heart” but is understood differently in each instance. In the first case, “opened” means physically opening the door, while in the second case, it means emotionally opening up to the orphan. Another example of zeugma is the sentence “He lost his coat and his temper,” where the word “lost” is used with both “coat” and “temper,” but means something different in each case.

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• Literary Terms

When and How to Use Literary Devices

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How to Use Literary Devices

• Write Naturally. Whenever you write, you’re using literary/ rhetorical devices – even if you don’t know it! That’s because some of these techniques are such a natural part of everyday speech that they slip into our writing as well.
• Read Carefully. All your favorite authors use literary devices , and if you pay close attention, you can keep track of them as you read. As you get good at recognizing literary devices, try to see how the author uses many different devices to contribute to the overall effect of the story or poem.
• Learn individual techniques . Each literary device has its own tricks and benefits, and no one is perfect at all of them. But the only way to improve is through patient practice. Try to learn a new technique every week or so and incorporate it into your own everyday writing.

When to Use Literary Devices

By definition, literary devices occur in literature rather than essays . So, strictly speaking, they belong to creative writing. Rhetorical devices would be the ones used in an essay. Again, though, literary devices are basically the same as rhetorical devices, so this distinction doesn’t matter too much. Literary/ rhetorical devices are appropriate for every form of writing – even emails and text messages! If you pay attention, you’ll probably catch yourself using devices like rhetorical questions , analogies , and puns as you write.

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Literary Devices: Definition, Importance, and 10 Unique Types

by  Antony W

August 1, 2024

Used on plots and characters, literary devices can elevate the value of a story and easily prompt reflection on life and society and give readers a clear understanding of a given subject or character.

Given the role they play in writing, the use of literary devices might just be the secret recipe to that A+ paper.

Literary devices used in writing include allegory, allusion, cliffhanger, dramatic irony, satire, personification, simile, motif, imagery, flashbacks, and symbolism.

In this guide, we’ll look at what literary devices are, learn why they’re important, and give you detailed examples that you can incorporate into your writing to make your assignment more comprehensive and interesting to read.

What Are Literary Devices?

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A literary device is a writing technique used by professional writers and students to improve writing.

Since literary devices highlight the most significant details in a piece of writing, it makes it easy for readers to not only connect with the characters in the story but also understand the underlying themes. 

Quite too often, these devices work on intellectual level, although it’s not uncommon to notice some emotional effects from the same.  

There are many literary devices used in writing, from those used at the sentence to the ones that serve an entire piece of writing. Each device serves a unique purpose, and you can use multiple literary devices to communicate with your audience.

Literary devices are easy to integrate into your writing, so you should use them intentionally to add an extra something to your writing.

Given that they deal mostly with sound, meaning, repetition, and description of words and phrases, these devices can create a deeper connection between your audience and your story and elicit emotional reactions in the process.

Why are Literary Devices Important?

For a writer, literary devices allow you to communicate your message from a unique angle. With these devices, you’re able to mention the most important concept in a sentence, a paragraph, or an entire essay . 

If used correctly, literary devices can make it easy for you connect theme and characters and strengthen your narrative.

Literary devices can easily grab readers’ attention and keep them reading your narrative.

Moreover, it makes it easy for them to establish a stronger connection between characters and themes in a narrative on a deeper level because they understand the message you’re trying to communicate.

Different Types of Literary Devices to Use in Your Writing

In the following, we’ll look at examples of literary devices that you can use to make your narratives more engaging.

Use this literary device to simplify large, complex concepts and thematic ideas and themes .

Sometimes, allegories are dark and controversial. But you can distant yourself from an issue, especially if it comes to criticizing sensitive social, economic, and political status.

In other words, you use characters, events, objects, and other relevant elements to describe something in a way your readers can understand.

In the case where you distant yourself from the issue(s) you’re discussing, you can even go as far as to use symbols to uncover a hidden meaning in a story.

Allusion is a powerful literary device for creating relationship to known works. It can reference just about anything provided it helps to develop characters and storylines. In other words, you take a known character from a known story and add some of your own work to it.

Although not a common case, allusions can be somewhat confusing and risky altogether, especially if your readers have no idea what character you’re referring to. That notwithstanding, it can be a powerful literary device if used right.

The key to implementing allusion in your writing is to keep things as simple as possible.  Instead of referring to characters, objects, events, or places in details, just mention them. A mere mention is enough to grab your readers attention and even communicate your message in a better way than you would if you used plain words and phrases.

Anachronism

Anachronism is where an author refers to a character or object in a different time than when it existed. We refer to this as error in chronology.

Educators refer to anachronism as an error in writing. However, sometimes authors use intentionally to add humor, reference a period in history, or comment on a theme such as society and time.

Cliffhanger

Bring the kind of suspense you see in a 2-hour movie flick to writing with a cliffhanger. Besides marking the end in a section of a story, cliffhangers are great for keeping your audience engaged in a story.

Dramatic Irony

Effective in works for literature, film, and television, dramatic irony is where an audience already knows the fate of characters in a story, but the character don’t know the fate of each other.

Foreshadowing

Foreshadowing is a powerful literary device that somewhat indicates the future in an anecdote.

Like flashback, this literary device creates tension, suspense, and sometimes both at the same time.

Since foreshadowing makes your readers crave for more of what’s yet to come, it’s such a powerful literary device to use if you want to keep them glued to your story.

Hyperbole 

Hyperbole is an exaggeration of a statement, which gives more significance on the meaning of that very statement. For example, telling a friend that you haven’t gone to the movies in a coon’s age is a hyperbole.

In its very form, an oxymoron is a figurative approach to language where authors use a combination of words in a non-literal sense to come up with new words or phrases with completely new meanings.

Personification

Rarely do we read a book and not see personification. It’s a powerful writing strategy that give human attributes to non-human objects, with the primary objective being to communicate an idea in a more imaginary and meaningful way.

Satire is a literary device used to make fun of things, places, society, or human nature. Writers use satirical approach through ridicule, exaggerations, or irony.

To be clear, authors don’t use satire to invoke hatred or demean.

Mostly, it’s to elicit humor and drive a social change. It’s so common today that it fits in just about any work of entertainment and art.

About the author 

Antony W is a professional writer and coach at Help for Assessment. He spends countless hours every day researching and writing great content filled with expert advice on how to write engaging essays, research papers, and assignments.

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How a Book About Gloves Inspired a Masterpiece by Philip Roth

For years, Roth couldn’t get beyond the premise for his novel “American Pastoral.” Then he stumbled on a copy of “Shtetl in the Adirondacks: The Story of Gloversville and Its Jews.” The rest is literary history.

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By Sam Graham-Felsen

Sam Graham-Felsen is the director of the Philip Roth Personal Library and the author of the novel “Green.”

On one of my first days working at the Philip Roth Personal Library in Newark — which houses over 7,000 books that Roth collected throughout his life, many of them marked with his underlinings and marginalia — I spotted a curious title on the shelves: “Shtetl in the Adirondacks.”

It would be one thing, I thought, for a book to be titled “Shtetl in the Catskills ,” the region of upstate New York famous for its Jewish resorts. But the Adirondacks? Who knew there were Jews in the Adirondacks? And, more important, why was Roth interested in them?

I took the book off the shelf, and as soon as I saw the subtitle — “The Story of Gloversville and Its Jews” — I knew I had my answer. This humble work of local history, published by Purple Mountain Press in 1991, was, I giddily realized, a key to one of the greatest scenes in one of the greatest novels of the 20th century.

Among the many astonishing things about “American Pastoral” is how quickly Roth seemed to have written it. The book, which went on to win the Pulitzer Prize, was published in 1997, less than two years after Roth published “Sabbath’s Theater” — the novel many consider to be his greatest achievement. (Roth himself called it his favorite.) Two years, for most literary novelists, is a tiny amount of time; it boggles the mind to consider that Roth produced “American Pastoral” right after such a raging, exuberant, long book, which must have required a monumental emptying-out of his intellectual and emotional stores.

How, I’d long wondered, did Roth replenish so swiftly? And not only that, how did he pivot to something so profoundly different from what he’d done before? Roth’s oeuvre up to that point had consisted largely of autofiction, alter egos and what the New York Times critic Michiko Kakutani called “mirror games.” Yet in “American Pastoral,” Roth wasn’t wrestling with himself, but with history; he was attempting to capture the ideological and intergenerational strife of an entire decade.

I eventually discovered that “American Pastoral” was not written overnight. As several Roth biographers have noted, he had started the novel all the way back in 1972, with the working title “How the Other Half Lives.” The setup for what became “American Pastoral” — the daughter of a businessman sets off a bomb to protest the Vietnam War — was there in that early draft. But, for whatever reason, Roth couldn’t get beyond his premise. In particular, he couldn’t figure out how to make the father figure — an unremarkable, everyday American — come alive. After 60 or 70 pages, he gave up, and began working on another novel.

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