Literary technique

From Wikipedia, the free encyclopedia

A literary technique, literary device, or literary motif is an identifiable rule of thumb,
convention or structure that is employed in literature and storytelling.

Literary techniques are important aspects of an author's style, which is one of the five
elements of fiction, along with character, plot, setting and theme.

Literary devices refer to specific aspects of literature, in the sense of its universal
function as an art form which expresses ideas through language, which we can
recognize, identify, interpret and analyze. Literary devices collectively comprise the art
forms components; the means by which authors create meaning through language, and
by which readers gain understanding of and appreciation for their works. They also
provide a conceptual framework for comparing individual literary works to others, both
within and across genres. Both literary elements and literary techniques can rightly be
called literary devices.Contents
1 Annotated list of literary techniques
2 See also
3 Notes
4 External links

[edit]
Annotated list of literary techniquesName Type Notes
Alliteration Poetic the repeating of consonant sounds.
Anthropomorphism a form of personification, taking human-like characteristics to
both living and non-living objects.
Aphorism a concise statement containing a subjective truth or observation
cleverly and pithily written. Aphorisms typically make extensive use of such devices as
alliteration, anaphora, and rhyme. The aphorism is considered a compressed poetic
genre in itself.
Author surrogate Character a character who acts as the author's spokesman.
Sometimes the character may intentionally or unintentionally be an idealized version of
the author. A well known variation is the Mary Sue or Gary Stu (self-insertion).
Back-story Setting::Background exposure the story "behind" or "before" the events
being portrayed in the story being told; past events or background for a character that
can serve to color or add additional meaning to current circumstances. Provides extra
depth to the story by anchoring it to external events, real or imagined.
Bathos a mood that overstates its own pathos or drama.
Breaking the fourth wall when the author or a character addresses the
audience directly (also known as direct address). This may acknowledge to the reader
or audience that what is being presented is fiction, or may seek to extend the world of
the story to provide the illusion that they are included in it.
Chekhov's gun Plot the insertion of an object of apparent irrelevance early on in
a narrative, the purpose of which is only revealed later on in the story. See also
foreshadowing and repetitive designation.
Cliffhanger is common in serials. A narrative line is deliberately left unresolved,
with the intention that the audience returns to the see the resolution.
Conceit an extended metaphor associated with metaphysical poetry,
designed to push the limits of the imagination in order to portray something
indescribable.
Defamiliarization technique of forcing the reader to recognize common things
in an unfamiliar or strange way, in order to enhance perception of the familiar.
Deleted affair telling of a romantic relationship, but not referred to in the current
story.
Deus ex machina (a machination, or act of god) Plot a plot device dating back
to ancient Greek theater, where the primary conflict is resolved through a means that
seems unrelated to the story (i.e. a god comes down out of nowhere and solves
everything, saving the character from peril). In modern times, the Deus ex machina is
often considered a clumsy method, to be avoided in order not to frustrate readers or
viewers.
Dramatic visualization Descriptive "the representing of an object or character with
an abundance of descriptive detail, or the mimetic rendering of gestures and dialogue in
such a way as to make a given scene 'visual' or imaginatively present to an audience".
This technique dates back to the Arabian Nights.[1]
Epic Theater Literary genre a technique popularized by 20th century playwright
Bertolt Brecht, in which the audience is "alienated" or "distanced" from the emotion of
the play.
Epiphany a literary work or section of a literary work presenting, usually
symbolically, such a moment of revelation and insight.
Epistolary novel Literary genre a novel in the form of a series of documents,
usually letters or e-mails exchanged between the characters. Classic examples include
Pamela by Samuel Richardson (1740), The Expedition of Humphry Clinker by Tobias
Smollett (1771), Les Liaisons dangereuses by Pierre Choderlos de Laclos (1782) and
Dracula by Bram Stoker (1897).
False documents Literary genre fiction written in the form of, or about,
apparently real, but actually fake documents. Examples include Robert Graves's I,
Claudius, a fictional autobiography of the Roman emperor, H.P. Lovecraft's
Necronomicon, and the Flashman series by George MacDonald Fraser. The short
stories of Jorge Luis Borges are often written as summaries or criticisms of books that in
actuality do not exist.
Fictional fictional character Character, Framing a character whose fictional existence is
introduced within a larger work of fiction, or a character in a story within a story. Early
examples include Panchatantra and Arabian Nights. See also frame story.
Flashback (or analeptic reference) general term for altering time
sequences, taking characters back to the beginning of the tale, for instance.
A Flashforward also called prolepsis, is an interjected scene that takes the
narrative forward in time from the current point of the story. Flashforwards are often
used to represent events expected, projected, or imagined to occur in the future. They
may also reveal significant parts of the story that has not yet occurred, but soon will in
greater detail. This can be seen in the television series Lost.
Foreshadowing Plot hinting at events to occur later. Giving an idea to what's
going to happen in the upcoming events. See also formal patterning, repetitive
designation and Chekhov's gun.
Formal patterning "the organization of the events, actions and gestures which
constitute a narrative and give shape to a story; when done well, formal patterning
allows the audience the pleasure of discerning and anticipating the structure of the plot
as it unfolds". This technique dates back to the Arabian Nights.,[1] and is also used in
Romeo and Juliet. See also foreshadowing.
Frame story, or a story within a story Framing where a main story is used to
organize a series of shorter stories. Early examples include Panchatantra, Arabian
Nights and The Decameron. A more modern example is Brian Jacques The Legend of
Luke.
Framing device Framing the usage of a single action, scene, event, setting, or
any element of significance at the beginning and end of a work.
Incluing Setting::Background exposure gradually exposing the reader to
background information about the world in which a story is set. The idea is to clue the
readers into the world the author is building, without them being aware of it such as
Brave New World. Opposite of Infodumping.
Infodumping (also, plot dump) Setting::Background exposure where a
concentrated amount of background material is given all at once in the story, often in
the form of a conversation between two characters, both of whom should already know
the material under discussion. (The so-called "As you know, Bob" conversation)
Opposite of Incluing.
In medias res Narrative hook when the story begins in the middle of an
intense action sequence.
Irony a discrepancy between expectation and reality. The three forms of irony
are: situational irony, where a situation features a discrepancy between what is
expected and what is actualized; dramatic irony, where a character is unaware of pivotal
knowledge which has already been revealed to the audience (the discrepancy here lies
in the two levels of awareness between the character and the audience); and verbal
irony, where one states one thing while meaning another. Verbal irony is the lowest
form of irony.[citation needed] The difference between verbal irony and sarcasm is
exquisitely subtle and oft contested, but exists nonetheless. The concept of irony is too
often misunderstood in popular usage. Unfortunate circumstances and coincidences do
not constitute irony (nor do they qualify as being tragic). See the Usage controversy
section under irony, and the term tragedy.
Juxtaposition when the author places two themes, characters, phrases, words, or
situations together for the purpose of comparison, contrast, or rhetoric.
Leitwortstil Poetic the 'the purposeful repetition of words' in a given literary piece that
"usually expresses a motif or theme important to the given story". This dates back to the
Arabian Nights.[1]
Magic realism Literary genre a form particularly popular in Latin America but
not limited to that region, in which events are described realistically, but in a magical
haze of strange local customs and beliefs. Gabriel Garca Mrquez is a notable author
in the style.
Metonym a word or phrase used in a figure of speech in which an attribute of
something is used to stand for the thing itself e.g. a HAND (replaces the term
helper/worker).
Narrative hook Narrative hook opening of a story that "hooks" the reader's
attention so he or she will keep reading.
Overstatement exaggeration of something, often for the purpose of
emphasis (also known as a hyperbole).
Onomatopoeia Poetic a word that sounds the same as, or similar to what the word
means. E.g., "boom" or "squish".
Oxymoron when two opposite terms are used together.
Parody ridicule by overstated imitation, usually humorous, such as <a
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